Make time for this one, you will be in for a pleasant surprise like I was, endorses Mayur Sanap.

Kareena's sombre performance lingered on long after I had left the theatre, notes Sukanya Verma.

The idea of releasing a new season in two parts is probably what is not working for Part 2 of Emily In Paris 4, observes Divya Nair.

Sector 36 goes for the gruesomeness and shock; watching it needs a tough heart or a quick averting of the eyes, warns Deepa Gahlot.

If you're a fan of the Transformer films already, you will be delighted with a hearty dose of nostalgia here but... Mayur Sanap adds a caveat.

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.

There are so many loopholes in this lazily scribbled plot, it could be a different movie and still as crummy, observes Sukanya Verma.

While several international films and Web series on the OTT have explored the dangers of AI, it's interesting to see a desi take on it, believes Divya Nair.

Love, Sitara doesn't flesh out the people or their problems enough to give us a glimpse into their minds, observes Sukanya Verma.

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.

Devara's self-appointed guardian of the sea unleashing violence as a means to end violence is purely Junior NTR fan-tasy, observes Sukanya Verma.

The casting of Marathi theatre and screen actors gives Manvat Murders its stamp of authenticity, observes Deepa Gahlot.

Sukanya Verma recommends watching CTRL on a computer for an eerie, immersive, real-time experience.

Despite its attempt at compounding the complexity of Arthur Fleck, watching Joker: Folie à Deux is a slog, feels Deepa Gahlot.

The Kardashians serve as a blueprint for The Tribe's own journey, observes Shristi Sahoo.

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.

Zindaginama keeps its tone hopeful and steers away from making the stories tragic or depressing, observes Deepa Gahlot.

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.

Raat Jawaan Hai is funny, sometimes intense, but most importantly it's so relatable, recommends Namrata Thakker.

Vasan Bala's ability to jolt our Bollywood conditioned brains into experiencing new forms of menace, turning a John Woo-style prison riot into a Chinese communist movement and showcasing Alia in a savage new light won Sukanya Verma's dil and jigra.

Citadel: Diana is fun to watch, in a popcorn entertainment way, observes Deepa Gahlot.

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.

Casting Fahadh Faasil does not help as his chameleon-like acting credentials is wasted in a mundane cop archetype that passes through Bougainvillea with little or no impact on how things eventually play out, observes Arjun Menon.

The Wild Robot is delightful children's fare and a meaningful watch for grown-ups, discovers Mayur Sanap.

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.

If a show about Gujaratis or Indians in the US had to be made, it could have been more authentic, sighs Deepa Gahlot.

The Apprentice is a keenly observed and entertaining biopic about the making of a man who is mostly responsible for all that has gone wrong with current American politics, observes Aseem Chhabra.

Bandaa Singh Chaudhary compromises on its hard realism to go after an easily digestible, mass, entertainer that ultimately undoes everything that the film had set out to say, sighs Mayur Sanap.

The Miranda Brothers is short on humour, romance and real drama, observes Deepa Gahlot.

Do Patti gives in to its basest impulses, but collapses like a house of cards when it aims to be clever, notes Sukanya Verma.

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.

After Sita Raman, this is a Dulquer Salmaan film that has won Divya Nair's heart.

Mithya The Darker Chapter has a constant been-there-seen-that feeling. Everything is dialled to 11, be it the emotional rundown of the characters or dramatic moments that form their dynamic, notes Mayur Sanap.

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.

Amaran is effective as a intimate, well researched piece of storytelling but does not try to break any new ground, observes Arjun Menon.

Singham Again is action heavy, so its appeal is limited to fans of the genre, observes Deepa Gahlot.

Paatal Lok is definitely a must watch show.The credit for its success goes to the writers who enthralled us with their unique characters, but also to the wonderful band of actors who grabbed the opportunity to showcase their frightening raw talent, notes Aseem Chhabra.

'What guides Monsoon Wedding through and through is Mira Nair's openness as a film-maker,' observes Sreehari Nair.

'Your memories will always remain etched in my heart through your films.'

Cinema screens bring in over 60% of the Rs 19,100 crore that Indian films earned in 2019.The reception a film gets in theatres impacts the price of every other revenue stream -- TV, OTT, overseas.Vanita Kohli-Khandekar explains why the theatre business is not doomed and why OTT won't become the first window of release.

'You could see the purity of Wajid's soul when he talked to kids on reality shows.'

'Basuda hardly spoke, but he had a sense of humour and that showed in his films.'

'Songs are a commercial compromise.''I had to invent tricks to fit songs into my films.'

'You were looking for perfection in an incurably imperfect world,' mourns Subhash K Jha who knew Sushant Singh Rajput well.

Sushant finished off his innings in style by scoring high on his last theatrical release, Chichhore, a film that was ironically about suicide not being a solution.

'I once thought Shah Rukh Khan to be the most knowledgeable actor in our industry,' Paresh Rawal once told me.'But Sushant was just as well-informed on any topic under the sun.'Subhash K Jha recalls his many conversations with the actor.

'Isn't 11.3 million Instagram followers and 1.9 million Twitter followers enough to make you feel wanted and loved as a successful star?' 'Can a huge bank balance, a fleet of fancy cars, and a big house assure you happiness and contentment in life?' 'For Sushant, it did not.'

'Where are the funny writers on Indian television and OTT platforms?''Where are the sitcoms?' asks Vanita Kohli Khandekar.

'It's a performance that puts the Bachchan hysteria to shame,' observes Sreehari Nair.

'Sushant Singh Rajput, a bright young lad who had a life beyond films, was probably too good for Bollywood.''To blame his death by suicide on a gang of Bollywood bullies is stretching the point too far,' argues Saibal Chatterjee.