'Usire Usire' movie review: A lacklustre film that gasps for quality
Usire Usire comes on the screen with delayed anticipation, yet manages to pique curiosity as it welcomes back cricketer-turned-actor and Bigg Boss Kannada contestant Rajeev, alongside a guest appearance by none other than star Kichcha Sudeep. A film that transcends caste boundaries and adds a valuable climax rooted in a real-life incident, will this promise a breath of fresh air? Set against the backdrop of middle-class life where caste is but a faint whisper, the film follows the intertwined lives of two families from different religious backgrounds. Manu (Rajeev Hanu) and Saira Bhanu (Srijita Ghosh) defy societal norms with their childhood friendship, only to be separated by circumstances when Saira moves to a different town with her parents. Fifteen years later, Manu finds himself entangled in the complexities of love upon reuniting with Saira Bhanu in college. Though Manu initially faces hiccups, his romance with Saira Bhanu blossoms, but against the parents wishes, leading them to elope and start afresh. However, their happiness is short-lived when Manu discovers Sairas severe heart condition. The film raises questions about the endurance of childhood innocence and the sacrifices made for love. As Manu struggles to save his beloved, the narrative crescendos to a climax based on real events, with Sudeep adding value to the film with his emphatic performance. Despite its promising premise, Usire Usire falters in writing and execution. The director loses the plot early on, leaving crucial scenes and character developments disjointed. While Rajeev shines in action sequences, his portrayal lacks depth. Due to a lack of clear vision, the sequences involving Rajeev, which feel repetitive, become tedious to watch and test our patience. Srijita Ghoshs performance feels out of sync with the rooted flavour that the film was going for. Guest appearances by noted Telugu actors Ali and Brahmanandam add little substance, while attempts by Manju Pavagada at humour fall flat, especially his attempts at physical humour, with exaggerated body language. The performances of the rest of the actors including Rajesh Nataranga, Sadhu Kokila, Devaraj, Suchendra Prasad and Tara go unnoticed. Except for the climax and Sudeeps blink-and-miss appearance, with a poignant message, Usire Usire falls short of its potential, delivering a tedious watch marred by inconsistencies. Even with an emotional core, the poor execution leaves a lot of the films potential untapped. Usire Usire Director : CM Vijay Cast: Rajeev, Srijita Ghosh, Ali, Brahmanandam, Manju Pavagada, Rajesh Nataranga, Tara, Sadhu Kokila, and Devaraj Rating : 2/5
'Kangaroo' movie review: Perfect balance of thrills, suspense and emotions
Imagine the tenderness of a kangaroo nurturing its childa universal image of parental dedication. Now, picture that essence transposed into the soul of a film that is wrapped in the cloak of a crime thriller with a chilling touch of horror. Kishore Megalamane crafts this narrative through a series of deaths, tallying up to a staggering 125, with nearly 70 classified, including 12 women, as suicides. Set against the backdrop of Chikkamagaluru, the films focal point of investigations is the Anthony Guest House. Enter Prithvi (Aditya), a dutiful police officer transferred to Chikkamagaluru thrust into a mission that demands sacrifices, a notion accepted by his understanding parents as well as his pregnant wife and psychiatrist Meghna (Ranjani Raghavan). As Prithvi immerses himself in his new assignment, a chilling revelation emergeshis own brother (Nagendra Urs) is counted among the suicide victims. What commences as a whodunit swiftly morphs into a thriller, offering audiences an edge-of-the-seat experience sprinkled with horror. Yet, amidst the adrenaline rush of the investigation lies an emotional core, lending justification to the unfolding chaos. At the outset, director Kishore Megalamane boldly presents a tale that defies convention as he weaves together elements of crime and horror, while striking an emotional chord with equal measure. My attention was caught when Prithvi makes his psychiatrist wife Meghana a part of the investigation, which transforms into the linchpin of the story. Through her character, the essence of maternal care is delicately woven into the fabric of Kangaroo. From the moment Prithvi assumes command of the investigation, Kishore keeps audiences spellbound, stitching together all the characters and events. Every twist and turn, every interaction with fellow officers and witnesses, is meticulously presented, propelling Kangaroo into a league of its own as a suspense-laden drama. Aditya has often been drawn towards cop roles, although not always captivatingly so. My favourite of his cop roles comes in Edegarike, where his performance stood out, and now in Kangaroo, he brings a similar essence to his charactersubtle yet commanding, devoid of extravagant fights. He navigates most of the narrative through conversation alone, with his eyes and facial expressions effortlessly drawing the audience into his investigations. Credit is due to director Kishroe for extracting such a performance from Aditya. Ranaini Raghavans role is equally compelling; she is the soul of the story, showcasing two extreme shades. Departing from her usual serial appearances, she delivers an impactful performance on screen, stealing the show in the climax while defining the traits of a kangaroo with precision. The supporting cast also shines, enhancing the investigative genre, complemented by Sadhu Kokilas evocative background score. Kangaroo maintains a high standard in the making throughout, ensuring the audience remains engrossed in the investigation and emotional bonds, especially in unravelling a kangaroos identity in this blend of crime and suspense. Kangaroo Director: Kishore Megalamane Cast: Aditya, Ranjani Raghavan, Nagendra Urs, Kari Subbu, and Ashwin Haasan Rating: 3/5
'Aa Okkati Adakku' movie review: A generic take on matrimony site scams
