Shahid Kapoor revealed details of his next film after Jersey.
The production work of Shahid Kapoor’s Jersey was stalled to prevent the further spread of novel coronavirus. Now, the actor is in self-quarantine, enjoying his free time with family.
Recently, the Haider actor reconnected with his fans through a Q&A round on Instagram. While answering fan questions, Shahid revealed details about his next film after Jersey. When a fan asked when is he doing an action film, the actor said, “Yes after Jersey. The next one is an action film.
Shahid was last seen on the big screen in Kabir Singh, opposite Kiara Advani. When a fan asked him if he is doing another film with her, the actor said, “Whenever she has dates
Earlier, the Jab We Met actor shared a post on Instagram, urging fans to stay home. He wrote, “Each one of us can make a difference. We are all in this together. Spread good vibes only.
Like Kabir Singh, Jersey is also a remake of a Telugu film. Shahid is playing the role of a cricketer in the film.
The release date of Dibakar Banerjee’s Sandeep Aur Pinky Faraar has been pushed due to novel coronavirus. The film stars Parineeti Chopra and Arjun Kapoor in lead roles.
Seeing the recent Covid-19 outbreak, many filmmakers have opted to shift the release dates of their films. Recently, Yash Raj Films announced that they are postponing the release of their upcoming film – Sandeep Aur Pinky Faraar.
The film stars Arjun Kapoor and Parineeti Chopra in lead roles. Both the actors took to Twitter to announce the news. They wrote, “Given the coronavirus (COVID-19) outbreak in the country, we have decided to postpone the release of Dibakar Banerjee’s Sandeep Aur Pinky Faraar. The health and safety of everyone is of utmost importance at this time.
Sandeep Aur Pinky Faraar was slated to hit the theatres on March 20. Theatres have been shut in many parts of the country, including Delhi, Karnataka, Maharashtra, Odisha and Kerala, to prevent the spread of novel coronavirus.
Apart from the Parineeti and Arjun’s film, the release date of Akshay Kumar’s Sooryavanshi has also been pushed. The new release date of Sandeep Aur Pinky Faraar and Sooryavanshi haven’t been announced yet.
Even though Varun Dhawan and Sara Ali Khan are the Gen-Y stars and fans are excited to see them in the Coolie No. 1 remake, it was Karisma Kapoor who stole the show at the film’s wrap-up party!
The nation seems to be excited for the new Coolie No. 1, starring Varun Dhawan and Sara Ali Khan, and directed by the man who made the original, David Dhawan. It’s all set to release on May 1, and the makers have finally completed the shoot.
And since it’s now a trend in Bollywood to celebrate a film’s completion with a lavish party, the makers of this comedy were no exceptions. And who better than the star of the original, Karisma Kapoor, to take to her Instagram account to share a fantastic picture? She shared a picture that had Varun, Sara, David, Deepshikha Deshmukh,
Coming to the inside pictures, Deshmukh took to her Instagram account also and the first inside picture was a selfie with Varun and Sara and the excitement on the faces of the actors only indicated the film is special to both of them:
In another picture, she posed with Jackky, Manish Malhotra, and Sophie Choudry with a big shooting clapboard to announce once again the film is complete:
Coming back to the film, Coolie No. 1 is arguably the funniest David Dhawan film, and it itself was a remake of the 1993 Tamil hit, Chinna Mapillai. The leading man, Govinda was at the peak of his career and his collaborations with Dhawan had just begun. The duo made 18 films together and out of them, at least 15 were smash hits. We really missed the original Coolie No. 1 at the wrap-up party.
It seems the actor isn’t on talking terms with Dhawan, after their apparent fallout. Well, Varun and Sara have a very tall order to live up to, let’s see how funny the remake is.
The advance bookings of Tiger Shroff and Shraddha Kapoor’s Baaghi 3 are now open and before it all goes sold out, book your tickets fast!
After a very long time, the advance bookings of a film have opened at least eight days before its release. Yes, we are talking about Baaghi 3, which stars Tiger Shroff, Shraddha Kapoor, and Riteish Deshmukh. Given the massive fan following of the leading man and the popularity of the franchise, the bookings had to open this early.
The Nadiadwala Grandson Twitter page has even announced that the advance bookings of the film are now open. Well, it seems this is one crazy news for all the Baaghians.
Not only that, the actors have a surprise for you all as well, which will give you an opportunity to win free movie tickets.
Given the scale on which the film is mounted on, Baaghi 3 is likely to be another juggernaut in Tiger Shroff’s repertoire. Now all eyes on March 6.
It is that time of the year when the most coveted film award ceremony for Hindi cinema is held. The Bollywood extravaganza and one of the most sought after events, the 65th Filmfare Awards, will take place on Saturday, 15 February at 5 pm at Guwahati’s Indira Gandhi Athletic Stadium.
