Category Archives: CNN RSS Feed

Commando 3 movie review: Vidyut Jammwal flexes his muscles while talking down to India’s Muslims

A study of Bollywood’s Commando series could be the basis for a PhD in opportunism. Commando: A One Man Army, released in 2013, was about a loyal Armyman being abandoned by the Indian government when he is caught in enemy territory. Off screen, India got a new government in 2014 and with it arrived the Hindi film industry’s open subservience to the establishment. So Commando 2: The Black Money Trail in 2017 batted for demonetisation. And now, as Islamophobia rages across India, here comes Commando 3 with its cringe-worthy condescension towards India’s Muslims.

The third instalment of Commando, this one too starring Vidyut Jammwal, is directed by Aditya Datt whose best-known feature so far is the Emraan Hashmi-Tanushree Dutta-starrer Aashiq Banaya Aapne. Jammwal’s Karan Singh Dogra this time is on a mission to track down a London-based terrorist running a conversion racket in India that draws innocent Hindu boys to the Islamic fold and brainwashes them into committing violence for Allah along with other Muslims. Buraq Ansari (Gulshan Devaiah) is as evil as a human can be. We first see him heavily veiled. His face is revealed in a scene in which he forces his little son to watch as he brutally murders a man.

Working alongside Karan is his sidekick Bhavna Reddy played, as she was earlier, by Adah Sharma. The mix this time is sought to be revved up by the addition of the British Intelligence agent Mallika Sood (Angira Dhar) who is based on the same prototype that has yielded the Bond franchise’s ‘Bond girl’.

The women in Commando 3 are occasionally given space to display their fighting skills and in that limited time Sharma and Dhar show us how immensely capable they are, but make no mistake about this: the primary purpose of their existence in this screenplay is to compete for Karan’s attention so that while he goes about the serious business of saving the country, we never forget that he leaves la femmes weak at the knees.

The subordination of women to the hero in Commando 3 is nothing compared to the film’s messaging about Muslims. The problem is not with the depiction of a terror network operating in the name of Islam — that such organisations exist must of course be acknowledged; the problem lies with the manner in which this film seeks to hold all Indian Muslims accountable for Buraq Ansari’s actions in a way that the public discourse has never held India’s entire majority community accountable for the wrongdoings of individual members.

Commando 3 is strategic while building its case. It is careful to prepare alibis for itself even as it lectures India’s Muslims about their duty towards the nation at large and their Hindu brethren in particular.

For instance, mention is made of beef-related lynchings and other genuine grievances of the Muslim community, which can be held up to anyone who accuses the film of being one-sided. Here’s the catch though: if majoritarian fundamentalists object to the acknowledgement of these crimes by their group, the defence is no doubt a scene right at the start where a Muslim terrorist was shown instigating his flunkeys to kill a calf to stir up trouble. The insinuation is that even the lynchings of Muslims have been the fault of Muslims.

While the principal evil Muslim in Commando 3 spends his time plotting against Hindus, the good Hindu hero waits for a Muslim terrorist to finish his namaz before capturing him. Oh look ye, respect!

(Minor spoilers in the next two sentences) The sermonising directed at Muslims peaks in a video appeal Karan publishes, aimed at inspiring the Muslim masses to thwart Buraq’s plan to attack the Hindu masses. The video and the subsequent scenes of Muslims rising up in response are dripping with a patronising attitude. (Spoiler alert ends) They are also amateurishly written and in your face, epitomised by that shot before the credits roll of a Hindu man and a Muslim man standing shoulder to shoulder right after they together fire a flaming arrow at an effigy of Ravan.

Those who wish to understand the difference between the mischief-mongering by Commando 3 and a factual portrayal of Islamic terrorism would be well advised to watch Anubhav Sinha’s Hindi film Mulk (2018) .

Commando 3’s minuses don’t end with its troubling politics. The Indian agents in London come up trumps despite being dumb, lax, over-confident and foolhardy, because these qualities are what the writing team perceives as bravery. (Some people may deem the next sentence a spoiler) For instance, both Bhavna and Karan, despite being undercover agents, blow their own cover early in the narrative to draw the snake out of his hole: she tweets about Karan from her actual ID and he releases a video to the media revealing his identity, both of which are somehow meant to be clever moves. (Spoiler alert ends)

Jammwal, Sharma and Dhar do what is required of them well enough: she and she scrap over him, all three beat up people, they glare, they stare. I experienced a little heartache though at the sight of a fine actor like Gulshan Devaiah reduced to over-acting as Buraq Ansari.

