When watching a film like the new Loving—based on the true, and relatively well-known, story of an American couple who fought to overturn laws that, until as recently as the 60s, forbade interracial marriage in many states in the US—you have a pretty good idea of what the outcome is going to be. And while prior knowledge of their fates does make the suffering of our protagonists considerably more bearable, it also means that retaining a hold on audience interest is much more of a challenge. It’s therefore a testament to writer-director Jeff Nichols’ dexterity—and the pitch-perfect performances by a fine cast—that despite an ending that isn’t much of a secret at all, Loving still manages to keep us thoroughly invested.

It’s September 2015—constitution on the verge of materialising, we learn by way of a radio broadcast in the background—and death has just claimed another of the elderly residents of the village of Nepaltar in Gorkha.

For fans of the Harry Potter books and films, who have been practically inconsolable since the series officially came to an end in 2011,

We get far too many prolonged discussions on the tussle between passion and pragmatism …. The director and writers appear all-too-enamoured with the clichéd trappings of the “tortured artist” without much interest in digging any deeper

Even though predictable in structure, the film does dazzle with some truly daring and immersive effects where space is bent, flipped and shattered at will…. there’s a terrific fluidity and coherence to the action choreography here

It seems like a standard drunken hook-up for Ayan Sanger (Ranbir Kapoor) and Alizeh Khan (Anushka Sharma) when they meet at a party somewhere in London, where both are presently residing.

Though boasting the same mix of crime-thriller fiction and real-life art history and science that Dan Brown has popularised, the new film adaptation of his novel Inferno, directed by Ron Howard, makes for a dull, dull ride

Miss Peregrine’s Home for Peculiar Children should have been right up director Tim Burton’s alley. But, like many of his more recent outings, the weirdness and wackiness here feel superficial, decorative rather than organic

There are a few impressive performances slotted in, and certainly some moments of genuine intrigue, but overall, an anaemic script means that the new Akira fails at its core mission of dismantling the norms of a genre dominated by men in Bollywood

Director Remo D’Souza quickly squanders the comic potential in A Flying Jatt’s desi-superhero premise, leaching the film of its initial buoyancy and pulling us into a poorly-conceived and overly-preachy second half

While ridiculous to the max and full of uber-crass humour and digs at racial and ethnic stereotypes on one hand, the new animated Sausage Party also happens to be unexpectedly thought-provoking

Director Tinu Suresh Desai and writer Vipul Rawal inject so much melodrama into Rustom’s screenplay that the story actually ends up less impactful than it probably would’ve been with a straighter telling of the real-life source material

Suicide Squad functions only as an extended introduction to a long list of characters destined for future instalments of the franchise

Rohit Dhawan’s new Dishoom hews too close to buddy-cop convention, and failing to inject either personality or wit into the proceedings, proves little more than a tedious, although admittedly pretty good-looking, retread of clichés

Along with pitch-perfect performances from the cast, Steven Spielberg and his team of digital magicians have served up an extravagant, whimsical and thoroughly satisfying rendition of Roald Dahl’s The BFG