Blast mixes engaging family drama with massy martial arts mayhem to deliver a thoroughly entertaining action ride.
Ritwik Pareek's debut feature film, Dug Dug, offers a brilliant satirical and philosophical exploration of the fine line between faith and foolhardiness, observes Sukanya Verma.
Tovino Thomas storms into Athiradi like a one-man festival riot, turning this colourful campus entertainer into a loud, chaotic and mostly enjoyable ego clash.
Hai Jawani Toh Ishq Hona Hai faithfully recreates the chaos, clichs and comic sensibilities of a vintage David Dhawan entertainer, for better and often for worse, notes Sreeju Sudhakaran.
An underwhelming thriller that never quite hits a home run, despite a solid John Krasinski doing his best, observes Mayur Sanap.
Randeep Hooda returns as the titular supercop in Inspector Avinash Season 2, but the series struggles to maintain narrative coherence and pacing, sighs Sreeju Sudhakaran.
Ayushmann Khurrana, known for consistently breaking conventions with his choice of roles and projects since his 2012 debut in 'Vicky Donor', is gearing up for his new release 'Pati Patni Aur Woh Do'. Ahead of its release, a list ranks his top 10 standout films, highlighting his unique contributions to Indian cinema.
The Star Wars franchise as a whole has struggled creatively in recent years, and sadly, Grogu's cuteness alone is not enough to save the day, asserts Sreeju Sudhakaran.
What works for Lock Upp Season 2: Sach ya Sazaa is the dramatic energy the contestants bring along. Whether they are successful, desperate or struggling in their respective careers, each one seems willing to bare a part/all of themselves on this platform, informs Divya Nair.
Lukkhe plunges into Chandigarh's dark underbelly, exploring a drug epidemic, political corruption, and a burgeoning rap scene, though its narrative often feels like a familiar crime drama, notes Deepa Gahlot.
Drishyam 3, the latest installment in the popular Malayalam franchise, struggles to maintain the ingenuity and thrilling narrative of its predecessors, with Georgekutty's once-brilliant facade showing significant cracks, leading to a convoluted plot and a less engaging antagonist-driven conflict.
The strength of the human spirit in the face of oppression and collective action is a theme well suited to these divided times, but Pallichattambi needed to be more precise and focused in its imagination to the make the noble intentions stick, notes Arjun Menon.
The violent set pieces, exaggerated villains, ridiculous dialogue, and non-stop fan service all work in the moment. But once the credits roll, there is not much left to hold onto.
Not only is Samay Raina going the Kapil Sharma route by bringing celebrities as special guests on his show -- which also means he has to be careful that his jokes don't land them in trouble as well -- but he also has to promote sponsors blatantly, observes Sreeju Sudhakaran.
Dhruv Sarja's KD: The Devil attempts to deliver a grounded action experience but ultimately succumbs to a loud, generic gangster narrative, muddled storytelling, and excessive theatrics, sighs Arjun Menon.
The second season of the Russo Brothers' espionage series Citadel, falls short of its global ambitions due to muddled writing and a lack of compelling narrative depth, complains Sukanya Verma.
Junaid Khan and Sai Pallavi's Ek Din has an intriguing premise that ultimately falters due to weak chemistry and an emotionally underwhelming payoff, discovers Sreeju Sudhakaran.
From blink-and-miss song appearances to scene-stealing guest roles, Hrithik Roshan has turned even cameos into memorable moments.
The blandness of the script and the just about passable performances make Mercy a wearying watch, particularly since the complexities of euthanasia are not adequately explored, observes Deepa Gahlot.
Ironically, only three films have crossed over to the Rs 100 Crore (Rs 1 billion) Club so far. We look at the half yearly box office report.
Billie Eilish: Hit Me Hard and Soft: The Tour: Live in 3D is packed with moments that are clearly meant to make die-hard fans go 'Aww,' but they don't really give a true look at the person behind the artist, notes Mayur Sanap.
The English subtitles in Dhurandhar The Revenge don't get it right, and at regular intervals, the sub-titles and the Tamil dialogues are saying different things. Those in the audience, who know both languages, can be heard laughing at each blunder, observes A Ganesh Nadar.
Dridam starts well as this intriguing small-town investigative thriller worthy of the Jeethu Joseph school of suspense, only to trip over clumsy red herrings and over-explanations, observes Sreeju Sudhakaran.
Karuppu begins with a striking idea of God battling a broken justice system, only to turn into a routine Suriya mass spectacle.
Before Welcome to the Jungle, here's a look at the movies where Akshay Kumar tried to entertain us in double roles.
Glory juggles its whodunit goals and estranged father-son equation across a hoard of suspects and unreliable allies. The upshot is uneven yet watchable because of the talent on board, notes Sukanya Verma.
If only Pati Patni Aur Woh Do were as funny as its director intended it to be, that would have been reason to celebrate, notes Sreeju Sudhakaran.
Dhurandhar - The Revenge arrives this week and all eyes are on how entertaining the film turns out to be and how much money it makes at the box office. A look at the Top 10 biggies in the Hindi spy film genre.
Sapne vs Everyone is dark, and often depressing. At the same time, it is not completely hopeless, notes Deepa Gahlot.
Ashish R Mohan's Daadi Ki Shaadi, starring Neetu Singh and Kapil Sharma, offers an outdated plot that fails to deliver on humour or emotional depth.
Exploring memorable scenes that celebrate football in the movies.
The second season of Beef delves into a new, class-driven conflict at an elite Southern California country club, in a compelling narrative of escalating domestic disputes, blackmail, and corporate intrigue, notes Deepa Gahlot.
Aditya Kripalani's Main Actor Nahin Hoon, starring Nawazuddin Siddiqui and Chitrangada Satarupa, turns 'acting lessons' into an emotional battlefield of loneliness, ego and vulnerability.
The Delhi High Court has directed the Centre and the censor board to review a PIL raising concerns about the Ranveer Singh-starrer 'Dhurandhar: The Revenge,' which allegedly reveals sensitive information about India's intelligence and defence operations.
Ginny Wedss Sunny 2 is a humourless romcom weighed down by lazy writing and forced emotional conflicts.
Hey Kai Navin? begins to falter, because the show leans too heavily into saccharine sentimentality, often choosing non-fussy conflicts over narrative depth, notes Mayur Sanap.
This Mummy is all sound and fury, signifying nothing, discovers Mayur Sanap.
When it's not spouting excessive maths jargon -- algorithm alone is uttered a zillion times -- too many characters with too little context crowd the scenes and turn Maa Ka Sum into a slog, observes Sukanya Verma.
Vishnu Aravind's Madhuvidhu is a family entertainer that works in parts but falters when its drama turns unconvincing, observes Sreeju Sudhakaran.
Kara had the makings of a fine heist thriller anchored by a superlative Dhanush, but a slack screenplay in crucial stretches and an overdose of melodrama ensure it only works in patches, observes Sreeju Sudhakaran.
