It is unequivocally evident from the start of this dark gripping thriller about damnation and tentative redemption that Kamat is  a director who understands John’s physicality as well as his emotional strengths. Kamat uses both  the qualities to create a man doddering on the edge of self-destruction.

Like the family its penetrates , Kapoor & Sons  neither purports to be  a perfect nor a seamless family drama. It does something far valuable. It takes all the flaws and imperfections of a dysfunctional family and transcreates them into a drama of muted grievances and unspoken recriminations.

Go with zero expectations and I promise you,will surprise you. More than anything else, it’s a very good-looking film.And I don’t mean the cast where admittedly, we have some suave, dapper and just plain interesting faces lending a gravitas to the Alistair MacLean brand of thrills, you know the sort where one smart-aleck played by the one and only Himesh Reshammiya takes on the entire police force of  Dublin and—guess what?—emerges a winner.

For all its enormous inner strength and its use of nostalgia as a tool of  emotional strength 45 Years is a strikingly sterile look at a marriage that has apparently weathered many storms but remains steadfast in its  place. If there’s any reason you need to watch the film it’s to see how casually graceful the lead pair makes the drama of a past betrayal in  a marriage.

There are passages in Zubaan where we see the director’s vision of an individual held ransom by his ambitions, and we are shaken in a rejuvenating way. Zubaan is an exhilarating journey of self-discovery, and far far more accomplished work that this week’s other release Prakash Jha’s Jai Gangaajal.

Gods Of Egypt stages some of the most spectacular visual effects seen in recent years. It is a simple morality tale well told and executed with enormous breadth and vision. Leave aside all the other films this week.Rush to see Gods Of Egypt.It’s a  feast for the senses.It’s the  Baap of Baahubali.

Skip Carolunless you are a fan of Blanchett’s smouldering femininity.

In Bollywood dreams die first. But such a rare film on the subject must not be allowed to die.

Aligarh must be seen for its powerful eschewal of moral judgements of an individual’s private activities. It ends on a question mark on how the professor’s life ended.

We come away haunted and stricken by an inexplicable guilt for what was done to ProfSrinivas Sirus . We come away thinking about the sad sorry life of a good professor who happened to be gay.

I wish I could say, go have a blast, to stay in the mood of the Osama-Obama war to finish. But really all I can say is, not again please?  Thank  you.