It is by far the most original, the most poignantly realised, the most thought-provoking film that I have seen in longer than I care to remember.

There is heartbreak, and heartache here, minus exaggeration. And some life-affirming scenes, even if the film nearly ends on a lecture about how 16-year-olds can be the most misunderstood breed. This Sixteen is slight, but stays fresh and honest for the most part.

The film could have done with more finesse in the way it begins and ends, but there are enough subtle shifts in the main act to keep me with it. After Monsoon Wedding and The Namesake, The Reluctant Fundamentalist is Nair’s most engaging work. – See more at: http://www.indianexpress.com/news/review-the-reluctant-fundamentalist-is-mira-nairs-most-engaging-work/1117080/0#sthash.mwL52ECG.dpuf

Bombay Talkies is a film that gives you what all good films should: it has stories, it has emotion, and it has drama. It has people you want to know.

Ek Thi Daayan starts out as a well-acted, well-produced supernatural thriller, which could , and should, have climaxed with a knock-out punch. To which end, somebody should have walked across the wrap with a deft pair of webbed feet.

The story-telling in the first half is so seamless that you overlook the things that had been a problem the first time around.

This film rises beautifully above its faults. It does not allow simplicity to descend into simple-mindedness, as it transmits real emotions, and gives space to a stand-out performer.

Because Hindi cinema doesn’t usually do well with intelligent hide-and-seek games, I didn’t have too much hopes from ‘Special 26’, but the film surprised me. Its flaws are minor; on the “whole, ‘Special 26’ is a gripping, well-made heist film.

This is a fill it-shut it-forget it film, whose big budget slickness never overpowers it, and which holds you while it lasts.

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