If Singham was a biryani, with all the flavours coming together seamlessly, Singham Again is a desi thaali, full of scrumptious dishes, but a tad in excess, discovers Sonil Dedhia who watched the film in New Zealand.
Starring Kunal Nayyar, Christmas Karma is a present day take on Charles Dickens' classic A Christmas Carol, with its three ghosts played by Eva Longoria, Billy Porter and Boy George.
Kanguva is a mishmash of conceptually strong set pieces that feels bloated, as the central scaffolding holding together the core themes of love that heals over time and eternity, feels like an afterthought, observes Arjun Menon.
If approached with minimal expectations, Sikandar Ka Muqaddar offers enough suspense to justify an OTT viewing, observes Sonil Dedhia.
When it gets to its silly climax where the dots are finally joined, you can't help but see how cheap these thrills are, sighs Mayur Sanap.
Bad Cop is not unwatchable. For older viewers, there may even be some comfort in the familiar, notes Deepa Gahlot.
Govinda has been admitted to the CritiCare hospital in Juhu, northwest Mumbai, after he fainted at home around midnight, his legal advisor and friend Lalit Bindal said.
Zindaginama keeps its tone hopeful and steers away from making the stories tragic or depressing, observes Deepa Gahlot.
Adah Sharma, who seems to be holding back an eye roll, is the only half-way decent actor amidst the crowd of amateurs and a bored-looking Rahul Dev in Reeta Sanyal, observes Deepa Gahlot.
Perhaps Kay Kay Menon should choose his projects carefully, instead of wasting his talent like this, observes Deepa Gahlot.
From the 'khiladi' brand of movies rocking his boat to a love for starring in biopics and scripts inspired by true stories to headlining endless remakes of South Indian hits, there's a pattern to the man and his methods.
Abhishek Bachchan conveys the numerous chapters and challenges his mind, body and soul go through with a never-before candour, observes Sukanya Verma.
Food delivery and quick commerce firm Eternal, which owns the Zomato and Blinkit brands, on Thursday reported a consolidated net profit of Rs 65 crore for the second quarter ended September.
The many episodes in which the characters quarrel, sulk and rehearse would have been boring were it not for the music, observes Deepa Gahlot.
It's the season of star kids, and it continues with Chunky Pandey's nephew Ahaan Pandey getting ready for his Bollywood debut with this Friday's release, Saiyaara.
F1: The Movie is doing well, having crossed Rs 50 crore.
Kraven The Hunter feels like a missed opportunity, a film that could have offered a fresh take on a complex character but settles for mediocrity, observes Sonil Dedhia.
Taapsee, Vikrant, Sunny are a fine fit on their own as well as around each other and prove themselves to be well equipped to survive the air of double dealing. What's missing is sizzle, feels Sukanya Verma..
Prabhas never looked more heroic and magnetic than he did in the dual role of Amarendra and Mahendra Baahubali, applauds Mayur Sanap after watching the nearly four hour-long Baahubali: The Epic.
'After the first Kantara, when they announced the second one, I kind of knew he will call me. I had this instinct. Then he called me at midnight and I didn't pick up. I was like, I'm not talking to anybody at 12 at night. The following day, I called and we chatted. He said, I have to narrate you something. I said, I know, it's Kantara!'
Through Bob Dylan's music, lyrics, and Timothe Chalamet's superb acting, we feel we have rubbed shoulders with greatness, even when it is full of flaws, self-doubts, warts and all, observes Aseem Chhabra.
Maharaj's mediocre social drama lacks the spine and spunk to recreate the relevance of revolutionary decisions in the face of religious fanaticism, observes Sukanya Verma.
Despite its attempt at compounding the complexity of Arthur Fleck, watching Joker: Folie Deux is a slog, feels Deepa Gahlot.
Vasan Bala's ability to jolt our Bollywood conditioned brains into experiencing new forms of menace, turning a John Woo-style prison riot into a Chinese communist movement and showcasing Alia in a savage new light won Sukanya Verma's dil and jigra.
After Sita Raman, this is a Dulquer Salmaan film that has won Divya Nair's heart.
The casting of Marathi theatre and screen actors gives Manvat Murders its stamp of authenticity, observes Deepa Gahlot.
Whatever the reviews may say, the makers of the Diwali release, Ek Deewane ki Deewaniyat, seemed happy to organise a special screening for their friends from the industry.
Ulajh strikes you as an attempt at statement-making gone horribly wrong, a punchline that doesn't land, a roar that never reaches the ear, observes Sreehari Nair.
Rekhachitram is the latest in an assembly line of films that use the period setting and mythic allure of the past to drive home the suspense of relatively straightforward genre stories, notes Arjun Menon.
Between tons of sexual innuendo and Kapil Sharma brand of slapstick gags characterised in loud caricatures, moronic behaviour, flimsy wigs and cartoonish rhythm, Vicky Vidya Ka Woh Wala Video's jarring notions of exuberance have nothing novel to offer, groans Sukanya Verma.
If you are looking for an average political thriller with good performances, Thalamai Seyalagam may interest you, suggests Divya Nair.
Rather than basing it on movie reviews, IMDb determines this list based on page views.
Ishq Vishk Rebound is a drab romance and dull comedy that even the intended teen audience might have a hard time keeping up with, sighs Mayur Sanap.
The Hollywood release F1: The Movie also took a good start at the box office, scoring a half century in its first weekend.
'I eagerly await the day when we can experience a truly great Bollywood movie rooted in pure historical facts, one that authentically showcases the essence of our armed forces for Indian audiences,' notes Air Commodore Nitin Sathe (retd).
Citadel: Diana is fun to watch, in a popcorn entertainment way, observes Deepa Gahlot.
Prasanna Vithanage's Paradise leaves the audience to read between the lines and draw their own conclusions about the frailty of human nature, and how easily violence seizes the most unexpected prey, observes Deepa Gahlot.
'In a world that's loud and fractured, this is my small offering of softness. Of love.'
They try to hide behind the smokescreen that these are works of fiction inspired by real events. So, you can pick and choose from facts and fictionalise to push the right triggers with your audience or appease the powers that be, observes Shekhar Gupta.
