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Bad Newz Movie Review: Gags all the way

Pill web series review - A hard-hitting show on big pharma corruption

Fly Me to the Moon Movie Review: Scarlett Johansson sparkles and how!

Hindustani 2 Movie Review: Kamal Haasan Shines Bright, As Do The Stunts

Kakuda Movie Review: The laughs and chills go missing in this horror comedy

Sarfira Movie Review: It's an Akshay Kumar film all the way

Wild Wild Punjab Movie Review

Kill Movie Review

Kota Factory - Season 3 Series Review

A Quiet Place: Day One Movie Review

Kalki 2898 AD Movie Review

Maharaj Movie Review

The Exorcism Movie Review

Ishq Vishk Rebound Movie Review

The Boys: Season 4 Review

Inside Out 2 Movie Review

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Gullak Season 4 Review

Bad Boys: Ride Or Die Movie Review

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Bad Newz Review: Vicky Kaushal and Triptii Dimri entertain you in this chaotic comedy of errors

Maharaj: junaid khan’s promising debut; jaideep ahlawat yet again steals the show, hindustani 2 movie review: hindustani 2 has its share of mass moments, wild wild punjab movie review: when luv met fukrey, kakuda movie review: kakuda is an engaging and entertaining flick, sarfira movie review: akshay kumar’s film is a story of pain, sacrifice and victory after challenges, mirzapur season 3 review: excel entertainment’s hit webshow is expectedly satisfying, kill movie review: kill is a violent and stylish action entertainer, ‘beverly hills cop: axel f’ review: eddie murphy is back on the streets in routine netflix sequel low on new…, sharmajee ki beti movie review: sharmajee ki beti is a sweet entertainer, latest articles, stree 2 – official trailer | shraddha k | rajkummar r |....

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फिल्‍म समीक्षा

Sarfira Review: अक्षय ने जीता दिल, इमोशन-मोटिवेशन का अच्छा कॉम्बो है फिल्म

12 जुलाई 2024.

'सरफिरा' अक्षय को देखने के लिए एक अच्छी डिफरेंट फिल्म है, जिसमें वो सैनिक-स्पेशल एजेंट-देश के रक्षक या स्वयं भगवान के रोल में नहीं हैं. और उनके पास उनके सबसे फेवरेट परफॉरमेंस वाले टूल कॉमेडी को इस्तेमाल करने का ऑप्शन भी नहीं है.

Mirzapur 3 Review: सरप्राइज और शॉक... सीरियस हुआ सनक और हनक का खेल

05 जुलाई 2024.

Mirzapur 3 Review: ‘मिर्जापुर’ का दूसरा सीजन जनता के लिए ढेर सारे सवाल छोड़कर गया था. और जवाब आ गया है ‘मिर्जापुर 3’ के साथ. मगर हर जवाब की नियति है, एक नए सवाल से टकराना… और अब टक्कर का सवाल है- क्या ‘मिर्जापुर 3’, शो की बाट जोहती जनता की मूड पर फिट है? या फिर ये आउट ऑफ सिलेबस हो गया है?

कल्कि 2898 आपको क्यों रोमांचित कर सकती है? मरियम को भी है विष्णु के दशावतार का इंतजार

04 जुलाई 2024.

क्या आपने सोचा है कि अध्यात्म और विज्ञान कहां जाकर एक हो जाते हैं? अगर आपको भारतीय संस्कृति और सभ्यता के चरमोत्कर्ष को देखना है तो एक बार कल्कि 2898 जरूर देख सकते हैं.

Review: साइंस-फिक्शन के संसार में मायथोलॉजी का एंगल, शानदार फ‍िल्म है Kalki

27 जून 2024.

'कल्कि 2898 AD' ने प्रभास को 'बाहुबली' के बाद अपने स्टारडम का लेवल मैच करने वाला एक रोल दिया है. इसमें 'महानायक' अमिताभ बच्चन को वो किरदार मिला है जो उनके कद के साथ न्याय करता है. हर फिल्म की तरह इसकी भी अपनी कमियां हैं मगर वो दमदार स्टोरीटेलिंग और शानदार एपिक को डिस्टर्ब नहीं करतीं.

Kalki First Review: माइथोलॉजी, शानदार विजुअल्स और इमोशंस का बेहतरीन कॉम्बो

फर्स्ट लुक के बाद से ही 'कल्कि 2898 AD' का इंतजार जनता टकटकी लगाए कर रही थी और आखिरकार वो वक्त आ गया है जब 2024 की सबसे बड़ी इंडियन फिल्म, थिएटर्स में जनता के सामने है. आइए बताते हैं, कैसी है फिल्म, कैसा है माहौल और कैसा है इस दमदार स्टारकास्ट का भौकाल...

'महाराज' रिव्यू: दिलचस्प कहानी से अन्याय करती है फिल्म, जयदीप ने किया कमाल, जुनैद का डेब्यू फीका

22 जून 2024.

फिल्म की राइटिंग बिल्कुल तितर-बितर हो, तब भी कई बार एक्टर्स का काम आपका ध्यान बांधे रखता है. ‘महाराज’ की चौथी चूक यहीं पर है. महाराज जादूनाथ का रोल कर रहे जयदीप अहलावत ही थोड़ा ध्यान बांध पाते हैं, लेकिन राइटिंग ने उनके किरदार को भी चकमा दिया है.

'बैड कॉप' रिव्यू: अनुराग-गुलशन देवैया हैं मजेदार, दमदार स्टोरी में स्टाइल-स्वैग का खेल

गैंगस्टर्स के माल की डिलीवरी का मामला है. मामले में महकमे के ऑफिसर्स का खुरपेंच है. बीच में जुड़वा भाइयों की कहानी के कुछ पेज हैं. और एक ट्विस्ट है, जो हर जुड़वा भाइयों की कहानी में होता है. सवाल है, शो में कितना कमाल है? जवाब पेश है इस रिव्यू में…

Review: गिरकर उठना-उठकर दौड़ना सिखाती है चंदू चैंपियन, कार्तिक की बेस्ट परफॉर्मेंस

14 जून 2024.

