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OTTplay is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Ishita Sengupta.

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Rating Title | Year Author Quote
War 2 (2025) Ishita Sengupta The narrative gallops from Spain to Rome, Dubai to New Delhi, Switzerland to Germany. It is not so much a requirement as a flex.
Posted Aug 18, 2025  Edit critic review
Saiyaara (2025) Ishita Sengupta With Saiyaara, Mohit Suri captures the feeling of sinking in love through the musicality of a heartbreak, and it has been a while since a Hindi film let itself fall.
Posted Aug 18, 2025  Edit critic review
Dhadak 2 (2025) Ishita Sengupta Dhadak 2 borrows its beats from Pariyerum Perumal but vibrates with its own music. It is a tender task, situated between adapting and creating, performing and inhabiting, miming and mining.
Posted Aug 18, 2025  Edit critic review
Zero Se Restart (2024) Ishita Sengupta In this documentary on the making of Vidhu Vinod Chopra's 12th Fail, Jaskunwar Kohli distils the ambiguity of creation rather than the disorder of production, lending his debut film a poignant purism.
Posted Aug 18, 2025  Edit critic review
Metro... In Dino (2025) Ishita Sengupta A spiritual sequel to Life in a... Metro, Basu’s latest has similar vibes but differs in spirit. If the 2007 film was concerned with the loneliness of citied existence then Metro... In Dino is about the cities we carry within ourselves.
Posted Aug 18, 2025  Edit critic review
Sitaare Zameen Par (2025) Ishita Sengupta Much like Khan’s performance, where if looked closely one can notice a thought arriving at his brain, RS Prasanna’s film is dunked in bluntness. Everything is text, even the subtext.
Posted Aug 18, 2025  Edit critic review
Second Chance (2024) Ishita Sengupta Subhadra Mahajan’s feature is as much about finding light at the end of the tunnel as it is about scouring light in the tunnel.
Posted Aug 18, 2025  Edit critic review
Stolen (2023) Ishita Sengupta Karan Tejpal's Stolen is a rare film about class that unfolds with its ear close to the ground. One that resists making empty statements by checking its privilege as part of the critique.
Posted Aug 18, 2025  Edit critic review
Sister Midnight (2024) Ishita Sengupta In a creatively barren phase for Hindi cinema, Sister Midnight is a rare spark. Defying market norms and genre traps, it reaffirms the joy of watching films and reiterates the medium's potency.
Posted Aug 18, 2025  Edit critic review
Costao (2025) Ishita Sengupta Costao stumbles in execution, its wry narrative obstructs the compelling nature of the story. Nawazuddin Siddiqui, despite being a fine choice on paper, never quite inhabits the character on screen.
Posted Aug 18, 2025  Edit critic review
Raid 2 (2025) Ishita Sengupta The apolitical stance of Raj Kumar Gupta's Raid 2 backfires on the commentary it tries to make; its cautious intent and framing shrink the story’s broad scope into the smallness of a single act.
Posted Aug 18, 2025  Edit critic review
Jewel Thief - The Heist Begins (2025) Ishita Sengupta Jewel Thief could have been Ocean's Eleven, but sticks to being an unauthorised sequel of Race. I am not sure about anyone else, but Abbas-Mustan would not approve of this.
Posted Aug 18, 2025  Edit critic review
Phule (2025) Ishita Sengupta Phule unfolds with the dullness of a history lesson, shrinking the expansiveness of their achievements to cherry-picked incidents and reducing the eventfulness of their lives to mere events.
Posted Aug 18, 2025  Edit critic review
Kesari Chapter 2: The Untold Story of Jallianwala Bagh (2025) Ishita Sengupta Kesari Chapter 2 is a revival of old-school politics where the antagonism against the British, the original outsider, confirms the communal unity of India.
Posted Aug 18, 2025  Edit critic review
Logout (2024) Ishita Sengupta Logout looks at the addiction of social media through the lens of a parasocial relationship — where the fragile fame of content creators is turned around to focus on those who are influenced.
Posted Aug 18, 2025  Edit critic review
Chhorii 2 (2025) Ishita Sengupta Chhorii 2 is so obvious in its badness that it makes dismissing it a lesser problem. The real horror? A third part in the works — and Nushrratt Bharuccha's painfully grating return.
Posted Aug 18, 2025  Edit critic review
Jaat (2025) Ishita Sengupta Jaat features Sunny Deol doing the usual Sunny Deol things. He uproots things from the ground, refers to a woman probably younger than him as “Amma”, and spells out the weight of his hand to random strangers.
