There shouldn’t have been a Part 2. This should have been the post-interval section of Gangs Of Wasseypur, carrying over, instantly, the charge of the first half. Yes, one continuous flow would have made Gangs Inc. a very long film, closing at nearly six hours. It would have challenged our notions of how long we can fill seats, without squirming or fidgeting, or thinking of escape.

‘Gangs Of Wasseypur’ is a sprawling, exuberant, ferociously ambitious piece of film making, which hits most of its marks. It reunites Anurag Kashyap with exactly the kind of style he is most comfortable with : hyper masculine, hyper real, going for the jugular.

Upon watching ‘Tezz’, a dull and derivative film which is a mash-up of ‘Speed’ and a few assorted thrillers based on speeding objects meeting unmovable body parts,Kapoor is the cop who is put in charge of finding the bomber, and the bomb. He also tackles racist colleagues, and angry wives, and plays second fiddle to the main act. A fellow cop asks him : who do you think you are, Dirty Harry?Dream on.

Gattu’s ( Samad) sole spot of joy also comes from his deft handling of kites. Kite-flying helps him escape his life full of drudgery in a` kabaadkhaana’, surrounded by the discards of other people. He is an orphan who’s been taken under his `chacha’’s ( Kumar ) wings, so he’s not exactly on the streets, but he could very well be, given that he gets a bare bed and scant food and a lot of brusqueness in return for unending free labour.

So what we get is an oomphy, oozy femme who is uninhibitedly fatale, and capable of steaming things up, but stuck in a story which starts off as credible but all too soon plunges us into a pit of disbelief. And treatment which drags it out too long, minus slickness. We are not going near the plotholes because that would be a long list. Suffice it to say that they are so glaring in places, that you miss out on some not-so-bad parts of this film, chief of which are a few strong scenes by the main performers.

The repetitions, including the different ways you can define “spurrm”, get annoying. Some of the emotional parts get soggy, and the climax, ahem, is contrived. But Vicky Donor’s delights outweigh the not-so-good stuff: give me a Bollywood hero who pulls off a pedicure without prurience, and I will tell you, go see this film.

A few minutes into ‘Bittoo Boss’, and you start to think that this might, just might, turn into the kind of hilarious risqué comedy Bollywood has been trying to create, inflated not by lazy vulgarity but smart writing. The suggestive lyrics of the opening song in which there are references to ‘giving and taking’ (sorry approximations of nudge-wink street-slang ‘lena aur dena’) featuring a strapping wedding videographer, make us smile and lead us to believe that we might be in for some tongue-in-cheek fun.

There were some so bad they were terrific. As the end neared after almost three hours, in which the cast is gathered in one place and let loose upon us, I came to this conclusion: ‘Housefull 2’ is better than ‘Housefull 1’, but only by a whisker. That’s the only metric to judge this film by.

The new ‘Agent Vinod’ checks off each item on the list, holding out the promise of a well-crafted, high octane spy thriller. But practically from the moment it started to unspool, I began being assailed first by doubt, then with sinking conviction : this was not the Sriram Raghavan film I’d been waiting for. This around-the-world in two-and-a-half very long hours is all dressed up, with some slick set-pieces, but it spends most of its time in plodding through genre conventions. Where’s the crackle?

Ghosh, who gave us a couple of trashy films after his sparkling debut, ‘Jhankaar Beats’, is back with a story with a strong sense of place and character. He loses his grip a little in the second-half, but this `kahaani’, overall, has enough for a sit-down-and-watch.