Drishyam - The Conclusion has made history by becoming Ajay Devgn's biggest box office opener with an astounding Rs 62.03 crores, also securing a spot among the Top-5 Bollywood openers of all time.
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.
From Azhar and Sanju to Thackeray and Swatantrya Veer Savarkar, Bollywood has often struggled to tell controversial true stories without turning their subjects into heroes.
From Shahid to Prahaar: The Untold Story of Ujjwal Nikam, these films bring real-life lawyers, landmark courtroom battles and extraordinary fights for justice to the screen.
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.
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.
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.
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.
No shade or genre was a roadblock for Nana Patekar. In fact, some of his movies only age well because we associate them with his terrific presence.
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.
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.
Prem Keetanu feels outdated for its 'boys will be boys' narrative and muddled messaging, failing to deliver a compelling modern romance, observes Deepa Gahlot.
From the adorably vain Poo to the free-spirited Geet, Kareena Kapoor Khan has delivered some memorable performances.
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.
From Tumbbad to Kantara, these folklore-fuelled films prove Indian cinema has plenty of strange, spooky and spectacular myths to bring to the big screen.
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.
From a scene-stealing child actor to a cult-comedy favourite and a director in his own right, Kunal Kemmu has delivered plenty of memorable turns across three decades.
Baththa turns a school toilet into the setting for an unlikely redemption story, turning itself into one of 2026's warmest feel-good entertainers.
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.
Dupahiya 2 offers a chaotic yet engaging follow-up to its first season, notes Deepa Gahlot.
Only the sluggish pace one has to endure to get there elicits more yawns than yays, notes Sukanya Verma.
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.
From Filhaal to Daayra, we look at Meghna Gulzar's filmmaking journey, including the highs of Talvar and Raazi and the films that fell short.
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.
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.
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.
Yezhu Kadal Yezhu Malai has the makings of a fascinating existential fable, but Ram's surreal experiment gets lost in its own muddled storytelling.
Don't Trouble The Trouble misses the opportunity to explore the limitless power and wonder of the human imagination, notes Divya Nair.
Sreeti Mukerhi's cliched coming-of-age delivers its moments of sass but never quite defines the age of confusion, sighs Sukanya Verma.
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.
From Pink and Thappad to Aadukalam and Game Over, these 10 films showcase Taapsee Pannu at her most powerful and versatile.
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.
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
Dorothy is an audacious exploration of masculinity and gender identity that becomes increasingly muddled just when its ideas matter most.
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.
'Treating stock brokers as merchants for MDR is fundamentally misplaced.'
Sigma has the ingredients for a kickass heist thriller, but Jason Sanjay's debut gets hopelessly lost in its lazy writing and bland execution.
