One Jia is quiet and broody, the other is bright and chirpy. One chokes and splutters, the other smokes and drinks. One wears six inch stilletoes and flouncy chiffons, the other short shorts and cool singlets. On a rugged road trip.

There’s a somberness to the way this chronicle of a death unfolds, which holds your attention. Some scenes sit heavily, though. And if you are an alert viewer, you will figure out what happened much before the big reveal.

Tabul is an unexpected pleasure, and lifts Golmaal Again. This a series which looks like it’s never going to end, and Shetty has the formula pat after all these iterations. I do hope Tabu becomes a fixture in the future Golmaals.

Aamir Khan shows up as the out-of-flavour musician Shakti Kumaarr, all tight animal-printed Ts and crotch-hugging jeans, and while his I’m-so-irresistible strutting schtick starts off funny, you wish he had more to do.

Dhaimade is clearly skilled at creating life-like characters who feel as if they are people you could know, tics and all. ‘Tu Hai Mera Sunday’ is a feel-good, light-hearted yarn. And it comes at a time when that precious, vanishing space—middle-of-the-road and realistic, not too shiny or too drab but just right—needs an urgent refill.

I guarantee you will leave smiling.

There are some interesting flavours here, but Saif Ali Khan’s ‘Chef’ feels derivative, and doesn’t come together as a fully satisfactory dish. And that’s got to do with the uneven writing.

With a lot of high-octane drama movies like Bhoomi and Haseena Parkar, this light-hearted comedy by David Dhawan definitely stands a better chance. The Varun Dhawan, Jacqueline Fernandez and Taapsee Pannu starrer is the perfect dose of candyfloss romance, exotic locales and a colourful canvas.

Shraddha Kapoor manages the young wife-and-mother part well enough, but her transition to the other side is never fully realized: she appears to be speaking her lines to order and the cheek-pads to add flesh to her jowls, and the deliberately heavier voice, is all put on.

Sanjay Dutt’s face is kept in close-up for much of the film, and there is still power in it. This is an actor who can explode off the screen, given the right story. Maybe he needs something better told to vent his anger.

It’s rare that an Indian film uses dark comedy to make its points so effectively. ‘Newton’ could also, just as easily, have been called A Day In The Life Of The World’s Largest, Most Complex Democracy. Or, The Great Indian Electoral Circus. Rajkummar Rao is enjoying a purple patch.