Forget superhero movies, Aquaman is among the top ten action-adventure films ever made. The scale, shot-taking, dialogues, background score, immersive world-building conceptualization of one epic scene after another, adrenaline-pumping albeit surgically executed action sequences, pitch-perfect balance between action and plot development, and a sublime flow of the narrative and character arcs all come together to light the screen up in a breathtaking display of awesomeness while also serving as another crowning achievement for Director James Wan (Saw, Insidious, Conjuring 1 and 2, Fast and Furious 7), in whom, film-buffs have been gifted a terrific all-genre Director and potential great after eons. But perhaps what really makes Aquaman an instant classic is how it's at once a love letter to cinema, combining themes from Indiana Jones, Romancing the Stone, and King Arthur to our own Dharam-Veer and Baahubali for added measure, while also doubling up as a stirring tribute to heroism, the kind of which has long been buried in cinema under all the modern PC and SJW nonsense. Aquaman is the very incarnation of a flawless onscreen adventure and DC can finally brag to knock the socks out of every Marvel film since the first Avengers (yes, even Infinity War). I can't remember when I last said, "wow", as many times as I did while watching Aquaman.

6/5 stars (don't ask me why, just watch the film)

The best film of the year so far and the best zombie comedy of all time (yes, even better than Shaun of the Dead and Zombieland). If you wish to see how a film subverts a genre, pays truck tribute to the passion of cinema, injects a subtle emotional touch when you’d least expect, makes every character from the biggest to the smallest memorable, and makes you wonder what’s happening till the halfway stage before pulling the rug from beneath your feet albeit with abundant humor, sending you into unstoppable bouts of uncontrollable laughter, then watch writer-Director Shin’ichirô Ueda’s flawless Japanese masterpiece, One Cut of the Dead, whenever you get the chance. How it manages to achieve all this while being wildly entertaining as well as quality personified? Well, to know that you must watch the film, and thank us later.

5/5 stars

As entertaining as it's enlightening, as emphatic as it's empathetic, as brilliant as it's beautiful, as rewarding as it's relevant, as thoughtful as it's therapeutic — Green Book, backed by the crackling, captivating chemistry of Viggo Mortensen and Mahershala Ali (their bond matches that of some of cinema's most famous onscreen pairs), emerges as not just one of 2018's, but also as one of the most amazing and important films ever.

5/5 stars

The coolest, whackiest, ballsiest, grooviest, funniest, and most bat-shit crazy, no-holds-barred superhero movie hitherto ever made. And despite being so much fun, it still packs in a terrific plot, good performances, and some neat twists toward the end. Admittedly, the action scenes and stunts may not be as elaborate as some of the more glitzier superhero films out there, but they hark back to a simpler time, when the action, though not groundbreaking, was still pretty darn exciting. To put it plainly and without doubt, Deadpool 2 is easily one of the most wildly entertaining action films of all time.

5/5 stars

Spellbinding (pun intended), exhilarating, witty, poetic, prophetic, tragic, mysterious, richly directed, and capped off by one-of-the-most breathtaking climaxes realized on screen — as grand as the first film was, Fantastic Beasts: TheCrimes of Grindelwald is a shade better, which is another rousing testament to why J.K. Rowling is one of our generation's greatest writers be it for page or celluloid. Oh...and the intermittent references and throwbacks to Harry Potter will leave all Potter Heads beside themselves with joy, not to mention a maliciously magnificent Johnny Depp (his best role and film in years), who's sure to delight acting purists. One-of-the-year's-best films and a truly magical experience if ever there was one, meant to be savored with childlike awe on the big screen.

5/5 stars

Ace Malayalam Director Lijo Jose Pellissery's Ee.Ma.Yau leaves shaken, stunned, and pondering over several scenes well after the lights came on. Along with the surgical direction of a complex yet layered and riveting screenplay by P.F. Mathews, the sound and shot-taking are some of the best ever witnessed in an Indian film. A movie that goes from almost being languid (albeit deliberately, which you realize later on) in the first half to beautifully chaotic, darkly comical, and inconspicuously edgy in the second. The icing on the cake: An interactive session with the Director himself, where I quizzed him about varied aspects of his film.

4.95/5 stars

To say that Avengers: Infinity War arrived with huge prerelease hype, would be one-of-the-biggest understatements of the year. From audiences to critics and from industry insiders to trade experts; the film came bearing some of the loftiest expectations in cinematic history. But meeting such expectations is a different ballgame altogether.

Infinity War though doesn't just meet them, but blows all the electrifying buzz and heightened expectations to highest heaven, delivering a film that doesn't just satisfy comic-book geeks or Marvel fans, but offers thrills and excitement galore for anybody seeking a bloody good time at the movies. If the dexterity with which Anthony and Joe Russo handle such a huge scale and intricate canvas isn't commendable enough, then the meticulousness with which the inexhaustible roster of superheroes and supervillains leave a lasting impression has to be hailed as some of the most-assured filmmaking witnessed on screen, regardless if it's been achieved in a summer blockbuster. And the denouement is easily one-of-the-most-earth-shattering cliffhangers you'd experience on film or TV or any medium for that matter.

In short, Avengers: Infinity War more than lives up to its potential and expectations in every sense, and can't be missed for any rhyme or reason whatsoever.

4.9/5 stars

Solo: A Star Wars Story may not hold the same serious implications on the franchise as the other films do – not even as the other standalone feature, Rogue One – but it's just as thrilling in its sense of adventure, absorbing in its world-building, and boasts characters you'd instantly fall in love with, not least of which is young Han Solo, played by Alden Ehrenreich, who does a swell job of recreating #Solo's essence and coming close to Harrison Ford's legendary charisma as the pop-culture icon – no small feat by any stretch of the imagination. Plus, the foundations of the immensely close bond between #Han and Chewbacca as well as the friendship between the former and Lando Calrissian are beautifully laid out. What's more, this is the only Star Wars film that can be thoroughly enjoyed by those who've not followed the series with unflinching zeal. As for diehard fans, they're guaranteed another ride of a lifetime in a galaxy far, far away. A proud, kickass installment to George Lucas' legacy, and a brilliant space adventure on its own.

4.85/5 stars

Spider-Man: Into the Spider-Verse is the most fun, unique, and coolest Spider-Man film to date. The visual style, animation, action, character design, and overall milieu are so impressively innovative that it feels likes the pages of comic book come to life with a dash of Japanese anime, film-noir, Looney Tunes, and even some scientific quantum theory thrown in for good measure. But beneath all the dazzling razzmatazz, there's ample substance in the plot, heft in the characters, juice in the narrative, and twists and turns that keep you on the edge of your seat, making Spider-Verse arguably the greatest and certainly the most faithful Spidey adaptation on the big screen, despite tackling the toughest storyline of the web-slinger's comic books. Neutral viewers and/or fans of action/superhero movies will love this. But diehard comic-book addicts, especially those who love Spider-Man, will find this legendary.

