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.
Drishyam 3, the latest installment in the popular Malayalam franchise, struggles to maintain the ingenuity and thrilling narrative of its predecessors, with Georgekutty's once-brilliant facade showing significant cracks, leading to a convoluted plot and a less engaging antagonist-driven conflict.
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.
Ayushmann Khurrana, known for consistently breaking conventions with his choice of roles and projects since his 2012 debut in 'Vicky Donor', is gearing up for his new release 'Pati Patni Aur Woh Do'. Ahead of its release, a list ranks his top 10 standout films, highlighting his unique contributions to Indian cinema.
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.
The violent set pieces, exaggerated villains, ridiculous dialogue, and non-stop fan service all work in the moment. But once the credits roll, there is not much left to hold onto.
Dhruv Sarja's KD: The Devil attempts to deliver a grounded action experience but ultimately succumbs to a loud, generic gangster narrative, muddled storytelling, and excessive theatrics, sighs Arjun Menon.
The second season of the Russo Brothers' espionage series Citadel, falls short of its global ambitions due to muddled writing and a lack of compelling narrative depth, complains Sukanya Verma.
Junaid Khan and Sai Pallavi's Ek Din has an intriguing premise that ultimately falters due to weak chemistry and an emotionally underwhelming payoff, discovers Sreeju Sudhakaran.
Billie Eilish: Hit Me Hard and Soft: The Tour: Live in 3D is packed with moments that are clearly meant to make die-hard fans go 'Aww,' but they don't really give a true look at the person behind the artist, notes Mayur Sanap.
The blandness of the script and the just about passable performances make Mercy a wearying watch, particularly since the complexities of euthanasia are not adequately explored, observes Deepa Gahlot.
Karuppu begins with a striking idea of God battling a broken justice system, only to turn into a routine Suriya mass spectacle.
Dridam starts well as this intriguing small-town investigative thriller worthy of the Jeethu Joseph school of suspense, only to trip over clumsy red herrings and over-explanations, observes Sreeju Sudhakaran.
The English subtitles in Dhurandhar The Revenge don't get it right, and at regular intervals, the sub-titles and the Tamil dialogues are saying different things. Those in the audience, who know both languages, can be heard laughing at each blunder, observes A Ganesh Nadar.
If only Pati Patni Aur Woh Do were as funny as its director intended it to be, that would have been reason to celebrate, notes Sreeju Sudhakaran.
Glory juggles its whodunit goals and estranged father-son equation across a hoard of suspects and unreliable allies. The upshot is uneven yet watchable because of the talent on board, notes Sukanya Verma.
Sapne vs Everyone is dark, and often depressing. At the same time, it is not completely hopeless, notes Deepa Gahlot.
Ashish R Mohan's Daadi Ki Shaadi, starring Neetu Singh and Kapil Sharma, offers an outdated plot that fails to deliver on humour or emotional depth.
The second season of Beef delves into a new, class-driven conflict at an elite Southern California country club, in a compelling narrative of escalating domestic disputes, blackmail, and corporate intrigue, notes Deepa Gahlot.
Aditya Kripalani's Main Actor Nahin Hoon, starring Nawazuddin Siddiqui and Chitrangada Satarupa, turns 'acting lessons' into an emotional battlefield of loneliness, ego and vulnerability.
Dhurandhar - The Revenge arrives this week and all eyes are on how entertaining the film turns out to be and how much money it makes at the box office. A look at the Top 10 biggies in the Hindi spy film genre.
Ginny Wedss Sunny 2 is a humourless romcom weighed down by lazy writing and forced emotional conflicts.
The Delhi High Court has directed the Centre and the censor board to review a PIL raising concerns about the Ranveer Singh-starrer 'Dhurandhar: The Revenge,' which allegedly reveals sensitive information about India's intelligence and defence operations.
This Mummy is all sound and fury, signifying nothing, discovers Mayur Sanap.
Hey Kai Navin? begins to falter, because the show leans too heavily into saccharine sentimentality, often choosing non-fussy conflicts over narrative depth, notes Mayur Sanap.
Vishnu Aravind's Madhuvidhu is a family entertainer that works in parts but falters when its drama turns unconvincing, observes Sreeju Sudhakaran.
Kara had the makings of a fine heist thriller anchored by a superlative Dhanush, but a slack screenplay in crucial stretches and an overdose of melodrama ensure it only works in patches, observes Sreeju Sudhakaran.
When it's not spouting excessive maths jargon -- algorithm alone is uttered a zillion times -- too many characters with too little context crowd the scenes and turn Maa Ka Sum into a slog, observes Sukanya Verma.
What Subedaar lacks is that element of surprise that makes a film worth the viewer's time and willingness to engage, observes Deepa Gahlot.
From psychological mind-benders to folklore nightmares and zombie comedies, these 10 Hindi horror films prove Bollywood has produced far more than just things that go bump in the night.
At a time when the politics of hostility has engulfed the world and escalated it into senseless wars Main Vaapas Aaunga's unwavering belief in love is a testament to cinema's uplifting gifts, notes Sukanya Verma.
Bharathanatyam 2: Mohiniyattam emerges as a surprisingly superior sequel, boldly transitioning from a slice-of-life narrative to a dark comedy crime-thriller, observes Sreeju Sudhakaran.
Riz Ahmed's new series Bait delivers a bitingly humorous, and topical commentary on a British-Pakistani actor's audacious journey auditioning for James Bond, challenging traditional casting norms and exploring complex themes of identity and representation.
Vijay Varma delivers a tour de force performance in Nagraj Popatrao Manjule's Matka King, a compelling eight-part series that chronicles the rise and fall of a gambling trailblazer in 1960s-1970s Bombay, notes Sukanya Verma.
Riteish Deshmukh's Shivaji may not be a flawless portrayal, but still remains engaging throughout, applauds Mayur Sanap.
Accused's greatest lure is its queer couple at the centre of storm but by sidestepping their camaraderie for polite affection, the drama does itself immense disservice, observes Sukanya Verma.
Peddi buries its powerful story about caste identity and social inequality beneath hero worship, regressive romance and exhausting excesses bemoans Sreeju Sudhakaran.
The last scene in Hamnet will be seared in movie memory, notes Deepa Gahlot.
Toaster is neither a laugh-out-loud comedy nor the kind of satire you would expect from a premise like this, notes Mayur Sanap.
As we await the much-anticipated reunion of Priyadarshan and Akshay Kumar in Bhooth Bangla, Sreeju Sudhakaran looks back at their six memorable collaborations, ranking them by how consistently they deliver on entertainment.
