A gripping psychological setup and Kunchacko Boban's superb performance are undone by a disappointingly ordinary final act in Unmadham.
'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.'
Here's a ringside view of Tom Cruise's Digger premiere in Los Angeles.
From the adorably vain Poo to the free-spirited Geet, Kareena Kapoor Khan has delivered some memorable performances.
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.
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.
From Following to Oppenheimer, here's why Christopher Nolan remains cinema's greatest modern blockbuster auteur.
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.
'...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.'
Tumbadchi Manjula, the Marathi re-do of Su From So, sustains only by the original's goodwill, notes Mayur Sanap.
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.
Sai Tamhankar plays delicious contradictions of her character in an immensely watchable central performance, applauds Mayur Sanap.
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.
Despite a wobbly screenplay and an overstretched runtime, Anbe Diana charms with its light-hearted approach and Ramya Ranganathan's performance.
Indrans' standout performance deserves a sharper screenplay than this over-edited, all-too-familiar revenge saga, rues Sreeju Sudhakaran.
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 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.
'People used to say he had a quick temper or acted out but anger only arises when things aren't organised.'
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.
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.
'Nana Patekar was an amazing actor, and human being.'
Satluj is a chilling reminder of what happens when a state is allowed to become judge, jury and executioner, asserts Sreeju Sudhakaran.
Governor: Simplistic narrative, questionable historical accuracy, underwhelming production quality, notes Sukanya Verma.
Despite its intriguing premise, Uyir never quite cracks the mystery, relying instead on emotional drama to deliver its final blow.
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.
Karisma Kapoor makes a powerful return to the screen in Brown, a compelling series, applauds 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.
Nagabandham promises a fantasy treasure hunt adventure but ultimately devolves into a senselessly violent and shallow revenge saga.
From Pink and Thappad to Aadukalam and Game Over, these 10 films showcase Taapsee Pannu at her most powerful and versatile.
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.
Try as it might, Who's Your Gynac? is just not funny, complains Deepa Gahlot.
Ali Fazal brings a wounded ferocity to his role that makes it one of his best performances so far, notes Deepa Gahlot.
From forgettable turns to award-worthy performances, these actors have brought visually impaired characters to life on screen in the last decade.
From Baahubali to Peddi, these blockbuster South Indian films drew criticism for romanticising toxic masculinity and reducing their female leads to objects of desire.
'I particularly remember the scene in Musthafa, where his insight and understanding helped me immensely in bringing a certain nuance and depth to my performance.'
