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

‘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.

The film makes great use of 3D, and for once I was not cursing: the ocean’s immersiveness and the overpowering emptiness and the sheer beauty surrounding Pi is enhanced by the technology.

‘Oh My God’ gets a tad schmaltzy towards the end, but I suppose that was the only way this piece of mildly irreverent tongue-in-cheek look at` ishwar-paigambar-isaah masih’ could close.

Barfi’! does take several brave strides. It’s good in many ways; what stops it from being a great film is a degree of fuzziness, and an insistence on prettiness.Still, I’d weigh in on the film’s side. It is so hard to find a Hindi film which does disability with any seriousness, and with sensitivity. ‘Barfi’ has its heart in the right place, and doesn’t waver from its intentions

Not scintillating, but sweet.

There are two conflicting factors in Ek Tha Tiger: Salman Khan’s overriding principle of silliness and Kabir Khan’s intrinstic liking for seriousness. But so overwhelming is Bhai’s past aura that serious keeps threatening to slide into silly, and the moment you give in to that in-between space, the film becomes something you can enjoy. Most of the time.

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.

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.