Anupama Chopra reviews Koratala Siva's "Devara Part 1," starring NTR Jr, Saif Ali Khan, and Janhvi Kapoor. Set in a fictional coastal region with four warring clans, the film blends mythical elements with high-octane action. NTR Jr delivers a powerful performance as the titular character, matched by Saif Ali Khan's sophisticated villainy. While the film impresses with its world-building, VFX, and

Anirudh Ravichander's score, it struggles with a dense plot and underdeveloped supporting characters. Anupama Chopra notes the film's adherence to traditional masculinity and limited roles for women. Despite its flaws, "Devara Part 1" offers a visually striking, if exhausting, cinematic experience that sets the stage for its sequel.

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Kairam Vaashi reviews The Devil, the latest Kannada film starring Darshan Thoogudeepa, which released to packed theatres despite its leading man being in judicial custody. Kairam notes this marks the second time in Darshan's career that a film has released under such circumstances, following Saarathi fourteen years ago. The review examines how director Prakash kept the film's central plot twist hidden from the trailer, revealing a mistaken identity narrative that offers Darshan two distinct shades to portray—the virtuous do-gooder and the titular devil.

While acknowledging the film's production challenges, uneven pacing, and dated treatment, Kairam finds the interplay between Darshan's dual roles to be the film's strongest element. Supporting performances from Mahesh Manjrekar and Achyuth Kumar start promisingly but don't quite sustain, and Rachana Rai's role remains underwritten. For hardcore fans, there's plenty to celebrate, but Kairam concludes that beyond Darshan's performance, The Devil doesn't offer much beyond a watchable experience carried largely by its star's devoted fanbase.

In his review for THR India, Vishal Menon calls Kalamkaval a genre refiner for Malayalam cinema — a film that redefines the serial killer thriller through its masterful blend of screenwriting and editing. Directed by debutant Jithin K. Jose, the film features Mammootty in a role unlike any in his 400+ film career, playing a brutal serial killer with chilling precision. Vishal highlights a stunning 20-minute sequence in the first hour as possibly the most elegant stretch of Malayalam cinema this year, where timelines, victims, and identities merge seamlessly. The music by Mujeeb Majeed and cinematography by Faisal Ali create a labyrinthine atmosphere impossible to escape, while Vinayakan anchors the film as the obsessive officer on the killer's trail.

Vishal notes that unlike films such as Anjaam Pathiraa, Abraham Ozler, or the Tamil hit Ratsasan, Kalamkaval doesn't work overtime to justify its killer's psyche through elaborate backstories. Instead, Jithin lets images from Stanley's past speak for themselves, trusting the audience to grasp the horror without spoon-feeding. For Vishal, it's Mammootty who steals the film — embodying both the charm of a debonair and the menace of a murderer in the same breath. Who ever thought we could love him even more by playing a character that deserves all the hate in the world?

In this review, Anupama Chopra examines Tere Ishk Mein, the romantic drama directed by Aanand L. Rai and written by Himanshu Sharma and Neeraj Yadav. The film stars Dhanush as Shankar, an angry law student from humble beginnings with severe anger management issues, and Kriti Sanon as Mukti, a privileged PhD student who makes him her thesis project to prove that violence can be reformed out of anyone. Anupama acknowledges that both Dhanush and Kriti commit fiercely to their roles, running the gamut from love to rage to self-destruction, but finds their strenuous efforts undermined by a far-fetched, convoluted script.

Marketed as being from the world of Raanjhanaa, Aanand's 2013 film also starring Dhanush, Anupama notes that Tere Ishk Mein lacks the sparkle and sincerity of its predecessor. The plot veers from bewildering to outrageous, incorporating everything from UPSC exam preparation to a war with Pakistan and China, petrol bomb attacks, and a female Devdas arc. While she highlights A.R. Rahman's songs with lyrics by Irshad Kamil and Prakash Raj's moving performance as Shankar's long-suffering father as redeeming factors, Anupama ultimately concludes that Tere Ishk Mein is inanity disguised as profundity.

In this review, Anupama Chopra examines Gustaakh Ishq, the romantic drama directed by Vibhu Puri and produced by Manish Malhotra. Set in 1998, the film follows Nawabuddin (Vijay Varma), a printing press owner who schemes to publish the poetry of reclusive poet Aziz Baig (Naseeruddin Shah), only to fall for Aziz's daughter Minni (Fatima Sana Shaikh). Anupama appreciates the old-world charm, the beautiful Urdu dialogue, and the nostalgic recreation of Purani Dilli and Punjab, noting how the film poses thoughtful questions about art, audience, and commerce.