4.85/5 stars

Andha Dhun is not only one-of-the-best films of the year, be it Bollywood, Hollywood, regional, or foreign cinema, but also one of the greatest thrillers ever made in the history of cinema. It's a perfect marriage between the film-noir classics of Billy Wilder, Stanley Kubric, and Alfred Hitchcock with Hindi cinema's very own past-masters of the genre like Raj Khosla, Vijay Anand, and Shakti Samanta. A top-notch screenplay is backed by Sriram Raghavan's meticulous direction that threads the eye of a needle to keep you on the edge-of-the-seat and gasping with shock as one organically executed twist after another blows your mind. It all culminates in a finale that makes you ponder over dual possible outcomes, with every little plot point having a bearing on the narrative at some time or another, provided you remain focused on what's going on. (Yes, this is a thriller that makes you think and connect the dots rather than spoon-feed you, and therein lies its beauty.) The icing on the cake is the subtle dark humor that's efficaciously weaved into the deliciously macabre proceedings.

4.8/5 stars

Sanju is the best biopic ever made in the history of Indian cinema with one of the greatest onscreen performances ever by Ranbir Kapoor in the eponymous role, backed by two superlative supporting acts courtesy Paresh Rawal and Vicky Kaushal. Director Rajkumar Hirani makes you almost feel like you're living Sanjay Dutt's life, filled with all his highs, lows, and an umpteen number of scarcely believable events. A few key aspects of Baba's life haven't made it to screen, and you'd wish some of them were highlighted, but Hirani's direction along with his script in unison with Abhijat Joshi are so engaging that you'll remain focused solely on what's being shown. You'll laugh vigorously and cry profusely in equal measure, and you won't mind doing both one bit because of how organically your emotions flow.

4.75/5

Raazi is extremely tense, profoundly dramatic, subtly patriotic, and absolutely terrific. Meghna Gulzar's direction and dialogues are straight out of the top drawer, while Alia Bhatt delivers a performance for the ages. Miss this one at your own cost.

4.75/5 stars

Simmba is as kadak as chatpata missal pav, as dhamekadaar as fiery dal tadka, and as damdaar as delicious dum biryani. Comedy, drama, dialogues, music, action, emotion — everything is at the topmost peak of 'dynamic, dhaasu, masala entertainment'. And the stirring, intense turn that the film takes post interval proves that Director Rohit Shetty can do it all in one film, not to mention the level of detailing and sensibility that he manages to pull off in a masala film — way more than can be said for many so-called classy Directors. This is also by far Sheety's tightest screenplay (kudos to Sajid Samji and Yunus Sajawal) and sanest narration yet, showing how much he's prepared to adapt and move with the times. The film is also leagues better than its inspiration — Jr. NTR's Temper — (a film that I quite liked), borrowing only the basic idea and handful of scenes, but, eventually, ironing out the flaws of the original, adding several new aspects, and dishing out a far superior product.

As for Ranveer Singh, he's just, out-an-out 'mind-izzz-blowing', in every frame — a pitch-perfect act be it his impeccable comic timing, delivery of whistle-worthty punchlines (take a bow, Farhad Samji), deadly body language, powerful action scenes, and balancing it all with a profound emotional core. He's also given a potent adversary in Sonu Sood, plus strong supporting performances from Sara Ali Khan (what a start to her film career) Ashutosh Rana, and Siddharth Jadhav. However, the biggest high is smartly left for the finale courtesy a smashing cameo by Ajay Devgn — his combo moments with Ranveer Singh are certain to shake theaters with rapturous applause — followed by another surprising one at the very end, all but giving desi audiences their own version of an intro to a forthcoming film, just like how Marvel does it in the west, setting things up nicely for our Avengers-styled mashup. Rohit Shetty and only Rohit Shetty could have pulled this off with such gall yet so convincingly. Barring a scene or two in the second half that seem unnecessary, Simmba is the very definition of a paisa-vasool massy entertainer, guaranteed to elicit thunderous claps, deafening whistles, and unbridled excitement across theater halls in the country.

4.75/5 stars

The screenplay of Tamil-Telugu bilingual U-Turn is so gripping, tense, and meticulous that the film all but directs itself. A brilliantly written film from start to end - in fact, it's the paradigm of what one would call a writer's film, which is something very rare to come across these days - with unexpected twists, a shocking climax, and a wonderfully vulnerable central performance from Samantha Akkineni. The movie released about two months ago, but has arrived on Amazon Prime Video much sooner than expected, so do yourselves a favor, and don't miss it for the world. This is hands down the best thriller of Indian cinema in 2018 after AndhaDhun

4.5/5 stars from my side.

P.S.: I haven't seen the 2016 Kannada original, of the same name and made by the same writer-Director, Pawan Kumar, so my feedback can only be based on what I've seen of this version.

Raid isn't just one of Ajay Devgn's finest performances and best films, but among Bollywood's best in the last 10-15 years, with some of the greatest dialogues ever written in Hindi cinema. It has everything to stimulate the thinking audience as well as pump the adrenaline of the masses. Take a bow, Raj Kumar Gupta, for directing the heck out of Ritesh Shah's crackling script, and giving us a film with heroism that makes your chest pound, villainy that makes your blood boil, scenes that keep you in a firm grip, and dialogues that make you clap and whistle with unabashed enthusiasm - all ingredients key to Hindi films but which have been missing from them for some time. BRAVO, BRAVO, BRAVO!!!

4.5/5 stars from my side

Constantly funny, intermittently rib-tickling, wholly amusing, and, most importantly, a very different take on the rom-com genre, with an instantly memorable twist that'll make every guy beam from ear to ear and every girl, frown right down to her toes – that's Sonu Ke Titu Ki Sweety in a nutshell.

Of course, there are lapses where the gags and puns don't leave a mark, including a few inconsistencies in the plot owing to the lack of a proper script. But it's all held together by a handful of winsome promises, led by Kartik Aaryan whose visage and the expressions it holds are enough to leave you in splits. Even when the comedy goes off-kilter, Aaryan's timing is so effective that you just go along with whatever he does while Nushrat Bharucha is sublime as the girlfriend the best friend never trusts and puts on an act that's as sensuous as it's stunning. The rest of the cast do a fine job, not least of which happens to be Alok Nath's game-changing performance. He's the surprise package that totally plays against type and you totally love every moment of it.