Nominations This year, once again, honours the best of Bollywood, and the nominations include films like Gully Boy, Article 15, Kabir Singh, Mard Ko Dard Nahi Hota, War and Sonchiriya among others. Zoya Akhtar’s Gully Boy is leading the nominations, with nods across every top category such as film, direction, story, screenplay, music, and lyrics, along with Best Actor and Best Actress nominations for its leads, Ranveer Singh and Alia Bhatt. Anubhav Sinha’s social drama Article 15 is competing for Best Film critics category, against film festival favorites Ritesh Batra’s Photograph and Shonali Bose’s The Sky Is Pink. The nominations were disclosed at an event held at Mumbai where actress Neha Dhupia declared technical and short film awards for the past year. See the full list of nominations here Performances Just like we’ve come to witness over the years, Filmfare Awards night will see some of Bollywood’s biggest stars come together to celebrate the industry. Ahead of the big night of awards, Varun Dhawan spoke about his special act in a Times of India interview. He said, “The act I’m going to do is called ‘Maa Tujhe Salaam.’ It’s an act that I want to dedicate to all the armed forces of the country, to the men and the women, who strive hard to protect our country and give us an opportunity to enjoy our lives.” Ranveer Singh will also perform at the ceremony. Several clips of the actor in practice sessions have gone viral across social media. Madhuri Dixit was also seen recreating her iconic step from ‘Chane Ke Khet Mein’ during a rehearsal session.
Times of India reports Ayushmann Khurrana will perform to the foot-tapping number ‘Arrey Pyaar Kar Le’ from his upcoming comedy-drama Shubh Mangal Zyada Saavdhan. The actor is likely to pay tributes to Hindi cinema legends Raj Kapoor, Dev Anand, Rajesh Khanna, Shammi Kapoor, and Amitabh Bachchan among others.
Kapoor will be next seen playing the role of an ‘eccentric and an angry cop frustrated with the system’ in Mohit Suri’s directorial, Malang (releases on 7 February). This isn’t the first time he has played a cop on screen. Earlier, he wore the khaki uniform in films like RamLakhan and Race. “I was worried how will I do it. I have played similar characters in my past films but not so dark that people hate you. My character has a lot of angst and violence inside him. He is angry towards the department, towards the system, he is also angry with his life. He wants to inflict pain on himself. He takes drugs. He goes crazy. But I wanted my character to be fun because after all it is for a commercial movie and people want to be entertained. So we played a lot with the look. The red glasses and tattoo was Mohit’s idea and we let the natural grey shine. He is 50 plus and he should look like one,” said Kapoor.
Kapoor’s prep has been exhaustive, as usual. He says he invests a lot of time on working on his character, and till the time he doesn’t get a grip on it, he is restless, cranky and irritable. “Also, here I was working with a team of young people – Mohit, Aditya (Roy Kapur) and Disha (Patani). You do get tense with young people around you. Their body is great. My motivation always is how do I add value to my character as well as the film and make the director happy so that he casts me again (laughs). Besides doing workshops and research, I watched films that were close to this film and my character. My son suggested that I watch BadLieutenant because it has a cop with slightly dark shades. Then, I also spoke to some cops and encounter specialists here in Mumbai. I prepped and practiced a lot at home and then called Mohit to tell him how I want to make the character little humorous and bring in a bit of madness to it without looking fake and unreal,” adds Kapoor, who will be next seen in Karan Johar helmed Takht. The film will mark his first appearance in a period drama.
Kapoor’s co-star Kunal Kemmu, who was recently seen in an intense role in Kalank, is excited about collaborating with his director from his debut film (as an adult actor), Kalyug (2005), after 15 years. “I used to often ask Mohit why haven’t we worked together again and he would say that with Kalyug we set a bar and whatever we do next will be judged. We had to push the envelope a bit to recreate the magic and when he came to me with Malang I was organically attracted towards playing a certain character. Now when the film has happened I understand what Mohit meant. It is so special in so many ways because even with Kalyug I was breaking the mould of a child actor and now with Malang it is a part that I have never played before. Parts like these don’t get written so often. The characters are very interesting. The trailer was quite intriguing till it slowly peels off and you have the whole puzzle in front of you,” said Kemmu. “And what Mohit has kept intact within him is his sense of music. He understands relationships very well and gets intensities right which is probably because of Mahesh Bhatt’s mentoring. Malang is by far, visually the most good looking film that he has made.”
