The film doesn’t have much to offer.

Historical accuracy be darned, Gowariker has served up a severely amateurish production with a weak script and an abundance of cliche.

Suicide Squad is less an actual movie and more an assemblage of moments, moments mostly to do with popular music appropriated around shots of spectacle, with every single scene trying to hit a crescendo of cool and the film, thus, failing to find any peaks at all.

Warcraft is, on every level, a disappointment, especially since you see what he’s trying to do — the kind of man-woman parity he’s aiming for, mostly unseen in a film of this scale — but then you see, frustratingly enough, that the film itself is a mediocre casing for any grand idea or deft nuance. It’s mostly swallowed up by badly mumbled gibberish, like the villain in the climax chanting what sounds (a lot) like saying Eddie Izzard’s name over and over again.

Overall, like the Calcutta police station that features a library of audio cassettes full of ransom demands — a shelf of kidnapper mixtapes, if you will — TE3N feels like it was put together by people who didn’t know where things should go.

Amitabh Bachchan is excellent, no question.

It may well be a misfire, but Veerappan shows that at least RGV has his eyes open while squeezing the trigger. The dacoit is still at large.

Sarbjit is an irresponsibly sloppy film, a film so focused on artless emotional manipulation and trying to make the audience weep, that it trivialises an important true-life story.

As a work of fan-fiction, Azhar is a mostly watchable film with a solid lead, but falls far short of being either entertaining, insightful, or worthy of recommendation. Hashmi and D’Souza try hard, and their effort shows.

I just wish I could have said the boys played well.

Contrary to what the film’s publicity and songs would have one believe, One Night Stand isn’t yet another tawdry skin-flick with exploitative cleavage shots in place of a script.

Ki & Ka wants to be important, it wants to be revolutionary, it wants to be a feminist statement of equality. Admirable, sure. But it doesn’t know how.

It is a film that thinks it knows better, but really — really — doesn’t.

Zubaan emerges, sadly, like one of those ads where you can half-hum the song but you forget what it was for…