So, if you want to enjoy an entertaining film from start to finish that's rib-tickling in parts and humorous as a whole, then Sonu Ke Titu Ki Sweety definitely fits the bill. It delivers on almost every count that it had promised to, and that's way more than can be said for most Hindi movies these days.

4.5/5 stars

Violent, grotesque, eerie, atmospheric, chilling, shrouded in suspense, and topped off by a shocking climax; Netflix's recent release, Apostle, is a terrifying throwback to Horror films based on sadistic cults, situated in mysterious surroundings – à la Suspiria (1977), The Texas Chainsaw Massacre (1974), The Wicker Man (1973), The Devil Rides Out (1968), and Children of the Corn (1984) – and is anchored by an absolutely brilliant central performance by one-of-my-favorite British actors, Dan Stevens. With Apostle, Director Gareth EEvans – who's familiar to action movie-buffs as the man behind the Indonesian film franchise, The Raid – also displays his enormous range and depth of creativity. After this, I can't wait to see what he does with the superhero film Deathstroke.

4.5/5 stars

Boy Erased is a stinging visual and moral commentary on how religious dogma, toxic archaic beliefs, and blind faith cripple emotional, sexual, psychological, and, to an extent, even spiritual growth. Laced by indelible performances by Nicole Kidman and Joel Edgerton (who's also the Director; growing leaps and bounds from his promising directorial debut, The Gift, three years ago), the film deeply moves you, angers you, touches you, even without you shedding a year, and it does all this by exposing the dark underbelly of religion rather than desecrating it all together. The pace dips a bit in the middle, but the overall impact is as haunting as it is hopeful, coming together in a highly uplifting, emotional climax.

4.5/5 stars

Mission: Impossible – Fallout has Tom Cruise in top form, backed by stellar work from the supporting cast, not least of which are Simon Pegg as the hilarious sidekick and Henry Cavill as Cruise's formidable adversary. Of course, none of the acting will grab awards, but everyone is fully committed to their parts and look to be having a blast, which is quite understandable when the action frequently brings you to the edge of the seat and the one-liners fly fast and funny.

While the first half flows smoothly without anything really special happening, save for one of the best bike-chase sequences that occurs on Parisian streets, the second half really brings the "impossible" into the "mission", with some tantalizing espionage twists and sexy spy work, backed by several thrilling cliffhanger moments - some quite literally - and topped by one of the most breathtaking, electrifying, adrenaline-pumping climaxes you'd have witnessed on the big screen. Also, like every other MI film, here, too, the narrative never takes a backaeat for the action and stunts.

This is the sixth MI film, and it's amazing how they manages to make each one (barring the second) look so fresh, feel so different, and be so darn entertaining. This has got to be the most consistently entertaining action franchise out there; way more than even Bond or Fast and Furious. What's even more amazing is how Cruise keeps playing master-spy EthaHunt so well and without holding anything back, even now that he's turned 56. Though I'm a Tom Cruise fan for life, I can proudly say sans any bias that Fallout by itself is a terrific spy film, with pulse-pouding action sequences, nail-biting thrills, and makes another grand entry in the Mission Impossible legacy.

4.45/5 stars

Widows may be one-of-the-simpler heist films out there owing to the nature of its con job, but that should take nothing away from the hard-hitting and powerful narrative, primarily due to an ensemble cast in fine form, anchored by a sterling Viola Davis, and also in no small part to Steve McQueen's direction, who one again displays his mastery over his craft after 12 Years a Slave. The emotional resonance brought forth by the actors' performances lend a sense of vulnerability to the characters on display, and McQueen's skills add oodles of style and an underlying unpredictability to the proceedings, gripping your attention from the word go and never letting go. But make no mistake: As simple as the heist is, once it does occur, it's taut, tense, keeps you on edge, and finishes things off in a highly charged climax. Widows easily makes the cut as one of the year's best films.

4.35/5 stars

Searching is not only one-of-the-best modern thrillers made (both in era and context), but also hits you hard and leaves you disturbed at the perils of social media and the double life it could create even from those who think they know everything about you. The underlying commentary at the fake, shallow, and potentially dangerous online world we live in today, is only outmatched by the gripping screenplay (Aneesh Chaganty and Sev Ohanian), taut direction (Chaganty again, in his feature-film directorial debut), and jaw-dropping twists, which all culminate in a climax that pulls the rug from beneath your feet. A film that can't be missed for both its suspense and statements.

4.25/5 stars

Though I'm not one for sweet, saccharine movies, the innocent charms of the first one were absolutely irresistible, and Paddington 2 has the same simplistically magical effect, though with heightened humor, more gags, and augmented endearment. It's the very definition of 'fun for the whole family', and is the rare sequel that's better than the original.

4.25/5 stars

If, like me, you, too, have been finding conventional jump scares, sudden shocks, and jarring sound effects in recent horror films to be less than effective, and if you're a diehard horror movie-buff, then you need to drop everything and watch the Argentinian film, Terrified (Aterrados), which makes chilling use of genre tropes to scare the living heebie-jeebies out of you and constantly keep you on edge in anticipation of what'll happen next. I haven't jumped from my seat, felt shivers down my spine, and had my fists clenched at so many instances in single film since ages. And all these sensations are backed by mysterious plot that not only keeps you guessing, but also leaves certain questions unanswered, compelling you to ponder over them long after the film is over while also leaving the scope ripe for a sequel. Remember the number of times when horror filmmakers have claimed that their next scary feature is "not for the faint of heart"? Well, writer-Director Demián Rugna has actually made one such film without tooting the hoot to have done so. A bit more clarity over the origin of the paranormal entities would have been welcome, but it looks that'll be explored further in a possible sequel.

4.25/5 stars

Brilliant shot-taking. Atmospheric lighting. Arresting color schemes. Eerie locations. Chilling set designs. Stupendous VFX. And they all gel marvelously to enhance a gripping story, where the creature-feature horror sub-genre is explored with thrilling and haunting results for the first time in Bollywood (let's all decide to forget the aberration that Vikram Bhatt's Creature was), against the backdrop of some telling societal subtexts about human greed and our perpetually dissatisfied nature. Hats off to Sohum Shah's perseverance over six years, without which we wouldn't have been fortunate to live through this film. First there was Mahal in 1949, followed by Jaani Dushman in 1979, then Raat in 1992, and Raaz and 1920 in 2002 and 2008. The interminable wait between great horror films in Hindi cinema makes the effect of Tumbbad all the more special, all the more lasting. (I guess, the only negligible grievance one could have about the film is that the pace dips ever so slightly in a few portions, and this is strictly speaking from the perspective of what the masses could feel.) This little-known film should be supported by watching it in the theater, especially if you're a horror fan. Otherwise, don't go complaining tomorrow that Bollywood doesn't make good horror films.

