Sam Bahadur is a mechanical summary of his life, ticking off one chapter after another without bothering to pause or ponder over their significance and influences, observes Sukanya Verma.

Guntu Kaaram doesn't deliver on its basic promise: Entertainment, sighs Mayur Sanap.

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.

Bhakshak should create some awareness and maybe raise some compassion towards victims of abuse, observes Deepa Gahlot.

Mammootty is towering as the unflinching enigma that prevents Bramayugam from being a middling genre exercise, observes Arjun Menon.

Manjummel Boys gets so many things right, applauds Arjun Menon.

Big Girls Don't Cry is too solemn to be fun and too timid to be truly bold, feels Deepa Gahlot.

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.

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.

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.

Towards the end of the film, when one character exclaims, 'What a crazy case!' your sentiments feel validated, observes Mayur Sanap.

Ranneeti: Balakot And Beyond veers between intriguing and boring, observes Deepa Gahlot.

The Broken News 2 is worth watching because of Jaideep and Shriya's fabulous acting, recommends Namrata Thakker.

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.

The Boy And The Heron offers a thrilling joyride inside Hayo Miyazaki's unquantifiable imagination, applauds Sukanya Verma.

Baahubali has generated an enterprise of television spin-offs, video games, graphic novels and what not, but a memorable Game Of Thrones it is not, observes Deepa Gahlot.

If there is any actor who emerges from this wreck with his talent unscathed, it is Vijay Raaz, observes Deepa Gahlot.

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.

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.

Turbo finds its footing in the latter half with some well-conceived one-upmanship between hero and villain, yet it's marred by poorly executed action set pieces in the climactic showdown.

A film with a one-line plot, needed a lot more pizzazz, whistle-worthy dialogue, and a large-than-life, invincible protagonist. Karki makes a Rajinikanth kind of actioner (Bhaiyya Ji fights with a bidi in his mouth) but with a realistic soul, and falls between two boats.

Chhota Bheem: The Curse of Damyaan is a fun movie, its adventurous story and lovable characters make it worth watching with family, notes Riddhi Soni.

Pratik Gandhi once again proves that he is an actor who can bring any character to life with his dedication to his craft and instinctive understanding of what the role requires, observes Deepa Gahlot.

Vikrant Massey is a man of undeniable talent. But he too can't rise above Blackout's derailed script that reduces the likes of Jisshu Sengupta, Chhaya Kadam and Mouni Roy to chumps, observes Sukanya Verma.

The Kalki Universe might just take off, but it will still owe its gee-whizery to Hollywood movies, observes Deepa Gahlot.

Bad Cop is not unwatchable. For older viewers, there may even be some comfort in the familiar, notes Deepa Gahlot.

Ishq Vishk Rebound is a drab romance and dull comedy that even the intended teen audience might have a hard time keeping up with, sighs Mayur Sanap.

Sharmajee Ki Beti's airy-fairy approach doesn't quite convince. It's like the women are all angels readily accepting any change or transgression while the men are either super supportive or super schmucks, notes Sukanya Verma.

This movie is perfect for all ages. Avan Verma gives his thumbs up.

This is the kind of film to watch with friends and maybe a six-pack. It has some risqué bits but nothing so vulgar that the pause button would need to be hit if Mummyji walks into the room, notes Deepa Gahlot.

Ammy and Triptii have the chemistry of a door-to-door salesman and disinterested customer.'On the other hand, she and Vicky burn down the house with their scorching sensuality, observes Sukanya Verma.

Bloody Ishq comes off looking even more shoddy and ill-conceived when there is so much superior content to entertain the horror buff, observes Deepa Gahlot.

Brinda examines some alarming aspects of religious fanaticism through the narrative engine of a well-oiled serial killer mystery, observes Arjun Menon.

Taapsee, Vikrant, Sunny are a fine fit on their own as well as around each other and prove themselves to be well equipped to survive the air of double dealing. What's missing is sizzle, feels Sukanya Verma..

Call Me Bae: Unpretentious, easy-peasy entertainment that distracts from the ugliness of real life, vouches Mayur Sanap.

How can a film that has a character declare that secularism is an illness be taken seriously, asks Deepa Gahlot.

Call Me Bae is a spirited new addition in guilty pleasures for the fashion-loving, rom-com starved soul, applauds Sukanya Verma.

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.

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.

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.

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

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.

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.

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