Somehow everything turns out just right for this film, the way it does for its heroine Cinderella. It is significant that this airy blithe flight into fantasy comes to us during a year when Bollywood films have gone into distinct shades of darkness.

Heaven know,we need some sunshine. Cinderella covers the clouds . It unveils the joy of unadulterated fantasy.

A disarmingly frank sex comedy that knocks the pants off all moral policing and strips the holier-than-thou brigade to the bare essentials.Gulshan Devaiah is delightful as the guy who just cant keep it in his pants.

There is much to commend in this dark tale of a woman’s night out with psychotic killers. Most of all , it coils its serpentine narrative around its character with such sinewy charm that your come away from the experience shaken, stirred and sobered down.

Badmaashiyan revels in an innocuous irreverence. It’s an original and frequently funny comedy of ongoing errors where various characters including a wholesome conscience-stricken girl (Gunjan Malhotra) , a hilariously over-the-top Sardarji and a clueless gangster’s right-hand-man(played with fantastic fervor by Nitin Goswami) meet and collide creative a crackling hissing humour. Most of all, the female protagonist is wickedly duplicitous to the last.

DLKH is a heartwarming charmer suffused with that lived-in feeling which seemed to have vanished in the run to that glitzy shallowness where a dhoom or a bang-bang were seen as viewer-friendly explosions. Here is a big-hearted shout for a bygone era and arranged marriage where love happens later crammed with episodes and moments that add up to an invaluable and cherishable experience.

Badlapur takes the cinema of eye for an eye to a new high. The feral ferocious face-offs between Varun and Nawazuddin captured in the colour of wrath and doom by cinematographer Anil Mehta, confer a vital visceral velocity to the virile vendetta saga. At the end the darkness of despair gets to you. I am not sure why I felt cheated and betrayed.

There are elemental images in Qissa that will stay with you for as long as cinema exists Standing tall at the centre of the this towering achievement,illuminating every corner of director Anup Singh’s poignant parable on perverse parenthood, is Irrfan Khan. Set aside the badla that beckons at the boxoffice this week. Qissa is a killer.

‘Roy is an interesting-shaded in pastel colours and a tender timbre the debutant director Vikramjit Singh undertakes an intriguing journey where the real mocks the reel and the creator merges into his creation.But finally the film leaves us with a sense of betrayal and dissatisfaction. Perhaps the director should have attempted the complexities of this theme after making 5 other films.

Shamitabh is not just a homage to the great Bachchan baritone it is also a magnificent ode to the theme of human mortality . The love of Bollywood (sorry, Mr Bachchan) runs across the plot in frenzied rhythms. The two principal actors play out their conjoined karmaswith a passion that burns your soul.

This is not film about a neat denouement. Messy lives, sordid relationships, betrayal and revenge run through the veins of the film. Barbara Cartland would have frowned. But Agatha Christie would have assuredly approved.