The lead pair looks good on screen. But each time they look lovingly into each other's eyes, the viewer's eye wanders over to the gorgeous landscape, observes Deepa Gahlot.
Though Vash Level 2 doesn't deliver an absolute knock-out experience we would expect from a horror sequel, it has got enough zing to keep the franchise hurtling forward, raves Mayur Sanap.
Songs Of Paradise is the story of a female achiever that needed to be told, just as her songs of love and longing deserve to be rediscovered and shared with music aficionados, observes Deepa Gahlot.
Where Half CA 2 scores is in making the audiences care for the characters to the extent that one holds their breath when the results are declared, Deepa Gahlot notes.
The Kalyani Priyadarshan starrer is the kind of incentive superhero origin story that can alter the way such films are made in Malayalam cinema, feels Arjun Menon.
Tehran's dull treatment of a dry premise never makes us feel the complexity of the ongoing Middle East crisis nor the patriotic fervour in John Abraham's voice, notes Sukanya Verma.
It is sporadically chilling but the disparate elements take forever to come together, notes Deepa Gahlot.
Hridayapoorvam does not break any new ground or tell a story as old as time with any novelty but its sincerity keeps it alive, notes Arjun Menon.
The sheer awfulness of Andaaz 2 really doesn't deserve anyone's time or attention, warns Mayur Sanap.
But for those who come to watch Rajini for a larger-than-life, first-day-first-show vibe, he will not disappoint in Coolie, raves Divya Nair.
Vijay Sethupathi and Nithya Menen's electrifying performances hold Thalaivan Thalaivii together, notes Arjun Menon.
Unlike the TVF shows that manage to mine humour and nostalgia for family bonds that are seen to be fraying in real life, the ordinariness of Bakaiti becomes its stumbling block, observes Deepa Gahlot.
Fahad Faasil and Vadivelu more than deliver the goods, but the film, as a whole, fails to live up to their startling on-screen partnership, observes Arjun Menon.
War 2 offers you exactly what you'd expect from a mass entertainer: some escapist fun, some truly knockout action scenes, and overall a good time at the movies, observes Mayur Sanap.
Salakaar is full of heart, and emotionally satisfying, applauds Syed Firdaus Ashraf.
The jokes don't land. The one-liners fall flat. And worse, nobody from the well-stacked cast looks like they are having fun, observes Mayur Sanap.
The always dependable Pratik Gandhi finds a match in Sunny Hinduja and they are surrounded by a top notch supporting cast, observes Deepa Gahlot.
Long lost brothers, downtrodden masses, a long forgotten prophecy, and a psychotic drug cartel out for blood, Kingdom plays out with the familiar ethos of umpteen films we have seen. But the execution is slick, notes Arjun Menon.
A straightforward mishmash of earlier I Know... movies, where the obvious silliness remains intact but the fun quotient comes discounted, observes Mayur Sanap.
There's an obvious attempt to startle with its gruesome imagery of severed heads skewered on chopped limbs and peeled-off faces but it's too tacky to elicit any real dread, observes Sukanya Verma.
After a long time, here's a film that does justice to the people whose stories are never heard or written about, notes Divya Nair.
For all its preoccupation with blindness, the only people Aankhon Ki Gustaakhiyan deems blind is the audience to think they cannot see what poppycock unfolds, sighs Sukanya Verma.
Vir Das' comedy amuses even those who didn't expect to be amused in the first place, discovers Utkarsh Mishra.
Poor writing, unrealistic plot points, and weak performances drag Sarzameen down, sighs Syed Firdaus Ashraf.
Smriti Irani is the oxygen of Kyunki Saas Bhi Kabhi Bahu Thi. When the camera zooms in on her, you'd momentarily forget she is a feisty politician in real life, notes Divya Nair.
As a superhero movie, The Fantastic Four: First Steps has a stale feeling that gets less and less interesting as it progresses before winding up as the usual superhero routine despite the best efforts of its talented cast, notes Mayur Sanap.
Maalik is just unpleasant, not even slightly engaging, observes Deepa Gahlot.
Saiyaara ends up a bland rehash of old ideas served in an older bottle, notes Arjun Menon.
The film lurches from one melodramatic situation to another, for nearly 160 minutes, before culminating in an ending that embodies Director Anupam Kher's personal philosophy: Kuch bhi ho sakta hain, notes Mayur Sanap.
Rematch will be primarily enjoyed by chess lovers, but the series is sprinkled with a massive dose of drama and intrigue to keep everyone hooked through all six episodes, observes Norma Godinho.
Heads of State, co-starring apna Priyanka Chopra, is a silly buddy comedy where you have a lot to laugh and cringe at, notes Mayur Sanap.
Special Ops 2 captures the spirit of the modern-day spy thriller and runs with it, observes Deepa Gahlot.
Everyone had high expectations of season 3, expecting the same level of emotion, the same thrills, and the same cinema. But it failed to deliver, feels Vihaan Kulkarni.
Ishwak Singh's earnestness and the rustic energy of his mates keeps Mitti engaging, even when it starts to get preachy, observes Deepa Gahlot.
Four Years Later shines in various moments that instantly resonate with you, thanks to Shahana Goswami, observes Divya Nair.
Mistry may work for some, but also raises the question about mental illness being treated as a means of amusement for audiences, notes Deepa Gahlot.
A fanciful air envelopes Aap Jaisa Koi's modest drama, of a story lost in its own bubble that's only burst by villains in the form of judgemental jerks and heroes in need of rescuing, observes Sukanya Verma..
This Superman likes a cuppa of hot cocoa, trusts people around him quite easily, gets hurt by social media trolls (the '#Supershit' particularly irks him), and admits to 'screwing up' all the time, discovers Mayur Sanap.
If you've watched and liked the Cobra Kai series, you will love this movie and the way it ends, raves Varun Khanvilkar.
The silliness Detective Sherdil packs in the guise of humour not only trivialises a likeable star into a scallywag but squanders its ensemble cast into one-note distractions, notes Sukanya Verma.
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