Fri, February 27 2026

Director Krishna Poluru’s buzzy screenplay cannot conceal its conservative outlook

We live in times when filmmakers are increasingly insecure about keeping restless viewers invested in a story. This has resulted in storytellers shaping narratives that frenetically jump from one sequence to another, without context or substance, so that distraction may not be an option. The characters do not talk; they shout. And the bombastic background score screams for attention. Every scene turns into a loud statement. ZEE5’s Telugu web series D/O Prasad Rao Kanabadutaledu (Prasad Rao’s daughter is missing), helmed by Krishna Poluru, takes this desperation to new heights. While leaving little to a viewer’s imagination right from its title, the show shifts between three timelines that influence the events in the life of a missing girl. The crime scene is visualised as a narrative hook to unpack discussions on conservative parenting, the dreams and aspirations of a girl child, intergenerational trauma and vigilante justice.

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Wed, February 25 2026

It represents the ‘i’ in irony and the ‘OG’ in hagiography

Very little of Aashish Mall’s Shatak looks real. I’m not talking just historical authenticity here, or the conspicuous name-dropping of ‘leftist’ freedom fighters (all of them, obviously in awe of the Rashtriya Swayamsevak Sangh or the RSS). Most of Mall’s film looks enhanced like the tacky green-screens on primetime news. Most characters wander around like AI slop, speaking with pauses – without showing the slightest bits of humanity. Walking out of Mall’s film, one of my thoughts was if the film was an exhibit for the India AI Impact Summit held in Delhi. If that was the case, what fresh hell it would mean for the nation already grappling with a dozen controversies brewing because of the event. Would Sam Altman have felt pressured to give it a standing ovation, seeing the Indian Prime Minister sitting adjacent to him, if the film screened there? Mall’s film feels like a 112-minute reel created using AI, chronicling the good/better/best anecdotes of the far-right organisation – without the slightest hint of curiosity. The aim is not to find out about how the RSS came into being, as much as kissing the feet of its founding fathers.

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Wed, February 25 2026

Once again, we find ourselves watching a Kartik Aaryan movie and wondering why… We discuss Tu Meri Main Tera Main Tera Tu Meri’s pointless travel vlog first half, which unexpectedly transforms into a combination of Baghban and Dilwale Dulhania Le Jayenge. We also discuss the film’s awkward projection of seemingly progressive values, which happens to be filtered through a deeply regressive lens. We conclude by wondering if Croatia even knows what it has gotten itself into by inviting the Kartik Aaryans of the world to visit.

Sun, December 28 2025

Directed by Sameer Vidwans, the film Tu Meri Main Tera Main Tera Tu Meri is proof that a film and it’s title can be overwhelmingly long. The title itself gives us adequate warning and feels like an endurance test, and the film faithfully lives up to it. By the midpoint, which feels like an eternity, one realizes that only half of the title has been addressed.

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Sat, December 27 2025

The film picks up some momentum and verve, an emotional arc as well, but only by the fag end

For some time, Dharma Productions has been wearing its progressive heart and beliefs on its sleeve. That’s all very well, what more do you want from the proponents of ‘rich lives matter’? Like the typical gloss and shine signature of its cinema, it can’t quite bid adieu to its glitzy USP. Any wonder then that the storyline spends the first half in picturesque Croatia. The ‘to-die-for’ locales of the European nation on the coast of the Adriatic Sea is where love blossoms between our two lovebirds.

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Tue, February 24 2026

Mon, February 23 2026

Assi is not Sinha’s finest hour as a director, but the lack of sophistication might be necessary to reach an audience that otherwise laps up mean-spirited propaganda.

At one point in Anubhav Sinha’s Assi, a father (Manoj Pahwa) and his son (Abhishant Rana) are devouring a plate of chhole bhature. The father says, “Your mother is an excellent cook, but the chhole bhature she makes is… okay. No shame in eating outside once in a while. You can get a plate like this for Rs 60, maybe Momos for Rs 90,” he says, going on to add – “but a man never brings these home.” Only towards the end, does a woman overhearing the conversation realise that the duo aren’t talking about her food. The son is shown to be an accomplice in a rape, a few scenes earlier. I can see why co-writers Sinha and Gaurav Solanki [the duo had also earlier written Article 15] might lean on the wryness of a scene like this to explain a perpetrator’s mindset. But the scene feels too satisfied with its oversimplified metaphors for deep-seated dishonesty and compartmentalisation that the (primarily) male, urban population is capable of.

