This movie is many things, certainly, but is also a mother-daughter film for the ages.

Madhvani’s biggest strength in Neerja may be the way he alternates between letting us relate to the character and making us feel awed by her.

Spotlight is a powerful film, with a terrific ensemble cast…

This is unmistakably a comic-book film, and some fun new X-Men show up, but you don’t need to know any more than the fact that this film really earns its exclamation marks.

The director casts two attractive people where he ought have chosen a couple of actual actors instead, and thus it becomes hard to care about the protagonists or their sundered hearts, and despite aesthetic appeal, what we end up with is — at best — a screensaver…

What people who make movies like Mastizaade need to realise is that the word Adult means more than a movie rating. Even the absolute daftest of sex comedies have room for something sharp and clever and cheeky. Because Austin Powers minus the groovy is just pervy, baby, pervy.

Airlift is compelling, thanks largely to a sterling performance from Akshay Kumar — who is both suitably weary and suitably level-headed for the part — enough to anchor the proceedings. The actor is always fine when reined in, and Menon plays to his strengths and Kumar only snaps once, almost reflexively, into Bollywood hero mode, but he is mostly calm and grown-up and holding on.

The Hateful Eight contains everything we expect from the auteur — ultra violence and memorable characters and shocks and profanity and long stretches of dialogue — and yet, while as indulgently Tarantinoey as it can be, this is a rough watch, a film meant to cause discomfort, to repel, even to disgust.

It has competent moments, but is too generic to be memorable, and that’s a shame for it could so easily have been a winner.

As it stands, Wazir is the one thing a chess player can never afford to be: Obvious.

Even to a non Star Wars devotee, however, I must confess the film hits hard. Those scrolling opening credits, set to that John Williams score, does strike right between the ribcage of all us once-children, and it’s great to see Williams still masterfully making the film soar. Even if all we’re watching is A New New Hope, the franchise indeed awakens. Even if it weighs in a half hour too long.

Sure, there is a sparkle here and a gleam there of what could have been — and Kajol looks beguilingly beautiful, better here than ever — but Dilwale is an absolute dud.

We expect insignificant froth from the director, but this particular can of Rohit Shetty has been lying open too long. The contents are not merely un-fizzy but, unforgivably, flat.