The Hindu

The film’s core premise about a female and queer doctor accused in a #MeToo-type sexual misconduct case, is bold and fresh.

The impressive craft in Agadha is undeniable, but does that make it a genuinely satisfying, value-for-money horror film? Not quite.

Ameer Log thrives in its irreverent, laidback setting.

The depiction of the age-gap relationship between Justin and Ashley could have easily gone wrong, if not for the delicate handling by the writers, ably supported by the actors. Not for a moment does it fall into an awkward space.

The makers rehash the melodic texture of Dutta’s film, yet it works.

Fourteen years after Deepika Padukone danced barefoot on our heartstrings as the chaotic, unforgettable Veronica, Homi Adajania returns to the bar with Cocktail 2 but ends up serving a lukewarm mocktail of ideas and aesthetics.

by Srivathsan Nadadhur

Couple Friendly may not boast a novel plot, but its narrative rhythm is refreshingly mature and modern.

by Vivek M.V.

The storytelling is so outdated that the protagonist transforms into a "love guru" after a breakup. Maddy hates the idea of love, and there is no earthly reason why the film revolves around this plot point for more than half an hour.

In a cinematic universe that has long portrayed Indian elders — particularly widows — as embodiments of quiet sacrifice or burdensome relics, Daadi Ki Shaadi arrives as a gently subversive, commercially packaged provocation. Neetu Kapoor, still radiant and effortlessly charismatic, steps into the lead as a spirited grandmother who dares to assert her right to companionship and romance in her later years.

It feels more like an extended web series than a tight theatrical film, with indulgent sequences that impede mood and momentum.

by Anuj Kumar

Though shot tastefully, the screenwriting and treatment are bland and overstretched. It is a Sanjay Leela Bhansali production where the flaws are charming, but the spark is missing. And the words that add spice to the proceedings have been muted. Conversations on body positivity and inclusivity in fashion are not new. Similarly, with the advent of private news channels, the purity of language is no longer a concern in living rooms and boardrooms. So when the makers hang the story on the twin pegs, the conflict seems overstated. The mental block, though real, remains on paper. When Shashank suggests what seems easy to others, it becomes a mountain to climb for him; it rings a bell, but the sentiment seldom seeps through the screen to grip you. While it avoids being overly melodramatic, it also shies away from deeper confrontation with the city’s harsher realities.

The independent film is a sharp socio-religious satire inspired by a real-life phenomenon in Rajasthan where people found god in a machine and cleverly uses absurdity to explore how faith, superstition, and commerce intertwine in rural India. Despite pacing issues and a lack of character depth, Dug Dug breathes life into the shrinking indie scene, offering an empathetic and timely critique of religious fervour.

Quietly subversive and more interested in human frailty than genre payoffs, Everybody Loves Sohrab Handa is a quintessential Rajat Kapoor film. It doesn't reinvent the whodunit, but it humanises it, turning a murder mystery into a mirror held up to the insidious violence we inflict on the people we claim to love.

It is high time Anudeep stopped placing the same bunch of goofy characters in different situations across all his films and made a genuine effort to deliver something fresh. While his previous release Prince (which misfired at the box office) was a fairly watchable fare, Funky is his weakest work to date.

Madhavan delivers a compelling performance as inventor GD Naidu in an ambitious biopic that does not fully realise its emotional potential.

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