Thu, July 16 2026

Rebecca Sonnenshine's take on Laura Ingalls Wilder's book series starts off as faithful and hopeful.

The 1970s series of the same name was an American classic and this Netflix retelling introduces the story by Laura Ingalls Wilder through her semi-autobiographical books. The Ingalls family heads out to the American prairie and finds steady challenges in their decision to relocate. Showrunner Rebecca Sonnenshine establishes the mood for the family drama that hints of both adventure and conflict. With young stars Alice Halsey and Skywalker Hughes, the new Little House series is both nostalgic and optimistic for a time gone by that was once filled with promise.

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Thu, July 16 2026

The gritty limited series features Anya Taylor-Joy on the run and fighting for her life

Lucky’s leading lady, Anya Taylor-Joy, has the word ‘resilience’ written all over. Which is why she was perfectly cast for the projects Furiosa: A Mad Max Story and The Queen’s Gambit. Now, Taylor-Joy leads Apple TV’s Lucky both as star and executive producer in a wild and thrilling chase in which she is the emotional heart. Playing the vulnerable but wily con artist, the actress is the best part of the series adaptation of Marissa Stapley’s novel. The limited series by Jonathan Tropper and Cassie Pappas makes sure that viewers are kept on the edge of their set as Lucky reaches the end of her nine lives. With a cast of veteran actors, Lucky manages to captivate.

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Wed, July 15 2026

Wed, July 15 2026

A haunting anti-war meditation on survival and regret, Nolan’s epic transforms sound into its greatest weapon

Inspired by Homer’s timeless Greek epic, Christopher Nolan’s The Odyssey follows Odysseus (Matt Damon), Trojan War hero and King of Ithaca, haunted by the consequences of his past choices. Twenty years after leaving his family behind, he embarks on a perilous journey back home, confronting monstrous sea creatures, mythical beasts, powerful witches, and vengeful gods. Yet his greatest battle lies within, as he struggles to overcome the burden of his past in a relentless quest for redemption. As Odysseus longs to reunite with his wife, Penelope (Anne Hathaway), and son, Telemachus (Tom Holland), he discovers that his greatest obstacle is not the treacherous seas he must cross, but the memories and regrets that consume him. His homecoming is not merely a physical arduous journey; it is an emotional reckoning, a burden he must confront and a price he must pay.

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Sun, July 12 2026

A lot is at stake in Ikka, and we are aren’t just talking about the receding hairlines of its main men. Almost three decades after they came together on screen for Border, Sunny Deol and Akshaye Khanna feature in this commercial Bollywood-style courtroom thriller that cranks up melodrama to the max, but is nostalgically old-school enough to make for some guilty-pleasure viewing. Unlike Border, where they batted for the same team, Sunny and Akshaye are at loggerheads in this Siddharth P. Malhotra-directorial, though they do join forces — unwillingly for the former — for a large part of this film that throws in enough twisty plot points but isn’t particularly smart or sleek.

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Sat, July 11 2026

kka revolves around the celebrated Public Prosecutor Arjun Mehra (Sunny Deol). He is known for fighting for the truth and that too by adhering to ethics. He stays in Mumbai with his wife Avantika (Dia Mirza) and daughter Samaira (Daria Bedi). One day, Shouryamann Gaur (Akshaye Khanna), son of a wealthy industrialist and politician Harshvardhan Gaur (Shishir Sharma), gets accused of attempting to murder Soma Mittal (Akansha Ranjan), a young girl he met at a night club. Arjun is offered to fight Shouryamann’s case as a Defense Lawyer this time. He plainly refuses because of the past equation between both of them. However, circumstances force Arjun to fight Shouryaman’s case.

