Though this is the shortest film he’s made in years, Gowariker isn’t—and probably will never be—an efficient film-maker. What other directors convey in two lines, he does in seven. Long after scenes have revealed their purpose, he allows them to continue, lest the audience miss out on some imaginary subtlety.

It isn’t just the celebration of casual violence, or the uneasy marriage of a gritty real-world aesthetic with comic book rules…

There’s nothing remotely path-breaking about this film, but the visible affection of the actors for the characters they’re playing makes Star Trek Beyond more enjoyable than any third film in a franchise has a right to be.

Everyone does their job with a degree of professionalism befitting a YRF production. There’s too much slo-mo as usual, but Artur Żurawski’s camerawork is nimble. Vishal-Shekhar’s title song is played something like a dozen times in the film, and is catchy enough to withstand this overuse (credit, also, to Irshad Kamil’s lyrics). Zafar’s writing is simplistic but rousing; one could say the same of his direction too.

Independence Day: Resurgence is so contrived and slow-witted a sequel that it’s making me reassess my fondness for the 1996 film.

A gleefully amoral serial killer film with Nawazuddin Siddiqui in terrific form…

Abhishek Chaubey’s Udta Punjab isn’t interested in making things easy or pretty. In scene after scene, the film shows how the state of Punjab has been crippled by heroin, smack, cocktail drugs and chitta—‘white’ in Punjabi—shorthand for cocaine.

In its two-hour running time, Dhanak throws more charm at the screen than one might feel equipped to handle.

‘Te3n’ has plenty of twists, not all of them convincing…

This is exactly the sort of no-hope venture that Randeep Hooda seems to land up in again and again, frustrating those who believe that he ought to be a much bigger star and above dross of this sort by now.