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.

As you watch this slush of a rom-com only one thought keeps coming to mind. Would someone please slash the slosh?

Spotlight puts the spotlight on the trauma without  creating hype or drama. It’s an achievement that doesn’t call for a standing ovation. It gets it without trying.

Fitoor is one of the most disappointing literary adaptations ever attempted in Indian cinema. Director Abhishek Kapoor had earlier done Chetan Bhagat’s 3 Mistakes Of My Life (Kai Po Che). This is less Dickens, more Mills & Boon. Kashmir has a lot to be happy about. Wish we could say the same about Charles Dickens.

Sanam Teri Kasam moves forward with no lofty aspirations, except to tell a tale of star-crossed lovers with charm, simplicity and sincerity. It succeeds in doing that.

Alas, the film itself doesn’t match up to the glory of its stunning visual velocity or its leading man​’s ​ towering performance. This is Madhavan’s Raging Bull. By far his career’s finest performance. The film could have been better, though. Much better.

Akshay Kumar nails the role of an unsung hero in this heart-stopping thriller…

Tarantino’s Western is coldblooded, too calculated to actually be considered chilling. In Tarantino’s territory the violence is perpetuated with flippancy. His characters don’t care about human life. And frankly, we can’t bring ourselves to care whether these characters live or die.

It starts with a stocking and ends with scarf floating into space, portraying freedom. Lily has found her freedom. But she has left us a captive of her tragic tale for all times to come.

Chalk ‘N’ Duster is not great cinema by any stretch of the imagination. It is often crude and unapologetic in its melodramatic pitch. But its heart is in the right place. It is a decent conscientious attempt to depict the bond between teachers and the taught. Shabana’s Vidya and Juhi’s Jyoti (vidya and jyoti, get it?) are more aspirational than real. There is irony there. Because the treatment of the subject is more street-play blunt than aspirational.