I have seen it with my own eyes, and I can tell you that ‘Aankhon Dekhi’ is a fine , fine film.

Kapoor’s film is an absolute gem, because he gives us a marvelous bunch of characters who make us laugh, and pause, and think. In another film, Bauji would have come off a caricature. But here he is a man in the vital process of sloughing off dead layers, and discovering his skin. Sanjay Mishra does a terrific job of becoming Bauji.

Despite its harum-scarum script and barely-there logic, I quite enjoyed ‘Ragini MMS 2’ in the portions when Sunny Leone is in full stride. She is totally comfortable in her acres of bare skin, and is surprisingly not that much of a slouch when it comes to acting her part. Heaving and moaning, sure, that’s expected. But she can carry a scene: maybe not ‘porn se Rituparno’ just yet (another example of the dialogue that fits the tone of this film like another kind of sheath), but not half bad.

…spends most of its time trying to showcase a slew of brands, get us to smile at the antics of the father of the bride which are singularly unfunny, and to convince us that its leading lady can helm an entire film.

Finally, despite the superb acting, ‘August : Osage County’ feels becalmed. The heat rises from the ground, but doesn’t really reach us.

The story, which could easily have slipped into mush, stays free of drippy sentimentality, barring one or two raised-violin scenes. This could have turned into a clichéd international-accented soup, but despite a couple of exaggerated mis-steps, it stays grounded.

This could have been hilarious. But all it does is drag its feet through unfunny, stretched situations.

From its opening frame you discover that in its supposed feminist garb, ‘Gulab Gang’ is actually the old-style good vs evil story, styled in the tired way these films have been for the longest time. Its chief baddie is, ta da, a woman.

To make a film whose lead actor is whiskery and doddery and just plain old so engrossing is an art. Alexander Payne brings all his craft to bear upon ‘Nebraska’, but at no point does he make us aware of it. Which is why the film works so well, in its pristine black and white frames, as it moves and judders and halts and moves again, keeping beautifully in pace with its protagonists’ inner lives.

While the going is good, ‘Shaadi’ is fun, and real, and has some nice laugh-out-loud situations which the leads make the most of. But marriage takes two, and the tango here is only from Sid’s perspective : how about showing us what it could be like from Trisha’s?

The 1.5 hour film is an important document. Because women, usually classified with the ‘other’ backward classes, and ‘dabey-kuchley varg’, are for burning, and raping, and humiliating. Because anyone who takes up cudgels on their behalf is to be acknowledged and praised.