Like many animations before it, Coco is about finding yourself while never losing sight of your family. Disney finds a way to tell this story differently, in an un-American setting.

You will walk away impressed from 2049, mesmerised by its reimagining of Earth, delivered by the multiple Oscar-nominee cinematographer Roger Deakins. But you probably won’t care much for this cold, radioactive, and fairly heartless, Earth.

In American Made, Barry Seal, played by Tom Cruise, is a hot-shot young pilot, who smuggles Cuban cigars on the side, sometime in the 1970s. The CIA spots him, hires him to take pictures of Central America’s Communist battlefields, flying really low and really risky.

Christopher Nolan is telling you about defeat, the blood, sweat and tears of it; how it settles into your bones, sets in your face, moves your clawing fingers, hardens your scared heart. The writer-director, who loves playing with time, again tells the story of that week in a non-linear sequence.

If a film can still be made where a person spreads the prayer mat and then dances around it playing video games, where Anupam Kher can play a Pakistani dad, where one can say that he doesn’t know whether one believes or not in Allah, and where a mother can pack meat biryani for the road, all is well.

For most of its run, it never gets off the beaten track, following the predictable course of a Hollywood film. In an inspired turn of events that will harm many a heart, Cars 3 breathes a new life into this franchise, even making what is likely to follow worth the wait.

Gal Gadot bursts onto DC Comics’ superhero scene with Wonder Woman, an old-fashioned good vs an evil film that has a scale, that has an ambition, that has the required full-blown finale, but, above all, that has a heart of gold.

Hugh Jackman bids goodbye to X-Men universe and his role as Wolverine with Logan, which perfectly wraps up his film journey.

There is nothing glorious about poverty, and every time you fear Garth Davis may resort to a trick like that, he stays away.

Love is a many-splendored thing. But really all it needs is a girl in a yellow dress, against a violet-hued evening sky, in the soft light of a lamp-post, with a boy carrying her strappy blue heels.