The many episodes in which the characters quarrel, sulk and rehearse would have been boring were it not for the music, observes Deepa Gahlot.
If Naam was made today, there wouldn't even have been enough audiences to boo it out of the halls, observes Deepa Gahlot.
Allu Arjun is fantabulous as the doting husband, emotion-loving son and risk-taking entrepreneur. Pushpa escalates his brand from fire to wildfire, applauds Divya Nair.
The action entertainer Marco is a well shot, gnarly bloodfest that packs some lackluster thrills, notes Arjun Menon.
Waack Girls, that captures the moods of Kolkata, follows an oft-used template. So there's not much novelty to look for in the plot, but the actors are excellent, applauds Deepa Gahlot.
The Miranda Brothers is short on humour, romance and real drama, observes Deepa Gahlot.
It's too bad Viijay 69 does not let the viewer feel Anupam Kher's despair or his triumph. The most forgettable 'zero to hero' films at least managed that much, notes Deepa Gahlot.
If approached with minimal expectations, Sikandar Ka Muqaddar offers enough suspense to justify an OTT viewing, observes Sonil Dedhia.
Kraven The Hunter feels like a missed opportunity, a film that could have offered a fresh take on a complex character but settles for mediocrity, observes Sonil Dedhia.
There is an utter pretentiousness to this world and the supposed hip lives of its characters, which makes it plain awkward to watch, complains Mayur Sanap.
The Wild Robot is delightful children's fare and a meaningful watch for grown-ups, discovers Mayur Sanap.
Singham Again is action heavy, so its appeal is limited to fans of the genre, observes Deepa Gahlot.
Abhishek Bachchan conveys the numerous chapters and challenges his mind, body and soul go through with a never-before candour, observes Sukanya Verma.
At 160 minutes, Wicked is too long, and knowing the undercurrents running through the plot, the candyfloss cheeriness gets too much after a point. Still, it is a worthwhile page-to-stage-to screen journey, observes Deepa Gahlot.
Pushpa 2 is a badly misjudged, doubtful sequel that can't capitalise on the wealth of the story world set up in the first film, observes Arjun Menon.
Raat Jawaan Hai is funny, sometimes intense, but most importantly it's so relatable, recommends Namrata Thakker.
What makes Pushpa 2 float is Allu Arjun's magnetic performance. The actor really goes an extra mile to deliver the wildfire he promised, observes Mayur Sanap.
Varun Tej's committed performance somehow rescues Matka from being a pointless venture with stylish flourishes and interesting ideas, observes Arjun Menon.
A gleefully hammy Madhuri and Vidya's volley of death stares and evil laughs engage in a ruthless glamorous tug of war in Bhool Bhulaiyaa 3, notes Sukanya Verma.
We see Rajini's trademark style in Vettayan, and all we can hear from the audience is 'Thalaiva!', record A Ganesh Nadar.
Adah Sharma, who seems to be holding back an eye roll, is the only half-way decent actor amidst the crowd of amateurs and a bored-looking Rahul Dev in Reeta Sanyal, observes Deepa Gahlot.
Despite its attempt at compounding the complexity of Arthur Fleck, watching Joker: Folie Deux is a slog, feels Deepa Gahlot.
What majorly works is Uorfi's complete lack of inhibitions and ease in front of the camera, analyses Mayur Sanap.
The same bunch of people, doing the same things does not make for a satisfying sequel; the added subplots are hastily tacked on, and make no difference to the flow of the series.
Payal Kapadia's understanding of what it means to be a woman is as poignant as her authentic portrait of Mumbai's hoi polloi, observes Sukanya Verma.
Despite its minor flaws, lack of logic, and lecture-style moral narrative, Vettaiyan should be enjoyed in a theatre amid Rajini fans and their wolf whistles, endorses Divya Nair.
Watch her in hand-to-hand combat, wielding guns, firing weapons and breaking bones like a beast in some of the sleekly done one-take sequences. She also owns some emotionally-charged moments within the same dramatic beat, observes Mayur Sanap.
After Sita Raman, this is a Dulquer Salmaan film that has won Divya Nair's heart.
Gladiator 2 delivers an epic experience that may not replace the original in viewers' hearts but certainly earns its place beside it, notes Sonil Dedhia.
Nayanthara: Beyond the Fairy Tale ends up being a flashy, aspirational celebrity lifestyle doc that is aimed for an evening of popcorn-fueled fan tribute entertainment, observes Arjun Menon.
Kanguva is a mishmash of conceptually strong set pieces that feels bloated, as the central scaffolding holding together the core themes of love that heals over time and eternity, feels like an afterthought, observes Arjun Menon.
Citadel: Diana is fun to watch, in a popcorn entertainment way, observes Deepa Gahlot.
Amaran is effective as a intimate, well researched piece of storytelling but does not try to break any new ground, observes Arjun Menon.
If Singham was a biryani, with all the flavours coming together seamlessly, Singham Again is a desi thaali, full of scrumptious dishes, but a tad in excess, discovers Sonil Dedhia who watched the film in New Zealand.
Do Patti gives in to its basest impulses, but collapses like a house of cards when it aims to be clever, notes Sukanya Verma.
The casting of Marathi theatre and screen actors gives Manvat Murders its stamp of authenticity, observes Deepa Gahlot.
If a show about Gujaratis or Indians in the US had to be made, it could have been more authentic, sighs Deepa Gahlot.
Freedom At Midnight is a bold attempt to revisit the whole discourse about Partition, its causes, and the predicament under which the Congress leaders accepted it. It perfectly captures the extremely confused and complicated situation to which it seemed the only viable solution, observes Utkarsh Mishra.
Between tons of sexual innuendo and Kapil Sharma brand of slapstick gags characterised in loud caricatures, moronic behaviour, flimsy wigs and cartoonish rhythm, Vicky Vidya Ka Woh Wala Video's jarring notions of exuberance have nothing novel to offer, groans Sukanya Verma.
Kahan Shuru Kahan Khatam, with its retro-inspired title song and background score just tries too hard, both with the comedy and the message, feels Deepa Gahlot.
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