Love Storiyaan comes alive in the courageous and fearless voice of six spirited romantics speaking direct dil se, applauds Sukanya Verma.

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

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

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.

Sunil Grover and a perky Adah Sharma somehow salvage Sunflower 2, observes Deepa Gahlot.

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

For all its oddball energy and earnest ambition, Fairy Folk cannot be missed, applauds Mayur Sanap.

The Zone Of Interest is technically flawless but lacks emotional pull, observes Mayur Sanap.

Showtime is watchable but never engrossing, notes Sukanya Verma.

Shaitaan's wickedness may be its calling card but relies on age-old formulas to do the trick, observes Sukanya Verma.

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.

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.

With the kind of money and talent that has gone into making this movie, a really good biopic of a personality like Savarkar could be made.But this film is lost in polemics, as is the case with almost every biopic and period drama today, observes Utkarsh Mishra.

Patna Shuklla's dull drama struggles to leave any impact, sighs Sukanya Verma.

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.

There is only so much that Vijay Deverakonda is allowed to work on from a clueless script that bounces from one wrong choice to another, observes Arjun Menon.

Diljit Dosanjh's switch in singing style as he smoothly assumes Chamkila's vocal persona highlights the brilliance of his artistry, observes Sukanya Verma.

Aavesham is smooth in its storytelling and leaves a chilling aftertaste, thanks to its one-of-a-kind anti-hero, applauds Arjun Menon.

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

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

Vineeth Sreenivasan deserves applause for striving to blend the past with the present and revoking your memories, states Divya Nair.

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

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

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

Rajkummar Rao does the best with what he is given and he ably elevates the generic story-telling. Too bad that his performance remains the only takeaway from such an inspiring real-life story, notes Mayur Sanap.

If you are looking for an average political thriller with good performances, Thalamai Seyalagam may interest you, suggests Divya Nair.

I liked how the film finds excitement in Mahendra and Mahima's dull lives and transforms their humdrum existence into an ode to second chances, notes Sukanya Verma.

Divya Khossla does not have the magnetism to carry a film by herself. If it weren't for Anil Kapoor playing his part with far more gusto than required, Savi would have been tough to sit through, points out Deepa Gehlot.

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.

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.

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.

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.

The first two episodes of Commander Karan Saxena have nothing to offer, except for Gurmeet's muscles and shirtless torso, observes Namrata Thakker.

Throughout its 155 minutes, every scene is doused in blaring background music and melodrama. Disappointment alone won't do, it must feel like a full blown catastrophe, observes Sukanya Verma.

When it gets to its silly climax where the dots are finally joined, you can't help but see how cheap these thrills are, sighs Mayur Sanap.

There is a lot more to Bollywood than the unguarded glimpses Showtime offers, observes Deepa Gahlot.

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.

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.

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..

Six episodes are not enough, applauds Deepa Gahlot.

Original's goodwill, natural bonhomie amongst the actors and wild card entries, Stree 2's spirited return sure has its high points, notes Sukanya Verma.

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.

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

Perhaps Kay Kay Menon should choose his projects carefully, instead of wasting his talent like this, observes Deepa Gahlot.