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.

The show takes its own pace to pick up, but then when you least expect, it grabs you by the throat, notes Aseem Chhabra.

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

Women Of My Billion is stark and disturbing, but at the end of it Srishti Bakshi is still able to say, 'My India is not beyond repair', observes Deepa Gahlot.

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.

Such a set of greedy and amoral characters have seldom been assembled in a Web series, observes Deepa Gahlot.

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.

While Season 3 is no match to the previous seasons, it would be fair to expect there is a lot more for the season to reveal in terms of romance and suspense, observes Divya Nair.

Turbo finds its footing in the latter half with some well-conceived one-upmanship between hero and villain, yet it's marred by poorly executed action set pieces in the climactic showdown.

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.

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.

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.

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.

What makes Ullozhukku worth recommending is its ability to surrender to the surprises and yet grow with its characters, observes Divya Nair.

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.

An ultra-violent film about violence, Kill's greatest accomplishment isn't its death count alone but to challenge our perception of violence, observes Sukanya Verma.

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.