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.

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.

Riteish Deshmukh makes this medical drama watchable! exclaims Namrata Thakker.

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.

Bloody Ishq comes off looking even more shoddy and ill-conceived when there is so much superior content to entertain the horror buff, observes Deepa Gahlot.

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 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.