F1: The Movie is definitely a fun time at the movies and deserves a big screen experience, notes Mayur Sanap.
The English subtitles in Dhurandhar The Revenge don't get it right, and at regular intervals, the sub-titles and the Tamil dialogues are saying different things. Those in the audience, who know both languages, can be heard laughing at each blunder, observes A Ganesh Nadar.
Dhurandhar - The Revenge arrives this week and all eyes are on how entertaining the film turns out to be and how much money it makes at the box office. A look at the Top 10 biggies in the Hindi spy film genre.
Hey Kai Navin? begins to falter, because the show leans too heavily into saccharine sentimentality, often choosing non-fussy conflicts over narrative depth, notes Mayur Sanap.
When it's not spouting excessive maths jargon -- algorithm alone is uttered a zillion times -- too many characters with too little context crowd the scenes and turn Maa Ka Sum into a slog, observes Sukanya Verma.
Riz Ahmed's new series Bait delivers a bitingly humorous, and topical commentary on a British-Pakistani actor's audacious journey auditioning for James Bond, challenging traditional casting norms and exploring complex themes of identity and representation.
Everybody Loves Sohrab Handa is a well-acted, smartly written murder mystery with a finely tuned performances from Vinay Pathak and the rest of the cast, notes Sreeju Sudhakaran.
Dacoit: Ek Prem Katha keeps promising something exciting, emotional, thrilling, only to rob us off of that experience of masala entertainer it teases, sighs Mayur Sanap.
What Subedaar lacks is that element of surprise that makes a film worth the viewer's time and willingness to engage, observes Deepa Gahlot.
They Will Kill You is the kind of film that works perfectly fine for a casual watch, especially if you are fan of slasher genre, observes Mayur Sanap.
Like the best crowd-pleasers, Project Hail Mary makes you laugh, it makes you weep a little, it keeps you riveted and then leaves you with a big smile by the end, notes Mayur Sanap.
The quality of the series of JioHotstar's new microcontent platform, Tadka, is deplorable. When so much superior content is being created with the help of AI, Tadka shows are taking the content back to the tacky early days of television, both in the plots and subpar production values, observes Deepa Gahlot.
LIK: Love Insurance Kompany is an ambitious film for its setting, but underscores in both the romance and the humour departments. The world-building is vibrant, the ideas are relevant, but the storytelling lacks the depth and conviction needed to bring them together meaningfully
Even with its flaws, Toh, Ti Ani Fuji stays with you because of how real it feels, notes Mayur Sanap.
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.
Tighee is a quietly heartfelt drama, shining through sensitively curated human moments and impactful performances, discovers Sreeju Sudhakaran.
Accused's greatest lure is its queer couple at the centre of storm but by sidestepping their camaraderie for polite affection, the drama does itself immense disservice, observes Sukanya Verma.
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.
The last scene in Hamnet will be seared in movie memory, notes Deepa Gahlot.
As bombs fall and fascists rise in Britain, it is left to an over-the-hill thug to save his country from Nazi-engineered ruin, observes Deepa Gahlot.
Make the effort for Boong, Mayur Sanap insists. Watch it, and experience its quietly heart-aching beauty.
Every lead character is nuts in Psycho Saiyaan, observes Deepa Gahlot.
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.
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.
Chiraiya could have been a powerful, hard-hitting series but it ends up feeling scattered and emotionally uneven, observes Divya Nair.
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.
It is a pleasure watching Pankaj Kapur and a radiant Dimple Kapadia, two outstanding actors effortlessly portray complex emotions in Jab Khuli Kitaab, raves Deepa Gahlot.
Prathichaya has timely ideas and an interesting moral core, but is weighed down by dated storytelling, predictable plotting, and uneven performances, notes Sreeju Sudhakaran.
Even with its convoluted plot and a bit of a mid-series sag, Young Sherlock is tremendous fun, applauds Deepa Gahlot.
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.
Jazz City could have been enjoyable had it not been so densely over-plotted and unevenly executed, notes Deepa Gahlot.
O'Romeo is an ordinary plot about a man's obsession, but Vishal Bhardwaj lays it out like a lavish spread, with stylish and very violent action set pieces, effectively used music (Bhardwaj composes Gulzar's delectable lyrics), and a romance that has moments that are tender as well as bitter, observes Deepa Gahlot.
Marketed as a Valentine's Day treat, audiences can expect to be mildly entertained by the surface-level intimate scenes in Wuthering Heights that only leave you thirsty for the real, raw passion, notes Divya Nair.
If you are willing to spare four hours of your day on a spy action thriller, Dhurandhar The Revenge will surprise, shock and overwhelm you with its nervous energy, notes Divya Nair.
Kudos to the makers for attempting to create a meaningful series, Bandwaale, that blends the beauty of music to inspire you to look within, and find your voice, raves Divya Nair.
Ranapati Shivray: Swari Agra is a riveting film that successfully captures one of the most celebrated event of the Maratha warrior king's life on screen, notes Ishaan Zore.
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.
Aditya Dhar shares an emotional reaction after Virat Kohli and Anushka Sharma praised Dhurandhar The Revenge, calling it gripping and immersive.
Though it revisits a terrifying period of Brazilian history, The Secret Agent just skims over the surface of the darkness, not losing its pace, colour, music and a sense of optimism, observes Deepa Gahlot.
Even as Benedict and Sophie steal sultry glances and get intimate, one crucial thing is missing all throughout, notes Divya Nair.
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