Labour Of Love is one of the most visually and aurally striking films in recent years, but you have to wonder whether there’s enough going on within scenes to justify all that it chooses to leave out. The film makes it clear that there’s a recession going on, but we don’t know how this is affecting our couple—whether they’re both working because they have to pay the bills, or if that’s the way they prefer it.

When people aren’t in motion on screen, ABCD 2 is a snooze. Luckily, that’s only 20% of the time. D’Souza, who worked for years as one of Bollywood’s most successful choreographers, packs the screen with writhing, seizing, arching, flying bodies. It’s thrilling stuff, all those flashy moves, rendered even flashier in 3D by Vijay Arora’s roving camera, accompanied by Sachin-Jigar’s EDM-heavy score. It is also choreographed to a T, and after a while I found myself wishing for something more free-flowing, with less precision and more personality.

Spielberg is only the executive producer on Jurassic World, but the film, directed by Colin Trevorrow, is the logical extension of the position he’d taken all those years ago. If his Jurassic Park represented an exciting new world, this film shows how that world has been commoditized, packaged and served up as a McDino.

The actors are left out to dry, though Rao manages to escape with some of his dignity intact. The same cannot be said of Hashmi (who gets the worst lines) or Balan (who looks like she’s trying too hard). At one point, overcome by gratitude, Vasudha touches Aarav’s feet. I don’t think I’ve laughed more at a movie that wanted me to be crying along with it.

All this might sound a little maudlin, but Kaaka Muttai is a largely unsentimental look at hopes and dreams in miniature. Whether they’re eating raw crow’s eggs, bribing a pair of rich kids for their clothes, or returning drunkards to their homes (for a fee), the film invites us to admire the resourcefulness of the two siblings without turning them into objects of pity or sentiment. It’s the strangest feel-good film you’ll see this year: two kids in rags, happily walking past piles of garbage, their heads full of pizza.

Pretty but never dazzling, busy but never riveting, glib but never wise, Dil Dhadakne Do never does find its sea legs.

The sort of derivative comic slop Arshad Warsi has had to wade through his entire career…All you really need to know is that this is the kind of film in which there’s a running joke about two characters named Ittefaq and Watthefaq.

Two Kanganas make this sequel worth your while…

At 70, Miller has directed the most spectacular action movie of the last few years. Mad Max: Fury Road is unabashed, visceral, poetic. One need only compare its pounding action scenes to the staid, formulaic combat in the recent Avengers sequel to see how a skilled director can bring grandeur and imagination to blockbuster moviemaking.

Bombay Velvet is frustrating and exhilarating in equal measure. Though his ambition is plain to see, I prefer the Kashyap who delivers the shock of the new rather than the glamour of old.