Where Moana consistently hits the mark is the expanse it allows its heroine — the length and breadth of an ocean — with the film and the future of the world almost entirely resting on her shoulders.

With Eddie Redmayne’s deliciously shy Newt Scamander, the delightful sister duo of Tina and Queenie and no-maj Jacob, JK Rowling has done it again.

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.

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

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 BFG is a winsome tale from Roald Dahl, a writer who hardly went in for easy, simple pleasures. Steven Spielberg is a director whose heart lies in such delights. The movie is true to Dahl’s story and Spielberg’s spirit.

David Yates movie gives us a believable reason to revisit the tale of the man raised by apes.