AP Dhillon calls out Diljit Dosanjh for blocking him on Insta: 'I wasn't planning on saying sh*t'
AP Dhillon shared a video proof after Diljit Dosanjh denied blocking him on Instagram.
Shatrughan Sinha admitted that his sons, Luv Sinha and Kush Sinha had a cultural shock after Sonakshi Sinha married Zaheer Iqbal. The veteran actor further added that he understood his sons' thinking and empathised with them.
Watch: Amid divorce rumours, Aishwarya Rai protects Aaradhya from paps, Abhishek Bachchan looks...
Aishwarya Rai and Abhishek Bachchan have shunned the rumours of their separation while attending Aaradhya's annual day. Here's a viral video in which Aishwarya is seen as a protective mother, shielding Aaradhya from paps.
Jungkook left his millions of fans in awe as he held a surprise live session where he revealed his new home, and gave them a virtual tour of it.
Varun Dhawan recalled crazy fan encounters and admitted that he felt violated after he was kissed forcibly, his butt was pinched, and even a woman entered into his house thinking that he would leave his family for her.
After Akbaruddin Owaisi, Telangana Chief Minister A Revanth Reddy slammed Allu Arjun for his lack of empathy towards human life.
Allu Arjun breaks silence on Pushpa 2 theatre stampede: 10 things he said
Allu Arjun clarified that his appearance was not a roadshow, but rather a gesture of respect, as he was requested to wave to the fans to facilitate their dispersal.
Hrithik recently reacted to Sussanne's mushy birthday post for her boyfriend Arslan Goni, and he stepped up to wish him, drawing ire from netizens.
Abhijeet Bhattacharya recently opened up about his decades-long working relationship with superstar Shah Rukh Khan.
Ayushmann Khurrana rents out his ultra luxurious Mumbai apartment for a whopping Rs... per month
Ayushmann has expanded his wealth by acquiring a portfolio of luxurious properties across India, collectively worth hundreds of crores.
Anupamaa: Meet Adrija Roy who has replaced Alisha Parveen in Rupali Ganguly's show
Adrija Roy is known for her stint in Imlie alongside Sai Ketan Rao. She has not yet reacted to her latest project, Anupamaa.
'I was going to die...': Honey Singh clarifies on Shah Rukh Khan slapping him during US tour
In the documentary, Singh rubbished the rumours and said that it was he who smashed his head during the tour with SRK.
Here's why Hansal Mehta is calling Payal Kapadia's All We Imagine As Light 'technically very poor'
Hansal Mehta called the acclaimed film Payal Kapadia's All We Imagine As Light 'technically very poor', and it has started an online debate. But why did the director write this?
Jennifer Winget famously married her Dill Mill Gayye co-star Karan Singh Grover in 2012 and became his second wife. The couple decided to file for a divorce just two years after the marriage, after which Karan Singh Grover got remarried to Bipasha Basu.
Alisha Parveen took to her Instagram stories and expressed shock at her sudden ousting. She also confirmed that she did not quit the show but was asked to leave by the production house. She also thanked her fans for supporting her during her journey as Raahi/Aadya in Anupamaa.
'UI' movie review: Upendras new flick leaves us reflecting on the status quo
Upendras UI is a film with a challenging and surreal narrative that explores intelligence, identity, and societal norms. The films opening cards may seem like an abstract puzzle designed to test the viewers mind. It begins with a bold disclaimer, urging the intellectually discerning to leave, while daring those who stay to embrace their own folly. This sets the tone for the film, which defies traditional narrative structure and plunges into a complex world of unsettling truths, inviting viewers to engage in a thought-provoking and challenging experience. The opening cards feature brain-like structures in vibrant colours, which, while initially seem nonsensical, represent the fragility of the mind. Just like the sweet yet delicate candy floss, the mind can be easily influenced by external forces. The protagonists mind is depicted as a playground for manipulation, a theme central to the films exploration of freedom. The film explores the dangers of power, knowledge, and technology, showing how their misuse can lead to destruction. Upendra is seen in three shades: first as a director, through the lens of the reviewer Kiran Adarsh (Murali Sharma), who is pushed by Sunaina (Nidhi Subbaih) to review a film. As he watches, he begins to understand how the audience reacts. One notable moment occurs when a couple, after watching the film, leaves, and the wife discards her mangal sutra, declaring, Lets split... freedom, symbolising a personal revolution that challenges both her marriage and the illusion of connection. Another moment involving a lesbian relationship challenges societal norms and reflects shifting human connections in the digital age. The director does not spare social media, either. This is when Kiran Adarsh begins to research the script, taking us into the world of UI. The chaos of the film truly begins when characters Satya and Kalki (both played by Upendra) take center stage, where morality, caste, and religion intertwine, echoing the Kali Yugaan age dominated by ego, desires, and impending destruction. UI presents a society on the brink of unravelling. Satya, embodying moral righteousness and equality, can be compared to Basavanna, a philosopher and social reformer advocating for equality in the caste system. Kalki , a mythological figure associated with the end of the current era, represents the conflict between right and wrong. The film also critiques modern advancements like technology and mining mafia, using the metaphor of rape to symbolise the violation of Mother Earth (Prakriti), which leads to the birth of Kalki , drawing on ancient prophecies like the Garuda Purana. Upendras storytelling is unique, carrying the entire films narrative on his shoulders with impressive performances and production values. Joining him are Ravi Shankar, Sadhu Kokila, and Reeshma Nanaiah, who support his vision. The music and cinematography further support the directors vision, creating an immersive experience. On the technical front, the cinematography by HC Venu is outstanding, capturing both grandeur and subtlety. The background score by Ajaneesh Loknath perfectly complements the visuals, enhancing the atmosphere. However, the songs feel somewhat out of place. The costumes, on the other hand, play a crucial role in defining the characters. UI is filled with philosophical themes, questioning good and evil in a contemporary setting. More than just social critique, it celebrates the human spirits ability to navigate chaos and find meaning. However, its thematic content may be too much for some. In one notable moment, Upendras script is set on fire, symbolising the destruction of outdated narratives and traditions. The films characters mirror the chaotic world they inhabit. The line foolish world mirroring the foolish mirror itself sums up the films essencehuman nature struggles to break free from the societal mirrors around them. In the world of UI, fools and the intelligent coexist. The plot of UI is complex, with numerous twists that make it difficult to explain succinctly. The narrative is layered, and while it touches on