including, TrafficSignal, Superstar and BloodMoney failed to make an impact and that probably pushed him to introspect and come to terms with the unpredictable nature of showbiz. Initially, he was tagged as a serious actor but gradually he proved his ease with comedy as well. How does he see his metamorphosis as an actor? “I never categorised myself as an actor. Typecast happens from the industry and sometimes with the audiences because they like you doing something. After I did Kalyug and TrafficSignal the only way I could do a comedy was agreeing to do the ensemble cast Dhol. Lot of people said that why would you do a four- hero film because you had good things happening in the solo space. But I wasn’t thinking the way I think today. I just wanted to prove my comic skills. I felt that one comedy would lead to more comedies in the future and I am glad that with GolmaalAgain I could prove my versatility. I tried to do different brands of comedy and that is how Go Goa Gone was done with characters written differently. I am equally excited to do a comedy as I am to do serious roles and action thrillers. Luckily, Malang and Kalank came my way. Then there was also this web show Abhay that happened which is going in season two now,” said Kemmu, who featured as a child actor in popular films like Sir, Raja Hindustani, Zakhm, Hum Hain Rahi Pyar Ke and Dushman.
“But I haven’t changed my process. Lot of times people say that you took a break but I don’t think any actor takes a break just because he wants to chill. It is because he is either not getting that much work, or work that he is getting isn’t what he wants to do. In my case work reduced because of films not working at the box office. Now, for me, it’s important to choose films that I would enjoy doing and that would also be seen. When I started off I was naïve where I believed that all you have to do is look for a good script. But now I know better what goes into making a film and reaching the audience. Sometimes you wait to get the right film. I love performing and if I had my way I want to act every single day because even when you are on a film set you are spending most of your time in the van waiting. I have the most fun between action and cut,” concludes Kemmu.
Saif Ali Khan’s comedy of errors Jawaani Jaaneman has made a total of Rs 16.80 crore at the Indian box office in five days. The film garnered Rs 1.94 crore on Tuesday. As per reports from trade analysts, the slice-of-life flick has performed well in national multiplexes in the northern sections of India.
Jawaani Jaaneman is faring well as compared to Saif Ali Khan’s past solo releases Chef, Kaalakaandi, Bazaar, and Laal Kaptaan. Saif’s other film, Tanhaji: The Unsung Warrior, featuring Ajay Devgn in the lead, has been having a dream run at the ticketing counters ever since its release in January. The period drama, also featuring Kajol, has made a total of Rs 255.77 crore in its fourth week.
Charting the story of an estranged father-daughter duo who come together after she hunts him down, Jawaani Jaaneman is directed by Nitin Kakkar. The narrative follows a middle-aged man Jasswinder ‘Jazz’ Kapoor (Khan), who has not come to terms with his age and shirks at the mention of responsibility. His life takes a dramatic turn when Alaya F’s character Tia finds him in an alley, and tells him there is a possibility he is her father. Tabu, Kumud Mishra, Kubra Sait, and Farida Jalal are also part of the cast.
Ajay Devgn’s historical drama Tanhaji: The Unsung Warrior refuses to slow down at the box office. The film which opened Rs 15.10 crore on its opening day, managed to enter the Rs 100 crore club on the sixth day of its release. In its second week, Tanhaji has earned Rs 22.12 crore on Sunday, with a boost of Rs 8.17 crore on Monday, and Rs 7.72 crore on Tuesday, bringing its total collection to Rs 183.34 crore. Trade experts note that the epic drama will be Devgn’s second film to cross Rs 200 crore milestone after Golmaal Again.
Bollywood Hungama notes Tanhaji has surpassed the lifetime collection of Devgn’s previous films — De De Pyaar De (2019) and Raid (2018). For Saif Ali Khan, who plays antagonist Uday Bhan Singh, Tanhaji earnings are higher than his last commercial hit Race 2 (2013).
Featuring Ajay Devgn as Maratha warrior Subedar Tanaji Malusare, the Om Raut directorial charts the heroic character’s journey through the Battle of Sinhagad in 1670 AD.
The Uttar Pradesh government recently declared the film tax-free in the state. The announcement was made by the official Twitter account of Chief Minister Yogi Adityanath’s office. The Maharashtra Cabinet on Wednesday approved a proposal to make Tanhaji: The Unsung Warrior tax-free in the state.
While Tanhaji continues to soar, its subsequent release Chhapaak has taken a beating at the office. Meghna Gulzar’s film based on the story of an acid-attack victim Laxmi Agarwal was widely appreciated by the viewers, but failed to create a dent at the box office.
According to Livemint, the film’s theatrical business remains underwhelming with the Deepika Padukone-starrer crashing further over its second weekend, having made Rs 29.25 crore at last count. Despite no major release around last week, the film’s total collection on Monday stood at Rs 32.48 crore.
