The Voice of Hind Rajab
Drama, History (Arabic)
January 29, 2024. Red Crescent volunteers receive an emergency call. A five-year old girl is trapped in a car under fire in Gaza, pleading for rescue. While trying to keep her on the line, they do everything they can to (more…)
Main Vaapas Aaunga
Romance, Drama (Hindi)
An elderly man remains haunted by a childhood romance and memories of love lost during the 1947 Partition of India. As he shares his story with his grandson, the past unfolds through memories of migration, longing, and a love that (more…)
Nooru Sami
Drama, Family (Tamil)
Selvi, a widowed mother, devotes her life to raising her two sons in a conservative village. Years later, unfulfilled life comes back into focus, challenging deep-rooted traditions. As family and society strongly oppose change, Selvi must choose between societal expectations (more…)
Maa Inti Bangaaram
Action, Thriller, Drama (Telugu)
Through both her moments of fear and bravery, a woman discovers that embracing her vulnerabilities is as vital to her inner strength as facing challenges head-on. (more…)
Toy Story 5
Animation, Family, Comedy, Adventure (English)
When Bonnie receives a Lilypad tablet as a gift and becomes obsessed, Buzz, Woody, Jessie and the rest of the gang's jobs become exponentially harder when they have to go head to head with the all-new threat to playtime. (more…)
Welcome to the Jungle
Action, Comedy, Adventure, Crime (Hindi)
A group of quirky characters gets stuck in a dangerous jungle during a chaotic mission. Filled with confusion, criminals, and hilarious situations, they must work together to survive and find their way out. (more…)
Guild Reviews by Film
Supergirl
Action, Adventure, Science Fiction (English)
When an unexpected and ruthless adversary strikes too close to home, Kara Zor-El, aka Supergirl, reluctantly joins forces with an unlikely companion on an epic, interstellar journey of vengeance and justice.
Cast:
Milly Alcock, Eve Ridley, Matthias Schoenaerts, Jason Momoa, David Krumholtz, Emily Beecham, David Corenswet, Ferdinand Kingsley, Emily Piggford, Thalissa Teixeira
Director:
Craig Gillespie
Writer:
Ana Nogueira
Fri, June 26 2026
Despite some inspired moments and Alcock’s engaging performance, the film lacks cohesion and falls short of its potential.
Supergirl is more in the zone of a girl-power film than a superhero flick. Director Craig Gillespie’s new outing is the sophomore instalment in the newest iteration of a superhero-movie universe (DCU), starring Mily Alcock in the titular role. Supergirl, however, isn’t technically ‘Supergirl’ until way into the film, supremely coming into her own in the climactic battle scene. For most of this 108-minute film, she is Kara Zor-El, a not-so-regular girl who wants to drown the sorrows of her 23rd birthday by bar-hopping across the universe, specifically near red suns, which is something that makes her “normal” and not the superhero she is/ supposed to be. Also, unlike her cousin Superman — David Corenswet pops up every now and then — she doesn’t want to get into the business of helping anyone. In other words, she can’t be bothered with being a superhero, even when her more famous (and far more responsible) cuz tries his best — via video messages — to keep reminding her of her DNA (and her larger goal).
Thu, June 25 2026
Supergirl has more spark than Superman in spirit, If not in scale. Milly Alcock is superb as an emotionally numb drifter masking deep-seated grief with impulsive behaviour and a sense of exhaustion. She channels Kara's dormant rage and lingering heartbreak with remarkable conviction.
Superhero fatigue has been setting in for quite some time now, with both Marvel and DC struggling to find the right footing. In the race for bigger spectacles, sprawling multiverses, time travel, and interconnected sagas, many superhero films traded genuine emotion and character for sheer scale and experimentation. Audiences, understandably, began to lose interest. James Gunn rebooted the DC Universe with Superman (2025), introducing the dimpled David Corenswet as the new Man of Steel. While the film dazzled with its scale and visual ambition, it often felt emotionally scattered and underwhelming. What lingered long after the credits, however, were the brief but memorable glimpses of Milly Alcock’s carefree, rebellious Supergirl.