religion, caste, and corruption, these themes feel underdeveloped and lack the depth they deserve. The films narrative structure is unique, embedding another film within the main story. This technique, reminiscent of Upendras earlier works like Shhh! and A, adds variety but also contributes to the films complexity. It comes across as a big stage play, addressing larger issues, including the wars happening in other countries and various problems around the world. Upendra seizes the opportunity to talk a line about his political ideology, Prajaakeeya UI is a film that cannot be easily categorised. It is both a social commentary and a philosophical inquiry, a surreal exploration of the human condition. The films story asks fundamental questions about freedom, thinking, and love, and though it offers no easy answers, it leaves viewers reflecting on the state of the world. As the film ends, the words Back to where it was, but why bother, theres no focus linger, reminding us that life moves forward, regardless of the chaos. We must decide where to focus our attention, whether we seek enlightenment, rebellion, or peace. The film suggests that intellectual engagement is key to understanding its meaning. But its not just about intellectit also challenges emotional intelligence, urging viewers to understand both the self and the world. UI demands a balance of both logic and emotion from its audience. With its serious themes, Upendra aims to leave the audience with something to reflect on. We hope that next time, he presents a world seen in a better light, one that leaves a smile on our faces. UI Director: Upendra Cast : Upendra, Reeshma Nanaiah, Ravi Shankar, Sadhu Kokila, Murali Sharma. Medini Kelamane, Nidhi Subaiah, and Achyuth Kumar Rating : 3/5
'I'm already in...': Malaika Arora shares secret after break up with Arjun Kapoor
Malaika Arora has dropped a new reel on her Instagram and it dropped a major hint about her life after confirming her breakup with Arjun Kapoor.
'Bachhala Malli' movie review: Formulaic, yet has its moments
Anyone actively following Indian cinema for the past couple of years knows that anti-hero is the new trend among protagonists. They behave in unconventional, often morally dubious manners, and yet theres an aspirational coolness to their portrayal. In Bachhala Malli , we get a stylish action sequence with Malli (Allari Naresh) early on, showcasing him in all the swagger that a hero is expected to carry. And yet when the title credit drops, its after a visual of Malli being literally down in the dumps. For all the bravado he possesses, Malli is ultimately a wronged man with a tragic past Director Subba Mangadevvi stays true to this brief for a large part of his film. On the surface, Bachhala Malli is a formulaic drama, riddled with familiar devices like class-barrier, business rivalry, dysfunctional families, et al. However, Subba, working with a screenplay by Vipparthi Madhu, weaves in plenty of ideas that lend a sense of emotional novelty to the film. In his late teens, Malli finds himself deserted by his biological father, and slowly lets himself be consumed by abandonment issues. And while he tries to redeem himself many years later, Malli never really succeeds in overcoming his trauma. Its not just the trauma from the days gone by that haunts him, but also his reputation of a man brimming with evil. Even when Malli attempts to establish his own business after deciding to turn a new leaf, his actions continue to be misunderstood, landing him in altercations with his village folk time and again, for various reasons. Although the film never overtly mentions the caste hierarchy, there is a clear dynamic where Malli is established as the underdog while Ganapathi Raju (Achyuth Kumar) is the local power-wielding baron who doesnt tolerate any kind of competition, let alone from an outsider like Malli. The transformation in Mallis life arrives after he meets Kaveri (a passable Amritha Iyer). The etching of this love story makes you uncomfortable at first, with its Sethu-like dynamics between the two lovers. However, the relationship between Malli and Kaveri eventually tugs at your heartstrings with a few tender moments, like the one where a drunk Malli sews Kaveris dress that gets torn at a wedding. In the second half as well, theres a poignant moment where Malli has an interaction with a sex-worker while he gleefully talks to her about his marriage plans, while the woman sincerely listens to him. Within a few moments, we see their equation shift from one between a client and a seller to that of two old friends. It doesnt take long for the audience to realise that underneath the rugged exterior of vices and machismo, Malli is a good-hearted man, merely riddled with emotional baggage. And while the writers struggle a bit to neatly tie in all the conflict points of his story into a smooth-running screenplay, Malli remains a character we root for. So when the going gets rosier with Kaveri, and everything looks promising, we know its only a matter of time before things turn dark for Malli. The second half of Bachhala Malli is a hit-and-miss. While you appreciate the writers intent to merge past and present to essentially tell a story about trauma and healing, the narrative isnt adequately coherent or tonally consistent. Ankith Koyya makes a staggering entry late into the movie as Ramana, but his character gradually gets lost in the maze. Usually, we complain about movies being too long. However, Bachhala Malli could have actually benefited from a little more screen-time being devoted to the dynamics between Malli and Ganapathi Raju, or Mallis relationship with his mother (Rohini). In its haste to circle back to the tragic turnaround events in Mallis life, the screenplay fails in establishing a convincing base for all its conflicts. The world around Malli has a lot of drama, but not enough depth. And yet, there are plenty of things here that deserve appreciation. Vishal Chandrasekhars songs and background score add a lot of value to the film. The cinematography is very impressive in places. However, whats most impressive is how Bachhala Malli treats the characters on the sidelines. Its the supporting cast members like Hari Teja, Rao Ramesh and Rohini who leave great impact with a handful but powerful moments centred on them. Bachhala Malli is largely focused on its titular protagonist (with a very impressive Allari Naresh), and yet what connects the audiences to Malli is the bond he shares with everyone else around him, be it his niece Rajyam (Hari Teja), brother-in-law or his mother. In a touching moment towards the end, as Malli saunters out of a hospital in a critical state, he stops to look at Rajyam and her husband fast asleep, and yet sitting by his side, just like every other time he needed them. The biggest tragedy of Mallis life is how he fell down a path of self-destruction despite having such caring souls around him, and director Subbu Mangadevvi tenderly underlines his tragedy in this moment, like a few others. Bachhala Malli is a conventional yet watchable fare for little moments like this. Cast: Allari Naresh, Amritha Iyer, Rao Ramesh, Rohini, Ankith Koyya Director: Subbu Mangadevvi
Orry's latest reel has left netizens stunned, as he dropped a major hint about Khushi Kapoor and Vedang Raina's relationship.
