#OTT reviews

[deafening-enthusiastic-dreamer]

Queen of Tears

I truly admire the new techniques used in terms of camera angles and the way it tells the story in a way.

this scene was soo good.

I love how they show . rather then tell us how she feels when she hears about the fact that she has only three months to live. There are parts where they do the exact opposite, which i am somewhat iffy about. I hope they reduce it along the coming episodes.

the scene below though short, feels perfect at this time- it feels like foreshadowing of events. and also the long shot with symmetry and the pillar that acts as the divide, along with the lighting showing different moods. Very interesting to see.

also the shots when they reveal her understanding of time being lost. the static images with handheld camera scenes shows how unstable and confused she feels.

also this is the very first drama that i have seen that has willing broken the 4th wall. Its very rare and feels quite invasive as a viewer. But I do like this non traditional way of story telling, so far in the series.

[novel--notes]

everything can have purpose if you allow it.

[katoptris01]

I watched Suncoast and I need to talk about it.

There's barely any buzz on the website so.

Spoilers ahead❗️❗️❗️

First off...cinematic. the shots, the filming, majority of the film conveys what it needs to.

Something that struck me was the dialogues. With the friend group at school it's so shallow. They decide what to wear, what to drink, what to smoke. They that don't have life altering consequences. Whereas Dorris, everything she does or says is something bigger and that's why nobody will understand her. They haven't been through that pain. Like Nate talking about his parrot... she could have a conversation about life and death and he talks about ....his parrot. I love how mildly supportive they are especially for prom or for reaching her back when needed.

Paul can have these more mature conversations with Doris because they both have the pain of losing someone. Everything about their conversation and relation in the movie is spot on, the little inside jokes, the talk about grief and mostly the debate.

I like how the story of the activists is there, it supports the main storyline of Doris but it also doesn't take away or directly interact with Doris.

The mother daughter dynamic is something they've nailed again. How she faces away from Doris when she's disappointed with her and towards her while brushing her teeth when she wants to win her daughter back. The thought process between both of them. It's very real. It's heart wrenching but it's real.

The ending doesn't give me enough closure but I've to learn to process it.

As someone who has dealt with loss, taking care of a loved one and having a sort of delusional mother. This movie hit me in different ways. It had me crying, smiling and overall the story was well done. Acting was a plus too.

I hope Suncoast gets the recognition it deserves.

[lazzarella]

Going to try to start posting more of my thoughts on shows as I watch or re-watch them because it's my blog and no one can stop me. Anyway! Starting with Hidden Agenda because that's the most recent one I've finished

My expectations were tempered going in—not because most other people said it was terrible, because I've learnt not to put much stock in others' opinions on media as they often don't line up with mine, but because I didn't care much for JoongDunk's scenes in Sky in My Heart. (Tbf, there weren’t that many.) But I liked the premise (it very vaguely made me think of one of my favourite movies, Plan B, even though it's actually nothing like it—just a connection my brain made) and I saw that AouBoom were the side pairing, so I figured I'd give it a go! Not like I'm marrying it, you know?

Anyway, I ended up having a blast! 

Look, did I sometimes wonder if I'd blacked out for a minute or two and missed some important scene or piece of exposition because I was lost about how we got somewhere? A few times, for sure. And did it just pile on a bunch of drama (especially toward the end) that sometimes got resolved super quickly even though it probably should have taken longer? Again, yes. But, somehow, it all worked for me?? It did a lot of things that usually bug me, but there was *something* about this show that kept me hooked.

Like I said, I had a blast! I enjoyed pretty much every minute of it, and I was never bored. I thought Joong and Dunk were super cute together and definitely not shy about the kissing, Aou and Boom may not have had many scenes but I just love them together, I was impressed by both the level and variety of drama they managed to pack in (there's a stalker and both mommy and daddy issues and homophobia, just for starters), and it has some incredibly pretty cinematography! And lots of really good hugs!

I know this is a not a very insightful ‘review’, but I'm a little rusty! But, yeah, genuinely had a great time with this show, it's a solid 8/10 for me! 

