Joaquin Phoenix continues where he left off in the first Joker, building up on his physical performance.

Vikramaditya Motwane’s film is a weak Black Mirror episode at best.

Documentary, after all, is a medium of discovery – and there’s a humility and eagerness in the way Sreemoyee Singh films her experiences in Iran.

Kareena Kapoor Khan tries to shed her ‘star’ persona but the result is bland and self-conscious.

Based on the ghastly case of children’s bodies being found in a bungalow, Aditya Nimbalkar’s film is missing the human factor.

Stitched together with archival footage, Peter Middleton’s film retells the harrowing story of that ill-fated mission.

Director Anubhav Sinha cannot decide whether to make it totally fact based or maintain tonal consistency.

The director of this Tamil film invokes symbolism and some intriguing choices to make audiences think. 

Salim-Javed were hugely successful script-writers in the 1970s, but the series doesn’t really explain what made them tick.

The social messaging in the film doesn't quite have the zing of the first part. By the standard Hindi films have set for themselves in the last few years, Amar Kaushik’s Stree 2 is not bad. In fact, for something birthed inside a dishonest cinematic universe, it’s surprisingly robust for a long time.

The director’s favourite tricks are very much present, including keeping the viewers guessing till the very end.

Asim Abbasi’s Barzakh is a noble failure, an undertaking that tries to reach for the peak of Himalayan ranges, and instead ends up on the balcony of a resort overlooking those mountains.

A film that feels like a feature-sized wink at its audience can only muster so much interest.

Twisters is so sincere with its cheesiness that one can almost forgive Chung for it. Maybe the real disaster film in here is of a Hollywood system that sucks in a gifted director, only to spit out the safest, most agreeable film of his career.

The Bengali film, shot in black and white, is a romantic ode to Kolkata.

Frankly, it’s a cracker of an idea – showing a vigilante who first inspires his fellow countrymen, and later sees them brand him an enemy of the state. Unfortunately, this idea comes around in the last half an hour of this opus spanning nearly three hours.

Director Nikhil Nagesh Bhat isn’t obligated to think about the larger picture while making an efficient action film, but one wonders if he shuddered at images from his own film, in a time when baying for someone’s blood is fashionable and, in some cases, even patriotic.

The third season of Mirzapur doesn’t have the ruthless efficiency of its first two seasons. It’s safe to say that Mirzapur has overstayed its welcome.

The filmmakers speak on stylistic choices, performances, and their reading of a climate where filmmakers like them are being discouraged.

The film featuring dialogue in Malayalam, Sinhalese, English and Hindi, is a careful examination of a seemingly functional marriage.