It introduces random characters, goes on several wild goose chases and is incapable of holding onto any thread of the plot, sighs 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.

If this were a French farce, nobody would have batted an eyelid if the father of the groom and mother of the bride fell in love and wanted to marry. But here, some crude comedy is generated with a dash of melodrama, feels Deepa Gahlot.

Maharaja is an audacious attempt that breaks down the tropes of a crime film with a brilliant Vijay Sethupathi in the lead, notes Arjun Menon.

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.

The new season takes the students out of their preoccupation with studies to other problems -- jealousy of another's easy success, a blip in a romance, financial crunch, meltdowns, discovers Deepa Gahlot.

Maharaj's mediocre social drama lacks the spine and spunk to recreate the relevance of revolutionary decisions in the face of religious fanaticism, observes Sukanya Verma.

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.

Rautu Ka Raaz is a dragged-out slow burner of a film that just fails to ignite, 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.

Pankaj Tripathi anchored the first two seasons with his performance. Here, he is made to sit it out for most of the show, and none of the actors, except for a fiery Ali Fazal, have the charisma to hold the viewer's attention, 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.

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.

Since Kakuda is made for OTT, the film might find its audience of horror fans but it is not particularly scary, and not the least bit funny, observes Deepa Gahlot.

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.

The saving grace of Shankar's expanded universe is the masterful precision with which Kamal Haasan drops himself into a messy setup, only slightly to elevate the pulpy tendencies of Shankar's vision, observes Arjun Menon.

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.

Deadpool & Wolverine is an example of confident film-making and unbridled enthusiasm to show what the Deadpool franchise means for its fans, observes Mayur Sanap.

Dhanush deserves credit for imagining a visually rich, edgy action thriller which is enhanced by a fascinating background score from A R Rahman, observes Divya Nair.

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.

Right from the lofty title, Auron Mein Kahan Dum Tha keeps aiming to be an epic, and keeps falling short, discovers 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.

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

There are elements that make this show entertaining, and if you haven't seen the original show, the concept is wild enough to keep you hooked, notes 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..

If only the movie could hold its own the way Raveena Tandon does in a cream and gold Manish Malhotra lehenga, Ghudchadhi would be half the entertainer it set out to be, feels Sukanya Verma.

Six episodes are not enough, applauds Deepa Gahlot.

Vedaa is realistic but also has the kind of mainstream elements and action sequences that make a film gripping, observes Deepa Gahlot.

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.

Angry Young Men gloats in Salim-Javed's well-known attributes yet never gains access into the process or passion behind one of Indian cinema's greatest chemistries at work, observes Sukanya Verma.

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

IC 814: The Kandahar Hijack begins by asking why the hijack lasted seven days and ends in wondering if the good guys fought the bad ones hard enough, observes Sukanya Verma.

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

Tanaav Season 2 is like any other espionage thriller with twists and a lot of tense and thrilling moments.What makes it interesting is that unlike season 1, this time, the plot unravels quickly without getting boring, observes Namrata Thakker.

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

Divya Nair recommends that non-Vijay fans save their money and wait for GOAT to drop on Netflix instead. At least you can fast forward and get to the climax faster.

Kareena's sombre performance lingered on long after I had left the theatre, notes Sukanya Verma.