Television actress Shilpa Shinde addressed the ongoing backlash surrounding her Bhabiji Ghar Par Hain sexual harassment row, alleging a 'paid PR' campaign is behind the criticism.
Stolen's crisp running time and Abhishek Banerjee's metamorphosis from callous to crusader ensure the stark bits duly haunt and horrify, observes Sukanya Verma.
Everything in Good Bad Ugly seems copied, rues A Ganesh Nadar.
Jacqueline Fernandez made a striking appearance at the Global Gift Foundation Gala Night during the Cannes 2026.
Aishwarya Rai Bachchan redefined her iconic style at the Cannes 2026 closing ceremony, dazzling in a unique and intricately designed white pantsuit that garnered applause from fashion enthusiasts.
Rental Family explores a simple question: If you pretend to care for long enough, when does it start to feel real? Mayur Sanap gives us a closer look.
Alia Bhatt turned heads at the Cannes Film Festival 2026, showcasing a versatile fashion sense from a captivating princess-like gown to a custom-draped dhoti skirt adorned with traditional Indian jewellery.
With the twin blockbusters of Dhurandhar, which have resulted in over Rs 2,000 crore (Rs 20 billion) coming in, Ranveer Singh has proved himself all over again.
Jeethu Joseph's Valathu Vashathe Kallan works better as an emotional drama than an intriguing thriller, notes Arjun Menon.
Mouni Roy made a striking style statement at Cannes in a custom-made blue gown inspired by the intricate Patola weaving style from Gujarat.
A fanciful air envelopes Aap Jaisa Koi's modest drama, of a story lost in its own bubble that's only burst by villains in the form of judgemental jerks and heroes in need of rescuing, observes Sukanya Verma..
As Nicole Kidman delivers yet another impressive performance in the OTT series Scarpetta, we explore some of her other compelling movies and shows.
The emotional quotient of They Call Him OG falls flat, the plotting looks jerky, and the runtime feels compromised, but hey, if you are a Pawan Kalyan fan, none of this matters, notes Arjun Menon.
Mouni Roy made a stunning impression at the Cannes 2026 Pre-amfAR event, dazzling in a dramatic black-and-gold gown.
As Vijay is set to lead Tamil Nadu after a historic electoral win, we take a look back at films that built his mass appeal while affirming how cinema shaped his larger-than-life public persona.
Prajaktta Mali confidently showcased a traditional Nauvari sari, complete with a nath and kamarbandh on the Cannes red carpet, earning widespread acclaim.
Diana Penty captivated audiences at the Cannes Film Festival 2026, showcasing a custom red Amit Aggarwal gown that fused traditional Indian Ikat weaving with cutting-edge modern design.
Huma Qureshi made a powerful statement for her last look at Cannes 2026, donning a luxurious black velvet Oscar de la Renta gown.
Aishwarya Rai Bachchan celebrated her 24th year at Cannes with a stunning appearance in a custom soft baby pink Sophie Couture gown at the L'Oral Paris 'Lights On Women's Worth' gala.
Saiyaara ends up a bland rehash of old ideas served in an older bottle, notes Arjun Menon.
As David Dhawan hints at potential retirement after Hai Jawani Toh Ishq Hona Hai, we revisit his iconic Bollywood comedies that defined an era of entertainment.
Aditi Rao Hydari looked captivating at Cannes 2026, showcasing her refined fashion sense with two elegantly styled outfits.
War 2 offers you exactly what you'd expect from a mass entertainer: some escapist fun, some truly knockout action scenes, and overall a good time at the movies, observes Mayur Sanap.
The Michael Jackson biopic, Michael, has made an explosive debut at the worldwide box office, setting new records for the highest opening weekend for a music biopic.
As a superhero movie, The Fantastic Four: First Steps has a stale feeling that gets less and less interesting as it progresses before winding up as the usual superhero routine despite the best efforts of its talented cast, notes Mayur Sanap.
Kankhajura could have been so much better given its initial promise, observes Mayur Sanap
The silliness Detective Sherdil packs in the guise of humour not only trivialises a likeable star into a scallywag but squanders its ensemble cast into one-note distractions, notes Sukanya Verma.
As a nothing-better-to-do weekend watch, Jurassic World Rebirth is fine. But the franchise is losing steam, observes Deepa Gahlot.
Aishwarya Rai Bachchan made a stunning appearance at Cannes 2026 in an exquisite custom sculptural gown by Designer Amit Aggarwal.
Ishwak Singh's earnestness and the rustic energy of his mates keeps Mitti engaging, even when it starts to get preachy, observes Deepa Gahlot.
Heads of State, co-starring apna Priyanka Chopra, is a silly buddy comedy where you have a lot to laugh and cringe at, notes Mayur Sanap.
Huma Qureshi made a glamorous return to Cannes, captivating attendees at the Women in Cinema gala in a sophisticated all-black tailored power suit.
Actress-Producer Pooja Batra showcased her short film Echoes Of Us at the Cannes Film Festival, making a striking appearance in various designer outfits, including a silver and black gown by Amit GT and a black gown by Duaba Serwa.
Bollywood has announced plenty of high-profile sequels with fanfare, only for a few of them to vanish into endless delays, casting chaos and development hell.
Season 3 belongs to Jaideep Ahlawat who, despite the not so well-etched character, owns Rukma and gives the confrontation with Srikant Tiwari the missing edge of the earlier two seasons, observes Saisuresh Sivaswamy.
Chand Mera Dil and Pati Patni Aur Woh Do have shown mixed results at the box office, while Drishyam 3 has fared well.
Huma Qureshi captivated audiences at Cannes, showcasing timeless elegance in an all-black Eman AlAjlan gown that paid homage to classic Hollywood glamour, complete with a diamond choker and vintage-inspired styling.
Pooja Batra's short film Echoes Of Us gets a special screening at the Cannes Film Festival.
'Coming from Sikkim and the Himalayan region, we don't have a well-established film industry, so funding, infrastructure, and distribution opportunities are limited. At the same time, that can be liberating.' 'There are fewer expectations about what stories should be told, and that gave me freedom to make the film on my own terms.'
It's not the clothes or the rebellion that invites violence, but the mindset that continues to police and condition girls and encourages the perpetrator, instead of punishing the criminals. This lack of empathy is what ultimately brings The Kerala Story 2 down, observes Divya Nair.
