By putting Peter Parker back at the heart of the story, Spider-Man: Brand New Day delivers the MCU's strongest Spider-Man film yet.
Not every Indian superhero movie lands, but these seven prove the genre has plenty of potential.
From Lakshya to Shershaah, revisit 10 Hindi films and shows that captured the courage, sacrifice and emotional cost of the 1999 Kargil War.
Ohh My Dog has something different to offer. As for dog lovers, this is definitely a film to catch, rave Rajesh Karkera and Mayur Sanap.
The India Story adopts a very soap opera-like approach, piling on ham-fisted melodrama along with plenty of unevenness, sighs Sreeju Sudhakaran
From hilarious treasure hunts to recycled jokes, here's how every Dhamaal film stacks up from worst to best.
Max, Min And Meowzaki is not something Bollywood audiences are used to in their cinema that thrives on melodrama and noise. Still, it captures a slice of city life that has made space for cat lovers, movie buffs and Carnatic rockers, discovers Deepa Gahlot.
F1: The Movie is definitely a fun time at the movies and deserves a big screen experience, notes Mayur Sanap.
Srinivasa Mangapuram introduces star kids Jai Krishna and Rasha Thadani in a formulaic romantic actioner that struggles to find its footing.
Operation Safed Sagar is prime purpose may be to honour IAF warriors but it is an inadvertent reminder of how we went from a nation of Jung na hone denge to Ghar mein ghus ke marenge, observes Sukanya Verma.
'Rajkumar Santoshi and Chandraprakash Dwivedi have narrated the story to me but such films require heavy budgets.'
For such a likeable ensemble cast, it is almost tragic how Bhai Tera Star Hai never grows funnier, notes Mayur Sanap.
Debutant Aman Indra Kumar simply has no screen presence or charisma, sighs Mayur Sanap.
Vikrant Massey, Vedika Pinto and Mahima Makwana are persuasive enough to hold ground even when their on screen actions leave you more flummoxed than fascinated, notes Sukanya Verma.
A gripping psychological setup and Kunchacko Boban's superb performance are undone by a disappointingly ordinary final act in Unmadham.
Adarsh Baal Vidyalaya is as breezy and it is earnest, discovers Deepa Gahlot.
A charming first half and two winning lead performances are undone by an overlong, predictable second half that loses sight of what made Chennai Love Story special.
Lenin packs enough intriguing twists to hook you, but eventually buries them beneath an all-too-familiar revenge saga.
Minions & Monsters entertains with its cinematic nostalgia baits, even if it never quite escapes the franchise's familiar storytelling flaws.
C Joseph Vijay's Jana Nayagan is not just a film but a potent political statement, strategically crafted to align with his political aspirations and claim the legacy of M G Ramachandran, notes Saisuresh Sivaswamy.
If Elle is to turn into its own franchise, it needs a lot more substance, notes Deepa Gahlot.
By the time Ikka reaches its overblown finale, complete with a redundant trick ending, the verdict becomes clear: Melodrama wins, logic loses, observes Mayur Sanap.
Welcome To The Jungle's moment of truth arrives when Akshay pleads 'Hum sab bhand hain' in the face of fear and power. If only the rest of this slog was as self-aware as this single scene, notes Sukanya Verma.
Dhamaal 4, the latest instalment in the comedy franchise, struggles with lazy writing, recycled jokes, and an over-reliance on self-referential humour, despite a committed cast.
From Following to Oppenheimer, here's why Christopher Nolan remains cinema's greatest modern blockbuster auteur.
Toy Story 5 delivers a timely and visually stunning narrative that gently but firmly advocates for protecting children's imagination from the pervasive influence of digital devices, notes Deepa Gahlot.
Sai Tamhankar plays delicious contradictions of her character in an immensely watchable central performance, applauds Mayur Sanap.
Heer Sara needed a lot more fizz, humour, and maybe even some stranger danger, suggests Deepa Gahlot.
Despite a wobbly screenplay and an overstretched runtime, Anbe Diana charms with its light-hearted approach and Ramya Ranganathan's performance.
Arshad Warsi can create an air of levity around anybody but Vir Hirani's stiff screen presence as Pritam Parkar has no vibe to match his peevish, pitiable Pedro Gonsalves, observes Sukanya Verma.
Alpha is a botched up opportunity, rues Sukanya Verma.
Shaji Kailas delivers familiar mass moments, but Varavu never rises above its dated revenge formula.
The live-action Moana faithfully recreates the original, but rarely captures its magic.
Con City has a fun premise and a handful of clever scams, but its biggest con is convincing you it's smarter than it really is.
Satluj is a chilling reminder of what happens when a state is allowed to become judge, jury and executioner, asserts Sreeju Sudhakaran.
Indrans' standout performance deserves a sharper screenplay than this over-edited, all-too-familiar revenge saga, rues Sreeju Sudhakaran.
Baby Do Die Do struggles to find its footing as it moves from one contrived twist to another, observes Mayur Sanap.
Despite its intriguing premise, Uyir never quite cracks the mystery, relying instead on emotional drama to deliver its final blow.
Nagabandham promises a fantasy treasure hunt adventure but ultimately devolves into a senselessly violent and shallow revenge saga.
Tumbadchi Manjula, the Marathi re-do of Su From So, sustains only by the original's goodwill, notes Mayur Sanap.
