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Gurmmeet Singh’s Mirzapur: The Movie, drawn from the characters of the titular Amazon Prime series, brings its principal figures to the big screen for another tale of crime, ambition, and shifting loyalties. It is, above all, a film for those who have already spent time in the company of these characters, and who are likely to find pleasure in watching their old rivalries acquire a new arena.

Devashish Makhija’s Gandhari, currently streaming on Netflix, is a crime thriller about a mother’s relentless search for her missing daughter. Yet while its central premise has a certain urgency, a baffling number of plot contrivances make the film far less convincing than it ought to be. Bani (Taapsee Pannu) and Gokul (Ishwak Singh) are a married couple travelling by train with their young daughter, Mishty (Myrah Shivan), when tragedy strikes. As the train halts at Joypurra, Mishty is abducted.

Geetu Mohandas’s gangster drama, Toxic, has all the exaggerated trappings usually assembled for a star vehicle, and it deploys them with almost devotional commitment. Running for more than three hours, the film advertises itself as a ‘fairy tale for adults’; what it delivers is closer to a ‘weary-saga’ designed to entertain people of all ages, provided they have the stamina to sit through it.

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In To Die A Frenchman, directed by Pankaj Rishi Kumar, the principal drama revolves around the stipulations of Articles IV and V of the 1956 Treaty of Cession between France and India, which came into force in 1962.

Heartin, currently streaming on Prime Video following its theatrical release on June 26, 2026, marks Kishore Kumar’s directorial debut. Although the film presents an intriguing concept around a complex love triangle, it remains somewhat superficial and on the surface. Heartin begins in Jaipur, where Shiva (Sananth) is the head chef and the co-owner of a Tamil food joint alongside an old college friend, Mani (Whatsaap Mani).

Rajkumar Santoshi’s Batwara 1947, based on Asghar Wajahat’s play, Jis Lahore Nai Vekhya, O Jamya E Nai, approaches Partition not by reopening its wounds but by asking what, amid them, might have survived. Set against the communal violence surrounding the creation of two nations along religious lines, it is a charged drama about the stubborn persistence of human kindness.

Awarapan 2, a sequel or, more accurately, a forced extension of Vishesh Films’ 2007 film, Awarapan, arrives with the confidence that nostalgia is enough to do much of the heavy lifting, trading on the memory of its predecessor with the faith that a familiar title can make even wafer-thin material seem palatable.

Operation Safed Sagar: The Untold Story Of The Kargil War, streaming now on Netflix, dramatises the contributions of the Indian Air Force squadron, Golden Arrows, during the 1999 Kargil War between India and Pakistan. Directed by Oni Sen, the six-part series offers a new perspective on the historical Kargil War, but is somewhat let down by following the typical narrative flow of any other war film.

Balan: The Boy,  streaming now streaming on ZEE5 following its theatrical release earlier in the year, explores the complexities of survival and identity through the lens of a broken mother-son relationship. While this psychological thriller, directed by Chidambaram, offers an intriguing story with significant potential and the film has its large share of moments, it does falter in places, losing some of its emotional grip in the second half.