Some good actors have lent their names to this mess, for what can’t be any other reason than money and the hits somehow against Anees Bazmee’s name.

Joaquin Phoenix is the embodiment of nervous, anorexic energy in his role. He just doesn’t act with his face — with or without the joker paint. He acts with his entire body, with its ribs sticking out, its back abnormally arched, its legs leaning away from him, its feet gliding from under him, its arms flailing about.

When Hustlers is focused on the women, particularly behind the scenes at the strip club, it’s refreshing.

With a very confused idea about who is a ‘Loser’ or what it means to be one, and a very fixed, ‘3 Idiots’, template on making a crowd-pleasing college-life film, director/co-writer Nitesh Tiwari follows up on his super-successful Dangal with a disappointingly average Chhichhore.

A faithful remake…In The Lion King, the technology Jon Favreau wields has got another update, to deliver every single, wind-blown hair in the beautiful manes of Simba and Mufasa.

Right till the end, the film’s heart remains in the right place, whether it’s the brief moments Peter can steal for MJ, the times he reaches out for someone to talk to, and the short sequence that shows he is ready to be what the film always intended him to be: Tony Stark.

Even for Pixar, this fourth part seems a lazy concession to the exigencies of a profitable enterprise — though the studio with the magic touch does even this better than most.

Having laboured over setting up the final battle in Avengers: Infinity War, Directors Anthony and Joe Russo get their act together to give a proper, emotional, funny and, yes, even spectacular, send-off to a cast of characters we have come to know (and, mostly love) over 22 films and 10 years.

David Harbour of Stranger Things does a fine enough job as the brick-red man who emerged from the depths of hell with sawed horns on the forehead, a tail and a metallic hammer-like appendage for an arm.

The Jordan Peele directorial is terrifying but muddled…If Get Out portrayed the deep fears of the two delicately poised races, Us goes deeper into the inner-most fears of us all. Us vs them. Us vs us. US vs the world. And the wall vs us.