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Sat, July 11 2026

A three-way staring match between Sunny Deol, Akshaye Khanna and Tillotama Shome, the old-school pleasures of Sidharth P Malhotra's film dry up in time

The press screening of Ikka was held at Mumbai’s Sunny Super Sound—an appropriate venue, I thought, given the super sounds Sunny Deol makes in the movie. Since Damini (1993), the actor has used the courtroom drama as his personal soapbox. He rages and he raves, he rebukes and he reprimands. A part of me wishes Deol were an actual lawyer working in real courthouses. Imagine the swiftness in proceedings once his gavel-like fists land on the furniture—like a thunderclap. To be fair, director Siddharth P Malhotra uses this trick judiciously, initially giving us a calm, urbane Deol in natty linenwear. The actor plays Arjun Mehra, a celebrity defence attorney who never loses, always has a decisive ace up his sleeve (hence the film’s title), and, despite his large apartment and luxe lifestyle, exclusively represents the innocent and the powerless. And here comes his latest innocent: Shaurya (Akshaye Khanna), the reprobate son of an industrialist, accused of sexually assaulting and attempting to murder a date.

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Sat, July 11 2026

2007 में आई पहली वाली ‘धमाल’ में गोआ के एक पार्क में ‘डब्ल्यू’ आकार में खड़े पेड़ों के नीचे खज़ाना दबा था। इस बार एक वीरान टापू में ‘एम’ आकार में खड़ी पहाड़ियों के नीचे खज़ाना है। खज़ाना भी किसका, सौ साल पहले एक डाकू शैतान सिंह का जो वह अंग्रेज़ों से लूटा करता था। अब इस खज़ाने को खोजने निकली हैं तीन टीमें-गुड्डू और जॉनी, आदि और मानव व आदि की पत्नी, लल्लन और उसकी पत्नी। साथ ही इनके पीछे पड़े हैं डाकू अधूरा और उसके साथी। इस सफर में हैं ढेरों मुसीबतें, उनसे बचने की कसरतें और इन सब की लल्लुआना हरकतें। ज़ाहिर है मकसद आपको हंसाना है, ठहाके लगवाना है। ‘धमाल’ सीरिज़ की फिल्में दर्शकों को किसी वीडियोगेम या कार्टून कॉमिक्स के भीतर ले जाती रही हैं। एक ऐसा संसार जहां फिज़िक्स-कैमिस्ट्री के नियमों की धज्जियां उड़ा कर उनसे हास्य उपजाया जाता है। किसी ने घर की घंटी बजाई और उससे आने वाले करंट ने बंदे का तंदूरी मुर्गा बना दिया या किसी के बम में चाकू घुसने के बावजूद खून न निकलना जैसे ये सीन हमें डोनाल्ड डक, मिकी माउस या टॉम एंड जैरी की दुनिया में ले जाते हैं। उनमें जो होता है वह कहीं से भी तार्किक नहीं लगता, लेकिन उसे देख कर आप हंसते हैं, ठहाके लगाते हैं, आपको मज़ा आता है और आपका दिल-दिमाग हल्का होता है। यह फिल्म भी आपको वही मज़ा देती है। बस, बच्चे बन जाइएगा इसे देखते हुए।

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Sat, July 11 2026

The Dhamaal franchise is now almost twenty years old — which is quite an achievement for a series built on a storyline thinner than a Bollywood hero’s patience before the interval. The makers managed to squeeze out two films in the early years (2007 and 2011), but when fresh ideas became as rare as logic in a slapstick comedy, the obvious solution was simple: recycle the old ones.

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Sat, July 11 2026

Indra Kumar's motheaten franchise entry crashes out in the opening minutes, then keeps on crashing

You’re scrolling through BookMyShow on a breezy Friday afternoon. It’s been a stressful week, and the rains have let up, so you decide to unwind with a brainrot Bollywood comedy. But which one? Should you go watch Welcome to the Jungle, still running in theatres, or Dhamaal 4, the latest in the long-running treasure hunt franchise? These things are subjective, but let me present a quick comparison. Welcome to the Jungle is directed by Ahmed Khan. Dhamaal 4 is directed—in the kindest sense of the term—by Indra Kumar. Welcome to the Jungle is a spoof about the making of movies. Dhamaal 4 shows why some movies should never be made at all. Welcome to the Jungle has satirical ambitions. Dhamaal 4 has hysterical collisions. Welcome to the Jungle is a loose rehash of Tropic Thunder. Dhamaal 4 is a hard retread of the first, second and third Dhamaal.