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Sun, February 22 2026

There is no gentle way to say this—Anubhav Sinha’s Assi hits you hard. It is, at times, an uneasy watch—and therefore, a very good film. To be clear, the unease does not come from graphic visuals; it comes from statistics read aloud by a lawyer, from stark statements that linger long after they are spoken. If merely listening to these details causes discomfort, one can only imagine the horrors endured by the victims. Sinha not only stabs us in the heart; he twists the knife—quietly, deliberately.

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Sun, February 22 2026

Keeps rising and falling, and this constant crest and trough robs much of the film’s urgency, which was unhurried to begin with.

For better or worse, the intensity of love stories is understood in terms of conflict. The bigger the conflict, the more sweeping is the love. Pop culture has routinely peddled this notion, embellishing it till this has become the norm. Ravi Udyawar’s Do Deewane Seher Mein poses a challenge to the discourse by designing a low-stakes love story, but across its runtime, the film squanders all its potential, proving in culmination that prototypes are effective for a reason. Levity aside, this is a pity because Udyawar’s film starts off almost disarmingly. Boy and girl are forced to meet. Shashank (Siddhant Chaturvedi), a marketing guy, is arranged by his parents to meet Roshni (Mrunal Thakur), a content creator for a fashion label. No sparks fly, but it rains. They are on the terrace, and the dry clothes risk getting wet. He helps her with it, and in the act, falls a little. When asked, Shashank says yes, but Roshni says no.

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Sat, February 21 2026

Siddhant Chaturvedi and Mrunal Thakur fail to rise above flimsy conflicts in this plodding romantic drama, devoid of passion

When the trailer of Ravi Udaywar’s romantic drama Do Deewane Seher Mein surfaced online, one was hooked to the tune of Gulzar’s melancholic Do Deewane (Gharaonda), searching for home and sustenance all over again. The haunting voice of Bhupinder Singh and the melody in Runa Laila’s timbre continue to capture the dreams, hope, and loneliness that lovebirds face in big cities. However, it turns out that old gold is being refashioned to win over a new audience, but the carat is compromised in the process.

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Fri, February 20 2026

Siddhant Chaturvedi, Mrunal Thakur film makes you wonder how how can you expect passion in a film where the censors have excised ridiculous numbers of words from the mouths of adults?

To judge by appearance is a bad thing. This single line premise is stretched out over two and a half hours, leading to a film where you are left counting the moments where two people spark. The only nice thing about Do Deewane Seher Mein– please note, not Shehar–is that for a change a Hindi film doesn’t make you feel as if Shashank (Sidhant Chaturvedi) and Roshni (Mrunal Thakur) could be brother and sister. There is attraction, and they do act upon it, bringing their faces close enough for their lips to touch. Small mercies.

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Sat, February 21 2026

Bejoy Nambiar's film reminds us about the insatiable appeal of a creature feature, a rarity in Indian cinema these days

It’s not every day that Hindi film audiences get to see a creature spread fear and panic. Of late, Maddock’s horror comedies have shown the appeal of creating a worthy nemesis with the Stree films and Munjya. Bejoy Nambiar’s Tu Yaa Main reminds us why we love to fear the croc in a survival thriller. After all, when it comes to sleek killing machines, it doesn’t get better than the cold-blooded amphibious reptile. Tu Yaa Main starts out as a love story between two Gen Z creators. The girl’s (Shanaya Kapoor) famous, rich and privileged; the boy’s (Adarsh Gourav) from Nalasopara and lives in a crammed house with his family. She’s sophisticated; he’s the boy from the wrong side of the tracks. Opposites attract, suggests Nambiar, as he sets out to establish why despite their differences they are MFEO (made for each other).

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Mon, February 16 2026

May well craft its own legacy for the personality it gives crocodiles — as if a reptilian union finally demanded better roles, and Bejoy Nambiar obliged. It pays off.

