Joel and Ethan and Llewyn never let up, and we watch and smirk and commiserate and feel the despondent stupor descend upon us, sliced occasionally by the music, shining in like sun streaming into a dank attic. The thing to remember about Inside Llewyn Davis is that while it might not be new, it never gets old.

This is a rare joy. It’s a genuinely smart film. It’s beautifully, lovingly shot. The music aids the narrative instead of distractingly taking it hostage. It’s the most quotable Hindi movie in years. It’s a sequel that leaves even a highly original first-part far behind. And, for a film so accessible, it’s armed with the most cunning, most delicious twist. It’s terrific — and a half. Dedhriffic, then.

Who dareth review Sholay? Sholay, that one Hindi film each and every one of us looks up to. Sholay, the film that casts a shadow that envelops filmmakers, academics, fans and leaves them awestruck. Sholay, the film we love and revere in equal measure. The Sholay which belongs to us and the Sholay we belong to. What would be truly, truly grand would be a 70mm re-release celebrating this cinematic giant. Watch Sholay for a taste of how good the Indian entertainer can truly be, and revel in the magic you already know. But don’t 3D it.

You’ll be hard pressed to find another hero so totally, awesomely Super.

For the Formula One fan, this is a film worthy of a magnum of Mumm’s finest champagne — if only for the chance to hear those massive V12 engines explode across the big screen. VrrrRRRRRRooom.

It is a film of multiple pleasures — small ones and overwhelming ones and exquisitely crafted ones — layered one on top of the other, with something for everyone, and so, so much for the cinematic glutton.

Like the dabbawalas he loves, this director delivers.

BA Pass, for the most part as taut as piano wire, feels like a chokehold. And that’s a very good thing.

A film, then, about life, love and leaves. And in the end it comes down to the sort of snow-surrounded tree that you can draw even if you’ve always had trouble drawing leaves. Magnificent.

Ek Thi Daayan, therefore, isn’t the scariest of horror films. It is, though, smartly crafted, highly original in its approach and a strikingly ambitious effort for the genre. The end is a let-down, but the film remains a fine directorial debut for Iyer. As Bobo tells Misha while giving her a glimpse into subterranean hell, ‘don’t be scared, look.’ “Daro nahin, dekho.”

From one True Believer to another, thank you, Shane Black. Iron Man has never soared higher.