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Sat, July 11 2026

Aakash Baskaran's film, starring Atharvaa, is indulgent of its wayward protagonist, and expects the viewer to be so as well

Raja (Murali), from Kathir’s debut film, Idhayam (1991), may have become iconic over the years, partly due to the grating niceness and tragic innocence of the character (and mostly due to Ilaiyaraaja’s music). But in a contemporary world in which we reevaluate gender, misogyny and the obsessive nature of love, the idea of unrequited romance makes the conversation feel like the colloquial phrase we use to describe it—one-sided. Rathna Kumar’s superior Meyaadha Maan (2017), refracts the idea through a class lens, where the disparity in economic positions chokes the character out of expressing his true love. This year’s Hollywood phenomenon Obsession reimagines extremities of a nice-guy-dream realized to the point of stifling one life for the other’s wishful fantasy.

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Fri, July 10 2026

The Atharvaa, Kayadu Lohar, Preity Mukhundhan-starrer is frivolous and proud of it; a Gautham Menon-flavoured romance that trades depth for charm and heart

There are several hilarious chunks in Idhayam Murali, but the funniest one is unintentional. In the second half, Sam (Preity Mukundan) tells Idhaya (Atharvaa), in the same breezy tone you’d use to describe wrapping up a work call, “Ippa thaan oru mission mudichom. So konjam naalaiku rest” (We just finished off one mission. We will rest for a while). By this point, it is well established that Sam is a NASA astronaut, which is exactly why the line lands as comedy rather than drama. It’s a very specific kind of silliness, one Tamil cinema has flirted with before. The film doesn’t hide that it’s chasing a Gautham Menon-ish vibe, and this scene recalls a bit from Neethaane En Ponvasantham: a throwaway line establishing that Varun’s (Jiiva) family has grown rich and posh, simply by mentioning that his retired parents are now off travelling the world. Both moments reach for a big, specific, hard-to-verify detail and use it as shorthand for status or drama, without doing any of the narrative work to earn it.

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Sat, July 11 2026

When the teaser for YRF ’s Alpha first dropped, the public response was overwhelmingly underwhelming. Audiences widely questioned the casting choice of Alia Bhatt and noted that Bobby Deol’s Haryanvi accent felt jarringly out of place.

Bhatt and Deol are undeniably talented actors, but here they find themselves entirely miscast. The character of Sita demands a raw, imposing physicality that cannot simply be compensated for by Alia’s natural charisma. Sita is written as an engineered attack machine bred strictly for combat, a “lab rat” raised entirely devoid of family, affection, or any semblance of normalcy. It is a compelling premise that the film fails to meaningfully develop. For a character who has never experienced filial bonds, friendships, or basic social interaction outside of her doctor and handler, her resulting persona makes little sense.

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Mon, July 6 2026

Shiv Rawail's ‘Alpha’ is sorely missing fresh ideas and is unable to credibly showcase Alia Bhatt as an action star.

The YRF Spyverse is now running on vibes, star cameos and whatever ridiculously catchy new jingle with placeholder English lyrics Sanchit and Ankit Balhara have cooked up. After the glorious high of Pathaan (2023), there’s only been disappointment: first the unnecessary Tiger 3 (2023), then the embarrassing misfire of War 2 (2025). Shiv Rawail’s Alpha isn’t as dire as the previous two entries, but nevertheless shows a franchise badly in need of fresh ideas and, more importantly, a sense of purpose.