4.25/5 stars

Mysterious, eerie, smartly scripted, tautly directed (despite its 142-minute runtime), and elevated by a killer performance from the indomitable Anushka Shetty (switching fluently between vulnerable, vivacious, and vicious), Bhaagamathie draws you in from the word go with a political conspiracy where the wool is pulled over your eyes; shifts fluidly to a haunted-house horror with more than meets the eye, and then drags the rug from beneath your feet as everything falls into place. Barring a portion or two where the screenplay lags, and a flashback segment that could have easily been shortened, the rest of the film feels like an intricate web from which Director G. Ashok patiently, and almost playfully, unentangles you.

4.15/5 stars

True to its moniker, Director Umesh Shukla's 102 Not Out is like a match-winning unbeaten century, stroked with silken beauty by a champion batsman who comes and does the job without much noise or fuss. It’s the sweetest, most-heartfelt, and evocative slice-of-life film in recent times – minus any unnecessary drama to boot – and not just in Bollywood, which itself says a lot. The biggest winner here is the writing, especially the dialogues, but they wouldn't have been half as resounding if not delivered by the old-pro powerhouse duo of Amitabh Bachchan and Rishi Kapoor. Profoundly moving and enchantingly humorous – you walk out of the theater with a smile on your face and lump in your throat.

4/5 stars

Besides Aardman Studio and Laika Entertainment still flying the flag of stop-motion with classics like Coraline, The Boxtrolls, and the Wallace & Gromit series, this beautiful art form has all but faded from movie screens and moviegoers’ minds in the favor of glitzier, flashier, modernized 3D applications.

Thankfully, Wes Anderson gives us a timely reminder of what an entire generation is missing through a timeless, heartwarming tale of the unflinching loyalty of our canine friends even when we shun them, which in many ways, is also symbolic of how stop-motion can always be counted on to entertain us at a moment’s notice, even years after filmmakers and audiences have shunned it.

Isle of Dogs is a largely fun ride with plenty of subtle messages, winsome moments, hilarious one-liners, and memorable scenes, with a Director at the top his game, who serves a pertinent reminder why stop-motion will never got out of fashion, even though it may no longer be fashionable to modern moviegoers.

4/5 stars

At once a razor-sharp cop film as it's a stinging, topical, and powerful take on how racism has continued to pervade every facet of life in modern-day America, BlacKklansman presents the incredible true story of the first African-American detective in the Colorado Springs Police Department heading an operation to infiltrate and take down the local Ku Klux Klan with meticulous detailing, engaging police work, and wholesale entertainment. The performances from John David Washington and Adam Driver are first-rate, veteran Spike Lee's direction is right on the money, the dialogues are laced with wit and humor, and the digs at incumbent US President Donald Trump are the icing on the cake. The film could have been a tad tighter post the halfway stage, but a hard-hitting, tense climax lifts the narrative again. Amidst all this, Lee also displays great responsibility with such powerful source material in his hand by rightfully showing how all white cops aren't racist, with many of them dutifully doing their jobs of protecting and serving the people.

4/5 stars

Spanish film Champions is a real tearjerker, a laugh-out-loud comedy, and an excellent feel-good film all rolled into one. It's not only the first sports film that features differentially abled people in the thick of the action, but also does complete justice to its unique premise by being different in its treatment — winners or losers, all who compete are champions, and they threat their opponents like that, too; something rarely observed in other sports films. However, such statements along with other pertinent ones are made while never letting go of the film's heartwarming touch, and that's what makes it such a pleasing rollercoaster. Of course, some plot points appear contrived, and maybe, even a tad far-fetched, but I double dare you to sit through champions without laughing heartily and choking up at several junctures through its runtime.

4/5 stars

Bohemian Rhapsody pulls at your heartstrings, lays bare the eccentricity of true genius, and all but transports you back to the actual concerts of one-of-the-greatest bands and live performers known to man, while also offering brilliant insight of what all happened behind the scenes. A bit of pace during ths middle portion would have been welcome, but that's only a slight niggle in an otherwise befitting biopic that does complete justice to Queen and Freddie Mercury's rich legacy.

4/5 stars

Rampage 'ramps' up your heartbeat and 'rocks' your pulse exactly how a summer blockbuster is mean to. Dwayne 'The Rock' Johnson is cool, the monsters are cooler, and the action hits the roof, with some scenes guaranteed to take your breath away and sure to stay with you long after you leave the theater. But, dare I say, there's a certain method to all the mayhem, with a simple, straightforward, yet well-structured plot, that won't seem too far-fetched by anyone with even basic knowledge about gene mutation and DNA splicing. This one's a true-blue, adrenaline-pumping sci-fi/actioner that renders a 'monstrous' blast from start to finish, and it's refreshing to see that something outside a superhero-franchise entry has managed to pull it off.

4/5 stars

Enriched by a stellar performance from Subodh Bhave in the eponymous role, Ani...Dr. Kashinath Ghanekar is an extremely absorbing biopic of an extremely captivating superstar yet flawed individual, who was the singular biggest factor for putting Marathi theater on the map. The narration brilliantly captures the golden age of Marathi theater while also leaving a huge impact with certain scenes and dialogues that are sure to stay with you long after the lights come on. But, there are a few issues, especially when it is to comes to flow and scene transition at some junctures. That being said, the film serves as a great trip down memory lane for lovers of the Marathi stage while doubling as a discovery of sorts for others. So, despite a handful of tepid moments, Ani...Dr. Kashinath Ghanekar is, in the famous words of its real-life protagonist, "ekdum kadaaak".

4/5 stars

Despite some loopholes in the plot and A.R. Rahman's highly disappointing soundtrack, Sarkar is relevant, powerful, invigorating, ideological, thought-provoking, and above all, very, very entertaining. Full-on mass yet fully topical. I clapped and whistled at several portions yet took away something from the film. Another fine example of how A.R. Murugadoss' direction seamlessly pulls off both these contracting features in a film. Of course, the icing on the cake are Thalapathy Vijay's fiery punchlines and multiple swag scenes. From the way he sways his coat to how he lights his cigarette to how he gesticulates, his body language and mannerisms are filled with infectious, drool-worthy swag that are a treat for Vijay fans. Also, watch out for an enthusing speech in a slum post-interval and his emotional dialogue delivery in the climax, which server as great showcases of his range as an actor. Sadly, Keerthy Suresh is wasted in the film in spite of looking amazing throughout it. All things considered, I loved every moment of Sarkar, though I'll admit that I loved it more being a diehard Vijay fan. But even neutral viewers or those who don't follow South films should like this one.

