Maidaan draws out more yawns than yays, observes Sukanya Verma.
Huma Qureshi's Rani Bharti was the ace in the pack, but everything that she does in this season smacks more of script conveniences than careful plotting, observes Deepa Gahlot.
Aadujeevitham (The Goat Life) is undoubtedly one of the most successful experiments in Prithviraj's journey as an actor, applauds Divya Nair.
Diljit Dosanjh's switch in singing style as he smoothly assumes Chamkila's vocal persona highlights the brilliance of his artistry, observes Sukanya Verma.
It's on the lead character's charm and rugged shoulders that Yodha shamelessly rests, giving Arun perfectly good reason to gloat, 'Is picture ka hero main hoon,' observes Sukanya Verma.
Lal Salaam is not a movie A Ganesh Nadar would recommend.
The show takes its own pace to pick up, but then when you least expect, it grabs you by the throat, notes Aseem Chhabra.
Had it not been for Pankaj Tripathi, who must have worked hard to get those Vajpayee intonations and mannerisms so perfectly well, Ravi Jadhav's flattering portrait of Vajpayee would have been more vacuous than what we get to see, observes Prasanna Zore.
Philip's is a light-hearted film you can enjoy with your family and safely recommend to your friends, endorses Divya Nair.
Safed is a lame attempt at social commentary, with terribly dull and thoughtless direction, observes Mayur Sanap.
I was very happy to see the old Shah Rukh Khan back. Please, leave the action to Salman Khan, requests A Ganesh Nadar.
Aadujeevitham marks a new direction for Malayalam cinema, where ambition meets resources and the right people, all in favour of stories that deserve to be told on the biggest stage of them all, notes Arjun Menon.
Article 370 is not as crude as some of the openly propagandist films made in recent times. It could at least open up a discussion on what is to be done to heal the wounds of the people of Kashmir, which years of shrieking TV debaters could not do, feels Deepa Gahlot.
Ae Watan Mere Watan tries to get a grasp on the mind of youngsters, shaped by the words of inspiring leaders, committed to the cause of independent India. It's significant because their support isn't based on 'andh bhakti', but leadership that encourages questions, observes Sukanya Verma.
Laapataa Ladies is gentle yet firm in calling out the hypocrisies colouring everyday mindsets and prejudices without acquiring the high-handedness of a crusader, observes Sukanya Verma.
Heeramandi, a passion project that took off after years in development and planning, mirrors Sanjay Leela Bhansali's film-making's finest and frustrating features, observes Sukanya Verma.
Guntu Kaaram doesn't deliver on its basic promise: Entertainment, sighs Mayur Sanap.
Scoop seems like they conclude he is but Vaihayasi Pande Daniel recommends that you watch the film to find out for yourselves.
Mast Mein Rehne Ka is a thoroughly human film, which makes you laugh as hard as it will make you feel for the characters, notes Mayur Sanap.
Operation Valentine follows the templates of similar Air Force narratives to deliver some rousing, harmless fun time, observes Arjun Menon.
Bhakshak should create some awareness and maybe raise some compassion towards victims of abuse, observes Deepa Gahlot.
Aarya Aakhri Vaar should have been slicker and more polished than the first, or at least ended with a louder bang, observes Deepa Gahlot.
When you leave the cinema hall, what stays with you is the message of inclusion and the need to stand up for your freedom, observes Divya Nair.
Teja Sajja is agile and a decent actor but not charismatic enough to watch in almost every frame, observes Deepa Gahlot.
There is an authenticity and sense of purpose about Dry Day which is appealing, observes Deepa Gahlot.
The three women, because of their names and position, would get the eyeballs anyway, but if they do not rise above the superficial, it would be a wasted opportunity to reach out to and inspire women in particular, observes Deepa Gahlot.
Rohit Shetty's strengths have been action and humour; the former he delivers in spades, but the latter is totally lacking in Indian Police Force, observes Deepa Gahlot.
With no other stand-out performance (besides Tara Sutaria's) or impressive scene, Apurva falls by the wayside, where other quickly made films end up, points out Deepa Gahlot.
Big Girls Don't Cry is too solemn to be fun and too timid to be truly bold, feels Deepa Gahlot.
A feeble fable masquerading as a robo rom-com, Teri Baaton Mein Aisa Uljha Jiya aspires to address what unrealistic expectations in a relationship can lead to, observes Sukanya Verma.
Mammootty is towering as the unflinching enigma that prevents Bramayugam from being a middling genre exercise, observes Arjun Menon.
Fighter's distressing lack of thrills and sizzle reduces the exercise to an excuse for tedious amounts of Pakistan bashing, observes Sukanya Verma.
All India Rank achieves a fine balance of authenticity and sensitivity in the fine portrayals of its young actors and old.
Poacher neither minces words in condemning these self-seeking slaughterers nor leaves any stone unturned in highlighting the hard work put in by friends of the forest, notes Sukanya Verma.
Yaariyan 2 evokes a tinge of nostalgia for the time when music (and lip sync songs) used to be the mainstay of a commercial film, notes Deepa Gahlot.
You will appreciate the Mammootty of this movie better if you do not take the servile reviews to heart, for this is a grand, broad, almost proudly comic performance, assures Sreehari Nair.
Love Storiyaan comes alive in the courageous and fearless voice of six spirited romantics speaking direct dil se, applauds Sukanya Verma.
Yaatris works neither as a comedy nor as a family drama.
Showtime is watchable but never engrossing, notes Sukanya Verma.
When an actor has worked for as long as Manoj Bajpayee, one tends to lose their sense of originality under the sheen of stardom. But the actor's versatility sparkles in his willingness to start on a fresh note every single time, applauds Sukanya Verma.
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