Christmas Karma narrowly misses being a highway pile up, mainly because its heart is in the right place, believes Deepa Gahlot.
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.
Avatar: Fire And Ash is visually stunning and emotionally engaging, offering strong performances and thrilling action, notes Syed Firdaus Ashraf.
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.
Ziddi Ishq is a messy, unhinged revenge drama that is all over the place, observes Divya Nair.
In the midst of crime and cop shows all over, a family comedy comes as a relief, notes Deepa Gahlot.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 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.
Pankaj Kapur, who visibly enjoys playing the ringmaster to this family circus, is the glue that holds Thode Door Thode Paas together, 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.
Kaantha is a peculiar love letter to cinema that tries to integrate various genres and craft a riveting central dilemma with great eloquence and clarity, observes Arjun Menon.
It's good to see Huma Qureshi help create a film which is as charming as it is empowering, without taking on the stridency that so many women-oriented films invariably adopt, notes Deepa Gahlot.
Thamma is mostly entertaining and not grotesquely horror-inducing, observes Deepa Gahlot.
Kiaan Shetty loves Kurukshetra so much that he recommends it to his friends too.
Nobody Wants This Season 2 might not reinvent the rom-com wheel, but it proves that messy love stories can be meaningful, relatable, and totally watchable, notes Divya Nair.
Made at a time when an insidious agenda can be read into it, Haq is an important film that deals with a contentious subject with maturity, observes Deepa Gahlot.
Bhagwat Chapter One: Raakshas: An average watch instead of a compelling nightmare, notes Mayur Sanap.
In just five tightly packed episodes, Search: The Naina Murder Case takes you through a whirlwind of theories, emotions, and shocking revelations, making it a compelling Indian crime drama, notes Divya Nair.
This turgid drama, solely designed to titillate male audiences, move from one hare-brained scene after another with intermittent over-acting, ear-splitting background music, and over-the-top dialoguebaazi, sighs Mayur Sanap.
Lord Curzon Ki Haveli lacks the wit and the wickedness to go anywhere with the mildly intriguing setup, observes Deepa Gahlot.
The power of Santosh hinges on the script, enhanced by Shahana Goswami and Sunita Rajwar's performances, observes Deepa Gahlot.
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