Mausam could quite easily have ended up being a stodgy, strenuous and self-conscious drama. Writer-director Kapur, the accomplished actor that he is, orchestrates the emotional ups and downs of his tale with a commendable degree of moderation for the most part. Mausam is certainly worth a viewing.

It is well-nigh his most controlled film to date: the style, fluid and unobtrusive, complements the theme rather than overshadow it.

The lovers are anything but loveable characters. And this tale is a tragedy woven around the ugly face of love. Downbeat? Yes. But it’s engaging and watchable – if for nothing else, for the flashes of the RGV of yore.

I Am Kalam shows how beautiful small can be, especially when the heart is in the right place and the mind is clued in.

Singham is an old-fashioned but rousing Hindi commercial film that pretty much restores one’s faith in this often-maligned brand of cinema. It has super-duper hit written all over it. No matter how dismissive you might be of films that have no space for shades of grey, chances are that Singham will disarm you, if only for a bit.

Zindagi Na Milegi Dobara does exude pronounced traces of the spirit of Dil Chahta Hai, but its essential rhythm is its own, stemming from the dynamics of a full-fledged road movie shot through with intelligence, emotion and, above all, humanism.

Is Chillar Party, then, a perfect children’s film? Saying that would be a bit of a stretch. The characters are less nuanced individuals than recognisable types, etched out and christened on the basis of their defining traits.

Lafangey Parindey soars just high enough to stand a fair chance of garnering mass applause.