'Mufasa: The Lion King' movie review: Roars as an ascension story but goes silent in emotions
The story of a reluctant leader rising to power is always a charming idea. One of the most iconic animated characters, Mufasa , seems tailor-made for such an idea. However, Mufasa: The Lion King is hit-and-miss lacking emotional depth. The film begins with Simba (Donald Glover) carrying on the legacy of his beloved father Mufasa (Aaron Pierre) and ruling the Pride Lands with love, justice, fairness, and valour. He rushes to help his wife Nala (Beyonce), who is in trouble, leaving his daughter Kiara (Blue Ivy Carter) in the protection of Timon (Billy Eichner) and Pumbaa (Seth Rogen). The three are soon joined by the wise baboon Rafiki (John Kani) as he narrates to Kiara, the tale of her brave grandfather Mufasa, who accomplished the impossible when all the odds were against him. The film goes against the popular maximBlood is thicker than wateras every character who believes in this saying turns out to be an antagonist. Born to Masego (Keith David) and Afia (Anika Noni Rose), Mufasa is washed away by the floods and gets separated from his parents. He reaches the kingdom ruled by Obasi (Lennie James) and Eshe (Thandiwe Newton), saved by their son and heir to the throne, Taka (Kelvin Harrison Jr). What follows is not just Mufasas rise to power but also a demonstration of how blood alone doesnt forge strong bonds. In fact, the coming together of Princess Nala, her spy hornbill Zazu (Preston Nyman) and Rafiki is a beautiful marriage of their interpersonal relationships and this theme. Music is also a vital cog in the narrative that puts across every characters intention through songs. How boring Mufasa felt to be a single child and always wanting a brother is succinctly captured by I Always Wanted a Brother; the song also acts as a marker of Takas character arc. Taka plays a protective younger brother at first, defending Mufasa from Obasis othering attitude to the point of conceding defeat to let Mufasa stay alive so that he can stay in the pride. The song not only reflects how badly Mufasa wanted someone to call him their own but also Takas big heart and his ability to make several sacrifices. This song is a bar that sets Taka high from where one incident after another, one problem after another, makes his character plummet. Taka comes full circle, turning into the treacherous Scar, with the songs Tell Me Its You and Brother Betrayed. As I mentioned before, the film benefits from scenes where the crown comes calling for Mufasa, but he keeps moving away. Take for instance, the scene where Mufasa asks Eshe why he should toil hard and why he has to learn to hunt and quell enemies, as he is just an ordinary lion and not a prince; his reluctance makes him more suited to reign the forest. Timon and Pumbaa, with their frequent interruptions in between Rafikis story narration, add much-needed comic relief. Apart from the character design and the expository songs, the film also interestingly intertwines mysterious elements with profound philosophy. Animals, those that think and operate in a parochial and territorial mindset, are quick to dismiss the existence of Milele, a place said to be a utopia where everyone lives harmoniously. However, Mufasa and his friends believe in its existence and relentlessly pursue their dream of utopia. The film fails to realise its full potential due to a lack of depth in Mufasas emotional struggles. Mufasa loses his family, and then he quickly finds another family, where he finds comfort; he migrates again, not knowing what awaits him and he finds a comfortable companion in Sarabi (Tiffany Boone). Mufasa doesnt get enough time to grieve, failing to make us empathise with him. He is always one or two scenes away from a solution. Mufasa is known to be a wise and philosophical ruler from the 1994 animated film The Lion King ; however, the screenplay of Mufasa: The Lion King has only few scenes that could convince us that his journey in this film moulded him into the Mufasa we know and love. Film: Mufasa: The Lion King Director: Barry Jenkins Cast: Aaron Pierre, Donald Glover, Tiffany Boone, Kelvin Harrison Jr Rating : 3/5
'Marco' movie review: Gruesome violence makes it an unpalatable experience
Ever since its announcement, Marco has been promoted as the most violent film from Malayalam. All the promos, including the posters, songs and teaser, screamed violence and bloodbath. After watching the film, its safe to say that these claims werent mere marketing ploys. Forget Malayalam, Marco has some of the most disturbing moments ever seen in an Indian film. But the problem is, theres no real purpose or method to the endless spree of killings, which are as gory as they can get. Why is Marco so violent? We dont know. Or why are the syndicate members so barbarous? Again, we dont know. Sure, they are villains and are expected to kill people. But what we see in this film are not the usual murders. Instead, ears are bitten off, limbs chopped with saw machines, heart, eyes, and intestines ripped out, and a baby pulled out from a mothers fetus with bare hands. Yes, you read that right. Marco is a result of the increasing acceptance in Kerala for non-Malayalam films with hyper-masculine narratives. Realising the market potential, the makers have dished out an excessively violent action film, which is a cocktail of films like KGF, John Wick, Animal , and many other such celebrated works. To be fair, director Haneef Adeni shows his potential in crafting a visually appealing, sinister