Commando 3 is technically glossy and the fight choreography is slick. The writing though is contrived. The film is filled with lines like this one tossed at Buraq by Karan, “Pehle purdon mein chhupa karta thha, ab mardon mein?” (Earlier you hid behind a veil, now you hide behind men?) as the latter walks towards him surrounded by armed guards, but the dialoguebaazi is tiresome and soulless. Even if this were not the case, it is appalling that the populist stereotypes in the script target an already vulnerable people.

It becomes evident in the end though that none of this comes from a place of conviction. So unsure of itself is Commando 3, that after all its bloodshed and bhashans the end credits run alongside not one but two formulaic song and dance routines.

First comes this kiddish Hinglish number lip-synced by Karan:

Tere peechhe main
Mere aage tu run-run
Kabhi aage tu
Kabhi peechhe main fun-fun
Dekhega jalwa ab toh tu
With my gun-gun
Ek hi toh bachke niklega
Yeh toh done-done.

As if that is not ludicrous enough, there follows Karan dancing with the two women in skimpy, sexy attire, ending on an image of him in silhouette with a Ravan in the background.

Commando 3: Ahead of film’s release, makers unveil Vidyut Jammwal’s introductory scene

Ahead of its theatrical release, the makers of Commando 3 have released an introductory video of film’s lead Vidyut Jammwal. The five-minute footage features Jammwal as a vigilante hero rescuing schoolgirls from a bunch of eve-teasers. The scene gives a glimpse of an action-packed treat that lies ahead for the viewers.

Commando 3 producer Vipul Amrutlal Shah says it’s a bold step and a big gamble to reveal the introductory scene. “Innovation is the key to reach out today to the audience, we have decided to take a bold step to put out a 5 minute clip of the film as it is. It is a gamble but it’s our belief that after watching this clip audience will be compelled to see the film. Fingers crossed,” Shah said in a statement.

The Commando series was introduced in 2011 with Commando: A One Man Army. The second part, Commando 2: The Black Money Trail, came out in 2017.

Helmed by Aditya Datt, Commando 3 also stars Adah Sharma, Angira Dhar and Gulshan Devaiah in pivotal roles.

The trailer of high-octane action drama revealed Devaiah as the antagonist of the upcoming action entertainer. Jammwal’s Karan Singh is tasked to team up with Mallika Sood (Dhar) from British Intelligence and Indian agent Bhawana Reddy (Sharama) to save the nation, and knock down Devaiah’s evil plans. The footage reveals Jammwal using his exceptional martial arts skills to beat up villains double his size, indulge in high-speed car chases, and spew out huge dose of patriot dialogues.

Commando 3 is presented by Reliance Entertainment and Motion Picture Capital, in association with Sun Shine Pictures and Vipul Amrutlal Shah Production.

Nawazuddin Siddiqui on starring in comedy films: I enjoy this genre because you don’t have to think or stress too much

Nawazuddin Siddiqui may be best known for his dark and gritty cinema but the actor is partial to romantic comedies. Hence, he was happy to be offered Motichoor Chaknachoor – probably his first out-and-out lighthearted romcom that hit the screens on 15 November.

“I have done many comedies when I was doing theatre but I didn’t get the chance to do comedies in films maybe because of my intense looks. But I enjoy comedies because you don’t have to think or stress too much in these films like I have to do for my serious roles. I liked the title itself and then I read the script, had a narration and I agreed to do the film immediately. At that time I was doing an intense role for Sacred Games, so I needed to do a light film and I had lot of fun doing Motichoor,” says Siddiqui.

I quite liked my character. I play this 36-year-old guy who is desperate to get married, so much so, that he is fine to marry any girl. Then there is the female protagonist who wants to marry only an NRI so that her social media status looks impressive. So, the first half the situation can be called motichoor and the second half it becomes chaknachoor,” he laughs heartily.

Siddiqui is all praise for his co-star Athiya Shetty, her third film after 2015’s Hero, and Mubarakan with Arjun Kapoor. “Motichoor is her best work so far. For a comedy to work, it is important to have that give and take with your co-star and Athiya was very good at that. She is very professional. She had prepared herself so well and her dialect and accent was perfect,” says the critically-acclaimed award winning actor.

