Undone by its clichés and staleness, the only thing The Mummy does well is confirm there’s something in this world that’s scarier than a monster and it goes by the name of reboot.

Papanasam doesn’t deviate from the original structure but there is a conscious effort to explain the strategy of Drishyam’s understated intelligence. The ploy more or less works because the events look convincingly premeditated in context of the alibi and as a result the characters better fleshed out.

Kill Dil has random songs, birdbrained logic and a romance that’s about as exciting as toothpaste…

Ship of Theseus is a sign of evolution in filmmaking, a work of art. I cannot award such artistry with mere stars. I can only hope it’s a precedent not an exception and wish you go and watch it.

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…