HYDERABAD : Somewhere in the beginning of Aa Okkati Adakku (AOA), a banter ensues between Gana (Allari Naresh) and his sister-in-law Devi (Jamie Lever). There are lines thrown around on how Gana hasnt lost his sense of humour even though he has become more serious lately. This is followed by a discussion about the need for a person to possess content, whether it is serious or funny. The meta nature of this exchange is not lost on the audience. After headlining back-to-back films (Naandhi, Ugram, Itlu Maredumilli Prajaneekam) that have marketed themselves upfront as social dramas with action, Allari Naresh seems to have returned to the screens with what looks like a comedy. By slyly acknowledging the fact that one can be funny despite adopting seriousness with age, we get the mission statement of AOA, which tries hard to maintain the balancing act. The result is a middling, ill-fitted mess. Naresh plays Ganapathi alias Gana, a middle-aged government employee. After a stable job and a house of his own, all he needs now is a wife to complete the well-settled trifecta. Playing a character close to his real-life age, much like Venkateshs Pellikani Prasadu from the iconic comedy Malliswari (there is also the naku caste feelings levu dialogue in common between both films), Naresh is the butt of his neighbours jokes, while being a source of concern for his family. Unlike Prasad from Malliswari who lives with his older brother and sister-in-law, what adds salt to Ganas injuries is the fact that it is his younger brother who is married with a kid. Surely enough, there is a sanctimonious backstory that explains why Gana has no luck in the arranged marriage market, but more on that later. Writer Abburi Ravi also uses the initial portions of AOA to establish the conservative expectations that surround the theatre of Indian marriage. On one hand, single women who consider joint families as deal breakers for marriage are bemoaned, while divorcees are tastelessly referred to as second-hand goods. Once Gana gets tired of neighbourhood aunty matchmakers, he decides to take the matrimonial service. Through them, Gana meets Siddhi (Faria Abdullah). There are motions of a courtship, till the story prefers to devote its runtime towards exposing the scams that operate behind matrimonial sites. While the films comedy is not the smartest or the funniest, it does keep things in an easygoing fashion. Jamie Lever, Harsha Chemudu and Hari Tejas characters in particular contribute to this lightness during their limited screen time, keeping things pleasant. The second half of the film lets go of the few merits from the first half into directions more serious and dare I say, unmemorable. After Siddhi rejects Ganas proposal for marriage, they meet again and instantly strike up a friendship. There are three songs to detail the progression of Gana and Siddhis semi-platonic relationship, who are in their early 40s and mid-20s, respectively. It is odd that a film not shy of displaying the age gap between its leads refuses to ever address it. There is a laundry list of superficial remarks playing out on how divorcees, middle-aged men, NRIs, unemployed men, men with loans, men with families, female doctors, female influencers and women who sound like men fare in the marriage market, but nobody in this universe finds anything wrong with really young women paired with an older man. For a film so filled with opinions, it seems odd that there is no commentary on this awkward situation. Now, there are ulterior motives behind Siddhi pursuing Gana, but what does Gana feel about dating women half his age? These questions echo in the vacuum that exists where Gana and Siddhis chemistry should have ideally been. The films warning cries on scammers, packaged into a drama, is equally hollow. I wish I could say I pondered about why the characters behaved the way they did, but I kept glossing over the details, hoping the film does get better as it goes. Different details of the film are thrown around like breadcrumbs and by the time you reach the end, the pay-off is not just unsatisfying, but also half-baked. A runaway groom (Raja Chembolu) and a hit-and-run victim (Goparaju Ramana) are a few examples of how the films subplots are given the appearance of something serious while they remain wafer-thin. The films final block, a courtroom drama, ideally an event that should give some meaning to what has happened so far, turns into exactly the opposite a reflection of the films lacklustre writing. It was so hamfisted, that it makes one wonder why we had any expectations in the first place. Allari Naresh and Faria Abdullah shine intermittently, and the joke is on us for believing the film could be anything more than that. Film: Aa Okkati Adakku Cast: Allari Naresh, Faria Abdullah, Jamie Lever, Hari Teja, Viva Harsha, Vennela Kishore, Ariyana Glory Director: Malli Ankam Rating:2/5
'Prasanna Vadanam' movie review: A gripping thriller-drama that perfectly plays to Suhas strengths
HYDERABAD : If you are walking into Prasanna Vadanam expecting a thriller, the first half an hour might belie your expectations to some degree. Even though the film unfolds with the visuals of a fatally injured Surya (Suhas) being taken to the ICU, the sequences that follow have a surprisingly laidback energy. We learn that the jovial, good-hearted Surya has managed to overcome the trauma, and learned to lead a normal life free of any emotional baggage. However, just as we are making peace with the narratives nonchalant demeanour, as Surya looks at people around him going about their life with a calm mundaneness on a rainy night, director Arjun YK turns the tables on us, reminding us of his storys true ambitions. The central conflict comes into place as Surya witnesses something horrific, and decides to do something about it. The cards fall in one swift move, instantly taking us into the middle of the action. From this point onwards, Prasanna Vadanam maintains tension in the narrative, springing up one twist after another, barely giving us time to think. Its hard to talk about Prasanna Vadanam without giving away spoilers, but