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.

If you're a fan of the Transformer films already, you will be delighted with a hearty dose of nostalgia here but... Mayur Sanap adds a caveat.

Kahan Shuru Kahan Khatam, with its retro-inspired title song and background score just tries too hard, both with the comedy and the message, feels Deepa Gahlot.

There are so many loopholes in this lazily scribbled plot, it could be a different movie and still as crummy, observes Sukanya Verma.

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.

The same bunch of people, doing the same things does not make for a satisfying sequel; the added subplots are hastily tacked on, and make no difference to the flow of the series.

Devara's self-appointed guardian of the sea unleashing violence as a means to end violence is purely Junior NTR fan-tasy, observes Sukanya Verma.

The casting of Marathi theatre and screen actors gives Manvat Murders its stamp of authenticity, observes Deepa Gahlot.

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.

Despite its minor flaws, lack of logic, and lecture-style moral narrative, Vettaiyan should be enjoyed in a theatre amid Rajini fans and their wolf whistles, endorses Divya Nair.

Zindaginama keeps its tone hopeful and steers away from making the stories tragic or depressing, observes Deepa Gahlot.

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.

Raat Jawaan Hai is funny, sometimes intense, but most importantly it's so relatable, recommends Namrata Thakker.

Vasan Bala's ability to jolt our Bollywood conditioned brains into experiencing new forms of menace, turning a John Woo-style prison riot into a Chinese communist movement and showcasing Alia in a savage new light won Sukanya Verma's dil and jigra.

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.

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.

If a show about Gujaratis or Indians in the US had to be made, it could have been more authentic, sighs Deepa Gahlot.

The Apprentice is a keenly observed and entertaining biopic about the making of a man who is mostly responsible for all that has gone wrong with current American politics, observes Aseem Chhabra.

Bandaa Singh Chaudhary compromises on its hard realism to go after an easily digestible, mass, entertainer that ultimately undoes everything that the film had set out to say, sighs Mayur Sanap.

The Miranda Brothers is short on humour, romance and real drama, observes Deepa Gahlot.

Do Patti gives in to its basest impulses, but collapses like a house of cards when it aims to be clever, notes Sukanya Verma.

If Singham was a biryani, with all the flavours coming together seamlessly, Singham Again is a desi thaali, full of scrumptious dishes, but a tad in excess, discovers Sonil Dedhia who watched the film in New Zealand.

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

Mithya The Darker Chapter has a constant been-there-seen-that feeling. Everything is dialled to 11, be it the emotional rundown of the characters or dramatic moments that form their dynamic, notes Mayur Sanap.

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.

Amaran is effective as a intimate, well researched piece of storytelling but does not try to break any new ground, observes Arjun Menon.

Singham Again is action heavy, so its appeal is limited to fans of the genre, observes Deepa Gahlot.