Is there any clear criterion that decides which films are released on OTT and which in theatres? If not, then releasing ‘Subedaar’ on OTT can only be called a mistake. Anil Kapoor, one of the producers, carries the entire film on his shoulders. Why then did he not take the risk of a theatrical release? Had he done so, audiences might not have disappointed him. In this film, watching him instantly brings back memories of Tezaab’s 'Munna'.

In India, a case of sexual violence against women is reported every 20 minutes. To remind viewers of this grim reality, the film ‘Assi’ flashes a red screen with the words ‘20 minutes’ at regular intervals, almost as if to shake the audience into remembering the context behind the story. Perhaps this would have been a more fitting ‘title’ for the film itself.

“Do Deewane Sahar Mein” Yes, it’s written correctly. The word is 'Sahar', not 'Shahar'. In Urdu, 'Sahar' means “morning”. But this “morning” has nothing to do with the film. Since the film’s hero pronounces “Sh” as “S,” the title also uses “S”. The heroine, however, doesn’t care whether her hero says “Sh” as “S” or even “Ph.” By the end of the film, she still isn’t “phure”, I mean "sure", about their relationship. Director Ravi Udyawar’s work also feels somewhat like that.

The ‘soul’ of Bollywood is returning to Hindi films, and it seems that what Hindi audiences have desperately been missing for at least the past two decades is now being served back to them. Be it music, explosive action, or unbelievable villains standing tall, far away from the real world. After several recent films, ‘O Romeo’ also proves this point.

For cinephiles who grew up on Abbas-Mustan’s taut thrillers like Khiladi, Baazigar, Soldier, Ajnabee, and Humraaz, it is nothing short of heartbreaking to see the duo associated with films like Kis Kisko Pyaar Karoon. The bigger mystery, however, is what compelled them to revisit the same formula with Kis Kisko Pyaar Karoon 2.

In its nearly two-hour runtime, 'Mardaani 3' gives away key plot turns too early. Before Ramanujan’s identity is revealed, it’s already clear he’s the antagonist. Similarly, Fatima’s undercover role becomes obvious well before the script confirms it.