[pearlgisa]

qala and the style over substance argument

so, i watched qala (dir. by anvita dutt) immediately when it came out - a story that exposed the music industry and the position of women in it, especially focusing on the toxic nature of indian classical music? it was like they made the film for me (someone who's spent a good chunk of their life trained in hindustani classical music). however, i was sorely disappointed.

in essence, qala, along with other films that did commercially well that came out in bollywood last year, solidified my understanding that the audience of today's generation of movie-watchers genuinely puts style over substance and in fact, uses it as a way to defend their favourite movies from criticism. the recent resurgence of praise for om shanti om of all films, only strengthened this opinion.

my criticisms for qala are in plenty, yet i will choose to expand on the ones that strike out the most to me, all of which range from the lightest to the harshest criticism:

the choice of music

the acting

the direction + writing

the handling of the serious issues that are the main theme of the film

before you read ahead, please know that there are spoilers.

in indian classical music, there are two distinct forms: hindustani (or, north indian) and carnatic (or south indian) music. each have their differences and similarities and even someone who hasn't trained can tell them apart upon listening. within hindustani music - which is the genre of music that qala learns from her mother - you have many different styles of singing, ranging from shastriya sangeet (classical form of singing) to laghu sangeet (semi-classical and sometimes, light music). of course, this categorization also has its roots in religion and caste. shastriya sangeet has forms of singing like dhrupad (the oldest form and a strictly devotional medium), khyal (the most common one, telling tales or speaking of human emotions), bhajan (also a devotional medium), etc.

laghu sangeet has forms of classical music like the thumri, a form of singing popularized and invented by courtesans. the lyrics were sensual, romantic and more explicit. of course, owing to these, they were looked down upon. even the british had a huge role in diminishing the status of indian women performers. the "other woman" concept was specifically one that they propagated and the rise of the "perfect housewife" phenomena began since the seventeenth century. the extreme effect of that? the courtesans lost out on their patrons and were forced into prostitution.

hence, that was the primary history behind qala's mother, urmila, shaming her into never being a performer, i.e, in a more derogatory term, a "singing girl". a courtesan, essentially. which is accurate, considering the film is set in the 1940s. if a girl was too "out there in the world", i.e, her achievements being publicised in newspapers or her getting recognition for her academics, her future marital prospects were ruined. and the "shame" that befell the family if she was learning music or dance was worse. a significant number of the prominent female musicians that emerged from this era of pre-independence to post-independence were unmarried. or they had many patrons and salacious rumours regarding their love life were in plenty. the film pakeezah (1972) explores such themes quite well. and the many renditions and retellings of devdas also serve as a good example of the stature of performing women.

however, it's the music itself where it goes wrong for me. the choice of songs as well as qala's singing (of course, all of qala's songs are sung by the amazing sireesha bhagavatula), is in a style all too similar to laghu singing. the years of egregious training, no matter how much her mother dismissed her, would've developed a voice which would've sounded a lot more like what a lot of classical singers would sound like, unless they were singing a lighter form of singing. and it isn't a matter of pitch or using falsetto. qala's mom is referred to as a master of qawallis, which is a sufi form of devotional singing (and comes well under hindustani music too). even the lyrics of qala's songs, while full of very obvious foreshadowing, do not match the overall orthodox classical upbringing that the film portrays.

while bhagavatula has an amazing voice well versed in classical music (especially since she sings bhajans so often), considering the time that qala was set in, you would've expected a sound similar to something along the lines of noor jehan or even roshan ara begum. instead, it sounds a lot like a mix of semi-classical instrumental with a more pop-based voice. which is easier for our generation to digest and consume, however, it comes at the cost of a sound which is very typical of the 50s-70s era of bollywood.

one that qala does right are the costumes. they do their job well. not the sets as much, which i will get into later. at some points, they are well in line with the rest of the era of the film, other times it just sticks out like a sore thumb. here's where the "symbolism" comes in.

one of the most jarring examples is the song qala sings at the first performance, a very light classical song just by the sound of the vocals. even the song jagan sings is very contemporary at its core. despite the characters having an allegedly strict, traditional schooling of music (jagan's voice is devoid of the typical heavy accent or dialects that those who are from underprivileged backgrounds tends to have), the songs at hand present a very modern take on qawallis, despite bollywood being a flourishing ground for many iconic qawallis. therefore, the compositions sometimes falter at some points specifically because of the vocal choices. choosing to do away with alaaps, especially in qala's part, less aakar and more bariki, are all signficant details that feel jarring to someone who's lived in the world of classical music as long as qala. otherwise, there are some signature sounds retained from the era that the film is set in.