“Comedy is a difficult genre because it is all about timing and it is most important to have that chemistry with your co-star. I believe that less is more in comedy. You don’t have to be so out there and exaggerated. You have to be true to your character and honesty in every emotion is most important,” says Shetty.

On one hand the budding actress wanted to challenge herself in her third outing and on the other, she wondered how she would pull it off with Siddiqui opposite her. “After Mubarakan I wanted to step out of my comfort zone,” she explains.

“I wanted to do something very different. I feel you have to break your own mould, take the risk and that leap of faith. I was extremely excited but at the same time I was very intimidated and nervous. But it was a great opportunity to work with the brilliant actor like him. It kept me on my toes to work even harder. I didn’t want to look like a newcomer. I was also getting the chance of doing the workshop and prep for the role. It is so important these days to prep up as it helps in getting into the skin of the character, and if you have prepped enough then half your battle is won because then you can experiment, be far more creative and have fun playing your part.”

For Siddiqui, the fun element in Motichoor Chaknachoor was how he could relate to several characters in his onscreen family. “There are two families and we see these kind of characters around us in our daily life. There is a mausi, a dadi, chachi, brother, sister…and each have a different take on the girl my character should marry. Then, can my mother be called greedy or not as she has her own selfish reasons for her son’s marriage and for him to continue working in Dubai. You can identify with all these characters,” says Siddiqui.

Improvisation is key for Siddiqui, when it comes to comedy. “I do improvise a lot which is the best thing about a comedy. You can’t do that in something like Sacred Games where the language is very different. If a thought suddenly occurs you can just say it in a comedy and there was a lot of scope to improvise in Motichoor just that I was careful about the choice of words and that it shouldn’t sound silly and forced,” he says.

“Nawaz was busy and he couldn’t attend the workshop. I met him straight on set and we started shooting immediately. I like the fact that we didn’t do any workshop together because then I could meet him while he was already in his character which was very organic,” says Shetty, who particularly liked the journey of her character.

“I play a very stubborn girl and the only aspiration in her life is that her marriage should take her abroad. But what I love about the character is her journey and the stark difference in the second half as compared to the first. How a situation helps her grow and become a better person, so there is an emotional graph. There were some scenes that were emotionally demanding. But once you are prepared then you can play around and have the liberty to play the character in different ways. Besides, I could relate to the fact that she is ambitious, independent and has a mind of her own,” she adds.

Siddiqui has had four to five releases (so far) but what disappointed him the most was the debacle of Photograph and poor response to Sacred Games 2. “Sacred Games 2 was criticised probably because of some of the lengthy characters that were introduced and looks like those didn’t work with the audience. Then, there was also lot of philosophy which must have become boring. Also, people could have missed the characters they had got associated with in the first season. But for me performance-wise the second season was much more difficult,” he says.

Siddiqui will next play a grey character in Sudhir Mishra’s for Netflix adaptation of journalist-novelist Manu Joseph’s book Serious Men. There is also Bangladeshi filmmaker Mostofa Sarwar Farooki’s’ No Land’s Man, which will be shot in New York, Sydney, Bangladesh and India. Siddiqui says that the script explores today’s strange world, with strong humor, satire, and emotion. “Every year I want to do two films as per my liking and choice. These can be the so called art and festival films. Then I want to do two films as per the market and box office demand and I would prefer these to be romantic. But I also want to do more in-depth roles, dark films and experiment more and more,” he says.

However, Siddiqui is happy about the fact that the filmmakers in Bollywood have continued to trust him with masala entertainers. “I am doing films of every genre. It is good that an actor like me is even being offered a Housefull 4 just for a song and an item number. It is like an experiment for me. What else do I want? Sajid (Nadiadwala, producer) called me and I went and did the song in four days and came back. The roles in mainstream films are also interesting enough and fun and it isn’t easy at all. I had to seriously practise this kind of dance (Housefull 4) it wasn’t easy,” he says.

Meanwhile, Shetty, who is longing to doing a dark and intense thriller, is likely to soon announce a project she says is “novel” and “different”. The actress believes in patiently waiting for good roles to come her way. “There are good days and there are bad days. Some days it really gets frustrating. You don’t know what is going to happen next and there is lot of unpredictability but that is the part and parcel of this profession. It is as important as doing films that challenge you, motivates you and makes you happy,” she says.

