Milla Jovovich and Tony Jaa are dragged through some superhuman challenges, lot of physical harm, and monsters that keep coming and coming. However, it is ultimately Anderson's mumbo jumbo effort to clothe this ordeal in "reality" that does the film in.

The performances and visual quality of Penguin Bloom save it from being a retread.

This is a film which needs to be essential watching. The characters are very specific, the locations are in Kerala, but the situations which obtain through the film are horrifyingly universal.

Post-MeToo, Misbehaviour seems a dash too polite, and a little too hesitant, in asking to change the world.

Richa Chadha is in every frame, and shares some winsome moments with Shukla, but sadly, Madam Chief Minister ends up being strictly passable.

Priyanka Chopra does her bit, though her American-desi rebellious ‘bahu’ is a bit fuzzily dealt with. But the film belongs to Adarsh Gourav, who channels that very specific, razor-sharp mixture of obsequiousness and rage, to come up with a stellar performance.

Tribhanga review: What I really like about Tribhanga is the clear-eyed, unsentimental treatment of relationships, which can often be so cloyingly exaggerated in mainstream cinema.

Eeswaran is nothing but a two-hour-long verbal and visual flow of cues that reinforce the patriarchal view of women's subservient role to men in a family.

Lakshman has some really good ideas for an educational and inspiring movie. But, it is a great shame that neither does he have the required understanding of the matter at hand nor the skillset to turn all the information and statistics into a compelling drama.

There are some redeeming ideas in Master that shows Lokesh Kanagaraj's real talent as a storyteller. Especially, the way he has written his hero and the antagonist.

Marc Munden's The Secret Garden takes an inordinately long and circuitous route to the point of the story, with the secret garden and its significance not likely to be clear to people who haven't read the book.

Maara review: Madhavan is appropriately loose-limbed and dishy as he ambles through the film, spreading grizzled, warm charm.

Kaagaz movie review: The plot is littered with clichés, and comes off distressingly dated: the evil aunt rolls her eyes, the bad guys swirl their ‘moochch’, the item girl swings her waist, the sarkari cogs-in-the-wheel smirk, and so on.

A few things are overstated, a couple of facts are fuzzily presented, but despite the occasional eye-roll, Nail Polish, buoyed by a wonderful performance from Manav Kaul, and ably supported by the rest, keep us engaged.

Quite often, the film reminds you of similar situations you’ve been in. In some places, I found the acerbic overhang and the good-natured ribbing turning into something edgier, the quality which makes this kind of film stand out, dissolving a little.

Coolie No 1 movie review: When you see Varun Dhawan, who has channelled Govinda in many of his films much better, tread almost the same path, mouthing almost the same lines, there’s no laughter, only despair.

Vikramaditya Motwane’s movie is not just meta. It’s meta-meta, especially when some parts hit too close to the mark, and some are just tantalisingly off the mark.

When Gal Gadot swings, swishes, slides and sashays into a fight, and slings the bad guys with her lasso, she remains a delight to watch. However, the story takes too long to get around to fights worth fighting for, wasting its first punches and precious screen time on two-penny, amateur robbers.

The Midnight Sky drifts along almost meaninglessly, between space and Earth, not able to decide what it wants to be except an elegy to heroism.

Chadwick Boseman is as eloquent in this role of the thin upstart as he was in the latent power of his Black Panther -- both characters unable to shake off their pasts. Levee's ambition makes you feel for him, and be as scared for him.

Paava Kadhaigal movie review: Watching this, you feel a mix of emotions. On top is the sinking feeling which accompanies violence against women, whether it is tacit or in your face. There’s also a kind of weariness.

Unpaused review: Though the story of a woman who lives in a posh flat and a roza-breaking Muslim auto-driver has a predictable arc, starting off with irritation and ending with affection, both Ratna Pathak Shah and Shardul Bhardwaj make us watch.

It is Dev Patel who carries this ensemble with great flair, looking every inch the boy who has fallen upon hard times and longs to be recognised as the gentleman he is.