Old ghosts and new dreams survive side by side in this Manoj Bajpayee, Vijay Raaz film as we get to see Old Delhi like we have never seen it before.

Unlike other films of a similar nature, of kids with unnatural or supernatural powers, here the children, very young to almost adult, never look like they can make their way out alive.

Queen of Katwe’s power lies far from the distant, ascetic tournament halls that Phiona finds herself in. It lies in the streets, drains, sludge, tattered windows, door-less, roof-less houses that she inhabits when away from that world.

Fifty-six years later, Antoine Fuqua movie seems way past its sell-by date, and without bringing little new to the table.

Bridget doesn’t have an easy time having that child. It is a labour — of love, still — for the rest of us too.

Blake Lively starrer can seem repetitive, and a little pointless in the talk that Nancy has going with the seagull and later with a camera.

In a film with an end as well known, the challenge always would have been to bring some newness. Eastwood’s pacing does the trick, but even so, in bits, Sully is a stretch and sometimes rather obvious in its heavy-handed intentions to honour a hero. Even one as celebrated.

While the film manages to smartly get back on its feet, it is clear Alvarez got greedy and extended Don’t Breathe past its ideal running time. The thing is — and here is what makes Don’t Breathe the standout horror of this year — you may be holding your breath till the last.

The Jackie Chan film builds towards a buddy partnership as action remains unimaginative and the laughs few.

It is a desperate attempt at making the audience laugh.