4/5 stars

2.O may have more plot loopholes, narrative inconsistencies, and flaws in its script than could be flippantly dismissed as passing errors on a dazzling large-scale canvas, but there's also no denying that the CGI, special effects, action set-pieces, 3D work, and Director Shankar's vision and execution are unprecedented in Indian cinema (not even the Baahubali films can draw parallel in these departments, though they're superior in terms of overall filmmaking standard). Add to this mix Thalaivar Rajinikanth's inimitable swag and Akshay Kumar's intensity, and you've got a heady concoction of big-screen entertainment and awe, the likes of which hitherto haven't been witnessed in Indian cinema.

4/5 stars (of which a generous 0.5 stars are for the sheer scale, daring vision, and the gall to have pulled it all off)

The old-school flavor of Bumblebee's robots-meet-humans plot is a refreshing throwback to family-adventure yarns of the 80s and 90s, where a bunch of kids/teenagers (sometimes with adults in tow) come across something fantastical with which they form an emotional bond and experience an adventure of a lifetime a la E.T., The Neverending Story, The Goonies, Jumanji, and Back to the Future among others. But Director Travis Knight is also cognizant enough to mix all the charming nostalgia with just the right dose of modern-day, CGI-fueled, slick action to appeal to today's viewers while also offering them a good lesson in how to serve up an action film that's as heartwarming and ebullient as it's exciting and adrenaline-pumping, something sorely missing in action films aimed at families nowadays (Jumanji: Welcome to the Jungle being one of the exceptions), more so those belonging to the Transformers franchise, barring the first big-screen, live-action adaptation in 2007.

The scenes between B-127 aka Bumblebee and Charlie Watson (Hailee Steinfeld) are truly touching along with being a whole lot of fun, in no small part due to Steinfeld's spot-on expressions and the robot's kindly disposition, hitherto unachieved in any Transformers film. The latter though, also has a lot to do in way of kicking some nasty-robot butt, thus appealing to viewers of all ages. It may not be among the best family-friendly action films out there nor does it break new ground (John Cena also feels wasted), but a lovely combination of nostalgic charm, heartfelt emotions, glitzy VFX, and smash-em-sock-em action makes Bumblebee a wonderful trip to a cinema hall for the entire family.

3.75/5 stars

Johnny English Strikes Again is a laugh-riot in true-blue Rowan Atkinson fashion. Sure, the plot is nothing to write home about nor is the espionage shown the most original, but if you go looking for such things in a movie like this, then you've got your head screwed on backward. All that matters is that Atkinson's comic-timing is impeccable, the dialogues are rib-tickling, and the gags conjured by Director David Kerr and writer William Davies leave you constantly in splits, which is all you want form a film like this. If you've followed the Johnny English franchise or any of Atkinson's previous works like the Mr. Bean and Black Adder TV shows, then you can't miss this for the world. If you haven't, then heck, still don't miss it for anything.

3.75/5 stars

Backed by another Christian Bale performance that tests the limits of gonozo metamorphosis, Vice is at once an absorbing political drama, startling expose, and scathing (justifiably so) biopic of a devious, remorseless individual who, from the shadows of the upper echelons of the White House, manipulated American federal laws and executive orders for fulfillment of personal gains and deeply buried sociopathic tendencies. Director Adam McKay's perpetual "fourth-wall-breaking" narrative style does get over-indulgent at times and the excessive political talk may get heavy-handed for common viewers, but such issues aside, the film is a pertinent, eye-popping piece of cinema as much as for its subject as for its performances.

3.75/5 stars

Bauua Singh is a character that will remain etched in audience's hearts and minds forever, with Shah Rukh Khan delivering one-of-his-career-best performances, right up there with his work in Darr, Swades, CDI, Baazigar, KHKN, DDLJ, and MNIK. Zero does have its ups and downs though — a thoroughly entertaining first half gets derailed by a topsy-turvy second half, featuring more than a few plot contrivances and convenient occurrences in the script. But Shah Rukh's Bauua keeps coming to the rescue and is the glue that manages to make Zero whole, with a generous helping hand from Katrina Kaif in hitherto her best performance (she's come a long way and is a revelation).

3.75/5 stars (as a diehard SRK fan). 3.5/5 stars (as a reviewer, of which 0.5 stars go solely to SRK's mouthwatering act)

Things may get a tad over-the-top at times in Overlord, but that should take nothing away from what is mostly a very entertaining zombie-horror film mixed with some raw, edge-of-the-seat wartime action scenes.

3.65/5 stars

A fun throwback to the screwball comedies of the 1940s and 50s, with generous servings of welcome surprises and mischievous twists that balance an engaging mystery to go along with the humor, backed all the way by committed performances from a talented ensemble cast. Admittedly, some of the more outrageous twists toward the end get a tad too outrageous to be seem plausible, but they provide nothing more than minor roadblocks, if at all, in this smooth crossroad of mystery and comedy.

3.65/5 stars

Creed II may be quite predictable in places, but is still as dramatic, powerful, emotional, and entertaining as a boxing film should be, especially one that belongs to the Rocky franchise. Though not as great as it's predecessor — which is, frankly, a boxing classic — this one is still a worthy inclusion to Rocky's rich legacy while also firmly handing over the reins of the franchise from Sylvester Stallone to Michael B. Jordan, who carries the film with an intense performance. Make no mistake, Sly still has enough to do here, just don't expect him to get another Oscar nom like he had for the previous entry. Plus, it's also refreshing to see another action icon, Dolph Lundgren, reprise his role from Rocky IV, and the boxing choreography, coupled with the sound effects during matches, are some of the best ever witnessed on film. To sum it up, Creed II makes a good addition to the Rocky series while also standing on its own as a solid sports film.

3.65/5 stars

After beginning with a wallop, where the gangland violence, politics, intrigue, and betrayal are played out with surgical efficacy within a high-stakes crime family, Chekka Chivantha Vaanam peters out in slightly predictable fashion toward the end, with Director Mani Ratnam losing some of his grip over the narrative and a few cracks appearing in an otherwise watertight script till that point. Nevertheless, it's still the legendary filmmaker's best work since 2007's Guru, his best outright Tamil film since Kannathil Muthamittal, and features a dream ensemble cast in roaring form.

3.65/5 stars

Ralph Breaks the Internet is ingeniously conceptualized, technologically savvy, frequently fresh, and intermittently breezy. In other words, it ticks most of the boxes that made the first part one of Disney's best films ever. The only places where it falls short is in recreating the genuine warmth and humanity of Wreck-It Ralph or in inculcating the beautiful subtle messages of that film. Nevertheless, the entire digital world-building is nothing short of splendid, and the references to the pros and cons of the internet are extremely well done. Also watch out for a brilliant yet humorous take on feminism, where a bunch of Disney Princesses indulge in a hilarious role reversal to rescue "Ralph in distress". To sum it up, Ralph Break the Internet doesn't strike as strong an emotional chord as its predecessor, but does enough to register plenty of smiles with both kids and adults alike.

