I haven’t seen something as fuzzy and dreary as ‘Roy’ in a long time : just what is Ranbir Kapoor doing in a movie like this?

‘Shamitabh’ had the potential to use irony and knowingness and a self-awareness, and the presence of the most durable star in Bollywood whose velvet-and-iron rumble has become part of the national soundtrack, to give us an unforgettable story of ego and identity, rejection and acceptance, success and failure. There are a few moments which sparkle, and we laugh in acknowledgement. But the rest of it is overpowered by unabashed reverence.

As always, Bollywood can’t really get serious about horror, because it needs to shove in a song at that very moment. Scary `bhoots’ are all very well, but they can’t trump ‘geets’ that will play in a loop.

This could have been a greatly imaginative flight of fancy, but it is anything but. For a film that is about the joy of flying, Hawaizaada fails to sprout any wings. And it is so utterly stuffed with leaden passages in its unbelievably stretched running time, that it bored the bejesus out of me.

Sonam Kapoor film starts off well, but falls into a familiar trap. Ultimately, ‘Dolly Ki Doli’ is neither biting social comment, nor unfettered fun.

…though this film looks always to be on the move, it frequently stalls. The result is a sort of frantic business which flatters to deceive : ‘Baby’, fronted by its fleet-footed hero with his brisk moustache and its background-music-overlaid action, feels longer than it should.

A movie based on a childhood favourite book can usually never measure up. But I was wonderfully surprised by ‘Paddington’ : the bear is not precious and cute, he is just curious and sweet, the way I remembered him.

…ripe for black humour, and a sharp comedy of manners. There are moments when the film seems to get it, but then squanders the chance, and gets back to being broad and obvious. And dull.

Bipasha Basu roams about in negligees and shorts, and tries very hard, but is altogether too manicured to pull off a scare. And the debutant Karan Singh Grover follows the script, but there’s not much anyone can do when the pace is so staid that you want to tell the spirit to hurry it up, willya.

Taken was successful because Neeson represented an old-world weary heroism that could take down new-world villainy one hand tied. You cheered for him because he wanted nothing other than saving his family. In Taken 3, he only stands for himself and doesn’t seem to care whom all he hurts in the process.