कार्तिक आर्यन स्टारर फिल्म 'चंदू चैंपियन' का इंतजार दर्शकों को बेसब्री से था. अब इस फिल्म ने सिनेमाघरों में दस्तक दे दी है. हम अपने रिव्यू में बता रहे हैं कि आखिर कैसी है ये फिल्म और कैसा है इसमें एक्टर का काम.

Review: दिलचस्प है 'मुंज्या', डर से उछलने पर करेगी मजबूर, फनी मोमेंट्स जीतेंगे दिल

07 जून 2024.

प्रोड्यूसर दिनेश विजान ने हॉरर कॉमेडी जॉनर को ऐसा पकड़ा है कि दर्शकों को मजा ही आ गया है. 'स्त्री' और 'भेड़िया' जैसी फिल्मों को लाने के बाद अब दिनेश, डायरेक्टर आदित्य सरपोतदार के साथ मिलकर फिल्म 'मुंज्या' लेकर आए हैं. कैसी है ये फिल्म जानिए हमारे रिव्यू में.

रिव्यू: इमोशन्स से भरी है राजकुमार-जाह्नवी की फिल्म, 'टूलकिट' है क्रिकेट, मिस करेंगे गेम स्पिरिट

Mr. & Mrs. Mahi Review: राजकुमार राव और जाह्नवी कपूर की मच-अवेटेड फिल्म सिनेमाघरों में रिलीज हो चुकी है. आइये आपको बताते हैं ये स्पोर्ट्स ड्रामा फिल्म उम्मीदों पर खरी उतरने की कितनी कोशिश कर पाई है.

Review: हंसी-इमोशंस के साथ-साथ दबंगई से भरी है पंचायत 3, देखकर आ जाएगा मजा

Panchayat Season 3 Review: दो सालों का समय कैसे बीत गया पता ही नहीं चला. 2022 में सभी की फेवरेट सीरीज 'पंचायत' का सीजन 2 आया था, जो जाते-जाते दर्शकों की आंखों को नम कर गया. अब शो का तीसरा सीजन आ गया है. आइए इस रिव्यू में बताते हैं, क्या कमाल करने वाला है 'पंचायत 3'.

Review: खराब स्क्रीनप्ले ने ब‍िगाड़ा भैया जी का स्वैग, 100वीं फिल्म में निराश करेंगे मनोज बाजपेयी

मनोज बाजपेयी का अपना भौकाल बॉलीवुड में है. बिहार से आए मनोज ने फिल्म इंडस्ट्री में अपनी अलग छाप छोड़ी है. ऐसे में हर किसी को उनकी 100वीं फिल्म का इंतजार था. अब मनोज बाजपेयी की 100वीं फिल्म 'भैया जी' रिलीज हो गई है. पढ़िए इसका रिव्यू.

Review: सस्पेंस-ट्विस्ट से भरी है श्रेयस तलपड़े-विजय राज की 'कर्तम भुगतम', उड़ेंगे होश

ये दुनिया विश्वास और अंधविश्वास के सहारे चलती है. धर्म में किसी को विश्वास दिलाना बेहद आसान है और उसके चलते दूसरों को ठगना भी. लेकिन एक इंसान को किस हद तक बेवकूफ बनाया जा सकता है, ये आप और मैं इमैजिन नहीं कर सकते. इस ही चीज के बारे में श्रेयस तलपड़े और विजय राज की नई फिल्म 'कर्तम भुगतम' बात करती है.

Review: दृष्टिहीन 'श्रीकांत' के रोल में राजकुमार राव ने किया कमाल, बायोपिक को मिस करना होगा गलती

राजकुमार राव स्टारर फिल्म 'श्रीकांत' आज से सभी सिनेमाघरों में रिलीज हो गई है. इस फिल्म में राजकुमार ने दृष्टिहीन बिजनेसमैन श्रीकांत बोला का किरदार निभाया है. कैसी है ये फिल्म और क्यों आपको देखनी चाहिए, जानिए हमारे रिव्यू में.

'हीरामंडी' रिव्यू: दिल को जाल में फंसा लेगा भंसाली का संसार, नजरबंद का जादू हैं मनीषा-सोनाक्षी

ऐसा लगता है कि भंसाली एक क्रिएटर के तौर पर इस शो में अपने काम से बहुत इम्प्रेस हैं और चाहते हैं कि आप भी इससे इम्प्रेस हों. क्या वो कामयाब हुए? कुछ चीजों पर यकीन करने के लिए उन्हें खुद जरूर देखना चाहिए. वो इम्प्रेस करने में कामयाब तो जरूर हुए हैं. बड़ा सवाल ये है कि कितने कामयाब?

Review: दिल की धड़कनें बढ़ाती है नलिनी नेगी–इशिता गांगुली की 'हैप्पी एंडिंग', लेकिन फिर भी है कमी

21 अप्रैल 2024.

हॉरर मूवीज हम में से कई लोगों की फेवरेट हैं. बॉलीवुड में लम्बे वक्त से हॉरर फिल्में बनती जा रही हैं. इसी लिस्ट में अब एक हैप्पी एंडिंग नाम की शॉर्ट फिल्म का नाम भी जुड़ गया है. इस रिव्यू में जानिए कैसी है ये फिल्म.

रिव्यू: इमोशंस के समंदर में खूब गोते लगवाएगी 'चमकीला', दिलजीत-परिणीति ने फूंकी जान

12 अप्रैल 2024.