However, Anupama finds that while the film boasts gorgeous aesthetics courtesy of DOP Manush Nandan and stunning costumes, the stilted storytelling and convenient plotting undermine its emotional impact. She praises the three solid performances and highlights the music by Gulzar and Vishal Bhardwaj, particularly the song "Ul-jalool Ishq," but notes that the screenplay flatlines early with unexplained loose ends. The film strains for poignancy but only occasionally hits its high notes, making the journey to its climax a test of patience.

Kairam Vaashi from The Hollywood Reporter reviews Andhra King Taluka, a dense yet beautifully crafted film directed by Mahesh Babu P. He describes it as a rare movie where every fan, hero, and cinema lover will see themselves on screen. The film follows Sagar P, played by Ram Pothineni, a die-hard devotee of superstar Andhra King Surya, portrayed by Upendra. Kairam praises the meta-layered narrative that explores fan devotion, a tender love story with Mahalakshmi played by Bhagyashri Borse, and the emotional depths of cinematic fandom. He notes that despite the complexity, Mahesh and his writing team masterfully tie up every detail, supported by Siddhartha Nuni and Avinash Kolla's immersive visuals that transport viewers to the mid-90s and early 2000s.

Kairam highlights the film's emotional core, particularly the pure-hearted protagonist Sagar and his unwavering bond with his father, played by Rao Ramesh. He commends the screenplay's effective use of flashbacks, the respectful portrayal of the heroine, and Vivek and Mervin's understated yet powerful background score. Kairam notes that Ram delivers a career-defining performance, returning to form after a perceived slump. He concludes that Andhra King Taluka is not just a biopic of a fan but an epic tribute to cinema itself—a film that equates a movie hall to a temple and rewards the very audience that sustains it.

Suchin Mehrotra reviews the highly anticipated return of Raj and DK's The Family Man Season 3, starring Manoj Bajpayee as the beloved Srikant Tiwari. This season takes the action to Nagaland where Srikant must track down his mentor's killer, a deadly assassin named Rukma played by Jaideep Ahlawat, while uncovering a larger conspiracy involving political destabilization ahead of a peace summit. The show expands its scope significantly, introducing new antagonists including a London-based billionaire puppet-master played by Jugal Hansraj and his mysterious fixer played by Nimrat Kaur, while bringing back fan favorites like JK (Sharib Hashmi), Srikant's wife Shuchi (Priyamani), and their children.

Suchin notes that while the season throws numerous subplots and familiar action sequel tropes at viewers - including Srikant going rogue, moles at TASC, and multiple antagonists - it maintains the show's signature winning banter, tension, and thrilling action sequences. He particularly praises the rare quiet moments between the relentless pacing, such as Srikant's touching conversation with his daughter Dhriti and Manoj's devastating performance dealing with his mentor's death. Though the plot can be overwhelming with its various puzzle pieces, and the season ends on an abrupt cliffhanger, Suchin finds it familiar but still immensely fun, with Raj and DK continuing to deliver some of Hindi cinema's best action sequences.

Vishal Menon reviews Kaantha, calling it a beautifully-shot meta drama that excels as a captivating character study. He praises Dulquer Salmaan's incredible performance as TK Mahadevan, a superstar trapped by his own images, becoming unrecognizable to himself. Vishal highlights director Selvamani Selvaraj's masterful use of mirrors as narrative devices that serve as the film's conscience, reflecting truths the complex characters cannot admit. The review explores how Mahadevan exists as multiple personas - a god to his fans, a creation of his director Ayya (played by Samuthirakani), and a man caught between who he was and who he's become.

Vishal delves into the film's exploration of a narcissist simultaneously in love with and disgusted by himself, noting how Mahadevan's habit of playing to the gallery stems from a childhood where applause meant survival. He commends Selvamani for creating a truly special film that transcends both meta drama and investigative thriller genres, seamlessly juggling multiple narrators, timelines, and aspect ratios. Vishal particularly praises cinematographer Dani Sanchez-Lopez for effortlessly switching between film noir sophistication and classic Indian cinema staging. He concludes that Dulquer delivers the best performance of his career, with Kaantha evolving from a love letter to cinema into an epic tragedy about a man destroyed by his own reflection.

Anupama Chopra reviews the sequel to 2019's De De Pyaar De for The Hollywood Reporter India. The film follows the continuing saga of Ashish Mehra (Ajay Devgn), a 50-plus man, and his much younger partner Ayesha Verma (Rakul Preet Singh) as they now face the challenge of getting Ayesha's parents on board with their relationship. The plot thickens when Ayesha's father Rakesh (R. Madhavan) discovers that his daughter's partner is his own age, leading to comedic attempts to break up the couple, including introducing the young and handsome Adi (Meezan Jafri) as a potential rival.

