The film plays out less like an engaging life story than an in-your-face big-screen advertorial.

Only the very gullible or the very generous would be inclined to take M S Dhoni – The Untold Story as anything more than an image management company’s attempt to bolster and extend the power of a lucrative brand that is nearing the end of its currency.

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.

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.

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.

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

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).