Guru
There's nothing more delightful than a film which can grab you by the collar and make you a part of its topsy-turvy world for those two and a half hours. Mani Ratnam's biopic Guru made for one such viewing.

What's interesting is the ambitious and larger-than-life tone of its narrative, blending in seamlessly with its lead protagonist's cocksure, even if, questionable modus operandi. And Abhishek Bachchan plays the graph with astonishing enthusiasm emerging as one of the best performances of the year. He infuses his character, from a boy-with-dreams to a man-of-the-world, with undeniable magnetism, charisma and spirit. The transformation is not just restricted to make-up dependent paraphernalia, Abhishek's body language reflects them too.

Ratnam's mastery is evident in his ability to create memorable scenes with utmost subtlety. Unlike their previous outings together, Guru showcases tender chemistry between Abhishek and wife, Aishwarya. Also, it's so good to see Mithun Chakravarthy in a role exploiting his true mettle.

Jab We Met
What is not there to like about Jab We Met? Even the most hard-boiled cynics cannot help but laugh their heads off at Geet Dhillon's one-of-a kind antics.

It's Bhatinda girl meets Mumbai boy plot could have been the ultimate cliche in the bhangra-bhels of Bollywood. Instead, Imtiaz Ali's nifty direction and well-rounded performances from Shahid Kapur and Kareena Kapoor make this superbly written film, with a fantastic soundtrack, 2007's most beloved romantic comedy.

Ironically, after being dubbed a non-pair in their earlier films like Fida, Chup Chup Ke and 36 China Town, it is hard to picture anyone besides Shahid and Bebo opposite each other in this film. Their chemistry simply rocks here. The bar has definitely been raised high for the now separated duo and their promising director.

Taare Zameen Par
I knew I'd like Taare Zameen Par even before I actually saw it. I didn't know I'd like it this much. I didn't know I'd cry this much either. Why?

Because Darsheel Safary is brilliant.
Because every child, within an adult as well, is a complex marvel in his own right.
Because it has the best opening credits I've seen in a long time.

Because you and I can relate to Ishaan's crisis -- class-room humiliation, peer pressure, discipline disorder, superior siblings, angry parents, mean teachers...

Because the film speaks to its viewer on every level.
Because Aamir Khan's directorial debut, masterfully penned by Amole Gupte, is an intelligent, emotional and wonderful film.

Water
Poignant, almost poetic, Deepa Mehta's Water compels one to get out of their comfort zone. It tells the disturbing and heartbreaking plight of widows in pre-independence India.

Mehta's sensitive and layered rendition of the same gains more impact through Giles Nuttgens's riveting cinematography.

Water wouldn't have been the same if it wasn't for the sparkling child actor, Sarala, who plays the principal character of Chuiya. Sarala is the face of life bubbling with a thousand emotions at once. While her senior co-stars Seema Biswas and Lisa Ray might not share her energy levels, they make up for it with restraint and depth. And how can I forget Manorama? The veteran vamp is pure dynamite.

Om Shanti Om
I noticed two sets of people. Either they loved Om Shanti Om or they loathed it completely. If it's thundering collections are any indication, the latter are in clear minority.

I don't know if it's clever marketing strategy or Shah Rukh Khan's mammoth popularity that made the film such a massive success. I'd like to believe OSO works because it celebrates the unending possibilities of filmmaking and make-believe, demonstrated through the iconic albeit light-hearted imagery of the 1970s or SRK's 'picture abhi baaki hai' philosophy.

Spoof isn't everyone's cup of tea. Farah Khan, however, is the queen of this genre. Her unabashed love for the swinging seventies is put down on paper and celluloid with remarkable detailing and research. Add to this, her amazing sense of humour and SRK's lavish budget, OSO can't possibly go wrong. And it doesn't.

The Namesake
Director Mira Nair's adaptation of Jhumpa Lahiri's novel, The Namesake is a class act. Nair cleverly steers clear of stuffing her protagonists with excessive emotion or doing the trite misfit NRI thingie. Instead, both Tabu and Irrfan Khan underplay whilst retaining their inherent earthiness which is both alluring and endearing.

Excellent performances aside, cinematographer Frederick Elmes makes Nair's work easy with his delicately nuanced frames. Every shot appears to be telling its own tale or reflecting the inner conflicts or joys of the characters it encompasses.

Chak De! India
There's a good reason why Chak De! India became the catch phrase (And Yash Raj's only saving grace) of 2007.

For one, it's always a pleasure to watch the underdogs win. Two, Shah Rukh Khan gives us another one of his genuine, non-King Khan performances, post-Swades. Third, kudos to director Shimit Amin for bringing hockey in the spotlight and introducing a bunch of spunky girls to the big screen.

Amin's realistic execution and Jaideep Sahni's gritty script make Chak De! India is a commendable effort which celebrates the values of determination, integrity and sportsmanship.

Eklavya
Vidhu Vinod Chopra's Eklavya is designed for the eyes.

In fact, there's very little a man can do, under its spell-binding magnificence, splendid visuals and dramatic expressions, except soak in all the vivid, Rajasthan-specific beauty. You think? Trust Chopra to drop a blind bombshell in the Jimmy Shergill-Big B sequence shot in pitch darkness. Needless to say, for that scene alone, Eklavya is worth the price of admission.

Not to say Eklavya doesn't have any story, rather a secret of a story. Then again, its warped sense of idealism and bungled up climax doesn't quite click, which Amitabh Bachchan does a valiant job of camouflaging to the best of his abilities. In fact, Eklavya boasts of fine performances from every member of its cast.

At a snug running time of 105 minutes, however, there's hardly much to crib here.

Namastey London
From Namastey London to Welcome, Akshay Kumar sure accomplished a lot this year. Having a superb comic timing helps. And by now, Akki is the master of the fun game.

While his films might not belong to the critically-acclaimed category, they are happily unpretentious, unapologetically dense and shamelessly entertaining.

Although I am not sure how long the 'leave your brains' behind formula is going to work in the looker's favour, I thoroughly enjoyed his zesty act in Vipul Shah's East meets West rom-com. Also, the chemistry between him and Katrina Kaif keeps getting better with every film. Ten brownie points to Kaif for playing the tailor-made Jazz with style and elan.

Apne
Sure, Madhuri Dixit, Govinda, Tabu all made news for their respective comebacks, this year. But the legendary Dharmendra tops my list of irresistible returns.

And that's precisely why Apne figures in my list. He makes this boxing melodrama, also starring sons Sunny and Bobby, worth its while by his commanding presence, effective sentimentality, inimitable wit and unmistakable warmth.

Believe it or not, the original Veeru's still got what it takes.