Pratik Gandhi once again proves that he is an actor who can bring any character to life with his dedication to his craft and instinctive understanding of what the role requires, observes Deepa Gahlot.
The Hindi dubbed (badly) version of the Tamil hit Aranmanai is out, and it turns out to be lengthy, noisy and mostly tedious, observes Deepa Gahlot.
Divya Khossla does not have the magnetism to carry a film by herself. If it weren't for Anil Kapoor playing his part with far more gusto than required, Savi would have been tough to sit through, points out Deepa Gehlot.
If a show about Gujaratis or Indians in the US had to be made, it could have been more authentic, sighs Deepa Gahlot.
Since Kakuda is made for OTT, the film might find its audience of horror fans but it is not particularly scary, and not the least bit funny, observes Deepa Gahlot.
If there is any actor who emerges from this wreck with his talent unscathed, it is Vijay Raaz, observes Deepa Gahlot.
Baahubali has generated an enterprise of television spin-offs, video games, graphic novels and what not, but a memorable Game Of Thrones it is not, observes Deepa Gahlot.
Vinay Pathak, Divyenndu Sharma and Kusha Kapila are comfortable enough in their comic skins to play their parts with ease, observes Deepa Gahlot.
Another season of these legal antics would be welcome, applauds Deepa Gahlot.
The Perfect Couple has suspense, humour, romance and gorgeous visuals.
Bloody Ishq comes off looking even more shoddy and ill-conceived when there is so much superior content to entertain the horror buff, observes Deepa Gahlot.
Dil Dosti Dilemma is a coming-of-age series without profanity, and that by itself breaks the current mould, observes Deepa Gahlot.
If this were a French farce, nobody would have batted an eyelid if the father of the groom and mother of the bride fell in love and wanted to marry. But here, some crude comedy is generated with a dash of melodrama, feels Deepa Gahlot.
Picking 10 excellent performances has been difficult but the attempt is to acknowledge the work of actors, who are often overlooked in favour of stars.
This is the kind of film to watch with friends and maybe a six-pack. It has some risqu bits but nothing so vulgar that the pause button would need to be hit if Mummyji walks into the room, notes Deepa Gahlot.
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.
A film with a one-line plot, needed a lot more pizzazz, whistle-worthy dialogue, and a large-than-life, invincible protagonist. Karki makes a Rajinikanth kind of actioner (Bhaiyya Ji fights with a bidi in his mouth) but with a realistic soul, and falls between two boats.
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.
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.
If Salaar is just a compendium of violent action, and an overuse of CGI, it would be a tedious watch, sighs Deepa Gahlot.
Such a set of greedy and amoral characters have seldom been assembled in a Web series, observes Deepa Gahlot.
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.
It introduces random characters, goes on several wild goose chases and is incapable of holding onto any thread of the plot, sighs Deepa Gahlot.
Sunil Grover and a perky Adah Sharma somehow salvage Sunflower 2, observes Deepa Gahlot.
The top 10 films of the year may not be great by themselves but they stand out amidst the other OTT releases.
Taali is an addition to the small list of films that are willing to offer respect and dignity to a marginalsed and misunderstood community, applauds Deepa Gahlot.
The year was rich in content as far as Web series were concerned.
Zindaginama keeps its tone hopeful and steers away from making the stories tragic or depressing, observes Deepa Gahlot.
There is a lot more to Bollywood than the unguarded glimpses Showtime offers, observes Deepa Gahlot.
Ranneeti: Balakot And Beyond veers between intriguing and boring, observes Deepa Gahlot.
The lives of the kids Deepa Bhatia portrays in the series are bleak, with small periods of sunshine when they get picked for an ad or serial, punctuating the longer periods of struggle, observes Deepa Gahlot.
Much better films about the explosive -- if often misdirected -- energy of the young have been made before than Dange, points out Deepa Gahlot.
There are enough threads left to weave a Season 4, hopefully without the dark clouds hovering over Phulera.
There is an authenticity and sense of purpose about Dry Day which is appealing, observes Deepa Gahlot.
Lootere deserves points for originality and novelty, observes Deepa Gahlot.
Yaatris works neither as a comedy nor as a family drama.
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.
Khichdi needs a lot more masala, observes Deepa Gahlot.
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.
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.
© 2026 Rediff.com - Investor Information - Advertise with us - Disclaimer - Privacy Policy - Sitemap - Feedback - About us - Terms of use - Grievances