The tone of the film may be gloomy but it is never tragic or hopeless. Like millions of underprivileged people who find joy in small things, Shanu, Bua and their mother keep their heads above water, notes Deepa Gahlot.
What's unforgiving about Season two is the way the ever-so-entertaining Venkatesh Daggubati is under-utilised, complains Mayur Sanap.
Watch Kaalidhar Laapata because clean family-viewing films are getting scarcer by the week, recommends Deepa Gahlot.
Four Years Later shines in various moments that instantly resonate with you, thanks to Shahana Goswami, observes Divya Nair.
Jaat is a full-on, South-infused entertainer that delivers exactly what it promises, feels Rajesh Karkera.
The only saving grace is the title score by Amar Mohile, which injects some energy into this otherwise pointless attempt at a dark revenge drama, observes Divya Nair.
Eternal, the parent company of Zomato and Blinkit, on Wednesday reported a 72.8 per cent jump in its net profit for the third quarter of financial year 2026 (Q3FY26), on the back of a robust momentum in its quick commerce business. The firm's net profit rose to Rs 102 crore in Q3FY26 against Rs 59 crore it reported during the same period a year ago.
Sejal Shah's flatly-narrated timeline would probably serve better as a documentary, observes Sukanya Verma.
In times when films have struggled to score Rs 50 crore (Rs 500 million) in their first weekend, this Ranveer Singh-led multi-starrer has done that in its fourth weekend, which is unprecedented.
What keeps the momentum going is Kajol's fully committed performance that elevates this generic material to a surprising degree of watchability, feels Mayur Sanap.
Pankaj Tripathi's Madhav Mishra is one of the most entertaining characters created for an Indian Web series, and the actor plays him with relish, observes Deepa Gahlot.
The Bhootnii is just never thrilling, frightening or funny enough to pass itself off as a horror comedy, notes Deepa Gahlot.
As someone who could not predict a single beat in advance, who was exhilarated by its audacity to throw random elements together and take chances all over the place, Sreehari Nair thinks Odum Kuthira Chaadum Kuthira is one of the best films of the year.
'This so called trend of giving money, in the disguise of marketing a film, to ensure good 'hype' for a film is created or else 'they' will continuously write negative things (even before the film is released), until you pay 'them' money feels nothing but kind of extortion.'
The three lead actors are excellent, giving their parts the various shades of joy, anger, despair and the emotional heft required to make their characters believable and likeable, observes Deepa Gahlot.
With a better script, Test could have been a compelling relationship drama. Instead, it only tests your patience, complains Mayur Sanap.
Loot Kaand tries to concoct a crime drama that arouses some curiosity but is instantly forgettable, observes Deepa Gahlot.
Kannappa is a bloated mess of a film that underutilises interesting story ideas, observes Arjun Menon.
'The amount of respect we have for people who guard our borders and put the country first.' 'Why do they do this?' 'The chances of not coming back are so high. Still, they take that risk.' 'It's for the love of the country.'
Mayur Sanap wishes there was more to a this feel-good exercise that never reaches the dramatic heights it is aiming for.
Amaran is effective as a intimate, well researched piece of storytelling but does not try to break any new ground, observes Arjun Menon.
There's not any effort -- not even a smidgen -- to resurrect a superstar on the wane in Sikandar, sighs Sukanya Verma.
Writer and director Anusha Rizvi returns to cinema after 15 years with warmth, wit and many a laughs.
For a story that thrives on jumpscares and gruesome kills, The Monkey has enough tricks up its sleeve. The shockers keep you entertained for the most part, observes Mayur Sanap.
Panchayat Season 4 is watchable, mainly because of the wonderful actors, who, over the seasons have developed a warm rapport, notes Deepa Gahlot.
The weekend saw film folk take a break from Diwali parties and attend the Thamma premiere in Mumbai.
The Final Reckoning, with all its startling ambition and scope, puts a dazzling display of stunt-work by Tom Cruise, applauds Mayur Sanap.
When we put 'Thala' Ajith and 'Action King' Arjun in the same frame, you can expect fireworks and they don't let you down, notes A Ganesh Nadar.
Narivetta takes its cue from real-life incidents and fictionalises the ordeal through the experiences of a young cop caught in the crossfire between the police and tribals up in arms, notes Arjun Menon.
Chhorii 2 frustrates way more than it frightens, sighs Sukanya Verma.
Ground Zero is a respectful biopic but a story like this needed more heart to make an actual impact, feels Mayur Sanap.
Rajkumar Gupta's hammy treatment and bombastic score strips the realism to turn Raid 2 into another hail the hero exercise, observes Sukanya Verma.
It was a forgettable weekend for Bollywood as the two new releases -- 120 Bahadur and Mastiii 4 -- failed to get audiences.
The Nani starrer is an all-out, larger-than-life upgrade of the HIT series that loses steam in its attempts at stylistic indulgences, notes Arjun Menon.
Despite the evolution of cinema toward more refined expressions and aesthetics today, the exaggerated comedic style of Andaz Apna Apna remains endearing and entertaining, reminding us that sometimes, we just need a dose of mindless comedy to unwind, feels Shristi Sahoo.
Sweet Dreams is a nice and wholesome date movie, recommends Deepa Gahlot.
The plot goes pretty much as expected but the Hai Junoon team seem to have sat with a check list of issues that affect today's teenagers, and ticked the ones used in the show, observes Deepa Gahlot.
120 Bahadur is not just a war movie. It is a tribute, a history lesson, and an emotional journey into the heart of military courage, states Lt Gen Devendra Pratap Pandey, Retd.
Forget smarts or cheek, there's little novelty to be found in Jewel Thief's juvenile script, barring its now free usage of the F-word to make it sound all hip and adult, observes Sukanya Verma.
It this era of sensationalism, we should appreciate director Anant Mahadevan for treating Phule with calm and composure and not going overboard, notes Hemant Waje.
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