The Kerala Story 2 continues the first film’s formula with even less subtlety—one community is repeatedly portrayed as the villain, one agenda drives every scene, and nuance is completely absent. The script is preachy, performances are exaggerated, and direction prioritizes propaganda over storytelling. While some technical aspects are adequate, the film feels like a two-hour lecture rather than cinema. It will appeal only to viewers who already agree with its worldview; others will find it repetitive, manipulative, and artistically hollow.

Vishnu Vinyasam is an excruciatingly unfunny Telugu comedy that strings together disjointed, outdated reels-style sequences with almost no narrative coherence. Sree Vishnu tries hard in the lead role but is let down by a script that mistakes loud shouting and random slapstick for humor. Every joke lands flat, the pacing is glacial, and the film feels like a two-hour punishment. Technical aspects are poor, direction is amateurish, and the only relief is the end credits. Avoid at all costs unless you enjoy cinematic suffering.

Wagner Moura delivers a gripping performance as a conflicted government agent in 1977 Brazil in this taut political thriller. Set against the backdrop of military dictatorship, the film explores themes of authoritarianism, loyalty, and moral compromise. Moura’s nuanced portrayal anchors the story, supported by strong direction and atmospheric cinematography. While pacing occasionally slows and some subplots feel underdeveloped, the film succeeds as a tense character study and chilling reminder of authoritarian overreach. A compelling watch for fans of political dramas.

Thaai Kizhavi, starring Radikaa Sarathkumar, is a hard-hitting Tamil drama that examines women’s agency within patriarchal structures. Radikaa delivers a career-best performance as an elderly woman fighting for dignity and autonomy against family and societal expectations. The film balances raw emotion with social commentary, though pacing occasionally drags. Strong supporting performances and authentic village setting enhance the narrative. A must-watch for its unflinching look at aging, gender, and power dynamics in rural India.

Neve Campbell reprises her iconic role as Sidney Prescott in Scream 7, delivering a strong performance amid familiar Ghostface terror. The film brings back legacy characters while introducing new blood, but suffers from uneven pacing, predictable twists, and over-reliance on nostalgia. The violence is brutal yet repetitive, and the script struggles to balance meta-humor with genuine scares. Overall, a decent slasher entry for fans, but it falls short of the franchise’s best installments.

The seven-episode series Daldal follows DCP Rita Ferreira (Bhumi Pednekar) investigating ritualistic murders in Mumbai, with the killer revealed early. It starts as a believable police procedural but devolves into contrived elements involving paedophilia, drug abuse, and bizarre plot strands. Strengths include impactful sensitive themes and strong supporting performances; weaknesses dominate with templated storytelling, lack of nuance, and Pednekar's one-note morose portrayal. Rated 2/5, it offers intriguing opening but eye-roll moments later.

Anurag Kashyap's acclaimed neo-noir thriller Kennedy finally premieres on ZEE5 in India on February 20, 2026, after a celebrated festival run including Cannes Midnight Screenings in 2023 with extended ovation. Rahul Bhat stars as insomniac ex-cop Kennedy operating in Mumbai's underworld, with Sunny Leone as enigmatic Charlie. The film explores guilt, corruption, and redemption in brooding atmosphere enhanced by Prague Philharmonic score. Kashyap calls it a "labour of love," grateful for global journey. Supporting cast includes Mohit Takalkar and Abhilash Thapliyal.

Vaibhav Munjal's debut film Scenes from a Situationship explores the ambiguities of modern relationships through a 90-minute indie feature streaming on YouTube since December 25. Structured as vignettes, it follows two young adults navigating a 'situationship' influenced by dating apps and social media. The story, "based on a ‘true’ situationship," captures Gen Z dilemmas of undefined connections versus desire for clarity. With non-linear storytelling and everyday observations, it reflects urban dating culture in Indian indie cinema, highlighting emotional complexities without labels.

Jeethu Joseph's Valathu Vashathe Kallan, a crime thriller centered on a missing woman case investigated by CI Antony Xavier (Biju Menon), promises intriguing setup but delivers underwhelming obvious twists and weak characterisation. Joju George stands out as grieving father seeking revenge, with Lena providing impactful moments. Strengths include initial hook and select performances; major weaknesses are inorganic twists, abandoned sub-plots like therapist visits, and unintelligent police portrayal undermining genre credibility. Compared to Joseph's hits like Drishyam and Memories, this feels like underdelivery despite competent cast. The film ends as mediocre crime drama failing to impress or sustain tension.

Tharun Bhascker's Om Shanti Shanti Shantihi is a near scene-for-scene Telugu remake of the Malayalam hit Jaya Jaya Jaya Jaya Hey, exploring domestic abuse and patriarchy through dark comedy. Eesha Rebba anchors as the resilient Prashanti enduring an entitled husband's casual violence, while Tharun Bhascker plays the insecure "alpha male" Omkar. Strengths include natural humour from everyday observations and relevant themes on women's resistance; weaknesses stem from excessive fidelity to the original, reducing emotional impact and freshness. The film generates laughs in parts but struggles with tonal consistency and underdeveloped arcs, making it engaging for new viewers but underwhelming for those familiar with the source. Overall, it's a passable effort handling sensitive subjects with intent but lacking distinct voice.