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

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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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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Fri, July 10 2026

Pina could easily be insufferable, particularly in the ease with which she dispenses advice, from perimenopause to desire. However, Penélope Cruz injects warmth and charm to make Pina a guest you want to host – and impress.

Perhaps nothing spoils a meal faster than bad company. Scratch that. It takes bad company trying to put on a happy face to make it really stink. And, Angela (Olivia Wilde) is trying hard, really hard. Why she is, is evident to us by and by as layers are peeled off the resentment and bitterness that have built up between her and husband Joe (Seth Rogen). The guests for whom Angela plans a spread, from an elaborate charcuterie board to a from-the-recipe-book soufflé, are their upstairs neighbours. Pina is Spanish and “beautiful” and “cool” and “has presence” (an effortlessly posh, and aware of it, Penélope Cruz). Angela clearly is taken in by her and, if not that, with the clearly loud sex-filled relationship she has with boyfriend Hawk (Edward Norton).

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Fri, July 10 2026

Moana is more a self-conscious teen than a carefree spirit. Laga'aia, making her debut, also struggles to hit the right note of chutzpah that marked her animated version. Her eager-to-please smile is the biggest detractor.

In the long list of prequels, sequels, three-quels etc etc, Disney’s contribution has been live action remakes of its popular animation films. Moana, which is still very much alive and rolling out in surfeit animated forms, is the latest. This is as sadly cynical as it gets because Moana stood out for being a departure from the usual Disney heroines – she was dusky, pudgy, a little stout, with no romance on the vast horizon that she conquers. Played by Catherine Laga’aia in the live action version, Moana is more a self-conscious teen than a carefree spirit. Laga’aia, making her debut, also struggles to hit the right note of chutzpah that marked Moana’s animated version. Her eager-to-please smile is the biggest detractor, for one.

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Sat, November 30 2024

Auliʻi Cravalho and Dwayne Johnson’s latest outing, ‘Moana 2’, with its underwhelming story and lack of emotional punch, puts itself several nautical miles behind its much-celebrated predecessor

Moana is back for another adventure! Whether that’s even necessary is a different question considering the first film, which came out eight years ago, was one of Walt Disney Animation films’ best outings of all time and a well-rounded product on its own. Our titular hero became a wayfinder, turned buddies with the demigod Maui by retrieving his fishhook and in due course, took her fellow Motunui people back into the sea as voyagers like how their ancestors once were. Moana 2 puts our heroes back in the open ocean on a new adventure that makes us wonder what’s the sea creature equivalent of a cash cow.

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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

Wed, July 8 2026

Mon, July 6 2026

Honey Trehan's film, which was taken down within days of release, is a troubling yet essential account of state crackdown during the Punjab insurgency

“Hisaab toh Punjab ka hai hi complicated (Punjab has a complex history),” says Arjun Rampal’s CBI (Central Bureau of Investigation) officer and the film’s narrator in Honey Trehan’s profoundly relevant Satluj. The director is in no mood to shy away from the state’s turbulent past or let the wrongdoers off the hook in this drama that has seen its share of trouble with the censors. Much like its real-life protagonist Jaswant Singh Khalra (played by Diljit Dosanjh), a human rights activist, Trehan has been resolute in his mission, refusing to flinch to the powers that be—in this case the Central Board of Film Certification (CBFC). His persistence paid off as Satluj, formerly titled ‘Punjab ’95’, finally released on ZEE5 in the iteration its creator wanted—though only briefly.

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Mon, July 6 2026

Few Indian films have had their very existence validated so completely by the forces they are fighting. Honey Trehan’s Satluj (formerly Panjab ’95) concerns a man who bravely sought to expose state-sanctioned cover-ups and justice for the victims’ families. It then languished for years, awaiting CBFC approval, before being released on an OTT platform without any fanfare. The irony is brutal. Even before the first frame rolls, the film’s own painful journey to our screens is a mirror to the very silence it is trying to break. Trehan’s 1995-set film a somber and unsettling alternative to popular Indian cinema obsessed with hyper-masculine, uniformed heroes who shoot first and ask questions later (and sometimes never do). It gives up chest-thumping folklore for documented history and dives into a bleeding chapter of Punjab’s past that mainstream conversation has spent decades trying to forget. Satluj does not try to exploit the tragedy to create a cheap spectacle, but rather concentrates on the lives lost without explanation and the one man who refused to let them be statistics.

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Mon, July 6 2026

Does a really good job of keeping the laughs coming, even if there are intermittent scenes where your eyes roll to the back of your head

Camouflage. It is always interesting to see how women empowerment films play out in Tamil cinema. Quite often, the makers try to mount a ‘male saviour’ film masquerading as a ‘women empowerment’ film. But smarter filmmakers know that the audience might see through this bluff, and they have started packaging it better. One such film was Chella Ayyavu’s Gatta Kusthi (2022), a seemingly entertaining ride about the ill effects of misogyny and the inherent need for women’s empowerment in society. On paper, it was empowering, but compromises were made to make it seem more ‘palatable’. Interestingly, in Gatta Kusthi 2, Chella doesn’t play the camouflage game. He throws caution to the wind, and goes all out to give us a battle of the sexes that tilts the scales clearly in favour of the man, but not without having him point out why women must be empowered. Basically, Chella and Vishnuu have the cake, and this time, they eat it, too.

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Fri, July 3 2026

Director Chella Ayyavu's Gatta Kusthi 2, starring Vishnu Vishal and Aishwarya Lekshmi, is a family entertainer with a wrestling backdrop. The film's lopsided take on gender politics and comedy that never lands make it a sequel that could have been done away with.

In a span of two months, we saw Samantha, Preity Mukundhan and Abhirami ace action like no one in Maa Inti Bangaaram and Blast. But Aishwarya Lekshmi did it back in 2022 when she wrestled her way into the hearts of audiences with her role in Gatta Kusthi. Four years later, the team reunites for a sequel that promises to delve deep into the lives of Veera, Keerthi and their daughter, Mathi Malar.

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Sun, July 5 2026

Miranda Priestly probably wouldn’t tolerate Angelina Jolie’s character from Couture, a new drama set in the world of high fashion that premiered at the Toronto International Film Festival in 2025. Jolie plays Maxine, an indie filmmaker who’s been hired to bring her brand of transgressive edginess to a promotional short for Paris Fashion Week. With neither the patience nor the experience for promotional work, Maxine can barely mask her contempt for her new gig — and that’s before a call from her doctor flips her world upside down. Couture couldn’t be further removed from the glossy world of this summer’s fashion world-set blockbuster The Devil Wears Prada 2. And while that movie makes excuses for the same industry that Couture wants to dress down, director Alice Winocour’s attempt to offer a ground-level perspective of an industry that has been glamorized for far too long turns out dull, directionless, and mildly delusional.

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