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.

Operation Valentine follows the templates of similar Air Force narratives to deliver some rousing, harmless fun time, observes Arjun Menon.

Another season of these legal antics would be welcome, applauds Deepa Gahlot.

Huma Qureshi's Rani Bharti was the ace in the pack, but everything that she does in this season smacks more of script conveniences than careful plotting, observes Deepa Gahlot.

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

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.

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.

Ae Watan Mere Watan tries to get a grasp on the mind of youngsters, shaped by the words of inspiring leaders, committed to the cause of independent India.It's significant because their support isn't based on 'andh bhakti', but leadership that encourages questions, 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.

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.

Aadujeevitham (The Goat Life) is undoubtedly one of the most successful experiments in Prithviraj's journey as an actor, applauds Divya Nair.

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

Aadujeevitham marks a new direction for Malayalam cinema, where ambition meets resources and the right people, all in favour of stories that deserve to be told on the biggest stage of them all, notes Arjun Menon.

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.

Yeh Meri Family 3 is developing into a Wonder Years kind of coming-of-age comedy that Indian viewers can relate to, observes Deepa Gahlot.

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

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.

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.

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.

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

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.

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.

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.

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.

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

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.

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.

There are enough threads left to weave a Season 4, hopefully without the dark clouds hovering over Phulera.

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.

The Hindi dubbed (badly) version of the Tamil hit Aranmanai is out, and it turns out to be lengthy, noisy and mostly tedious, observes Deepa Gahlot.

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 new season coasts along on the simple anecdotes that make up the piggy bank of family lore; the performances are as wonderful as before, but the sharpness of humour is starting to dull a bit, 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.

Despite its horror movie momentum, what draws us to Aditya Sarpotdar's narrative is Bittu's homely universe and sweet struggle to confess his feelings to Bela, not Munjya's malevolent antics.

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