world, with black as the dominant colour. He also conceives and executes a couple of terrific action sequences, which are anything unlike what we usually see in Malayalam cinema. The director, who has a knack for presenting his heroes in stylish avatars, finds the right person for it in Unni Mukundan. Mostly dressed in suits, the actor looks fit and dapper as Marco , the killing machine. But looks aside, the character lacks meat. An adopted son, he is driven by love and loyalty to the Adat family. When one of them is tragically killed, Marco sets off on a mission to nab the killer and protect the remaining family members. Though tried and tested, its still a decent storyline for a revenge film. Haneef Adeni, who has also penned the screenplay, begins the film on an intriguing note. Information is dropped gradually for us to form a faint picture of the Adat family, its head George (Siddique), the gold smuggling syndicate he is part of, and of course, Marco . But the writing isnt consistently engaging. Haneef also employs old-school techniques like letting other characters hype the hero before his intro. Here, we see a bunch of kids singing paeans on their uncle Marco and his bravery. But thats all that Marco is. He is powerful and ferocious but hardly uses his brains. At one point, Jagadish, who plays one of the villains, mocks, I appreciate your valour, but Im really sorry about your brain. For a good part of the first half, Marco is tricked and misled by people around him. Likewise, when his family is under the threat of an attack, Marco doesnt have any backup plans and relies purely on his brute power. What happens over the next 10-15 minutes is gut-wrenching, quite literally, and Marco is reduced to a mere spectator. Marco also has a girlfriend to whom he is engaged, but he hardly cares. When she calls him out as toxic and a perfect red flag, he says, But this obsession and toxicity is my expression of love. Well, he is a flawed guy, straight out of a Sandeep Reddy Vanga film, and he can very well say that. Thankfully, the film steers clear of sexual violence, a norm in revenge flicks these days. The films best part is its action set pieces. A particular sequence modelled on the iconic corridor fight from Old Boy has Unni fighting hundreds of henchmen in a cramped stairway. Unlike the other fights in the film, this brilliantly executed scene has a sense of purpose and urgency. The close-combat choreography also makes it thrilling. Chandru Selvakumars excellent work behind the camera and Shameer Muhammeds editing are a massive asset to the film as they make up a lot of the writing flaws. As mentioned above, Haneef resorts to dated ideas like supporting characters needlessly hyping the hero, cops landing on coincidental evidence, and the villain kidnapping a pregnant woman. Its also just a matter of time before the M134 Minigun template joins the dated idea category. The KGF influence becomes all the more evident in the dialogues, with some of them even ending up unintentionally funny. Like, when Unni asks his accomplice whose hand has just been severed, Ninakku vedhanikkunnundo? Marco becomes extremely hard to sit through towards the end when a family, including kids and women, is subjected to brute torture. Violence is never the problem; why and how you show it holds the key. It is ridiculous how insensitively these portions are filmed and then repeatedly played to amp up the emotions. If it was intended to make the viewer feel Marcos pain and rage, the makers should realise that such a callous portrayal only distances us from the proceedings on screen. But if the idea is to make us squirm and puke, then yes, mission accomplished. Film: Marco Director: Haneef Adeni Cast: Unni Mukundan, Siddique, Jagadish, Abhimanyu Thilakan, Kabir Duhan Singh, Anson Paul, Yukti Thareja Rasting : 1.5/5
AbRam Khan, though young, recently made his debut in the Hindi version of Mufasa The Lion King, alongside Shah Rukh Khan. The film saw SRK's return as Mufasa, Aryan Khan as Simba, and AbRam Khan making his debut as young Mufasa.
Despite making an impressive debut with an average film, this actor left Bollywood in three years, only to return as COO of one of the most influential companies of Bollywood.
Watch: Abhishek Bachchan arrives with Aishwarya Rai Bachchan, her mom at Aaradhya's school event
Abhishek Bachchan came along with Aishwarya Rai and her mother, Brindya Rai to cheer for their daughter Aaradhya
Santosh: Oscars shortlisted film all set to release in India on THIS date
Santosh, a Hindi-language international co-production set in rural north India, has found a spot in the 'Best International Feature Film' category.
The viral shows Kareena Kapoor sitting diagonally ahead of Shahid Kapoor at the event.
Sobhita Dhulipala, in particular, was slammed, with people either sympathising with Samantha or expressing their displeasure towards her relationship with Naga Chaitanya.
The OMG 2 actor Govind Namdev explained that they are working together on a film where their characters are romantically involved, but they are...
Vanvaas is directed by Anil Sharma, whose last release Gadar 2 broke several records at the box office.
Jio Star's Kevin Vaz elected president of IBDF
Kevin Vaz, CEO of Jio Star's entertainment division, has been elected president of the Indian Broadcasting and Digital Foundation (IBDF). Vaz, succeeding K Madhavan, aims to democratize content creation and foster sustainable growth within India's expanding media landscape, emphasising equitable collaborations and progressive regulations.
