Cast: Ranveer Singh, Sara Arjun, Sanjay Dutt, Arjun Rampal, Madhavan, Rakesh Bedi, Manav Gohil, Gaurav Gera Crew:  Cinematography: Vikash Naulakha Editing: Shiv Kumar Music: Saswatt Sachdev Producers: Aditya Dhar, Lokesh Dhar, Jyoti Deshpande Writer & Director: Aditya Dhar Release Date: March 19, 2026  The wait is finally over, Dhurandhar 2 has finally stormed onto the big screen. Ever since the teaser dropped, expectations were sky high and the buzz only grew stronger with the every advert. Theatres are packed, the atmosphere electric and fans are eager to see if the film lives up to the hype. With Ranveer Singh leading the charge and Aditya Dhar at the helm, this one arrives carrying the weight of massive anticipation. Let’s dive in and see how it actually plays out.  Story:  After Rehman Dakait’s death, Hamza Ali Mazari (Ranveer Singh) rises in Pakistan with his uncle Jameel Jamal’s political backing. Major Iqbal (Arjun Rampal) drags him into terror networks, even connecting him to Baade Saab. But Hamza’s double identity as an Indian becomes the film’s core tension. His wife Elina (Sara Arjun) uncovers the truth and pleads with him to use his empire for good, forcing him into a moral crossroads. As his empire expands, enemies tighten their grip: politicians, mafia rivals and intelligence agencies. Pakistan Rangers/Millitants shadow Hamza, piecing together his past and questioning his loyalties. The film closes on haunting questions: Will Hamza redeem himself and return to India or will he be consumed by the empire he built? Can a man living a double life ever escape the cost of divided loyalties?  Analysis:  Many enter Dhurandhar 2 with the weight of Part 1’s fire still in mind and the sequel wastes no time in carving its own identity. Aditya Dhar begins with Ranveer’s roots, then thrusts him into the duality of assassin and patriot, a man disillusioned by the very system he once believed in. The first half is taut, with Madhavan’s Ajay Sanyal sparking the flame that keeps the spy narrative alive. Real world echoes demonetization, terror strikes, surgical operations try to blur the line between fact and fiction, daring the audience to question what’s cinematic invention and what’s drawn from truth.  It’s here that the film grips hardest, weaving intrigue with relevance. But Dhar’s pen loses sharpness in the second half. The emotional toll of a spy’s double life, the challenge of balancing family and the logic of Lyari accepting a newcomer remain untouched, replaced instead by prolonged, brutal fight sequences that dilute the tension. Yet, the film redeems itself with a strong opening, a clever interval twist andthe final reveal of a secret agent work in the film’s favor.  A soldier’s creed is simple, Baliddaan Paramo Dharma. Dhurandhar 2 captures that spirit even through its flaws, reminding us that the weight of duty always tilts toward the nation. The film may stumble in places, but its lasting echo is clear: when the call of India comes, personal battles fade, and sacrifice becomes the only truth. Ranveer Singh as Jaskeerat Singh delivers a career defining performance, one that may be hard to replicate in his future roles. His emotional depth in the flashback sequences is profoundly moving, leaving audiences teary eyed. Sara Arjun impresses with her natural, understated acting, while Sanjay Dutt, Arjun Rampal and R. Madhavan embody their roles with conviction, each subtle expression adding layers to their characters and the rest of the ensemble seamlessly disappear into their roles, making the film feel lived in rather than performed.  Coming to other technicalities, Cinematography captures the grit and grandeur with precision, while the background score intensifies every emotional beat, but unable to beat the impact of the first installment. Choice of locations adds immense weight to the narrative, grounding the story in realism while amplifying its scale.  Dialogues are tailored to the depth of each character, enhancing authenticity. Production values remain consistently high, giving the film a polished, immersive look that matches its ambition.   Plus Points:  Strong and engaging story Ranveer Singh and the lead actors shine Aditya Dhar’s sharp direction Well-executed action sequences Gripping pre-climax and climax Impressive cinematography Minus Points:  Hamja’s truth shown in a silly way Second half could be tighter Some action scenes fall short Bottom Line: A cinematic journey that grips till the end, Dhurandhar 2 is destined to be remembered for its sincerity and scale.  Rating : 3.25/5  Disclaimer: The views/opinions expressed in this review are personal views/opinions shared by the writer and organisation does not hold a liability to them. Viewers' discretion is advised before reacting to them.