इम्तियाज अली ने अपनी नेटफ्लिक्स फिल्म में न सिर्फ चमकीला की कहानी बताई है, बल्कि सोच को ये खाद भी उपलब्ध करवाई है कि ये कहानी जानना जरूरी क्यों है. इस तरह के 'मास' कलाकारों का होना जरूरी क्यों है. दिलजीत की एक्टिंग ने हमेशा लोगों का दिल जीता है मगर 'चमकीला' को उनकी बेस्ट परफॉरमेंस कहना गलत नहीं होगा.

'बड़े मियां छोटे मियां' नहीं कर सके कमाल, मनोरंजन के नाम पर मिलेगा धोखा

11 अप्रैल 2024.

एक अच्छी मसाला एक्शन फिल्म में सिर्फ तीन चीजें चाहिए होती हैं- ठीकठाक प्लॉट, नया-क्रिएटिव एक्शन और स्वैग-ह्यूमर को मजबूती से संभाल लेने वाला हीरो. मगर 'बड़े मियां छोटे मियां' इन तीनों में से कुछ भी नहीं दे पाती. स्क्रीनप्ले से लेकर डायलॉग्स तक की कमजोर राइटिंग, महंगे बजट की इस शिप में बहुत बड़ा छेद साबित हुई है.

Review: जोश-जज्बे और बहुत सारे इमोशन्स से भरी है 'मैदान', बेमिसाल हैं अजय देवगन

09 अप्रैल 2024.

हमारे देश के इतिहास में ऐसे कई लोग रहे हैं, जिन्होंने हमारे देश को ऐसे मुकाम पर पहुंचाया, जिसकी उम्मीद किसी ने कभी की ही नहीं थी. ऐसे ही एक शख्स थे सैयद अब्दुल रहीम. अब रहीम की कहानी को सुपरस्टार अजय देवगन अपनी फिल्म 'मैदान' के साथ पर्दे पर लाए हैं. फिल्म देखने से पहले पढ़िए हमारा रिव्यू.

Review: 75 साल की महिला के प्रेग्नेंट होने की फनी कहानी, इमोशनल करेगी फिल्म

05 अप्रैल 2024.

अब 'बधाई हो वाले कांड' को फॉलो करते हुए डायरेक्टर प्रखर श्रीवास्तव और एक्टर बृजेन्द्र काला मिलकर फिल्म 'गुड लक' लेकर आए हैं. ये फिल्म एक 75 साल की महिला अंगूरी पर आधारित है, जो 75 की उम्र में प्रेग्नेंट हो जाती है. फिल्म मजेदार है और इमोशन्स से भरी कहानी बयां करती है.

Review: चोरी-डकैती-मस्ती से भरी है 'क्रू', करीना संग तब्बू और कृति ने लगाया कॉमेडी का तड़का

29 मार्च 2024.

अपनी हाइस्ट मूवी लेकर करीना कपूर, तब्बू और कृति सेनन आ गई हैं. इस फिल्म का नाम है 'क्रू' और इसे देखने के लिए आपको अपनी कुर्सी की पेटी बांधनी पड़ेगी. हम अपने रिव्यू में बता रहे हैं कि इस फिल्म में क्या खास है.

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Bollywood star/producer Salman Khan is a man called India ( literally ) in "Bharat," a corny drama about the title character's quest to support and do right by his family in post-partition India. Khan plays Bharat, a stolid, nearly unflappable man who was separated from his father and younger sister on August, 15, 1947, the day that India gained its independence from England and was separated from modern-day Pakistan. Bharat is basically Paul Bunyan, Captain America, and Forrest Gump all rolled into one—only more Indian. He has lived many lives—as a daredevil motorcyclist, a Navy mechanic, and an oil-drilling wildcat—and each one brings out the most flattering sides of benevolent muscleman Khan, who is very much playing to type.

Bharat is surreally charismatic: he subdues gun-toting pirates by dancing like super-star Amitabh Bachchan , woos the love of his life ( Katrina Kaif ) by reciting poetry, and generally earns better working/living conditions for himself and his peers by delivering impassioned speeches about India's greatness. One of the main pleasures of watching "Bharat" is seeing Khan coast on his considerable charms as he and Kaif—who frequently outshines Khan, as she previously did in the goofy but winsome 2017 spy thriller " Tiger Zinda Hai "—endure, by sheer force of conviction, through several key moments in India's nation-building history. Khan isn't always strong enough to stick several big, sappy emotional moments (ie: whenever he has to do more than just smolder boyishly). But he and his co-stars are sometimes attractive enough to make the otherwise ridiculous "Bharat" seem believable.

And boy, is "Bharat" incredible: Khan's character, now middle-aged, regales his extended family's members with wild (but true enough!) tales of astonishing humble-ness in the face of changing values. In his time, Bharat recalls coming, seeing, and conquering everything he desired. First he masters and then quits a fulfilling job as an Evel Knievel-style stunt driver, but only after he realizes that a thrilling gig and an attractive partner ( Disha Patani ) aren't as important as the example he's setting for India's impressionable youths. Next: Bharat travels to and then flees from "somewhere in the Middle East" to make his fortune, but only after he falls in love with sassy forewoman Kumud Raina (Kaif) and rescues some inept co-workers from a deadly mining incident. Then he travels to Malta as a ship's mechanic (despite having no mechanical skills), but leaves that position after he tames the aforementioned pirates and helps his friend and constant bromantic companion Vilayati ( Sunil Grover ) to romance the woman of his dreams. Each episode in Bharat's life only serves to confirm his affable nature and deathless loyalty. No matter how unsolvable a given problem may seem—only he can solve it.

Khan's broad, muscular shoulders are often capable of carrying such a wide load. He's most convincing when Bharat is primarily defined by Khan's hip-waggling strut, broad pout, and appraising stare. He makes a white, bedazzled jump-suit look good; hell, Khan makes a John-Waters-style pencil mustache look good. Khan's only really unconvincing when he has to cry, beg, or exhibit any other complex emotions, as he must in a crucial scene involving one of Bharat's long-lost relative.