and while still on the topic of singing, a very important issue that i find least addressed is the acting of it. despite there being little vocal variations in the compositions, the actors don't show that they are singing. and in the film specifically revolving around music, that's an extremely important detail that i find amiss. hardly opening the mouth, the movement of the lips, the posture as well as the hand gestures (yes, a very important detail!), are all obvious flaws. a recent film that does that does those details well is the disciple (2020). the first scene of urmila teaching qala singing displays urmila wearing an elaborate piece of nose jewellery that covers half of her mouth, and that's when they're doing rehyaas (practice), not a performance. it's huge details like these that don't sell the film to me.

the acting is quite underwhelming and here is where disagreements with my opinions might enter. i find trupti dimri's rendition of qala extremely, for lack of politer words, exasperating. she tends to show the same expressions for all of her problems, i.e., there is no great difference between her feeling anger or feeling despair or feeling depressed or feeling cheated or just plain exhaustion. qala's character is a complex one and difficult to act, which is a concession i will give, however, the hype around her is a little unnerving when the audience is given such an unremarkable delivery of dialogues and emotion. it comes off as school-play acting at times. swastika mukherjee, who plays urmila, is quite two-note with her acting, which sometimes suits her character and sometimes just feels very low-effort. babil khan has his moments, yet there is such less versatility. you'd think the babil of qala's hallucinations and the one who existed in real life would have some distinct characteristics (which they do), but they never come off as that. it feels so half-hearted at times.

the whole point of symbolism is that it's subtle at heart and not on the face. qala has on-the-face symbolism, which is an irony in itself. the black swan scene, the frosty room in the beginning, the ghostly jagan, etc. almost made me bump my nose into a wall. it comes off as pretentious at best, as if the viewer is stupid. it is also very off-putting in some scenes. for example, the black swan scene - there is very little buildup and it feels very predictable in the sense that "it all goes downhill from here". however, there is one scene which i like, which is the gargoyle one (a very traumatic scene, for those who recall, it is the one right before ghodey pe sawaar gets recorded for the final time). i think that is the most effective filmmaking in the entire film. the best thing about symbolism is always the subtlety. it makes the viewer keep coming back to pick up on something they might have missed in the first watch, it helps them pick up the pieces along the way instead of being able to tell the twists thirty minutes before they are revealed.

and one of the most egregious crimes of the entire film is the direction. here is where we get a little more technical (but just briefly, do not worry). the way it cuts from one scene to the next is like watching a poorly edited reel put out by the team of an out-of-touch marketing firm. the editing could have been better at many places. the writing falls flat specifically when it comes to the characters. i'm pretty sure on paper, the script must've been a delight to read. the story has so much potential - considering that it's based on two books, where there might've been even more depth given to the characters - it isn't new in any way but it offers a different, feminist perspective of the indian music industry. yet, the characters are paper thin on screen - in their ambitions, psychology and sociology. hence, urmila suddenly turning a new leaf in the last ten minutes of the film is something that feels wrong, because all along, she has been portrayed as a heartless mother. qala's actions make sense because her character has nearly always been rooted in self pity and rage. jagan is nothing without music. there is very little dimension to them apart from me summarizing their characters in one sentence with less than thirty words each.

that is why, the film feels even more half-hearted when it speaks of the issues that it centers around. all of these elements add up and make for a tiring watch. i gave qala a second chance, to be fair and omitted some of my pettier criticisms, yet the more serious ones remain. to a certain extent, it does aestheticize depression, which i have a huge issue with. however, baby steps as always with bollywood. it's no dear zindagi considering it is set in a different period with a different ending. however, the writing of the characters could've been so much better. a little more exploration of urmila's intentions would've given her so much depth. a few more interactions between qala and jagan might've given qala the chance to befriend him and not just see him a rival, thus intensifying the decision she took. the characters do not feel human, they are strictly white or black and qala being the anti-hero feels very off since it requires better writing and a stronger plot. and of course, much better acting.

however, qala re-opened up discussion of a nearly-always forgotten discourse - that of the position of women in music. and for achieving that bare minimum, i give it full credit. however, when there have been films with much better writing, characterization and cinematography in bollywood itself, with a similar theme, qala needs to be seen for what it contains than what it displays. just because it glitters, doesn't mean it's gold.

