The film celebrates an improbable dream and mourns its untimely death, both with infectious passion, and ends with a fervent appeal on a behalf of a social media campaign to put Budhia back in his running shoes. Not a bad idea at all.

Overall, Budhia Singh – Born to Run is worth running all the way to the nearest multiplex for.

The Legend of Michael Mishra is an unmitigated disaster: so ham-fisted that it’s all fingers and thumbs pointing in no particular direction.

There can be no denying that The BFG is a captivating family entertainer that delivers bushels of old world enchantment. Don’t miss it.

The audience sits through the cacophony hoping for a genuine knockout blow to be delivered somewhere down the line. It never materialises. Dishoom doesn’t land a single half-decent punch.

The problem with Kabali, to put it simply, is that it is a weak film weighed down by a multiplicity of characters and a web of interconnected stories about a dead wife (Radhika Apte), an unknown daughter (Dhanshika), a fidgety young lieutenant always at Kabali’s service (Dinesh Ravi), and a whiny girl whose sob stories never end (Riythvika).

Madaari might be worth the price of a multiplex ticket solely for Irrfan’s flawless one-man show.

Ice Age: Collision Course is never able to shake off the been-there-done-that feel that envelopes it from start to finish.

Sultan is a Salman Khan film made solely for the superstar’s fans. It has everything to please its target audience. It has megahit written all over it.

Shorgul is so horridly ham-handed that it merits no rating as a film. But for the statement that it strives to make, no matter how feebly and incoherently, it deserves one star. And that is all it’s worth.

Extending Kashyap’s continuing probe into the horrors of dehumanisation, Raman Raghav 2.0 dives deeper into the cesspit than any of the director’s earlier films – to deliver a dystopian study that is at once fascinating and nauseating.