For all its mainstream packaging (you got to admit that the Bappi Lahiri track is catchy as hell), Hunterrr is an indie, grown-up version of the candid, sexual coming-of-age film Nagesh Kukunoor made with Rockford in the 90s. It has many moments that touch (and not just dirtily) your heart but a little sex may have given this film a little vigour. In its current form, this Hunterrr is more horny than trigger-happy. He just walks around with a gun and rarely fires — except once in the whole film.

NH10 cannot be interpreted at a simple text and story level (Calling it a rip-off of Eden Lake would be as reductionist as stating that Quentin Tarantino’s Death Proof is inspired by Spielberg’s Duel) simply because a road trip is not about the car but about the road.

Dirty Politics, that often feels like a poor man’s Raajneeti, given the scores of extras crammed into every frame, should have rightfully been called The Eighties. Every bit of this film — story, structure, sensibility, stunts and moral — is from an eighties film. But then what else can you expect from the director of Aaj Ka Arjun and Phool Bane Angaray?

When was the last time you saw a film with such meticulous attention to character detailing? The film might not land smoothly after this ambitious a jump but it is certainly an effort that deserves applause. Or as the believers say, Jai Sri Ram.

Watch out for this Qissa and prepare to have your mind blown….an uncompromising film with sterling performances by its actors…

With the scale, budget, resources available at their disposal, Shamitabh makes you wonder: How much time did they spend on the script? Oh well, Piddly.

They just recycled the obvious film clichés. Since R. Balki loves analogies and all things South Indian, Shamitabh tastes like reheated upma made from leftovers idlis.

Birdman embraces the meta-narrative by becoming the duality it explores — the real and the make-believe. At any point, Birdman leaves it open to interpretation whichever way you want to interpret it because it is both. A serious arthouse film wearing a funny movie mask.

Hirani’s PK is no doubt a very important and relevant film for all of us who have suffered enough due to communal tensions, fanaticism, polarisation and even heartless terrorism. Like all Hirani films, the second half relies on the hero becoming a champion of social reform via media with doses of drama and feel-good by asking the right questions, all predictably intercut with weeping viewers intensely touched by the points made.

A sloppy display of corporate social responsibility by a production house that usually indulges in fluff…

Roar is a welcome reboot for the man-versus-beast thriller B-movie in India. And bad actors come with the territory.