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.

Ulajh strikes you as an attempt at statement-making gone horribly wrong, a punchline that doesn't land, a roar that never reaches the ear, observes Sreehari Nair.

Modern Masters aims to showcase Rajamouli's enigmatic career and paints a context of what makes him the singular voice that defined his generation of film-makers, for millions, observes Arjun Menon.

There is no doubt that Akshay Kumar is a total hoot in comedic roles but Khel Khel Mein ain't it, observes Mayur Sanap.

Vinay Pathak, Divyenndu Sharma and Kusha Kapila are comfortable enough in their comic skins to play their parts with ease, observes Deepa Gahlot.

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..

The chemistry between the motley bunch of actors works in fits and starts but Akshay Kumar's gift of the gab, Taapsee's bumbling comedienne and Fardeen Khan's dry wit come out tops, notes Sukanya Verma.

Through Manorathangal, M T Vasudevan Nair makes himself available to a whole new generation of uninitiated viewers, who can familiarise themselves with his rich body of work and hope to learn a thing or two about life in all its messy grandeur and flawed imperfections, notes Arjun Menon.

Emily In Paris Season 4 offers more drama, high fashion, scandal and chaos to keep you entertained, observes Divya Nair.

As with biopics these days, Kangana Ranaut's films may be less about telling the story of a dark chapter of Indian history and more about giving fodder to those who seek to defend or justify government highhandedness today, observes Utkarsh Mishra.

Ishaan P Zore doesn't think Vicky Kaushal's persona quite matches Chhatrapati Sambhaji's iconic figure.

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

What majorly works is Uorfi's complete lack of inhibitions and ease in front of the camera, analyses Mayur Sanap.

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

All in all, season 2 seems a tad better than season 1 in most departments, observes Namrata Thakker.

The Perfect Couple has suspense, humour, romance and gorgeous visuals.

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.

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.

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.

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.

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.

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.

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

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.