Netflix’s Mrs. Serial Killer is a terrible film, but you don’t have to feel guilty about watching it. At times like this, when we’re all stressed, hate-watching is--in some ways--cathartic.

The Post’s in-house film critic on what the ongoing pandemic could mean for the Nepali film industry which is already fraught with problems.

For a debut film, Bishal Sapkota has shown potential and audacity. The film is far from perfect, but it does have a few moments of brilliance.

The Post’s film critic writes an open letter to actress Paramita RL Rana after watching her latest film ‘The Karma’.

While it's not without flaws, the commendable work from director Ashwiny Iyer Tiwari challenges a woman's prescribed place in society.

Tanhaji is a historical epic that shoehorns religion into its tale of the battle between two macho males.

‘Good Newwz’ is a new entry in a series of films in Bollywood that deals with the issue of sex in a mature way, but couldn’t stay away from stereotypes.

Salman Khan is a superstar in the truest meaning of the word. But it's time he reevaluates his ideas on society and on cinema.

While the industry’s output is increasing, the quality is often questionable.

‘Machha Machha’ follows the same old ‘money in the bag’ formula, and there’s nothing to salvage it.

With Hari Humagain’s cinematography background, ‘Sarauto’ is a visually appealing film--but a director’s job is a lot more than putting together pretty clips.

‘Cha Cha Hui’ is a film about perverts chasing their perversions with an especially perverted item song.

The movie has a strong message, and despite its limitations, could open doors in the future for other socio-political dramas.

The plot is still the same: a time-travelling protector must save an ordinary human from a killing machine sent from the future. But there’s still something missing with Dark Fate.

‘Poi Paryo Kale’ attempts to show that skin colour doesn’t matter, but then puts all of its fair-skinned actors in makeup to make them look darker.