Arjun Kapoor has always been candid about his parents' split, never shying away from speaking about the time when his father Boney Kapoor fell in love with the late superstar Sridevi, when he was just a child.
'Rifle Club' Movie review: Guns & puns galore in this wildly entertaining film
Aashiq Abus Rifle Club ends on a soaring high, but when the credits start rolling, at least some might feel discontent. Not because the film is bad, but because it seems to get over too soon. Considering the dwindling attention span of todays audience, filmmakers are wary of long runtimes, but still, something like a Rifle Club deserved more. It definitely promised more. With an army of interesting characters and their interpersonal dynamics to follow, one is left with no choice but to be glued to the proceedings. So even if the film was another 20-30 minutes long, not many would have complained. Rifle Club is essentially a clash between two gangs, who deal with guns. While one group trades them, the other operates guns like the back of their hands. When gangster Daya (Anurag Kashyap) and his men land in Rifle Club seeking vengeance for a dear ones death, little do they know about the clubs members. This is a simple, straightforward tale of gang war, but what makes the film refreshing is the setting and the quirky characters that populate it. Much of the action is set in the eponymous rifle club, a sprawling mansion surrounded by thick forests. Its a Wild West-like setting where the law of the land is inconsequential and it all comes down to survival of the fittest. Though it might sound like a bloody, action-packed film, Aashiq Abu opts for a well-balanced treatment, ensuring a fun watch throughout. Rifle Club is scripted by Syam Pushkaran, Dileesh Karunakaran, and Suhas, and the trio has done a fantastic job with the dialogues. The film has plenty of hilarious one-liners and double entendres, mostly connected with hunting. These jokes they pass at each other also subtly underline the dynamics between them. The writers also ensure none of the actors are present just for the sake of it. Since the storyline happens over a single day, there isnt much that we know about these characters. Yet, they all are memorably sketched. It includes a film star trying to get rid of his romantic hero tag; a priest embracing himsa (violence) and declaring thattaam (lets kill); a separated middle-aged couple who still care for each other; a nathoon poru fuelled by a race to shoot the most number of bad guys; a wheelchaired patriarch still thirsty for some action; a menacing father-son duo and lots more. All the club members have distinct traits, but one common thing is their valiancy. Despite being outnumbered by men with modern weapons, none of them show signs of fear or withdrawal. Its as if, all of them, like Vijayaraghavans Lonappan, were waiting for one such day to unleash their fury. And boy, how well they do! The makers also get the casting absolutely right, especially with the choices of Anurag Kashyap and Hanumankind. Though the former has lately been doing several villainous roles, its still a delight to watch him bring his wicked side to the fore. As Daya, Anurag Kashyap is restrained for the most part, but his sinister smiles and glances are enough to suggest the threat this man can unleash. Hanumankind, who plays his son, is the surprise package in the film. He is terrific with his innate attitude, resulting in a magnetic screen presence. Take, for instance, the scene where he enters the rifle club in slo-mo. The mood is further amplified by Rex Vijayan and The Imbachi nailing with the song Killer on the Loose, which plays in the background. It also sets up a kickass interval point, where the club members are at their fearless best. This is the first time the two gangs are coming face-to-face and despite the presence of several actors, the scene truly belongs to Vani Vishwanath and her raging eyes. Talk about a stars aura! Aashiq Abu, who had been a bit off-colour in his last few films, brings his A-game with Rifle Club, where he also doubles up as the cinematographer. He is also aided by Ajayan Chalisserys excellent production design in creating a fascinating storyworld. As a filmmaker, Aashiq also shows commendable sensitivity in portraying violence and bloodshed. The stylised approach to capturing the action makes it all the more enjoyable. His frequent collaborator Rex Vijayan also steps in with a couple of foot-tapping retro-mood songs and a pulsating score. But despite the makers getting a lot right, it still feels the film had a lot more potential than what they eventually settled for. The club members, their brotherhood, and some of their individual stories have immense potential for spinoffs. Hopefully, well get to see some of them back in action again. Film: Rifle Club Director: Aashiq Abu Cast: Dileesh Pothan, Anurag Kashyap, Hanumankind, Vani Vishwanath, Unnimaya Prasad, Vijayaraghavan, Vishu Agasthya, Vineeth Kumar Rating : 3.5/5
Apart from the viral performance of many star kids, the event also marked the joint presence of Aishwarya Rai and Abhishek Bachchan, who are currently embroiled in controversy amid rumours of their divorce. The star couple arrived at the show separately but were spotted leaving together.
As per reports, Digvijay Rathee has been eliminated from Bigg Boss 18 in a surprise mid-week eviction.
Pushpa 2: The Rule has emerged as the highest-grossing film in the Hindi language. Within two weeks of its release, the Allu Arjun film has earned Rs 600 crore. As per the production house, Mythiri Movie Makers, Pushpa 2 has also crossed the Rs 1500 crore mark worldwide.
Diljit Dosanjh, before beginning his show, assured the audience that they would have a good time on his show. The Maharashtra government's advisory was one of the many issued to him in India to not sing songs about drugs and alcohol.
While Aishwarya Rai and Abhishek Bachchan's joint appearance was exciting in itself, fans were more than happy to see the actor's protective side for his wife Aishwarya Rai. In a video shared online, Abhishek Bachchan could be seen guiding Aishwarya Rai into the venue.
Read on to know why Priyanka Chopra fans are miffed with her husband-singer Nick Jonas.