3.65/5 stars

Tamil crime film Vada Chennai may start off a tad slow and might be a bit disjointed to begin with, but after the initial hiccups, the storyline grips you with intrigue, peril, betrayal, violence, and smartly payed gangland politics. Director Vetri Maaran mostly gets the non-linear narrative right, and he's backed all the by a committed cast, of which Dhanush and Andrea Jeremiah steal the show. One of the better Indian gangster film to emerge in recent times.

3.6/5 stars

Well acted, shrewdly directed, and boasting some genuinely shocking twists, Imaikkaa Nodigal is a tense, edgy, and dark thriller, which just falls short of near perfection, on account of an unnecessary candyfloss romance that slightly mars proceedings midway, and an overdose of heroism, featured on Atharvaa, which would be a perfect fit for a masala film, but sticks out like a sorry thumb in a serious thriller with slick and smart aspirations. Nevertheless, this should still end up as one of the better Tamil films.of the year and a proud addition to the roster of exciting Kollywood thrillers.

3.6/5 stars

Pari's near-perfection gets tarnished toward the last half hour, but that should still take nothing away from its uniqueness, eerieness, and brilliant visual storytelling for most of the narrative. It's an entry that makes the horror genre proud and God knows Bollywood badly needed one to salvage its sinking reputation in the scary realm. Its flaws notwithstanding, Pari will definitely leave a 'haunting' impression (pun intended) on your psyche this Holi.

3.55/5 stars

The Ballad of Buster Scruggs is a nostalgic hoot for western aficionados, embodying various facets of the wild vest over its 6-part anthology, which should evoke fond memories for any self-respecting western fan, starved of decent fare in the genre over the past decade or so. It's also a very good addition to the Coen Brothers' repertoire, accentuating the unpredictability, edginess, quirky characters, and twisted sense of humor quintessential to their style, despite falling just short of being counted among their best works. The first, second, third, and fifth films in particular serve as a perfect marriage between western nostalgia and Coen-esque trademarks.

3.55/5 stars

Shadow plays out like a historical Chinese Shakespearean tragedy, backed by breathtaking action sequences, opulent set-pieces, stunning cinematography, and a jaw-dropping twist in the finale. It may not be among celebrated Chinese Director Zhang Yimou's best films, and the interminable dialogues, coupled with the somber tone and long moments of silence won't be everyone's cup of tea, but fans of Yimou's works or serious, grim epic films in general will definitely dig this.

3.5/5 stars

Kenyan film Supa Modo is a neat little heart-warmer, which, despite revolving around a small girl facing terminal cancer, is so full of life, hope, and uplifting emotions. You only wish it wasn't so short so that the story could have been slightly more fleshed out.

3.5/5 stars

Baazaar is quite a good cross between the spicy confrontational Bollywood films of yore — a la Trishul or Aadmi Aur Insaan — and gripping financial dramas of the west — a la Wall Street or The Big Short. The film has a kickass beginning and taut first half, but dips post interval, with some of the solutions appearing toward the end coming across as rushed, contrived, and convenient. Nevertheless, its "stock" never drops beyond permissible levels, courtesy copious crackling dialogues and an A-grade act from Saif Ali Khan, who's deliciously devious and unabashedly unscrupulous in one of the year's best male performances. You only wish he plays such roles more often, which appeal to both the classes and masses, rather than those obscure, niche characters that barely register even with he so-called "intellectuals". He's served an able adversary in Rohan Mehra who makes one-of-the-promising Hindi-film debuts in recent memory, in what surely is the most un-star-kid launch for a star-kid. Radhika Apte and Chitrangda Singh, too, provide able support. Overall, Baazaar makes a good impact for an unconventional albeit mainstream Hindi movie.

3.5/5 stars

Black Panther ends up being a really good standalone Marvel movie after ages, sans all the hang-ups of the interconnected universe and crossover characters we’ve become accustomed to of late. It owes no allegiance to any of the other Avengers, and spins an engrossing fable that can be enjoyed by those invested in Marvel’s broad canvas just as well as those looking for some escapist entertainment, without needing to possess any prior knowledge of the world they’re entering. It's only drawback is that, the origin of its main protagonist could have better fleshed out, but it’s still a thrilling ride, with a highly engaging narrative, even if it just about misses the heady heights of some of the best superhero-origin movies out there.

3.5/5 stars

Its glitches and a few inconsistencies in the plot notwithstanding, Pad Man hits you hard, tugs at your heart strings, and delivers a stinging message in a commercially entertaining manner that all, except the most hostile minds, should comprehend. Most importantly, it’s topical cinema for the whole family along with being fun for the whole family.

3.5/5 stars

Hichki leaves your soul stirred, heart moved, and senses touched with overwhelming emotions (maybe a tad too sentimental at times, but that's all right, when you can't help the moist eyes or lump in your throat), which few films can boast of in today’s driven times of excessive practicality. It’s the very meaning of a feel-good film, and even though it may not rank with similar efforts like Taare Zameen Par, Chillar Party, or the British film, To Sir with Love, or even its Hollywood inspiration, Front of the Class, it leaves you on a high and with a positive aura about life. That’s more than enough, we say. Plus, Rani Mukerji is just all levels of fab, and then some.

3.5/5 stars

Australian horror film Cargo is unlike any zombie feature hitherto made. If anything, it's more of an emotional family drama and human-survivalist story against the backdrop of an apocalyptic-zombie setting. Yet there are those moments of nerve-wracking tension and edgy suspense one would expect in a zombie film, albeit to a lesser extent given the human empathy Director-duo Ben Howling and YolandaRamke go for. Plus, there's added impetus to watch this for Sherlock fans, with the exceptionally talented Martin Freeman, who plays Dr. Watson on the show, essaying the main protagonist in Cargo.

3.5/5 stars

AQuietPlace has its moments of tension and thrills, and there are quite a bit of them, too. Plus, the plotting boasts a fair degree of intelligence. But, there are also a few loopholes and portions where the narrative contradicts its own set rules. In the end, it tries to be too intelligent for its own good, which makes it stop short from being as thrilling a ride as similar creature features like Jaws, The Descent, Dog Soldiers, and Tremors (the last one being the most-apt apples-to-apples analogy). Nevertheless, this one is a solid, scary entry in a sub-genre of horror that's been starved of good, original content over the past decade or so.

