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Second innings are never the same.

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Finding Dory review: Like its predecessor, this one too is an animated adventure film with anthropomorphised wildlife, in the same cinematic universe, telling a nearly-similar story.

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Conventional movie wisdom would suggest that there can only be diminishing returns with long-running franchises. There must be a breaking point, right? Especially at movie four, five, six and beyond. There are exceptions, sure, but even the painstakingly plotted Marvel films have had low points.

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This is not an easy story to tell. Director Matthew Brown wisely follows the course set down by Robert Kanigel's biography of Ramanujan. As seen through the prism of poignant artlessness and a belief that the mathematical genius flows from the will of God, true to the somber end to its unrehearsed design, the narrative seems to flow almost by divine ordinance.

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Abundant with moral lessons, Rudyard Kipling's tales of young Mowgli's adventures with anthropomorphic animals in the Indian jungle have always fascinated kids and have revived childhood memories for adults.

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Kung Fu Panda review: If you're one of those people - and I'm with you - who roll your eyes when handed a pair of 3D glasses at the multiplex, wondering if all this rigmarole is REALLY necessary, then take heart: The lovely, color-popping visuals in Kung Fu Panda 3 are well worth those darned glasses.

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Zac Snyder's thundering and grim Batman v Superman: Dawn of Justice offers the kind of blunt, mano-a-mano faceoff usually reserved for Predators, Godzillas and presidential candidates.

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Alejandro Gonzalez Inarritu's frontier survival saga The Revenant, filmed in the Canadian Rockies, seeks to join the ranks of Werner Herzog's Fitzcarraldo and Francis Ford Coppola's Apocalypse Now: movies that take some of their primal madness from their raw, remote natural landscapes. The making of those movies are mythic tales in their own right, and The Revenant arrives with its own tall tales of on-set tussles and actor derring-do.

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Deadpool hates its audience, and that's not necessarily a bad thing. Nothing is sacred to either this film or this character (played with "I'm so naughty" abandon by Ryan Reynolds), which pokes fun at superhero movie culture, Hollywood itself, Reynolds, director Tim Miller, love and human decency - and that's just in the opening credits.

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J.J. Abrams may not elevate the language of Star Wars, but he sure is fluent in it. Star Wars: The Force Awakens is no more and no less than the movie that made us love it in the first place. In fact, it's basically the same thing. Isn't that what we all wanted anyway?

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