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Jawan is an exemplary homage to both Indian and Western action flicks that inundated the industries in the early nineties. The movie could well be on its way to replicate what Top Gun Maverick did to an ailing Hollywood, in Bollywood. Slick action sequences, paired with romance, filial affections and some amazing music makes Jawan a perfect watch. That, paired with a double dose of Shah Rukh Khan is well worth the money. All said and done, Jawan will always be remembered for Atlee's extraordinary way of giving Shah Rukh Khan a befitting tribute, proving why he's, for all reasons, 'the last of the stars'. Jawan is a big screen spectacle. Ready or not, this is a ride that's definitely worth taking.

John Wick series have always been over-the-top action / thriller joyrides more focused on dazzling you with visceral, expertly choreographed action sequences than trying to tell the most coherent stories about stylish assassins. Director Chad Stahelski's John Wick: Chapter 4 is no exception. And it abundantly delivers on the franchise's hallmarks - snazzy guns, lovable dogs, and one very haggard man in black. John Wick: Chapter 4 isn't a movie you casually sit down to watch apropos of nothing. It's a commitment, both in terms of how long it is and in how invested you really have to be in the idea of John Wick for the film to be engaging. To its credit, John Wick: Chapter 4 does an admirable job of leaving open possibilities for a future filled with stories of some of the movie's new supporting characters. It comes as a pleasant surprise given how much time this story spends trying to remind you that Wick is the baddest man in town. It's a movie that's meant to be watched loud and big. Remember ! John Wick has fought hard for it.

PATHAAN is once in a lifetime film. The action episodes are just lit. Even if you are a neutral audience, you can't resist yourself clapping and whistling at the action scenes between John and SRK. Music is great. Salman khan's cameo is top notch. Single screens will lit up for sure. Be ready for a hell of ride. Special mention to interval bang and climax. Not to forget, Bgm is world class. The action sequences were incredibly choreographed and well executed, making it an engaging and exciting watch. The acting was great and the characters were well developed and believable. The acting was top-notch, and the special effects were amazing. The action sequences were so intense that I was on the edge of my seat the whole time. Overall pathaan is made of theatre experience.

Worst thing about the film is double role of Ranveer Singh & the best part was when the film ended. Pooja Hegde and Jacqueline Fernandez are wasted in the film and so are several veteran actors, all of whom try to take the film to a new height but fall due to the weak script. This movie was one of the worst I have ever seen. The plot was ridiculous and the acting was incredibly wooden and wooden. The special effects were laughably bad and the dialogue was cheesy and cliche. Overall, the movie is worse than Sajid Khan films & was a complete waste of time and money, and I cannot recommend it to anyone.

It's not a shot-by-shot remake. Some visuals from the original (Austrian Version) remain, but they don't pack the same punch. While the twist in the remake did differ slightly from the original, it wasn't enough for Goodnight Mommy (2022) to stand more solidly on its own. The terror that's revealed in the Austrian version of the film is extremely exaggerated, but it gives the audience an idea of how obsessive familial ties can be and how dangerous ideas can take hold to shocking conclusions. Goodnight Mommy (2022)'s finale does not deliver that same shock.

Yes, the horror may be reduced. You can even nitpick at the twist that may be far from the original. Yet, Goodnight Mommy's surprisingly suspenseful journey and understated twist on the genre outweigh its faults. It's not especially memorable, but it's not bad either.

De Armas was incredible in the role, there's absolutely no denying that fact. But neither the direction nor the script actually served her performance. It was an impression of Monroe, which in and of itself was the real Norma Jean Baker's impression of what she thought a bombshell movie star was. Paired with the film's incredible costuming, make-up, and de Armas' - let's be real, nearly identical face, de Armas' dazzling screen presence is inarguable. But with a disjointed directorial eye and a messy script, de Armas is simply doing the best she can within the chaotic world of Monroe's life, but also the chaotic world the film itself forces her to be a part of.

This is a text book example on how to mess a classic film like "Ratsasan". Akshay Kumar's character lacks the timidness that was displayed by Vishnu Vishal's (Arun Kumar). His emotional scenes too, come across as feeble. Rakul Preet Singh is a pretty sight on screen as Arjan's ladylove. However, there isn't much for her to explore in her latest role. After Sushmita Sen's Aarya, Chandrachur Singh makes another on-screen appearance in Cuttputlli which is effective in parts and pieces.

