January did not conclude on a high for biopic and horror movie enthusiasts. Its final week doled out Hawaizaada, which crash landed under the weight of its Tim Burton-esque aesthetics and its heavy handed treatment. Khamoshiyan did not fare too well either but certainly seems a watch for the music, cast and the debut of heroine Sapna Pabbi, who was last seen playing daughter to Anil Kapoor on 24. Another film that seems interesting is Rahasya, which is inspired by the ArushiTalwar murder case and backed by a solid cast.

In Hollywood, Fox catcher may have scored Oscar nominations but can make for tiresome viewing since it does not ably adapt the bizarreness of John du Pont’s (Steve Carell) behaviour for the big screen. After successes like Capote and Money ball, Bennett Miller disappointed this time around. Alejandro González Iñárritu’s Birdman, which was the darling of the Academy Awards jury this year, was an incredible cinematic outing which employed clever editing to provide a single shot narrative, all the while chronicling the existential crisis of a has-been star before his Broadway premiere.

The February 6th weekend ushered in an enthralling concept in Shamitabh, even if the film did not rake in the box office monies. But those familiar with R.Balki’s work know that he always brings something inventive to the table.

However, “inventive” took a nose dive when it came to the Wachowski’s Jupiter Ascending. The creators of the Matrix franchise  found a way to undermine their concept of The Chosen One by replacing a slick hacker with a hapless, clueless cleaning lady. Plot confusion replaced plot complexity. Quite a bewildering disenchantment that.

Another release on the same weekend was Mr. Turner, which recounts the last 25 years of artist J.M.W. Turner’s life, a film that merits a watch on account of its rave reviews.

The disappointment of moviegoers to have a Valentine’s Day without the release ofFifty Shades of Grey must have been doubly palpable after the damp squib that wasRoy. Neither a heist film nor a romantic thriller as purported, the film became a tedious ride through the protagonist’s writer’s block. It is one thing to take the audience through the character’s affliction, quite another to give the impression that the makers were as rudderless when it came to story-telling. On the other hand, MSG – Messenger of God, must have been a balm for the distressed, with all the devotional and socially relevant messages to reckon with. It has undisputedly earned the attention of the people and stoked the curiosity of many movie buffs.

As it turns out, Love, Rosie did not prove to be a great substitute to E.L. James’ bondage drama. It also did not live up to the promise of P.S. I Love You, a better received romantic drama also based on Cecelia Ahern’s novel.

Badlapur wrecked its vengeful rampage onscreen, which set the cash registers ringing. Another February 20­­th release was Wild, which may please fans of the likeable Laura Dern but flatlined during the trekking sequences with Reese Witherspoon (which were to be the film’s mainstay). The two ladies may have bagged Oscar nominations for their performances, but it is Whiplash which was the far superior Hollywood release that week. Visceral, intense and gripping, the film is a viewer’s delight, irrespective of their inclination towards jazz music.

Anup Singh’s Qissa, which has been doing the rounds of the festival circuit finally found a mainstream release. Set in a patriarchal, post-Partition Punjab, the film tackles identity crisis in gender as its theme. Despite its surreal climax that may puzzle a few viewers, this film is a compelling art house addition to Indian cinema.

February has had a greater emphasis on Oscar nominated films but March onwards, there is a fresh run of films to watch, the most notable of all being NH10. Dum Laga Ke Haisha and Ab Tak Chhappan 2 will round up the final week in February from Hindi movies while Kingsman: The Secret Service promises to be another fun ride from Matthew Vaughn.