the film truly gets into its groove around the interval mark when we get clarity on who the real antagonist is. Writer-director Arjun YK knows that any taut, thrilling narrative depends equally on its evil forces as much as its goodness, and creates an exciting villain figure here who is repulsive and riveting in equal measure. The film often catches us off-guard with its twists and developments; the antagonist stays ahead of not just the protagonist but the audience itself, and thats a win. Its easy to label Prasanna Vadanam as a plot-driven thriller, but a lot of the credit goes to the tension that stems from the unpredictability of the antagonist. We stay invested in the narrative on two levels, fearing and rooting for Surya while dreading the villains next move. What makes Prasanna Vadanam more compelling is that we are also made privy to the antagonists backstory and motivations, which makes the character more human while not compromising on the menacing aura the villain needs. Despite an occasional hiccup and a few logical loopholes, the narrative manages to keep us engaged due to this compelling cat-and-mouse dynamic between the good and the evil. Moreover, while maintaining its essence as a taut thriller, Prasanna Vadanam acquires a rather free-flowing tonality in the second half. The lines between comedy and tragedy occasionally get blurry in this story about an ordinary man straddling a chaotic situation, and Arjun YK makes space for some absurd humour too. There are plenty of moments in the second half where the protagonists vulnerabilities add to the tension, like a riveting action sequence that takes place in a public toilet. The director uses the dynamics of a constrained physical space to great effect, as we see Surya struggling to break free from the clutches of two psychopaths. At the same time, Prasanna Vadanam doesnt shy away from delving into moral ambiguity or the messier parts of its protagonist Suryas predicament either. At one point, Surya threatens a baddie with killing his infant baby if he doesnt help him out. We know Surya eventually wont do it, but are caught off-guard nonetheless, wondering for a quick moment whether Surya has actually become capable of evil, after enduring ill-treatment. In the final act, Arjun YK makes ingenious use of the romance track which up until now had felt completely perfunctory, without coming across as gimmicky. These portions offer a roller-coaster of emotions, as we empathise with Suryas helplessness while being fully aware that something macabre could occur at any moment, and this tension again goes back to having a tragicomic protagonist at its root. Prasanna Vadanam benefits hugely from an exemplary actor like Suhas, who breathes life into his role. The actor often elevates minor moments, lending a lot of rawness and humanity to a character that could have easily come off as a typical hero figure in the hands of another star. Suhas never makes Surya invincible, always reminding us of his ordinariness with small touches, like the one where his shoulder flinches after he pushes open a locked door, or when he desperately picks up a half-smoked cigarette from the pavement while being on the run for hours. These moments ring true, but more crucially, they remind us that, at its core, this is the story of a common man who is not above moments of deprivation or utter despair. Film: Prasanna Vadanam Cast: Suhas, Rashi Singh, Harsha Chemudu, Payal Radhakrishna Director: Arjun YK Rating: 3.5/5
'The Fall Guy' movie review: Barely amusing but loaded with ample romance & action
The Fall Guy has an inherent charm but the charm feels algorithmically structured. It has all the right doses of action, comedy, and romance, built around each other in the right proportions, in a perfectly balanced screenplay. However, the human tendency to seek out inauthenticity keeps pointing out that the charm feels plastic and manufactured. Take for instance The uncanny valley effect, where humans would look at a humanoid robot or a CGI creation that looks vaguely human, and feel mildly unsettled because a primal part of our brain keeps telling us that what we are looking at isnt quite human. While this is largely a visual attribute, the screenplay of The Fall Guy does evoke an uncanny valley effect, with how much it tries to be a whimsical action-comedy. While we do stay engaged with the flow of the story, we cannot shake the feeling that the film is not quite what it is trying to be. After superstar Tom Ryder (Aaron Taylor-Johnson) disappears, his stunt double Colt Seavers (Ryan Gosling) must find him and get him back on the set so his ex-girlfriend Jody Moreno (Emily Blunt) can finish her big debut film, and maybe Seavers can get the love of his life back. The quirky premise has the sweet nostalgic aftertaste of an 80s romantic comedy. With a splendid chemistry between Ryan Gosling and Emily Blunt, the romance largely works. We feel the spark and even though you know where the will-they-wont-they eventually leads to, you still want the characters to end up together. However, the biggest debilitating factor of the film ends up being the humour and the dialogue. The Fall Guy religiously follows the recipe of modern comedies. We have meta commentaries on the storys structure, excessive pop culture references, drug-induced hallucination jokes, cameos nobody asked for, and a post-credit gag to wrap it all up. The humour is watered down, and bland, and the best reaction it gets out of you is that you are mildly amused, which happens sparsely. The one aspect of the film that makes the best use of the genre is the action. Director David Leitch leverages the Hollywood setting of the story and delivers a stunt sequence wherever possible. And the action is appropriate to the lightheartedness of the genre as well. There are different types of action on film. Some are intense and gripping while others, in the vein of television wrestling, look thoroughly amazing with no intention of raising your pulse. The action in The Fall Guy belongs to the latter category. In a time when films