Citadel: Diana is fun to watch, in a popcorn entertainment way, observes Deepa Gahlot.
Zindaginama keeps its tone hopeful and steers away from making the stories tragic or depressing, observes Deepa Gahlot.
Despite its attempt at compounding the complexity of Arthur Fleck, watching Joker: Folie Deux is a slog, feels Deepa Gahlot.
The casting of Marathi theatre and screen actors gives Manvat Murders its stamp of authenticity, observes Deepa Gahlot.
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.
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.
Sector 36 goes for the gruesomeness and shock; watching it needs a tough heart or a quick averting of the eyes, warns Deepa Gahlot.
The Perfect Couple has suspense, humour, romance and gorgeous visuals.
Perhaps Kay Kay Menon should choose his projects carefully, instead of wasting his talent like this, observes Deepa Gahlot.
How can a film that has a character declare that secularism is an illness be taken seriously, asks Deepa Gahlot.
Vedaa is realistic but also has the kind of mainstream elements and action sequences that make a film gripping, observes Deepa Gahlot.
Six episodes are not enough, applauds Deepa Gahlot.
Vinay Pathak, Divyenndu Sharma and Kusha Kapila are comfortable enough in their comic skins to play their parts with ease, observes Deepa Gahlot.
Right from the lofty title, Auron Mein Kahan Dum Tha keeps aiming to be an epic, and keeps falling short, discovers Deepa Gahlot.
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.
There is a lot more to Bollywood than the unguarded glimpses Showtime offers, observes Deepa Gahlot.
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.
This is the kind of film to watch with friends and maybe a six-pack. It has some risqu bits but nothing so vulgar that the pause button would need to be hit if Mummyji walks into the room, notes 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.
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.
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