From Baadshah to Happy Patel: Khatarnak Jasoos, these spy comedies prove that espionage can be a laughing matter, even when promising premises go sometimes spectacularly off course.
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.
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.
There are enough queasy thrills in Clayface to keep horror fans happy, raves Mayur Sanap.
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.
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.
Manoj Bajpayee has the fluctuating mood graph of his character down path whether hustling away his quick-witted energy in good faith or greed. It's a tricky terrain but few understand balance like this man, observes Sukanya Verma.
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.
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.
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.
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.
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.
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.
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.
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.
From the adorably vain Poo to the free-spirited Geet, Kareena Kapoor Khan has delivered some memorable performances.
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 Tumbbad to Kantara, these folklore-fuelled films prove Indian cinema has plenty of strange, spooky and spectacular myths to bring to the big screen.
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.
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.
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.
Dupahiya 2 offers a chaotic yet engaging follow-up to its first season, notes Deepa Gahlot.
Baththa turns a school toilet into the setting for an unlikely redemption story, turning itself into one of 2026's warmest feel-good entertainers.
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.
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.
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.
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.
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 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.
