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.
Lootere deserves points for originality and novelty, 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.
Showtime is watchable but never engrossing, notes Sukanya Verma.
Ae Watan Mere Watan tries to get a grasp on the mind of youngsters, shaped by the words of inspiring leaders, committed to the cause of independent India. It's significant because their support isn't based on 'andh bhakti', but leadership that encourages questions, observes Sukanya Verma.
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.
'I look at the people, yes. Co-actors, the makers, the crew.' 'Then I look at how it's different from what I've done before.'
Yaariyan 2 evokes a tinge of nostalgia for the time when music (and lip sync songs) used to be the mainstay of a commercial film, notes Deepa Gahlot.
Like the countless other things that were made possible online by the deadly coronavirus, Connect adds demonic possession and exorcism to the list, observes S Saraswathi.
Ranneeti: Balakot And Beyond veers between intriguing and boring, observes Deepa Gahlot.
Will Salman's latest endeavour finally mark a pulpy return to form? Sadly, no, answers Mayur Sanap.
Despite Ravi Teja's relentless energy, the drama is bogged down by tedious emotional beats, observes Mayur Sanap.
It's on the lead character's charm and rugged shoulders that Yodha shamelessly rests, giving Arun perfectly good reason to gloat, 'Is picture ka hero main hoon,' observes Sukanya Verma.
The Naxal movement has such a complex history that several books have been written to understand it. Bastar: The Naxal Story seeks to reduce it to bullet points and stereotypes, observes Deepa Gahlot.
'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!''
Mast Mein Rehne Ka is a thoroughly human film, which makes you laugh as hard as it will make you feel for the characters, notes Mayur Sanap.
Much better films about the explosive -- if often misdirected -- energy of the young have been made before than Dange, points out Deepa Gahlot.
Maidaan draws out more yawns than yays, observes Sukanya Verma.
Merry Christmas has a breathtaking climax that will have you sighing like you've never sighed in a Sriram Raghavan movie before, applauds Sukanya Verma.
Had it not been for Pankaj Tripathi, who must have worked hard to get those Vajpayee intonations and mannerisms so perfectly well, Ravi Jadhav's flattering portrait of Vajpayee would have been more vacuous than what we get to see, observes Prasanna Zore.
As much Preity would like to be relieved of everyone's ebullient expectations of her, truth is few have fizzed up the silver screen like she has.
'So my question was, 'What is it that you are proud of? What have you achieved? What is your contribution?' 'He had no answer.'
When she does show up an hour into the movie, Alia's confidence is hard to miss, notes Sukanya Verma.
There's nothing in Chatrapathi that you haven't already seen before, complains Mayur Sanap.
There are no great emotional highs or lows in Dono. It is just made up of little moments of normal interactions between young people, observes Deepa Gahlot.
Vineeth Sreenivasan deserves applause for striving to blend the past with the present and revoking your memories, states Divya Nair.
Madgaon Express understands its charm lies in its inherent silliness and then works around as pure unadulterated entertainment, which makes it imminently watchable, raves Mayus Sanap.
Operation Valentine follows the templates of similar Air Force narratives to deliver some rousing, harmless fun time, observes Arjun Menon.
All the six packs in the world can't compensate for an unenthusiastic performance, sighs Sukanya Verma.
Khichdi needs a lot more masala, observes Deepa Gahlot.
The Great Indian Family, observes Sukanya Verma, is a cheerful fable that points out the absurdity of discrimination as a tool employed by power hungry opportunists.
More than the jingoism overkill, it's the tedious tone of telling stories of this genre that hurts Pippa, observes Sukanya Verma.
January has quite a few interesting movies lined up for release. But with the new, there's also a sprinkling of the old.
Teja Sajja is agile and a decent actor but not charismatic enough to watch in almost every frame, observes Deepa Gahlot.
Anweshipin Kandettum is a fascinating genre exercise let down by its incessant attention to details, observes Arjun Menon.
Plenty of adrenaline-packed action to catch on OTT this week.
No matter what the reviews may say, film folk queued up to watch Chatrapathi at a special screening in Mumbai.
'While we've seen some standout series over the past year, few have been as captivating and binge-worthy as this.'
Women Of My Billion is stark and disturbing, but at the end of it Srishti Bakshi is still able to say, 'My India is not beyond repair', observes Deepa Gahlot.
Call Me Bae is a spirited new addition in guilty pleasures for the fashion-loving, rom-com starved soul, applauds Sukanya Verma.
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