Baththa turns a school toilet into the setting for an unlikely redemption story, turning itself into one of 2026's warmest feel-good entertainers.
The cast, once again, remains the biggest reason to invest in this world, notes Mayur Sanap.
Sigma has the ingredients for a kickass heist thriller, but Jason Sanjay's debut gets hopelessly lost in its lazy writing and bland execution.
Chaar Yaar offers an entertaining mix of friendship, crime and the charm of old Mumbai with a happy ending, observes Divya Nair.
Watching Udta Teer's refreshingly cheeky ambition dumb down into a grovelling piece of gutless filmmaking is supremely disappointing, notes Sukanya Verma.
Unlike Pyaar Ka Punchnama, which was insensitive to its female cast as well as the audience, Pehla Pyaar Doosri Baar allows its characters a little more room to breathe, express themselves and put forward their points of view, discovers Divya Nair.
Little Thomas may have its heart in the right place, but its storytelling never quite catches up with its intentions, rues Mayur Sanap.
Manoj Bajpayee has the fluctuating mood graph of his character down path whether hustling away his quick-witted energy in good faith or greed. It's a tricky terrain but few understand balance like this man, observes Sukanya Verma.
There is a heartbreaking sincerity in the way Sumo Didi presents its protagonist and her story of courage. But there's a fine line between a sincere underdog story and a banal one, and the film never quite finds it, notes Mayur Sanap.
There are enough queasy thrills in Clayface to keep horror fans happy, raves Mayur Sanap.
It does look at times as if Tu Hai Meri Kiran is going off the rails, but Director Karan Rawal brings it to a satisfying close, which is believable even in a fanciful set up, notes Deepa Gahlot.
Abhinay Deo's Doosra attempts to weave together the cricketing triumphs of Sourav Ganguly's 2001 Indian team with the poignant coming-of-age narrative of a young woman navigating the suffocating patriarchy of Rajasthan, observes Deepa Gahlot.
If only it had held its breath a little longer and resisted the urge to explain so much, Whalefall could have been a knockout, notes Mayur Sanap.
Nayyi Navelli is a chaotic and forgettable cinematic experience, struggling to blend mythological, horror, and social commentary into a cohesive narrative, observes Sukanya Verma.
From superheroes and aliens to witches, ghosts and shape-shifting mutants, these 10 Bollywood women prove that supernatural powers come in all shades of mischief, menace and magic.
Only the sluggish pace one has to endure to get there elicits more yawns than yays, notes Sukanya Verma.
What starts off as a promise of an entertaining fantasy adventure turns into a parade of incredibly generic and full of clichs action slop, complains Mayur Sanap.
Babita Singh Reporting goes past the messy homes and humming markets to reflect the daredevilry of a protagonist coming into her own. What ensues is a raw and thrilling marriage of momentum and meltdown across awkward inquiries made within junkie hideouts, suspicious relatives, battered classmates and Ravan's effigy, applauds Sukanya Verma.
Hurt and humiliation is skin deep in Reporting Live's truth-seeking, which is why its cynical view of a crusader's fate leaves no impact, notes Sukanya Verma.
Shaque: Trust No One has a promising mystery and enough juicy red herrings to keep you guessing, but its convenient writing and dated clichs eventually derail the show.
Paul Bettany and James Spader bring plenty of personality to VisionQuest, but the Marvel's latest series struggles to find the emotional soul its story needs.
Yezhu Kadal Yezhu Malai has the makings of a fascinating existential fable, but Ram's surreal experiment gets lost in its own muddled storytelling.
Prem Keetanu feels outdated for its 'boys will be boys' narrative and muddled messaging, failing to deliver a compelling modern romance, observes Deepa Gahlot.
The Social Reckoning may lack the crackling energy of The Social Network, but Aaron Sorkin delivers a timely warning about what happens when a world-changing platform escapes the control of its creator.
Eyes tackles the serious issue of stalking and toxic relationships with a talented cast and a worthy premise, but its loose pacing and underdeveloped characters stop it from becoming the gripping procedural it could have been.
The Vvaan weaves an old-fashioned yarn of spiritual beliefs against a theme of folklore horror that detours into an action-packed, bombastic Telugu supernatural territory concluding in a part harmless, part tedious watch, notes Sukanya Verma.
The Paradise is a mind-numbingly senseless, hellish cycle of violence, gore, and torture porn that makes you question if everyone involved in the film harbours some sort of bloodlust, complains Sreeju Sudhakaran
Dhoomakethu has a fun time-loop premise, a game Sajin Gopu and some genuinely funny moments, but runs out of steam long before Kuttan can break free.
Dupahiya 2 offers a chaotic yet engaging follow-up to its first season, notes Deepa Gahlot.
Ranabaali fails to deliver the highs matching the ambitious setup, notes Arjun Menon.
Zach Cregger's Resident Evil delivers a scary, bloody and surprisingly funny ride that mostly gets away with its bold choices.
Rajinikanth brings the swagger, Nelson delivers the whistles, but Jailer 2's predictable plot and underwhelming villains keep this fanboy extravaganza from becoming anything more than a familiar celebration of Thalaivar's aura.
Looking at the best Tom Cruise films outside the Mission: Impossible franchise that proves just how versatile the superstar can be.
Bakaiti Season 2 has the warmth and terrific performances to make the Katarias feel like family, but its repetitive conflicts and easy resolutions leave their struggles feeling oddly inconsequential, argues Sreeju Sudhakaran.
Sreeti Mukerhi's cliched coming-of-age delivers its moments of sass but never quite defines the age of confusion, sighs Sukanya Verma.
F1: The Movie is definitely a fun time at the movies and deserves a big screen experience, notes Mayur Sanap.
Avinash Arun's Prahaar: The Untold Story of Ujjwal Nikam emerges as a rare honest film in contemporary Bollywood, skillfully navigating the sensitive narrative of the 26/11 Mumbai terror attacks and the prosecution of Ajmal Kasab without succumbing to propaganda, observes Prasanna D Zore.
Don't Trouble The Trouble misses the opportunity to explore the limitless power and wonder of the human imagination, notes Divya Nair.
Dorothy is an audacious exploration of masculinity and gender identity that becomes increasingly muddled just when its ideas matter most.
Pooja Meri Jaan sometimes gets heavy-handed, but makes the point clear that any conversation around consent must begin with taking a 'no' seriously. That's a message worth reiterating, asserts Mayur Sanap.
