New Movie Reviews This Week: Drishyam 3, Digger, Verity and More Hit Screens
The first weekend of October 2026 has brought a busy mix of Hindi, Hollywood and regional films to Indian cinemas, with several high-profile releases arriving on October 1 and 2. Among the biggest titles are Ajay Devgn-led Drishyam: The Conclusion, Tom Cruise’s Digger, Anne Hathaway and Dakota Johnson’s Verity, along with Prem Keetanu, Don’t Trouble the Trouble, Sigma and Avaraachan & Sons.
The biggest Hindi release is Drishyam: The Conclusion, the third and final chapter of the Hindi Drishyam franchise. Ajay Devgn returns as Vijay Salgaonkar, with Tabu, Shriya Saran and Jaideep Ahlawat among the principal cast. The film combines crime, mystery and thriller elements and has arrived in theatres after considerable anticipation surrounding the conclusion of Vijay’s story.
Early critical reaction to Drishyam 3 has been broadly positive, although individual reviews differ in emphasis. The Indian Express praised the performances of Ajay Devgn and Tabu and highlighted Jaideep Ahlawat’s contribution, while NDTV focused on the combination of Devgn and Ahlawat. Bollywood Hungama also published a strongly positive review.
The film has also opened strongly commercially. According to figures reported by The Times of India, Drishyam: The Conclusion recorded approximately ₹66.75 crore net in India on its first day, across 15,759 shows, while its reported worldwide opening was around ₹95 crore. These are early box-office figures and can change as collections are revised.
Tom Cruise’s Digger is another major international release this weekend. Directed by Alejandro G. Iñárritu, the film places Cruise in a different kind of role, with Riz Ahmed, John Goodman, Sandra Hüller, Michael Stuhlbarg and Jesse Plemons also in the cast. The film has been described as a dark comedy-drama and has generated sharply divided early reactions.
Early reviews of Digger have particularly focused on Cruise’s unusual performance and Iñárritu’s satirical approach. India Today reported that the first reactions were divided, while The Free Press Journal described the film as an ambitious satire whose ideas can sometimes overwhelm its execution.
Verity, starring Anne Hathaway, Dakota Johnson and Josh Hartnett, has also opened in India. The psychological thriller is adapted from Colleen Hoover’s novel and has received an ‘A’ certificate from the Central Board of Film Certification. Indian reports said that 23 seconds of intimate footage were removed before its theatrical release.
The critical response to Verity has been less enthusiastic than the attention surrounding its cast might suggest. The Indian Express argued that the thriller does not successfully deliver on its premise, while The Free Press Journal described the film as a twist-driven psychological thriller. The contrasting descriptions underline the difference between the film’s commercial appeal and the reaction to its execution.
Among the Hindi releases, Prem Keetanu brings a younger romantic-comedy approach to the weekend. The film stars Veer Pahariya, Aafiya Sayed, Aparshakti Khurana and Rakesh Bedi. The Times of India described it as a breezy Gen-Z romantic comedy, giving it a three-star critical rating.
Mrunal Thakur and Huma Qureshi’s Pooja Meri Jaan is another significant Hindi release. The film deals with a serious contemporary subject but has received mixed reactions regarding its treatment. The Indian Express called the premise promising while criticizing the execution, and NDTV also highlighted the film’s complicated treatment of its central story.
Regional cinema is particularly visible this weekend. Telugu fantasy drama Don’t Trouble the Trouble, led by Fahadh Faasil, has attracted attention because of Faasil’s performance. The Indian Express praised the actor while arguing that the film itself does not fully match the potential of its concept. Mahesh Babu also shared an early reaction describing the film as deeply moving.
Tamil cinema has Sigma, starring Sundeep Kishan, Faria Abdullah and others. Reviews have raised concerns about the screenplay despite acknowledging the scale and ambition of Jason Sanjay’s directorial debut. The Times of India gave the film a 2.5-star critic rating, while The Indian Express said the debut has vision but lacks a screenplay capable of supporting it.
Malayalam cinema also has Avaraachan & Sons, starring Biju Menon, Sreenath Bhasi and Ganapathi. The film has received criticism for its writing and humour. The Indian Express described it as struggling with forced comedy and an underdeveloped plot, making it another regional release whose reception has been shaped more by its execution than its premise.
Another Malayalam-related release drawing attention is Yezhu Kadal Yezhu Malai, featuring Nivin Pauly, Soori and Anjali. The Indian Express criticized its chaotic screenplay and the use of AI-generated visuals, adding another layer to the ongoing discussion around how artificial intelligence is being incorporated into film production and visual storytelling.
The wider theatrical lineup also includes Doraemon: Castle of the Undersea Devil, Japanese animation aimed at family audiences, along with several smaller English, Telugu, Tamil, Malayalam and Tulu releases. The breadth of this week’s lineup reflects the increasingly multilingual nature of India’s theatrical market, where major Bollywood releases now compete alongside regional films and international productions.
The early critical picture is therefore diverse. Drishyam: The Conclusion has received strong reviews from several major Indian publications and has opened with substantial box-office numbers, while Digger has divided critics around its unconventional approach. Verity has attracted attention because of its stars and its Indian certification changes, but early reviews have questioned its execution. Regional releases such as Don’t Trouble the Trouble, Sigma and Avaraachan & Sons have similarly produced mixed or critical responses.
With the weekend still underway, audience reactions and box-office collections will provide a clearer picture of which releases can sustain their opening momentum. For now, October’s first major theatrical weekend is notable for its unusually broad selection, ranging from franchise thrillers and Hollywood satire to psychological drama, romantic comedy, animation and ambitious regional cinema.
