Rarely does a film press so much noise into service to achieve so little in the end. Heed this warning: don’t get within the earshot of Banjo.

Parched isn’t a miserablist tale that wallows in despair. It is a tale of a rampaging, rollicking, uninhibited rebellion by women who find allies in a vibrating mobile phone and a decked-up three-wheeler getaway bike.

Laced with sly wit and captivating storytelling feints, Island City touches heights that Hindi films do only once in a blue moon. It is absolutely unmissable.

The film certainly has its moments, and Sonakshi does her career no harm by revealing a new facet of herself, but Akira isn’t blockbuster material.

The lowbrow comic-strip spirit of A Flying Jatt extends to the film’s rough-hewn production design. Nothing that appears on the screen, neither the houses nor the props, looks real.

Happy Bhag Jayegi isn’t the kind of film that will have audiences rolling in the aisles. But it might occasionally induce faint smiles on some faces.

UNIndian, as a film, has its own share of pitfalls to negotiate. It occasionally resorts to contrived means to get around its loose ends. Yet, in the ultimate analysis, the film never trips irretrievably.

Pinneyum is clearly the work of a maestro who has nothing to prove: undemonstrative but staggeringly impactful.

Rustom is largely inoffensive, even passable in the main, but could have been infinitely better had the screenplay not been so utterly conventional and unimaginative.

Mohenjo Daro is stuck in the past and not just in terms of its substance. What the film clearly says is that both director Gowariker and Hrithik need to move on and reinvent themselves.