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Sun, July 5 2026

The benchmark for the YRF Spy Universe isn’t particularly high, especially after the War films. So it comes as a pleasant surprise to find a taut, breezy action thriller that doesn’t waste time dwelling on unnecessary detours. For starters, this is a completely romance-free enterprise, and that itself is a rarity in mainstream Hindi cinema. There are no mandatory love songs shot in exotic locations or forced romantic subplots. In fact, there are only a couple of songs, and for the most part, the film moves at a brisk pace.

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Sat, July 11 2026

Akhil Akkineni and Bhagyashri Borse impress in an ambitious tale of love, betrayal and revenge that is undone by too many twists

Lenin, the Telugu film written and directed by Murali Kishor Abburu, opens with the assertion that no war is more violent than love — a nod to stories from Greek and Indian mythology. Marking Akhil Akkineni’s return to the screen after three years, the film aims to tell an epic love story. At its core, it is a tale of friendship, love, deceit and revenge, layered with references to the Mahabharata and Ramayana. It unfolds against the backdrop of Bharatham Mitta, a cultural festival celebrating Draupadi in a fictional village in Andhra Pradesh’s Chittoor district. The rustic world is rendered with attention to detail, and the screenplay attempts to spring surprises at several turns. But the film falters at its core: the love story never quite makes the audience root wholeheartedly for its characters. The story had immense potential to build on love and pathos, which it does not fully achieve.

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Sat, July 11 2026

Directed by Thomas Kail and starring Dwayne Johnson, Rena Owen, John Tui, Frankie Adams, Jemaine Clement and Catherine Laga'aia, Moana is handsomely mounted, competently acted and perfectly watchable. Its greatest flaw is its overwhelming redundancy. It offers audiences little that they have not already experienced.

Every successful franchise eventually reaches the point where artistic inspiration begins to resemble a financial reflex — another sequel, another remake, another reassuring reminder to studio executives that nostalgia remains a dependable currency. Unless a fresh perspective reshapes the narrative or the story boldly charts unfamiliar waters, these revisits often feel less like cinematic adventures and more like corporate accounting exercises with a generous visual-effects budget. Disney’s Moana (2026), the live-action adaptation of its beloved 2016 animated classic and the third instalment in the franchise, sails directly into this familiar predicament. Directed by Thomas Kail in his feature-film debut from a screenplay by Jared Bush and Dana Ledoux Miller, the film reunites Dwayne Johnson with his larger-than-life role as the swaggering demigod Maui while introducing Catherine Laga’aia as the spirited Moana. Produced by Johnson alongside Hiram Garcia, Dany Garcia, Beau Flynn and Lin-Manuel Miranda, the production possesses all the ingredients of a prestige Disney spectacle. Yet, despite its glittering credentials, it struggles to justify its own existence. Competently assembled though it is, the film rarely inspires wonder, and its visual splendour, while undeniably polished, seldom evokes genuine amazement. It is less a voyage of discovery than an expensive exercise in déjà vu.

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Fri, July 10 2026

Fri, July 10 2026

How do you know you’re special? Sometimes, destiny first speaks through the pulse within. One such prodigy is Moana from Motunui. The future chief of her beautiful island, she knew from day one that she was born to do big things. The spirited teen girl was the chosen one to restore the heart of the goddess of nature, Te Fiti, and save her island from perishing. It’s a story we’ve seen before in 2016, and I’ll happily watch the young Polynesian girl’s journey to greatness another time every decade. That said, the question remains: will the little warrior’s courage and sweet-natured plot be enough to pull it through?

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Fri, July 10 2026

Fri, July 10 2026

Starring Wilde, Seth Rogen, Penelope Cruz and Edward Norton, The Invite is an astute dissection of long-term relationships.