Cast: Pawan Kalyan, Sreeleela, Raashi Khanna, Parthiban, K.S. Ravikumar, Rao Ramesh, Gautami, Temper Vamsi Crew:  Music: Devi Sri Prasad Background Score: S. Thaman Story: K. Dasarath, Ramesh Reddy Editor: Karthika Srinivas Art Director: Anand Sai Writer & Director: Harish Shankar S Producers: Naveen Yerneni, Ravi Shankar Yalamanchili Banner: Mythri Movie Makers Release Date: March 19, 2026 After the storm called Gabbar Singh, the return of Pawan Kalyan and Harish Shankar was bound to set expectations sky high. Fans were promised vintage swagger, full‑scale commercial energy and the kind of screen presence that only the Power Star can deliver. But the big question remains: will Ustaad Bhagat Singh rise to that level, will it repeat the magic of Gabbar Singh, will it truly reach the hype that surrounds it? Let’s dive deeper and see how this much awaited film stands up to the legacy in the review ahead…  Story:  After the attack on Chief Minister Chandrasekhar (K.S. Ravikumar), his health collapses and doctors insist on shifting him abroad for treatment. But Chandrasekhar lays down one condition, Ustaad Bhagat Singh (Pawan Kalyan) must move to Lingaya Gudem before he leaves. Behind this conspiracy stands Nalla Nagappa (Parthiban), a ruthless politician obsessed with the CM’s chair. With Chandrasekhar out of the way, Nagappa seizes the chance to swear in as acting Chief Minister. Drunk on power, Nagappa’s son heads to the Nallamala forest with friends, only to clash with police when 25 tons of ganja belonging to their gang is seized. Their reckless attack on the station triggers Ustaad’s entry. Bhagat Singh (Pawan Kalyan) storms in, thrashes Nagappa’s men and even takes his son hostage. From here the story sharpens: Who really is Ustaad Bhagat Singh? What bond ties him to Chandrasekhar? Why does he stand against Nagappa? And in this battle of Dharma and Adharma, does Ustaad triumph? The answers that unfold only on the big screen. Analysis:  What really holds Ustaad Bhagat Singh together is Pawan Kalyan himself. His screen energy, charisma, and sheer command hold the movie together. Whether it’s the dialogues, fights, or dance numbers, he’s the one who keeps the audience hooked.Sreeleela adds charm and fits neatly into her space, while Raashi Khanna’s track feels half baked and fades away without consequence. Parthiban makes Nagappa a convincing adversary and K.S. Ravikumar brings a steady hand to Chandrasekhar’s role. The rest of the cast do their bit, but the film never leans on them for impact.   For years, Telugu cinema thrived on the commercial formula: star heroes walking into thunderous intro scenes, fights choreographed to applause, songs designed for whistles and comedy tracks stitched in to keep the crowd buzzing. That worked when audiences wanted larger than life entertainment, but the game has changed. With pan India films raising the bar and viewers demanding freshness, the old template feels worn out. Today, making a commercial film isn’t the problem, the real challenge is making it feel alive and relevant.  That’s where many projects stumble. Instead of reinventing the familiar, they recycle it. Ustaad Bhagat Singh is a clear example, it tried to sell nostalgia as its USP, but nostalgia alone doesn’t hold weight anymore. What we got was a routine story told in a mega cliched way, scenes that felt deja vu rather than innovation. The promise of “vintage vibes” turned into repetition and repetition without reinvention is where the disconnect lies. Viewers don’t reject commercial cinema, they reject predictability. If Telugu filmmakers want the mass format to survive, it needs imagination, not recycling of old formulas. Otherwise, films end up looking like echoes of a past era rather than cinema that speaks to today’s fans/audience. This is the tightrope, commercial cinema can still roar, but only if it dares to evolve.  The film opens with Pawan Kalyan’s childhood episode, which sets up the tone but drags longer than it should, leaving you wondering about unanswered threads.. how he became so ruthless, what happened to the orphanage/kids once the lecturer left for politics. His entry later works better, especially the walk choreographed to popular songs and the smaller, lighter moments with Sreeleela that feel more organic. In contrast, Raashi Khanna’s track is left hanging, it slows the narrative and adds length without purpose, disappearing after the interval. The first half only picks up once Ustaad’s past and his mission are revealed, until then it leans heavily on recycled formulas and punch heavy dialogues. The second half has more weight, with episodes trying to evoke some emotion, including one that recalls the Nirbhaya incident and genuinely tries stirs the audience. The "Ee Manase" song in the Ustaad–Leela love track comes as a pleasant surprise for fans, while the climax sequences, though serviceable, don’t soar. Harish Shankar packs in love, comedy and emotion as expected in a commercial