Vijay Varma delivers a tour de force performance in Nagraj Popatrao Manjule's Matka King, a compelling eight-part series that chronicles the rise and fall of a gambling trailblazer in 1960s-1970s Bombay, notes 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.
Mahesh Narayanan's Patriot is a cerebral spy thriller that delves into the weaponisation of digital surveillance against civilians and the targeting of whistleblowers, featuring Mammootty, Mohanlal, and Fahadh Faasil.
What Subedaar lacks is that element of surprise that makes a film worth the viewer's time and willingness to engage, observes Deepa Gahlot.
Toaster is neither a laugh-out-loud comedy nor the kind of satire you would expect from a premise like this, notes Mayur Sanap.
As we await the much-anticipated reunion of Priyadarshan and Akshay Kumar in Bhooth Bangla, Sreeju Sudhakaran looks back at their six memorable collaborations, ranking them by how consistently they deliver on entertainment.
What The Devil Wears Prada 2 does really well is the chemistry between its characters, steered by a very likable cast, observes Mayur Sanap.
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.
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.
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.
Explore a curated list of 10 Indian films that masterfully condense their narratives into a single day, showcasing how limited timelines can enhance storytelling and character development, from thrillers like 'NH10' and 'Kaithi' to comedies like 'Taxi No 9211'.
Michael remains a passable biopic that looks good, sounds great, and delivers the moments fans came for. But it also feels formulaic in a way that's hard to ignore, notes 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.
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.
The last scene in Hamnet will be seared in movie memory, notes Deepa Gahlot.
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.
Make the effort for Boong, Mayur Sanap insists. Watch it, and experience its quietly heart-aching beauty.
Ratheesh Balakrishna Poduval's latest film Oru Durooha Sahacharyathil (Under Mysterious Circumstances), showcases both his directorial strengths and inconsistencies, starting as a compelling tale of brotherhood before shifting awkwardly into a psychological study.
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.
Every lead character is nuts in Psycho Saiyaan, observes Deepa Gahlot.
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.
Even with its flaws, Toh, Ti Ani Fuji stays with you because of how real it feels, notes Mayur Sanap.
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
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.
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.
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.
Even with its convoluted plot and a bit of a mid-series sag, Young Sherlock is tremendous fun, applauds Deepa Gahlot.
Akshay Kumar and Priyadarshan's reunion in 'Bhooth Bangla' attempts to capitalise on nostalgia but ultimately delivers a noisy, recycled, and uninspired horror-comedy that struggles with weak humour, ineffective scares, and miscasting.
Chiraiya could have been a powerful, hard-hitting series but it ends up feeling scattered and emotionally uneven, observes Divya Nair.
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.
Prathichaya has timely ideas and an interesting moral core, but is weighed down by dated storytelling, predictable plotting, and uneven performances, 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.
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.
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.
The fourth season of Undekhi attempts to conclude the saga of the powerful Atwal family but struggles with an overcomplicated plot and a multitude of characters, 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.
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.
Saif Ali Khan may have delivered several iconic performances, but some of his fascinating roles still do not get the appreciation they truly deserve.
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