Welcome to the Jungle
Action, Comedy, Adventure, Crime (Hindi)
A group of quirky characters gets stuck in a dangerous jungle during a chaotic mission. Filled with confusion, criminals, and hilarious situations, they must work together to survive and find their way out.
Cast:
Akshay Kumar, Suniel Shetty, Arshad Warsi, Jacqueline Fernandez, Disha Patani, Raveena Tandon, Jackie Shroff, Paresh Rawal, Lara Dutta, Farida Jalal
Director:
Ahmed Khan
Writer:
Farhad Samji
Fri, June 26 2026
Leave your brains behind, advise some filmmakers. Leave your political correctness also behind, and stop bristling at every perceived slight, would be another advisory for the third instalment of Welcome. Ben Stiller’s Tropic Thunder (2008), the source material for a story credited to late writer Neeraj Vora, had also come under fire for unabashed comedy over disabilities and coloured faces. So if you are the kind that’s sensitive about say, jibes at high-flown Urdu, stay home. Bengali, Parsee Gujarati and Tamizh have had their turns as comic material. Shouldn’t be a problem if there’s some fun with Urdu but if you’re the touchy type, ghar mein baitho. Because Ahmed Khan and dialogue writer Farhad Samji have a joke all written and ready for every known face in the large star cast.
Fri, June 26 2026
फिल्में दो तरह की होती हैं। एक तो वे जिन्हें देखने का फैसला आमतौर दर्शक लोग रिव्यू आदि जानने के बाद करते हैं। तारीफें सुन लीं तो चले गए, बुराई सुन ली तो छोड़ दिया। दूसरी तरह की फिल्में वे होती हैं जिन्हें रिव्यू की ज़रूरत ही नहीं होती। लिखने वाले सिर पटकें या छाती पीटें, देखने वाले इन्हें देख ही लेते हैं। ‘वैलकम टू द जंगल’ इसी तरह की फिल्म है। दर्शक भी दो तरह के होते हैं। एक तो वे जो फिल्मों को देखने का फैसला उनके बारे में जानने के बाद ही करते हैं। कहीं से तारीफें सुनीं तो देख आए, बुराई पता चली तो छोड़ दिया। दूसरी तरह के दर्शक वे होते हैं जिन्हें फर्क ही नहीं पड़ता कि रिव्यू कैसे हैं। ‘वैलकम टू द जंगल’ ऐसे ही दर्शकों के लिए है। जिस फिल्म को फरहाद सामजी ने लिखा हो और अहमद खान ने बनाया हो उससे किसी किस्म के सयानेपन की उम्मीद लगाने वाले से बड़ा बेवकूफ कोई नहीं हो सकता। ज़रूर इन के पास फिल्म इंडस्ट्री के बड़े-बड़े लोगों के काले कारनामों के वीडियो होंगे, वरना यूं ही हर कोई इन पर मेहरबान नहीं होता। खैर, हमें तो शर्म स्वर्गीय नीरज वोरा जी को याद करके आ रही है जिनकी लिखी कहानी इन हाथों में आ पड़ी।
Fri, June 26 2026
Ahmed Khan’s film about an incompetent film crew in trouble is a parody that doesn’t always know it’s a parody
Welcome to the Jungle is that attention-seeking kid in class who loves playing the fool so much that not even he can tell when he accidentally sounds funny and smart. Ahmed Khan’s crowded action-comedy is staged as the third film in the Welcome franchise, but it’s really just Tropic Thunder given the Farah Khan treatment. Ben Stiller’s 2008 satire about four vain actors who inadvertently invite real-world dangers during a guerilla film shoot in a jungle is ‘adapted’ into a Bollywood caper about an incompetent movie crew who get mistaken for the Indian army during a patriotic shoot in a crisis-stricken border village. The meta-ness is the main character, of course. There’s Akshay Kumar self-referencing his Khiladi and Mohra days, Suniel Shetty named ‘Anna’ Shetty, Raveena Tandon taunting Kumar for “20 years of neglection,” Arshad Warsi paraphrasing his own Jolly LLB lines, Jackie Shroff as a kohl-eyed terrorist, Farida Jalal playing a dramatic old mother India whose ‘dialogue’ nobody understands, Jacqueline Fernandez as an airheaded blonde, and so on.
