Batla House, the John Abraham-starring film, will no doubt open to praise and paisa, unfettered by the fact that, 11 years later, the actual encounter that saw two alleged terrorists and police officer MC Sharma killed, is still one of the murkiest cases in the annals of Delhi Police’s speckled history.

Akshay Kumar's Mission Mangal joins the ranks of Bollywood space films that have no idea how to be one. The mission’s female scientists contribute nothing save for pressing a few buttons or looking worried, and if the film is to be believed, space travel is as easy as catching a Pokemon.

Is it possible to make an unbiased film about a real-life event? Nikhil Advani's Batla House suggests that the answer might be a no. But what the film lacks in objectivity, it makes up by being surprisingly compelling. For once, John Abraham wields his stoic demeanour to complement the mayhem unfolding on the screen, instead of distracting from it.

On the surface, Kaminey might seem like rehashing a story endlessly told and retold. But what sets it apart is Vishal Bhardwaj’s eagerness to explore deep into the psyche of his villains. Even 10 years later, Kaminey feels like Bhardwaj’s love letter to Bollywood.

To try and find an original song in Bollywood in 2019 is as fruitless as searching for survival tips in PM Modi’s episode of Man vs Wild. But as any ‘90s kid could tell you, there was a time when music made the movies worth watching. The soundtrack of Taal elevated the film into an unforgettable experience.

In 2019, there is no reason that an unfunny, sexist film like Jabariya Jodi should get backed by a mainstream production house. The Parineeti Chopra and Sidharth Malhotra-starrer is replete with crass gags on sex, women, and condoms. And at the centre of it, is a headache-inducing romance between two people who love beating up other people.

The biggest plot twist in Hum Aapke Hain Koun..! is the death of the adorable, ever-smiling Pooja bhabhi. Twenty-five years on, this endlessly rewatchable sequence is a cultural phenomenon – it’s now a meme. In the age that we live in, this is the ultimate form of flattery.

Fifty-nine years on, the women of Mughal-E-Azam need to be celebrated. Anarkali is the soul of the film, but even Bahar, a jealous lady-in-waiting, is graceful in her pursuits. Jodha Bai is an unconventional mother figure, not a standard 17th century queen who only exists to produce heirs.

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When I saw Jai and Meera break-up with each other ten years ago in Love Aaj Kal and still be involved in each other’s lives with the intensity of a married couple, I was convinced that every break-up deserved a break-up party. Today, I know that the biggest sham that Imtiaz Ali sold us was the idea that we should remain friends with our exes.