It’s an improvement on most of Sandler’s recent comedies. But that’s faint praise.

There are multiple layers to this well-observed drama; kudos to the filmmakers for putting it on screen.

There’s plenty laughs and some neat special effects. But what the movie needed was real edge, and a willingness to take bold risks.

Bajrangi Bhaijaan is way too long at 2 hours and 35 minutes, and could have done with some serious pruning, especially in its first half. Nevertheless, it’s more engaging than such typical Salman Khan blockbusters as Bodyguard and Ready, if only because it has a sliver of a story, and its heart in the right place.
Don’t forget to take your handkerchief along.

Like the director’s terrific previous documentary Senna, on the life of Formula One legend Ayrton Senna, Amy humanizes a fascinating figure that deserved a more thoughtful study than the headlines provided. This is, in fact, an even stronger film – a carefully observed portrait of an abundantly talented but potentially fragile woman singed by the unforgiving glare of the spotlight.

The plot’s serviceable at best, never as smart as a Pixar offering, or even a Despicable Me film. But it’s consistently goofy, and coasts along on the strength of its frenetic action and slapstick humor. Directors Kyle Balda and Pierre Coffin recognize that it’s these banana-loving, gibberish-spouting Minions themselves that are the biggest draw of this film, and they mine laughs from their nonsensical singing and childish shenanigans.

It’s exactly what a blockbuster should be. Hugely entertaining, without ever being dumb.
I was surprised by how much I enjoyed Bahubali given that I watched a Hindi dubbed version of the original Telugu film. Rajamouli is indeed a visual storyteller, and he brings the curtains down on this first part of his two-film saga with a curious cliffhanger. I can’t wait for Part 2, which comes next year.

This fifth chapter in the saga is all sound and fury, with none of the character depth or emotional impact of Cameron’s terrific first two films.

Guddu Rangeela has flashes of the originality we saw in Kapoor’s earlier films Jolly LLB and particularly Phas Gaye Re Obama. But it’s weighed down by a lousy script that squanders all potential.

I can’t think of another film I saw recently that stayed with me like Killa has. This incredible Marathi film by debutant Avinash Arun tells the simple coming-of-age story of an 11-year-old boy in rural Maharashtra, but there’s such emotional truth to his experiences and his journey that it’ll feel real and familiar even to those raised in very different circumstances.