outing, but the writing doesn’t land strongly: comedy falls flat, the love track could have been sharper and the emotional beats feel familiar from countless films before. What’s missing is freshness in scenes and a narrative hook that keeps you invested. Regular commercial cinema has always thrived on bigger spectacle, not logic and Ustaad Bhagat Singh stays true to that tradition. If you walk in expecting airtight reasoning, you’ll only get disappointed, the film isn’t built for that. What it does lean on, unapologetically, is Pawan Kalyan’s sheer presence, his timing, the way he owns the screen that’s the heartbeat of the movie. For fans, that alone makes the ride worth their ticket price. But for those looking beyond the star power, the absence of freshness makes the experience feel like celebrating Ugadi without the pachadi and the special dishes the festival is still there, but the essence that gives it flavor is completely missing. Harish Shankar’s idea was clear, give fans a taste of vintage Pawan. That intent shows, but the writing doesn’t match the expectations of today’s audience.  On the music front, Devi Sri Prasad’s songs are pleasant but don’t carry the punch of his earlier work, while Thaman’s background score never quite lifts the drama. On the technical side, Ayananka Bose’s cinematography gives the film polish, but sharper editing could have helped the pace.  Plus Points: Pawan Kalyan’s look and performance Fan-pleasing moments A few engaging scenes in the second half Minus Points: Predictable plot Flat sequences and failed comedy Gunfights that lack thrill  Bottomline:  Pawan Kalyan's One Man Show but nothing more than that!  Rating: 2.5/5    Disclaimer: The views/opinions expressed in this review are personal views/opinions shared by the writer and organisation does not hold a liability to them. Viewers' discretion is advised before reacting to them.  

After the first-of-its-kind global fan-driven trailer tease, Tom Holland spectacularly unveiled the full trailer from atop the iconic Empire State Building, surrounded by passionate Spider-Man fans as the sun rose over New York City, marking a truly unforgettable moment for audiences worldwide. After the record-breaking global success of Spider-Man: No Way Home, Spider-Man: Brand New Day marks an entirely new chapter for Peter Parker and Spider-Man. Four years have passed since the events of No Way Home, and Peter is now an adult living entirely alone, having voluntarily erased himself from the lives and memories of those he loves. Crime-fighting in a New York that no longer knows his name, he's devoted himself entirely to protecting his city — a full-time Spider-Man — but as the demands on him intensify, the pressure sparks a surprising physical evolution that threatens his existence, even as a strange new pattern of crimes gives rise to one of the most powerful threats he has ever faced.   Directed by Destin Daniel Cretton, Tom Holland returns as Spider-Man alongside Zendaya, Jacob Batalon, Sadie Sink, Jon Bernthal, Mark Ruffalo, Michael Mando and Tramell Tillman in pivotal roles. Produced by Sony Pictures Entertainment India, the film will release in theatres on 31st July in English, Hindi, Tamil, Telugu, Kannada, and Malayalam across all premium formats.

Producer G. Suresh of SGS Productions is bankrolling an exciting new bilingual project that brings together two dynamic performers- Aadi Sai Kumar and the actor Sathish, under the direction of filmmaker Guru Saravanan. Titled Ego Raja, the film is being crafted as a Telugu–Tamil bilingual, promising a potent mix of action, emotion, and mass appeal. On the auspicious occasion of Ugadi, the makers unveiled a striking new poster featuring Aadi Sai Kumar in a fierce, action-packed avatar. Donning a lungi and exuding raw intensity, he is seen smoking a cigarette while locking a steely gaze on his adversaries, signaling high-voltage drama ahead. Director Guru Saravanan, a former associate of Veteran filmmaker K. S. Ravikumar, made his debut with the critically appreciated Koogle Kuttappa, produced by Ravikumar himself. With Ego Raja, his third directorial venture, Saravanan is aiming for his most ambitious project yet. Featuring dual protagonists and a storyline driven by intensity, the film is expected to showcase his evolved filmmaking sensibilities. Aadi Sai Kumar, fresh off the blockbuster success of Shambhala, makes his Tamil debut with this film. Sathish, known for transitioning from notable supporting roles to leading films like Conjuring Kannappan and Sattam En Kaiyil, takes on a high-octane action role, continuing his streak of performance-driven choices. Supported by a top-tier technical team, Manoj Paramahamsa handling cinematography, Ghibran composing the music, and Durairaj managing art, the shoot is in full swing. With two noted heroes, gripping action sequences, and strong technical finesse, Ego Raja is shaping up to be a major mass entertainer from SGS Productions.