3.5/5 stars

Badhaai Ho is warm, sweet, and sentimental, with an eye-opening societal message on both physical and emotional love knowing no age, albeit one that's neatly wrapped in a lighthearted tone. The humor, though not rib-tickling, is mostly breezy, with a few laugh-out-loud lines thrown in for good measure, while the emotions strike a chord and should hit home with all middle-class families. Both Ayushmann Khurrana and Sanya Malhotra are very good, but it's Neena Gupta, Gajra Rao, and Surekha Sikri who leave a lasting impression, helped in no small part to better-sketched characters. This one may not fall in the realm of a classic family comedy with a message, but it's certainly relevant and entertaining for the entire family.

3.5/5 stars

Ocean's 8 is a pretty slick and satisfactory heist film, and a worthy addition to Danny Ocean's legacy. Though it's not a classic like Ocean's 11, but it's almost as good as Ocean's 12, and way better than Ocean's 13. Plus, Sandra Bullock, Cate Blanchett, and Helena Bonham Carter are to die for, while the rest of the cast also put in charming performances.

3.5/5 stars

Incredibles 2 is good fun all round and a good standalone superhero movie. But, if falls just short of some of Pixar's finest works because an over reliance on the action and visuals (as stunning ad they both are) make the story development and character arcs (especially that of Mr. Incredible and Winston Deavor, though baby Jack Jack is a total hoot) take a backseat at times. While the first Incredibles was truly 'incredible', the sequel is 'almost incredible'.

3.5/5 stars

Skyscraper has elements of Die Hard, Towering Inferno, and even a bit of Enter the Dragon, but out of all the inspiration (which serve more as homages), it still manages to carve its own identity while providing a huge adrenaline rush and copious edge-of-the-seat thrills. The biggest difference between Skyscraper and the films mentioned is that it doesn't have any cool one-liners or memorable villains (like Die Hard and Enter the Dragon) or a strong supporting cast (like Towering Inferno). Still, it's great fun and keeps your pulse racing. Action movie-buffs and fans of Dwayne Johnson aka The Rock will definitely dig it.

3.5/5 stars

Gold is a pretty good sports film that evokes a nice sense of patriotism, complemented by an ensemble in fine form, of whom Amit Sadh, Sunny Kaushal, and obviously, Akshay Kumar really stand out. A few portions in the first half lag while slightly more focus could have been paid to the on-field hockey and, especially, the chroma in the second half. But the assembly of the team, Akshay's challenges to take them to the Olympics, the in-fighting between some of the key teammates, and a gripping climax that ends with a goosebump-inducing dose of 'deshbhakti' (that you don't mind one bit indulging in), leave the film on a high. Though no Chak De India (yes, such comparisons are inevitable), it still makes for a good watch during the Independence Day weekend.

3.5/5 stars

Sweet, simple, yet effective; Tamil film '96 proves that love stories can be just as touching even if they forgo the sprawling romance or don't attempt to pull at your heartstrings. Vijay Sethupathi plays the regular, middle-class Indian male, most Average-Joe Indian guys will identify with, to perfection, whereas Trish Krishnan is a picture of restraint as well as buried emotions. Of course, some of the protagonists' actions, and subsequent decisions — particularly that of the hero's — may come across as baffling and probably a tad annoying, especially among a more confident and practical section of the audience, but full marks to Sethupathi for making such moments gawkishly endearing as also to writer-Director C. Prem Kumar for evoking fond nostalgia even when the narrative tends to test your patience. All in all, a refreshing real take on old-school romance.

3.5/5 stars

Ferociously animated, fabulously designed, frenetically plotted, furiously paced, and fiercely subverted — Batman Ninja, which recently premiered on Netflix, is the most stylish, energetic, and daring film featuring Batman since the great Christopher Nolan's Dark Knight trilogy, and just the kind of shakeup that the caped crusader and his gallery of rogues needed to yank them out of screen— slumber. Think Japanese anime meets old-school Batman with a bit of Kurosawa. If only the final portion didn't get so far-fetched and downright irrational, this neat little addition to the DC-animated universe could have earned its stripes as a great little additional alongside DC's other DTH animated classics.

3.5/5 stars

Mortal Engines is cool, stylish, visually arresting, action-packes, and boasts one of the better air-battle sequences since 1996's Independence Day. It also doubles as one of the more refreshing additions to the oft cluttered post-apocalyptic sub-genre of sci-fi, despite succumbing to some of the cliches and predictability toward the end. All in all, an enjoyable futuristic adventure and a welcome throwback to the almost forgotten steampunk style of sci-fi.

3.5/5 stars

A slick, edgy, and mostly smart thriller, with a terrific central performance from the ever-dependable Liam Neeson. If only it didn't peter out at the climax, The Commuter would have been even better than what it ends up as, which is still pretty darn good.

3.45/5 stars

3.4/5 stars

Keeping the more absurd and unbelievable moments aside, Irumbu Thirai is still a pretty effective thriller that's as gripping for its slick narrative as it's scary for how grave its real-world implications are. Vishal once again does a splendid job as the star of the film and central character burdened with exposing the truth (after chewing the scenery in last year's Thupparivaalan – the brilliant Tamil take on Sherlock Holmes) while Action King Arjun Sarja is effectively chilling as the cold, callous prime antagonist.

3.35/5 stars

Wearing its pulpy, far-fetched, and, at times, borderline ludicrous plot points as a badge of honor, A Simple Favor offers further proof of Director Paul Feig's adeptness at handling female-oriented films and a range of genres. This may not be counted along with U Turn, Raid, Searching, and Revenge as one-of-the-year's-best thrillers, but it's still a lot of fun, providing copious tantalizing twists for more non-judgemental viewers.

3.25/5 stars

Director Sukumar drives Rangasthalam on tons of masala and family drama, which keeps you engaged and entertained for most part of its gargantuan 3-hour runtime. Some heavy-duty sniping was badly needed in the editing section, especially in the long-drawn romantic portions, but it does help when you have the charms of Ram Charan and Samantha Ruth Akkineni to carry you through the thinly-stretched, excessively corny segments. At the end of the day, it's a combination of touching emotions, heartfelt family dynamics, the rural setting, edgy politics, intense revenge, and a stupefying twist at the end that makes you walk out of Rangasthalam feeling that you got your money's worth despite its length. This is easily Sukumar's best work. He promises full-blown masala, and for the most part, he delivers.

