Director Jon M Chu tries hard to make the sequel lively and more amusing, but the story is more far-fetched and bloated and too dependent on special effects. Casting the former Harry Potter as a bad guy incapable of any magic is admittedly funny. Now You See Me 2 gives the illusion of being a clever deception. While it might be more fun and flamboyant, the sequel is not magical enough.

Dhanak is a simple story told simply. It looks at the world from the children’s perspective and uses the journey to do what all road movies do — symbolise a coming of age. As to whether the children meet SRK and whether Pari makes good on her promise, sorry, no spoilers here!

Finding Dory succeeds in transporting us to a wonderful underwater world while enhancing the franchise’s emotional core.

Warcraft is clearly a 3D fantasy adventure designed to appeal to fans of the novels and computer game series. For those unfamiliar with the worlds and wars within, let’s just say Warcraft the movie is striving to be The Lord Of The Rings meets Game Of Thrones, but falls way short of its ambition.

Watching writer-director Shane Black’s neo-noir comedy makes you feel naughty, like you have sneakily eaten the last piece of cake your mother told you not to touch, or jumped to the end of a thriller to find out whodunit.

Ram Gopal Varma’s biopic of the sandalwood and ivory smuggler drowns out impressive production design and a captivating lead performance with jarring background music

Mishra, Vikal and Dayama are well cast and perform well as the players around Apte. What a spirited performance by this actress. Phobia is a strangely satisfying psychological thriller with one of the best performances of the year so far.

The film misses Burton’s odd charm, is largely devoid of humour and, in spite of Hathaway, Depp and Bonham Carter, is mostly a waste of time.

The Angry Birds Movie is childish and occasional cute and capitalises on the game’s once addictive popularity.

Yet, Pelé’s ambition and struggles seem superficial and the resolutions too simple. The Zimbalist brothers do not effectively portray the claustrophobia of a Brazilian slum, or the poverty that propels the ambitions of people like Pelé.