The first quarter has scored mostly flops, with just one blockbuster (Chhaava) and a smattering of those which have recovered costs.
Watching Haddi after a meal is not advised since some scenes could induce nausea, warns Deepa Gahlot.
John Abraham is impressive in Attack. Sadly, the story is not, notes Namrata Thakker.
To name your movie after Bollywood's most dhinchak hero and craft something so dull borderlines on sacrilege, feels Sukanya Verma.
Kathal has a fairly kooky premise, one that would fill up a half an hour sitcom in a bundle of studio laughs. But when stretched into a feature film, its whimsy slumps into awkward energy, observes Sukanya Verma.
By the time, Mumbaikar gets to where it wants to be via a twisty third act, we begin to see how much better the film could have been. But it's almost too little, too late, complains Mayur Sanap.
Through Manorathangal, M T Vasudevan Nair makes himself available to a whole new generation of uninitiated viewers, who can familiarise themselves with his rich body of work and hope to learn a thing or two about life in all its messy grandeur and flawed imperfections, notes Arjun Menon.
Rajkumar Hirani has a mastery in bromance. In Dunki, Sukanya Verma doesn't feel that chemistry one bit, it's more like SRK babysitting a bunch of clueless kids running helter-skelter in a garden believing the grass is always greener on the other side.
As emotions escalate and drama intensifies, The Night Manager 2 becomes more gripping, applauds Mayur Sanap.
While 2023 saw many mega blockbusters (Pathaan, Gadar 2, Jawan and Animal), this year had only two.
Thank God tries hard to be funny but its humour is dated and cliched, observes Namrata Thakker. Thank God Review.
Aarya 3 feels like a recycled version of the previous seasons, discovers Mayur Sanap.
The Marvels is a muddled effort, but it still stands up as this refreshingly goofy and enjoyable superhero romp, notes Mayur Sanap.
Emraan Hashmi's latest outing is NOT worth watching, complains Namrata Thakker.
Babli Bouncer is a one-time watch, courtesy Tamannaah Bhatia's acting, observes Namrata Thakker.
Jawan is disproportionately extolled for making political comments, but it is a small film like Bhagwan Bharose that usually sticks its neck out, notes Deepa Gahlot.
An amateurish crime comedy that wants to be taken seriously, Mrs Undercover can never quite find its bearings, observes Sukanya Verma.
Cherry blossoms in Sri Lanka, Hanuman speaking Bombaiya, the mythical Sone Ki Lanka looking darkly Gothic, Raavan looking like a Bollywood dude... this is not modernisation. This is a travesty, asserts Deepa Gahlot.
Bambai Meri Jaan features horrific massacres and violence so brutal that it ought not to be seen on a home entertainment platform, warns Deepa Gahlot..
'On the first day of a Rajnikanth movie, there is usually a lot of noise in theatres as fans dance and rejoice with every dialogue and action.' 'But in this movie, the fans were quiet. They did not find anything to shout about.'
Rohit Shetty's strengths have been action and humour; the former he delivers in spades, but the latter is totally lacking in Indian Police Force, observes Deepa Gahlot.
Wedding.con is a watchable show, if only to caution people about the latest scams, notes Deepa Gahlot.
Aadujeevitham marks a new direction for Malayalam cinema, where ambition meets resources and the right people, all in favour of stories that deserve to be told on the biggest stage of them all, notes Arjun Menon.
Any aware viewer, who might wander into the film, will be repulsed by this unabashed spewing of communal hatred, feels Deepa Gahlot.
There is nothing exceptional in the plot that will blow your mind away, warns Divya Nair. Yashoda Review
The saving grace of Shankar's expanded universe is the masterful precision with which Kamal Haasan drops himself into a messy setup, only slightly to elevate the pulpy tendencies of Shankar's vision, observes Arjun Menon.
Just as much as the magic of cinema, Chhello Show is about the imagination of a child and the typical Indian jugaad, observes Deepa Gahlot. Chhello Show
He criticised the movie for 'glorifying misogyny' and said he wasted three hours to watch a 'pathetically made movie'.
The story of Superboys Of Malegaon is so heartening that the film -- in the hands of an accomplished director like Reema Kagti -- is bound to be a worthy watch, feels Deepa Gahlot.
A film that looks and sounds so gorgeous, must be welcomed, applauds Deepa Gahlot. Qala Review.
If Trial Period was not such a slight piece of film-making, it would have some problematic messaging, observes Deepa Gahlot.
Kanika's problem is so ridiculous, it is surprising she did not discover till the age of 32 what every teen knows, sighs Deepa Gahlot.
The film has already earned Rs 90 crore and is all set to enter the Rs 100 Crore Club today, June 9.
All India Rank achieves a fine balance of authenticity and sensitivity in the fine portrayals of its young actors and old.
Poacher neither minces words in condemning these self-seeking slaughterers nor leaves any stone unturned in highlighting the hard work put in by friends of the forest, notes Sukanya Verma.
From an observation of middle class insecurities and parents burdening their children with their dreams, the film becomes an underdog story, notes Deepa Gahlot.
India Lockdown has way too much carnal pleasure on its mind to focus on minor things like coronavirus, sighs Sukanya Verma.
The Vaccine War leans towards stoking nationalistic fervour, but that shouldn't stop you from watching a film that is solemn about the Indian scientific community's achievement, notes Mayur Sanap.
What goes in favour of Asur 2 is its pace and novelty, even though the approach has all the hokiness of a comic book, observes Deepa Gahlot.
