Ultimately, Angry Indian Goddesses is a decent watch as long as the fun lasts but tumbles downhill with gathering pace as the ‘anger’ kicks in. Watch it for its good acting, the director’s bravery in picking his premise and protagonists, but don’t expect a statement on feminism or a revolutionary Bollywood film’. You will be sorely disappointed.

Main Aur Charles gains some momentum in the second half and gives us a closer look at Shobhraj, the man, but does not dig deeper into his psyche or reveals much about him. You should avoid this film at all costs: The narrative offers nothing at all and despite the good performances, badly-sketched characters leave little for the actors to do.

Bhandarkar had a revealing, emotional and realistic story at hand; something that could have made for a compelling watch. The narration, bland and plain dialogues and bad acting (save for one or two actors), however, kills the experience. Yes, you won’t lose much even if you give a miss to this film.

KKPK establishes Kapil Sharma’s acting skills beyond doubt, but he couldn’t have made a worse choice. Watch the film only if you are a hopeless fan of the comedian. For us, even his talent was not enough to save the regressive and non-original film.

Telling a convoluted saga of ambition, greed and friendship, Meeruthiya Gangsters fails to keep a grip on its central plot. The angles are bang on, but Zeishan fails to add gravity to his story that could have kept the audience hooked and involved with the story of his otherwise identifiable characters. Much of our disappointment stems from the fact that this comes from the same writer who penned Gangs of Wasseypur.

Watch Phantom just for the character actors if you have to. All of them — Sohaila Kapur, Mohammed Zeeshan Ayyub and Sabyasachi Chakraborty — deliver power-packed performances, as if to compensate for the lead pair’s lack of acting skills.

Not a single thing in Miss Tanakpur Haazir Ho makes it worth a watch. Skip this and save yourself from this eminently avoidable overdose of misogyny and torture.

Even Naseeruddin, Annu can’t save this repetitive, preachy monologue on moral qualms…

However, for all its good intentions and cinematic beauty, Hunterrr fails to become the milestone for its genre. The film is stretched, especially in the second half. Harshvardhan Kulkarni defies the chronological way of story-telling, and the tool that could have added intrigue to the narrative, actually brings confusion. There is a clear attempt to validate Mandar’s actions relating them to incidents in his earlier life, but most of the times, the connection is not clear to the audience.

The film has a sense of warmth that ensures the audience would not want to ditch it half-way. However, the pace is a little slow – something associated with the movies that premiere at festivals before hitting theatres.