Anupama finds the film convoluted and exhausting, noting that while the first installment had flashes of fun elevated by Tabu's presence as ex-wife Manju, the sequel lacks both emotional logic and sufficient laughs. She observes that despite the film's performative progressiveness about modern relationships, it's riddled with double standards and relies heavily on obvious age-gap jokes and nostalgia. Anupama particularly critiques Rakul's overly energetic performance and Ajay's coasting on his stardom, though she appreciates R. Madhavan as the most compelling character and Jaaved Jaaferi's bromance with Ajay. The review concludes with bewilderment at the head-scratching climax and a plea to bring back Tabu for any future installment.

Suchin Mehrotra delivers his comprehensive review of Delhi Crime Season 3, the latest installment of Netflix's International Emmy-winning series. The series stars Shefali Shah as DCP Vartika Chaturvedi and this season explores a child trafficking racket led by the villainous Badi Didi played by Huma Qureshi, while following the investigation across multiple Indian states from Assam to Rajasthan.

Suchin provides an honest assessment of how the series has evolved, discussing both its strengths—including outstanding performances from Shefali Shah, Rasika Dugal, Rajesh Tailang, and the supporting cast—and its weaknesses, particularly the formulaic elements that have crept into the narrative. He highlights standout moments like bone-chilling interrogation scenes and the haunting portrayal of systemic failures, while critiquing the season's pacing issues, underutilized ensemble cast including Anurag Arora and Jaya Bhattacharya, and the disappointing final showdown. The review concludes that while individual scenes remain powerful, the season struggles to maintain the cohesive emotional journey of its predecessors.

Kairam Vaashi reviews The Girlfriend, directed by Rahul Ravindran, noting that while it appears to be a typical college love story with predictable beats, the film feels refreshing in its ability to make audiences deeply empathize with Bhooma, played by Rashmika Mandanna. He observes how Bhooma, an MA Literature student who lost her mother at birth, lives under crushing social conditioning that has slowly drained the life from her. Kairam highlights the two patriarchal men in her life - her boyfriend Vikram (Dheekshith Shetty) who wants a girlfriend like his mother, and her father - both dismissing her words and feelings until Vikram’s arm around her neck begins to feel suffocating.

Kairam appreciates how The Girlfriend is an intentional film that takes a clear stance on gender dynamics, though he notes the storytelling never completely drew him in, taking familiar routes and convenient choices. He praises Rashmika’s challenging performance, showing her growth as an actor, alongside Dheekshith’s confident portrayal and Rohini’s shocking role that makes viewers question themselves. Kairam particularly admires the understated moments - from Bhooma peeling skin on her finger to the tension echoed throughout, supported by Prashanth R Vihari’s effective background score. He concludes that The Girlfriend is an important, thought-provoking film, even if not entirely emotion-evoking.

Anupama Chopra reviews Baramulla, the new supernatural thriller from director Aditya Suhas Jambhale and producer brothers Aditya and Lokesh Dhar. She notes that this second film in their Kashmir universe is less propulsive but more layered than its predecessor Article 370, merging the anguish of the dead and living in a land haunted by decades of religious violence. Anupama highlights how the story follows controversial cop Ridwaan Sayyid, played by Manav Kaul, who investigates mysterious child disappearances while his own family experiences spine-chilling occurrences in their creepy new home in Baramulla.

Anupama observes that while Aditya takes too long to get to the heart of the story, the film eventually gathers emotional power, culminating in a masterful ambush sequence that proves more horrifying than any supernatural element. She praises the authentic locations, Kashmiri dialogue, and particularly Bhasha Sumbli's standout performance as the anguished wife and mother Gulnoor. Anupama concludes that Baramulla is an atmospheric and moving reworking of the typical horror film that presents one perspective of Kashmir's haunted landscape, expressing hope that more diverse artistic takes will help heal the region's wounds.

Anupama Chopra reviews Haq, declaring it a triumph for Yami Gautam Dhar who dominates almost every frame as Shazia Bano, a character loosely inspired by Shah Bano's landmark 1985 Supreme Court case. She observes how Yami transforms from besotted young wife to fierce courtroom warrior with remarkable depth, portraying Shazia with both dignity and human flaws - not as a perfect activist but as a woman who instinctively knows she's been wronged. Anupama praises director Suparn Varma and writer Reshu Nath for avoiding simplistic villain tropes with Emraan Hashmi's Abbas, instead presenting him as another entitled Indian man hiding sexism behind faith, which raises the emotional stakes considerably.

