What majorly works is Uorfi's complete lack of inhibitions and ease in front of the camera, analyses Mayur Sanap.
'Pahlaj Nihalani came to my rescue. There was no Instagram in those days so I didn't recognise him.' 'I almost fainted when he told me he was Pahlaj Nihalani, the producer of Ilzaam, the hit film that had just made Govinda a star.' 'I told him I was a model and an aspiring actor, and he responded, "You have an interesting face. Come and meet me in the office tomorrow".'
Dabba Cartel's reluctant black comedy in the body of a crime thriller starts out interestingly enough to accomplish its Narcos: Thane aspirations, notes Sukanya Verma.
Tovino Thomas' big budget action entertainer is a middling, tonally inconsistent watch that keeps you hooked, observes Arjun Menon.
'It is so important to have co-stars who don't think about their own performance only while creating something special.'
From the swag displayed in the King teaser, there is no dimming of the klieg light of his superstardom... yet, notes Deepa Gahlot.
For all its flaws, Agni is a clutter-breaking film, and its portrayal of the lives of firefighters is a case of better late than never, observes Deepa Gahlot.
The Mammootty-starrer is a passable procedural, let down by half-baked ideas that don't necessarily come together, observes Arjun Menon.
At 160 minutes, Wicked is too long, and knowing the undercurrents running through the plot, the candyfloss cheeriness gets too much after a point. Still, it is a worthwhile page-to-stage-to screen journey, observes Deepa Gahlot.
If Prakash Jha is able to transfer today's social and political reality onto the screen, the future seasons of Aashram might just get a much-needed dose of eyeball-grabbing power, observes Deepa Gahlot.
Varun Tej's committed performance somehow rescues Matka from being a pointless venture with stylish flourishes and interesting ideas, observes Arjun Menon.
The Hollywood release F1: The Movie also took a good start at the box office, scoring a half century in its first weekend.
If only the movie could hold its own the way Raveena Tandon does in a cream and gold Manish Malhotra lehenga, Ghudchadhi would be half the entertainer it set out to be, feels Sukanya Verma.
The cast of Anurag Basu's Metro... In Dino arrived for the screening in Mumbai.
With his killer smile, the sex symbol image, Robert Redford would go beyond just being an actor, remembers Aseem Chhabra.
Allu Arjun is fantabulous as the doting husband, emotion-loving son and risk-taking entrepreneur. Pushpa escalates his brand from fire to wildfire, applauds Divya Nair.
'Your family doesn't want you to come to this field because there's no direction, no formula.' 'It's not as if your career is settled and you will get work consistently.'
Saiyaara, which collected Rs 306 crore, would have made more but was was hit by the Mahavatar Narsimha wave.
The Roshans is somewhat like leafing through a glossy coffee table book full of trivia -- no depth, but such a shiny collection of memories, observes Deepa Gahlot.
The Miranda Brothers is short on humour, romance and real drama, observes Deepa Gahlot.
The hope is that the film raises significant issues about the rights of women, and does not become a diatribe against a minority community that has happened with some recent films, points out Deepa Gahlot.
Mithya The Darker Chapter has a constant been-there-seen-that feeling. Everything is dialled to 11, be it the emotional rundown of the characters or dramatic moments that form their dynamic, notes Mayur Sanap.
Game Changer is underwhelming in the sense that you see the potential being squandered away by timid filmmaking, observes Arjun Menon.
'Here are 25 stories special to me for one reason too many,' says Sukanya Verma who scored 25 years writing about the movies last week.
Love, Sitara doesn't flesh out the people or their problems enough to give us a glimpse into their minds, observes Sukanya Verma.
Dune: Prophecy feels like a moneygrab opportunity meant to capitalise on what's already popular, observes Mayur Sanap.
There is an utter pretentiousness to this world and the supposed hip lives of its characters, which makes it plain awkward to watch, complains Mayur Sanap.
Despite its minor flaws, lack of logic, and lecture-style moral narrative, Vettaiyan should be enjoyed in a theatre amid Rajini fans and their wolf whistles, endorses Divya Nair.
Divya Nair recommends that non-Vijay fans save their money and wait for GOAT to drop on Netflix instead. At least you can fast forward and get to the climax faster.
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.
There are so many loopholes in this lazily scribbled plot, it could be a different movie and still as crummy, observes Sukanya Verma.
Waack Girls, that captures the moods of Kolkata, follows an oft-used template. So there's not much novelty to look for in the plot, but the actors are excellent, applauds Deepa Gahlot.
Legendary actor-director Robert Redford, best known for films like Butch Cassidy and the Sundance Kid, The Sting, All The President's Men and Ordinary People, has passed away at the age of 89.
Raat Jawaan Hai is funny, sometimes intense, but most importantly it's so relatable, recommends Namrata Thakker.
The same bunch of people, doing the same things does not make for a satisfying sequel; the added subplots are hastily tacked on, and make no difference to the flow of the series.
The action entertainer Marco is a well shot, gnarly bloodfest that packs some lackluster thrills, notes Arjun Menon.
Tanaav Season 2 is like any other espionage thriller with twists and a lot of tense and thrilling moments. What makes it interesting is that unlike season 1, this time, the plot unravels quickly without getting boring, observes Namrata Thakker.
Housefull 5 may not be getting rave reviews but it's got the thumbs up from audiences.
Through Bob Dylan's music, lyrics, and Timothe Chalamet's superb acting, we feel we have rubbed shoulders with greatness, even when it is full of flaws, self-doubts, warts and all, observes Aseem Chhabra.
This is a film that should appear on every year-end 'Best of' list, recommends Mayur Sanap.
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