Tabu is marvelous, Sriram Raghavan finally having created a fitting role for this uber-talented actress, whom we really should be seeing much more of. Ayushmann Khurrana is wonderful, too, sinking into his part.

The only trouble with the Anushka Sharma and Varun Dhawan’s Sui Dhaaga is its total predictability: you know what’s coming miles before the characters do.

The girls in Pataakha take some getting used to: you have to suspend disbelief to take these dusty, filthy-mouthed sisters seriously. But once they start settling into their roles, you cross a hump

There is a gap, a curious distance, between the vision and the execution, and much of the film, including Nawazuddin Siddiqui, resides in it.

Batti Gul Meter Chalu is a hark-back to a forgotten tradition, which, at its best, gave us story and substance. Batti Gul gives us both, for most part.

You want to shake these lovers and ask them to make up their mind, quick. You enjoy the initial exhilaration born out of breathless passion as the winsome boy and girl engage in the age-old dance of desire. And then they become exhausting. As does the film.

In this installment, taglined ‘Phir Se’, even the half-hearted guffaws, which we managed in the first two, have dried up. The jokes are so lame that they are practically invisible.

Shraddha Kapoor’s part is a bit risible, but she has some breathy moments with Rajkummar Rao. Rao, whose Bicky seems like an extension of his Bareilly Ki Barfi avatar, carries the film.

We can get why John Abraham is in this film: he’s done this kind of movie before, and this looks like an extension, but what possessed the excellent Manoj Bajpayee, who can lift a film just by his presence, to do this?

What makes Gold worth a watch, despite some problems, are the flashes of well-done humour, the skirmishes between the players, and the rousing finale.