Aishwarya Rai and Abhishek Bachchan have shut down divorce rumours by reuniting and leaving the netizens stunned
Mamta Kulkarni FINALLY admits she was dating with Vicky Goswami: 'I will always have love for him'
In a recent interview, Mamta Kulkarni admitted she was in a relationship with Vicky Goswami and revealed if she married him.
Keerthy Suresh and his long-time partner Anthony Tattil got married in Goa. Her co-star Thalapathy Vijay was among the most distinguished visitors who attended the event.
Sushant Singh Rajput's sister, Shweta Singh wished Ankita Lokhande on her birthday, and also commented on her post, mentioning Sushant Singh Rajput.
Yashvardhan Ahuja will mark his debut with National Award-winning director, Sai Rajesh's directorial. Madhu Mantena will produce the movie with Allu Aravind and SKN Films.
As per reports, the teaser of Salman Khan's next film Sikandar will focus on his intense eyes, promising a visually stunning and high-energy experience.
Raj Kundra has made a shocking claim that his name was dragged in the porn case by a 'business rival'.
But, in the end, things worked out for Rashami Desai, both professionally and personally. She currently is one of the highest-paid actresses on TV. To participate in Bigg Boss 13, Rashami Desai charged a fee of more than Rs 2.5 crore.
Anushka Sharma lauds R Ashwin's 'lasting legacy' after he announces retirement from Indian cricket
Along with Anushka Sharma, other Bollywood celebs also praised R Ashwin for his illustrious cricket career.
Mahira Khan finally admitted that she was offered Sanjay Leela Bhansali's dream project Heeramandi: The Diamond Bazaar. She also revealed why she lost working with the director.
Arbaaz Khan, along with his parents Salim Khan, Salma Khan, and Helen, were seen dining at a new restaurant owned by his ex-wife, Malaika Arora, and their son, Arhaan Khan.
'Feminichi Fathima' movie review: A rollicking rebellion that wakes up to change
Who knew a mattress could spark a revolution? Premiered at the International Competition section at the 29th International Film Festival of Kerala (IFFK), Fasil Muhammeds directorial debut Feminichi Fathima (Feminist Fathima) takes the mundane and turns it into a masterful satire. A womans quiet rebellion against a controlling husband and stifling traditions becomes a hilarious and deeply moving battle for financial independence. Set in the coastal town of Ponnani, the film transforms a seemingly small incident into a richly layered narrative examining autonomy and conditioning. It is a film that mocks the absurdity of conservatism while embracing the complexity of the human experience, all wrapped in a rollicking comedy. At its heart lies Fathima (Shamla Hamza), a housewife navigating life under the thumb of her conservative husband, Ashraf (Kumar Sunil). An Usthad by profession, he is highly respected in his community, yet his backward views on marital life and gender roles are laughable when set against Fathimas growing realisation of her own agency. What begins as Fathimas small attempt to replace a mattressa practical necessityevolves into a deeply personal battle against his authority. The films writing shines through in its subtlety; the way Fathimas resilience is gradually woven into the narrative is handled organically, allowing her growth to feel earned rather than contrived. No dramatic speeches or grand gesturesjust a quiet, steady march towards reclaiming her autonomy. The satire here is deftly layered, as the protagonists small acts of rebelliona simple purchase, a quiet decisionchallenge the very fabric of her repressive environment. One of the most striking elements of Shamlas performance is how she conveys Fathimas internal conflict. While battling Ashrafs overbearing nature, she also faces the constant scrutiny of her unsupportive mother-in-law (played effectively by Pushpa). In a household deeply rooted in conservative Muslim traditions, Fathimas role is reduced to that of a compliant wife and mother, her own needs buried beneath the weight of expectations. Shamla plays these moments with a quiet rage and exhaustion that simmers under the surface, giving her eventual triumph all the more weight. The brilliance of Shamlas performance also lies in how she charts Fathimas transformation without resorting to theatrics, making her triumph a celebration of the ordinary woman. On the other hand, Kumar is the perfect foil for Shamla. He avoids caricature, playing Ashraf as a man whose rigidity stems from his inability to adapt, making the portrayal feel authentic. Equally impressive is Viji Viswanath as Soora, Fathimas spirited confidante. Sooras character, though secondary, is written with care. She subtly inspires Fathima through her own independence, showing that rebellion does not always need to be loud. What also makes Feminichi Fathima special is its refusal to paint its characters in black and white. While Ashrafs controlling nature is undeniable, the film does not demonise or dismiss him entirely. Instead, it explores how people like Ashraf are shaped by years of unchallenged conditioning. His obsession with tradition and his fixation on having more children are not treated as mere villainous traits but as products of a deeply patriarchal mindset. His flaws, though exaggerated for comic effect, become the very thing that empowers Fathima to make her stand. This approach lends the film a welcome nuance, urging understanding while critiquing outdated norms. The mother-in-laws character is equally reflective of such conditioning. Her dismissive remarks about Fathimas duties within the household add another layer to the struggle. Rather than writing her off as a typical antagonist, the film hints at how generational trauma and unchallenged practices perpetuate oppressive traditions. The ingenuity of the film also lies in how it elevates the small into the significant. A mattress may seem inconsequential, but in Fathimas world, it becomes a symbol of autonomy. Her struggle is not about overthrowing systems or demanding grand freedoms; it is about reclaiming the right to make choices, however small. This focus on the small is what makes the film so effective. Whether it is standing up to Ashrafs oppressive rigidity, ignoring