But for the most part, Khan is perfect as the happy-go-lucky Bharat: he's light enough on his feet, as we see in dance numbers where he commands a battalion of back-up dancers, who dutifully lift him upon their shoulders. The man is as bulky and as proud of it as Macho Man Randy Savage during his heyday, but his collaborators usually know how to bring out the best in him. There just aren't enough scenes where Khan gets to flex, since "Bharat" director Ali Abbas Zafar and co-writer Varun V. Sharma inevitably spend way too much time re-establishing their happy-go-lucky protagonist's love for Mother India. Still: there are several scenes where Khan reminds viewers that he's not only very comfortable in his own skin, but knows how to look good for the camera. Sometimes, that's more than enough.

Then again, I often wondered why Kaif wasn't given more screentime. She steals almost every scene she's in with a couple of coy winks and knowing smiles, as in an irresistible musical number where Raina convinces Bharat to talk to his mother about the possibility of being a "live-in" (ie: unmarried) couple. Kaif's joyful, commanding performance brings Rita Hayworth's show-stopping dance in "Gilda" to mind, especially when Kaif's song returns to its chorus: "Baby, come hither." Anything Khan can do, Kaif can do better, like when Raina flirts with Bharat while pretending to be a mustachioed caterer: "The sweets are ready and so am I." Khan's brand of can-do heroism is fine enough, but I don't think I'm alone in wishing that there were a lot more where Kaif's light-hearted, but commanding performance came from.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Film credits.

Bharat (2019)

150 minutes

Salman Khan as Bharat

Katrina Kaif as Aaliyah

Disha Patani as Radha

Tabu as Smriti

Jackie Shroff as Mahabharat

Shashank Arora as Chotte

• Ali Abbas Zafar

Writer (original screenplay)

• Park Soo-jin
• Varun V. Sharma

Cinematographer

• Marcin Laskawiec
• Rameshwar S. Bhagat
• Julius Packiam

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Pathaan movie review: Shah Rukh Khan, and Bollywood, are back with this patriotic spy thriller

Pathaan movie review: shah rukh khan and deepika padukone-starrer has finally got what’s needed in a spy thriller -- non-stop action, glamorous leads, the guy who can save the world, a high-octane set piece, and an emo line at a time..

First things first, Bollywood is back. Shah Rukh Khan is back. Hindi movies have been constructing the ‘desi’ equivalents of the Bond-Bourne franchise for a while now. Tiger has been ‘zinda’ in a pacy double-bill, Agent Vinod has done his bit, BellBottom has flexed and flared, but it is ‘Pathaan’ which has got the spy movie-laced-with-heavy-doses-of-patriotism bouncing off the screen, with Shah Rukh Khan acing the action avatar, flaunting the floppy-hair-glinting-aviators-eight packs (or is it twelve?) look.

That’s because it has finally cracked the requirements of an action movie — non-stop action, leavened by glamorous leads, topped by the guy who can save the world, a high-octane set piece and an emo line at a time.

Bonus: the very svelte Deepika Padukone , matching SRK stride for stride, giving stiff competition to Katrina Kaif , who kicked serious ass in Tiger 2. There’s also Dimple Kapadia, building on her blink-and-miss-role in Christopher Nolan’s ‘Tenet’, as the foxy Moneypenny equivalent. And the chief antagonist, played by John Abraham , who manages to make the most of his lines.

The plot involves a slew of spies, sardonic RAW chiefs (Ashutosh Rana), evil ISI generals and gun-toting terrorists inhabiting global hotspots. Pakistan is back eyeing Kashmir (it will never learn, will it). One of India’s own, Jim (John Abraham) has gone rogue. Gorgeous ISI agent Rubina (Deepika Padukone) is as at home in a bikini as she is in skin-tight spandex. A deadly virus, much more dangerous than Covid 19, is being cooked up in top-secret labs. There’s clear and present danger, and desh-ke-dushman crawling all over the landscape. But breathe easy, because India’s best and bravest, Pathaan (Shah Rukh Khan) is at hand.

The problem of carrying off a two-and-half hour film is evident in the places where you stifle a yawn (yes, it can happen even when everything is galloping along at break-neck speed). Just so there’s nothing missed out, we have Pathaan and Jim facing off in the air (many helicopters were hurt in the making of this film), skimming over ice-floes and under icy water, chasing each other down twisty roads. There’s some amount of roll-your-eyes silliness, par for the course for this kind of flick. Plus, the third person mention of ‘Pathaan’ starts getting tiresome (kitni baar bologe, yaar). Trust us, we got it the first time.

But the slack is gathered up quickly enough: an entire train is commandeered in the service of a special featuring Pathaan and a keffiyeh-sporting spy whose trademark moves had the audience roaring. And then there is that song which created such a controversy weeks before it hit the theatres. There really is nothing in it that we haven’t seen before (YRF songs-on-beaches should rightfully be a separate Bollywood sub-genre) but there’s no denying that Pathaan and Rubina swaying and narrowing their eyes at each other on a Spanish beach, is more a hot proposition than a potato. But let me reassure those worried: nothing besharam happens, sadly, even with nothing between them but a gun.

The film comes at a time when Bollywood, and SRK have been under siege. It’s notable how the star doesn’t go down the Rahul/Raj route which would have been safer in these times. He’s out, loud and proud, claiming his roots, as well as his professional identity built up assiduously over a good thirty years. To that end, writers Sridhar Raghavan and Abbas Tyrewala come up with lines in service of both the real and real character : meta, and fun.

‘Pathaan’ is that sateek jawaab of this beleaguered pathaan, who manages multiple feats in his come-back after a clutch of medium-bad to terrible films : gives it those ones to the #BoycottBollywood brigade, pulls off the dishy-and-dishevelled look rippling those abs, give us a laugh-out-loud moment ( I won’t ruin it for you, but it involves a line from an early SRK character, also in a YRF film, which would have become eminently meme-worthy if memes were a thing those days) and saves Bharat Mata.