“It doesn’t make any difference whether you are a star-kid or not. These kind of pressures crop up for any actor. There is always a kind of pressure to achieve, to continue to be successful, or to become successful. I am sure the actors who are at the top have the pressure to sustain. Pressure is inevitable,” adds Shetty, who had once said that she’s learning from her father’s (Suniel Shetty) mistakes. “Well, you can’t pick up from other’s learning but you can always be cautious and be aware. I have seen my dad’s highs and lows, so I have observed and learnt from that. He is my biggest critic and I take his opinion very seriously but the decision ultimately is my own because I have to dedicate my time, effort and energy into something that makes me happy.

Marjaavaan box office collection: Sidharth Malhotra-led action drama earns Rs 24.42 cr over opening weekend

Sidharth Malhotra’s new release Marjaavaan has been well-received at the domestic box office. Within three days of its release, the action drama, which marks Tara Sutaria’s second outing, raked in Rs 24.42 crore. Marjaavaan opened to Rs Rs 7.03 crore on Friday, earned Rs 7.21 crore on Saturday and witnessed a jump on Sunday (17 November) with Rs 10.18 crore.

Marjaavaan has received mixed reviews from critics. In her review for Firstpost, Anna Vetticad wrote, “Marjaavaan is so hackneyed that even the usually restrained Malhotra is driven to intermittent over-acting during its two-hours-plus running time. Deshmukh hams his way through playing Vishnu. Ms Sutaria is bland.”

Malhotra, whose last release was Jabariya Jodi with Parineeti Chopra, plays a local thug Raghu in the film to Riteish Deshmukh’s Vishnu, a local mafia don. The film reunites the two actors onscreen after 2014’s Ek Villain, directed by Mohit Suri.

In an interview with Firstpost, Sutaria called her role in Marjaavaan “challenging.” She said, “There is lot of crying and emoting, and especially since my character is mute, I had to express a lot with my hands and sign language. There is more scope to perform differently in Marjaavaan, whereas Student of the Year 2 was lot more fun. I suppose this one was far more challenging,.”

Marjaavaan is produced by Bhushan Kumar, Divya Khosla Kumar, Krishan Kumar (T-Series) and Monisha Advani, Madhu Bhojwani and Nikkhil Advani (Emmay Entertainment).

Find latest and upcoming tech gadgets online on Tech2 Gadgets. Get technology news, gadgets reviews & ratings. Popular gadgets including laptop, tablet and mobile specifications, features, prices, comparison.

Bala box office collection: Ayushmann Khurrana’s social comedy inches towards Rs100 cr mark

Ayushmann Khurrana, who had a successful year so far, might deliver yet another Rs. 100-crore club blockbuster with Bala. Trade analysts note that Amar Kaushik’s Bala is set to become Khurrana’s third film to enter Rs.100 crore club. In its first week, the film had paced fast to reach the Rs.50 crore mark.

During its Week 3 run, Bala raked Rs. 3.76 crore on Friday, Rs. 6.73 crore on Saturday and Rs.8.01 crore was added in the earnings. Along with Bala’s first week collection, which tallies at Rs. 69.25 crore, the film’s grand total currently stands at Rs.90.74 crore.

Bala has become Ayushmann Khurrana’s third film, after Badhaai Ho and Dream Girl, to cross the Rs 40 crore mark in opening weekend earnings. While the film serves as Khurrana and Yami Gautam’s third film to enter the coveted Rs.100 crore club, it will be second 100 crore grosser for Bhumi Pednekar.

While Khurrana battles premature balding, Pednekar plays a dusky complexioned girl combating prejudice coming her way. Gautam is seen as a local Tik-Tok celebrity, whom Khurrana’s character courts and eventually marries. Saurabh Shukla, Jaaved Jaaferi, Seema Pahwa, and Abhishek Banerjee too are part of the film.

In a recent interview with Press Trust of India, Khurrana called Bala the “most precious” films he has been a part of so far. “I’m humbled with the response and delighted that I have again backed a film that has its heart at the right place,” he added.

Panipat: Mohnish Bahl is everything regal as Nana Saheb Peshwa in new character poster of period drama

The makers of the much-anticipated historical drama, Panipat, have unveiled the character poster of Mohnish Bahl as Maratha ruler Nana Saheb Peshwa, days after the trailer release on 5 November.

