• Ranveer Singh and Alia Bhatt’s Gully Boy, an underdog story shining a light on India’s incipient hip-hop subculture, is the first great Hindi film of 2019 and a rousing celebration of spunk.

  • Ek Ladki Ko Dekhi Toh Aisa Laga concedes the unlikelihood of entertainment to change bigoted minds. When Sweety performs in Sahil’s play, we see disgusted and intolerant audiences get up and leave. Yet I was struck by the image of an old man, sobbing as he leans on the empty bench in front of him, reserved for VIPs who have left. There will be plenty who leave their seats unconvinced, but this film will make some wonder — many of whom may never have considered it. This could have been a bolder and more explicit film, but sometimes cinema should work like a street play. Sometimes we need to preach beyond the choir.

  • Kangana Ranaut is glorious, and the film better than Sanjay Leela Bhansali’s carnivals. But the budgetary constrains show and the impact is Amar Chitra Katha.

  • This is either an oblivious or blatantly self-aware film, a work not of propaganda as much as it is a work of pride, celebrating a legacy of violence.

  • The eternally amoral Emraan Hashmi plays a man helping students cheat in a film that never finds momentum.

  • All is unsubtle, everyone’s a lookalike in this film and yet manage to outperform the man in the lead — Anupam Kher who stars as former Prime Minister Manmohan Singh.

  • Vicky Kaushal leads an efficient but unimpressive attack. They may well have titled this film based on 2016 Surgical Strikes the Call Of Desi Duty.

  • A relentless Ranveer Singh and Rohit Shetty ensure that this film is not just ahead of Ajay Devgn’s Singham but far superior to Salman Khan’s genre-defining Dabangg.

  • Shah Rukh Khan measures up. The visual effects lack continuity and he looks more like a dwarf in some scenes than others, his deformity occasionally more pronounced while he looks like a spookily smooth tiny-Khan in other sequences. The actor, however, glosses over this with a dominating performance and tremendous energy. Bauaa Singh is a severely flawed character made irresistible by his pluck, and it’s remarkable how much Khan brings to the part. And he remains the best lover in the business.

  • Kedarnath is a pointless, entirely forgettable film, but some may remember the girl fondly — which may well be the film’s only task. In one scene, Sara rides down the mountain on Sushant’s back, and he calls her the heaviest load he’s lifted. She smiles and tells him to get used to it. Carry on, Indian cinema, carry on.

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