Gram Chikitsalay Season 2 returns with a confirmed connection to Panchayat universe and a more heartwarming narrative, observes Sreeju Sudhakaran.
As Curry Barker's Obsession arrives on OTT this week, Sreeju Sudhakaran revisits the chilling psychological horror film about the terrifying implications of a man's desire to control a woman's affections.
Not only is Samay Raina going the Kapil Sharma route by bringing celebrities as special guests on his show -- which also means he has to be careful that his jokes don't land them in trouble as well -- but he also has to promote sponsors blatantly, observes Sreeju Sudhakaran.
Ahead of Spider-Man: Brand New Day, we rank every live-action Spider-Man movie from the critically acclaimed Spider-Man 2 to the less successful The Amazing Spider-Man 2.
Satluj is a chilling reminder of what happens when a state is allowed to become judge, jury and executioner, asserts Sreeju Sudhakaran.
Tuner may feel familiar, but its fab sound design, slickly edited heists and strong performances make it feel refreshingly sharp.
Nagabandham promises a fantasy treasure hunt adventure but ultimately devolves into a senselessly violent and shallow revenge saga.
Con City has a fun premise and a handful of clever scams, but its biggest con is convincing you it's smarter than it really is.
Indrans' standout performance deserves a sharper screenplay than this over-edited, all-too-familiar revenge saga, rues Sreeju Sudhakaran.
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 Fahadh Faasil and Dilip Kumar to Sridevi and Shah Rukh Khan, a look at Indian actors who reportedly came close to starring in iconic Hollywood blockbusters but ultimately missed out.
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.
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.
As a film, Maa Inti Bangaram frustrates; as a milestone for Telugu cinema's female-led stories, it deserves to be celebrated.
Before Welcome to the Jungle, here's a look at the movies where Akshay Kumar tried to entertain us in double roles.
From Arun Govil and Shobana to Vivek Oberoi and Kajal Aggarwal, meet the sprawling supporting cast bringing Nitesh Tiwari's Ramayana to life.
The Furious's jaw-dropping action scenes are so ferocious and inventive that they leave you gasping for breath, commends Sreeju Sudhakaran.
Akshay Kumar runs away with Welcome To The Jungle, but a few unexpected scene-stealers ensure he isn't having all the fun.
From Following to Oppenheimer, here's why Christopher Nolan remains cinema's greatest modern blockbuster auteur.
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.
From Peranbu to Bramayugam, Padma Bhushan winner Mammootty's recent filmography is proof that legends can keep reinventing themselves, even post 70.
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.
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.
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.
Kasargod Embassy squanders a promising premise with weak writing, bad performances and amateurish execution, resulting in a tedious and largely forgettable watching experience, notes Sreeju Sudhakaran.
Long before Alpha, Bollywood had been retelling the Ramayana in modern settings, sometimes subtly and sometimes not so subtly.
From Mollywood Times to Mohiniyattam, these black comedies from South Cinema prove that the darkest humour can also deliver the sharpest entertainment.
Blast mixes engaging family drama with massy martial arts mayhem to deliver a thoroughly entertaining action ride.
As Jana Nayagan and Avatar: Aang, The Last Airbender become victims of piracy even before they got an official release, Sreeju Sudhakaran looks back at some of the major Indian movies that were impacted by pre-release leaks.
Death may be a tragic affair, but cinema has often found humour lurking even within the morbid.
From Ramayana Part 1 and Alpha to King and Toxic, here's why the next six months could be one of Indian cinema's most exciting line-ups in years.
Peddi buries its powerful story about caste identity and social inequality beneath hero worship, regressive romance and exhausting excesses bemoans Sreeju Sudhakaran.
'It was only after Aishwarya ran for 100 days and became a massive hit that Shah Rukh Khan signed Deepika Padukone.'
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.
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.
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.
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.
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.
Karuppu begins with a striking idea of God battling a broken justice system, only to turn into a routine Suriya mass spectacle.
