Khichdi needs a lot more masala, observes Deepa Gahlot.
Women Of My Billion is stark and disturbing, but at the end of it Srishti Bakshi is still able to say, 'My India is not beyond repair', observes Deepa Gahlot.
All the six packs in the world can't compensate for an unenthusiastic performance, sighs Sukanya Verma.
There's nothing in Chatrapathi that you haven't already seen before, complains Mayur Sanap.
More than the jingoism overkill, it's the tedious tone of telling stories of this genre that hurts Pippa, observes Sukanya Verma.
The Great Indian Family, observes Sukanya Verma, is a cheerful fable that points out the absurdity of discrimination as a tool employed by power hungry opportunists.
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.
Pratik Gandhi's emotional range makes him a treat to watch while Vidya is as wild as she's wise, observes Sukanya Verma.
Guruvayoorambala Nadayil is a no-holds-barred, silly comedy that will keep you glued to the screen even when the going gets tough towards the end but the smile on your face will not leave, observes Arjun Menon.
Despite the mediocrity at large, these films had me in raptures for the emotions they evoked within as a cheering audience, critic and cinephile.
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.
'Some people tell me you're playing hard to get. But I'm not. It's the other way around.'
While Season 3 is no match to the previous seasons, it would be fair to expect there is a lot more for the season to reveal in terms of romance and suspense, observes Divya Nair.
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.
Guntu Kaaram doesn't deliver on its basic promise: Entertainment, sighs Mayur Sanap.
The show takes its own pace to pick up, but then when you least expect, it grabs you by the throat, notes Aseem Chhabra.
'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.'
When you leave the cinema hall, what stays with you is the message of inclusion and the need to stand up for your freedom, observes Divya Nair.
A feeble fable masquerading as a robo rom-com, Teri Baaton Mein Aisa Uljha Jiya aspires to address what unrealistic expectations in a relationship can lead to, observes Sukanya Verma.
No matter what the reviews may say, film folk queued up to watch Chatrapathi at a special screening in Mumbai.
The mental age of Fukrey 3's humour is the same as the ones who titter at number one-number two jokes. And this one certainly has more loo than laughs on its mind, observes Sukanya Verma.
Sambhaji is a lion but the movie was a damp squib, sighs Vishaka Rautela.
Yaatris works neither as a comedy nor as a family drama.
Aarya Aakhri Vaar should have been slicker and more polished than the first, or at least ended with a louder bang, observes Deepa Gahlot.
While 2023 saw many mega blockbusters (Pathaan, Gadar 2, Jawan and Animal), this year had only two.
'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.'
If these six stories in Rainbow Rishta are any indication, then urban Indian society is moving towards a welcome liberalism, even though reality cannot be so simple, notes Deepa Gahlot.
Article 370 is not as crude as some of the openly propagandist films made in recent times. It could at least open up a discussion on what is to be done to heal the wounds of the people of Kashmir, which years of shrieking TV debaters could not do, feels Deepa Gahlot.
If you're a fan of the horror genre, give Adhura a watch because it will definitely give you the heebie-jeebies! recommends Namrata Thakker.
The lives of the kids Deepa Bhatia portrays in the series are bleak, with small periods of sunshine when they get picked for an ad or serial, punctuating the longer periods of struggle, observes Deepa Gahlot.
The Village starts off pretty well, but it required something more convincing than a bunch of creepy Gollum-like monsters to deliver the impact it should, observes Divya Nair.
'I was quite taken in by the adept handling of a simple (yet complicated!) subject and had my share of laughs and tears by the time the curtain fell,' observes Nitin Sathe after watching the superhit Baipan Bhari Deva.
Aadujeevitham (The Goat Life) is undoubtedly one of the most successful experiments in Prithviraj's journey as an actor, applauds Divya Nair.
Rajkummar Rao and Adarsh Gourav get into the nutty mode easily and carry off the dark comedy without overacting, while Dulquer Salmaan looks bored, observes Deepa Gahlot.
'As an actor I feel I have a strong relatability with the common Indian.' 'Madhav Mishra is not a character of cinema, he is a character from and of our society.'
Through Manorathangal, M T Vasudevan Nair makes himself available to a whole new generation of uninitiated viewers, who can familiarise themselves with his rich body of work and hope to learn a thing or two about life in all its messy grandeur and flawed imperfections, notes Arjun Menon.
Too bad the one time it is friendly to the environment, Tiger chooses to celebrate his Diwali with 'meetha' and not 'pathaaka', points out Sukanya Verma.
Anurag Kashyap whips up an engaging thriller and Taapsee Pannu delivers yet again, observes Namrata Thakker.
Dream Girl 2's understanding of womanhood boils down to her boobs, sighs Sukanya Verma.
The play-off between Prabhas and Prithviraj is the high-octane fuel that lends Salaar momentum, observes Mayur Sanap.
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