Gram Chikitsalay S02
Comedy, Drama (Hindi)
The young, idealistic and brilliant Dr. Prabhat, takes charge of a neglected Primary Health Centre in a North India Village hoping to bring about much needed changes only to realise it is he who will have do change before anything else.
Cast:
Amol Parashar, Anandeshwar Dwivedi, Akash Makhija, Garima Vikrant Singh, Vinay Pathak, Akansha Ranjan Kapoor
Director:
Lalitam Anand
Fri, June 26 2026
Amol Parasher has grown into his role, and while he shares the screen with everyone else, it is his Prabhat, refusing to give in, and give up, which is the fulcrum.
Season 2 of this rural-com returns with its low stakes, lo-fi storytelling, in which the TVF mandate– keep it cosy, bro– stays comfortably uppermost. No surprises then that our idealistic doctor stays the course, even as the clashes between the twain– the citified outsider and the set-in-their-ways villagers– continue. Also back in harness are his little unit of compounder, nurse and helpers, the colleague-turning-into-friendly-companion, the rival local quack, and the gaonwalas themselves, slowly if reluctantly, understanding the value of a real ‘daaktar saab’ who can actually save lives.
Fri, June 26 2026
Season 2 of 'Gram Chikitsalay' continues to reimagine 'Panchayat' in a rural-healthcare context, and continues to be middling in its returns
With Panchayat going downhill, you’d think Gram Chikitsalay would be looking to forge its own identity after acting like a stalker in its first season. But the essence of “TVF Rural Universe” goes beyond the template of an idealistic urban character arriving to work in a ramshackle village full of idiosyncratic residents, aggressively colourful dialects, mundane conflicts and backward mindsets. The shared formula is more of an excuse to make the same series twice over. It’s a bit like watching a famous South Indian director making his Bollywood debut by remaking — or culturally adapting — his biggest hit. The remake always looks more rehearsed, functional, designed, and bereft of spontaneity.
Ananthan Kaadu
Action, Thriller (Malayalam)
This is a tale, which almost became a true story. It unfolds in the late Eighties and early Nineties, when the country was going through a dark phase both politically and socially a time when turmoil was writ all over the political scape of the nation.
Cast:
Arya, Nikhila Vimal, Regina Cassandra, Vijayaraghavan, Achyuth Kumar, Indrans, Siddique, Santhy Balachandran, Murali Gopy, Sunil Varma
Director:
Jiyen Krishnakumar
Writer:
Murali Gopy
Fri, June 26 2026
The filmmaker and the screenwriter seem to have taken the period setting of the film in the early 1990s a little too seriously, for the writing and making have a visible hangover of that era
One of the highly charged sequences in Ananthan Kaadu, directed by Jiyen Krishnakumar and written by Murali Gopy, happens inside a college campus in Thiruvananthapuram in the early 1990s. This “mass” scene featuring the screenwriter himself in a highly imaginary scenario, hardly has any connection with the main plot, almost as if it accidentally got mixed into this film from the edits of some other film. Its only intention appears to be to inject some regressive political points into the narrative. This particular sequence might not be surprising for those who have watched Tiyaan (2017), the previous team-up of Jiyen Krishnakumar and Murali Gopy, which had its share of regressive politics packaged in the garb of a progressive film.
Nooru Sami
Drama, Family (Tamil)
Selvi, a widowed mother, devotes her life to raising her two sons in a conservative village. Years later, unfulfilled life comes back into focus, challenging deep-rooted traditions. As family and society strongly oppose change, Selvi must choose between societal expectations and her own happiness.
Cast:
Swasika, Vijay Antony, Lijomol Jose, Ajay Dhisan, Kavya Anil, Karunas, Sakthi Raj, Balaji Sakthivel, Padine Kumar, Aruldoss
Director:
Sasi
Writer:
Sasi
Tue, June 23 2026
Sat, June 20 2026
Director Sasi's Nooru Sami, starring Swasika, Ajay Dhishan and Vijay Antony, is a well-intentioned drama that explores remarriage. While the story great potential, it has many shortcomings in terms of its presentation.