Bejoy Nambiar’s Tu Yaa Main, a relationship drama in the garb of a creature film, redeems an animal and a profession. Both, unfortunately, were subjected to great disservice in Hindi films. Given that the animal has lasted longer, its ignominy is greater, and therefore, the absolution was both inevitable and overdue. Nambiar’s film proves to be largely effective in this regard as it takes crocodiles from the mouth of disrepute and posits them in a narrative where they are given space to lay eggs, chill a little, and nap.

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Mon, February 16 2026

Bejoy Nambiar's film, starring Adarsh Gourav and Shanaya Kapoor, combines creature feature with romantic drama and class commentary

Directed by Bejoy Nambiar and adapted by Himanshu Sharma from the 2018 Thai thriller The Pool, directed by Ping Lumpraploeng, Tu Yaa Main is a curious addition to Hindi cinema’s sporadic engagement with the creature feature. The original was a compact, high-concept survival drama built around the simple premise of a man trapped in a drained swimming pool with a crocodile, trying to find a way out. Nambiar retains the skeletal premise but sets aside that minimalism, expanding the thriller framework into a 145-minute romantic drama inserted with class commentary and influencer satire. The result is an ambitious film intermittently exhausting itself instead of tightening its grip.

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Sat, February 21 2026

Based on the sequel from author Laura Dave, the mystery thriller ably expands on the story from Season 1 and picks up five years later.

Jennifer Garner is back as Hannah Hall in this family thriller, The Last Thing He Told Me. In the first season, Hannah watched as husband, Owen (Nikolaj Coster-Waldau), disappeared after his tech company faced financial issues. She and her stepdaughter, Bailey (Angourie Rice), learn to move on with their lives. The Apple TV series returns after a three-year gap with Owen back in their lives, opening up a whole can of worms. The mystery drama series leans heavily on its past with several Hollywood stars from David Morse, Rita Wilson, and Judy Greer, as the show travels to France to close out a traumatic chapter.

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Sat, February 21 2026

Based on the romance series by Rachel Reid, the buzzy Canadian show follows the decade-long romance between two rival players, Canada’s Shane Hollander and Russia’s Ilya Rozanov.

Created, written, and directed by Jacob Tierney, Crave’s Canadian series Heated Rivalry has taken the world by storm. On February 20, it lands in India on Lionsgate Play. The show adapts the books of author Rachel Reid, which focus on the unlikely love story between two top players, Canada’s Shane Hollander (Hudson Williams) and Russia’s Ilya Rozanov (Connor Storrie). Tierney’s show elevates the material, getting to the heart of the matter as the two men meet when they are teenagers as rivals and end up as each other’s partners, away from the public eye. The low-budget series connects strongly due to its heartwarming screenplay and the refreshing performances from the cast.

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Sat, February 21 2026

Created by Shawn Ryan, the spy series churns out its best season yet as FBI operative Peter Sutherland digs deep to uncover a conspiracy.

Last season, Peter Sutherland made a deal with the devil, and this time, it comes back to haunt him again. The likeable and dependable Gabriel Basso is back to lead Netflix’s The Night Agent for its third season. Created by Shawn Ryan, the espionage drama loses a few key players from previous seasons, but gains intrigue with another White House mystery that leaves viewers on the edge throughout. The first season of The Night Agent is ranked tenth in Netflix’s most-watched shows of all time, and the drama has enough juice to power a few more seasons, going by the quality of this latest instalment.

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Fri, February 20 2026

Unlike animated classics that live large, GOAT simply isn’t designed to stay beyond its welcome. It clocks into the office of content-era entertainment and clocks out: nothing more, nothing less.

In terms of animated sports comedies featuring anthropomorphic animals, the bar is high. Surf’s Up (2007) set it nearly two decades ago; the mockumentary sports comedy about a young northern rockhopper penguin (voiced by a still-sane Shia LaBeouf) who dreams of becoming a professional surfer is unsurpassed in ingenuity, wit and underdog cinema (it’s one thing to make an animated film, it’s another to ‘shoot’ it like a live documentary). I’ll never forget the truth of the moment the protege discovers that his idol (Jeff Bridges) has been alive all along. The medium melts away, the cutesy humour pauses and out comes a classic genre trope. The heart doesn’t care if it’s not a live-action scene; emotions do not discriminate. Manufacturing them from scratch is arguably harder.

