Gattu’s ( Samad) sole spot of joy also comes from his deft handling of kites. Kite-flying helps him escape his life full of drudgery in a` kabaadkhaana’, surrounded by the discards of other people. He is an orphan who’s been taken under his `chacha’’s ( Kumar ) wings, so he’s not exactly on the streets, but he could very well be, given that he gets a bare bed and scant food and a lot of brusqueness in return for unending free labour.

The repetitions, including the different ways you can define “spurrm”, get annoying. Some of the emotional parts get soggy, and the climax, ahem, is contrived. But Vicky Donor’s delights outweigh the not-so-good stuff: give me a Bollywood hero who pulls off a pedicure without prurience, and I will tell you, go see this film.

Ghosh, who gave us a couple of trashy films after his sparkling debut, ‘Jhankaar Beats’, is back with a story with a strong sense of place and character. He loses his grip a little in the second-half, but this `kahaani’, overall, has enough for a sit-down-and-watch.

Most importantly, at the end, there’s enough of a payoff. ‘Agneepath’ is old style revenge drama which does well on the whole, despite its plot holes and a slackened second half, with executing genre conventions. Old fashioned popcorn with ‘namak’ and ‘mirch’, not caramel, nor any other au courant variation: you like, your film.

‘I Am Kalam’ is a big smile of a movie. You watch, and smile right back.

‘Bubble Gum’ suffers from some amount of narrative drabness, and some strange too-quick transitions. But it is a film that needs to be noted for its appealing cast and being true to itself.

`Stanley Ka Dabba’ is a heart-warmer that wraps itself securely around you, making you wholly unwilling to let it go. And Partho, director Amol Gupte’s son, who plays Stanley, lights up the film. As do his companions.

What makes ‘Shor In The City’ an instant clutter-breaker is its darkly comic treatment. It makes you smile because its humour comes from within.

‘Saat Khoon Maaf’ succeeds in engaging you at every point. Given a choice, darrrlings, I will take a Vishal Bhardwaj film with all its flaws everytime, because it is a cinematic experience in the true sense of the word : this film gives us a story, characters, and an urge to ask that age-old question– and then what happened?

‘No One Killed Jessica’ manages to sustain interest as it makes itself way towards the climactic moment when the culprit, despite the best efforts of his politician father and his fawning courtiers, is nabbed.