THE VERDICT : The film "Cuttputlli" too had the potential to be a thrilling watch. Instead, Ranjit M Tewari & Co, deliver a gift box which contains a bland remake that barely sends a shiver down the spine.

Samaritan is a solid piece of genre entertainment, grounded by excellent performances, and clever enough to find a new way to present the same old tropes. Like an old hunk of junk fixed and cleaned up, and made into something new again, and worth paying full price for.

Beast isn't highbrow cinema at all. The movie knows the kind of film it is and then goes and tries to elevate it by coming up with really solid technical proficiency and great acting. The movie is just 90 minutes long, so it knows that it shouldn't overstay its welcome. The ending might come off as a bit underwhelming thanks to its abrupt nature. However, the film is great entertainment and everybody should give it a chance when in the mood for a simple and straight-to-the-point kind of movie.

Dramatically, this is too bad, as first-time director J. J. Perry looks to have given this opportunity everything he's got action-wise. Perry long has been one of the busiest and most accomplished fight choreographers/stunt coordinators/second unit directors in the business; the Fast and Furious and John Wick series are merely among the most recent of his couple of decades of credits. On the basis of the evidence here, it's clear that Perry certainly knows how to shoot heavy-duty action. Unfortunately, there's precious little sense or coherence to the storytelling, so it remains to be seen what Perry could do with better constructed and more engaging material.

Director Jung has come to collect - in an exhausting, unwavering maelstrom of ambitious yet somehow derivative fist fights, shoot-outs, car chases and plane crashes, all shot with nauseating, nitrous-fuelled drones that appear caught in a perpetual tailspin. As a result, much of the action feels weightless and simulated, even when propped up by Won's insanely physical performance.

Carter is a protagonist for whom the laws of physics are merely a suggestion, and whose dramatic motivation is spoon-fed to him by inconsequential bit players between punch-ups, like cutscenes in a video game.

One time watch for the respect of Byung-gil Jung, who made The Villainess (2017).

"This is really the superhero movie of the year,". "It's a superhero movie with many, many heroes...see this movie because it will give you an idea of...when people get together to help one another, you will make life much easier. There's a lot of love in it."

The rippings and slashings, first of animals and then of humans, arrive right on cue, and they're brutal enough to have earned the film an R rating. As an alien-attack thriller, "Prey" is competent and well-paced, though with little in the way of surprise. But the journey of Naru lends it a semblance of emotional coherence that most of the "Predator" films have lacked.

Finally, the excellent Predator film we've been praying for.

Now that my head is evident, I can confidently say that Bullet Train is a superb motion film and its story is enjoyable sufficient to simply stand subsequent to Marvel films and different main franchises.

Its characters and acrobatics are its greatest property, however its third act could be very lengthy and total it by no means pushes expectations sufficient to determine itself as a real exit style piece.

It is under no circumstances disappointing, although, and in the event you're a fan of massive spectacles and adrenaline-fueled sequences, Bullet Prepare is a really unmissable entry that you just will not remorse including to your watchlist.

Thor: Love and Thunder is largely successful in honoring Thor's long journey towards self-actualization and rarely falters while keying into the crackling chemistry between leads Chris Hemsworth, Natalie Portman, and Tessa Thompson. It's essentially the MCU's first romantic comedy, and plays with those tropes in delightful ways. But while Thor and Jane's relationship is handled well, Love and Thunder is less deft -- and a lot safer than you'd expect -- in pushing the greater MCU story forward. Christian Bale's Gorr feels underutilized and Tessa Thompson's King Valkyrie takes a frustrating back seat, especially as the movie goes on. Taika Waititi's signature humor and visual style persist from Ragnarok, and are essential to buoying the movie through its cookie-cutter plot. With Hemsworth as enthusiastic an Asgardian as ever, Thor's future with both love and thunder are bright.

Yet another bloated Prime Video series dedicated to pleasing dads and nobody else, The Terminal List is a little too eager to alienate star Chris Pratt's younger-skewing Marvel fanbase as it settles into its dense Kindle potboiler plot. It's part conspiracy thriller and part Hitchcockian drama; a show that definitely has points to make, but takes too long to make them.

The Terminal List does what it says on the tin-it's handsomely produced, features a handful of good-looking people, keeps the twists and turns coming regularly-and for its audience, this could be enough.

