Leading lady Rhea Chakraborty is uninhibited but inconsistent, her bumpy Marathi accent never quite convincing. Between her and a script that sadly feels half-baked, Sonali Cable is weighed down, unable to take flight. It’s got its moments, but they’re few and far between.

Annabelle isn’t perfect – hell, it isn’t even as good as The Conjuring – but despite its unconvincing climax, it’s got moments of spine-tingling horror that do the trick.

Much of the second half is evidently inspired from Jaane Bhi Do Yaaron, but there is none of that film’s sparkling wit at display here. The final scenes are unabashedly schmaltzy, and while the message itself is important, it is conveyed with all the subtlety of a sledgehammer. Promising but doesn’t quite take flight.

The film then isn’t unwatchable, but at 2 hours and 35 minutes, it certainly tests your patience. How many times have you ordered a dish that looks terrific photographed in a menu, but disappoints when it shows up on the table? Bang Bang is that kind of meal.

A few such hiccups aside, Haider is an elegant, thrilling film that casts a brave, unflinching eye on the Kashmir struggle. In deviating from the original ending of Hamlet, it also makes a necessary point about the cyclical nature of revenge and violence.
Its deliberate pacing may not work for all, but this is a solid, well-acted movie that deserves your time.

Despite having read and thoroughly enjoyed the book already, I found Fincher’s film gripping and handsomely mounted, and still packing a few nice surprises. Gone Girl doesn’t have the enduring appeal of one of my favorite Fincher films, ‘The Social Network’, but it’s a bloody good way to spend two and a half hours of your time. I’m going with four out of five. Don’t miss it.

Aside from a few sharply written scenes – including one in which they give each other tips on how to be better in the sack – the film feels tired and over-familiar, and never breaks new ground.

There are some interesting themes at play, but sadly they aren’t explored with much inventiveness.

What started off promisingly is never fully exploited. Shame.

It may not be for everyone, but for those who seek comfort in the familiar, it’s a pretty satisfying watch.