Director Sasi and actor-composer Vijay Antony reunited for Nooru Sami, 10 years after Pichaikkaran, a film that ended up as a sleeper hit for the actor. Pichaikkaran is an emotional drama about a mother and son, while Nooru Sami explores the concept of remarriage for a widow in a conservative world. Selvi (Swasika), a widowed mother, raises her two sons Bhaskar (Ajay Dhishan) and Vivek (Sakthi) on her own. She watches them come up in their lives only for them to be consumed by ego and hating each other. One day, Selvi, in passing, mentions that she might like to remarry, much to the shock of her two sons.
Sat, June 20 2026
Led by a brilliant Swasika, Sasi’s ‘Nooru Sami’ is a moving portrait of a woman reclaiming her desires, dignity, and right to a life of her own.
Life in the hinterland can be brutal. Identities are distinctly carved out between the haves and the have-nots — the “have” here can refer to material wealth or social standing. In director Sasi’s Nooru Sami (A Hundred Gods), Selvi (a fabulous Swasika) is a young widow with two sons, struggling to raise them in a society that is judgmental and not very kind. Sasi is known for his deft portrayal of village life and its people, and Nooru Sami, based on a real-life story, benefits from his vision. It is filled with little nuggets, some pleasant, most not, which drive home the torment in Selvi’s heart.
Balan: The Boy
Drama (Malayalam)
A teenage boy searches for his missing mother following a turbulent childhood and her subsequent disappearance, exploring his search for closure and the truth about his past.
Cast:
Adhisheshan K R, Farzana Palathingal, Tovino Thomas, Lal Jr., Chandu Salimkumar, Girish A. D., Beena Antony, Muhammed Zinaan, Dolly June, Anand Ekarshi
Director:
Chidambaram
Writer:
Jithu Madhavan
Tue, June 23 2026
Sun, June 21 2026
‘Balan: The Boy’, from Chidambaram, director of ‘Manjummel Boys’, is at different times a thriller, home invasion film, procedural and melodrama.
There is an incredible time jump a little over halfway into Chidambaram’s Balan: The Boy. A police station hide and seek battle between a police constable and a lost little boy (Adiseshan) occurs in parallel with the search for his identity, conducted by the police officer, the one who’s given the constable babysitting duties. We move between the officer’s investigation outside and the game in the station as the nonplussed constable launches a frenetic search only to hit a wall. With a medium size hole in it small enough for the boy to crawl through. A painful realization dawns on her face and a match cut takes us to a bus window with the solitary face of a teenager speaking a language from another part of India. The whole sequence is hardly a few minutes long, but Chidambaram, cinematographer Shyju Khalid and editor Vivek Harshan take us on such a delirious ride that we transcend time.
Sat, June 20 2026
A painful ode to lost innocence and a boyhood that never was—a heartrending drama about a son's search for his mother, even when the film wanders a little too far from its core.
The Boy, directed by Chidambaram, calling it a painful ode to lost innocence and a boyhood that never was—a heartrending drama about a son’s search for his mother, even when the film wanders a little too far from its core. Vishal admires how unengineered the storytelling feels; rather than a constructed plot, it plays like someone recalling the most vivid memories that defined his childhood. He traces Indhu (Farzana), who gave birth to the titular Balan in prison, as she and her son move from city to city, terrain to terrain, even religion to religion, assuming fresh identities and back stories while she reminds herself to trust no one. Vishal lingers on the duo’s outlaw spirit, the recurring sense of the past catching up with them, and the moments—a shopkeeper’s request, a marriage proposal, a heart-shaped earring—that each become Indhu’s cue to flee.
Cocktail 2
Romance, Comedy (Hindi)
After a decade together, Diya and Kunal's relationship is shaken when Ally, an old friend, re-enters their lives. What begins as a plan between two women spirals into chaos, triggering hilarious, emotional rollercoaster none of them saw coming.
