Early 2026 has opened with a clear split in Indian cinema’s critical conversation: one film is being described as thoughtful and emotionally calibrated, while two others are being framed as proof that scale, stardom, or “mass” packaging can’t substitute for compelling writing. Here’s a structured look at what reviewers are saying about Ikkis, Dhurandhar, and Bha Bha Ba—and what those reactions suggest for audiences.
‘Ikkis’: A war film that argues against war
Across multiple reviews, Ikkis is positioned as the week’s most substantial release—an achievement often framed less as a typical “war spectacle” and more as a story that questions the very logic of conflict. Critics highlight the film’s ability to hold two tones together: intimate emotion (including romance) and the larger machinery of wartime stakes. That balancing act is frequently cited as the movie’s defining strength.
What critics seem to agree on
- It’s notably anti-war in spirit: Rather than glorifying combat, the film reportedly emphasizes cost—psychological, moral, and interpersonal—using the genre to critique the genre’s usual triumphalism.
- Performance-driven credibility: Reviews point to strong acting as a key reason the film rises above “average war film” expectations, with particular attention to the cast’s dramatic weight.
- Controlled direction and tone management: Sriram Raghavan’s approach is described as finding a “sweet spot” between romance and conflict, suggesting a film that doesn’t swing wildly between melodrama and action, but tries to integrate them.
Where audience chatter diverges
Not all reactions are glowing. Some audience-oriented coverage suggests a portion of viewers found Ikkis slow or uneventful—an understandable friction point for a war movie that prioritizes reflection over adrenaline. Put simply: the very restraint that critics praise may be the same quality that leaves some viewers impatient.
Who is it for?
If you want a war story that aims for emotional consequence rather than spectacle, Ikkis appears to be the best bet among the current releases. If you’re expecting constant forward momentum, big set pieces, or a conventional heroic arc, the mixed audience notes suggest you may experience it as deliberately subdued.
‘Dhurandhar’: Spy-thriller sheen, but little emotional payoff
Dhurandhar arrives with the promise of slick espionage thrills, yet at least one prominent review frames it as emotionally empty—suggesting that the film’s plot mechanics and spy-world styling don’t translate into meaningful stakes. The critique, in essence, is that the movie goes through the motions of the genre without supplying the human core that makes tension matter.
What the criticism implies
- Style over substance: The film may look and move like a spy thriller, but the review language indicates a lack of emotional “buy-in.”
- Thin character motivation: When a thriller fails, it’s often because objectives and relationships feel abstract; the response here suggests that problem.
For viewers, this typically means the experience can be moment-to-moment watchable yet forgettable—competent craft without the lingering effect of a story that lands.
‘Bha Bha Ba’: A “mass comeback” that doesn’t fully click
Bha Bha Ba is being discussed in the context of a star-driven, crowd-pleasing comeback vehicle. However, critical response indicates the film doesn’t deliver on that premise, with the “mass” intention undercut by execution that reportedly falters. When a movie is engineered around momentum, swagger, and punchlines, any softness in scripting or pacing becomes hard to hide.
Why mass entertainers often fail when the basics slip
- Rhythm is everything: These films require sharp escalation, clean set-ups/payoffs, and consistent tone. A wobble in any of those can make the whole package feel strained.
- Comeback narratives raise expectations: When marketing and discourse frame a project as a return-to-form, audiences and critics evaluate it against a higher bar.
Bottom line: One thoughtful standout, two cautionary tales
Based on the week’s reviews, Ikkis stands out as the more ambitious and emotionally considered film—especially for viewers open to an anti-war approach. Dhurandhar and Bha Bha Ba, meanwhile, illustrate how genre promise (spy thrills) and commercial intention (mass comeback) can fall flat when character depth and narrative propulsion don’t hold.