Yet, there's no denying that The Last Lear has its share of engrossing moments. A few individualistic sequences are noteworthy as also the portrayal of characters by some prominent names. But that's not enough!

After a series of watchable and avoidable fares, Vikram Bhatt is back with a vengeance in his latest endeavour. It may not be the most eerie experience, but it has its share of terrifying moments that one expects from a film that talks of supernatural forces. The best thing about 1920 is that the culmination to the story is most compelling, which is so vital for a horror-mystery.

Debutante director Arjun Bali's choice of the subject may be debatable, but you can't shut your eyes to the fact that he has handled the subject with dexterity. In fact, a theme like this would've blown into smithereens had the captain of the shop been an incompetent storyteller.

Hijack talks of terrorists and terrorism, but there's an undercurrent of emotions running all through. What limits can a father cross to save his child, is one question that Kunal Shivdasani raises in Hijack. The terrorism aspect isn't new, what with every third Hindi film having its take on terrorism. But Kunal's execution of the material places Hijack in the watchable category. The high-octane drama inside the aircraft as also outside the aircraft [in the climax] makes a difference. Hijack is very Hollywoodish in terms of execution, but Hindustani at heart.

Agreed, a film like Tahaan caters to a niche audience. But its simplicity is its USP. There's another reason to go for it: Child artiste Purav. You can't take your eyes off from this sensational discovery of Sivan.

It's a hat-trick now. The third Friday in succession witnesses the release of A Wednesday. And marks my words, it's the most powerful film to come out of Bollywood in 2008.