Cast:
Shahid Kapoor, Kriti Sanon, Rashmika Mandanna, Rohit Saraf, Dimple Kapadia, Arjun Rampal, Ishita Dutta, Sanjay Dutt
Director:
Homi Adajania
Writer:
Luv Ranjan
Tue, June 23 2026
The Shahid Kapoor, Kriti Sanon, Rashmika Mandanna starrer broaches the right questions about relationships, but doesn't dive deep enough to offer potent answers
Be practical (read: boring and safe) or free-spirited (read: fun and unpredictable)? That’s the life-defining choice Kunal (Shahid Kapoor) has to make by the end of two hours and 30 minutes of Homi Adajania’s Cocktail 2. It sees the audience go from drab Delhi to sunny, sandy and scenic Sicily and back to drab Delhi, witness an excess of sartorial flourishes from costume designer Anaita Shroff Adajania and watch the trio—Ally (Kriti Sanon), Diya (Rashmika Mandanna) and Kunal—laugh their way through life to such extravagance that your own cheeks hurt at their expense.
Sat, June 20 2026
Sat, June 20 2026
There is no delicate way to put this: Cocktail 2 boasts one of the most ludicrous stories I have encountered in recent memory. A spiritual sequel to Cocktail (2012), the film ostensibly wants to discuss modern relationships, commitment issues and the institution of marriage. Unfortunately, it takes such a circuitous route to get there that it makes a GPS with no signal look reliable.
The Voice of Hind Rajab
Drama, History (Arabic)
January 29, 2024. Red Crescent volunteers receive an emergency call. A five-year old girl is trapped in a car under fire in Gaza, pleading for rescue. While trying to keep her on the line, they do everything they can to get an ambulance to her. Her name was Hind Rajab.
Cast:
Hind Rajab, Motaz Malhees, Saja Kilani, Amer Hlehel, Clara Khoury, Nesbat Serhan, Ramy Brahem
Director:
Kaouther Ben Hania
Writer:
Kaouther Ben Hania
Mon, June 22 2026
Based on an actual incident that took place in January 2024, The Voice of Hind Rajab bares open the atrocities that have ravaged Palestine due to the war. The docu-drama uses actual audio recordings of the five year old Hind Rajab, which makes the film all the more authentic and raw.
There is a certain uneasiness inside you after you finish watching the Voice of Hind Rajab. The voice of five-year-old Hind Rajab, or Hanood as she was called fondly, continues to echo in your ears hours after the film is over. Directed by Kaouther Ben Henia, the docu-feature blends reality and fiction to deliver a heartwrenching account of a 5-year-old Palestinian girl, Hind Rajab and her urgent pleas on calls to Red Crescent volunteers to rescue her after her family was ambushed by the Israeli forces in January 2024. The Voice Of Hind Rajab is a film that is a testament to the times we live in. And while the semi-fictional semi-real film makes you uncomfortable, angry, emotional and ultimately numb, it is an important watch.
Sat, June 20 2026
“The tank is next to me.” “They are shooting at me.” “Come get me. I’m all on my own.” Few films begin with lines this freighted with irrevocability. The Voice of Hind Rajab confronts us with the real voice of a five-year-old girl whose fate is already known, stripping cinema of suspense and replacing it with something far more devastating: certainty. If urgency in the narrative holds it together as a piece of cinema, it is inevitability that makes director Kaouther Ben Hania’s docudrama an impossibly heartbreaking affair. The film is set inside the Palestine Red Crescent Society’s call centre in Ramallah on January 29, 2024. As the war between Israel and Palestine rages on, employees operate in a heightened emotional state, trained to respond to civilian SOS calls amid constant crisis. Omar (Motaz Malhees), Rana (Saja Kilani), Mahdi (Amer Hlehel), and Nisrine (Clara Khoury), the fictional leads, along with the late Hind Rajab’s real voice on a phone call, have guts of steel, but their hearts ache too, as do those of the viewers.
Sat, June 20 2026
Kaouther Ben Hania's Oscar-nominated docudrama, built around a five-year-old's real phone calls from Gaza on the last day of her life, had failed to get a Central Board of Film Certification clearance earlier this year. The film, which releases in India today, makes the audience sit through the dread of knowing how it ends.
