…it’s Imran and Sonam’s collective persona and their free-flowing chemistry that makes all the difference. Although the pair deserve better than an amateurishly written romance to scoop out their terrific potential as a combination. I Hate Luv Storys is, at best, a promising even if imperfect indication of things to come in the direction.

Rarely are grace and profanity cited in the same breath. Debutant filmmaker Abhishek Chaubey’s Ishqiya, however, is a privileged exception.

Behind the fine prosthetic make-up, it’s virtually impossible to recognise Bachchan or his trademark baritone. The actor tempers his voice into an endearing wispy tone with a slight accent, almost as if an inebriated Anthony Gonsalves was dreamily mumbling in his sleep. Coming to Auro, the heart, beat, soul, spice and sweeping factor of this film, he doesn’t need any warming up to. Big B’s Auro wins you over the moment he makes his bouncy entry in the assembly hall to grab a prize for his ‘fluke’ creativity.

Wake Up Sid has its heart in place, but it still doesn’t have much of a plot or novelty to rely upon. That’s why the dialogues could have done with a little more quirk and nifty humour. Having said that, a superlative Ranbir makes it too darn hard to notice.

If you can discount some of the Veer-Zaara inspired cheesiness to follow along with terrible exercises of humour — namely broken Hinglish exchanges (You Kaala bhainslo, yadda yadda) and gems like, ‘Yeh Indian dil hai. Cello tape se nahi Judta and a reaa-llll-yy long climax, your ‘Dil’ might just find enough strength to mutter ‘Hadippa’.

Jab We Met starts out like a run-of-the-mill fun album. But along the way, it springs quite a few mellifluous surprises. Let’s hope the movie will have the same quality.

Khosla Ka Ghosla scores for its unusual plot (pun unintended), spirited wit and great acting jobs. But even at a mere eight reels, the film feels longer than it is.

Veer-Zaara has a new backdrop, but takes the same route as his previous love stories. Though Yash Chopra lends his brand of freshness in creating a visually captivating picture, Aditya’s script is overtly sappy and unnecessarily lengthy. Half an hour of the film could have been easily chopped off from its 210-minute running time. The music by the Late Madan Mohan is mellifluous, but there are too many songs. One would rather see Veer, Zaara interact and fall in love instead of singing songs in sugarcane fields.

Sanjay Leela Bhansali’s labour of love Devdas is a larger-than-life, poignant and spectacular interpretation. Clearly Devdas is a work of art and heart…For all its hype, grandeur, money, blood, sweat, music, tragedy, Devdas is a must-see for even the most pragmatic and unromantic.

Garm Hava is a product of like-minded artistry and resourceful acumen that hasn’t spared any effort to reserve its special place in movie history…