It’s ironic that a film that shows a 50-year-old woman getting pregnant makes it about everyone else but her. We see her pregnancy from the perspective of her husband, her kids, her mother-in-law and even the neighbour – everyone except her own. It is the film’s one great failing. If you can forgive that, then “Badhaai Ho” is a satisfying ride.

Nothing about “Namaste England” is redeemable. This is 135 minutes of mediocrity that you would do well to avoid.

The rain never stops in Rahi Anil Barve’s “Tumbbad”. It pelts the ground relentlessly, rendering everything else insignificant and giving the film an eerie atmosphere and a sense of foreboding. This gloom is what gives the film its best attribute – atmospherics. Barve’s film is redolent with a texture and detail that is rare in Indian films.

This film truly belonged to the 80s. It’s a shame that Bollywood hasn’t moved on when audiences clearly have.

Bollywood doesn’t make too many thrillers and when it does, they don’t always measure up. “Andhadhun” ticks all the right boxes. This one should be savoured.

The film falters when it moves away from being an intimate portrait and takes to grandstanding to find a solution to Mamta and Mauji’s problems. The convoluted plot is a drawback, but much like a tapestry, the beauty here lies in the detail, in the small things. And in this respect, “Sui Dhaaga” is a winner.

“Pataakha” should have been a short film, but it got inexplicably extended into a 136-minute full length feature. Much like his protagonists, Bhardwaj doesn’t know when to cut it short and walk away.

This is a sketchy biopic, which might resonate with those who are already familiar with Manto’s life and want to see it enacted on celluloid.

But for those who are unaware of him and his work, “Manto” isn’t an ideal introduction to the celebrated writer.

If you really want to watch a film about how an inflated electricity bill can play havoc with the life of a common man, watch Sumitra Bhave and Sunil Sukthankar’s delightful “Ek Cup Chya” instead. It makes the same point in a much more subtle and effective way.

For a film that waxes eloquent about the unpredictability and volatility of love, the end feels like an unnecessary cop-out.