Posted Aug 18, 2025  Edit critic review
Sikandar (2025) Ishita Sengupta Watching a Salman Khan film today has come to resemble an act of parental bias as if he were an irate child and the rest of us exist to humour him.
Posted Aug 18, 2025  Edit critic review
Be Happy (2025) Ishita Sengupta Be Happy claims to spotlight dance but does so dishonestly, ultimately playing like a promotional reel for several reality shows Remo D'Souza judges while reducing its serious themes to a footnote.
Posted Aug 18, 2025  Edit critic review
The Diplomat (2025) Ishita Sengupta The Diplomat is the second consecutive film after Vedaa (2024) where John Abraham saves a girl. It’s not an unusual premise, but the film works because its heroism is less self-involved than usual.
Posted Aug 18, 2025  Edit critic review
Nadaaniyan (2025) Ishita Sengupta Shauna Gautam’s debut feature Nadaaniyan's leads are so dull that even in a ranking of Hindi cinema’s most forgettable protagonists, Pia (Khushi Kapoor) and Arjun (Ibrahim Ali Khan) wouldn’t qualify.
Posted Aug 18, 2025  Edit critic review
Superboys of Malegaon (2024) Ishita Sengupta Reema Kagti’s Superboys of Malegaon is blatant in its love for the movies, obvious in its messaging and overt in its homage. The tenderness is so apparent that there is little space for scrutiny.
Posted Aug 18, 2025  Edit critic review
Mrs. (2023) Ishita Sengupta If Mrs stands on its own feet, it is because an actor like Sanya Malhotra has its back.
Posted Aug 18, 2025  Edit critic review
Dhoom Dhaam (2025) Ishita Sengupta Dhoom Dhaam proves through its existence that the OTT platforms have become more of a dumping ground for middling films that have nowhere else to go or, in the spirit of the film, run.
Posted Aug 18, 2025  Edit critic review
The Mehta Boys (2024) Ishita Sengupta The Mehta Boys would have been a better film had it recognised the ingrained potential of its premise. Instead of looking inward, Irani’s debut keeps training its lens on the outside.
Posted Aug 18, 2025  Edit critic review
André Is an Idiot (2025) Ishita Sengupta André is an Idiot is a fascinating character study that takes nonfiction and uses it not to confront but escape life, and by doing so opens up the possibilities of the form itself.
Posted Jan 30, 2025  Edit critic review
Twinless (2025) Ishita Sengupta Twinless, which premiered at the Sundance Film Festival, is Sweeney’s sophomore directorial outing but the assuredness on display is one for the ages.
Posted Jan 30, 2025  Edit critic review
Cactus Pears (2025) Ishita Sengupta Sabar Bonda opens as a quiet portrait of grief — the first scene takes place at a hospital, loud muffled cries score more than one scene— and the inclination only hardens as the premise starts taking shape.
Posted Jan 30, 2025  Edit critic review
Sorry, Baby (2025) Ishita Sengupta Eva Victor, the American comedian who garnered fame by posting funny videos on Twitter, makes her directorial debut with Sorry, Baby, a startling feature imbued with a clarity of voice that hits one like a block of ice.
Posted Jan 30, 2025  Edit critic review
Singham Again (2024) Ishita Sengupta Watching a Hindi film cop drama today can be an exercise in suspicion. There is always jingoism lurking in the wings. In Singham Again, it takes centre-stage but it is accompanied by such dullness that the bigotry becomes the lesser evil.
Posted Nov 27, 2024  Edit critic review
Vijay 69 (2024) Ishita Sengupta Vijay 69 is so keen to convey its central hackneyed message that even the grass in the frame is obliged to perform.
Posted Nov 27, 2024  Edit critic review
I Want to Talk (2024) Ishita Sengupta Shorn of metaphor and allusion (well, not completely), I Want to Talk is about the grime and gift of living. It is a prosaic portrayal of what it takes to live and how much it takes out of us to survive.
Posted Nov 27, 2024  Edit critic review
All We Imagine as Light (2024) Ishita Sengupta It is that rare film whose every frame affirms the gift of the medium of its choosing as the glorious soundscape grazes against the burnished visuals and the gap between them allows for dialogues and interpretations to flow, and for us to breathe.
Posted Nov 27, 2024  Edit critic review
Sector 36 (2024) Ishita Sengupta Based on the high-profile Nithari killings, Sector 36 is less about identifying the perpetrators and more about an investigation into what led — and leads — to the perpetuation of such crimes.
