F1: The Movie is definitely a fun time at the movies and deserves a big screen experience, notes Mayur Sanap.
Dhurandhar - The Revenge arrives this week and all eyes are on how entertaining the film turns out to be and how much money it makes at the box office. A look at the Top 10 biggies in the Hindi spy film genre.
What Subedaar lacks is that element of surprise that makes a film worth the viewer's time and willingness to engage, observes Deepa Gahlot.
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.
The last scene in Hamnet will be seared in movie memory, notes Deepa Gahlot.
Make the effort for Boong, Mayur Sanap insists. Watch it, and experience its quietly heart-aching beauty.
Every lead character is nuts in Psycho Saiyaan, 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.
Even with its convoluted plot and a bit of a mid-series sag, Young Sherlock is tremendous fun, applauds Deepa Gahlot.
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.
If you are willing to spare four hours of your day on a spy action thriller, Dhurandhar The Revenge will surprise, shock and overwhelm you with its nervous energy, notes Divya Nair.
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.
Ustaad Bhagat Singh is less a film and more, a lazily constructed vehicle for star worship and political signalling, one that quickly wears out its welcome for anyone outside Pawan Kalyan's core fanbase, observes Sreeju Sudhakaran.
Ranapati Shivray: Swari Agra is a riveting film that successfully captures one of the most celebrated event of the Maratha warrior king's life on screen, notes Ishaan Zore.
Though it revisits a terrifying period of Brazilian history, The Secret Agent just skims over the surface of the darkness, not losing its pace, colour, music and a sense of optimism, observes Deepa Gahlot.
Even as Benedict and Sophie steal sultry glances and get intimate, one crucial thing is missing all throughout, notes Divya Nair.
The violence in Kennedy is often unflinching and the characters offer no easy sympathy, but you stay hooked on how it all plays out. And that's when the classic Anurag Kashyap twist arrives, bringing an unexpected emotional payoff that lands just right, observes Mayur Sanap.
If dark and twisted crime thrillers and trauma-led violence interest you, you can binge-watch Daldal over the weekend, endorses Divya Nair.
Manuel Garcia-Rulfo delivers his best performance yet in The Lincoln Lawyer 4, applauds Deepa Gahlot.
Marty Supreme is anchored by a stunning lead performance from Timothee Chalamet, applauds Mayur Sanap.
There are moments in Assi when you will get scared, when you will get angry, when you will feel helpless... when you will realise the enormity of the crime.
Cheekatlo is a run-of-the-mill crime procedural, notes Arjun Menon.
Ashakal Aayiram can be celebrated for the return to form for Jayaram, who owns every scene he is in, but the film around him drags and drags, with no end in sight, notes Arjun Menon.
The fact that a major studio put out a silent film starring some of the biggest names in the industry in these concerning times for the film business is the one big takeaway from Gandhi Talks, notes Arjun Menon.
TVF deserves credit for breaking its mould of picking and sticking to favourable and comfortable genres. Space Gen could serve as a launch pad for more exciting content to come, hopes Divya Nair.
Beneath its grit and darkness, Kohrra 2 reveals surprising warmth and is a beautiful, beautiful show, promises Mayur Sanap.
Tu Yaa Main feels rather indulgent for a survival drama. You can see where it's headed, and it just grows tiresome after a point, observes Mayur Sanap.
The Housemaid makes up for a few hiccups with a series of sharply staged shocks, resulting in a fun and satisfying thriller, notes Mayur Sanap.
For a grim subject matter as grim as this, it's refreshing that Sentimental Value avoids becoming a manipulative, melodramatic tearjerker, notes Mayur Sanap.
Because it treats soldiers as human, and concentrates on their emotions as much as their bravery, Border 2, probably without meaning to, speaks out against war, observes Deepa Gahlot.
Sarvam Maya banks on its leading man, Nivin Pauly, who grasps at straws and makes the improbable scenes work with his charm, notes Arjun Menon.
Rani Mukerji gets plenty of scope to shine, seething with anger, screaming, radiating fury, and even taking on hand-to-hand combat in a truly boss-lady role, notes Mayur Sanap.
Sanjay Mishra and Neena Gupta bring their A-game to roles that naturally suit their age, and this lived-in quality makes Vadh 2 even more convincing, notes Mayur Sanap.
The Night Manager Season 2 is a comfortably paced, tension holding series, with a couple of solid twists, observes Deepa Gahlot.
'There is a fortune in stolen money, counterfeit notes floating around, and political skullduggery afoot, along with treachery, double dealing, kidnapping and all manner of wickedness packing the series so densely that the pace never flags and a profusion of twists keeps the story engaging even when it strains credibility,' notes Deepa Gahlot.
Kalamkaval, like any good work of art, suggests more than it shows, raves Arjun Menon.
Happy Patel: Khatarnak Jasoos is not supposed to make sense, and doesn't even pretend to, observes Deepa Gahlot.
The Museum Of Innocence is too long. Nine episodes could have been reduced to six, with some slick editing, observes A Ganesh Nadar.
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