You won’t remember Dishoom for its plot or for its performances. It’s like junk food that’s meant to be savored in the moment, but cannot be counted on for nutrition. At two hours flat it’s that rare masala film that doesn’t overstay its welcome.

Sultan is predictable, no two questions about it. But it’s powered by a riveting central performance that makes you overlook so many of its problems.

It’s consistently engaging, but doesn’t get under your skin like some of Kashyap’s other films, particularly Black Friday,Gangs of Wasseypur, and the criminally overlooked Ugly.

The censor furore dragged it into controversy for the wrong reasons, but I recommend that you watch it for the right ones. This is uncompromised cinema – the film has its highs and lows, but delivers a solid kick.

It’s a crowd-pleaser that drives the point home about seeing with your heart instead of your eyes. Shrewd message for a film that’s not perfect, but is all heart.

Ellen DeGeneres is once again the heart of the film as Dory. Her scatterbrained ramblings sound a little old when the film opens, but she flies (literally!) as the story progresses. As for Hank, the moody octopus, he deserves his own spin-off movie – somebody make that happen! It’s sweet and consistently funny, but never breaks new ground.

Even if you do end up predicting the climax, it’s an engaging journey following all the clues and dodging the red herrings. Dasgupta’s efficient direction and an inherently riveting plot (thank you Korean film Montage, whose official remake this is!) ensure that you’re consistently invested in the outcome of the investigation. The film is as much about old age, guilt, redemption, and the morality of revenge.

I found myself chuckling at the end of the film, which is not usually the response one tends to have to a thriller. But Phobia is no standard thriller. Don’t miss it.

Despite its problems – and there are a few – Waiting is well worth your time. It sags post intermission, and the plotting is weak. But it raises important questions about life, love, and letting go. Plus there are those two splendid performances. That’s plenty to merit a viewing.

In many ways Sarbjit feels half-baked and wanting. But the performances – particularly Randeep Hooda’s – keeps you invested in what’s on the screen. It’s not a perfect film, but there is enough to appreciate here.