Mere Brother Ki Dulhan is a pretty ordinary effort. It’s the kind of movie where everyone looks catalogue cool and beams with enthusiasm to make the going-ons appear droll and exciting. And though one’s a sourpuss for not buying it, I’ll take the risk of being one.

Yellow Boots, co-written by him and wife Kalki Koechlin, also essaying the ‘Girl’ in the title, is a compilation of abstract frames, which often stir from their surreal state to expose the ugly, upsetting corners of society. The narrative refuses, almost doggedly, to follow a conventional structure. Instead like fluttering pages of a disorderly diary, it is puzzling, self-indulgent, wandering and personal.

Before slumping into a silly space of trashy humour and hasty sentimentality, Bodyguard intermittently comes alive with a swashbuckling Sallu engaging in some SFX-aided action.

Shabri, despite its many flaws, watchable if not memorable.

For its entire obsession with ambiance, Game is, at heart, a frustratingly old-fashioned murder mystery. If you’re the kind who follows the genre keenly, by second act, you’ll have figured out the wild card and the culprit. Question is do you want to?

It doesn’t take offense at anything but will charm you anyway.

Quite conveniently, a politically correct Advani never shows Akshay playing against India. Predictably, the men in blue do march to victory; it’s just a few shades darker than I would have liked to cheer for.

The idea is to project mess and chaos. Indeed surplus characters and subplots often make YSZ an overwhelming experience to endure. But if you are up for the challenge to explore Delhi’s shifty facet, it’s rewarding too. What’s most fascinating is how everyone has a sense of humour about their situation, which is inevitably on the sticky side. Saali or sane, this Zindagi rocks.

The screen is cluttered with secondary characters that pop in and out without bringing anything to the story other than add to the mess. And that’s what Dil Toh Baccha Hai Ji is, a silly jumble of misspent potential and hollow creativity.

Ultimately Lafangey Parindey, like its attention-grabbing title, is unapologetically superficial with a brief attention span. It doesn’t dwell too long on the possible complications or questions that may arise in its protagonist’s lives and conveniently wiggles out of/wraps up any uneasy development.

Guess the makers can’t blame us for reserving similar indifference towards the movie.