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.
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.
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.
O'Romeo is an ordinary plot about a man's obsession, but Vishal Bhardwaj lays it out like a lavish spread, with stylish and very violent action set pieces, effectively used music (Bhardwaj composes Gulzar's delectable lyrics), and a romance that has moments that are tender as well as bitter, observes Deepa Gahlot.
Kudos to the makers for attempting to create a meaningful series, Bandwaale, that blends the beauty of music to inspire you to look within, and find your voice, raves Divya Nair.
Ranapati Shivray: Swari Agra is a riveting film that successfully captures one of the most celebrated event of the Maratha warrior king's life on screen, notes Ishaan Zore.
Beneath its grit and darkness, Kohrra 2 reveals surprising warmth and is a beautiful, beautiful show, promises Mayur Sanap.
Tu Yaa Main feels rather indulgent for a survival drama. You can see where it's headed, and it just grows tiresome after a point, observes Mayur Sanap.
There are moments in Assi when you will get scared, when you will get angry, when you will feel helpless... when you will realise the enormity of the crime.
Manuel Garcia-Rulfo delivers his best performance yet in The Lincoln Lawyer 4, applauds Deepa Gahlot.
While season 1 and 2 had the most sizzling chemistry between the lead pair, the Bridgerton series hasn't peaked since Kate and Anthony. With Benedict and Sophie, the spark and intensity feels further subdued, observes Divya Nair.
If dark and twisted crime thrillers and trauma-led violence interest you, you can binge-watch Daldal over the weekend, endorses Divya Nair.
Ashakal Aayiram can be celebrated for the return to form for Jayaram, who owns every scene he is in, but the film around him drags and drags, with no end in sight, notes Arjun Menon.
Sanjay Mishra and Neena Gupta bring their A-game to roles that naturally suit their age, and this lived-in quality makes Vadh 2 even more convincing, notes Mayur Sanap.
The fact that a major studio put out a silent film starring some of the biggest names in the industry in these concerning times for the film business is the one big takeaway from Gandhi Talks, notes Arjun Menon.
TVF deserves credit for breaking its mould of picking and sticking to favourable and comfortable genres. Space Gen could serve as a launch pad for more exciting content to come, hopes Divya Nair.
Rani Mukerji gets plenty of scope to shine, seething with anger, screaming, radiating fury, and even taking on hand-to-hand combat in a truly boss-lady role, notes Mayur Sanap.
Marty Supreme is anchored by a stunning lead performance from Timothee Chalamet, applauds Mayur Sanap.
Sarvam Maya banks on its leading man, Nivin Pauly, who grasps at straws and makes the improbable scenes work with his charm, notes Arjun Menon.
Because it treats soldiers as human, and concentrates on their emotions as much as their bravery, Border 2, probably without meaning to, speaks out against war, observes Deepa Gahlot.
Happy Patel: Khatarnak Jasoos is not supposed to make sense, and doesn't even pretend to, observes Deepa Gahlot.
Cheekatlo is a run-of-the-mill crime procedural, notes Arjun Menon.
Rahu Ketu crams in a clumsy social commentary on corruption and social evils, along with flashy dance numbers, trying to do everything and too much all at once, before ending up as khichadi, notes Mayur Sanap.
F1: The Movie is definitely a fun time at the movies and deserves a big screen experience, notes Mayur Sanap.
The Night Manager Season 2 is a comfortably paced, tension holding series, with a couple of solid twists, observes Deepa Gahlot.
Kalamkaval, like any good work of art, suggests more than it shows, raves Arjun Menon.
Throughout Parasakthi, Sivakarthikeyan mentions he is not against Hindi but the imposition of Hindi, notes A Ganesh Nadar.
It is difficult to make conveyor belt and baggage-scanning scenes thrilling -- which is how most people trying to sneak out through the Green Channel are caught -- but Neeraj Pandey and co-director Raghav M Jairath and co-writer Vipul K Rawal make sure there is enough going on to make the series watchable, raves Deepa Gahlot.
The Raja Saab is a poorly judged effort to appease to the lowest hanging fruit, and is not sincere in its ambition to entertain, notes Arjun Menon.
The Housemaid makes up for a few hiccups with a series of sharply staged shocks, resulting in a fun and satisfying thriller, notes Mayur Sanap.
Whether Freedom At Midnight 2 has a political agenda, a bias or two will be read into it, depending on the affiliation of who is watching, notes Deepa Gahlot.
Vaa Vaathiyar ends up being a bland yet fascinating iteration of a masala film funnelled through the prism of a quirky humorist, notes Arjun Menon.
© 2026 Rediff.com - Investor Information - Advertise with us - Disclaimer - Privacy Policy - Sitemap - Feedback - About us - Terms of use - Grievances