Pathaan movie cast: Shah Rukh Khan, Deepika Padukone, John Abraham, Dimple Kapadia, Ashutosh Rana Pathaan movie director: Siddharth Anand Pathaan movie review: 3 stars

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Wogma rating: Add to that never-watched 'To Watch' list

Quick review: A story with so much heart told with such little spark. Instead, the telling is LOUD, s…l…o…w…and basically uninteresting.

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Wogma rating: Watch if you have nothing better to do

Quick review: 2898AD…when asking, ‘Why?’ seems to be the most illogical thing to do. Though, we as an audience are seasoned for that, right? But, 175/180 minutes of boredom! How are we to handle that?

Quick review: The freshness wilts rather quickly as young adults go about sorting their lives and minds out. Their match-ups, break-ups, and patch-ups neither engage nor entertain.

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Wogma rating: Add to 'must watch' list

Quick review: The grey characters, the man-woman equation, the light yet philosophical touches make it a good watch. Wish it didn’t try so hard in the beginning and didn’t rush so badly to the climax.

Srikanth - Review

Quick review: An inspirational story, if there was one! And yet so, human. Well performed too. All good enough to overlook the episodic writing in the first half.

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Love Sex Aur Dhokha 2 - Review

Quick review: Experimental, it is. But not an experiment that I enjoyed. It could be a me thing, though. The film’s subject matter is stuff that I actively avoid in real life. To top it off, my mind couldn’t keep up with the chaos + frenzied presentation.

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Quick review: The film is a metaphor for its subject matter—relationships. It starts with excitement and freshness, goes through a phase where the effort shows, and moves into a plainness, that’s simple but boring.

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Quick review: Ali injects a touch of experimentation with youthful vigor. Rehman pulsates. Dosanjh and Chopra embody innocence & liveliness. Kamil's lyrics enhance the narrative's depth. Together, they weave a compelling narrative.

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Wogma rating: Watch but no rush

Quick review: A quiet, calm film with rushes that a football match can give to fans. Football enthusiast or not, the real-life story makes you clap for its hero. Watch it for the coach of the Indian football team of the 50s and early 60s, S A Rahim.

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Gulmohar Review : A bittersweet and profound story that will tug at your heartstrings

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Shodhan Nadkarni 2298 197 days ago

Manoj Bajpai is just brilliant

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Brilliant Movie

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Very ordinary. None of the substories leave an impression. Nothing is convincing. Everything has to be accepted. 2 stars are for performances of the whole cast. Excellent acting.

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One of the Best movies in a long time! 

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Fighter movie review: Hrithik Roshan, Deepika Padukone’s aerial war drama runs high on adrenaline and patriotism

Fighter movie review: hrithik roshan and deepika padukone's action film keeps you invested and engaged to a point that you barely focus on the loopholes..

Fighter movie review: Bollywood’s love for telling India-Pakistan stories on the big screen knows no bound. And the subgenre of war drama takes precedence, when the director wants to lace it up with an overdose of adrenaline and thrill. Siddharth Anand ’s latest visual spectacle Fighter, has only upped the stakes in the genre, and mostly for right reasons. Also read: Fighter review and release live updates

Touted as India’s first aerial action film with Hrithik Roshan and Deepika Padukone playing top combat aviators, Fighter creates an immersive experience and turns out to be equally impressive. No, it’s flawless, but honestly, the near perfect screenplay keeps you invested and engaged to a point that you barely focus on the loopholes.

Fighter's storyline

Not having watched the Fighter trailer , but from all the buzz on social media, I went into Fighter thinking it’s going to be riding high on the sizzling chemistry between its lead actors, but I was in for a surprise, and a rather pleasant one. An ode to the relentless and undying courage of the Indian Air Force (IAF), Fighter doesn’t digress or distract, and stays committed to its sole intention — presenting a visually stunning experience and give adrenaline rush that lasts for pretty long.

Though it’s never explicitly stated which exact period the film is set in, but there are enough and more references to the deadliest terror attack on Indian air forces in Pulwama, and the subsequent strike by India across the border in Balakot. The film begins with Commanding Office Rakesh Jai Singh aka Rocky ( Anil Kapoor ) forming a quick response team comprising top AIF fighter pilots — Squadron Leader Shamsher Pathania aka Patty (Hrithik), Squadron Leader Minal Rathore aka Minni (Deepika) — to form a special unit called Air dragons. Together they display a great camaraderie, brotherhood and serve several fun moments while bonding with each other and at the same time, fighting the enemies.

The story co-written by Anand and Ramon Chibb offers a fine mix of action, emotion, patriotism, music, humour and a bit of romance too. Though I wish the way Anand has paid attention to minute details when it comes to action and execution, he had thought a bit more about the storytelling, too. The plot is intriguing yet so predictable and doesn’t let you feel awestruck on any big reveal. Dialogues by Hussain Dalal and Abbas Dalal are so average that it actually takes away from the impact the story could have had. I mean we have heard those cliched lines — ‘Time aa gaya hai Pakistan ko batane ka ki baap kaun hai’ or ‘Dushman strategy bana kar attack nahi karega’ — over and over again, and they no longer excite.

Stellar performances from almost everyone

Despite the story barely managing to stay afloat, it’s a smooth screenplay by Chibb that keeps you on the edge of your seat as you watch that spectacular air combat. Here, I’d like to mention Satchith Paulose’s cinematography that gets full credit for making Fighter a visual treat and a stunning extravaganza. The film captures some extraordinarily gorgeous locales and snowcapped mountain ranges that adds to the whole experience. Having said that, Fighter doesn’t suffer from pace issues. After a super engaging first half with a well-timed built-up, the film nosedives in the second half with portions that are forced fit only to cover the desired runtime. It’s only in the last 20 minutes then during the climax that the film picks up and moves towards an enthralling finish.

