Despite its uneven storytelling, Super Subbu deserves applause for turning India's discomfort with sex education into an entertaining, often insightful satire, notes Sreeju Sudhakaran.
From Baahubali to Peddi, these blockbuster South Indian films drew criticism for romanticising toxic masculinity and reducing their female leads to objects of desire.
By taking one of the oldest stories and finding new meaning within it, Christopher Nolan has created the most timely film of his career, asserts Mayur Sanap.
Try as it might, Who's Your Gynac? is just not funny, complains Deepa Gahlot.
The Furious's jaw-dropping action scenes are so ferocious and inventive that they leave you gasping for breath, commends Sreeju Sudhakaran.
A riveting mother-son drama with a superb first half, Balan: The Boy loses some of its grip after an ambitious but uneven turn, notes Sreeju Sudhakaran.
Tuner may feel familiar, but its fab sound design, slickly edited heists and strong performances make it feel refreshingly sharp.
Anurag Kashyap, despite his claims of being done with Bollywood, continues to deliver compelling cinema, with his latest film 'Bandar' set to release on June 5.
TVF's popular family series, Gullak, returns for a fifth season, offering a refreshing contrast to crime shows with its focus on the mundane crises of the Mishra family, who navigate new challenges like home renovations, Wi-Fi installation, and the arrival of opinionated relatives.
Plot loopholes, unresolved arcs and feeble explanations for cruel betrayals, Kartavya's hastily wrapped conclusions and gabby excuses makes it look like a demo reel for a OTT series
Haunted 3D: Echoes Of The Past has no real scares, no real acting, no real sets, no real drama, no real crows and no real 3D effects, sighs Sreeju Sudhakaran.
The Sheep Detectives is delightful and wholesome in the way family movies used to be before kids started getting too smart to be easily pleased, observes Deepa Gahlot.
Ashwiny Iyer Tiwari's courtroom drama System falls short due to muddled narrative and uninspired execution, observes Sukanya Verma.
Gram Chikitsalay Season 2 returns with a confirmed connection to Panchayat universe and a more heartwarming narrative, observes Sreeju Sudhakaran.
Shape of Momo is a compelling drama that masterfully portrays a young woman's rebellion against societal expectations in Sikkim, offering a nuanced look at feminism, family dynamics, and the search for identity, observes Sukanya Verma.
You are curious about the characters and admire their bravery, and yet the drama never really cuts deep as it should, notes Mayur Sanap.
Madhuri's mix of silly, starry-eyed, sly and sentimental doesn't miss a single beat. A flawless Triptii Dimri steals the show in a role, finally worthy of her talent, applauds Sukanya Verma.
Main Vaapas Aaunga transcends its flaws to deliver a profoundly moving plea for humanity, anchored by heartbreakingly brilliant performances, observes Sreeju Sudhakaran.
Steven Spielberg's latest sci-fi offering Disclosure Day attempts to blend political thriller elements with an alien narrative, but despite strong performances and moments of suspense, it ultimately leaves viewers with too many unanswered questions and a somewhat unearned climax laments Sreeju Sudhakaran.
As Akshay Kumar, Suniel Shetty, and Paresh Rawal reunite for Welcome To The Jungle, here's a nostalgic ranking of every film that brought Bollywood's most beloved comic trio together.
If you enjoy dark comedies, have even a passing understanding of the film industry, or simply recognise the absurdities of the world around you, then Mollywood Times emerges as one of the sharpest and most compelling love-hate letters written to Malayalam cinema, applauds Sreeju Sudhakaran.
The greatest pleasure of Bandar is watching Bobby Deol let go of his vanity and submit himself to Anurag Kashyap's unflinching filmmaking, notes Mayur Sanap.
Kattalan tries to roar like Marco with blood-soaked violence and mass swagger, but ends up as a noisy, identity-less actioner with little bite.
Jackie Shroff is winsome in a role that leans on his faded charm as veteran star, notes Mayur Sanap, and there is effortless warmth he brings to Jagdish that makes even the simplest moments land.
A screening of David Dhawan's film Hai Jawani Toh Ishq Hona Hai was held in Mumbai, and its cast members made sure to attend.
From Bandit Queen to Dhurandhar, these Indian films pushed cinematic violence to shocking, stomach-churning extremes.
Chand Mera Dil flickers like an LED bulb in an artificial sky instead of a real chand, sighs Mayur Sanap.
From All We Imagine As Light to Kishkindha Kaandam, these outstanding films deserved National Film Awards far more than several of this year's winners.
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.
Blast mixes engaging family drama with massy martial arts mayhem to deliver a thoroughly entertaining action ride.
Made in India: A Titan Story chronicles the history of the homegrown watch brand Titan, highlighting its journey from challenging a conservative market to becoming a successful consumer brand, driven by the vision of Xerxes Desai and the mentorship of J R D Tata.
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.
From Satyameva Jayate to Mastiii 4, Milap Zaveri's films may divide critics, but ranking them can prove to be even more challenging than watching them.
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.
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.
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.
An underwhelming thriller that never quite hits a home run, despite a solid John Krasinski doing his best, observes Mayur Sanap.
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.
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.
'...Or will we take a positive approach and learn from those mistakes so that it is not repeated in future?'