Varun Dhawan and Shraddha Kapoor’s Street Dancer 3D performed well on the first day of its release. The movie, directed by choreographer-turned-director Remo D’Souza, has earned Rs 10.26 crore. It released alongside Kangana Ranaut’s film Panga, which has earned Rs 2.70 crore at the box office.
Trade analysts have said that film’s business has been affected in Mumbai because of Tanhaji: The Unsung Warrior’s dominance at the ticketing counters. The period drama, featuring Ajay Devgn, Saif Ali Khan and Kajol in the lead, released on 10 January along with Deepika Padukone’s Chhapaak and has since been trending at the box office. Tanhaji has now surpassed the Rs 200-crore mark.
Street Dancer 3D portrays Dhawan as an Indian dancer, and Shraddha Kapoor as a performer from Pakistan. Shakti Mohan, Aparkshakti Khurana, and Nora feature in supporting roles. Mohan will make her Bollywood debut with the film.
While Street Dancer 3D has been dubbed “India’s biggest dance film,” director Remo D’Souza had clarified the movie is unrelated to his other directorial, the ABCD franchise. He said to Mid-Day, “This is completely different from the earlier franchise. Although we are exploring different forms of dance, including jazz and contemporary, when these dance forms are incorporated on the street, they become completely different.”
If you are a fan of director Luv Ranjan’s brand of visceral misogyny in Pyaar Ka Punchnama 1 and 2 and Sonu Ke Titu Ki Sweety, and that is what you are hoping to get in Jai Mummy Di, then you will be disappointed. This new film, despite being co-produced by Ranjan, displays a surprising lack of animosity towards women.
If you saw the trailer of Jai Mummy Di, were intrigued by the hint of a long-buried lesbian romance and were hoping to see a film on this still taboo subject, then too you will be disappointed.
If the pace and sense of humour you spotted in the trailer left you expecting a couple of hours of light-hearted fun, again, disappointment awaits you.
That is the thing about director Navjot Gulati’s Jai Mummy Di. It is not regressive, not progressive, not anything.
Jai Mummy Di is the story of Pinky Bhalla (Poonam Dhillon) and Laali Khanna (Supriya Pathak Kapoor) who have been sworn enemies for decades. They are neighbours in a north Delhi locality and their mutual antagonism is so strong, that their children — Saanjh Bhalla (Sonnalli Seygall) and Puneet Khanna (Sunny Singh) — dare not reveal to the families that they have been in love since school. When the youngsters realise they cannot live without each other, they set out to find the root cause of the mothers’ hatred which, they are told, dates back to their college days. Back then, their common friend reveals, the two were so thick that they were even rumoured to be girlfriends.
The first half of Jai Mummy Di is certainly mildly funny, but the comedy and the film as a whole fizzle out as it gradually becomes clear that Gulati does not know where to take it. This was also the problem with that earlier film he wrote, 2017’s Running Shaadi starring Taapsee Pannu and Amit Sadh — there was the seed of a good idea there, but it got lost on a road to nowhere.
Once Jai Mummy Di starts going round and round in circles, it becomes limp and purposeless. Dialogues are left hanging, extra seconds hang loose and it begins to feel like an amateur stage production where the actors don’t understand poor timing.
Veterans Pathak Kapoor and Dhillon get to shout and grimace a lot, but for a film that is supposedly centred around their characters, Jai Mummy Di has precious little about them and gives them hardly any screen time in the second half. Sunny Singh and Sonnalli Seygall, both of whom are recognisable from Ranjan’s most famous films, look dapper and deliver competent even if not sparkling performances. Singh needs to work on his dialogue delivery though. In several places in the film I found myself straining my ears to figure out what he had just said because of his tendency to swallow words or shoot them out too fast.
Possibly because the Pyaar Ka Punchnamas gained notoriety for their misogyny, this screenplay tries to compensate with occasional moments of overt feminism. Saanjh demands to know why a woman must follow her husband wherever he goes after marriage, and Puneet does not disagree. When they hear of the possibility that their mothers were once romantically involved with each other, they respond with a complete lack of judgement. But these instances of pointed liberalism add up to nothing when actor Alok Nath surfaces intermittently in the narrative as a hanger on, and it appears that although the man has no particular role to play in this film, he has been placed there as an act of defiance against those who asked why he was cast in Ranjan’s last production De De Pyaar De despite the allegations of rape and harassment that were made against him during the Me Too movement in 2018, allegations he responded to with the most bizarre, apathetic non-denial.
His presence is a distracting irritant. What really kills this film though is the supposed big reveal in the end about Laali and Pinky’s intense enmity. It is so poorly conceived and so so ordinary, that you have to wonder why this plain film was ever made. Seriously, why?