The new season coasts along on the simple anecdotes that make up the piggy bank of family lore; the performances are as wonderful as before, but the sharpness of humour is starting to dull a bit, observes Deepa Gahlot.
'I am not playing someone's mother or grandmother just because a big director is offering a role. Believe me, I have many got such offers but they don't persuade me.'
The Boy And The Heron offers a thrilling joyride inside Hayo Miyazaki's unquantifiable imagination, applauds Sukanya Verma.
Safed is a lame attempt at social commentary, with terribly dull and thoughtless direction, observes Mayur Sanap.
Yeh Meri Family 3 is developing into a Wonder Years kind of coming-of-age comedy that Indian viewers can relate to, observes Deepa Gahlot.
An ultra-violent film about violence, Kill's greatest accomplishment isn't its death count alone but to challenge our perception of violence, observes Sukanya Verma.
You do get your money's worth simply watching these girls do what they are best at: Entertainment, feels Divya Nair.
Rajkummar Rao does the best with what he is given and he ably elevates the generic story-telling. Too bad that his performance remains the only takeaway from such an inspiring real-life story, notes Mayur Sanap.
What makes Ullozhukku worth recommending is its ability to surrender to the surprises and yet grow with its characters, observes Divya Nair.
The film has already earned Rs 90 crore and is all set to enter the Rs 100 Crore Club today, June 9.
January has quite a few interesting movies lined up for release. But with the new, there's also a sprinkling of the old.
Akshay Kumar's patriotism, Rana Naidu's fury, Snow White's fair and lovely attitude... emotions run high on OTT this week.
'While we've seen some standout series over the past year, few have been as captivating and binge-worthy as this.'
Pankaj Tripathi anchored the first two seasons with his performance. Here, he is made to sit it out for most of the show, and none of the actors, except for a fiery Ali Fazal, have the charisma to hold the viewer's attention, observes Deepa Gahlot.
Vasan Bala's Cinema Marte Dum Tak shines the spotlight on Vinod Talwar, Dilip Gulati, Kishan Shah and J Neelam. All of them are articulate, witty, and expressive -- talking of their passion for films, the rise and fall of their cinema, observes Deepa Gahlot.
The first quarter has scored mostly flops, with just one blockbuster (Chhaava) and a smattering of those which have recovered costs.
Towards the end of the film, when one character exclaims, 'What a crazy case!' your sentiments feel validated, observes Mayur Sanap.
The simplicity of a spontaneous sisterhood, women getting along with other women, feeling alive in each other's company makes Dhak Dhak a gentle celebration of womanhood, notes Sukanya Verma.
Fighter's distressing lack of thrills and sizzle reduces the exercise to an excuse for tedious amounts of Pakistan bashing, observes Sukanya Verma.
Despite its flaws, you can watch Karmma Calling if you like the glitz and drama of the ultra-rich, notes Mohnish Singh.
The Zone Of Interest is technically flawless but lacks emotional pull, observes Mayur Sanap.
As an audience, we deserve better! exclaims Mayur Sanap.
For all its oddball energy and earnest ambition, Fairy Folk cannot be missed, applauds Mayur Sanap.
'Tomorrow I will go back home, clean my bed, pay my rent, all the normal things that a person does.' 'I'll still be the same person for my friends, my parents.' 'That grounding is the real thing, rather than the feeling of having made it.'
Philip's is a light-hearted film you can enjoy with your family and safely recommend to your friends, endorses Divya Nair.
The two leads are looking confident in the trailer, but whether their chemistry will translate into a convincing love saga is something that remains to be seen, notes Mayur Sanap.
There are enough threads left to weave a Season 4, hopefully without the dark clouds hovering over Phulera.
Aditya Dhar's penchant for action and high-pitched dramatic moments hover over Dhurandhar's teaser. And there shouldn't be any doubt that the director will deliver the goods, expects Mayur Sanap.
With the kind of money and talent that has gone into making this movie, a really good biopic of a personality like Savarkar could be made. But this film is lost in polemics, as is the case with almost every biopic and period drama today, observes Utkarsh Mishra.
How long can you look at Ajith sitting with a machine gun on his lap? asks A Ganesh Nadar.
I liked how the film finds excitement in Mahendra and Mahima's dull lives and transforms their humdrum existence into an ode to second chances, notes Sukanya Verma.
Mammootty is towering as the unflinching enigma that prevents Bramayugam from being a middling genre exercise, observes Arjun Menon.
Diljit Dosanjh's switch in singing style as he smoothly assumes Chamkila's vocal persona highlights the brilliance of his artistry, observes Sukanya Verma.
'Once bitten, twice shy, I didn't take up the challenge this time...' 'I realised I had failed to follow my karma because I feared failure.'
Among the many reasons to watch Murder In Mahim is that it may be a chance to wipe out -- if it is achievable by a Web series -- the air of judgment towards those who do not conform to the majority's idea of normal, asserts Deepa Gahlot.
Huma Qureshi's Rani Bharti was the ace in the pack, but everything that she does in this season smacks more of script conveniences than careful plotting, observes Deepa Gahlot.
As much as one would have liked a glimpse into the lady's culinary excellence, Tarla acquires its endearing character in Huma Qureshi and Sharib Hashmi's harmonious display of doting husband and wife, observes Sukanya Verma.
At the end of eight episodes, the climax is bound to leave you with questions but it would be fair to say that the two-episode backstory and the characters seemed far more interesting than the six-episode drama and tension that led to it, observes Divya Nair.
Ranneeti: Balakot And Beyond veers between intriguing and boring, observes Deepa Gahlot.
There is only so much that Vijay Deverakonda is allowed to work on from a clueless script that bounces from one wrong choice to another, observes Arjun Menon.
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