[elisacifuentes]

Tatort Zürich: Seilschaft (2023)

[theoniprince]

Mord zum Sonntag - Tatort: Von Affen und Menschen

(by Birgitta Lamparth, 13.04.24, Wiesbadener Kurier)

[playermagic23]

Web Series Review: Panchayat Season 3

Star Cast: Jitendra Kumar, Raghubir Yadav, Neena Gupta, Chandan Roy, Faisal Malik, Sanvikaa, Pankaj Jha

Director: Deepak Kumar Mishra

Synopsis: PANCHAYAT SEASON 3 is the story of the feud between a villager and an egoistic MLA. After the events of the second season, a new 'Sachiv' (Vinod Suryavanshi) arrives in Phulera. Brij Bhushan Dubey (Raghubir Yadav), the Pradhan Pati, devises a plan. He keeps the Panchayat office locked on the day of the new Sachin's joining. Brij even doesn't pick up his call and so does Vikas (Chandan Roy). The new Sachiv complains to the MLA Chandrakishore Singh (Pankaj Jha), who in turn, complains to the DM (Kusum Shastri). The DM urgently calls Manju Devi (Neena Gupta), the Pradhan, to her office. Manju and Prahlad (Faisal Malik), the Up-Pradhan, make it clear that they want Abhishek Tripathi (Jitendra Kumar) back as the Sachiv. As luck would have it, the same day, the MLA is jailed for killing a dog. The DM cancels Abhishek's transfer and asks him to join Phulera Gram Panchayat. Brij, Manju, Vikas and Prahlad are overjoyed to have Abhishek back with them. But there are certain problems in front of the village. Prahlad is depressed over the death of his son, Rahul (Shiv Swaroop) and has turned an alcoholic as well. Meanwhile, the Gram Panchayat elections are around the corner and Bhushan (Durgesh Kumar) is determined to win at any cost. As part of his strategy, he decides to send an olive branch to the MLA. Soon, this leads to utter chaos and madness in Phulera. What happens next forms the rest of the show.

Panchayat Season 3 Story Review: Chandan Kumar's story is terrific and the writer manages to neatly take the story forward. Chandan Kumar's screenplay is very effective and is peppered with lots of entertaining and dramatic moments. But the surprise this season is that the show scores big time with the emotional scenes as well. Chandan Kumar's dialogues are sharp and hilarious as required. Some dialogues are bound to become memes, just like it happened in the previous season. A few one-liners, however, do give a feeling that they were written keeping in mind that it'll become meme-worthy.

Deepak Kumar Mishra's direction is praiseworthy. Like the previous seasons, the execution is neat and uncomplicated. Often, several cult shows tend to disappoint in the subsequent seasons. But PANCHAYAT has proved to be an exception. The writer and director have taken care that nothing is added for the heck of it and at the same time, the new developments carry the essence of the show. This time, the stakes are higher and hence, even the tension levels go high in some scenes.

On the flipside, some developments are silly. For instance, the idea of the Pradhan to not pick up the call of the new Sachiv is childish. But since it leads to LOL-worthy moments, one won't mind. The same happens with the scene where a family is given a house under the PM Awas Yojana scheme though they don't qualify for it. The reason behind it is far-fetched. However, it makes for a nice watch. Secondly, the romance between Abhishek and Rinki (Sanvikaa) doesn't progress much and it's a bit of a downer.

PANCHAYAT SEASON 3 begins on a very entertaining note and the first episode sets the mood. The sequence between Prahlad and Damyanti Devi (Abha Sharma) is lovely and the most emotional sequence of the show. The real fun begins once the MLA arrives in the village for a truce meeting. The scene starts ordinarily but ends on a high and is sure to bring the house down. From here, the show is highly entertaining. This time, there's also action and the final episode is very nail-biting. The last 10 minutes give a 'Katappa ne Baahubali ko kyun maara' or 'Lonavala mein kya hua' (THE FAMILY MAN) vibe and enhance the excitement for Season 4.

Panchayat Season 3 Performances: Jitendra Kumar doesn’t have much to do initially but later on, dominates the show. He’s totally gotten into the skin of the character by now and is very impressive. Raghubir Yadav, too, puts his best foot forward. Neena Gupta is first-rate and this time, her character gets a deeper understanding of politics. This adds a lot to her role and also her performance. Chandan Roy lends able support, as always. Faisal Malik has a difficult role this time but comes out with flying colours. Sanvikaa is a fine talent and her mere presence instantly lifts the impact of a scene. Pankaj Jha is outstanding as the antagonist. The same goes for Durgesh Kumar. Sunita Rajwar (Kranti Devi; Bhushan's wife) leaves a huge mark. Ashok Pathak (Binod) this time has a longer role, considering the popularity of his memes perhaps, and does very well. Asif Khan (Ganesh) is highly entertaining while Aanchal Tiwari (Raveena) is sweet. Abha Sharma is adorable and Vishal Yadav (Jagmohan) makes his presence felt. Prateek Pachauri (Babloo) and Ebaabdullah Khan (Dabloo) are funny. The others who do well are Tript Sahu (Khushu; Vikas's wife), Bulloo Kumar (Madhav; who sides with Bhushan), Gaurav Singh (Chottan Singh; MLA's PA), Amit Kumar Maurya (Bam Bahadur), Kusum Shastri, Vinod Suryavanshi, Shrikant Verma (Parmeshwar), Vishwanath Chatterjee (Sanjay Yadav; cop) and Diwakar Dhayani (BDO). Kirandeep Kaur (Chitra; MLA's daughter) doesn’t have much to do and hopefully, will have a stronger part in Season 4. Lastly, Swananad Kirkire (MP) has a promising cameo.

