Saheb Bhai ki khoi Redmi (2026): A Phantom Release That Never Reached The Projector
There is no film. Not a bad one, not a compromised one, not even a fascinating failure, simply nothing that ever unspooled…
Latest Articles by Rudra Sharma
Bhāvāntara (2026): Karthik Sharma’s Quiet Transgender Drama Is a Fragile, Flawed Debut
Karthik Sharma’s directorial debut opens not with a thesis but with a body in transit, a self being remade while a lover…
Angelina (2026): Vinoth Kishan Anchors A Lean Two-Timer That Runs Out Of Clock
Angelina hands a man six months to win her heart, then spends the back half of the film unconscious while the police…
Raamaayan: Rise of a Legend (2026): Ranbir Kapoor’s Divine Burden Meets Yash’s Magnetic Tyranny
The first instalment of Nitesh Tiwari’s sprawling adaptation opens not with a hero, but with a conqueror’s prayer. It is a bold,…
Lakadbaggha 2: The Monkey Business (2026): Anshuman Jha and the Monkey Business of a Sequel Without a Screen
Anshuman Jha’s vigilante returns to the forest, and the film’s own release calendar has already staged a vanishing act. Announced for 6…
Kushpu (2026): Sujan Aromal’s Soul-Swap Horror Comedy Is a Dog-Day Afternoon
Somewhere in the first act of Khushpu, a dying YouTube channel meets a forbidden ritual, and Sujan Aromal’s film briefly convinces you…
Nooru Kodi Vaanavil (2026): Harish Kalyan Anchors a Muddled ZEE5 Romance
Sasi opens on a Goa shoreline at dusk, Vino half-lit against the surf, and the film announces its intentions with unusual quiet.…
Mookuthi Amman 2 (2026): Nayanthara’s Divine Double Act Frays Under Sundar C’s Two-Timeline Bloat
The opening night crowd at the Diwali screening came for the goddess and stayed for the cop. Sundar C’s sequel arrives with…
Disco (2026): Antony Varghese and a Caper That Forgets to Detonate
Ullas Chemban’s Disco opens on borrowed swagger: a retro-dressed gang of friends chasing fast money through Kerala’s back lanes. Two hours later,…
Scene (2026): Suriya and Jithu Madhavan’s Dark-Comic Procedural Is a Gamble That Mostly Pays
Jithu Madhavan opens his Tamil debut with a police station in disarray, and the film’s central tension arrives before a single clue…
Geriga (2026): Rishan Sha and a Ritual Built on Sand
Bhaskar Bantupalli’s possession thriller opens on a Kerala village that still believes its dead can be called home, then hands the ritual…
Mr. Lucky (2026): Raam Tej’s High-Concept Kannada Fantasy Thriller Runs on a Shoestring and a Prayer
A mysterious cap lands on the head of an unlucky IT professional, and a two-hour fantasy thriller is born. Harshith Rangaswamy’s shoestring…
Manduka (2026): Bhushan’s Fractured Crime Puzzle Never Finds Its Center
Bhushan opens Manduka on a girl mid-collapse, her perception splintering just as four criminals stumble into her orbit. What follows is a…
KillR (2026): Jyothi Poorvaj’s Fragmented Sci-Fi Identity Puzzle Runs on Ambition, Not Coherence
Poorvaaj opens his film on a face that refuses to settle, Jyothi Poorvaj’s Rania staring back at us, then dissolving into Raktika,…
Pyre (2026): Padam Singh Kapri Anchors a Quiet, Devastating Mountain Elegy
Vinod Kapri opens on a precipice, not a plot. An old man leads his ailing wife toward the edge of a Kumaon…
#Cult (2026): Zaid Khan’s Heartbreak Drama Mistakes Silence for Depth
Anil Kumar T. M.’s Kannada romance opens on a village classroom where two students trade glances across wooden benches, and for about…
Enemy Of The Smuggler (2026): Saran Shakthi’s Port Thriller Drowns In Formula
A Customs officer strolling into a formula-bound thriller is the promise T. Samaya Murali makes in his opening reel, and the film…
Meethe Mein Kya Hai (2026): Ritwik Bhowmik Anchors a Diwali Grief Drama That Never Quite Boils Over
The Diwali lamps are lit before the grief is. Radhika Bansal’s direct-to-Netflix debut drops a widower back into his grandmother’s crowded Lucknow…
Aadarsha Kutumbam House No: 47 – AK47 (2026): Venkatesh & Trivikram Srinivas + A Grand Facade With A Hollow Frame
The most telling image in the promotional reel is not a punch or a punchline. It is Venkatesh Daggubati standing in a…
Little Thomas (2026): Hridansh Parekh Anchors a Gentle, Single-Track Goa Memory
Kaushal Oza opens on a seven-year-old’s face in Fontainhas, and the film’s whole gamble is written there: a child solving adult sadness…
Doosra (2026): Abhinay Deo’s Cricket-Nostalgia Experiment Is a 78-Minute Tightrope Walk
Abhinay Deo’s latest opens not on a cricket pitch but in a Rajasthani courtyard, where a girl learns to make herself small.…
Dhood (Sandstorm) (2026): Yashpal Sharma Anchors A Rajasthani Chamber Thriller That Buries Its Knife Too Deep
The Thar Desert does not need a score to feel hostile. Anand Singh Chouhan knows this, and for long stretches of Dhood,…
Naa Wife Missing (2026): Varun Sandesh Anchors a Lean Thriller That Runs Thin
A temple visit ends with an empty space beside a husband, and the police complaint that follows curdles into an accusation. Naa…
Pehla Pyaar Doosri Baar (2026): Sparsh Walia & Anuj Saini’s Reunion Rom-Com Runs on Fumes
Anuj Saini opens on a Delhi office floor where the fluorescent light does the work of a character: three colleagues staring at…
Haiku (2026): Aegan’s Possessive Lover Drama Fails to Narrate Its Own Idea
The first male student walks into a women’s college in Coimbatore, and the film’s best idea is already spent on the doorway.…
Orijinal (2026): Sreenath Bhasi Anchors a Time-Loop Puzzle That Threatens to Outsmart Itself
Two Sreenath Bhasi’s occupy the same frame, and the film’s entire nervous system short-circuits into a staring contest with its own reflection.…
Sumo Didi (2026): Shriyam Bhagnani Anchors A Sincere Biopic That Rarely Pins Its Opponent
The first body we see Hetal Dave throw is not an opponent’s. It is her own, and the film never quite decides…
Gajab Raat (2026): Manoj Bajpayee Anchors a One-Night Procedural That Trusts Its Star More Than Its Script
The woman leaves the moving car before the film has finished introducing itself. One body on a Delhi roadside, and a corrupt…
Udumbanchola Vision (2026): Mathew Thomas and the Newsroom That Eats Its Own
The first image that lands is a dead channel: a local newsroom with its lights half-off, monitors showing nothing but static and…
THE BRANDOS (2026): A Phantom Release That Never Was + A Void Where Cinema Should Be
The ticket stub in my pocket says “The Brandos, ” but the screen that flickered to life at the 7:40 show carried…