If your nosy is not turned up too high, ‘Bol Bachchan’, less blaring than your standard Rohit Shetty comedy, can give you sporadic chuckles, and a few helpess laughs. Can’t expect more.

Maximum’ turns out to be a dampener. Not because it doesn’t have interesting actors. Nor because it doesn’t have interesting situations. But because it comes off merely as ‘Sehar’ redux, minus its power.

Who wants three Shahids and three Priyankas for the price of one ticket? Not me, even though I duly bought mine, and prepared to be regaled three times over by a pair of actors who are capable of good things on their good days.

It’s not as if ‘Ferrari Ki Sawaari’ doesn’t have its points. I haven’t seen such a natural little boy in a Hindi film in a long time. Sahore gets being naughty and willful and wistful without lapsing into artifice, and that is all too rare in saccharine-coated Bolly kidsworld. The little by-plays on the field are fun, too. And despite the fact that Rusy is made out to be this altogether too-gentle character who is more wuss than anything else, Joshi makes him watchable. Also, why don’t we get to see Seema Bhargava more often? She is so good here, making her character zing. Which is what’s missing from ‘Ferrari’. It is nice, but bland.

Here, he is clearly on the outside. ‘Shanghai’ is a good film. Most of it is scarily plausible, sharply observed and sharply executed, except that distance which has Banerji telegraph some of his punches, making ‘Shanghai’ stop just this short of being great. But it is an important, relevant film that demands to be watched not just for what it is saying, but for how it is saying it — angrily, fearlessly, pointing out, as a line in one of the film’s songs puts it, both the ‘gur’ and the ‘gobar’ in this, our Bharat.

You take ‘Rowdy’ and look for a word that sounds good with it. What about ‘Rathore’? All right. You take the masala films made in the 70s and 80s. Borrow liberally. Patch together a plot, or whatever passes for it. Rope in a star looking for a solo hit. And you get, all together now, ‘Rowdy Rathore’.

But overall, it feels stale, this business of using religious differences to divide true love in just this way. You can dress it how you want, with the parents and relatives of both coming off authentic, and the lines which make you smile, but at its core, it’s same old same old :It’s all in there, and yet the result is mixed : some of ‘Ishqzaade’ hits the spot, the rest is a drag.

Some films manage to baffle you from start to finish. ‘Dangerous Ishq’ is one of those: it is unbelievable in all kinds of ways, not one of them pleasant. Is this the film Karisma Kapoor, who’s been away on extended mommy leave, chose for a comeback? Seriously?

Are people with layers of extra adipose worthy of being loved? There is a strongly relevant premise at the heart of ‘Fatso’, in which an overweight character finds his share of light at the end of a fuzzy tunnel. But despite a standout turn from Ranvir Shorey as the eponymous lead, and some nicely realized segments, ‘Fatso’ comes off flat and tonally confused.

Don’t be fooled. This is not a sequel to ‘Jannat’, in which match-fixing shenanigans in high profile cricket matches gave Emran Hashmi and Kunal Deshmukh a fertile hunting ground, and us a watchable film. ‘Jannat 2’ is, for the most part, a badly-done, badly-acted enterprise, lifted only a notch by a couple of performances.