Gabbar Is Back knocks the bottom off the action genre with a breathless ode to Swach Bharat. The film may appear louder-than-life to the dainty-hearted. But the tone is unapologetic massy.You can’t change the disintegrating social order by being subtle.

Miraculously Akshay Kumar does exactly that.

In Jai Hai Democracy the enormously accomplished actors struggle against the tedium of repetitive jokes about the banality of parliamentarian exchanges. Ranjit Kapoor is a brilliant writer, no doubt. As a filmmaker he is not too successful in extracting thatstagey quality from the material which most of us refer to to see as the rang-manch of life.

The film’s emotional affluence is matched by its technical finesse. The art work and locational detailing unfussy and matter-of-fact , as well as the casting of every character is so correct, you wonder how the director got it so right with so little self-congratulations.

…has some lucid moments of self-questioning where the religious divide is pungently scrutinized and satirized. Hilarity at the cost of organized religion is not an easy target to achieve for any filmmaker. This films achieves a remarkable threshold of thoughtful humour.Though a lot of it is gradually eroded by over-punctuated satire, this is that rare film which takes potshots at the religious divide without offending anyone.

It may not be revolutionary in concept or path-breaking in execution. But make no mistake. Ek Paheli Leela is the surprise of the year.

A scintillating synthesis of the cerebral and the sensual, Detective Byomkesh Bakshy is a rare Bollywood whodunit cooked on the slow burner at a tantalizing temperature.Dibakar Banerjee’s Calcutta of the 1940s pulsates with heart soul body and nerves of steel.Sushant Singh lives the role of the 1940s’ detective. With due respects to Rajit Kapoor,Sushant is now officially the face of Byomkesh.He owns the part as much as Kingsley owns Gandhi.

Barkhaa rains down a rhapsody of drama and romance. A heartwarming at times touching tale of an innocent girl’s journey into the world of deceit, compromise and corruption, it echoes Raj Kapoor’s Ram Teri Ganga Maili and Kamal Anrohi’sPakeezah in the way the respectable genteel upper class is shown to exploit women of meager means.

Sara Loren is no Meena Kumari. But she kills the part much better than Mandakiniin Raj Kapoor’s fevered fable.

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.