It’s the kind of film that expects you to find laughs in a man trying to thaw ice-cold soup with knives. It’s the kind of coy courtship where a NRI couple kiss the other’s lips by placing a hand in the middle. It’s the kind of reductive remake that could work best as a harmless half-hour sitcom. It’s the kind of experience that explains the need for phrases like ‘meh.’

Highway isn’t merely concerned with cataloguing the virginal, versatile landscapes of Northern India. Often it’s the only ray of cheer to offset the grimness concealed within two wounded souls. Comfort not chemistry is what outlines the attraction between Alia and Randeep as they amble along higher altitudes of make believe.

Yes, they could be heroes. But just for one day.

For all its swagger and insolence, the script is full of silly loopholes, annoying clichés and glaring superficiality.

No matter how hard director Zafar tries to create an action hero that speaks Amitabh Bachchan/Anil Kapoor/Raaj Kumar, he fails to substantiate it with charisma that goes beyond surface value.

Hasee Toh Phasee takes a familiar premise — two people on the brink of tying the knot and introduces a third party to cause expected stir. Only it doesn’t happen like it used to…

What could have been a relevant crowd-pleaser with a little effort from Sohail Khan and his writers is mostly a tedious and overcrowded drivel that shamelessly depends on Salman Khan’s strapping charisma to tide them over.

If only this was a made-for-radio special instead of a half-heartedly animated demo reel masquerading as a children’s fantasy. But dumbing down Mahabharat’s provocative and serious framework for a film that cannot even provide visual enchantment fails to fulfill it purpose even to its young audience.

Dhoom 3 continues the tradition of extravagance in adventure and expenditure by roping in the fastidious Aamir Khan as its latest star antagonist.

The Hobbit series continue to exhilarate and astound with its ingenious tradition of tribute, technology and tenacity. And experiencing it in 3D certainly adds to the tangibility of knowing a hostile, intriguing ambiance.

Evil was never this seductive. Nor second parts of what may produce a formidable finale after yet another 12 agonizing months of wait.

It’s not original. It’s not subtle. What Krrish 3 is is astonishingly eager to entertain with its stock of doodads that should amuse if not endear.

Obtuse, dispassionate and inert, Ishk Actually is one of the drabbest films I’ve seen all year.