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Thu, February 19 2026

Viewers are pulled into a fraught world existing on Punjab's margins as two police officers navigate personal and professional challenges while cracking a murder case

Trust writer-director Sudip Sharma to deliver a binge-worthy follow-up. He has done so already with Paatal Lok Season 2. Now, he shows twice can be good yet again with the Netflix series Kohrra. Set in Punjab, Kohrra Season 2 sees Sharma and writers Gunjit Chopra and Diggi Sisodia deep-dive into a world where socio-economic disparities, patriarchy, trauma, dirty secrets and familial issues abound. The way these myriad issues are presented with zero melodrama and exacting precision is why Kohrra has set the standard in how long-format stories should be told.

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Sat, February 14 2026

More than a procedural puzzle, the new season consciously ties a murder to broader fractures – caste, labour exploitation, and grief.

Screenwriter, showrunner, and now co-director of Kohrra S02, Sudip Sharma has mastered the art of writing loud silences on page. Like Garundi (a scene-stealing Barun Sobti) bumping into his brother, Jung (Pardeep Singh Cheema) at his sister-in-law’s baby shower, and offering him a drink. Everyone except Garundi is able to read the room here. In the first season, the low-level cop is shown to be groomed by his sister-in-law, Rajji (Ekta Sodhi). Jung (shown to be impotent earlier) knows this child isn’t his — and even though he’s aware of his wife’s transgressions, he can’t seem to look it in the eye anymore. Jung tells his brother he wants to go to a Gurudwara and offer ‘seva’ (service) to the almighty. Jung is clearly perturbed by Garundi’s presence, but is too consumed by his own shame to address it. Similarly, a few scenes later, a heavily pregnant Rajji is living with Garundi and his wife, Silky (Muskan Arora), battling morning sickness. Garundi helps her stand upright in front of a sink; their sudden proximity only dawns on both once Silky enters the scene and interrupts it.

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Sat, February 14 2026

Preet Bajwa is found dead on her family’s poultry farm. Cops Dhanwant Kaur and Amritpal Garundi soon discover the family has been hiding a dark secret for twenty years: they were keeping people as slaves. As the police get closer to the truth, the family takes desperate, violent steps to hide their crimes. The story shows how old secrets eventually catch up to people and destroy their lives.

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Tue, February 17 2026

Unlike other Bhardwaj films, which, almost always, hide yearning within pockets of brutality, O'Romeo unfolds as a love story suffused with blood, but the heart refuses to beat.

All Filmmakers plot legacy. For Vishal Bhardwaj, it filters to adaptations. The 60-year-old’s career — including 12 feature films in 24 years — is shaped, mostly, by taking literary texts and supplanting them in a world of his making. One can debate the merits, but there is something to be said about the tendency to assert his voice most intensely in borrowed words, thereby amplifying the collaborative spirit of creation. A chief collaborator, in this regard, has been Shakespeare, whose plays assume great malleability in the director’s hands. Bhardwaj’s latest, O’Romeo, is not drawn from one of the playwright’s works but still culminates as an ineffective Shakespeare adaptation — a first from the director.

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Sun, February 15 2026

Vishal Bhardwaj’s cinematic universes can be wildly imaginative. They are the kind where two warring sisters, desperate to escape each other’s sight, end up marrying two brothers by accident. Historically, however, the Indian film industry’s version of audacity usually involves a hero incinerating a factory and sauntering away in slow motion while digital fumes billow behind him. This “mass” template is now more common than a childbirth scene, or a Muslim protagonist shown as an ordinary office worker instead of a kohl-eyed gangster. Trying to join both aspects of their respective universes, O’Romeo uses Bhardwaj’s brand of weirdness and masala movie flamboyance to create a confused mixture with no emotion and limited punch.

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Sun, February 15 2026

Vishal Bhardwaj returns to the big screen after Patakha (2018), although his last outing, Khufiya (2023), was released on Netflix. O Romeo has ambition and style, but at nearly three hours, it lacks the substance required to sustain that runtime and offers little that feels new.

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