The Alien franchise has been active for over four decades now, starting from 1979, and has seen at least three big names associated with it as directors. Ridley Scott started it all as a director followed by James Cameron and then David Fincher made the third installment in 1992. The subsequent three films were underwhelming even though Scott returned as the director for the last two films.

“Pushpa naam nahi hain, Pushpa matlab brand hain”, (Pushpa is not just a name; it signifies a brand) states Srivalli, portrayed by Rashmika Mandanna, in this sequel anticipated to shatter all box office records. This statement prompts reflection on whether it is the character speaking or if the filmmakers are conveying their confidence through her words. Following the success of Pushpa (2021), the sequel is grander in every aspect, running an exhausting 200 minutes, though it does not necessarily surpass its predecessor. The filmmakers have amplified every successful element from the first installment, leaving no stone unturned in terms of scale and ambition. However, the narrative, or lack of it, remains unchanged—if the first part emphasised “Pushpa flower nahin, fire hai main”, the second part shifts to portraying him as a wildfire, whatever that may imply.

This is a good time to a make a ‘horror-comedy’ in Hindi cinema, in this case, rehash a film with a sequel of an established franchise. In this genre, you don’t really have to focus on the horror part (the audience laughs at it anyway, in many cases, it is nervous laughter) and for the comedy part, you just have to put a few characters in a ‘horror’ situation and voila, the comedy element is sorted.

Rohit Shetty’s cop universe has gone for the jugular this time. Following the lukewarm reception of Simmba (2018) and Sooryavanshi (2021), he has reintroduced his flagship character, Singham, while also incorporating other familiar figures in Singham Again.

Amal Neerad’s Bougainvillea features an impressive cast, including Kunchacko Boban, Jyothirmay, and Fahadh Faasil; however, the film ultimately flatters to deceive. Faasil is relegated to a tertiary role, likely either to help out his friends or for a fat paycheck – probably the former. Pitched as a psychological thriller, the film becomes exasperating due to its screenplay and overall execution.

The Wild Robot, inspired by Peter Brown’s 2016 novel of the same name, is a film that skillfully balances its emotional elements, resulting in a gratifying experience for both children and adults. While the notion of a robot experiencing emotions is not entirely original, it is the narrative and its execution that truly set this film apart. Achieving the right emotional resonance, whether from a human or a robot, is crucial, and Chris Sanders has struck gold with this film.

Drawing inspiration from Dharma Productions’ own film Gumraah (1993), which was itself influenced by the miniseries Bangkok Hilton (1989), Jigra features Alia Bhatt in the lead role of a prison-break drama. The original source material was not particularly strong; in the earlier film, Sanjay Dutt portrayed a hero rescuing his beloved Sri Devi from a Hong Kong prison, whereas in this adaptation, the narrative shifts to a brother-sister dynamic where the sister must save her brother.