Bahl sports a calm smile on his face as he sits on the throne of the Maratha empire. Lead actor Arjun Kapoor, who essays the role of Sadashiv Rao Bhau, has shared the poster on social media as well.

Mohnish made his acting debut with Maine Pyar Kiya in 1989, starring Salman Khan and Bhagyashree, in which he portrayed a negative role. He has had crucial television breakthroughs in his career when he featured in serials like Sanjivani – A Medical Boon, Kahaani Ghar Ghar Kii, Dill Mill Gayye, Kuch Toh Log Kahenge and the like. He last appeared in Jai Ho in 2014 and is presently a part of a reprised version of the serial Sanjivani.

Panipat also stars Sanjay Dutt as Abdali and Kriti Sanon as Parvati Bai. Zeenat Aman will make a cameo appearance in the Ashutosh Gowariker directorial.

Gowariker had confirmed the news of Aman’s cameo appearance in Panipat, in an interview with Mumbai Mirror. “Zeenat ji will be seen in a cameo as Sakina Begum, a feisty character leading her province of Hoshiyarganj. Her character lives within the confines of her kingdom, aloof from the politics of the region, till Arjun’s Sadashiv Rao Bhau turns to her for help,” he said.

Panipat will depict the story behind Third Battle of Panipat, which was fought between the Maratha Empire and the King of Afghanistan, Ahmad Shah Abdali. There were three battles of Panipat in total which shaped Mughal history and rule in the country.

Hindi litterateur, poet, and essayist Ashok Chakradhar has penned the dialogues for the film, which is being produced by Sunita Gowariker via AGPPL in association with Vision World.

The director will bring to the audience another large scale period film after Lagaan (2001) and Jodhaa Akbar (2008). Although his last film, Mohenjo Daro (2016), tanked at the box office, the expectations from Panipat already seem high.

Panipat is scheduled to hit theatres on 6 December.

Bala movie review: Ayushmann-Bhumi crackle and pop while slamming bias…till the film reveals its own prejudice

One of the pleasures of watching Bala comes from its use of language. The characters in this film speak Kanpuriya Hindi which is a delight in and of itself. Better still, they hardly ever substitute words in their mother tongue with English equivalents. On the rare occasions when they do opt for a spot of English, they are hilarious without the narrative taking a condescending tone towards them or getting clichéd. And the dialogues are replete with usages you are unlikely to hear on the streets of Delhi or Mumbai.

So “hasthmaithun” is “hasthmaithun” for the hero, not “masturbation”. His younger brother speaks of his family’s “loloop nazar” on him. And a man is threatened with a “kantaap“, not a slap.

While the going is good in Bala, it is very good. The first half is rip-roaringly funny, simultaneously poignant and insightful as it takes us through the protagonist Bala aka Balmukund Shukla’s journey from a luscious head of hair in his teens to premature baldness in his 20s, from vanity and arrogance to a soul-crushing complex. Director Amar Kaushik, whose calling card for now is the stupendous horror comedy stree, never lets the pace flag pre-interval. Writer Niren Bhatt is clearly determined to make a point about a bald man’s sense of self-worth, stays true to this message and is intelligent while doing so here.

In the second half though, the humour and the intellect dip. For a start, the writing takes the easy way out in a crucial, pivotal situation. (Caution: Some people might consider the rest of this paragraph a spoiler) A woman Bala loves and who loves him back is condemned for rejecting him on discovering his baldness – condemned not merely by characters in the story, but by the film itself – by establishing her as a superficial creature for whom looks matter more than anything else and getting her to dump him solely and entirely because his appearance no longer appeals to her, never allowing her to believe what would have been a reason that might possibly have earned her some audience sympathy: that it is in fact his deception that killed their relationship, not his lack of hair. By getting Bala instead to acknowledge his lies and self-flagellate, the film uses even this opportunity to increase his likeability. This is silly, because it is a sort of ultimatum: once he apologises for lying, she had better forgive him, or else we will quietly slot her as a youknowwhat. It is all cleverly done, all the while ensuring that the judgement is subtle and the tone of the narrative never gets openly vicious towards her. From a film that until then and thereafter is honest about its hero’s character flaws and does not let him off lightly, this is disappointing. (Spoiler alert ends)

The message being driven home by Bala from the start is that we must stop caring about what others think of our looks – that once we begin valuing ourselves, the world will too. Towards this end, it has a dark-skinned heroine called Latika Trivedi who has all her life been derided for her complexion. Getting Bala to be one of those who taunted her in her childhood, and making him a fairness cream salesman in his adulthood even while he battles a bias against early onset baldness, are both nice touches. However, this aspect of the messaging fails because the film reveals its own prejudice against dark skin from the word go.