drench the screen with blood and gore, it is refreshing to see a light-hearted shade of action. It reminds us of the early 90s Jackie Chan action comedies, where visual gags are ingrained in whimsical fight sequences, where even the protagonist is not immune to failures and stunt gags. While Emily Blunt stands out with her expressive, emotionally resonant performance, Ryan Gosling amps up the charm with his laid-back, restrained approach that goes well with the overall tone of the film. The supporting characters blend into the background and refuse to stand out. The Fall Guy has all the right ingredients: An engaging story, likeable performances, romance that connects with you and is loaded with plenty of action. However, the film delivers the bare minimum and fails to hold your attention on account of a flimsy screenplay and ineffective humour. It belongs to the genre of film that entertains you by not straining your attention, that amuses you but exerts no effort to keep you hooked. You can carelessly zone in and out of focus and still feel like you had fun. The Fall Guy is the kind of action-comedy you play on your screen at home while youre doing something in the background, but when someone asks, you still say you had fun. Film: The Fall Guy Director: David Leitch Cast: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson Rating: 2.5/5
'Nadikar' movie review: A lost opportunity, high on broad strokes
In one of the early scenes of Nadikar, superstar David Padikkal (Tovino Thomas) is ready for his shot and starts reciting the lines that he has memorised. Feel evide? (Where is the feel?), shouts a veteran director (Ranjith), frustrated on seeing his lead actor hamming his way through, sans any emotion. This sequence comes after a well-shot montage illustrating Davids sudden propulsion to stardom, leading him to taking things for granted with an unmistakable air of arrogance. As the film progresses nonchalantly, one cannot be blamed if the audience, too, start pondering the same question. Feel evide? Several years after a streak of success catapulted him to fame, David is now gradually losing everything, courtesy a string of flops. The general public, the media, and his entourage are all questioning his relevance as an actor. It reaches a point where he becomes open to the idea of hiring a professional acting coach, who could potentially breathe new life into his waning career. Soon, Bala (Soubin Shahir), a dispassionate acting instructor with a strong theater background comes into the picture and it is anything but smooth for him to tame Davids tantrums. It is the second time Lal Jr is attempting a film centered around the life of a film star after Driving License (2019), which, thankfully, had the backing of a solid script that did not pull its punches. Coming to Nadikar, the intentions are evident in its portrayal of the evolution of an unruly superstar, but unfortunately, Suvin S Somasekharans lackadaisical writing approaches this narrative with broad strokes. Barring some of the sporadic humour, mostly involving Suresh Krishna and Balu Varghese, the film tries too hard to find a solid footing. Nadikar begins on a humble note with the video footage of an interview featuring Malayalams first superstar, Prem Nazir, sharing pearls of wisdom on how stardom is not a bed of roses and emphasising the importance of discipline to stay relevant. The film attempts to examine this notion of stardom as a meta-commentary in todays times, showcasing how the Malayalam film industry operates. Unfortunately, apart from barely scratching the surface of the underlying themes and featuring some customary tongue-in-cheek gags related to the industry, it offers hardly anything new that we have not seen before. The first hour of Nadikar moves at a brisk pace as it leaves no stone unturned in portraying Davids unhinged and insecure life as a junkie and womaniser, who cant move on from his ex-lover. However, it significantly falters in engaging the audience post the interval when David reluctantly starts embracing Balas pieces of advice on how to act. As David, Tovino does manage to deliver an impressive performance while walking a tightrope between portraying a haughty star consumed by vanity and a mediocre actor who cannot even care to move a finger to improve his craft. The film falters when it lazily tries to explore the inner turmoils of David as an orphan, which becomes the cornerstone of the characters reinvention as an actor. Soubin, too, gets to shine in a few emotional scenes opposite Tovino, but the writing around his one-note character leaves a lot to be desired. Among the supporting cast, the standout performer was the hilarious Suresh Krishna as Davids manager, reminiscent of Antony Perumbavoors association with Mohanlal, as referenced in the film. Balu Varghese, too, provides comedic relief as part of the entourage. It was also refreshing to see Bhavana in a composed-yet-fun portrayal, even though her limited presence is peripheral to the story. One aspect that soared high in the film is, of course, the costumes and styling departments who understood the assignment. While most of the technical departments were satisfactory, the sync sound and mixing felt subpar as many dialogues were partially inaudible. On the whole, Nadikar is a lost opportunity that lacks both energy and emotional connection. It could have been a compelling coming-of-age of a narcissist and a potent satire on the idea of stardom, but its unimaginative writing makes it a lacklustre affair. Film: Nadikar Cast: Tovino Thomas, Soubin Shahir, Bhavana, Suresh Krishna, Balu Varghese Director: Lal Jr Rating : 2.5/5
Sobhita Dhulipala talks about facing casual objectification and being reduced to her sex appeal.
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This actor, who was once a software engineer, has now become a superstar
Based on the life of Indian badminton player Saina Nehwal, Amole Gupte's directorial Saina was a box-office bomb. Shraddha Kapoor started preparing for the film, read on to know why she was replaced by Parineeti Chopra.