Panchayat Season 3 music and other technical aspects: Anurag Saikia's music enhances the impact. As for the songs, the Manoj Tiwari track is damn good. But watch out for 'Thame Dil Ko', sung by Abhijeet Bhattacharya. Amitabha Singh's cinematography is satisfactory. The bird's eye view shots of the village, especially, are memorable. Karishma Vyas' costumes and Naveen Lohara and Sayali Naikwadi Singh's production design are straight out of life. The action is realistic. Amit Kulkarni's editing is smooth.

Panchayat Season 3 Conclusion: On the whole, PANCHAYAT SEASON 3 fulfils all the humongous expectations and rests on bravura performances, some funny and dramatic sequences, nail-biting climax and meme-worthy dialogues. This time, the show also scores on the emotional front and also boasts of action scenes. Thanks to the insane popularity and word of mouth, the third season is bound to emerge as one of the most most-watched or maybe the most most-watched show for Amazon Prime Video this year. Recommended!

[sixohsixoheightfourtwo]

re: what fandom 'a little life' came from, my immediate knee-jerk thought was "backstreet boys." i have absolutely no basis for this other than Terminally Online Brain Worms esp bc..........there are 5 of those boyband fellas and as far as i remember only 4 main characters in that book lmfao. what can i say. the boyband angle feel right

yeah i'll incorporate that into my belief system

[myfrenzi]

Middle Eastern Film Treasures

Middle Eastern Film Treasures: What to Watch on OTT

In the realm of cinema, the Middle East has woven tales that are as diverse as its landscapes and cultures. From gripping dramas to heartwarming stories of family and friendship, Middle Eastern cinema has a treasure trove of cinematic gems. With the advent of Over-the-Top (OTT) platforms, these films have found a global audience. In this blog, we’ll take you on a journey through some of the best Middle Eastern movies available on OTT, showcasing the emotional richness and cultural tapestry of the region.

1. “Theeb” (2014)

This Jordanian coming-of-age drama is set against the backdrop of the Arabian Desert during World War I. It follows the young Bedouin boy Theeb, who embarks on a perilous journey with a British soldier. The film beautifully captures the vastness and harsh beauty of the desert while exploring themes of survival and brotherhood.

2. “Caramel” (2007)

From Lebanon comes this heartwarming and bittersweet tale of five women who work in a beauty salon in Beirut. Each woman has her unique struggles and dreams, and the film delicately weaves together their stories. “Caramel” offers a glimpse into the lives of these women, their friendships, and the challenges they face in a rapidly changing city.

3. “A Separation” (2011)

This Iranian masterpiece directed by Asghar Farhadi delves into the complexities of a deteriorating marriage. When a husband and wife seek a divorce, a series of events unfolds that not only tests their relationship but also explores themes of truth, ethics, and societal pressures. “A Separation” is a deeply moving and thought-provoking drama.

4. “The Insult” (2017)

From Lebanon, “The Insult” is a courtroom drama that explores the consequences of a minor dispute that escalates into a nationwide controversy. The film tackles issues of identity, prejudice, and the power of words. It’s a gripping narrative that reflects the tensions and divisions within Lebanese society.

5. “Wadjda” (2012)

Directed by Haifaa Al-Mansour, “Wadjda” is a groundbreaking film from Saudi Arabia. It tells the story of a young girl named Wadjda who dreams of owning a bicycle, even though it’s considered taboo for girls in her culture. The film offers a charming and poignant look at gender norms and the determination of a spirited young girl.

6. “The Salesman” (2016)

Another gem from Asghar Farhadi, this Iranian drama revolves around a couple whose life takes an unexpected turn when they move into a new apartment. The film masterfully explores themes of trauma, revenge, and forgiveness while keeping viewers on the edge of their seats.

