The actor and founder of Makkal Needhi Maiam says it is now the moment for people from all sections to come together in the fight against fascism

‘Flying to space is now accessible to ordinary citizens who haven’t been part of a military environment,’ space diplomat Susmita Mohanty said

While the Aadhaar Act’s provisions on core biometric information help in protecting privacy, there is a compelling case in re-evaluating these restrictions in specific contexts

The play-off between Prabhas and Prithviraj is the high-octane fuel that lends Salaar momentum, observes Mayur Sanap.

Guntu Kaaram doesn't deliver on its basic promise: Entertainment, sighs Mayur Sanap.

Is this a shot at patriarchy under the classic tale of mistaken identities? Or a humorous coming-of-age feminist tale as seen in last year's Barbie, wonders Mayur Sanap.

A feeble fable masquerading as a robo rom-com, Teri Baaton Mein Aisa Uljha Jiya aspires to address what unrealistic expectations in a relationship can lead to, observes Sukanya Verma.

Aarya Aakhri Vaar should have been slicker and more polished than the first, or at least ended with a louder bang, observes Deepa Gahlot.

Lal Salaam is not a movie A Ganesh Nadar would recommend.

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

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.

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

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

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

Maidaan draws out more yawns than yays, 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.

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

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.

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.

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

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

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.

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..

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

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

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.

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.

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

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.

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.

With its breathtaking sunrise and sunset views, and pristine waterfalls, the emerging destination offers a treat to nature lovers, and a possibility to experience the hospitality of the aboriginal tribes

Paatal Lok is definitely a must watch show.The credit for its success goes to the writers who enthralled us with their unique characters, but also to the wonderful band of actors who grabbed the opportunity to showcase their frightening raw talent, notes Aseem Chhabra.

'I can write a book about Kamal Haasan. No, make that three books.'

Subhash K Jha gives us an insight into Sanjay Leela Bhansali's Saawariya, as it completes 13 years in November.

Two men smiling, eyeing each other as they briefly let their guard down, with no care of what the world around them is thinking, that has almost never been shown in a Bollywood film, notes Aseem Chhabra.

Gehraiyaan seems to be aurally thin, which serves as a clue to the larger issues plaguing the movie, observes Rohit Sathish Nair.

Badhaai Do carries its audience on the wave of those little farces that come with being queer in India, a land where masculinity still has some say, observes Sreehari Nair.

Friendships are not merely severed, but built over scuffles.And just about anything can stir things up -- a long-standing feud, a pointless stare, a disrupted moral stance, a fist that ricochets off a face and smacks another face in the near vicinity, observes Sreehari Nair.

The composer thanked other artists for the making of the song.

More than anything else, Pathaan is a silent and subtle statement of Shah Rukh Khan about his place, his commitment to cinema and, if one can say, his politics, observes Mohammad Asim Siddiqui.

Let us get high on Pathaan and his simple-minded antics, sure, but let us also take a moment to think about Jim who, with that one cunning piece of dialogue, goes on to boldly state that patriotism is a many-hued thing, observes Sreehari Nair.

RRR threw a lifeline, or so it seemed -- to a world that was down in the dumps. Keeravani and his Naatu Naatu just happened to be in the right place at the right time, notes Saibal Chatterjee.

As Independent India turned 76, so did the ethereal Raakhee I know better than most, says Subhash K Jha.

'As I watched Mammootty 'try out' Mathew Devassy, I could hear from my theatre seat the ready-made appreciation of the liberal press, their applause for the great actor having flirted with queerness on screen.''But it is a flirtation and nothing more, for I could not detect in Devassy any hint of love, not for his homosexual lover, not for his wife,,' observes Sreehari Nair.

Since nothing irritates Lijo Jose Pellissery more than a throwaway critical judgment, Sreehari Nair carefully presents his opinions about Malaikottai Vaaliban, a good two weeks after he first saw the movie.

What follows is essentially a long scene set in a single location, and you watch in amazement as the scene grows into one of Indian cinema's funniest and most spectacular pieces of sustained craftsmanship, accumulating emotional power and subtext, growing wings and claws, becoming its own beast, applauds Sreehari Nair.

Watching Aavesham is like sprinting through the whole history of our mass-masala movies and seeing it in a new light, notes Sreehari Nair.And this, incidentally, is the story of Fahadh Faasil's career too.