The new season coasts along on the simple anecdotes that make up the piggy bank of family lore; the performances are as wonderful as before, but the sharpness of humour is starting to dull a bit, observes Deepa Gahlot.
Given that Twelve Final Days doesn't really delve into the genesis of Roger Federer, the ups and downs of his career, the assumption is that it is meant for people who are already familiar with his work, observes Deepti Patwardhan.
There are enough threads left to weave a Season 4, hopefully without the dark clouds hovering over Phulera.
An ultra-violent film about violence, Kill's greatest accomplishment isn't its death count alone but to challenge our perception of violence, observes Sukanya Verma.
Aavesham is smooth in its storytelling and leaves a chilling aftertaste, thanks to its one-of-a-kind anti-hero, applauds Arjun Menon.
There is startling accuracy to Dibakar Banerjee's portrayal, notes Sukanya Verma.
Towards the end of the film, when one character exclaims, 'What a crazy case!' your sentiments feel validated, observes Mayur Sanap.
What makes Ullozhukku worth recommending is its ability to surrender to the surprises and yet grow with its characters, observes Divya Nair.
Stand-up comedian Kapil Sharma is back with his show and while the set is bigger and the look is grander, the gags are still the same, feels Namrata Thakker.
Patna Shuklla's dull drama struggles to leave any impact, sighs Sukanya Verma.
Maharaja is an audacious attempt that breaks down the tropes of a crime film with a brilliant Vijay Sethupathi in the lead, notes Arjun Menon.
Yeh Meri Family 3 is developing into a Wonder Years kind of coming-of-age comedy that Indian viewers can relate to, observes Deepa Gahlot.
While Season 3 is no match to the previous seasons, it would be fair to expect there is a lot more for the season to reveal in terms of romance and suspense, observes Divya Nair.
The saving grace of Shankar's expanded universe is the masterful precision with which Kamal Haasan drops himself into a messy setup, only slightly to elevate the pulpy tendencies of Shankar's vision, observes Arjun Menon.
I liked how the film finds excitement in Mahendra and Mahima's dull lives and transforms their humdrum existence into an ode to second chances, notes Sukanya Verma.
Ranneeti: Balakot And Beyond veers between intriguing and boring, observes Deepa Gahlot.
Among the many reasons to watch Murder In Mahim is that it may be a chance to wipe out -- if it is achievable by a Web series -- the air of judgment towards those who do not conform to the majority's idea of normal, asserts Deepa Gahlot.
Rajkummar Rao does the best with what he is given and he ably elevates the generic story-telling. Too bad that his performance remains the only takeaway from such an inspiring real-life story, notes Mayur Sanap.
The film's focus lies in humanising a larger-than-life star and breaking down his celebrity, aimed at a simplistic takedown of the 'superstar' myth, observes Arjun Menon.
Women Of My Billion is stark and disturbing, but at the end of it Srishti Bakshi is still able to say, 'My India is not beyond repair', observes Deepa Gahlot.
Forget comic chops, you'll not find an ounce of camaraderie between Akshay Kumar and Tiger Shroff as they go about firing ammo and flexing abs at a zombie-like army for nearly three excruciating hours of this noisy drivel, observes Sukanya Verma.
The Boy And The Heron offers a thrilling joyride inside Hayo Miyazaki's unquantifiable imagination, applauds Sukanya Verma.
Guruvayoorambala Nadayil is a no-holds-barred, silly comedy that will keep you glued to the screen even when the going gets tough towards the end but the smile on your face will not leave, observes Arjun Menon.
Even though the story has nothing much to say beyond its central conflict, the film is consistently poignant and, in one scene near the end, it leaves you dewy-eyed, observes Mayur Sanap.
Pratik Gandhi's emotional range makes him a treat to watch while Vidya is as wild as she's wise, observes Sukanya Verma.
The Zone Of Interest is technically flawless but lacks emotional pull, observes Mayur Sanap.
For all its oddball energy and earnest ambition, Fairy Folk cannot be missed, applauds Mayur Sanap.
Shaitaan's wickedness may be its calling card but relies on age-old formulas to do the trick, observes Sukanya Verma.
Sunil Grover and a perky Adah Sharma somehow salvage Sunflower 2, observes Deepa Gahlot.
Despite director Homi Adajania's ease around quirky ensembles and macabre touches, Murder Mubarak fails to draw the viewer into its shallow world of the vain and wealthy, feels Sukanya Verma.
Its callous perspective and comical treatment of a sensitive matter makes a complete hash of things, asserts Sukanya Verma.
Lootere deserves points for originality and novelty, observes Deepa Gahlot.
Vineeth Sreenivasan deserves applause for striving to blend the past with the present and revoking your memories, states Divya Nair.
You do get your money's worth simply watching these girls do what they are best at: Entertainment, feels Divya Nair.
There is only so much that Vijay Deverakonda is allowed to work on from a clueless script that bounces from one wrong choice to another, observes Arjun Menon.
The Naxal movement has such a complex history that several books have been written to understand it. Bastar: The Naxal Story seeks to reduce it to bullet points and stereotypes, observes Deepa Gahlot.
Much better films about the explosive -- if often misdirected -- energy of the young have been made before than Dange, points out Deepa Gahlot.
Despite its flaws, you can watch Karmma Calling if you like the glitz and drama of the ultra-rich, notes Mohnish Singh.
Madgaon Express understands its charm lies in its inherent silliness and then works around as pure unadulterated entertainment, which makes it imminently watchable, raves Mayus Sanap.
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