Hey Kai Navin? begins to falter, because the show leans too heavily into saccharine sentimentality, often choosing non-fussy conflicts over narrative depth, notes Mayur Sanap.
When it's not spouting excessive maths jargon -- algorithm alone is uttered a zillion times -- too many characters with too little context crowd the scenes and turn Maa Ka Sum into a slog, observes Sukanya Verma.
Riz Ahmed's new series Bait delivers a bitingly humorous, and topical commentary on a British-Pakistani actor's audacious journey auditioning for James Bond, challenging traditional casting norms and exploring complex themes of identity and representation.
The Drama is what you can call a 'feel-bad' romance done right, notes Sreeju Sudhakaran.
Mamla Legal Hai 2 draws humour from its assorted characters, crafting quirky storylines inspired by newspaper headlines, and anchored by consistently strong performances, led by an ever-reliable Ravi Kishan, applauds Sreeju Sudhakaran.
They Will Kill You is the kind of film that works perfectly fine for a casual watch, especially if you are fan of slasher genre, observes Mayur Sanap.
Kasargod Embassy squanders a promising premise with weak writing, bad performances and amateurish execution, resulting in a tedious and largely forgettable watching experience, notes Sreeju Sudhakaran.
The English subtitles in Dhurandhar The Revenge don't get it right, and at regular intervals, the sub-titles and the Tamil dialogues are saying different things. Those in the audience, who know both languages, can be heard laughing at each blunder, observes A Ganesh Nadar.
Like the best crowd-pleasers, Project Hail Mary makes you laugh, it makes you weep a little, it keeps you riveted and then leaves you with a big smile by the end, notes Mayur Sanap.
As bombs fall and fascists rise in Britain, it is left to an over-the-hill thug to save his country from Nazi-engineered ruin, observes Deepa Gahlot.
Prathichaya has timely ideas and an interesting moral core, but is weighed down by dated storytelling, predictable plotting, and uneven performances, notes Sreeju Sudhakaran.
Made in Korea had the potential to be a culturally rich coming-of-age story but settles for a generic template with an underdeveloped location setting, notes Sreeju Sudhakaran.
Aspirants Season 3 thrives on its character-driven moments and good performances, but is let down by uneven writing and a diluted focus on its breakout character, observes Sreeju Sudhakaran.
Tighee is a quietly heartfelt drama, shining through sensitively curated human moments and impactful performances, discovers Sreeju Sudhakaran.
Chiraiya could have been a powerful, hard-hitting series but it ends up feeling scattered and emotionally uneven, observes Divya Nair.
Jazz City could have been enjoyable had it not been so densely over-plotted and unevenly executed, notes Deepa Gahlot.
Ustaad Bhagat Singh is less a film and more, a lazily constructed vehicle for star worship and political signalling, one that quickly wears out its welcome for anyone outside Pawan Kalyan's core fanbase, observes Sreeju Sudhakaran.
Aadu 3: Part 1 feels like a film trapped in its own ambition. While it expands the universe in an interesting manner, it loses sight of the tight, irreverent humour that made the previous films click in the first place, notes Sreeju Sudhakaran.
If you are willing to spare four hours of your day on a spy action thriller, Dhurandhar The Revenge will surprise, shock and overwhelm you with its nervous energy, notes Divya Nair.
For a grim subject matter as grim as this, it's refreshing that Sentimental Value avoids becoming a manipulative, melodramatic tearjerker, notes Mayur Sanap.
'There is a fortune in stolen money, counterfeit notes floating around, and political skullduggery afoot, along with treachery, double dealing, kidnapping and all manner of wickedness packing the series so densely that the pace never flags and a profusion of twists keeps the story engaging even when it strains credibility,' notes Deepa Gahlot.
It is a pleasure watching Pankaj Kapur and a radiant Dimple Kapadia, two outstanding actors effortlessly portray complex emotions in Jab Khuli Kitaab, raves Deepa Gahlot.
What Subedaar lacks is that element of surprise that makes a film worth the viewer's time and willingness to engage, observes Deepa Gahlot.
Make the effort for Boong, Mayur Sanap insists. Watch it, and experience its quietly heart-aching beauty.
Accused's greatest lure is its queer couple at the centre of storm but by sidestepping their camaraderie for polite affection, the drama does itself immense disservice, observes Sukanya Verma.
Every lead character is nuts in Psycho Saiyaan, observes Deepa Gahlot.
Even with its convoluted plot and a bit of a mid-series sag, Young Sherlock is tremendous fun, applauds Deepa Gahlot.
The last scene in Hamnet will be seared in movie memory, notes Deepa Gahlot.
Bugonia's ending, though not unexpected, is still shocking, reveals Deepa Gahlot.
The Museum Of Innocence is too long. Nine episodes could have been reduced to six, with some slick editing, observes A Ganesh Nadar.
The pace at which Priyanka's Ercell fights off her enemies and secures her family into a bunker, you would forget you are in a Hollywood thriller, notes Divya Nair.
It's not the clothes or the rebellion that invites violence, but the mindset that continues to police and condition girls and encourages the perpetrator, instead of punishing the criminals. This lack of empathy is what ultimately brings The Kerala Story 2 down, observes Divya Nair.
Though it revisits a terrifying period of Brazilian history, The Secret Agent just skims over the surface of the darkness, not losing its pace, colour, music and a sense of optimism, observes Deepa Gahlot.
Rental Family explores a simple question: If you pretend to care for long enough, when does it start to feel real? Mayur Sanap gives us a closer look.
Even as Benedict and Sophie steal sultry glances and get intimate, one crucial thing is missing all throughout, notes Divya Nair.
The film uses the romcom template, but hampers itself with a plodding pace, flimsy conflicts and an almost absent sense of humour.
One Battle After Another touches on big ideas like racism, immigration, abuse of power, identity, and parenthood without turning preachy, observes Mayur Sanap.
Train Dreams refuses to pander to an attention-deficit audience and is not afraid of the silence of emotional depth, observes Deepa Gahlot.
Marketed as a Valentine's Day treat, audiences can expect to be mildly entertained by the surface-level intimate scenes in Wuthering Heights that only leave you thirsty for the real, raw passion, notes Divya Nair.
The violence in Kennedy is often unflinching and the characters offer no easy sympathy, but you stay hooked on how it all plays out. And that's when the classic Anurag Kashyap twist arrives, bringing an unexpected emotional payoff that lands just right, observes Mayur Sanap.
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