You do get your money's worth simply watching these girls do what they are best at: Entertainment, feels Divya Nair.
We see Rajini's trademark style in Vettayan, and all we can hear from the audience is 'Thalaiva!', record A Ganesh Nadar.
A movie like Bad Boy being made in 2023 would have been just as unwatchable no matter who made it. That Rajkumar Santoshi has, is almost heart-breaking, sighs Deepa Gahlot.
The Boy And The Heron offers a thrilling joyride inside Hayo Miyazaki's unquantifiable imagination, applauds Sukanya Verma.
Ammy and Triptii have the chemistry of a door-to-door salesman and disinterested customer.' On the other hand, she and Vicky burn down the house with their scorching sensuality, observes Sukanya Verma.
With Raid 2, where Ajay Devgn reprises his role as an income tax hawk swooping on a defaulter politician, the actor is hoping to make another successful sequel. Here's a look at his series of sequel love.
Fighter's distressing lack of thrills and sizzle reduces the exercise to an excuse for tedious amounts of Pakistan bashing, observes Sukanya Verma.
Modern Masters aims to showcase Rajamouli's enigmatic career and paints a context of what makes him the singular voice that defined his generation of film-makers, for millions, observes Arjun Menon.
Despite its flaws, you can watch Karmma Calling if you like the glitz and drama of the ultra-rich, notes Mohnish Singh.
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.
Right from the lofty title, Auron Mein Kahan Dum Tha keeps aiming to be an epic, and keeps falling short, discovers Deepa Gahlot.
Philip's is a light-hearted film you can enjoy with your family and safely recommend to your friends, endorses Divya Nair.
Maharaja is an audacious attempt that breaks down the tropes of a crime film with a brilliant Vijay Sethupathi in the lead, notes Arjun Menon.
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.
The Yami Gautam-Sunny Kaushal thriller has enough twists and turns to keep you engrossed, observes Namrata Thakker.
The Apprentice is a keenly observed and entertaining biopic about the making of a man who is mostly responsible for all that has gone wrong with current American politics, observes Aseem Chhabra.
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.
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.
Payal Kapadia's understanding of what it means to be a woman is as poignant as her authentic portrait of Mumbai's hoi polloi, observes Sukanya Verma.
The Zone Of Interest is technically flawless but lacks emotional pull, observes Mayur Sanap.
For all its oddball energy and earnest ambition, Fairy Folk cannot be missed, applauds Mayur Sanap.
With no other stand-out performance (besides Tara Sutaria's) or impressive scene, Apurva falls by the wayside, where other quickly made films end up, points out Deepa Gahlot.
Mammootty is towering as the unflinching enigma that prevents Bramayugam from being a middling genre exercise, observes Arjun Menon.
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.
Towards the end of the film, when one character exclaims, 'What a crazy case!' your sentiments feel validated, observes Mayur Sanap.
What makes Ullozhukku worth recommending is its ability to surrender to the surprises and yet grow with its characters, observes Divya Nair.
Brinda examines some alarming aspects of religious fanaticism through the narrative engine of a well-oiled serial killer mystery, observes Arjun Menon.
ITo steer clear of sanctimonious newspaper stories all your life, and then be saddled with movies like Kadak Singh -- now there's a rotten bit of luck worth moaning about, sighs Sreehari Nair.
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.
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.
Despite Ravi Teja's relentless energy, the drama is bogged down by tedious emotional beats, observes Mayur Sanap.
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.
There's nothing in Chatrapathi that you haven't already seen before, complains Mayur Sanap.
Diljit Dosanjh's switch in singing style as he smoothly assumes Chamkila's vocal persona highlights the brilliance of his artistry, observes Sukanya Verma.
When she does show up an hour into the movie, Alia's confidence is hard to miss, notes Sukanya Verma.
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.
A glimpse of the film, via the trailer, indicates a sincerity of purpose and the shining of a light into those corners of India that remain dark amidst progress and prosperity, notes Deepa Gahlot.
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.
Lootere deserves points for originality and novelty, observes Deepa Gahlot.
Showtime is watchable but never engrossing, notes Sukanya Verma.