No one on Team Bala seems to have detected the irony in casting a light-skinned actor as Latika and painting her face black, rather than casting a black woman to play a black woman.

In a film industry that favours goraapan especially for female stars despite marginal evolution on this front in recent decades, Bala‘s unwillingness to seek out a dark-complexioned actor for this role underlines the attitude that a woman whose skin does not match a certain shade is not worthy of being a lead. It appears that Bhatt and his colleagues did not notice either that throughout the film, they treat it as a given that a dark complexion is indeed less and cannot possibly be pretty, and equate it with the side effect of a disease (namely Bala’s alopecia which is a direct result of his diabetes).

The screenplay well and truly bares its prejudice though in Latika’s own reaction to the mythological tale of the hunchbacked woman Kubja who Lord Krishna is said to have miraculously turned into a beauty. Stage enactments of the story in Kanpur are twice shown, both times a dark-skinned woman is cast as Kubja, and Latika – a bright lawyer who had earlier been vocal about her comfort with her skin colour – says after a viewing: “Why did Lord Krishna have to make her sundar? It is possible that someone would have liked her just the way she is.”

“Someone”? Umm, but wasn’t the whole point that we must accept ourselves and not measure our worth by the acceptance of others? Note too that she does not question the casting of a dark-skinned actor as Kubja and the intrinsic assumption that her colour is equal to a lack of soundarya. This is not to say that Latika must be perfect, but that the questioning, unbiased person she has been shown to be until then does not gel with the attitude she displays

This inconsistent characterisation and the team’s lack of awareness of their own prejudice robs Bala of much of its value. Tragic, because when it is dealing with the hero’s baldness it is smart and sharp, the crackling dialogues are rich with cultural references, even the songs and choreography add to the comicality (watch ‘Tequila’, please, and those TikTok videos are out-and-out killers), the comedy involving Bala never crosses the line into insensitivity and the cast is absolutely A-grade.

Ayushmann Khurrana and Bhumi Pednekar live up to expectations by delivering fine performances, and Yami Gautam as the somewhat frivolous professional model Pari Mishra displays a talent for comedy here that will hopefully be explored in future films. The trio are backed by a fabulous ensemble of supporting actors, each jostling with the other in the run-up to a Best Supporting Actor nomination. Every single one of them, including the lesser-known faces (Dheerendra Gautam playing Bala’s younger brother, Sumit Arora as his boss) is given space to shine and they chew up the screen in those moments.

If this film had no Latika (or she was better written and appropriately cast) and the humour of the opening half had been maintained in the second, it would have been near perfect. There is a Latika though and the humour does dip, making Bala a 50-50.

Pagalpanti new posters: John Abraham, Anil Kapoor and team are tickling us with their antics!

John Abraham and Anil Kapoor’s Pagalpanti is all one can talk about thanks to the brand new posters that are not only tickling the funny bones but are also leaving us intrigued about the fun ride. Anil Kapoor took to Instagram to drop the bomb and wrote, “Humare daal main kuch kaala na ho aisa toh ho hi nahi sakta

 

After a lot of shuffle in dates, John Abraham’s Pagalpanti is finally hitting the screens on November 22nd. The film which also stars a hoard of talented actors like Anil Kapoor, Arshad Warsi, Saurabh Shukla, Pulkit Samrat, Ileana D’Cruz and Urvashi Rautela, promises to be a laugh riot and we can’t wait. Anees Bazmee, who has helmed several comedy movies No entry, Singh Is Kinng, Ready, No Problem and the likes will yet again don the director’s hat for this ensemble cast film which has been bankrolled by Bhushan Kumar, Kumar Mangat, and Abhishek Pathak.

In fact, the excitement is hitting the roof right about now thanks to brand new posters that are not only tickling the funny bones but are also leaving us intrigued about the fun ride. Anil Kapoor took to Instagram to drop the bomb and wrote,

Earlier, the news of John injuring himself on sets had hit the headlines. During an action sequence in a truck, John met with an accident and ended up with an arm injury. “John has been advised rest for the next 20 days to avoid aggravating the injury. His co-actors Anil Kapoor, Arshad Warsi, Pulkit Samrat, Ileana D’Cruz and Kriti Kharbanda were also a part of the scene,” a source had informed Mumbai Mirror.

