If not for Tamannaah, it would have been an ordeal to sit through this uninspired horror fable, notes Arjun Menon.
Jaat is a full-on, South-infused entertainer that delivers exactly what it promises, feels Rajesh Karkera.
Be it as a source of fire, secret or endgame, everything is seen through the prism of sex and good looks in The Royals, observes Sukanya Verma.
Loot Kaand tries to concoct a crime drama that arouses some curiosity but is instantly forgettable, observes Deepa Gahlot.
Everything in Good Bad Ugly seems copied, rues A Ganesh Nadar.
It this era of sensationalism, we should appreciate director Anant Mahadevan for treating Phule with calm and composure and not going overboard, notes Hemant Waje.
Thudarum is a masterpiece for adults, a serious yet self-aware piece of cinema that has something for everybody, feels Arjun Menon.
Forget smarts or cheek, there's little novelty to be found in Jewel Thief's juvenile script, barring its now free usage of the F-word to make it sound all hip and adult, observes Sukanya Verma.
Watching Bazooka is like trying to figure out a long drawn-out puzzle that never makes sense, observes Arjun Menon.
Despite the evolution of cinema toward more refined expressions and aesthetics today, the exaggerated comedic style of Andaz Apna Apna remains endearing and entertaining, reminding us that sometimes, we just need a dose of mindless comedy to unwind, feels Shristi Sahoo.
Babil's palpable reactions to invasion of privacy make a strong case for Logout's plausible scenario, observes Sukanya Verma.
For a story that thrives on jumpscares and gruesome kills, The Monkey has enough tricks up its sleeve. The shockers keep you entertained for the most part, observes Mayur Sanap.
Kesari 2 has more style than substance on its mind, feels Sukanya Verma.
An upright police officer fighting wrongdoing is something we have seen umpteen times before, but Khakee: The Bengal Chapter holds our interest, thanks to a layered and complex story with a dozen of well-detailed characters, observes Mayur Sanap.
Patrick Graham's crime documentary The Dupatta Killer gives all sides of the story and leaves it to the viewer to fill in the blanks, notes Deepa Gahlot.
There's not any effort -- not even a smidgen -- to resurrect a superstar on the wane in Sikandar, sighs Sukanya Verma.
Bada Naam Karenge is a sweet, simple love story sprinkled with family drama and entertainment, something that has been missing from the OTT space for a while, feels Namrata Thakker.
Choreographer-turned-director Remo D'Souza can sure set the stage on fire but isn't quite the storyteller, notes Sukanya Verma.
If you disregard history and are ready to watch Kesari 2 purely as an entertainer, you are definitely going to enjoy it, feels Utkarsh Mishra.
Such a collection of amiable characters were last seen in Panchayat. There are greedy dowry seekers, criminals, misogynists and the like, but the collective goodness of the others keep violence and male chauvinism in check, notes Deepa Gahlot.
Brave New World deviates from the Marvel template and takes a route of a paranoid thriller with a politically charged narrative, observes Mayur Sanap.
Mere Husband Ki Biwi collapses into an unremarkable My Best Friend's Wedding knock-off reducing a woman's worth to a catfight, observes Sukanya Verma.
The Brutalist reaches its full potential, thanks not just to its writing and its technical brilliance but also Adrien Brody's performance, applauds Deepa Gahlot.
Crime Beat is engrossing enough to binge-watch, endorses Deepa Gahlot.
There is much in Oops! Ab Kya? that continues to linger till the cliff-hanger in the final episode. And yet, there's a great deal about the show that doesn't quite come together, observes Mayur Sanap.
When we put 'Thala' Ajith and 'Action King' Arjun in the same frame, you can expect fireworks and they don't let you down, notes A Ganesh Nadar.
The possibilities of this serviceable thriller are immense but the makers prefer to play it safe and hold back the daredevil in the diplomat's clothing, observes Sukanya Verma.
Kunal Kohli's attempt to bottle the essence of Gen Z in Bobby Aur Rishi Ki Love Story remains superficial, observes Deepa Gahlot.
Palak and Anuja endear us to their bittersweet world, observes Sukanya Verma.
L2: Empuraan is an ambitious sequel that is bigger, bolder and timid in equal measure, observes Arjun Menon.
Dhoom Dhaam is a medley of midnight shenanigans that oscillate between jumbled screenplay and out-of-place crusading, notes Sukanya Verma.
Ram Madhvani's series is all over the place and also boring to watch, complains Deepa Gahlot.
Superboys of Malegaon is a delight to watch, raves Deepa Gahlot.
As it meanders along The Mehta Boys can't decide what it wants to be -- a comedy, an emotional family drama or just a slice of life in the city, observes Deepa Gahlot.
Fiercely original filmmaking from a director whose even just good enough attempt fares much better than your average blockbusters, observes Mayur Sanap.
If Prakash Jha is able to transfer today's social and political reality onto the screen, the future seasons of Aashram might just get a much-needed dose of eyeball-grabbing power, observes Deepa Gahlot.
Suzhal: The Vortex 2 is a compelling watch with a tightly woven narrative, elevated by powerful performances, notes Divya Nair.
Himesh Reshammiya does not have the swag or the acting chops to play a loose cannon cop, sighs Deepa Gahlot.
Sweet Dreams is a nice and wholesome date movie, recommends Deepa Gahlot.
A superficial drama that never rises above its boring sentimentality, notes Mayur Sanap.
© 2026 Rediff.com - Investor Information - Advertise with us - Disclaimer - Privacy Policy - Sitemap - Feedback - About us - Terms of use - Grievances