Posted Oct 12, 2024  Edit critic review
Binny and Family (2024) Ishita Sengupta Binny and Family is an unexpectedly profound film that treats characters as people instead of burdening them with the need for messaging. None of them is good or bad. They are just young and old.
Posted Oct 12, 2024  Edit critic review
CTRL (2024) Ishita Sengupta With CTRL, Motwane invites us to witness the fragility of digital privacy and needles our trained fingers through a premise that unfolds entirely on laptop and phone screens.
Posted Oct 12, 2024  Edit critic review
Vicky Vidya Ka Woh Wala Video (2024) Ishita Sengupta Raaj Shaandilya takes all the tropes that are working right now, and stitches together a strange mismatched story that ends so far from where it began, that its origin seems like a fever dream.
Posted Oct 12, 2024  Edit critic review
Jigra (2024) Ishita Sengupta Jigra tracks the distance a sister will cover to protect her sibling, and in the process lends a distinct femininity to the idea of heroism by revealing its roots to be knee-jerk desperation and not choreographed combat.
Posted Oct 12, 2024  Edit critic review
The Buckingham Murders (2023) Ishita Sengupta The Buckingham Murders unfolds not just as a metaphor for what is happening in India today but as an exposition of what the happenings in India are doing to the people elsewhere.
Posted Sep 14, 2024  Edit critic review
Vedaa (2024) Ishita Sengupta Written by Aseem Arora, Vedaa constantly feels like two films in one; the one it intended to be, and the other, what it unfolds as.
Posted Aug 19, 2024  Edit critic review
Khel Khel Mein (2024) Ishita Sengupta Khel Khel Mein swings so much that every time you feel it will take a misstep or make a commentary, it commits to neither and settles for laughs.
Posted Aug 19, 2024  Edit critic review
Stree 2 (2024) Ishita Sengupta Stree 2 is both a fan service and a creative exercise, it is both a reiteration and an invention. It is a convincing foray into the multiverse and equally robust as a distinct film.
Posted Aug 19, 2024  Edit critic review
Phir Aayi Hasseen Dillruba (2024) Ishita Sengupta Phir Aayi Hasseen Dillruba is a pale reprisal in comparison, that hovers over the fences instead of swinging for them. It inherits the framework of the original but robs off the soul, reducing the outing to a clumsy guessing exercise with no heart.
Posted Aug 19, 2024  Edit critic review
Ulajh (2024) Ishita Sengupta Directed by Sudhanshu Saria, Ulajh conjures very little tension to sustain interest. It does not help that apart from wasting its potential, the film also squanders the terrific actors it assembled.
Posted Aug 19, 2024  Edit critic review
Bad Newz (2024) Ishita Sengupta What is Bad Newz when it's not evoking Mohabbatein, Kabir Singh and Duplicate? It's a tedious watch about two men fighting over a pregnant girl while she is relegated to the margins.
Posted Aug 19, 2024  Edit critic review
Sarfira (2024) Ishita Sengupta Sudha Kongara’s Sarfira is the Hindi adaptation of Soorarai Pottru, the hugely successful 2020 Tamil film she directed. Several actors from the original reprise their roles and the screenplay is almost scene-to-scene identical. Even the flaws are repeated
Posted Aug 19, 2024  Edit critic review
Wild Wild Punjab (2024) Ishita Sengupta Wild Wild Punjab is a film in which men are busy doing exactly two things: talking about killing themselves or drinking alcohol. No one works and no one cares.
Posted Aug 19, 2024  Edit critic review
Hamare Baarah (2024) Ishita Sengupta FOR a film based on a Muslim family and so suffused with the language, music and people from the community, Hamare Baarah has not one Muslim person in the direction or writing team. It is not an accidental but deliberate exclusion.
Posted Jul 08, 2024  Edit critic review
Kill (2023) Ishita Sengupta Kill is bloody, gruesome and unlike any other Hindi film in the realm. The rarity is claimed and earned during the runtime when the familiar setting is revealed to be a setup and the premise turns out to be something else.
Posted Jul 08, 2024  Edit critic review
Sharmajee Ki Beti (2024) Ishita Sengupta Sharmajee Ki Beti has all the problems that films revolving around women share and none of the astuteness they demand. The central female characters as designed messengers who are cherry picked to drive an overwrought message home.
Posted Jul 08, 2024  Edit critic review
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