The most wrenching performance in The Voice of Hind Rajab was never performed. At the centre of Tunisian filmmaker Kaouther Ben Hania’s docudrama sits a real recording: the shaking voice of a five-year-old girl captured on the last afternoon of her life. Everything assembled around it is staged. The friction between the two — actors straining toward a child who is already beyond their reach — is what makes the film almost unbearable. The facts are a matter of record. On 29 January 2024, five-year-old Hind Rajab was trapped in a car in Gaza City, hemmed in by the bodies of her aunt, uncle and four cousins, after Israeli fire tore through the vehicle as the family tried to flee. She was the only one left alive. For hours, she stayed on the line with volunteers at the Palestine Red Crescent Society, asking, over and over, for someone to come for her. The ambulance that was finally dispatched never reached her; its two paramedics were killed, too. Hind was found dead days later. The recordings of those calls, released afterwards, went around the world. Ben Hania built her film around them.
Main Vaapas Aaunga
Romance, Drama (Hindi)
An elderly man remains haunted by a childhood romance and memories of love lost during the 1947 Partition of India. As he shares his story with his grandson, the past unfolds through memories of migration, longing, and a love that endures across generations.
Cast:
Vedang Raina, Sharvari, Diljit Dosanjh, Naseeruddin Shah, Danish Pandor, Anjana Sukhani, Rajat Kapoor, Sanjay Suri, Manish Chaudhary, Vinod Nagpal
Director:
Imtiaz Ali
Writer:
Imtiaz Ali, Nayanika Mahtani
Sun, June 21 2026
Naseeruddin Shah headlines a film about love and loss and longing.
It has been a week since the end credits rolled for Imtiaz Ali’s Main Wapas Aaunga, but the film has been playing non-stop inside my head and heart. It has been peeling itself, layer by layer, to reveal the nuances that might have been missed when you were bawling your heart out for a love lost, and people displaced. This is the second movie this year to pay spiritual homage to Sargodha — the first was Sriram Raghavan’s tender anti-war film Ikkis, about war hero Arul Khetarpal. I confess I saw the movie through the many stories of escape I had heard in my six years (1997-2003) in Delhi, living in Old Rajinder Nagar, one of the colonies the refugees settled in. Many Papajis and Maajis still shed salty tears for their Pind, for the people, potted plants and property they left behind, never to return to. As we knitted on chill winter mornings when the sun played peekaboo, the creases on Maaji’s face softened, and yet another past memory resurfaced.
Tue, June 16 2026
In the end, Imtiaz Ali, though sometimes full of feeling, seems full of sermonising.
In a scene during Imtiaz Ali’s Main Vaapas Aaunga, when Nirvair (Diljit Dosanjh) takes the stage at an open mic in London, I braced myself. In my head, Ali is notorious for dipping his toes in subcultures he considers ‘hip and trendy’ (like stand-up comedy here, fresco painting in 2009’s Love Aaj Kal) – including them as passing details in a film, never to be brought up again. Over here, it’s used to establish Nirvair as a young wastrel (from a wealthy family in Amritsar) coasting through life. He can’t stick to a job for more than two months, he can’t commit to his girlfriend, Kaveri (Banita Sandhu). His father (Rajat Kapoor) asks, “Why do you keep running?” – a narrative failsafe, lest the metaphor be lost on someone unfamiliar with an escapist Imtiaz Ali protagonist.
Mon, June 15 2026
At a time when the politics of hostility has engulfed the world and escalated it into senseless wars Main Vaapas Aaunga's unwavering belief in love is a testament to cinema's uplifting gifts
Survivors of Partition could never truly move on as the horrors it brought on continued to haunt their hearts for the rest of their days. So did the hope to see their home once in their lifetime. They never really believed they won’t be able to return ever again. I’ve heard of the displacement and a desire to revisit their home in stories of my grandparent-in-laws. They, like many others, on both sides of the border, died without getting their wish fulfilled. Scenes of burying their wealth in the backyard with hopes of reclaiming it on return, fleeing bloodthirsty foes on the other side with the help of friends from the same community or women wearing a vial of poison around their necks in the event of violent mob attacks, days and days of uncertainty spent in camps would become stories of staying alive. One that flocks of homeless and heartbroken refugees, like my relatives, would remember and remind generations to come.
