Haraamkhor isn’t a ground-breaker, but it certainly is worthy of applause for its fearlessness and for the impressive quality of the acting.

OK Jaanu is watchable because it does occasionally touch both the heart and the ear. But it is never able to shrug off the fluff that clings to its body.

The audience might not be overly dukhi with Tum Bin 2, especially owing to its commendably sophisticated soundtrack. But this sequel is unlikely to have anybody asking for more.

It’s the sheer predictability of this narrative form that drags Force 2 down a few notches. Be that as it may, it is an entertainer that passes muster.

And if you are a John Abraham fan, there can be no reason whatever to give Force 2 a miss.

As a musical, Rock On 2 does not hit rock bottom at any point. But for the most part, the film finds itself trapped in rocky terrain. So its flow is staccato.

Visually, there is much going for this film, especially with cinematographer Aseem Bajaj making the most of the striking Balkan canvas and painting breathtakingly pretty pictures on it.

Its theme is of pressing relevance. Yet, 31st October doesn’t leave a lasting impression. It isn’t half the film it could, and should, have been.

Saat Uchakkey is far too undercooked a broth to pass for what it wants to be – a zany, off-the-beaten-track entertainer.

It veers off the rails all too quickly and never returns anywhere close to getting back on course. Stay out of the way.

Inferno is a must for fans of Hanks. But watch it also for Irrfan. Steady as a rock, he doesn’t put a foot wrong despite being in a predictable film that doesn’t get everything right.

Mirzya is a colourful but tepid tableau populated by pretty but comatose marionettes that even Gulzar’s poetry cannot stir to life.