After succumbing to the sophomore slump a few years ago with the dreadfully dull psychological thriller Don’t Worry Darling (2022), Olivia Wilde has reaffirmed herself as a phenomenally talented filmmaker with her third feature, The Invite. It is as astute a dissection of long-term relationships as this year’s The Drama was of the honeymoon phase. Wilde stars as an anxious woman named Angela, who secretly invites her new neighbours for a casual get-together in a naked attempt to impress them. However, she neglects to run this by her husband Joe, a failed musician-turned-teacher played by Seth Rogen. He isn’t into it one bit. Joe has an axe to grind against the neighbours, because their love-making has kept him awake for weeks. He doesn’t know whether to be angry or jealous, but he most certainly isn’t going to be rolling out the red carpet for them. Played by Penélope Cruz and Edward Norton, the neighbours are the perfect foils to utterly bored Angela and Joe. Even before the chic couple from next door arrives, the two are at each other’s throats about everything from back posture to charcuterie boards.

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Thu, July 9 2026

Written by Will McCormack and Rashida Jones, the English remake of a get-together gone wrong is also searingly insightful.

The Invite, directed by Olivia Wilde, opens with an Oscar Wilde quote, “One should always be in love. That is the reason one should never marry.” The Hollywood comedy is set in a San Francisco couple who invite their neighbours over one evening. It exposes the two couples to own up to some uncomfortable admissions and realise some suppressed truths about themselves. With only four actors in the cast, The Invite works as an engaging play that delivers steady one-liners and insights as the characters experience every emotion under the sun. Wilde impressively guides the feature to an absorbing ending that perfectly sums up human relationships.

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Fri, July 10 2026

Technically, the film is on par with some of the best works from Malayalam cinema in recent years, with slick, thoughtful framing and editing

How far would a fallen man go for redemption? If one were to ask Rajeevan (Prithviraj Sukumaran), the protagonist of Nissam Basheer’s, I, Nobody, he would probably say: from one extreme, reckless act to another. Consequently, the film also takes one on a rollercoaster series of events, which are intriguing and unconventional up to a point until they turn chaotic misfires. For that matter, almost every other character in I, Nobody appears to believe that their redemption arc lies in jumping into an even bigger problem than the one which they are already entangled in, almost as if they gained some pleasure from further tightening the noose around their neck. These are the kind of men who would bring an earth mover to pick a dry leaf which had fallen on their front yard. But then, we need people like that to create uncommon cinematic situations, which are aplenty in I, Nobody.

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Thu, July 9 2026

Huma Qureshi, however, has gone out on a limb and brought this film to life.

The title for Nachiket Samant’s film is at first perplexing. But then, once I saw what they were trying to do, I smirked. An English transliteration of the protagonist’s name, Baby Karmarkar — how amused one might be by the pun might dictate how much they end up enjoying Samant’s film – because it’s full of dour, made-in-Mumbai humour. Baby (Huma Qureshi, also producer with brother/actor Saqib Saleem) is a deaf/mute female assassin, whose umbrella doubles up as a sneaky pistol. Exploiting Mumbai’s crowded spaces, Baby slips in, kills her target, and slips out. Thanks to the blinders that Mumbai residents have put on, it takes a while for most people to realise there’s a corpse next to them. It’s a smooth, nifty way to get the job done. In the film’s first scene, the makers introduce Baby’s modus operandi inside a Mumbai local.

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Sat, July 4 2026

‘Baby Do Die Do’, starring Huma Qureshi, throws together noir, graphic novel aesthetics, Mumbai life, romance, real estate politics and revenge drama

There’s a genuinely interesting film hidden inside Baby Do Die Do. It just takes far too long to reveal itself, and even then, it refuses to answer the questions that matter. The film opens with a fractured family: a deceased father, an emotionally volatile mother, twin girls, one of whom is deaf and mute. A late-night adventure results in tragedy leaving Baby alone and vengeful. Right away the questions start building—how did the girls suddenly pick up a puppy in an abandoned hotel? It’s the first of many questions the film, co-written by director Nachiket Samant with Jasmeet K Reen and Parveez Shaikh, never answers.

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Fri, July 3 2026