India's biggest flop film made a loss of over Rs 250 crore, much higher than even Adipurush, Shamshera, Laal Singh Chaddha, and Ganapath
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Paramount will let exclusive talks with Skydance lapse, NYT reports
Paramount will let exclusive talks with Skydance lapse, NYT reports Paramount Global will end its exclusive negotiations with Skydance Media without reaching a deal, the New York Times reported on Friday, citing people familiar with the matter. Shares of Paramount rose 3% in extended trading. A special committee of the Paramount board, created to evaluate offers for the company, has been holding exclusive deal talks with Skydance Media. That period of exclusivity ends Friday. Skydance Media and a spokesman for the special committee of the Paramount board declined to comment. Sony Pictures Entertainment and private equity firm Apollo Global Management on Wednesday submitted a $26 billion offer for Paramount Global but have yet to receive a response as of Friday, a person familiar with the matter told Reuters. The companies submitted a non-binding offer letter on Wednesday, signed by Sony Pictures Chief Executive Tony Vinciquerra and Apollo partner Aaron Sobel, a source confirmed to Reuters. The $26 billion offer is a combination of cash and assumption of debt. Paramount's special committee is set to meet on Saturday to discuss the deal, NYT reported, citing two people with knowledge of the company's plans. Sony would hold a majority stake in the venture, a source previously told Reuters, and operate Paramount, whose movie library spans Star Trek, Mission: Impossible and The Godfather, alongside TV characters like SpongeBob SquarePants. Apollo would be a minority shareholder. The last-minute expression of interest from Sony and Apollo may well force Paramount's board to evaluate other offers, especially after some shareholders raised concerns about the deal with David Ellison's Skydance and have urged Paramount to consider other offers, including the one from Apollo. Apollo declined comment to Reuters, which reported in April that Sony's SPE and Apollo were in talks about a joint bid. Paramount and Sony also declined comment on the Apollo-Sony offer, which was first reported by the Wall Street Journal. The rival offer comes at a tumultuous time for Paramount. Shari Redstone's media empire replaced CEO Bob Bakish with a trio of executives on Monday, while four independent members of the Paramount board are set to step down at the company's annual shareholder meeting on June 4. Bakish was once viewed as Redstone's loyal lieutenant. However, their relationship began to sour in May 2023, when he urged Redstone to support a cut the company's share dividend, saying it would help lift Paramount's sagging stock -- a prediction that never came true, according to two sources close to Redstone. PARAMOUNT'S STRUGGLES Paramount has been struggling to recover from last year's months-long strikes by Hollywood writers and actors, a soft advertising market and cord-cutting in the United States that has eroded profit for its TV business. Its streaming service also widely trails rivals such as Netflix and Disney+ in subscriber numbers - even though Redstone had hoped the merger of CBS and Viacom in 2019 would help the combined company, later renamed Paramount Global, compete better. Shares of Paramount have fallen more than 65% since then, losing more than $14 billion in market value. At Wednesday's closing price of $12.26, the company was valued at $7.67 billion, according to LSEG data. It has more than $14 billion of debt. The potential acquisition would help SPE grow its share of the North American box office. Sony Pictures earned $1.01 billion in U.S. and Canada box office revenue last year, compared with Paramount's $842.4 million, according to data from Comscore. SPE, a unit of Tokyo-based Sony Group, says its operations span movie and television production, acquisition and distribution, digital content creation and distribution, studio facility operation and the development of new entertainment products, services and technologies. The group has more than 3,500 movie titles and notable franchises such as Jumanji, Resident Evil and James Bond. This is not the first time Sony has pursued Paramount. Vinciquerra had previously approached Paramount's controlling shareholder, Shari Redstone, to explore acquiring the Paramount Pictures film studio, according to two people familiar with the matter. At the time, Redstone was uninterested in breaking up the company, according to one of the sources. The latest overture would mark the beginning of a process that would involve due diligence. There also are potential regulatory obstacles to Sony Pictures, a division of the Tokyo-based Sony Group, owning Paramount's CBS broadcast network. Sony's U.S.-based partner, Apollo, acquired Cox Media Group's television stations in a 2019 deal that required approval of the Federal Communications Commission.
Meryl Streep will be honoured with the special Palme d'Or at the opening ceremony of Cannes Film Festival 2024 on May 14.
Released in 2008, Chamku was touted to be the relaunch of Bobby Deol's career, but the film flopped badly, losing 70% of the budget, and the actor's string of flopped continued at the box office.
Making a sincere and urgent appeal to her collegues and compatriots in the film industry, Zeenat Aman requested to avoid bringing wild animals on set.
Ragini Khanna reacts to viral video claiming she converted to Christianity: 'I have no issues if...'
Ragini Khanna inadvertently accepted a collaboration request on Instagram, leading to reports claiming she has converted to Christianity.
Headlined and helmed by Rishab Shetty, the Kannada-language Kantara is the second-highest grossing Kannada film of all time. The film grossed Rs 408 crore worldwide against its budget of Rs 16 crore.
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Film folk raised Mumbai's summer temperatures even higher when they walked the red carpet at the second edition of the Bollywood Hungama's Style Icons Summit and Awards 2024 on May 2.
Aditi Adds Glamour To An Awards Night
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Taarak Mehta Ka Ooltah Chashmah actor Gurucharan Singh has been missing for more than 10 days. Now, as per a latest report, police suspects that the actor planned his own disappearance.
Heeramandi: 100 workers toiled for 10 months to create Sanjay Leela Bhansali's Lahore of early 1900s
Sanjay Leela Bhansali's Heeramandi set took 10 months of dedication by 100 workers to be made.
X User's Post On Juniors Messaging For Minor Issues Sparks Discussion
A software engineer has sparked a discussion online after expressing his frustration over his juniors at work frequently reaching out to him with minor or trivial issues.
In his career of over 23 years, Arjun Rampal has worked in over 40 films. His debut film was a super flop but his breakthrough came in the year 2002 when Arjun Rampal starred in 'Aankhen', which proved to be a commercial hit.
Released in 1995, Rangeela made Urmila Matondkar an overnight sensation. Her oomph with Asha Bhosle's voice dazzled moviegoers.
Gayatri Joshi, before making her Bollywood debut modelled for many popular brands including Godrej, LG, Ponds, Bombay Dyeing, Sunsilk, and Philips. She was born in Nagpur but later relocated to Mumbai with her family.
This superstar, who once did odd jobs for survival, now earns Rs 5 crore per film.
Akshay Kumar made his debut in a leading role in the film 'Saugandh' (1991). He made his breakthrough with the suspense thriller 'Khiladi' (1992), the first film of the Khiladi series.
