go see Sholay only because it’s an opportunity to see it again on the big screen, to see a young Amitabh and Dharmendra, and to introduce your kids to it. They might complain it’s a bit long, but the gimmick of 3D should help convince them to come along.

Good animation needn’t necessarily be about the computer-graphics imagery. Films such as Persepolis and Waltz with Bashir were deeply moving without being cutting-edge. Mahabharat, sadly, lacks more than technical prowess; it lacks imagination. It is an over-simplified, children’s-book version of the epic tale.

A film that is as riveting as it is engaging, Fire… emerges as the perfect vehicle for a powerful message that has been lost in the cacophony of social media networks and 24×7 news cycles. It is well-shot, sharply edited, and has a fluent, convincing narrative.

Ship Of Theseus, no doubt, an intellectual exercise, the sort festival films often indulge in. Yet, the narrative is lucid, and the stories are simple and deeply moving.

For a film about sprinting and clocking shortest timings possible, Bhaag Milkha Bhaag moves at a snail’s pace and goes on for over 3 hours. And while the protagonist purportedly possesses tremendous focus, the film seems to lack that very quality.

Flaws notwithstanding, Lootera is of a standard that’s inarguably higher than the Bollywood average. Here’s a director to watch out for. Behrman’s masterpiece came in The Last Leaf. Motwane’s is yet to come.

The borrowed plot (from ‘Before Sunrise’) is cooked with a generous dosage of Bollywood spices. So you must suffer clichés like a Paris full of French people who speak Hindi and a heroine whose jackets are heavy but hemlines ridiculously short.

Add to that every available cliché in the book — Ganpati to the rescue, ganga jal as a weapon — and it’s more likely to scare you away than scare you.

Ferrari works as a film. It’s a story of reaching for your dreams, of endearing father-son relationships, and of moral lessons that aren’t preachy. It’s a formula that rarely fails — the sort of feel-good movie that makes for perfect Sunday viewing with the whole family.

It would be a mistake to judge Wasseypur for factual correctness. Kashyap shows familiarity with this world in his attention to detail – the typical Hindi accents, the Ray Ban shades, the pager. But they enhance the flavour rather than the facts. Wasseypur is as much a celebration of small-town India as it is a sinister revenge tragedy. If the subject wasn’t so gory, you’d call it charming.