the mother-in-laws incessant prodding, or finding solace in Sooras friendship, Fathimas victories are deeply personal yet universally resonant. Fasils ability to mine humour from the mundane is one of the films greatest strengths. Unlike Appuram, another festival favourite this year at IFFK that tackled regressive traditions with sombre introspection, Feminichi Fathima chooses levity, as it draws laughter from the absurdities of domestic life, proving that comedy can be just as potent as anger when critiquing tradition. In spite of the satirical take, the film never attacks religion altogether; rather, it critiques how certain interpretations of religious practices are weaponised against its followers. Fasil also understands the rhythms of small-town life, capturing its beauty and contradictions with equal care. Prince Francis cinematography, too, deserves praise. The films visual language reflects Fathimas world: cramped interiors that feel suffocating, narrow alleyways that echo her confinement, and the expansive outdoors that represent the freedom she craves. Shiyad Kabeers background score, composed with subtlety, enhances the narratives emotional depth. It never overwhelms but instead punctuates key moments, adding to the storys quiet power. At a modest 100-minute runtime, the editing by Fasil himself never overstays its welcome at any point, ensuring that the narrative remains engaging and tightly paced throughout. Feminichi Fathima stands out not just for its message but for how it delivers it, leaving you with a smile and the lingering thought that sometimes, the simplest victories are the most profound. In a world where women like Fathima are often expected to fade into the background, this film celebrates the quiet strength and resilience of the everyday woman. It is a reminder that change begins with the ordinarya new mattress, an assertive decision and a refusal to conform. It also stands as a testament to the power of satire in sparking conversation, offering both humour and thoughtfulness in equal measure. Film: Feminichi Fathima Director: Fasil Muhammed Cast: Shamla Hamza, Kumar Sunil, Viji Viswanath, Pushpa Rating : 4/5
Preeti Panigrahi, Kani Kusruti in a coming-of-age story that lingers in your head
An adolescent girl looks at herself in the mirror. She measures her overgrown axillary hair and applies cream to the corners of her face. A peppy, suggestive song begins to play. Her routine actions take on a rhythm. She breaks into a dance, admiring herself and basking in the sleepy glow of the afternoon sun. She sees herself in a new light. She had just met a boy. Shuchi Talatis Girls Will Be Girls is a story of discovery, filled with such tender moments. Every gesture, every glance conveys something beyond the surface. When we meet the protagonist, Mira (a fabulous Preeti Panigrahi), she is badged as the Head Prefect at her boarding school. She takes to the stage and asks students to recite the pledge after her: As a student of my school...I pledge to abide by the rules. Standing in a line, a tall, dark, and handsome boy only smiles. Abide by the rules. Later, he holds a paper on the notice board as she places pins on it. She hides a smile. Who knew sticking flyers could be so romantic? But this isnt just a surface-level love story. It goes deeper. It is a transformationa slow realization for Mira, empowered by a patriarchal system, that her mother Anila (the consistently amazing Kani Kusruti) might not be the enemy. Anila comes to the hill town where Miras boarding school is, to live with her until her board exams. One night, she catches Mira speaking to Srinivas (the promising Kesav Binoy Kiran), the boy mentioned earlier. She calls him home for a chat. He manages to charm her. He is a good boy, Anila tells her daughter. Very mature for his age. Sri starts frequenting Miras place, forming a bond with Anila that might feel inappropriate at first glance. Here, Shuchis measured writing and masterful character-building come to the rescue. Sris parents are suggested to be absent. When Anila asks him who he is more like, his mother or his father, he replies, saying he doesnt know. They do their thing, I do mine. His relationship with Anila can be interpreted as having sexual undercurrents but can also be seen as just a lonely teens need for a mother figure. It is complex, Oedipal. Anila herself seems to be in a loveless marriage and, in one scene, is seen reading a book with an ominous title: Desire & Doom. Girls Will Be Girls is also a riveting psychological drama. Jealousy and tension is simmering between Mira and Anila, which might have exploded in a lesser film. The scenes are written and edited in a way that feels neither fluffy nor incomplete. Oftentimes, you have to look closely to fully absorb the films depth. Notice the spring in Miras step as she goes downstairs after being appointed Head Prefect. Or how she nervously holds on to the seam of her night suit as her mother interrogates her about who she was talking to so late. The cinematography by Taiwanese cinematographer Jih-E-Ping, who has collaborated with Shuchi before on the short A Period Piece, is warm and serene, like a painting depicting still life. The subtle, pointed performances elevate the film. Debutante Preeti plays Mira with an adorable innocence. Kani, as Anila, speaks the most when she holds back, and Kesav gives a measured performance as a well-mannered manipulator. The film gently touches on themes of gender roles, patriarchy, young love, and teenage hormonal urges. Its strength lies in its restraint. Mira and her mother never have an explosive confrontation, but a simple gesturelike Anila asking Mira to get her own milkshake from the kitchen while she and Sri enjoy theirsfeels like a knife to the chest. Or when Sri asks Mira if he can come by next week, and she stays silent for a long, long time. Heaven hath no fury. Director: Shuchi Talati Cast: Preeti Panigrahi, Kani Kusruti, Kesav Binoy Kiron Streamer: Amazon Prime Video Rating : 3.5/5
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A video of his interaction with The Great Andhra has gone viral, where he was questioned about the poor performance of GOAT and Kanguva in the Telugu-speaking regions.
