What makes Ullozhukku worth recommending is its ability to surrender to the surprises and yet grow with its characters, observes Divya Nair.
January has quite a few interesting movies lined up for release. But with the new, there's also a sprinkling of the old.
'While we've seen some standout series over the past year, few have been as captivating and binge-worthy as this.'
The first quarter has scored mostly flops, with just one blockbuster (Chhaava) and a smattering of those which have recovered costs.
Pankaj Tripathi anchored the first two seasons with his performance. Here, he is made to sit it out for most of the show, and none of the actors, except for a fiery Ali Fazal, have the charisma to hold the viewer's attention, observes Deepa Gahlot.
The two leads are looking confident in the trailer, but whether their chemistry will translate into a convincing love saga is something that remains to be seen, notes Mayur Sanap.
'Tomorrow I will go back home, clean my bed, pay my rent, all the normal things that a person does.' 'I'll still be the same person for my friends, my parents.' 'That grounding is the real thing, rather than the feeling of having made it.'
Vasan Bala's Cinema Marte Dum Tak shines the spotlight on Vinod Talwar, Dilip Gulati, Kishan Shah and J Neelam. All of them are articulate, witty, and expressive -- talking of their passion for films, the rise and fall of their cinema, observes Deepa Gahlot.
Aditya Dhar's penchant for action and high-pitched dramatic moments hover over Dhurandhar's teaser. And there shouldn't be any doubt that the director will deliver the goods, expects Mayur Sanap.
Towards the end of the film, when one character exclaims, 'What a crazy case!' your sentiments feel validated, observes Mayur Sanap.
The simplicity of a spontaneous sisterhood, women getting along with other women, feeling alive in each other's company makes Dhak Dhak a gentle celebration of womanhood, notes Sukanya Verma.
Fighter's distressing lack of thrills and sizzle reduces the exercise to an excuse for tedious amounts of Pakistan bashing, observes Sukanya Verma.
The Zone Of Interest is technically flawless but lacks emotional pull, observes Mayur Sanap.
Despite its flaws, you can watch Karmma Calling if you like the glitz and drama of the ultra-rich, notes Mohnish Singh.
'Once bitten, twice shy, I didn't take up the challenge this time...' 'I realised I had failed to follow my karma because I feared failure.'
For all its oddball energy and earnest ambition, Fairy Folk cannot be missed, applauds Mayur Sanap.
As an audience, we deserve better! exclaims Mayur Sanap.
Philip's is a light-hearted film you can enjoy with your family and safely recommend to your friends, endorses Divya Nair.
There are enough threads left to weave a Season 4, hopefully without the dark clouds hovering over Phulera.
With the kind of money and talent that has gone into making this movie, a really good biopic of a personality like Savarkar could be made. But this film is lost in polemics, as is the case with almost every biopic and period drama today, observes Utkarsh Mishra.
I liked how the film finds excitement in Mahendra and Mahima's dull lives and transforms their humdrum existence into an ode to second chances, notes Sukanya Verma.
Diljit Dosanjh's switch in singing style as he smoothly assumes Chamkila's vocal persona highlights the brilliance of his artistry, observes Sukanya Verma.
Mammootty is towering as the unflinching enigma that prevents Bramayugam from being a middling genre exercise, observes Arjun Menon.
'Some people tell me you're playing hard to get. But I'm not. It's the other way around.'
How long can you look at Ajith sitting with a machine gun on his lap? asks A Ganesh Nadar.
Among the many reasons to watch Murder In Mahim is that it may be a chance to wipe out -- if it is achievable by a Web series -- the air of judgment towards those who do not conform to the majority's idea of normal, asserts Deepa Gahlot.
'I am not a mother and never had an abortion either, so I had to understand motherhood and child loss from anecdotal experiences of others.'
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.
At the end of eight episodes, the climax is bound to leave you with questions but it would be fair to say that the two-episode backstory and the characters seemed far more interesting than the six-episode drama and tension that led to it, observes Divya Nair.
Ranneeti: Balakot And Beyond veers between intriguing and boring, observes Deepa Gahlot.
As much as one would have liked a glimpse into the lady's culinary excellence, Tarla acquires its endearing character in Huma Qureshi and Sharib Hashmi's harmonious display of doting husband and wife, observes Sukanya Verma.
There is only so much that Vijay Deverakonda is allowed to work on from a clueless script that bounces from one wrong choice to another, observes Arjun Menon.
Lootere deserves points for originality and novelty, observes Deepa Gahlot.
Ae Watan Mere Watan tries to get a grasp on the mind of youngsters, shaped by the words of inspiring leaders, committed to the cause of independent India. It's significant because their support isn't based on 'andh bhakti', but leadership that encourages questions, observes Sukanya Verma.
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.
Showtime is watchable but never engrossing, notes Sukanya Verma.
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.
Maidaan draws out more yawns than yays, observes Sukanya Verma.
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.
It's on the lead character's charm and rugged shoulders that Yodha shamelessly rests, giving Arun perfectly good reason to gloat, 'Is picture ka hero main hoon,' observes Sukanya Verma.
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