Satyamev Jayate 2 is an ugly exhibition of appeasement filmmaking, using the most tired tropes in the history of Hindi cinema.
Tick, Tick...Boom! movie review: Andrew Garfield's Netflix musical is an electric ode to the creative process
TickTickBoom! on Netflix is stunning to watch because of how specific it is in its focus around the anxiety of an artist battling only two modes (or perhaps moods?): procrastination and burnout
Last Night in Soho movie review: Edgar Wright's London mood piece offers a surprisingly cynical perspective
This is Edgar Wright critiquing his own style of always viewing nostalgia through rose-tinted glasses.
The when-is-he-never-in-form Tom Hanks shoulders this lighthearted post-apocalyptic film with every ounce of sincerity in his body.
Dybbuk, a Hindi remake of the Malayalam film Ezra, is riddled with amateurish 'twists' and hasty resolutions.
Dune movie review: Denis Villeneuve, Timothee Chalamet sci-fi fantasy is high-stakes filmmaking at its finest
Director Denis Villeneuve finds a way to marry the big and small, the political and the personal, the spectacle with a film also saying something about our present.
Decoding the philosophy behind Ted Lasso: Apple TV show reaffirms the good ol' virtue of 'doing the right thing'
Ted Lasso is a rare piece of work that constantly tells us how ‘goodness’ can help us overcome our life’s most daunting challenges, but it does not do so without mentioning how much work it takes.
In a bid to give ‘fitting’ finale for Daniel Craig’s final outing as 007, Cary Fukunaga’s No Time to Die sacrifices every bit of nuance by the end.
"It's not a puff piece but a 'tell all,'" insist Nitesh Tiwari and Ashwiny Iyer Tiwari, co-directors of Break Point, the docuseries featuring Mahesh Bhupathi and Leander Paes' partnership and split on the tennis court.
Don't Breathe 2, while preserving the bloodlust of the original, aspires to offer redemption to the antagonist, while also trying to be a character study for him.
Virus 2062, featuring Richa Chadha and Ali Fazal’s voices, can surely be considered a step forward for Indian science fiction
CPL seems like the kind of project that was born in the heads of one of the MBA-types working for a streaming platform, as a last-ditch effort to meet the quarterly targets.
Dev Patel is a bold choice for the part of a knight, also consistent with writer-director David Lowery’s other creative decisions in the film.
Bell Bottom movie review: Akshay Kumar's 'subversive' film is no improvement on his harebrained patriotic fare
Bell Bottom is a continuation of Akshay Kumar’s slew of ‘nationalistic’ movies, hiding in the facade of a "fast-paced spy thriller."
Beckett movie review: John David Washington tries really hard to save this film, but it remains a complete misfire
Beckett starts out as an intimate film, but soon morphs into a genre film within the first fifteen minutes, clinging around an international conspiracy with an American at the centre of it all
As the final moment of the film seems like a wink at the audience about a possible sequel, one might ask themselves a question: Is this something I would want to see again?
The Hitman’s Wife’s Bodyguard is an unfortunate film born out of a studio executive’s spreadsheet, testing the limits of what is tasteful anyway
How Dibakar Banerjee's Delhi helped a Mumbaikar come to terms with the capital city's jarring disparities
Dibakar Banerjee’s films only used Delhi and its culture to critique the Indian middle-class at large. It’s not like shameless affection for materialistic possessions isn’t a problem with the middle-class in the rest of the country. The Dilliwallahs are just not very good at hiding it, and there’s something pure and unpretentious about it.
The Family Man Season 2 review: Manoj Bajpayee's Amazon web series is a roaring spin-off of Raj & DK's pan-India blockbuster
The Family Man season 2 seems to toe the line of being topical, as well as being damn good fun.
Blue Miracle movie review: Dennis Quaid's drama film fails to spring even a single surprise on the viewer
In Blue Miracle, there's plenty of talk about goodness in the world, and that hope is the greatest of things. Well, if there is such a thing as hope, then why can't it steer Dennis Quaid away from such typically formulaic films?