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'Appuram' movie review: A poignant tale that dismantles superstition
Indu Lakshmis Appuram (The Other Side) is a tender yet unflinching portrayal of familial bonds tested by psychological fragility and societal oppression. Selected for the International Competition section at the 29th International Film Festival of Kerala (IFFK), this evocative film weaves an intense drama with a sharp critique of regressive traditions that still persist. Set against the backdrop of a middle-class family, Appuram unfolds through the eyes of Janaki (Anagha Ravi), a teenage girl caught in the crosscurrents of love, fear and societal constraints. The opening scene, in which Janakis mother Chithra makes yet another suicide attempt, sets the tone for the emotionally intense narrative. This harrowing moment introduces a poignant exploration of Janakis life, shaped by the constant fear of losing her mother. Through this lens, Appuram delves into the fragile dynamics of a family grappling with mental health challenges, societal expectations, and the oppressive weight of superstition. Chithras character is an unsettling study of a woman unraveling under the weight of unfulfilled aspirations and societal strictures. Once a vibrant and ambitious student, her life was stifled when her father denied her the opportunity to pursue higher education. Mini IG delivers a measured performance, portraying Chithras anguish and unpredictable nature with depth. In one particularly heart-rending scene, her refusal to take prescribed medication escalates into a physical confrontation with Janaki, culminating in a vulnerable moment where her husband, Venu (Jagadish), pleads with her not to abandon him and their daughter. Jagadishs portrayal of Venu is nothing short of exceptional. His restrained yet deeply emotional performance anchors the narrative, especially in scenes where he attempts to mediate between Chithras emotional volatility and Janakis growing despair. As an affectionate man grappling with the helplessness of watching the senselessness of what unfolds in Chithras ancestral home, his performance is a study in quiet strength. Jagadishs ability to convey so much with so little is what makes his portrayal of Venu stand out. At the heart of the film is Janaki, caught between her mothers stubbornness and her own fears. Anagha Ravi delivers a deeply affecting performance, capturing the intricate layers of a teenager burdened with responsibilities far beyond her years. Janakis constant vigilancechecking if her mother is still breathing whenever she sees her asleepspeaks volumes about the psychological toll of living under the shadow of loss. Appuram also examines the fine line between faith and superstition, particularly as it relates to gender. Janakis predicaments in Chithras ancestral home are steeped in regressive practices, from menstruation taboos to rituals aimed at exorcising supposed evils. Indu critiques these practices with incisive subtlety, presenting them as both a source of oppression and a reflection of societys collective anxieties. One striking scene, set in Janakis ancestral home, encapsulates this critique. Amidst a discussion about menstruation, an elderly woman claims that if a woman on her period goes near a basil plant, it will wither automatically. A younger woman counters this superstition, pointing out that no basil plant in her house has ever withered because of her presence. She then questions the relevance of such outdated beliefs in an era when women are breaking barriers, even reaching for the moon. This leads to the dismissive retort: Women havent been to the moon yet. While technically accurate, it ignores the progress represented by Christina Kochs upcoming Artemis II mission, which, if successful in 2025, will make her the first woman to travel beyond low Earth orbit. The scene captures how archaic superstitions persist stubbornly, even as society inches closer to remarkable milestones. The film also welcomingly refrains from entirely vilifying faith, instead presenting it as a double-edged swordoffering solace to some while shackling others. This balanced approach adds depth to the narrative, inviting viewers to grapple with the complex interplay of tradition, fear and agency. Indu, who made a promising directorial debut with Nila, solidifies her reputation as a sensitive filmmaker once again with Appuram. Her storytelling is marked by restraint and empathy, avoiding melodrama in favour of quiet, contemplative moments. The films portrayal of Chithras mental illness is particularly commendable, capturing her mood swings and depressive episodes with authenticity, steering clear of both romanticisation and stigma. Bijibals evocative score underlines the films emotional beats without overwhelming them, while Rakesh Dharans cinematography tenderly captures the intimate spaces of the familys life. Appu N Bhattathiris editing ensures a seamless flow, balancing the films focus on individual struggles and broader societal critiques at the same time. Appuram inevitably invites comparisons to Indu Lakshmis previous work as a scriptwriter, Prasanth Vijays Daayam, which also centred on a bereaved teenage girl. While Daayam explores grief through the lens of sincerity in mourning, Appuram focuses on Janakis promise to her mother, which pushes her into a confrontation with societal taboos. Where Daayam featured a father who vehemently opposed regressive practices, Appuram presents a quieter, more nuanced form of resistance, allowing the emotional stakes and social commentary to unfold with greater subtlety and assurance. The film follows a relatively simplistic narrative within a proven template, especially with its crowd-pleasing and emotionally rewarding payoff. Still, this film is a mirror held up to a society grappling with the remnants of its patriarchal past, highlighting how gender discrimination and superstition continue to shape lives, often under the guise of care. It lingers long after the credits roll, its questions and emotions resonating. Overall, in its exploration of love, loss, and liberation, Appuram emerges as a profound human story, beautifully crafted and powerfully acted. Film: Appuram (The Other Side) Director: Indu Lekshmi Cast: Jagadish, Mini I G, Anagha Ravi Rating : 3.5/5 stars
Rashmika Mandanna also shared that being in love means 'partnership and companionship' to her. The Pushpa 2 actresses' statement is going viral on social media, especially after Vijay Deverakonda admitted to dating a co-star, and claimed that he wasn't single.
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We categorically deny any involvement of Badshah or his team in the reported traffic violation. None of the vehicles in our party, including those transporting Badshah, were involved in the incident of driving on the wrong side of the road, the statement from Badshah's management read.
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This is how much Badshah has been fined for traffic violationinGurugram
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Doctors promising a nail-bitting medical drama with an ensemble cast, including Sharad Kelkar, Harleen Sethi, Aamir Ali, Viraf Patell, and Vivaan Shah.
