Indian Movie Reviews Roundup: ‘Stephen’, ‘Tere Ishk Mein’, ‘Kaantha’, ‘The Girlfriend’ and ‘Dhurandhar’

Indian cinema’s new crop of releases spans a familiar set of genres—serial-killer thriller, romantic tragedy, period drama, and contemporary relationship melodrama—but the most interesting throughline is how often strong ideas and performances have to compensate for shaky narrative scaffolding. Below is a structured snapshot of how these films land, who might enjoy them, and what to expect from their storytelling choices.

‘Stephen’: a thriller that saves its boldest move for last

‘Stephen’ largely plays within the boundaries of the serial-killer template—investigation beats, rising dread, and a trail that nudges the audience toward a “pattern” they think they understand. Where it earns attention is in its endgame: the film reportedly pivots into a more inventive, category-bending finale that reframes what came before. That twist of perspective can be satisfying if you enjoy thrillers that attempt to subvert genre expectations.

What works: a culminating stretch that aims to reinvent the archetype rather than merely repeat it.

What doesn’t: the journey to that payoff is described as middling—suggesting uneven pacing, familiar plotting, or connective scenes that feel more functional than gripping.

Best for: viewers willing to tolerate a standard build-up for a more daring final act.

‘Tere Ishk Mein’: messy, magical, and emotionally high-risk

Aanand L Rai’s romantic tragedies often thrive on heightened emotion, contradictions, and characters who make choices that are more human than logical. ‘Tere Ishk Mein’ appears to follow that tradition: it’s positioned as both messy and magical, implying a film that reaches for poignancy and visual/tonal flourishes even when its narrative lines blur.

What works: an atmosphere of romantic fatalism—moments that can feel transporting even when the plot feels unruly.

What doesn’t: tonal sprawl; the same ambition that creates “magic” can also make the experience feel scattered.

Best for: audiences who prefer emotional texture and cinematic mood over airtight plotting.

‘Kaantha’: Dulquer Salmaan’s performance anchors a combustible period setup

‘Kaantha’ is framed as a period story with social and political volatility—a “powder keg” setting that promises conflict, hierarchy, and moral pressure on its characters. Across reviews, a consistent takeaway is that Dulquer Salmaan’s screen presence does much of the heavy lifting, giving the film its most reliable momentum. The movie also seems to deliver intermittent flashes of brilliance—scenes or ideas that hint at a sharper, more fully realized version of itself.

What works: a commanding central performance; strong moments that suggest genuine craft and intent.

What doesn’t: the brilliance comes in bursts, implying the film may not sustain the same level of clarity or intensity throughout.

Best for: fans of star-led period dramas and viewers drawn to stories built around social tension.

‘The Girlfriend’: a grounded relationship drama with an emotional pulse

‘The Girlfriend’ positions itself as a reality-adjacent drama—emotionally charged and designed to feel recognizable rather than escapist. The emphasis here is on mirroring real-life relational strain, which typically means character-first scenes, intimate confrontations, and a willingness to sit with discomfort.

What works: emotional immediacy; a tone that aims for authenticity over spectacle.

What doesn’t: when realism is the selling point, the film’s success depends heavily on writing nuance and performance calibration—any melodramatic excess or repetitiveness can feel amplified.

Best for: viewers who like contemporary dramas about love, conflict, and consequence.

‘Dhurandhar’: the mainstream package (and why that matters)

‘Dhurandhar’ arrives with the full commercial ecosystem—showtimes, songs, trailers, posters, and ongoing updates—signaling a more traditional, audience-forward release strategy. While detailed critical specifics aren’t captured in the lead summary, the presentation suggests a film designed to be consumed as an event: music, marketing hooks, and broad accessibility are part of the pitch.

What to expect: a more “complete package” viewing proposition, where soundtrack and promotional beats may be central to its appeal.

Best for: viewers who enjoy keeping up with theatrical releases and the broader pop-cultural rollout around them.

Choosing what to watch: a quick guide

Want a twist-driven thriller? Try Stephen—especially if you value a strong ending.
Want romance that prioritizes feeling over order? Tere Ishk Mein is pitched as passionate and uneven in equal measure.
Want a performance-led period drama? Kaantha sounds like the safest bet for acting-driven engagement.
Want contemporary emotional realism? The Girlfriend aims to hit close to home.
Want a fully marketed theatrical outing? Track Dhurandhar for the mainstream cinema experience.