The result is a movie that is less thought-provoking and more aggressively lame. Hemsworth's charismatic persona and Teller's dramatic performance are not enough to keep this film afloat. Everything culminates in a bonkers final act that's surprisingly awful. Once again, the tone is all over the place as the film ends with a jarring shift to a needle-drop action sequence that feels all over the place in a so-bad-it's-good way. What had the potential to be a darkly funny, suspenseful, claustrophobic sci-fi story amounts to none of that, leading to a colossal miscalculation that you won't care for once the credits roll.

Film 'Anek' is the truth of this time. If you are living with the truth, then this film is a nightmare for you. It's a decent watch. If political thrillers fascinate you, it might as well be your weekend pick. However, if you were to go keeping the same expectation as Article 15, then you might return disappointed. But we would like you to keep the two films distinct and enjoy both as two separate dishes. Who knows, Anek might actually be the conversation starter yet again in the era of political thrillers.

While Sinha has become a master with his combination of presenting a social issue while making it engaging and entertaining, that becomes a hit-and-miss here with Anek to an unfortunately large extent. It is still a brave attempt overall and most importantly, does spark dialogue as it intended to.

Dhaakad is not so much a film as it is a series of embarrassments lasting over two hours. In an Indian film scenario that rarely gives women actors central roles in action flicks, the unwavering focus on Ranaut in Dhaakad should ideally have been a happy development. How though can one celebrate vacuous writing, dull direction and a boring result.

There's also a scene in which we are told that Agni has a rare congenital condition (one that does indeed exist in the real world - I checked) in which her heart tilts towards the right of her chest, unlike most human beings whose hearts lean to the left. I don't know if this was meant as a joke - but I know for sure the scene's concept is purely copied from 2009 film Ninja Assassin.

Given all this, the reference in the closing song is laughable, because even the worst of Tarantino is better than the most tolerable parts of Dhaakad and its insipid heroine.

Daniel Craig loses no opportunity to demonstrate why he has had such a salutary impact on the evolution of James Bond. His Bond is more impulsive, sensitive and passionate than ever before.

A befittingly grand farewell party for Daniel Craig in his final outing as James Bond, No Time To Die has no time for half measures. It goes all out to give fans of the franchise the highs they are looking for and the actor who has stamped his class on the role since 2006's Casino Royale gets the send-off he deserves.

If you want to spend some time with a 2021 Nicolas Cage vehicle, please check out "Pig," which despite that odd title is actually one of the best films of the year and serves as reminder of how great Cage can be with the right material.

Despite the director's ambitious vision, there is simply so much that feels reminiscent of the Mad Max franchise. I really wanted to love this film, but I didn't. If you're a Cage fan, Prisoners of the Ghostland is worth a look.

We should not immediately shrug off American remakes of foreign language films; it's nice to give every movie a chance. But "The Guilty" is so stuck on recreating the big tense beats from the original that it's very hard to watch this sort of thing and not think, "I'd rather be watching the original." Further adding to that is the fact that Fuqua never seems entirely comfortable with the one-location setting. He's an action filmmaker, and he will occasionally cut away from the call center to show blurry shots of cars on highways.

Gyllenhaal is the center of everything here and rivets viewer attention as his character desperately, with decreasing success, tries to cover his tracks.

In the end, The Guilty is not a pleasant sit but it does move with force and speed and accomplishes what it sets out to do with a sense of style and purpose.

Malignant is like a hybrid of the two, a grotesque and captivating mashup that knows how to use a horror framing to tickle and bewitch his audience. Start spooky season early with this one. You won't want to wait.

It's undeniably a mess, but it knows this and uses its ridiculousness to deliver some of the most effective horror and action sequences in a blockbuster studio release in years.

The fast-paced thriller Kuruthi leaves us with a powerful message of why all of us have this lust for blood and why the fight of us vs them will always end in doom.

MORE THAN MASTERPIECE.

Right from the beginning, the film is a confusing mess with shoddy editing and even repulsing background score and some tacky VFX. Things you have seen before, even in duds like Paltan or LOC: Kargil, are repeated. It's the same set of slate situations. Lackluster writing coupled with poor research and execution makes the film unintentionally hilarious and boring.

In the end, the film, which has a run time of 120 minutes, feels long and boring. There is nothing to be proud of Bhuj: The Pride of India. Instead I would recommend watching SHERSHAAH this weekend.