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Review Of Tu Jhoothi Main Makkar: Is Luv Ranjan’s Hum…Aapke Hain Koun
OTT Vs Bollywood Debacle: Content Remains The Monarch
Akshay Kumar: The Flop King Of Bollywood
The Romantics on Netflix by Yash Raj: ‘Validation,’ we understand but what is with the ‘Entitlement’?
Review Of Nanpakal Nerathu Mayakkam: Is A Semi-Awake Meditation On Identity
Review Of Creed 3: Is Good, But Not That Good
Review Of Gulmohar: Is A Bit Of A Mess, But Moving Nonetheless
Decoding Ranbir Kapoor: The ‘timeless’ Chocolate Boy of B-Town
Review Of Taj: Divided By Blood: Is Downright Defamatory To The Mughals
Review Of The World After Us: Is About Being Young, Reckless & Pennyless
Review Of Rabia & Olivia: Belongs In The Trashcan
Review Of Pamela, A Love Story: Gives Us The Real Pamela Anderson
Review Of Selfiee: Akshay Kumar Nails It As A Superstar On The Skids
Review of Colors’ Junooniyatt: Musical backdrop and performances of leads will be key to the show’s success
Decoding Janhvi Kapoor: A Sedulous “Performing Artiste”
Review of Colors’ Tere Ishq Mein Ghayal: A differentiator-in-the-making for Hindi TV
Review Of Ennalum Ente Aliya Is A Dull Witless Comedy
Review of Zee TV’s Lag Ja Gale: Namik Paul and Tanisha Mehta bring freshness to the story
Review Of 18 Pages: Contrived But Cute Take On Acts Of Kindness
Review Of The Night Manager: Aditya Roy Kapoor Shines In A Well-Assembled Jigsaw Thriller
Lack of Diversity: Indian Cinema Failing On ‘Representation’
Review Of The Romantics: Aur Nahin Gush Aur Nahin
Review Of Shehzada: Kartik Aaryan Shines In Shehzada
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