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.
Diljit Dosanjh's switch in singing style as he smoothly assumes Chamkila's vocal persona highlights the brilliance of his artistry, observes Sukanya Verma.
'I am not playing someone's mother or grandmother just because a big director is offering a role. Believe me, I have many got such offers but they don't persuade me.'
'While we've seen some standout series over the past year, few have been as captivating and binge-worthy as this.'
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.
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.
Rohit Shetty gets so busy giving us a social message that he forgets to add a 'tadka' -- also called 'entertainment' -- to Cirkus, sighs Syed Firdaus Ashraf.
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.
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.
'The largest listenership for Vividh Bharati outside the country is in Spain.' 'The labourers who go there for the tomato-picking season feel cut off from their country and listen to Vividh Bharati to overcome their loneliness.'
Ranneeti: Balakot And Beyond veers between intriguing and boring, observes Deepa Gahlot.
Lootere deserves points for originality and novelty, observes Deepa Gahlot.
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.
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.
Showtime is watchable but never engrossing, notes Sukanya Verma.
ITo steer clear of sanctimonious newspaper stories all your life, and then be saddled with movies like Kadak Singh -- now there's a rotten bit of luck worth moaning about, sighs Sreehari Nair.
A movie like Bad Boy being made in 2023 would have been just as unwatchable no matter who made it. That Rajkumar Santoshi has, is almost heart-breaking, sighs Deepa Gahlot.
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.
Maidaan draws out more yawns than yays, observes Sukanya Verma.
Much better films about the explosive -- if often misdirected -- energy of the young have been made before than Dange, points out Deepa Gahlot.
The first quarter has scored mostly flops, with just one blockbuster (Chhaava) and a smattering of those which have recovered costs.
Yaariyan 2 evokes a tinge of nostalgia for the time when music (and lip sync songs) used to be the mainstay of a commercial film, notes Deepa Gahlot.
The film has already earned Rs 90 crore and is all set to enter the Rs 100 Crore Club today, June 9.
Mast Mein Rehne Ka is a thoroughly human film, which makes you laugh as hard as it will make you feel for the characters, notes Mayur Sanap.
Had it not been for Pankaj Tripathi, who must have worked hard to get those Vajpayee intonations and mannerisms so perfectly well, Ravi Jadhav's flattering portrait of Vajpayee would have been more vacuous than what we get to see, observes Prasanna Zore.
Merry Christmas has a breathtaking climax that will have you sighing like you've never sighed in a Sriram Raghavan movie before, applauds Sukanya Verma.
Despite Ravi Teja's relentless energy, the drama is bogged down by tedious emotional beats, observes Mayur Sanap.
Akshay Kumar's patriotism, Rana Naidu's fury, Snow White's fair and lovely attitude... emotions run high on OTT this week.
The Yami Gautam-Sunny Kaushal thriller has enough twists and turns to keep you engrossed, observes Namrata Thakker.
Vineeth Sreenivasan deserves applause for striving to blend the past with the present and revoking your memories, states Divya Nair.
Madgaon Express understands its charm lies in its inherent silliness and then works around as pure unadulterated entertainment, which makes it imminently watchable, raves Mayus Sanap.
Call Me Bae is a spirited new addition in guilty pleasures for the fashion-loving, rom-com starved soul, applauds Sukanya Verma.
Operation Valentine follows the templates of similar Air Force narratives to deliver some rousing, harmless fun time, observes Arjun Menon.
Like the countless other things that were made possible online by the deadly coronavirus, Connect adds demonic possession and exorcism to the list, observes S Saraswathi.
When she does show up an hour into the movie, Alia's confidence is hard to miss, notes Sukanya Verma.
'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.'
There are no great emotional highs or lows in Dono. It is just made up of little moments of normal interactions between young people, observes Deepa Gahlot.
Teja Sajja is agile and a decent actor but not charismatic enough to watch in almost every frame, observes Deepa Gahlot.
Anweshipin Kandettum is a fascinating genre exercise let down by its incessant attention to details, observes Arjun Menon.
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