There are enough queasy thrills in Clayface to keep horror fans happy, raves Mayur Sanap.
Chaar Yaar offers an entertaining mix of friendship, crime and the charm of old Mumbai with a happy ending, observes Divya Nair.
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.
Watching Udta Teer's refreshingly cheeky ambition dumb down into a grovelling piece of gutless filmmaking is supremely disappointing, notes 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.
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.
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.
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.
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.
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.
Nayyi Navelli is a chaotic and forgettable cinematic experience, struggling to blend mythological, horror, and social commentary into a cohesive narrative, observes Sukanya Verma.
Ranabaali fails to deliver the highs matching the ambitious setup, notes Arjun Menon.
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.
The Sports Ministry is set to review India's performance at the recent Asian Games on October 13. The focus will be on the underwhelming results of experienced athletes in sports like badminton, shooting, and athletics.
Prem Keetanu feels outdated for its 'boys will be boys' narrative and muddled messaging, failing to deliver a compelling modern romance, observes Deepa Gahlot.
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.
Punjab Chief Minister Bhagwant Mann has issued directives to various departments to ensure top-tier arrangements for the Asian Champions Trophy hockey tournament, set to take place in Jalandhar and Mohali from October 27 to November 5. Mann emphasised the need for world-class facilities, robust security, and comprehensive crowd management, while also calling for a statewide trophy tour and student participation to foster public enthusiasm and showcase Punjab's rich sporting heritage. He personally inspected venues and stressed the importance of cleanliness, beautification, and hospitality for international delegations.
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.
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.
Baththa turns a school toilet into the setting for an unlikely redemption story, turning itself into one of 2026's warmest feel-good entertainers.
Tom Cruise lets go of the suave, sexy image and embraces the gloriously unsexy with supreme confidence, making this truly impossible mission utterly possible, raves Mayur Sanap.
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.
Only the sluggish pace one has to endure to get there elicits more yawns than yays, notes Sukanya Verma.
Dupahiya 2 offers a chaotic yet engaging follow-up to its first season, notes Deepa Gahlot.
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.
Familiar ideas, frustrating characters and stretched-out storytelling make #Love far less romantic than intended.
Yezhu Kadal Yezhu Malai has the makings of a fascinating existential fable, but Ram's surreal experiment gets lost in its own muddled storytelling.
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.
Jailer 2 looks loaded with Rajinikanth swag, explosive action and a ridiculous roster of cameos. But will Nelson deliver a blockbuster rather than another all-hype spectacle, wonders Sreeju Sudhakaran.
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
Sreeti Mukerhi's cliched coming-of-age delivers its moments of sass but never quite defines the age of confusion, sighs Sukanya Verma.
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.
Dorothy is an audacious exploration of masculinity and gender identity that becomes increasingly muddled just when its ideas matter most.
Don't Trouble The Trouble misses the opportunity to explore the limitless power and wonder of the human imagination, notes Divya Nair.
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.
Sigma has the ingredients for a kickass heist thriller, but Jason Sanjay's debut gets hopelessly lost in its lazy writing and bland execution.
Hunkkaar: The Roar is a fairly familiar fight for justice that builds far too many flimsy narratives around its core conflict, runs out of ammunition and speaks out of turn in a needlessly cussing tone, notes Sukanya Verma.
FIFA President Gianni Infantino has proposed an independent review of the world football body's decision-making framework.