7. “Omar” (2013)

From Palestine, “Omar” is a gripping thriller that follows the life of a young baker who becomes embroiled in the Israeli-Palestinian conflict. The film skillfully navigates the moral dilemmas faced by its characters, making it a powerful commentary on the enduring conflict.

8. “Barakah Meets Barakah” (2016)

This Saudi romantic comedy offers a delightful exploration of love in a society bound by tradition and protocol. It follows the budding romance between a young couple from different social backgrounds, offering a humorous take on the challenges they face.

9. “Capernaum” (2018)

This Lebanese drama tells the story of Zain, a young boy who sues his parents for giving him life in a world of poverty and hardship. “Capernaum” is a raw and emotionally charged film that sheds light on the plight of marginalized children in Lebanon.

10. “The Nile Hilton Incident” (2017)

Set in Cairo, Egypt, this crime thriller follows a detective as he investigates the murder of a singer in a luxury hotel. The film provides a gritty portrayal of corruption and political turmoil in Egypt while delivering a suspenseful narrative.

Conclusion

The Middle East has gifted the world with a rich tapestry of films that offer diverse perspectives and emotional depth. These Middle Eastern movie treasures, available on various OTT platforms, provide viewers with a window into the culture, history, and human experiences of the region. So, the next time you’re wondering “what to watch on OTT,” consider exploring these cinematic gems from the Middle East for a truly enriching experience.

5 Unique FAQs After The Conclusion

Can I watch these Middle Eastern films with subtitles? Yes, many OTT platforms offer subtitles, making these films accessible to a global audience.

Are there other notable Middle Eastern films not mentioned in the blog? Absolutely! The Middle East has a vast cinematic landscape with many more exceptional films to discover.

Do Middle Eastern films only focus on serious topics? No, Middle Eastern cinema covers a wide range of genres, from drama to comedy and romance.

What cultural insights can I gain from watching these films? These films offer insights into Middle Eastern culture, traditions, and societal issues.

Are Middle Eastern films suitable for family viewing? Some films are family-friendly, while others may contain mature themes. It’s advisable to check the film’s rating and content before viewing with family.

[lyricsolution-com]

Lucky Baskhar X Review; Dulquer Salmaan Starrer Receives Rave Reviews As It Streams On OTT | Regional News

New Delhi: Lucky Baskhar, starring Mollywood heartthrob Dulquer Salmaan and Meenakshi Chaudhary in the lead roles, has returned to the spotlight as it is now available for streaming on Netflix. Directed by Venky Atluri, the film has been making waves online, with millions of viewers praising its captivating storytelling, stellar performances, and music. Upon its release on OTT today, netizens…

[tfgadgets]

The Penguin Season 1 finale review: Colin Farrell finds the wizard in Oz

A still from ‘The Penguin’ Season 1 | Photo Credit: @StreamOnMax/YouTube ‘A Great or Little Thing’, the terribly beautiful title for the final episode of The Penguin, is a line from Oscar Wilde’s ‘The Ballad of Reading Gaol’. In the poem, while “a voice behind me whispered low, That fellow’s got to swing”, is oft quoted, it is the line ‘The man had killed the thing he loved’ that succinctly…

[lokeshbhandarimovies233]

Welcome to Lokesh Bhandari Review, your ultimate entertainment hub for insightful reviews! Dive into in-depth Web Series Reviews that spotlight the latest streaming hits, explore our curated OTT Movie Reviews for must-watch films, and enjoy expert Movie Reviews of recent blockbusters. Uncover hidden gems with our Under-Rated Reviews**, discover fresh content in Other OTTs, and relish nostalgic insights with our Retro Reviews of classic films. Stay informed and entertain

[ishizu-ka]

🌨 The snow in Wintermeuse isn't cold

[avyaja-blogspot]

[djarshaddj]

Netflix presents Phir Aayi Hasseen Dillruba Trailer out: Taapsee Pannu, and Vikrant Massey is back with the sequel to 2021's Hasseen Dillruba; also featuring Sunny Kaushal and Jimmy Sheirgill!

Netflix presents Phir Aayi Hasseen Dillruba Trailer out: Followed by 2021’s acclaimed romantic thriller “Hasseen Dillruba” Taapsee Pannu and Vikrant Massey reprising their roles in the sequel, Phir Aayi Hasseen Dillruba, Sunny Kaushal, and Jimmy Sheirgill also roped in the pivotal roles. The Jayprad Desai-directed, Kanika Dhillon-written film is slated to premiere on August 9th, only on Netflix…