Kumar Mangat, who is producing the film, had also confirmed the accident and had told Mirror, “It was a simple shot, but mistiming caused the injury. As we all know, filmmaker Anees Bazmee is known for making commercial comedy films like No Entry, Ready, Mubarakan and Welcome franchise, which every time strike the chord with the audience. So, with Pagalpanti,

Housefull 4 promo: Akshay Kumar as Bala is sinister and hilarious at the same time!

Akshay Kumar as Bala took over Instagram when he shared the video. Not just that, he even captioned it as, “Main nahi tera baap takleya! Kaise Bala ki shaitaani machaati hai dhamaal, dekhiye in #Housefull4 iss Diwali” and you’ll know when you see it. Dekko!

 

We don’t know about you but we can hardly wait for Akshay Kumar and his crazy Housefull 4 team to entertain us this 25th of October. The film which has been garnering headlines since the word go already has fans rooting and now, thanks to the trailer and songs, the mania has multiplied and how! Be it train rides of the #BalaChallenge, Housefull 4 is the talk of the town and how! Speaking of promotional spree, a new dialogue promo is out and boy, is it hilarious!

Akshay Kumar as Bala took over Instagram when he shared the video. Not just that, he even captioned it as, “Main nahi tera baap takleya! Kaise Bala ki shaitaani machaati hai dhamaal, dekhiye in #Housefull4 iss Diwali” and you’ll know when you see it. Dekko!

Sajid Nadiadwala’s Housefull 4 is scheduled to release this Diwali. It has an ensemble cast which includes- Kriti Sanon, Kriti Kharbanda, Bobby Deol, Rana Daggubati, Riteish Deshmukh, Chunky Panday, Saurabh Shukla, Johnny Lever, Jamie Lever, Pooja Hegde among others. The film is due for Diwali release but it is still in the post-production stage. “It’s a scaled-up film, the biggest in the franchise in terms of budget. The chunk from the Baahubali era that required visual effects was shot much in advance. A team is working on the final edit and VFX,” a source was quoted saying.

 At the trailer launch, Akshay had even joked and added, “I am going to lose all the respect I have earned with serious cinema with Housefull 4. Every time I want a break, I do a Housefull film. It is a fun film; I have fun on the sets. Having said that, making people laugh with slapstick is the toughest of jobs.” Stay tuned to BL for more such updates and scoops!

Ranveer Singh is ready to go wherever Deepika Padukone takes him and it is making us go

It so happened that Ranveer Singh took to Instagram to post a few pictures of himself all dressed up for an event. And Deepika ‘wifey’ Padukone couldn’t resist and dropped a ‘going where??’ to which hubby dearest had the most endearing answer. Check it out here! Pardon us for it has taken this long but we want to crown Ranveer Singh and Deepika Padukone as the king and queen of Insta PDA. Cause admit it, there’s no beating them when it comes to leaving flirty and cheeky comments on each other’s pictures. The couple has mastered the art of cute banters on the gram but hey, we aren’t complaining. If anything it gives us ample of opportunities to gush over #DeepVeer. In fact, when not making us go ‘Aww’ the duo leaves us in splits over their back and forth comments. Do you not remember when Deepika Padukone warned hubby Ranveer Singh about him coming home to a broom? Or him not getting any dinner? Yeah, they don’t tire! So much so that, they have done it again and the end result is making us all mushy. It so happened that Ranveer Singh took to Instagram to post a few pictures of himself all dressed up for an event. And Deepika ‘wifey’ Padukone couldn’t resist and dropped a ‘going where??’ to which hubby dearest had the most endearing answer. See for yourself. Hai na, aww-worthy? Told ya! On the work front, fans(including us) are waiting with bated breath to see them as husband and wife in Kabir Khan’s ’83. Ranveer will step into the shoes of Kapil Dev who is fondly remembered as the Haryana Hurricane. Deepika will portray Kapil Dev’s wife Romi Bhatia Dev in the film which is scheduled to release in theatres on 10th April 2020. ’83 is a biopic based on the life of former Indian skipper Kapil Dev and also narrates the story of India’s historic win at the coveted World Cup in 1983.