Anjaana Anjaani is an immensely smart and entertaining film about two spiritless strangers who meet on the railing of a bridge on a fateful night and proceed to make a pact to live life briefly before returning to the same bridge to kill themselves. The film’s plot has the quality of good short stories — it grabs your attention in the first encounter itself, and the journey thereon is delightful.

Jab-jab TV-walle log apne new-new show ke beginning main long-long bhashan likhte hain — that so-and-so doesn’t resemble so-and-so and that our serial is not a copy of that jurm story — unko kala crow bum pe zor se bite karta hai. Of course, their lies hum ko buddhu banana ke liye nahin hote. They are designed to save their other bum from biting lawyers.

DABANGG IS a cheeky, flashy, happy chadhava (offering) at the altar of the magical, and certainly mental, Salman Khan Genre of Films.

We Are Family is a two-part bedtime story for children and other dewy-eyed creatures.

The Film Emotional Atyachar (TFEA) is a sometimes gripping, sometimes amusing fast-paced thriller based on that desi Murphy’s Law — dana-dane pe likha hai khane waale ka naam. Inspired by the films of Quentin Tarantino and Guy Ritchie, TFEA borrows quirky twists for its plot from Snatch, Lock, Stock and Two Smoking Barrels, and Reservoir Dogs, and attempts to create Pulp Fiction style of bizarre scenes with inept gun-wielding cooks and zany providence. A couple of times the result is hilarious.
Lock, Stock had a pair of antique double-barrelled shotguns, Snatch had a glittering diamond, and TFEA has a bag full of `20 crores.

Mallika is a B-grade horror film that really wants to be a soft porn killer-thriller. Sadly, it neither scares nor titillates. It does, however, keep the interest going for a brief while by choosing to tell its story of betrayal, murder, purana qila and aatma in a mildly complicated way.

Peepli [Live] is a funny but deeply tragic story of that 24x7 beast who demands a daily sacrifice.

Aashayein is about the solemn subject of death, and it chooses to tell its story with unabashed melodrama — sad, sentimental and often silly. And yet, Nagesh Kukunoor’s Aashayein works because it is basically good-hearted and well-mannered. While making us cry, it has the decency, and balls, to crack a joke and make us laugh.

Antardwand is the story of a misogynistic world where untold tragedies unfold the moment an alpha male so much as perceives that one hair of his moonch has been plucked or even upset. In that, it is essentially Indian, quintessentially Bihari.

Lafangey Parindey (LP) is a love story that has lots going on with and around it.