Give it a whirl. Like a Rado wristwatch that a character automatically dismisses for fake, this film may not look it but happens to be the real thing.

It is this anything-goes approach that carries itself on to the opening credits — with oddly tacky graphics of tossed coins and guns, as if to rub the film’s lack of finesse in our faces — and to the characters, who are introduced with no subtlety whatsoever: the word Gangster shows up with a funny gong sound, the Biwi appears to wailing B-movie siren sounds in the background.

This is a film that goes far out on a limb, and gives us both bedlam and nuances, enough to warrant repeated viewings. And more than enough to love. Oh boy oh boy indeed.

As an action movie it completely rocks. Just not as what it pretends to be. It’s a wailing guitar-riff of a movie, with an incessantly climactic drummer. Shake your head to it good, but don’t try and listen to the words.

It isn’t a well-shot, crisply edited, intelligently staged piece of cinema, but is warmly enough made to allow the legendary play to shine through.

As a swan-song for the master director, Jab Tak Hai Jaan might only be a middling effort. But then, sometimes, all we need is a Khan-song.

And while Chittagong falls well short of being a great film, it can’t help but be an important one. And Pain keeps it honest.

Go watch English Vinglish, and take your mothers along. As shown by one great scene which has Shashi speaking furiously in Hindi to her chef friend Laurent, who replies back in thoughtful-sounding French, it isn’t about language.

A well-crafted script with an intriguing back-and-forth narrative — set in the present day, 1978 and 1972 — Barfi! intrigues, right to the point somewhere down the middle, when it becomes more than apparent exactly what the film’s story is, after which all goes south. And yet so impressive and earnest are most parts of Barfi! that one is inclined even to forgive its flawed centre; we want badly to overlook the film’s peach-seed heart, and concentrate on the rest of its juicy joys. And these it provides in abundance.

Looper has a mixed bag of influences — as diverse as Memento, The Terminator and The Omen — but proves to be sharper, smarter and more ambitious than even those unforgettable ones. There are minor plotholes, but the film bounds over them with swift, self-assured grace, climaxing ultimately with a finely foreshadowed finale that ties everything up shrewdly and masterfully: a rarity for the science-fiction genre, and a tremendous narrative achievement that makes me want to watch it again right now.