What’s definitely worth lauding in Fighter is the stellar performances from almost everyone. Hrithik is a sight for sore eyes. With his unmatched swag, chiseled body and glares on, he just owns every frame with so much ease. Whether it’s in the air doing all the aerial combat, donning the uniform or him just doing that stylish walk across the big screen, Hrithik is the strongest link in Fighter. Don’t miss checking out the hand combat between him and a terrorist on Pak land, which is one of the most well-shot sequences.

Talk of Deepika, and she’s once again effortlessly delivers a convincing act. Having seen her do some high-octane action in last year’s Pathaan, I can easily say that she has taken her act a notch higher in Fighter and you won’t complain that it’s not just her glamorous avatar that gets highlighted here. As for their onscreen chemistry, the dance sequence, the flighting and a few emotional scenes are sure to make you go awww.

Anil Kapoor once again shows why he can give the younger lot a run for their money. As a strict and brooding officer, he imbibes the traits so well in his body language.

Fighter is a full-on entertainer

Karan Singh Grover as Squadron Leader Sartaj Taj Gill aka Taj and Akshay Oberoi as Squadron Leader Basheer Khan aka Bash are brilliant in their respective parts, and it’s good to see them having well-etched out characters pivotal to the storyline, and not just supporting cast. Also, watch out for heartwarming cameos from Sharib Hashmi, Ashutosh Rana and Sanjeeda Shaikh, who put a smile on your face with their couple of scenes each.

On the other hand, Rishabh Sawhney as Azhar Akhtar, the head of terrorist organization Jaish-e-Mohammad brings freshness on screen with a strong introduction scene, but sadly, his character leaves zero impact as the lead antagonist. He’s perhaps one of the weakest negative portrayals in a war drama I’ve seen in a long time. There’s barely anything menacing or terrorizing about him barring that red eye, which, after a point looks like he got punched hard during some fight.

Fighter is a full-on entertainer that engages and excites in equal parts. It is high on patriotism but it never resorts to chest-thumping chants of Jai Hind or Hindustan Zindabad. The scene where Hrithik makes a reference to IOP (India Occupied Pakistan) in the climax certainly calls for loud cheers, and proves why Hindi films know best how to show love for their country. Watch Fighter for a pure paisa vasool experience, good looking performances and some gravity defying aerial action that won’t give you a headache but leave you with a sense of pride.

Film: Fighter

Cast: Hrithik Roshan, Deepika Padukone, Anil Kapoor, Karan Singh Grover, Akshay Oberoi, Rishabh Sawhney

Director: Siddharth Anand

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मूवी रिव्यू

मूवी रिव्यू: बैड न्यूज

मूवी रिव्यू: हिंदुस्तानी 2

मूवी रिव्यू: काकूदा

मूवी रिव्यू: सरफिरा

मूवी रिव्यू: वाइल्ड वाइल्ड पंजाब

मूवी रिव्यू: किल

मूवी रिव्यू: शर्मा जी बेटी

मूवी रिव्यू: रौतू का राज

मूवी रिव्यू: कल्‍क‍ि 2898 एडी

मूवी रिव्यू: महाराज

मूवी रिव्यू: हमारे बारह

मूवी रिव्यू: इश्‍क विश्‍क रिबाउंड

सिनेमा, एक ऐसी दुनिया जहां हर शुक्रवार को 'भगवान' बदल जाते हैं। अपने फेवरेट एक्‍टर, एक्‍ट्रेस और डायरेक्‍टर्स की फिल्‍मों रेटिंग पर रखें नजर। किसी फिल्‍म में क्‍या अच्‍छा है और क्‍या बुरा, 'मूवी रिव्‍यू' में जानिए बिना किसी पक्ष-विपक्ष के सटीक एनालिस‍िस, हमारे सबसे बेहतरीन फिल्‍म समीक्षकों की नजर से।

Animal Review

A controversial, godfather-inspired bollywood blockbuster.

This past weekend, Bollywood action-drama Animal topped the global box office and became the widest U.S. release for a Hindi-language film (on 888 screens, surpassing action bonanza Jawan and Disney superhero outing Brahmāstra: Part One ). Its writer-director-editor Sandeep Reddy Vanga has courted controversy for his portrayals of brash, misogynistic protagonists – like in his 2017 Telugu-language drama Arjun Reddy and its Hindi remake, Kabir Singh – and his flippant comments about domestic abuse. Animal is no exception to his unapologetic approach, but it ends up in an awkward position thanks to this real-world context. The first half of its 201 minutes presents a livewire character-thriller in the vein of The Godfather, led by an intense and committed lead performance and sprinkled with enough gory, gonzo action to put Korean ultraviolence to shame. However, just when Animal ought to focus inward, it stagnates in the name of flipping a desperate middle finger at critics of Vanga’s previous work.

The movie opens in black and white in 2056, with an aged Ranvijay “Vijay” Singh (a 40-year-old Ranbir Kapoor in some stellar old-man makeup) celebrating the centennial of his family conglomerate, Swastik Steel. As he reminisces about his late father, a group of party guests hang on his every word as he amuses them with crass penile humor. Most of the story takes place in our present day, but before it kicks off, Vanga etches Vijay’s character in stone. The very next scene is a saccharine flashback to his childhood, during which he tries to cut class (and receives physical punishment from his teacher) just so he can attend his father’s birthday party. However, once he gets home, his excited shouts of “Papa!” simply echo off the walls of an enormous mansion; papa is too busy with the family business to spend time with his actual family.

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It's hardly an unfamiliar premise, and impudent men broken by their relationships to their fathers is a key theme in Arjun Reddy and Kabir Singh. By introducing us to Vijay with scenes from his youth and old age, a tragic picture starts to emerge: This protagonist is a sycophant who worships his father and craves attention he’ll never receive. As soon as the film gets rolling, it creates an immediate and electric tension through this desperate dynamic. Between these chronological bookends, a party for Vijay’s grandfather plants the seeds of animus between Vijay and his slick, assertive brother-in-law, Varun (Siddhant Karnick). Before long, Vijay’s usually-absent father, Balbir Singh (Anil Kapoor, familiar to U.S. audiences from Slumdog Millionaire and Mission: Impossible – Ghost Protocol ) steps in to publicly reprimand his doting son, further inflaming the daddy issues that define him.