Maa Inti Bangaaram
Action, Thriller, Drama (Telugu)
Through both her moments of fear and bravery, a woman discovers that embracing her vulnerabilities is as vital to her inner strength as facing challenges head-on.
Cast:
Samantha Ruth Prabhu, Gulshan Devaiah, Diganth Manchale, Gautami Tadimalla, Anand, Sreemukhi, Srilakshmi, Manjusha Mukkavilli, Chaitanya Krishna, Srinivas Gavireddy
Director:
B. V. Nandini Reddy
Writer:
Shantharuban Gnanasekaran, Sita Menon, Vasanth Maringanti, Raj Nidimoru
Sat, June 20 2026
ஸ்வர்ணாவை (சமந்தா) காதல் திருமணம் செய்ததால், அனிருத் (திகந்த்) தன் குடும்பத்திடமிருந்து பிரிந்திருக்க வேண்டிய நிலை. மீண்டும் அதில் இணைய ஒரு வாய்ப்பு கிட்ட, அந்தப் பெரிய கூட்டுக் குடும்பத்தின் முழுமையான அன்பைப் பெற்று, அந்த வீட்டின் ‘எங்கள் தங்கமாக’ (மா இண்டி பங்காரம்) ஜொலிப்பதை லட்சியமாக ஏற்கிறார் மருமகள் ஸ்வர்ணா. ஆனால் ஸ்வர்ணாவின் இந்த அமைதியான வாழ்க்கைக்குப் பின்னால், ரத்தச் சிவப்பான, வன்முறை நிறைந்த ஒரு இருண்ட முன்கதை இருக்கிறது. பல வருடங்களாக மறைத்து வைக்கப்பட்டிருந்த அந்த ரகசியம், எதிர்பாராத விதமாகக் கொடூரமான வில்லன் கருணாவால் (குல்ஷன் தேவைய்யா) வெளிச்சத்திற்கு வருகிறது. தனது அன்பான குடும்பத்திற்கு வரும் ஆபத்தை ஸ்வர்ணா ஆக்ஷன் மோடில் எப்படிக் கையாண்டார் என்பதே ‘மா இண்டி பங்காரம்’ (தமிழில் ‘எங்கள் தங்கம்’).
Sat, June 20 2026
Director Nandini Reddy's Maa Inti Bangaaram, starring Samantha Ruth Prabhu and Gulshan Devaiah, is a female-led commercial film with great action. It is also a film that proves women can headline an action drama and do it convincingly.
An orthodox family preparing for a wedding. A couple who eloped three years ago returns to the family and their village, hoping for acceptance. The protagonist is worried if all will go well. Meanwhile, the protagonist’s past comes to haunt the family. And the character, backed by a massy background score, is ready to put her life on the line to protect the family. Sounds like a usual commercial drama, isn’t it? Now, picture a woman, in a saree, holding guns, and machetes and sickles, all for her family. That’s what Maa Inti Bangaaram is all about. Swarna (Samantha) and her ‘green forest’ husband Anirudh (Diganth Manchale) arrive at her in-laws village home to attend her sister-in-law’s wedding. The couple is meeting their family for the first time in three years after getting married against their parents’ wishes. In an attempt to win the family’s acceptance, Swarna does everything to impress her new family.
Sat, June 20 2026
Samantha Ruth Prabhu convincingly embraces a mass-action avatar in Nandini Reddy’s family drama, but a familiar template and underwritten twists keep the film from realising its full potential
At the end of Maa Inti Bangaaram (MIB), I kept thinking about what it could have been had the team gone all out with its blend of action entertainer and family drama. Telugu cinema rarely presents a sari-clad female protagonist who can deliver punches powerful enough to send shivers down the spines of thugs. That role belongs to actor-producer Samantha Ruth Prabhu, who once again makes her action sequences convincing. The audience cheers during the high moments; that kind of stardom is earned over time. Samantha’s third outing with director Nandini Reddy, co-produced by Raj Nidimoru, has plenty going for it. Parts of the film are genuinely enjoyable, blending humour, subtle social commentary and action. It remains immensely watchable but falls well short of being a standout.
