Riteish Deshmukh makes this medical drama watchable! exclaims Namrata Thakker.
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.
If approached with minimal expectations, Sikandar Ka Muqaddar offers enough suspense to justify an OTT viewing, observes Sonil Dedhia.
From the swag displayed in the King teaser, there is no dimming of the klieg light of his superstardom... yet, notes Deepa Gahlot.
If a show about Gujaratis or Indians in the US had to be made, it could have been more authentic, sighs Deepa Gahlot.
Devara's self-appointed guardian of the sea unleashing violence as a means to end violence is purely Junior NTR fan-tasy, observes Sukanya Verma.
Lal Salaam is not a movie A Ganesh Nadar would recommend.
Kanguva is a mishmash of conceptually strong set pieces that feels bloated, as the central scaffolding holding together the core themes of love that heals over time and eternity, feels like an afterthought, observes Arjun Menon.
Vedaa is realistic but also has the kind of mainstream elements and action sequences that make a film gripping, observes Deepa Gahlot.
If Singham was a biryani, with all the flavours coming together seamlessly, Singham Again is a desi thaali, full of scrumptious dishes, but a tad in excess, discovers Sonil Dedhia who watched the film in New Zealand.
Vinay Pathak, Divyenndu Sharma and Kusha Kapila are comfortable enough in their comic skins to play their parts with ease, observes Deepa Gahlot.
Sharmajee Ki Beti's airy-fairy approach doesn't quite convince. It's like the women are all angels readily accepting any change or transgression while the men are either super supportive or super schmucks, notes Sukanya Verma.
Rautu Ka Raaz is a dragged-out slow burner of a film that just fails to ignite, sighs Mayur Sanap.
The many episodes in which the characters quarrel, sulk and rehearse would have been boring were it not for the music, 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.
Abhishek Bachchan conveys the numerous chapters and challenges his mind, body and soul go through with a never-before candour, observes Sukanya Verma.
Six episodes are not enough, applauds Deepa Gahlot.
Kraven The Hunter feels like a missed opportunity, a film that could have offered a fresh take on a complex character but settles for mediocrity, observes Sonil Dedhia.
You will appreciate the Mammootty of this movie better if you do not take the servile reviews to heart, for this is a grand, broad, almost proudly comic performance, assures Sreehari Nair.
Adah Sharma, who seems to be holding back an eye roll, is the only half-way decent actor amidst the crowd of amateurs and a bored-looking Rahul Dev in Reeta Sanyal, observes Deepa Gahlot.
If not for Tamannaah, it would have been an ordeal to sit through this uninspired horror fable, notes Arjun Menon.
Zindaginama keeps its tone hopeful and steers away from making the stories tragic or depressing, 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.
'I eagerly await the day when we can experience a truly great Bollywood movie rooted in pure historical facts, one that authentically showcases the essence of our armed forces for Indian audiences,' notes Air Commodore Nitin Sathe (retd).
Rekhachitram is the latest in an assembly line of films that use the period setting and mythic allure of the past to drive home the suspense of relatively straightforward genre stories, notes Arjun Menon.
Housefull 5 may not be getting rave reviews but it's got the thumbs up from audiences.
If there is any actor who emerges from this wreck with his talent unscathed, it is Vijay Raaz, observes Deepa Gahlot.
Perhaps Kay Kay Menon should choose his projects carefully, instead of wasting his talent like this, observes Deepa Gahlot.
Despite its horror movie momentum, what draws us to Aditya Sarpotdar's narrative is Bittu's homely universe and sweet struggle to confess his feelings to Bela, not Munjya's malevolent antics.
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.
When it gets to its silly climax where the dots are finally joined, you can't help but see how cheap these thrills are, sighs Mayur Sanap.
After Sita Raman, this is a Dulquer Salmaan film that has won Divya Nair's heart.
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.
Bad Cop is not unwatchable. For older viewers, there may even be some comfort in the familiar, notes Deepa Gahlot.
Quite a few films didn't do well, but particularly disappointing were the films that came from the south.
Squid Game 2 is almost a rehash of the earlier season, discovers Deepa Gahlot.
Vasan Bala's ability to jolt our Bollywood conditioned brains into experiencing new forms of menace, turning a John Woo-style prison riot into a Chinese communist movement and showcasing Alia in a savage new light won Sukanya Verma's dil and jigra.
From the 'khiladi' brand of movies rocking his boat to a love for starring in biopics and scripts inspired by true stories to headlining endless remakes of South Indian hits, there's a pattern to the man and his methods.
Despite its attempt at compounding the complexity of Arthur Fleck, watching Joker: Folie Deux is a slog, feels Deepa Gahlot.
The casting of Marathi theatre and screen actors gives Manvat Murders its stamp of authenticity, observes Deepa Gahlot.
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