Sonali Bendre reveals being body shamed during the 90s for being 'too thin'.
Three films - all remakes of the same Hollywood hit - were released together and all worked at the box office
'Malayalee From India' review: An unsubtle and preachy melodrama
During festivals like Vishu or Eid, as a Malayalee, it is common to encounter photoshoots seemingly promoting unity in diversity, especially emphasizing Hindu-Muslim harmony. Malayalee From India is an overblown cinematic equivalent of such content you casually swipe past on your mobile screens. Aalpparambil Gopi (Nivin Pauly) and Malghosh (Dhyan Sreenivasan) are freeloaders who support the right-wing party currently in power. Gopi blindly defends his party leaders communal and xenophobic rhetoric, while Malghosh is a volatile loafer filled with bigotry in his mind. This makes way for some satirical and chucklesome jabs in the films opening scenes. Gopis mother (Manju Pillai) is the one trying to make ends meet in her household, which comprises her son and daughter. Manju Pillai, as evident from her recent performances, is once again in her element, skillfully portraying the anguishes of her character. In this first hour, we are also introduced to Krishna (Anaswara Rajan), Gopis one-sided love interest or his muse for exhibiting his stalking skills. One can only wonder about the relevance of this pointless track, which is anything but romantic. It only serves to prolong an already overlong narrative. The film makes a tonal shift when Malghosh is triggered enough to do something nasty, creating a rift between Hindus and Muslims that forces him and Gopi to go into hiding. The prevailing tensions force Gopi to move abroad, a prospect that he always loathed, amidst the COVID-19 pandemic, just before the lockdowns. The beginning of the latter half sees Gopi trying hard to adapt to a completely new landscape somewhere in the Middle East with only one grumpy superior to take orders from, who happens to be Pakistani. In some of the following portions, Nivin gets to effectively showcase his penchant for comedy, even if it feels like a spoof on Aadujeevitham, as it is set on an agricultural farm in the middle of a desert. Gopi hates working under a Pakistani initially, and predictably enough, as part of his coming of age arc, they both form a special bond. The major issue of the film is unarguably the preachy monologues that bombard you one after the other. Of course, subtlety has never been a strong suit for director Dijo Jose Antony and writer Sharis Mohammed, who previously collaborated on Queen (2018) and Jana Gana Mana (2022). Unlike their previous successful films, Malayalee From India lacks the kind of gut punches or theatrically charged moments that can cleverly manipulate the audience. The only moment that comes close to achieving this is when Shine Tom Chacko delivers a rousing cameo. In the end, we get a middling film replete with topics about Hindu-Muslim tensions, biting off more than it can chew, while sermonizing the audience and stating the obvious as if there is no tomorrow. It even takes cues from Bajrangi Bhaijaan (2015), only to end with another melodramatic monologue about chasing dreams by a Pakistani teen, extolling the virtues of the people from Gods own country, with Gopi as her role model. As the film draws to a close, viewers may find themselves puzzled about its overarching message. The film initially delves into Keralas communal politics, but even after emphasizing the futility of hatred, Gopis stance on the outfits propagating hate remains uncertain. Malayalee From India ends up as another testament to the fact that storytelling requires more than just good intentions. Film: Malayalee From India Cast: Nivin Pauly, Dhyan Sreenivasan, Anaswara Rajan, Manju Pillai Director: Dijo Jose Antony Rating : 2/5
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'Heeramandi - The Diamond Bazaar' drama series review: All that glitters...
HYDERABAD: A Sanjay Leela Bhansali fantasia for OTT is a cause for concern. Before I got started with it, I wanted to get down and manually stretch the corners of my 30-inch TV. I even contemplated what would be worse, to watch it on a laptop or a tablet? Then, images of office-goers, on a local train ride back home, relishing the series on a smartphone flashed in my head. Oh, what a cardinal sin. Calling Bhansalis debut web series grand would be a cop-out. As per an Architectural Digest report, the set for 'Heeramandi', at a sprawling 3 acres, has been the auteurs biggest indulgence so far. As a product of the labour of over 700 craftsmen, each frame is intricately detailed, like a mandala painting. Credit is also due to production designers Amrita Ray and Subrata Chakraborty and cinematographers Sudeep Chatterjee, Mahesh Limaye and Huentsang Mohapatra. After about eight hours of living in Bhansalis shimmering dream, some images were etched in my memory. The central Mallikajaan (Manisha Koirala) lying on a bed of gold ornaments with jhumkas for eyes or her nemesis Fareedan (Sonakshi Sinha) relaxing on a swing-bed, maniacally laughing. At the end of a scene, the camera stays for a second too long on the velvety redness of a curtain. The film is a story told in images, but Bhansalis obsession with the visual often sidetracks the textual. 'Heeramandi' looks like literature but sometimes doesnt quite feel like it. The story is set in the titular red-light district in the pre-independence, pre-partitioned Lahore. Courtesans are self-proclaimed queens of the area, who have been enjoying the patronage of the wealthy nawabs. However, the power dynamics are shifting now with the Union Jack entering the fray. The freedom movement has also reached the lanes of Lahore and rebels are meeting in dark rooms, mulling over ways to overthrow the British empire. Amidst all this turmoil, there is the aforementioned Mallikajaan, the queen bee of the courtesans. Her den, the Shahi Mahal, houses fellow tawaifs including her daughter, the nightingale and undercover rebel Bibbojaan (Aditi Rao Hydari) and an embittered-over-property-rights sibling Waheeda (Sanjeeda Sheikh). Mallikajaan has two other daughters: the eldest Lajjo (Richa Chadha), a lovelorn drunkard; and the youngest Alamzeb (Sharmin Segal), who is