This party scene is, for all intents and purposes, Vanga’s take on The Godfather ’s iconic opening wedding sequence – the first of several Coppola homages. Both onscreen occasions introduce family and business dynamics, while bringing a prodigal son one step closer to the fold. Only where Al Pacino’s Michael Corleone was a respected war hero returning from battle, Ranbir’s Vijay is a spoiled and insolent brat on holiday from his expensive U.S. education, and he isn’t all that removed from his family’s imperial leanings. While Michael enters a world of violence, the destructive (and self-destructive) Vijay makes Animal a violent story.

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Even before the violence turns physical (and boy, does it ever), there’s a vicious undercurrent at play thanks to the way Vijay treats the people around him, especially women. Varun may be the immediate target of his ire, but Vijay’s snappy and controlling behavior towards his sisters Reet (Saloni Batra) and Roop (Anshul Chauhan) and his childhood sweetheart Geetanjali “Geetu” Iyengar (Rashmika Mandanna), depicts a man on the verge of exploding. He's a ticking time bomb of rank ugliness; even his romantic proposals are uncouth, with talk of the width of Geetu’s “child-bearing” pelvis.

Vanga is first and foremost a provocateur, so he’s hardly oblivious to the kind of story he’s telling. At one point, he visually quotes a particularly brutal scene from No Country for Old Men , and he even invokes Nazi imagery during one of Vijay’s speeches before a crowd of factory workers. (Vijay denies any parallels between the Hindu swastik in the company logo and the Nazi swastika, but the visual framing says otherwise.) Vijay’s fascistic and deeply sexist statements go hand-in-hand with Ranbir’s pained but empty gaze, hiding not a broken young boy, but the husk of one – a man too far gone to come back from the brink. Granted, for those in the know about the real-world parameters around Vanga’s work, there remains a lingering sense that some audience members might relish in Vijay’s repulsiveness; women who have been critical of his work online have been harassed ad nauseam. If Vanga is trying to have his misogynistic cake and eat it too, then Animal is technically a success in that regard – at least in its first half, during which the camera reveres Ranbir at every turn.

The film becomes quickly front-loaded with action scenes after aping the vital plot point that catalyzes Michael Corleone’s slow metamorphosis from boyscout to ruthless gangster in The Godfather – only in Animal it takes place suddenly and off screen, for the sake of re-introducing Vijay several years down the line with some eye-catching panache. The clean-cut Ranbir emerges with long hair and a full beard (in the vein of Vanga’s other leading men), alongside an entourage of besuited, gun-toting Sikh cousins who seem to have spawned from a video game engine. It’s an entirely bizarre development – and yet, an exciting promise of cinematic maximalism, because they look cool as hell.

Animal eventually spends almost an hour in flashback to thread the needle of these developments, and this topsy-turvy structure isn’t entirely untoward. It reinforces the idea that these physical changes are largely cosmetic, and the man Vijay happens to be underneath is hardly any different. It also allows the buildup to an excessive crescendo, involving a pulsating electronic score, hordes of henchmen in skull and animal masks, a chopper motorbike that isn’t so much “fitted with three machine gun turrets” as it is three machine-gun turrets, and the aforementioned Sikh support crew belting out a victory ballad as Vijay engages in a bloody, close-quarters ax fight. This last bit is the closest thing Animal has to a musical number.

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This gloriously silly midpoint (right before an intermission that most U.S. theaters will unfortunately skip past) comprises lengthy back-to-back-to-back action scenes, the first of which loses all sense of geography, though the remaining two more than make up for it in both filmmaking and concept. They even pave the way for a story where Vijay, now as broken physically as he is emotionally, appears to reckon with the last vestiges of his masculinity, as Ranbir’s commanding (if tongue-in-cheek) bravado slowly curdles into desperation. However, this is also where the movie begins doubling down and losing itself both to an overly convoluted plot, and to Vanga’s relentless, perhaps even unhealthy obsession with poking and prodding at viewers who might find three-plus hours of misogynistic rants to be even mildly unpleasant.

With the end point of all its drama firmly established – much like Vanga, Vijay is obstinate and unchanging – Animal flounders amid a litany of great ideas. It has villains who are alluring both on paper and in performance (one in particular: Abrar Haque, played by Bobby Deol) and who form fascinating mirrors to Vijay’s trajectory. Yet they aren’t even introduced until the final hour, and one of the most exciting conflicts ends up relegated to a mid-credits tease for a potential sequel.

All the while, dialogue-heavy scenes involving Vijay, Geetu, and Balbir end up simultaneously overwrought and underdeveloped. They all circle the same ideas of Vijay’s arrested development in the shadow of his domineering father (a role Anil Kapoor plays to perfection, by the way), but those ideas never evolve in their conception of character or in the way they impact the plot. Each of these exchanges goes on for what feels like forever, with sentimental music that tips them over into vapid self-parody.

The supporting cast are all tremendous, but end up tremendously wasted. Like Ranbir, the aforementioned Deol offers up a simmering and intriguing presence that verges on sympathetic, but Abrar and Vijay don’t even come face to face until the three-hour mark, so their thematic twinning is largely moot. Vijay’s closest confidant, Mishra, is played by Shakti Kapoor, but the Bollywood elder statesman with the most “cool uncle” energy is afforded few layers beyond his function to the plot.

Conversely, Batra, Chauhan, and Mandanna end up a surprisingly vital part of Animal’s tapestry. As Vijay’s sisters, Batra and Chauhan’s silent reactions speak volumes about the impact of his behavior, while Mandanna’s conflicted oscillation between disgust and adoration makes Geetu the second half’s saving grace. But given where all this ends up, the immense talent on display amounts to very little.

