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.
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.
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.
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.
Minions & Monsters entertains with its cinematic nostalgia baits, even if it never quite escapes the franchise's familiar storytelling flaws.
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.
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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.
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.
Sai Tamhankar plays delicious contradictions of her character in an immensely watchable central performance, applauds Mayur Sanap.
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.
Despite a wobbly screenplay and an overstretched runtime, Anbe Diana charms with its light-hearted approach and Ramya Ranganathan's performance.
Heer Sara needed a lot more fizz, humour, and maybe even some stranger danger, suggests Deepa Gahlot.
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.
Nagabandham promises a fantasy treasure hunt adventure but ultimately devolves into a senselessly violent and shallow revenge saga.
Despite its intriguing premise, Uyir never quite cracks the mystery, relying instead on emotional drama to deliver its final blow.
The Avengers: Doomsday teaser trailer has dropped, revealing an ambitious, potentially overcrowded multiverse saga featuring Doctor Doom, returning heroes, and universe-colliding stakes that could define the future of the MCU.
Tumbadchi Manjula, the Marathi re-do of Su From So, sustains only by the original's goodwill, notes Mayur Sanap.
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.
A terrific first half makes I, Nobody look like a great thriller, until an increasingly muddled second half loses the plot, laments Sreeju Sudhakaran.
Governor: Simplistic narrative, questionable historical accuracy, underwhelming production quality, notes Sukanya Verma.
As long as its purpose of throwing everyone on the dance floor as they flaunt their toned abs in fancy clothes is served, Cocktail 2 doesn't feel obliged to make any sense, notes Sukanya Verma.
Karisma Kapoor makes a powerful return to the screen in Brown, a compelling series, applauds Deepa Gahlot.
With no emotionally powerful moment or even a standout epic sequence, everything about Supergirl feels strictly functional, observes Mayur Sanap.
The Ministry of Information and Broadcasting has formed a three-member review committee to investigate the removal of the film "Satluj" from the ZEE5 OTT platform. The film, which depicts the life of activist Jaswant Singh Khalra during Punjab's turbulent 1990s, was briefly available before being taken down, sparking criticism from political parties and Sikh bodies.
Ali Fazal brings a wounded ferocity to his role that makes it one of his best performances so far, notes Deepa Gahlot.
