102 Not Out is, as I said, a sweet film. It’s nice to see an old Bachchan picture on the wall, circa Abhimaan, just as it is fine to see a photograph of a Khel Khel Mein Kapoor teaching his son math. Yet despite Bachchan and Kapoor – and young Jimit Trivedi, who plays the enthusiastic domestic help with infectious enthusiasm – the film relies too heavily on prosthetics, with liver spots being used either for laughs, or instead of character details. All we ever know about Dattatraya is his decrepitude. For a film about living a full life, that feels rather toothless.

Varun Dhawan Shines In This Exquisite Drama…Director Shoojit Sircar has made his bravest film, a poetic and emotional drama about unconditional affection

Rani Mukherji’s strong portrayal of a Tourette Syndrome sufferer emerges skin deep in a film that never goes beyond the obvious

Three Billboards Outside Ebbing, Missouri is eventually a film about the need to point fingers. Mildred Hayes is out there hunting for arrests, hunting for someone to blame for an unthinkable, unjustifiable tragedy. At one point in the film, a character – unexpectedly – uses the word ‘begets’ correctly, as in “violence begets violence,” and that momentary lapse of stupidity is enough to protect her from wrath. The difference lies all in an instant. We can put up the labels on giant billboards – Good, Bad, Ugly, Guilty – but we only ever make our minds up as we drive past them, deciding along the way. This film is about reading between the signs.

Guillermo Del Toro has always made sensationally strange movies, but with this one it is as if he, like his heroine, is finally unafraid to be beautiful.

Many films about relevant, important subjects are not actually good movies. R Balki’s PadMan, which features an extraordinary true-life story brought to the screen featuring Akshay Kumar is both a strong film and one that needs to be watched

The problem lies not in Padmaavat being a costume drama, but in the fact that there is too much costume, too little drama. In the film’s opening scene, we see a king chewing roughly on a piece of poultry. This is a surprisingly small, tandoori-sized handful of bird, nothing compared to the way we have, in international film and television, watched vikings gnaw at giant animal legs the size of motorcycles. Therein lies the problem. There’s not nearly enough meat.

Vineet’s compelling performance makes him a character to root for, and even if we are shown the odds too many times, his triumphs feel earned, they feel good

At an exhausting two hours and forty minutes, I really don’t care if Tiger is alive or a vegetable – whether he’s Zinda or Tinda, really – but this film needed to be much tighter.

Vidya Balan’s deals with real conflicts and dares to push some boundaries hard. It is a special film, the kind where you know what is going to happen and yet texture and detailing give you much to marvel at…