Thematically riveting, but inept execution lets Kafas down, complains Mayur Sanap.
'The second Sunday after Sholay's release, Amjad and Shehla had taken Shadaab to Juhu beach. They were strolling leisurely when, to Shehla's shock, he suddenly picked up their son, grabbed her hand and pulled her along, urging her to run. They raced towards their car and had just managed to get in and lock the doors when all hell broke loose. Hundreds started banging on the car, shouting, 'Gabbar Singh bahar niklo!''
When an actor has worked for as long as Manoj Bajpayee, one tends to lose their sense of originality under the sheen of stardom. But the actor's versatility sparkles in his willingness to start on a fresh note every single time, applauds Sukanya Verma.
The play-off between Prabhas and Prithviraj is the high-octane fuel that lends Salaar momentum, observes Mayur Sanap.
800 gets so lost in celebrating its grand subject that it forgets something pretty elementary: Cricket is a team sport!, notes Sreehari Nair.
There is an authenticity and sense of purpose about Dry Day which is appealing, observes Deepa Gahlot.
Bhakshak should create some awareness and maybe raise some compassion towards victims of abuse, observes Deepa Gahlot.
Aadujeevitham (The Goat Life) is undoubtedly one of the most successful experiments in Prithviraj's journey as an actor, applauds Divya Nair.
'So my question was, 'What is it that you are proud of? What have you achieved? What is your contribution?' 'He had no answer.'
Choona is too slow, has redundant characters and needless complications, observes Deepa Gahlot.
Citadel proves unworthy of Priyanka's splendour, Madden's intensity or veteran talents like Lesley Manville and Stanley Tucci squandered in banal parts, complains Sukanya Verma.
Nawazuddin Siddiqui is not romcom material, notes Deepa Gahlot.
The fatal flaw of Fast X is that it's trying to be smarter than it really is and the result is a convoluted mess with nothing novel at display.
As happy as one is to cheer for her global star status, I wish PC's choice of projects was more topical than stale formula, sighs Sukanya Verma.
The three women, because of their names and position, would get the eyeballs anyway, but if they do not rise above the superficial, it would be a wasted opportunity to reach out to and inspire women in particular, observes Deepa Gahlot.
The treatment of the crime and criminal may seem predictable, but not quite the way you'd imagined it to be, discovers Divya Nair.
Tamannaah Bhatia and Riteish Deshmukh's rom-com is blah, complains Namrata Thakker. Plan A Plan B Review
Laapataa Ladies is gentle yet firm in calling out the hypocrisies colouring everyday mindsets and prejudices without acquiring the high-handedness of a crusader, observes Sukanya Verma.
Plenty of adrenaline-packed action to catch on OTT this week.
Between its cryptic, confused politics and lacklustre film-making, Lost is a germ of an idea waiting to be found, notes Sukanya Verma.
In Khufiya, a mother's journey, a lover's vendetta and a country's mission, skewed patriotism and moral disengagement coalesce and highlight the nature of the spying business, notes Sukanya Verma.
Alizeh demonstrates smarts as sharp as her cheekbones and a restless fire in her eyes raging to conquer the world.
John Abraham is impressive in Attack. Sadly, the story is not, notes Namrata Thakker.
Kartik Aaryan is never exceptional, observes Sukanya Verma.
Friday Night Plan's sweet-natured heart and sanitised humour are happier focusing on the inherent niceness teenagers are capable of, observes Sukanya Verma.
What could have been an immensely compelling survival drama is reduced to the pretty-girl-in-peril thriller, observes a disappointed Mayur Sanap.
Big Girls Don't Cry is too solemn to be fun and too timid to be truly bold, feels Deepa Gahlot.
So far, her appeal's limited to OTT but with Kesari 2, the 26 year old charms the big screen as well.
Plenty happens over the show -- riots, nefarious schemes, betrayal and multiple murders -- which should have made for a riveting watch but everything evokes déjà vu and worse, sighs Deepa Gahlot.
To name your movie after Bollywood's most dhinchak hero and craft something so dull borderlines on sacrilege, feels Sukanya Verma.
Watching Haddi after a meal is not advised since some scenes could induce nausea, warns Deepa Gahlot.
Kathal has a fairly kooky premise, one that would fill up a half an hour sitcom in a bundle of studio laughs. But when stretched into a feature film, its whimsy slumps into awkward energy, observes Sukanya Verma.
By the time, Mumbaikar gets to where it wants to be via a twisty third act, we begin to see how much better the film could have been. But it's almost too little, too late, complains Mayur Sanap.
Despite the mediocrity at large, these films had me in raptures for the emotions they evoked within as a cheering audience, critic and cinephile.
Thank God tries hard to be funny but its humour is dated and cliched, observes Namrata Thakker. Thank God Review.
As emotions escalate and drama intensifies, The Night Manager 2 becomes more gripping, applauds Mayur Sanap.
Emraan Hashmi's latest outing is NOT worth watching, complains Namrata Thakker.
Rajkumar Hirani has a mastery in bromance. In Dunki, Sukanya Verma doesn't feel that chemistry one bit, it's more like SRK babysitting a bunch of clueless kids running helter-skelter in a garden believing the grass is always greener on the other side.
Babli Bouncer is a one-time watch, courtesy Tamannaah Bhatia's acting, observes Namrata Thakker.
Aarya 3 feels like a recycled version of the previous seasons, discovers Mayur Sanap.