3.25/5 stars

Malayalam film Kayamkulam Kochunni brings back fond memories of dacoit actioners of yore, where the hero resorts to banditry and becomes a messiah of the oppressed after being pushed too far. Most of the action sequences are excellently choreographed and the period setting is brilliantly executed, but where the film falters a bit is in the dramatic portions, which dip and feel a tad stretched in places. Nevertheless, it's an absorbing adventure based on an incredible true story, with great cinematography, good VFX, and a kickass climax. You only wish that someone other than Nivin Pauly would have been cast in the lead role as he simply lacks the charisma and body language to pull off such a dynamic part, making him stick out like a sore thumb, especially when the veteran, Mohanlal, appears on screen, despite the latter having only a cameo.

3.25/5 stars

Bucket List is a sweet, simplistic film, made all the more pleasant by the legendary Madhuri Dixit, who not only elevates the film with her utterly charming and delightfully alluring performance, but also, thankfully, tempers its saccharine quotient to a level where the impact isn't diluted. And Sumeet Raghavan provides such an ably sedate foil to her absorbing act.

3.25/5 stars

Mukkabaaz is a serious film that had serious potential to be another Anurag Kashyap masterpiece. Sadly, you guess that his compulsions for needless political commentary mar the progress of his own baby, making it punch well round after round, but never allowing it land the knockout blow. It misses the mark from being counted among the maverick Director's erstwhile classics like Gangs of Wasseypur, Dev D, Black Friday, Gulaal, and Raman Raghav 2.0, but it's also a far cry from his tinkers like Bombay Velvet and No Smoking. Mukkabaaz falls somewhere in the middle a la Kashyap’s Ugly, and that’s still good enough for diehard Kashyap fans and lovers of serious, realistic, gritty cinema.

3.25/5 stars

Helicopter Eela is a treat for Kajol fans and the mother-son relationship, fueled by Kajol's amazing chemistry with Riddhi Sen, is bound to tug at the heart strings. That doesn't mean the film is without flaws - it's a one-line idea that's stretched thin around a plot that goes for a cakewalk sometimes. Plus, certain scenes, especially in the first half, look confused and almost unscripted. But the emotional touch picks up big time in the second half, with Kajol ma'am reminding us again why she's one of India's finest actresses ever, topped off with some heartwarming mother-son moments and a climax that's sure to make you want to hug your mother after the film, regardless if you're a son or daughter.

3.25/5 stars

KGF: Chapter 1 is littered with over-the-top moments, shoddy editing (particularly in the second half), a general disregard for the law of physics, and scenes where the hero looks more invincible than the Justice League and Avengers put together, but a testosterone-driven narrative, some hard-hitting action (whenever things don't go over-the-top), Yash's intoxicating swag, and a plot that pays gratuitous homage to the oft forgotten element of heroism in Indian cinema, make Kannada cinema's most ambitious film yet more than worth a look and also generates enough anticipation for the next, and possibly, final chapter.

3.25/5 stars

Sicario: Day of the Soldado is quite a gritty, serious, and realistic crime-thriller, backed by two intense central performances by senior pros Josh Brolin and Benecio Del Toro (but we wouldn't expect them to be anything less than intense in such a film, would we), and a solid detailing of the inner machinations and human trafficking of Mexican drug cartels. But, somewhere on the way, the main political points that the film touches upon at the start get lost, and the human-survival story it chooses to focus on instead gets stretched a bit too thin. A good follow up to Denis Villeneuve's Sicario by Director Stefano Sollima, but the difference in quality and inability of the film to reach its true potential are clearly visible.

3.15/5 stars

Naachiyaar had the potential to be a neat little thriller, but gets bogged down by the compulsion of interrupting its flow with needless life lessons and social commentary, both of which would have been welcome had they not stuck out from the screenplay like a sore thumb. Nevertheless, some good plot twists, Director Bala's ease at displaying gritty realism, a blood-curdling climax, and two standout performances by Jyothika and G.V. Prakash make this mystery worth waiting till the end for the big reveal.

3.15/5 stars

Certainly way over-top-top and nowhere near as cool, slick, or smart as the first entry, but also not half as bad as most of the American crictics would have you believe. A simple, innocuous, partly ludicrous, but mostly fun sci-fi, biff-bang-boom moviethat can be enjoyed with the entire family.

3/5 stars

The first half and portions of the second of Jurassic World: Fallen Kingdom are distinctly alike to Steven Spielberg's classic The Lost World aka Jurassic Park 2 – from the lead pair returning to the island to a bunch of brutal mercenary hunters wreaking havoc on the dinosaurs and from the dinosaurs being brought to our world to the most-ferocious of them getting retribution on their captors – they're just too many similarities to ignore. Yet, the film falls short of recreating the same wonder, magic, and nerve-wracking tension. Guess, imitation isn't always the best form of flattery.

Sure, there are moments of genuine suspense and a few that offer an unavoidable adrenaline rush, but the film doesn't stand out until the last 40 minutes or so, when it forges its own path by taking a detour from the usual template of the franchise and metamorphosing into a trapped-house, quasi-creature horror, with a scary new genetically engineered hybrid on the prowl. #ChrisPratt and #BryceDallasHoward are again in good form, but this time the script doesn't give them enough scope to regale us with their comic timing.

On the whole, Fallen Kingdom doesn't provide as big a rush as its wildly entertaining predecessor nor does it boast as engrossing a narrative as Spielberg's original two Jurassic Park masterpieces, though its leagues better than the poor Jurassic Park III. But that's not to say the movie doesn't have it's own share of thrill and entertainment. Plus, it ends with a foreboding cataclysmic touch that sets up the series nicely for a possibly better sixth film. Go for it, just don't expect to be blown away with the same impact as the other three better dinosaur ensembles in the franchise.

3/5 stars

Mild, innocuous fun that's pleasing to the eye and cute on the senses while it lasts, but shouldn't be expected to offer anything meaningful for the kids or memorable for the adults.

3/5 stars

Ruben Brandt Collector features some of the most beautiful 2D animation ever witnessed on film, throws up a handful of interesting characters, has a distinct style, and boasts one-of-the-best chase sequences ever. But behind that facade, it's an archetypal arty, festival film that tries its best to shoot itself in the foot by forgoing all its engaging plot-points in favor of an overdose of surreal, abstract overtures. Still, worth a look for writer-Director-animation designer Milorad Krstic's innovative treatment and only the second time where an anomaly film revolves around a heist (the first being the 2010 French film, A Cat in Paris, which, of course, is a far superior movie).

3/5 stars

The Nun has its merits, but it's not that scary for a horror film, despite so many ghosts appearing out of nowhere for no apparent reason. The mystery keeps you hooked, but you wish the chill element wasn't missing. What keeps the film afloat are the performances and some great camerawork, which succeed in evoking an eerie, gothic atmosphere. Overall, it's better than the Annabelle films, but nowhere close to the two Conjuring movies in the same universe.

3/5 stars