Vaazha 2 grows beyond the shadow of its predecessor by refining its tone, strengthening its themes and delivering more assured emotional beats and performances, notes Sreeju Sudhakaran.
Mamla Legal Hai 2 draws humour from its assorted characters, crafting quirky storylines inspired by newspaper headlines, and anchored by consistently strong performances, led by an ever-reliable Ravi Kishan, applauds Sreeju Sudhakaran.
The Drama is what you can call a 'feel-bad' romance done right, notes Sreeju Sudhakaran.
Kasargod Embassy squanders a promising premise with weak writing, bad performances and amateurish execution, resulting in a tedious and largely forgettable watching experience, notes Sreeju Sudhakaran.
Prathichaya has timely ideas and an interesting moral core, but is weighed down by dated storytelling, predictable plotting, and uneven performances, notes Sreeju Sudhakaran.
Aspirants Season 3 thrives on its character-driven moments and good performances, but is let down by uneven writing and a diluted focus on its breakout character, observes Sreeju Sudhakaran.
Tighee is a quietly heartfelt drama, shining through sensitively curated human moments and impactful performances, discovers Sreeju Sudhakaran.
Made in Korea had the potential to be a culturally rich coming-of-age story but settles for a generic template with an underdeveloped location setting, notes Sreeju Sudhakaran.
Aadu 3: Part 1 feels like a film trapped in its own ambition. While it expands the universe in an interesting manner, it loses sight of the tight, irreverent humour that made the previous films click in the first place, notes Sreeju Sudhakaran.
Ustaad Bhagat Singh is less a film and more, a lazily constructed vehicle for star worship and political signalling, one that quickly wears out its welcome for anyone outside Pawan Kalyan's core fanbase, observes Sreeju Sudhakaran.
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