The film keeps trying to concentrate on the plot, which is weak, and because the action scenes and chases are long and repetitive, merely changing backgrounds don’t help things as much.

Kabali has nothing new to say or offer, besides Rajinikanth playing his age,

Udta Punjab truly soars when being its own madcap beast, profane and powerful and preening.

This is an immensely Disney film, but oh Pixar, like that song about fishbowls (and about going round and round in unending circles), how I wish, how I wish you were here. 

Warcraft is, on every level, a disappointment, especially since you see what he’s trying to do — the kind of man-woman parity he’s aiming for, mostly unseen in a film of this scale — but then you see, frustratingly enough, that the film itself is a mediocre casing for any grand idea or deft nuance. It’s mostly swallowed up by badly mumbled gibberish, like the villain in the climax chanting what sounds (a lot) like saying Eddie Izzard’s name over and over again.

Overall, like the Calcutta police station that features a library of audio cassettes full of ransom demands — a shelf of kidnapper mixtapes, if you will — TE3N feels like it was put together by people who didn’t know where things should go.

Amitabh Bachchan is excellent, no question.

The stakes are high. The Nice Guys may share the vibe of a spoof and, to a large extent it plays out like one, but Black’s characters are real and fleshed out — from March’s relationship with his wisecracking daughter to Healy’s powerful backstory (which might be best heard with coffee) — and the plot contrivances may be outrageous but escalate rapidly, like a particularly foulmouthed Hardy Boys story.

Everything that comes first is exhaustingly awake, while the finale, I gather, is yet another way to look at The American Dream. What a sales pitch.

It may well be a misfire, but Veerappan shows that at least RGV has his eyes open while squeezing the trigger. The dacoit is still at large.

Sarbjit is an irresponsibly sloppy film, a film so focused on artless emotional manipulation and trying to make the audience weep, that it trivialises an important true-life story.