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.
Where Dhurandhar leaned into aggressive bloodlust through its acerbic storytelling, Ikkis moves in the opposite direction, asking us to see people beyond uniforms, slogans, or sides, observes Mayur Sanap.
Large chunks of Stranger Things Season 5, Volume 2 are exhausting and boring, despite the efforts of the likeable cast, with the '80s outfits and big hairstyles that were trendy then, looking earnest and hassled because the fate of the world depends on them, observes Deepa Gahlot.
There is nothing new or original about the storyline but loyalists may continue to be swept away by Emily's high-fashion escapades against the sun-drenched backdrops of Rome and postcard-perfect Venice, notes Divya Nair.
Nothing about TMMTMTTM feels fresh. That includes the painfully uninspired romance between the leads, who lack both genuine chemistry as well as individual charm to make a romantic drama like this work, sighs Mayur Sanap.
Raat Akeli Hai 2 is watchable, but considering the strength of its predecessor, it could have been more engaging, with a greater sense of urgency and a sharper, cleverer story, notes Mayur Sanap.
Vrusshabha feels like a ChatGPT prompt gone wrong, where the lazy ask for a sure-shot 'Pan Indian' blockbuster formula gives us a flimsy period epic in the guise of an incompetently drawn 'reincarnation drama', observes Arjun Menon.
Saali Mohabbat escalates the hell-hath-no-fury-like-a-woman-scorned theme, and fashions a dark domestic thriller, discovers Deepa Gahlot.
By not turning Mrs Deshpande into a monster like the notorious Hannibal Lecter, the show may have reduced the chills. Still, it's an efficiently made crime show, which depends on the stardom of Madhuri Dixit, observes Deepa Gahlot.
Four More Shots Please 4 seems to have been made to show off trendy outfits because more than the script, attention was paid to the costumes, observes Deepa Gahlot.
The Great Shamsuddin Family is a seemingly light chamber piece that hides its claws of social commentary under the chirpy banter of an apartment full of women, observes Deepa Gahlot.
Christmas Karma narrowly misses being a highway pile up, mainly because its heart is in the right place, believes Deepa Gahlot.
Avatar: Fire And Ash is visually stunning and emotionally engaging, offering strong performances and thrilling action, notes Syed Firdaus Ashraf.
Akhanda 2: Thandavam may appeal to Nandamuri Balakrishna's fans and will be a madcap awakening for those uninitiated in Boyapati Sreenu's no goofball ideas in constructing action, notes Arjun Menon.
The bed starts to creak. Anklets jingle in the stillness of the night. A creeping anxiety settles in as strange accidents and eerie incidents force you to question whether a supernatural presence is quietly observing your every move, observes Divya Nair.
Real Kashmir Football Club is heartfelt and strong performances keep it afloat, but it's a missed opportunity to tell a wholesome tale, notes Norma Godinho.
In the midst of crime and cop shows all over, a family comedy comes as a relief, notes Deepa Gahlot.
Ziddi Ishq is a messy, unhinged revenge drama that is all over the place, observes Divya Nair.
Kis Kisko Pyaar Karoon 2 may be a comedy filled with chaos, but in its indirect way, it speaks about a time when the Constitution mattered more than one's religion and when the idea of India was larger than personal hate, observes Syed Firdaus Ashraf.
Demon Slayer: Infinity Castle's art is SOOOOOOOOOOOOOO good, amazing, terrific, beautiful, imaginative... Avan Verma has run out of words.
Zootopia 2 is charming, engaging, and thoroughly fun to watch, applauds Mayur Sanap.
Dhurandhar may not have the dark realism of a spy story which a web show can manage. But it does not have the flamboyance either, that has come to be associated with espionage movies, observes Deepa Gahlot.
Those who have not watched earlier seasons of Stranger Things would be baffled by it, but then the finale is meant for fans who understand the themes and remember its mythology, observes Deepa Gahlot.
Gustaakh Ishq feels like a cinematic revival of everything we once loved about Urdu story-telling, observes Syed Firdaus Ashraf.
All this time the Great Indian Family was a refuge, when did it become a toxic dump, wonders Deepa Gahlot.
We may not know Dr Ramani at first, but by the end, we get a clearer sense of his nobility. For a biopic, that's a job done well, notes Mayur Sanap.
Revolver Rita doesn't use its comic potential to its fullest and ends up a passable comedy that could have used more bite, observes Arjun Menon.
Anything is better than Mastiii 4, sighs Mayur Sanap.
Dining With The Kapoors offers a perfectly edited, heart-warming family reunion, but it stops just short of showing the messy nok-jhoks and real moments that could have made it more immersive, notes Divya Nair.
Tere Ishk Mein is a disservice to brilliant actors like Dhanush and Kriti Sanon, who have poured their heart and soul into their performances in a story that fails to honour its characters, notes Divya Nair.
Maharani Season 4 doesn't disappoint, offering strong performances and Huma's powerful return as Rani, vouches Namrata Thakker.
It's been a while since Hindi cinema had a zany, well-written comedy, applauds Deepa Gahlot.
Agra is weird, even ambitiously so, as the film moves between being disturbing and just plain odd, it doesn't fully land on either side, observes Mayur Sanap.
Eko, a smartly written film, loses steam midway but somehow stays afloat and deliver the goods, notes Arjun Menon.
120 Bahadur is underwhelming, adding little fresh perspective and generally feeling like a standard war drama we have seen umpteen times before, notes Mayur Sanap.
The Girlfriend is not your typical love story and may not be streaming in as many theatres as you'd like to, but it is definitely worth lauding for showing us the mirror about how we normalise toxic behaviours instead of taking a preachy tone, notes Divya Nair.
The supernatural-mystery stuff is well balanced with Baramulla's more grounded, socially realistic elements, making it one of the most unique and creatively well-realised Hindi films Mayur Sanap has seen in a long time.
This Delhi Crime series belongs to Huma Qureshi, who plays Badi Didi as a hateful woman. She also commands some admiration for the way she negotiates with venal men and even some degree of sympathy for making the best of whatever life throws at her, observes Deepa Gahlot.
Season 3 belongs to Jaideep Ahlawat who, despite the not so well-etched character, owns Rukma and gives the confrontation with Srikant Tiwari the missing edge of the earlier two seasons, observes Saisuresh Sivaswamy.
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