The admirable part about this cleverly-mounted liberal dialogue is that despite its mid-90s setup, this film refuses to take sides. Khan tries too hard to stick to a multi-tracked parallel setup though, and perhaps loses out due to the absence of a sole protagonist. At times, he tilts towards an idealistic newly-transferred cop, but stops short of giving him a voice. Still, this unfamiliar balanced treatment only adds to its topicality today, at this moment, in a country on the verge of a fierce political revolution.

‘Two States’ lacks that exact sense of casting, instead relying too heavily on people’s perception of the book and its’ modest goals.

It is disconcerting to suddenly be told that ghosts don’t always result in horror films. In India, they almost never do, because we end up laughing at the screen anyway. Perhaps the term ‘horror comedy’ generates from here. This is also the self-referential humour Bhoothnath Returns, the sequel to Bhoothnath, excels at.

The story is tropical and interesting; the execution of screenplay, not so much. Jal is constructed as the kind of expansive cinema that begged to be shot on pure film. Rather unfortunate, because Jal ends up as the kind of film that begged to be pure unadulterated cinema.

Pulkit Samrat ends the film with an impassioned speech about corruption and abuse of power right to the faces of the perpetrators. There is truth in these words, albeit one that barely registers because of the 106 long minutes taken to reach this moment.

Despite its timely intentions and catchy soundtrack, Youngistaan is a skewered immature tale that caters to the lowest common denominator of hope. It doesn’t give its viewers too much credit, and eventually resembles the political system it represents. Make of that what you will.

Dishkiyaoon confounds on a very basic technical level. Baweja sincerely tries, but is undone by scrambled writing that relies more on colorcoding than action or entertainment.

I wouldn’t go as far as declaring this imitation to be the best form of flattery, but Gang Of Ghosts does arouse enough curiosity to make you want to watch the real deal. Excuse me while I procure a DVD.

Lakshmi is not without its flaws; the sort of topical theme Madhur Bhandarkar would have chosen at his prime. It makes you cringe for important reasons though, and must be watched for its relentless pursuit of relevance and authenticity.

Are you okay with the fact that Divya Dutta is a psychiatrist that specializes in paranormal cases? Or that her initial scenes are preceded by the same stock footage of Marine Drive? It doesn’t matter. The makers are sure you will be okay with Miss Leone wearing her sexiest lingerie to bed every night. Or tied to a chair in lingerie. Where will you ever see that?