Stay away from this film if you value your time and money. And if you still insist on giving it a shot, do remember that there is no refund on the ticket. That is what you will be asking for well before the joke winds up.

Parts of Satyagraha make perfect sense but, on the whole, it never comes close to clicking into top gear. It leaves you more disappointed than angry.

Madras Cafe is not your average Bollywood thriller. It crackles with genuine energy and is marked by true empathy for humanity.
It is an unqualified triumph.

It has enough going for it – a no-nonsense script, a clipped pace, punchy dialogues and spiffy cinematography – to justify its 160-minure runtime.
Yet Once Upon Ay Time in Mumbai Dobaara! falls well short of being quite as engaging as the film that it is a sequel to.

Chennai Express is a full-on masala film that is completely unapologetic about its intentions. And that is its USP.

Love in Bombay is loud, over the top, and without the slightest pretension to subtlety, but it is marked by a certain degree of innocence that sometimes makes popular Hindi cinema of the 1970s and 1980s tolerable even when they are risible.

BA Pass combines the bone-dry quality of a chiselled short story and the stark directness of a minimalist tragedy to deliver a taut, gripping film about the hell that a big city can be behind the bright neon lights and the living room glass cabinets stacked with flashy dolls.

Not to be missed.

All that Issaq manages to be, despite all the sparkling compositions that the cinematographer strings together, is an unconvincing story of ill-fated love. It is not at all easy to sit through.

Bajatey Raho does not play it right. Off-key and overly contrived, it is a pretty ordinary effort that is not even mildly engaging.

Doubtless, Ship Of Theseus is an extraordinary achievement. To miss it would be tantamount to missing one of the finest Indian films of recent times.