At the end of eight episodes, the climax is bound to leave you with questions but it would be fair to say that the two-episode backstory and the characters seemed far more interesting than the six-episode drama and tension that led to it, observes Divya Nair.

ITo steer clear of sanctimonious newspaper stories all your life, and then be saddled with movies like Kadak Singh -- now there's a rotten bit of luck worth moaning about, sighs Sreehari Nair.

Rajkumar Hirani has a mastery in bromance. In Dunki, Sukanya Verma doesn't feel that chemistry one bit, it's more like SRK babysitting a bunch of clueless kids running helter-skelter in a garden believing the grass is always greener on the other side.

Dunki doesn't have any repeat value unlike other Hirani films. And that perhaps is saying a lot, notes Mayur Sanap.

There is an authenticity and sense of purpose about Dry Day which is appealing, observes Deepa Gahlot.

I was very happy to see the old Shah Rukh Khan back. Please, leave the action to Salman Khan, requests A Ganesh Nadar.

Wedding.con is a watchable show, if only to caution people about the latest scams, notes Deepa Gahlot.

Safed is a lame attempt at social commentary, with terribly dull and thoughtless direction, observes Mayur Sanap.

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

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.

Bullets fly, the noise becomes unbearable and the plot finally ends with the hero doing an unbelievable leap on to the ski of the helicopter aka Schwarzenegger, flown by our pretty heroine. UFF UFF! Squirming in my seat, I ponder over what I have been through, sighs Air Commodore Nitin Sathe (retd).

Anweshipin Kandettum is a fascinating genre exercise let down by its incessant attention to details, observes Arjun Menon.

All India Rank achieves a fine balance of authenticity and sensitivity in the fine portrayals of its young actors and old.

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.

Much better films about the explosive -- if often misdirected -- energy of the young have been made before than Dange, points out Deepa Gahlot.

If Indrani Mukerjea wanted to whitewash her image, this docu series was not the right platform, asserts Deepa Gahlot.

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

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.

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.

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.

Its callous perspective and comical treatment of a sensitive matter makes a complete hash of things, asserts Sukanya Verma.

Maidaan draws out more yawns than yays, observes 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.

Scoop seems like they conclude he is but Vaihayasi Pande Daniel recommends that you watch the film to find out for yourselves.

Pratik Gandhi's emotional range makes him a treat to watch while Vidya is as wild as she's wise, observes Sukanya Verma.

There is startling accuracy to Dibakar Banerjee's portrayal, notes Sukanya Verma.

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

Dil Dosti Dilemma is a coming-of-age series without profanity, and that by itself breaks the current mould, observes Deepa Gahlot.

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.

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.

Such a set of greedy and amoral characters have seldom been assembled in a Web series, 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.

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.

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.

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.

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

<em>Chandu Champion</em> is Kartik Aaryan's most ambitious work so far and the actor's muscular gusto is undeniable.There's visible fire in the man's belly but not enough soul, observes Sukanya Verma.

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

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.

Prabhas may be the face of Kalki 2898 AD's heroics but the real bang for your buck is delivered in Amitabh Bachchan's indefatigable energy providing Kalki's biggest wolf-whistle moments, applauds Sukanya Verma.

Prasanna Vithanage's Paradise leaves the audience to read between the lines and draw their own conclusions about the frailty of human nature, and how easily violence seizes the most unexpected prey, observes Deepa Gahlot.

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

Malayalee From India is trapped within its self-serving corniness and refuses to break free in the process, observes Arjun Menon.

A lot of time is spent on giving us the background of the story and establishing the characters but the film is named Kalki and the man is not even born, notes A Ganesh Nadar.

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.