Despite all the foreign locations glitter, this plays out like a flat, meandering TV comedy. What is the ‘ajab’, and where’s the ‘gazabb’?

‘Chakravyuh’ talks of the growing ‘red corridor’ in several parts of the country, and how it came to be, and how it is playing out right here, right now.

When it makes the film preachy, some of the fun is leached out. Save the environment at all cost, but keep the entertainment ticking.

I have a bone to pick with Karan Johar, who invites us once again, to witness a bunch of young students do their thing.

In all other respects, ‘Makkhi’ is great, non-stop, universal fun.

This is a film that needs watching, because if we don’t, we will forget. And that would be tragic.

More than anything else, ‘Aiyyaa’ is a film that could have been a truly subversive, exhilarating ride with a sexually aware, sensually charged woman at its centre. What we get is a flat, heavy-footed clomp through screechy lines and overstated, dragged-out situations. this is not a film which generates the sort of mad hysteria that makes you laugh. After a while, it becomes just another film we can’t wait to get out of, despite the trying-to-get-back-in-the-reckoning, still-watchable Rani and the sizzling Prithvi. Taking a cue from one of its songs, I have to say that, post watching, I barely saved myself from being in critical conditionuum.

There are no two ways about it and we’re not even bothering with a pun this time: KLPD is a painful watch that’s better avoided.

If it weren’t for a few tolerable moments between Lucky and Lavina, I would have run right out of the theatre. There are elements here that make you think wistfully of mad capers and insane fun. ‘Kismet Love Paisa Dilli’ is most definitely not that film.

‘English Vinglish’, Gauri Shinde’s first feature is a likeable film, which gives us a silky- smooth first half, a slowed-down second, broad-brushstroke-y characters, and an actress who makes it all work.