more inclined towards poetry than the home business. Karma has also come back to haunt Mallika in the form of Fareedan, who is out for blood for the murder of her mother and Mallikas elder sister Rehana (also played by Sonakshi). As for the men, there is the young, Oxford-returned royal scion Tajdar (Taha Shah Badussha), who is smitten by Alamzeb and the nawabs on narrative fringes: Wali (an underutilised Fardeen Khan), Zulfiqar (Shekhar Suman) and Zoravar (Adhyayan Suman). As battle lines are drawn between Mallika and Fareedan, the tawaifs try to one-up each other for 'Heeramandis metaphorical throne. Their tussle mostly includes repetitive blackmailing moves and exchange of rhythmic comebacks. Bhansali presents his characters as enigmas in glass cases. When we first meet Mallikajaan, she saunters with recently hennaed arms and feet, her helpers holding her ghaghra, like a crown around her waist. Manisha Koirala, who is reuniting with the director after his 1996 debut 'Khamoshi: The Musical', is equal measures effective and overdone as the madame courtesan. Sonakshi, as Fareedan, is a strong foil but her character doesnt go deeper than its incessant need for vengeance. We tread on the love track between Sharmins Alamzeb and Tahas Tajdar for far too long. The actors are quite green in their act and their romance is more mushy than memorable. What is unforgettable though is Richas performance as the Devdas-ian Lajjo. She exuberates gravitas in the role of the heart-broken tawaif. Too bad its too short-lived. Its no surprise that the liveliest character in the Bhansali series is his cinematic frame. As the director has often stated, he approaches them as paintings. Each piece of furniture, jewellery and clothing are brushstrokes delivering a feeling. But the narrative thread between these beads of beauty starts wearing thin. In a series, good writing is the fuel but Heeramandi chooses to get lost in the labyrinth of elegance. Resultingly, the tale starts taking predictable turns. Admiration sidelines astonishment. The backdrop of the freedom movement also offers no amazement and feels inorganic. Historical inconsistencies aside (no mention of the Muslim League), the Independence struggle is reduced to constant chants of Inquilab Zindabad, honey-trappings and assassinations. Aditi Rao Hydari is sufficient as the nautch girl but falters as a freedom fighter. The makers seem to struggle with tying up scattered loose-ends. The series resorts to visual allure whenever in doubt. In a scene, Mallikajaan mistreats her youngest Alamzeb over a missing pearl. Reeling with indignity, she immerses herself in a royal bath while holding a burning, picturesque candle, hoping to find the gem in the darkness of the pool. I mean if it looks that pretty Film : Heeramandi: The Diamond Bazaar Cast: Manisha Koirala, Aditi Rao Hydari, Richa Chadha, Sonakshi Sinha, Sanjeeda Sheikh Creator:Sanjay Leela Bhansali Rating: 2.5
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'Late Night with the Devil' movie review: A scathing satire on television disguised as a horror film
Fear is a hot commodity this summer, with many horror films hitting theatres in quick succession. But 'Late Night with the Devi is different from conventional horror cinema in that it uses the genre to enlighten the audience with a scathing commentary on the television industry rather than merely induce fear among them with jump scares. The film, from directors Colin Cairnes and Cameron Cairnes, explores the dark underbelly of television business in the guise of a horror feature. The film stars David Dastmalchian as Jack Delroy, the host of a TV show calledNight Owl that caters to an audience craving entertainment. It begins with a monologue painting a picture of an America with exorbitant gasoline prices, socio-political upheaval, and unrest in the streets. Television is the sole source of entertainment for the audience, and late-night shows such as 'Night Owl' appeal to the masses and offer them some relief from the daily grind. Delroy pitches 'Night Owl' as a competitor to'The Tonight Sho' Starring Johnny Carson, and his solo and collaborative gags initially contribute to the big money the producers seek. However, soon, its ratings come down and sales plummet, forcing Delroy to revisit his strategy. The new strategy includes hosting an episode with occult practitioners for Halloween, with a live seance by Fayssal Bazzis Christou, as well as an exorcism from parapsychologist June Ross-Mitchell (Laura Gordon) on her subject Lilly DAbo (Ingrid Torelli). Soon, the lines between reality and performance begin to blur, and the characters reel in the aftermath of an inexplicable phenomenon. The film makes you wonder whether its exorcism and seance are staged entertainment or real, and whether some of the central characters are having a normal mental breakdown or caught in the whirlwind of the occult. Discerning viewers will realise that the devil is in the details and that the system is more sinister than any demon. David Dastmalchian often plays Delroy as the demented offspring of Jake Gyllenhaals 'Lou Bloom' from 'Nightcrawler', a man preoccupied with the idea of rising to the top of TV journalism even at the altar of morals and ethics. In many weird ways, Delroys transition from the 'Night Owls' host and a casual observer of the events in the show to an active participant in the corrupt and crooked system, has its parallels to Bloom and his nocturnal hell. There is one crucial difference, though. It does not celebrate its central character quite like Nightcrawler does. It explores the dark side of ambition and the repercussions of seeking success at any cost. Its rendering of 1970s late-night television aesthetics is authentic and believable, and the blending of horror with mockumentary-style filmmaking is fascinating. Further, the screenplay has many horror film callbacks that turn watching it on screen into a spot-the-reference exercise. In an early scene, as he begins to wonder how to add drama to his show, Delroy lets out the rhetoric: Where is Vincent Price when you need him? The tall, lanky Price was a Hollywood horror icon known for his effective integration of humour and histrionics into his characters and for being a familiar