Theoretically, the climactic fight scene functions as a self-reflexive look at how far Vijay has fallen. But any statement that it might make comes about three hours too late considering the degree to which Vanga would rather amplify Vijay’s most repugnant qualities without using them to inform (or transform) his story. The last shot before the credits roll is, admittedly, pretty heartbreaking, but Animal is also a weirdly packaged product where scenes continue unencumbered as names scroll across the screen, as though Vanga had no idea how he wanted to end his movie, or what he wanted it to say beyond claiming to be above critique.

With Animal’s final image, Vanga practically says: “I can do whatever I want, no matter who it offends.” He can, and he certainly has here, but it’s cost him a worthwhile movie in the process.

There’s some enjoyment to be had with Animal, but you’d be best off leaving the theater when the “Interval” card pops up on screen, if only to save yourself an extended, unpleasant headache that undoes all the raucous fun. Ranbir Kapoor is deeply committed to his brash and ugly protagonist, but in spite of the movie’s explosive action, director Sandeep Reddy Vanga seems more preoccupied with provoking outrage than with telling a coherent story.

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Bollywood Box Office Collection 2024 Report & Verdict India

Bollywood box office collection 2023-2024 with verdicts india.

Bollywood  Box Office collection in India so far of all Hindi movies in 2024 This list is updated on July 23, 2024. Movie Costs are estimates containing both Production and Prints and Advertising costs. This contains only Net Collections it doesn’t include overseas collections. We have added the big Tamil and Telugu movies with their updated collections for 2023 and 2024 also Here is the complete list.

Latest Bollywood Box Office Report 

Disclaimer to know: 

• This list is complied from various sources and our research. 
• This list is not inflation adjusted
• This list includes India and worldwide box office data
• The figures can be approximate and we do not make any claims about the authenticity of the data. However they are adequately indicative of the box-office performance of the film(s).

Top 10 Best Indian Movies 2022  by Box Office

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'Indian 2' Review: Kamal Haasan-Shankar film is an emotionless social commentary

'indian 2' review: director shankar's sequel to the 1996 hit film is an uninteresting commentary on worldly issues that are addressed in countless other films. underneath the mess lies a promising idea, which is barely explored..

Listen to Story

• 'Indian 2' hit the theatres today, July 12, in three languages
• The film is a three-hour-long unimaginative social commentary
• Directed by Shankar, the film features Kamal Haasan and Siddharth in lead roles

Cast & Crew

Kamal Haasan

Release Date: 12 Jul, 2024

28 years ago, director Shankar and Kamal Haasan gifted 'Indian' to the Tamil audience, who still celebrate it like it's their own. Almost three decades later, the film (read: corruption) still remains relevant. But, Kamal Haasan and Shankar wanted to bring back Indian thatha (grandfather) aka Senapathy to brush up on all the corrupt activities that we've seen so far in umpteen movies, not just in Tamil cinema but across other languages.

Chitra Aravindan (Siddharth) and his three friends run a YouTube channel called 'Barking Dogs,' which focuses on parodies and political satire. They end their calls with 'Let's bark!' (If you think this is absurd, hold your horses). After realising that their videos, despite receiving lakhs of views, had little impact on the audience, the team starts a campaign called 'Come Back Indian.' According to them, only Indian Thatha, aka Senapathy, could put an end to corruption.

Seeing the trend pick up on social media, Indian thatha makes a comeback. This time, he punishes corrupt individuals in Gujarat, Odisha, and other parts of the country in the most bizarre ways possible. Indian t hatha urges his followers to embrace Gandhian ideology and expose corrupt individuals while he continues to uphold Netaji's ideals. However, this decision soon backfires. What happens next forms the crux of the story.

To put it bluntly, 'Indian 2' is probably the weakest entry in director Shankar's filmography. The film feels like a three-hour WhatsApp forward about the corruption present in all sectors. Bribery is the core of this script. Whether it’s securing a government job or obtaining a tender contract for a granite quarry, money matters. In Shankar's words from 'Sivaji: The Boss': 'The rich get richer, the poor get poorer.'

Now, this is a topic that's been done to death. Shankar makes sure to brush up your knowledge to elaborately show every crime and how the one that orchestrates it dies. However, 'Indian 2' has the most absurd ideas. Like 'Anniyan', the sequel shows Senapathy killing corrupt people with different Varmam (martial art from Kerala) techniques.

Take, for example, a rich man wearing a golden suit who acts like a horse after Senapathy strikes him. Another rich man dies while spitting saliva in an anti-gravity room. Not only do these sequences drag on longer than they should, but they are also ridiculous in how they play out. Even Siddharth's storyline feels artificial and forced. He starts an online campaign in an instant, stages a protest in a flash, and a hundred people join him just like that.

'Indian 2' is weak in every aspect. Underneath the mess, there lies ONE interesting idea. But, by then, the film comes to an end - much to the relief of everyone. Performance-wise, Kamal Haasan speaks Hindi, according to the demography, but has been dubbed in Tamil, which is off-putting. The only portion which gave everyone goosebumps, was when the trailer of 'Indian 3' rolled out in the end credits.

Siddharth oversells his performance, but in an emotional sequence in the second half, he delivers. Priya Bhavani Shankar, Rakul Preet Isngh, Rishikanth, Jagan, and other supporting actors hardly add any value. Bobby Simha, along with his sidekick, the late actor Vivekh, has some scope. The songs by Anirudh Ravichander are forgettable and could easily have been removed. However, certain background music from the first part, scored by AR Rahman, brings back nostalgia.

Sadly, the make-up and prosthetics look much more real in Part 1 than in the sequel. The ideas are redundant, which made 'Indian 2' a dull affair. Logic has no place in 'Indian 2' and the so-called rhyming dialogues remind you of all the mokka (boring) jokes you've cracked in your young days.