Stripped to its bone, Rensil D’silva’s Kurbaan is an edge-of-the-seat thriller that seldom loses its grip on your attention. Credible performances from its leads, and a nail-biting screenplay make up for the plot holes that threaten to eat into this otherwise engaging film.

Never a lofty biopic that romanticizes Phalke’s struggle, Mokashi’s film in fact is a humorous, light-hearted take on a challenging adventure filled with impossible hurdles. From raising money by selling his furniture, and casting men in female roles because no women agreed to act in the film, Harishchandrachi Factory looks for irony and laughs even in the darkest places. A portion in the story when Phalke combats near blindness is recounted evenly, without any trace of over-sentimentality or heavy-handed direction.

In the end, of course, Bachna Ae Haseeno is a showreel for the sheer talent of Ranbir Kapoor who blazes across the screen like a blinding light. He’s got that indescribable star quality, and what’s more he can act. At comedy, in the emotional scenes, and yes of course when he’s dancing — your eyes are transfixed on the screen when he’s up there even in a passing shot. Despite its strengths, the film isn’t terribly good, and that’s a pity because it most definitely could have been. Ultimately, it’s an average film, at best time-pass viewing.

The film’s success is the result of both Amole Gupte’s tremendous script, and Aamir Khan’s nurturing supervision. Neither could have achieved this without the other. Be prepared to shed tears, not because it’s always a sad story, but because it’s such an overwhelming experience.

Like all of Bhansali’s previous pictures, Saawariya too is a visual spectacle. Few filmmakers’ can match his attention to detail, his magnificent use of lighting and colour, and his sharp ear for music. But in the end, it’s not about the sweeping scale or the lilting melodies, Saawariya fails to touch your heart, it’s an exercise in excess. I’m going with one out of five for Sanjay Leela Bhansali’s Saawariya, a fall from grace for the country’s most celebrated filmmaker.

Unpretentious and completely transparent in its intentions, Om Shanti Om is an entertainer in the true sense of the word, mixing up genre elements like comedy, drama, action and emotion to create a heady broth of Manmohan Desai-style exaggerated entertainment. With tongue firmly in cheek, the writers make light of everyone and everything in sight, packing the first half with so many in-jokes and movie references that it turns out to be every trivia collector’s wet dream.

…it’s an immensely satisfying movie experience, I’m going to go with four out of five and two thumbs up for director Shimit Amin’s Chak De India. It’s got a predictable premise and you know exactly which way the story’s going to go, but sometimes, when the characters win over your heart and you’re rooting for them to win, that’s all that really matters.

It’s pointless and it lacks focus, it’s meandering and it makes very little sense. So that’s one out of five and a thumbs down for Apurva Lakhia’s Shootout At Lokhandwala.It tries to be a boy’s picture with guns and gore, but it lacks both style and substance. Because the film has no soul, it leaves you cold and unaffected.

While it’s true this film is somewhat entertaining and much of the humour is derived from its rock-solid script, let me be the party-pooper here by revealing that Bheja Fry is a scene-by-scene, dialogue-by-dialogue remake of the superhit French farce The Dinner Game. You see, Bheja Fry isn’t ‘inspired’ or ‘borrowed’ or ‘influenced’ from the original film, it’s an out-and-out remake. One can only hope that remake rights were bought from the makers of the French film, although I didn’t see any acknowledgement of the same in the film’s credits, and in fact I saw this film’s screenplay credited to two persons, which if you ask me is shocking, considering the only real work on the script would be in the form of translation.

Hrithik is one of those rare actors who’s not only abundantly talented, but he’s also blessed with a presence that’s electrifying. With the grace of a dove he throws himself into the film’s many challenging stunt scenes – skydiving, sand-surfing, scuba-diving, roller-blading, bungee-jumping – and he does it all so well.Whether it’s in the action scenes, or the songs, whether he’s romancing Aishwarya or jumping off a cliff, it’s hard to take your eyes off him.