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.
Ranveer Singh's Dhurandhar: The Revenge is smashing box office records, raking in Rs 681.27 crore (Rs 6.81 billion) in India and exceeding Rs 1,000 crore (Rs 10 billion) worldwide, solidifying the actor's status as a bankable star. Check daily collection, trends, and box office performance.
Despite the IPL taking up maximum eyeballs, OTT offers a wide selection of original films, web series and movies making their digital premiere in April.
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.
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.
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.
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.
The Night Manager Season 2 is a comfortably paced, tension holding series, with a couple of solid twists, observes Deepa Gahlot.
With the twin blockbusters of Dhurandhar, which have resulted in over Rs 2,000 crore (Rs 20 billion) coming in, Ranveer Singh has proved himself all over again.
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.
Kalamkaval, like any good work of art, suggests more than it shows, raves Arjun Menon.
For a grim subject matter as grim as this, it's refreshing that Sentimental Value avoids becoming a manipulative, melodramatic tearjerker, notes Mayur Sanap.
Demon Slayer: Infinity Castle's art is SOOOOOOOOOOOOOO good, amazing, terrific, beautiful, imaginative... Avan Verma has run out of words.
Happy Patel: Khatarnak Jasoos is not supposed to make sense, and doesn't even pretend to, observes Deepa Gahlot.
Author Harinder Singh Sikka has publicly criticised filmmaker Meghna Gulzar, stating that her adaptation of his espionage novel 'Calling Sehmat' into the film 'Raazi' diminished the true spirit of his protagonist due to 'ideological bias'.
'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.
The Museum Of Innocence is too long. Nine episodes could have been reduced to six, with some slick editing, observes A Ganesh Nadar.
The visuals in Mayasabha are overwhelming, the treatment is heavy-handed, and the performances overdone, observes Deepa Gahlot.
Bugonia's ending, though not unexpected, is still shocking, reveals Deepa Gahlot.
The Raja Saab is a poorly judged effort to appease to the lowest hanging fruit, and is not sincere in its ambition to entertain, notes Arjun Menon.
Rahu Ketu crams in a clumsy social commentary on corruption and social evils, along with flashy dance numbers, trying to do everything and too much all at once, before ending up as khichadi, notes Mayur Sanap.
Akhanda 2: Thandavam may appeal to Nandamuri Balakrishna's fans and will be a madcap awakening for those uninitiated in Boyapati Sreenu's no goofball ideas in constructing action, notes Arjun Menon.
The pace at which Priyanka's Ercell fights off her enemies and secures her family into a bunker, you would forget you are in a Hollywood thriller, notes Divya Nair.
Saali Mohabbat escalates the hell-hath-no-fury-like-a-woman-scorned theme, and fashions a dark domestic thriller, discovers Deepa Gahlot.
Dhurandhar may not have the dark realism of a spy story which a web show can manage. But it does not have the flamboyance either, that has come to be associated with espionage movies, observes Deepa Gahlot.
Discover the latest OTT releases, streaming in the month of March.
Ziddi Ishq is a messy, unhinged revenge drama that is all over the place, observes Divya Nair.
Tehran's dull treatment of a dry premise never makes us feel the complexity of the ongoing Middle East crisis nor the patriotic fervour in John Abraham's voice, notes Sukanya Verma.
Gustaakh Ishq feels like a cinematic revival of everything we once loved about Urdu story-telling, observes Syed Firdaus Ashraf.
It is difficult to make conveyor belt and baggage-scanning scenes thrilling -- which is how most people trying to sneak out through the Green Channel are caught -- but Neeraj Pandey and co-director Raghav M Jairath and co-writer Vipul K Rawal make sure there is enough going on to make the series watchable, raves Deepa Gahlot.
Train Dreams refuses to pander to an attention-deficit audience and is not afraid of the silence of emotional depth, observes Deepa Gahlot.
Whether Freedom At Midnight 2 has a political agenda, a bias or two will be read into it, depending on the affiliation of who is watching, notes Deepa Gahlot.
By not turning Mrs Deshpande into a monster like the notorious Hannibal Lecter, the show may have reduced the chills. Still, it's an efficiently made crime show, which depends on the stardom of Madhuri Dixit, observes Deepa Gahlot.
The bed starts to creak. Anklets jingle in the stillness of the night. A creeping anxiety settles in as strange accidents and eerie incidents force you to question whether a supernatural presence is quietly observing your every move, observes Divya Nair.
Where Dhurandhar leaned into aggressive bloodlust through its acerbic storytelling, Ikkis moves in the opposite direction, asking us to see people beyond uniforms, slogans, or sides, observes Mayur Sanap.
© 2026 Rediff.com - Advertise with us - Disclaimer - Privacy Policy - Sitemap - Feedback - About us - Terms of use - Grievances