face in American late night shows. Further, the girl, susceptible to ghostly activity who becomes a conduit for a malevolent spirit, reminds one of writer Steven Spielbergs 'Poltergeist', as do the countless scenes where she levitates in the show within the film. A late Exorcist reference, The power of Christ compels you, induces a small amount of fear and evokes laughter in equal measure. With such callbacks, the film becomes a complete commentary on the 1970s cultural climate and the allure of the occult. Ian Blisss Carmichael the Conjurer is a character who questions the allure in a way that reflects the 70s skepticism about the occult. For example, the skeptic viewpoint was shared by some prominent figures like Carl Sagan and James Randi. The climax goes a tad overboard with its metaphorical exploration of television & its sensationalism, but it still has a suspenseful use of the it is all just a dream trope in horror cinema. All in all, 'Late Night with the Devil' maintains its sense of unrest and suspense almost throughout its runtime, making it a hell of a good time. Film: Late Night with the Devil Cast: David Dastmalchian, Laura Gordon, Ingrid Torelli Director: Colin Cairnes and Cameron Cairnes Rating : 3.5/5
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'Challengers' movie review: This intense, intimate tennis drama almost serves up an ace
Silence. Absolute Silence. Three sweat drops trickle down from Josh OConnors serious face, suggestive of the moment that decides it all. Cut to the title credits. This is how Challengers begins, and before we even get a hint at the story, were already biting our nails to know who will win. But there is more to Challengers than just tennis. With Challengers, Luca Guadagnino takes the conventional love triangle and stuffs it with a cartload of relationship dynamics and lovemaking to give an intense motion picture rooted in the world of tennis. With a mostly edge-of-the-seat experience, Challengers offers a perfervid experience, although it falters in its momentum towards the fag end. Challengers is a typical three-act film with a non-linear narrative. We start with the titular Challenger match between Art Donaldson (Mike Faist) and Patrick Zweig (OConnor)former thick friends and tennis partners thrown apart by their common love for tennis hotshot Tashi Duncan (Zendaya). Over the course of the film, the narrative cuts back and forth between the Challenger match and the history between the trio, ensuring that our concentration is wholly on the film while allowing us to take a breather from all the tennis action. More than tennis itself, Challengers is about the relationship and chemistry between Art, Patrick, and Tashi. At the very beginning, it is established that Tashi is married to Art, and we get glimpses of their relationship dynamics, especially how she decides everything for him, from diet to exercise. We sense that something is missing in their relationship when they both wait for Arts game to start in absolute silence like they cant wait for someone to come and break their awkwardness. In another scene, we see Art say, I love you, to which Tashi replies, I know, instead of the more conventional Love you too, hinting at a dominant-submissive relationship between them. As for the bond between Patrick and Tashi, the brooding ego between these two characters forms the essence of Challengers. Challengers also has brilliant world-building, which extends to even the off-court action. We initially see Art, married to Tashi, waking up at the Ritz Hotel to a routine charted out with a choreographed workout and a restricted diet with even a bottled drink labelled Electrolytes. On the contrary, we see a hungry Patrick, just up from his sleep in the car, borrowing half a doughnut from someone he just met. While these parallels are thought-worthy enough, we get another flashback moment in which Patrick tells Art, Tashi Duncan is gonna turn her whole family into millionaires, and Art later ends up living just that life. If observed and understood keenly, this staging and the callbacks add immense value to the films narrative. Challengers is abundant with scenes of coitus and intense lovemaking akin to the sexual exploration featured in Guadagninos Call Me By Your Name, a different genre film. These scenes are placed at the right intervals to take your mind away from the monotony of tennis. Guadagnino gets us quite gripped in the world of tennis, but he also carefully distracts us away from it in a good way. We hear the commentator say, Code violation, audible obscenity, warning Donaldson, when Art uses profanity. We also see the usage of jargon like Deuce and Advantage, a focus on Tashis backhand stroke, and close attention to how Art and Patrick serve, which makes for a brilliant callback. With these elements, the director ensures that there is enough in the film to appease tennis fans, even as the chemistry and love between the leads keep non-tennis viewers interested in the proceedings. The film only falters towards the end, with an overboard of the tennis ball flying back and forth and with the camera panning to the viewers as they look to both ends of the court. By the time the third act comes, you wonder who will win. The answer to this question swallows the last 20 or more minutes of the film, making us go to the back of our seats from the edge. The audience watching the match in the film starts fanning as the sun comes up. Theyre tired, but they still dont want to miss out on whats next, an emotion we also feel towards the end. Nonetheless, the films final shot answers the million-dollar question in a way that makes you think forever about what it could possibly mean. At the end of the day, Challengers is a simple film about how a friendship of many years is impacted by a talented and captivating woman. The film essentially summarises the complexities of dominance and submission within relationships in a non-straightforward manner. PS: For all those expecting pure tennis or pure intimacy, the film will be a disappointment. And for those expecting pure romance, the only love you get is forty-love. Director: Luca Guadagnino Cast: Zendaya, Mike Faist, Josh OConnor Rating : 3.5/5
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