And while films of this ilk are full of disposable-bodies and corpses-in-waiting, one discovers that Vishal has — sneakily, stealthily, surreptitiously — kept the sentiments so darned real that by the time the climax rolls around, you do actually give a damn about these characters.

Wow. Now if that isn’t kameenapan, I don’t know what is. Awefome.

…after very gratefully handing it four and a half stars, in case you asked — that this is a movie to love. And one that makes the audience feel just like the hero: really, really lucky.

Taare Zameen Par is, above all else, an earnest film.

Aamir brings us the debut of both a great child actor and a budding director with a fine eye, though he seems slightly Ashutosh’d in terms of pace. Economy is the one thing this film cries out for. Crisper, tighter, and less repetitive, and we’d have a very good movie on our hands. For now, we have a director with clear potential for solid work. And we need as many of those as we can get.

Om Shanti Om is an exultant, heady, joyous film reveling in Bollywood, and as at most parties where the bubbly flows free, there is much silly giggling and tremendous immaturity. You’d do well do breathe in the filmi fumes, lift your own collar-tips upwards, and leave sense out of the equation. More cameos are written in than dialogues, so sit back and play spot-the-celeb. Or watch the Khan have a blast on screen.

Sure, you know what’s going to happen, but it’s a good ride — and especially satisfying to see Swiss flower-fields replaced by Australian stadiums. Not to mention the return of the King.

Dilwale Dulhaniya Le Jayenge is, by sheer dint of originality, one of the best Hindi films made in the last 20 years…We all have our favourite moments from the film — Raj’s valiant AlPacino-AlPacino attempt at Europeanese; Anupam Kher’s befuddled attempts at engineering marital bliss, unaware of the bride in question; Tujhe dekha to jaana sanam, when Lata Mangeshkar sang as gloriously as gold; an alarmed Raj stammering ‘beer’ instead of lassi to Amrish Puri; and there are women, I kid you not, who actually swoon each time Shah Rukh, driving a convertible during Ho gaya hai tujhko to pyaar sajna, runs a hand through his windswept hair.