Anupama notes that while the first half grips viewers and moves swiftly, the courtroom-heavy second hour becomes repetitive and loses momentum. She highlights the strong supporting cast including Sheeba Chaddha as Shazia's lawyer, newcomer Vartika Singh as the second wife, and particularly Danish Husain's powerful performance as Shazia's supportive father. Anupama concludes that Haq navigates delicate questions about faith, secular law, and gender relationships with sturdy storytelling that avoids shrillness, leaving viewers with the lasting impression of Shazia's resilience and courage.

In his review for The Hollywood Reporter India, Kairam Vashi revisits Baahubali: The Epic, a grand re-cut that merges Baahubali: The Beginning (2015) and Baahubali: The Conclusion (2017) into a single cinematic experience. Kairam acknowledges that while the film’s emotional flow occasionally falters due to condensed transitions and patchwork narration, the visual and auditory splendor remains breathtaking. He emphasizes that The Epic is less about discovering something new and more about reliving the awe of SS Rajamouli’s monumental imagination—its scale, audacity, and technical brilliance that continue to define Indian cinema’s global footprint.

Kairam goes beyond nostalgia to highlight the intricate storytelling details and performances that stand the test of time—from Anushka Shetty’s poised portrayal of Devasena to Prabhas’ enduring charisma as Baahubali. He notes Rajamouli’s unparalleled ability to blend emotion with spectacle, celebrating every department—from Senthil Kumar’s cinematography to MM Keeravani’s rousing score—for creating history on screen. For Kairam, Baahubali: The Epic isn’t just a film; it’s an emotion reignited.

In this review, film critic Anupama Chopra examines "Vash Level 2," the sequel to writer-director Krishnadev Yagnik's 2023 film "Vash," which was remade in Hindi as "Shaitaan." Set in a girls' school on the outskirts of Ahmedabad, the film explores the dark art of Vashikaran where food becomes a tool for mind control, turning teenage students into weapons of mass destruction under the command of a sinister stranger played by Hiten Kumar. Anupama notes how Krishnadev efficiently uses the school's ordinary surroundings - hallways and grounds - to build suspense, while the story centers on Atharva, played by Hitu Kanodia, who understands this malevolent power having witnessed his daughter Aarya, played by National Award winner Janki Bodiwala, fall victim to similar possession twelve years earlier.

While praising the film's terrific horror elements and visual storytelling that takes place primarily in two locations - the school and Atharva's home - Anupama highlights the complex themes woven throughout the narrative. She notes the ironic empowerment the controlled girls experience as they run through the city like a pack of wolves, no longer constrained by typical fears, yet emphasizes that this strength comes without choice, with men still ultimately in control. Anupama particularly commends Hitu's cool, clinical performance that makes his eventual emotional breakdown deeply moving, and Janki's impactful presence despite limited screen time as a smiling, catatonic victim. She concludes that the film is brimming with dread and sadness, with haunting imagery like girls lined up on a school terrace ready to jump, creating a powerful commentary about women in the country.

In this review, Anupama Chopra examines "Thamma," the latest addition to the Maddock Horror Comedy Universe directed by Aditya Sarpotdar, who previously helmed "Munjya" from the same universe. The film introduces vampires called "Betal" in a romance featuring Ayushmann Khurrana as Alok Goyal, a reporter who falls for the mysterious Tadaka, played by Rashmika Mandanna, after she rescues him from a bear attack in the forest. Anupama notes how the story draws inspiration from various sources including the Vikram and Betal mythology, the Twilight franchise, and even Harry Potter's world-building concepts, while establishing new rules for its supernatural creatures and setting up future installments including the two-part films "Pehla Mahayudh" and "Doosra Mahayudh" scheduled for 2028.

While praising Sachin-Jigar's emotional ballad "Rahein Na Rahein Hum" and acknowledging Rashmika Mandanna's solid performance and impressive action sequences, Anupama critiques the film's execution across multiple fronts. She finds it barely scary compared to Aditya Sarpotdar's previous work on "Munjya," with hit-and-miss humor that feels insistent rather than organically blended like in "Lokah Chapter 1: Chandra." Despite strong efforts from Ayushmann Khurrana and Nawazuddin Siddiqui as the villain Yakshasan, Anupama feels the plotting is convenient rather than organic, reverse-engineered to serve the larger universe, with too many dance sequences diluting the storytelling. She concludes that while Thamma explores interesting themes about love's redemptive power and human violence, it needed much more wit and energy, ultimately serving as a foundation-setting placeholder that falls short compared to standout vampire films like Ryan Coogler's "Sinners" and Dominic Arun's "Lokah Chapter 1: Chandra."