The story packs in paisa, pyaar, confidence, over-confidence, chummas, chases, corrupt cops, cricket associations, surprises and some rather nice songs – but keeps its weight under control. Despite flaws – like how a don like Vardha doesn’t know the face of a man he’s seeking, who’s now persuading him to buy a non-existent team – Raja Natwarlal wins you over by the sassy swagger of its tricks, its hit-men and ‘HDMC Bank’, its tongue lodged firmly in its cheek. Go watch – this one is, ahem, definitely worth a kiss.

Wes Anderson is Hollywood’s Lewis Carroll – and The Grand Budapest Hotel is his Wonderland. Set in the imaginary Eastern European republic of Zubrowska, in the delicately hysterical years between two World Wars, the Grand Budapest Hotel is a lacy handkerchief of nostalgia, a naughty piece of silky lingerie – and a dagger soaked in blood.

Straight on, Kick is Bollywood biryani, a masala movie spiced with the superstardom of Salman Khan, garnished by charming Jacqueline, smouldered over the wry talent of Randeep Hooda. Kick is not for lovers of fine filmi foie gras, but for those who want a hearty Eid banquet to enjoy.

…quibbles aside, Bobby Jasoos is a clever and joyful film. Should you watch it?

Elementary, my dear friend.

So, Citylights is based on Sean Ellis’ acclaimed Metro Manila, but it also unlocks the doors to other movies in your mind. This is both a strength and drawback for this remarkable film.

Heropanti is enjoyable. The climax pumps up the action, featuring shirtless Tiger, crouching Rajjo. The tale has a twist as graceful as Tiger’s flips and you do agree when Tiger suggests, ‘Mere naal tu whistle baja.’

Those seeking movies with meaning, note – Main Tera Hero is a pav bhaji picture, quick, spicy, hot. It has the depth of a comic strip but it also has its neon-shaded fun. For those who want a light laugh, here’s your boy.

There are too many tangents, navels and nose-rings, diverting focus from Rajjo, the story’s driving force. Instead of knowing how and why she becomes the tigress of Madhavpur, we’re given mellifluous songs, intercut with soon-repetitive scenes of exploitation. Considering the subject’s intense power and the charisma of these stars, the movie’s hesitation with how to proceed stands out.

Highway is not an easy ride. But it offers fresh breezes and new sights.

At times, Highway feels like an unending Bharat darshan, a long look at suffering souls through several deserts and eucalyptus trees. But some meandering is its only flaw. Watch it for its cathartic creativity, for colours akin to Iranian palettes, for sound design where melting qawwalis, chirruping crickets and a screeching train make layers of noise – for that shot where Veera rests her head on a pillow of water.

Gunday’s heart is in the right place but the plot gets overwhelmed by its own voluptuousness, its slick torsos and slow-motion slaps, its extended Durga Puja which leaves it lost between Calcutta’s cabarets and Dhanbad’s dark mines.