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.
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.
Adarsh Baal Vidyalaya is as breezy and it is earnest, discovers Deepa Gahlot.
From Hera Pheri to Krrish and Drishyam, these Bollywood franchises took their sequels in wildly different directions from the films that inspired them.
Lenin packs enough intriguing twists to hook you, but eventually buries them beneath an all-too-familiar revenge saga.
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.
The comparison will be inevitable, and watching new actors will need time to adjust and grow on fans, discovers Priyanka Bhatt.
Leicestershire County Cricket Club has been docked 27 points and fined 5,000 after their pitch was rated 'poor' during a match against Glamorgan, with the head groundsman attributing the conditions to a Bollywood film shoot and extreme heat.
Here's a ringside view of Tom Cruise's Digger premiere in Los Angeles.
A gripping psychological setup and Kunchacko Boban's superb performance are undone by a disappointingly ordinary final act in Unmadham.
From the adorably vain Poo to the free-spirited Geet, Kareena Kapoor Khan has delivered some memorable performances.
'Tiger was sitting in his car when the incident happened. He is not injured. Two people injured, his driver Firdaus and a passerby. 15 teams are working to arrest the culprits.'
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.
From Following to Oppenheimer, here's why Christopher Nolan remains cinema's greatest modern blockbuster auteur.
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.
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.
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.
Tumbadchi Manjula, the Marathi re-do of Su From So, sustains only by the original's goodwill, notes Mayur Sanap.
'...then David Dhawan. If you want to make a traditional, tragic love story, it would be Sanjay Leela Bhansali.' 'If you want to make this beautiful love story after love story, it would be Sooraj Barjatya, and if you want to make an action kind of love story, then Kabir Khan.' 'All the things that have happened in my life.'
Drishyam: The Conclusion has remarkably outsmarted its Malayalam counterpart, Drishyam 3, by delivering a superior thriller that perfectly understands audience expectations for intricate plots and compelling twists.
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.
Kartik Aaryan, Yami Gautam were honoured at the 72nd National Film Awards.
Sai Tamhankar plays delicious contradictions of her character in an immensely watchable central performance, applauds Mayur Sanap.
Indrans' standout performance deserves a sharper screenplay than this over-edited, all-too-familiar revenge saga, rues Sreeju Sudhakaran.
Despite a wobbly screenplay and an overstretched runtime, Anbe Diana charms with its light-hearted approach and Ramya Ranganathan's performance.
From Kareena Kapoor Khan's 'cop who wears lipstick' in Daayra to Rani Mukerji's relentless Shivani Shivaji Rao in the Mardaani series, Bollywood has seen a rise in powerful and nuanced portrayals of female police officers tackling brutal crimes and societal challenges.
Ranbir Kapoor's look from Sanjay Leela Bhansali's Love & War has been revealed, showcasing an intense character that hints at the film's epic romantic drama set against a war backdrop, also starring Alia Bhatt and Vicky Kaushal.
From Virasat and Gardish to Tezz and Rangrezz, here's a look at Priyadarshan's serious side of Bollywood, ahead of his new movie Haiwaan.
'People used to say he had a quick temper or acted out but anger only arises when things aren't organised.'
The live-action Moana faithfully recreates the original, but rarely captures its magic.
Shaji Kailas delivers familiar mass moments, but Varavu never rises above its dated revenge formula.
Governor: Simplistic narrative, questionable historical accuracy, underwhelming production quality, notes Sukanya Verma.
'Nana Patekar was an amazing actor, and human being.'
Despite its intriguing premise, Uyir never quite cracks the mystery, relying instead on emotional drama to deliver its final blow.
Satluj is a chilling reminder of what happens when a state is allowed to become judge, jury and executioner, asserts Sreeju Sudhakaran.
Karisma Kapoor makes a powerful return to the screen in Brown, a compelling series, applauds Deepa Gahlot.
Dive into the chaotic world of Ab Hoga Hisaab, a revenge drama that attempts to weave a complex narrative of crime and retribution but often loses its way amidst a multitude of bizarre subplots, notes Deepa Gahlot.
Baby Do Die Do struggles to find its footing as it moves from one contrived twist to another, observes Mayur Sanap.
Yami Gautam turns Nayyi Navelli into a colourful supernatural ride, but the film's lavish trailer launch may have been even more dramatic than its trailer.
