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What was supposed to be a silver-haired romance with trimmings of comedy deteriorates into an enervating ode to the supposed joys of the joint family system. Once Vimla's wedding preparations get underway, Daadi Ki Shaadi largely abandons humour for emotional blackmail and copious account-keeping.

While the show doesn’t push the idea that Vishwas isn’t as brilliant as he think he is, he does come off as oafish at times.

by Nandini Ramnath

Dhurandhar: The Revenge is Marco or K.G.F: Chapter 2, but with malice that meshes seamlessly with pro-government propaganda.

by Deepa Gahlot

For Kapoor, who usually makes independent and unpredictable films, Everybody Loves Sohrab Handa must feel like a palate cleanser between heavy courses.

by Nandini Ramnath

After a bustling beginning, Gandhari lapses into a kind of nervous languidity. Written and produced by Kanika Dhillon and directed by Devashish Makhija, the Netflix release tries to draw juice from low-hanging fruit – child sex trafficking is one of the most unconscionable crimes – but comes up empty.

It's an important milestone in India's recent history and worthy of a genuinely curious and unbiased film, but not the amateurish and tacky one delivered by the creators of Governor. Bajpayee affects more sobriety than is available in the 122-minute Governor, which reduces a complex subject to a series of clever moves better suited to a magic show than a serious film.

by Nandini Ramnath

Where there is youth, there will be romance. On this optimistic note, David Dhawan rolls out a movie based on 1990s hit songs, a hero who’s pushing 40 and dated values.

by Nandini Ramnath

The thrill of seeing the sightless Shyam in action – he's nothing less than a Rustom-e-Hind with a white cane – is cancelled out by the sluggish pacing and mostly poor acting.

by Nandini Ramnath

So silly that it’s juvenile and sometimes so anarchic that it almost escapes notice, the 121-minute Happy Patel takes refuge behind its conceit.

With the Physics Wallah logo write large over the episodes, the series ends up as a brand building exercise that is passed off as nothing less than a social “revolution”.

Having teased out the troubling aspects of a supposedly perfect marriage, Narvekar is reluctant to commit to the whole shebang.

Rather than a layered look at separation at an advanced age, the meandering 115-minute movie becomes an open-and-shut case. Divorce emerges as an ugly word in the film's conservative schema, summed up in Anasuya's stern advice to the advocate Negi to "stop breaking other people's homes and make your own".

by Nandini Ramnath

Based on a story by Vivek Verma, Jeevan Ya Bheema Con? (previously titled Jeevan Bheema Yojana) has a scattering of funny moments and an abundance of strained humour. Director Abhishek Dogra can't get an overstretched premise that is tailor-made for a stage adaptation to work.

by Nandini Ramnath

It does seem puzzling that Pawan is clueless about the social currents in his home town. He’s bursting with bravado and uprightness, but his inability to see what is groaningly apparent doesn’t help his case. It’s a credit to Saif Ali Khan that the 55-year-old actor not only passes as a 40-year-old character but also manages to keep a mid-scene snooze at bay through sheer charisma. Everyone performs very seriously and earnestly in a movie whose screenplay, also by Pulkit, isn’t trying to be anything but… dutiful. Everyone except Saurabh Dwivedi, a popular journalist in real life who has trouble posing as a powerful abuser.

by Nandini Ramnath

The movie version is crisp and efficient, if somewhat perfunctory. At 95 minutes, Last Man in Tower covers a great deal of ground quite rapidly.

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