Indian Movie Reviews Roundup: ‘120 Bahadur’, ‘Eko’, ‘Dude’, ‘Idli Kadai’ and ‘Mirage’

This week’s Indian movie review chatter spans genres and tones: a high-altitude war story anchored by a star performance, an ambitious immersive film drawing strong praise, an eccentric crowd-pleaser comedy, a warm domestic melodrama steered by a reliable lead, and a crime thriller that critics feel falls short of its maker’s best. Here’s a structured, spoiler-light overview of what reviewers are highlighting.

‘120 Bahadur’: A battle recreation elevated by Farhan Akhtar

Reviews position 120 Bahadur as a compelling recreation of the Battle of Rezang La, with much of its impact coming from how convincingly it puts human faces to a well-known act of military courage. The critical takeaway is that Farhan Akhtar’s performance provides the emotional through-line: rather than leaning only on spectacle, the film reportedly keeps returning to character, duty, and the harsh physical reality of combat in extreme conditions.

Why it’s working (per reviews): the film’s credibility appears to come from a focused central performance and a tone that treats the material with seriousness, aiming for immersion and poignancy instead of simple triumphalism.

‘Eko’: A rare “immersive” achievement

Eko is being described as one of the year’s most accomplished, immersive films—high praise that usually signals confident craft across multiple departments: sound, camera movement, world-building, and a tight alignment between form and theme. The tone of the review coverage suggests the film doesn’t merely tell a story; it creates a sensory, lived-in experience that pulls the viewer into its atmosphere.

What “immersive” likely means here: reviewers are responding to the feeling of presence—how thoroughly the film controls rhythm, perspective, and detail so scenes play less like plot beats and more like situations unfolding around you.

‘Dude’: Eccentric charm as the main engine

Dude is framed as a fun ride powered by Pradeep Ranganathan’s eccentric screen presence. Rather than being praised for narrative novelty, the emphasis is on momentum and entertainment value—suggesting the film succeeds by keeping energy high and letting its lead’s comic timing and persona carry the experience.

Best-fit audience: viewers looking for a light, personality-driven comedy where the appeal is the vibe, the quirks, and the steady stream of playful moments.

‘Idli Kadai’: Conventional melodrama, steered with sincerity

Two separate review streams converge on a similar point: Idli Kadai is largely conventional as a melodrama, but Dhanush’s earnest, hopeful presence helps guide it toward emotional payoff. The film is presented as “homebound” and grounded—implying a story rooted in family, community, and everyday stakes rather than big twists or genre fireworks.

How it wins despite familiarity: when melodramas feel familiar, they often live or die on conviction. Reviews indicate the film’s sincerity and Dhanush’s steady steering make its comfort-food approach feel more like a feature than a limitation.

‘Mirage’: A crime thriller missing the director’s usual spark

Mirage receives a cooler reception, with the critique centered on Jeethu Joseph’s “magical touch” feeling absent. That wording typically points to missing tension, less assured plotting, or set-pieces that don’t build the director’s trademark suspense. The overall impression is of a serviceable thriller that doesn’t reach the inventive or gripping standard audiences may expect from the filmmaker.

What to expect: if you’re coming in for a tightly wound, surprising crime narrative, reviews suggest calibrating expectations—this may play more like a routine genre entry than a standout.

What to watch based on your mood