Toy Story 5
Animation, Family, Comedy, Adventure (English)
When Bonnie receives a Lilypad tablet as a gift and becomes obsessed, Buzz, Woody, Jessie and the rest of the gang's jobs become exponentially harder when they have to go head to head with the all-new threat to playtime.
Cast:
Tom Hanks, Tim Allen, Joan Cusack, Greta Lee, Conan O'Brien, Craig Robinson, Shelby Rabara, Tony Hale, Scarlett Spears, Jay Hernandez
Director:
Andrew Stanton
Sat, June 20 2026
Toy Story ranks among Hollywood’s longest-running animated franchises. More importantly, in an industry where sequels are often accused of existing primarily to generate revenue, the Toy Story films have consistently managed to be a few notches above the rest. The journey began in 1995 and, with its newest instalment, the franchise is still going strong. Crucially, it continues to keep itself relevant with changing times and audiences.
Sat, June 20 2026
With little meat on it but a Taylor Swift song and a $250 million budget, is as good a story of excess as any.
Child’s play has always been serious business in the Toy Story franchise. Now, it’s just business. The fifth iteration of this profitable Pixar franchise is way past its game and, more importantly, has lost its sense of play. The central idea is that tech and tablets are replacing toys and imagination. By the end, the central takeaway is that the twain can co-exist happily. After all, says a wisened Jessie/Sheriff (Cusack), once much water has flown under the bridge, the sole mission on Earth for all of them — the ageing Woody (Hanks) to smitten Buzz (Allen) to new-plaything-on-the-block Lilypad — is to be there for the kids when they need them, at the right moment.
Fri, June 19 2026
इंटरनेट और सोशल मीडिया के इस युग में बच्चों को मोबाइल या स्क्रीन से दूर रखना आज हर माता-पिता के लिए सबसे बड़ी चुनौती है। बच्चे खेल और खिलौने छोड़कर इंटरनेट की वर्चुअल दुनिया में गुम होते जा रहे हैं। इसी मौजू विषय को मनोरंजक अंदाज में दिखाती है ‘टॉय स्टोरी 5’, जो दुनियाभर के बच्चों की पसंदीदा एनिमेशन फिल्म है। करीब 30 साल पहले 1995 में शुरू हुई ‘टॉय स्टोरी’ ऐसी कामयाब फ्रेंचाइजी रही है, जो बच्चों के साथ उनके माता-पिता को भी लुभाती रही है। अब शुक्रवार 19 जून 2026 को ‘टॉय स्टोरी’ की पांचवी कड़ी सिनेमाघरों में रिलीज हुई है। हालांकि, यह पहले जैसा प्रभाव नहीं छोड़ती, लेकिन बच्चों को मनोरंजन के साथ अच्छा सबक जरूर देती है।
Colony
Action, Thriller, Horror (Korean)
Professor Se-jeong is thrust into a bloody nightmare when a rapidly mutating virus is released during a biotech conference causing authorities to seal the facility. Trapped inside with no escape, Se-jeong along with a small group of survivors must fight to stay alive while the infected undergo horrific transformations.
Cast:
Gianna Jun, Koo Kyo-hwan, Ji Chang-wook, Kim Shin-rock, Shin Hyun-been, Go Soo, Lee Jung-ok, Kim Jong-tae, Hwang Jae-yeol, Lee Dam-hee
Director:
Yeon Sang-ho
Writer:
Yeon Sang-ho, Choi Gyu-seok
Fri, June 19 2026
The action unfolds inside a massive office tower in the middle of a densely populated city, when a disgruntled scientist launches a bioterror attack during a seminar conducted by his former partner.
A sporadically clever but ultimately convoluted affair, Colony is somehow both underwritten and over-plotted. The Korean horror-thriller marks a long-awaited return to the zombie genre for director Yeon Sang-ho, who broke out internationally almost exactly a decade ago with the clutter-breaking horror hit Train to Busan. That film took a deceptively simple premise, injected it with some old-fashioned melodrama, and managed to appeal both to Western and Asian sensibilities. In the subsequent decade, Yeon has remained highly sought-after, having directed several movies and as many as three Netflix shows. With Colony, he returns to his roots, armed with a bigger budget, seemingly brighter ideas, and a significantly larger canvas to splatter with gore and other grimy fluids.