Comedy is one of the most diverse yet undefined genres in Hindi film industry, thus filmmakers find their tweaks in order to keep the genre alive and the film standing tall, in an overcrowded arena. ‘Suraj Pe Mangal Bhaari’’, tries hard to stay unique but falls short owing to a few unimaginative, or regular tropes of good-guy behaviour in a satirical world. The film also lacks commentary.

Set in the 90s, the film is the story of Suraj Singh Dhillon, a good Punjabi boy born and brought up in Mumbai with a thriving milk business. His path crosses with Madhu Mangal Rane and there begins a tom-and-jerry chase of revenge and one-upmanship between the twp, where families get involved and things go on a roller-coaster ride. On paper, this Abhishek Sharma directorial is interesting and witty, however, the execution is not at par. The film could’ve been made crisper by cutting off a few minutes here and there, and by letting go a few one-liners that don’t actually pack any punch.&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/hs2MPHRkP9A" width="560"></iframe>

The film’s biggest strength is its cast. Diljit Dosanjh is the star of the film in every sense possible. The singer turned actor has a screen presence and comic timing that might remind you of Kishore Kumar in films like ‘Chalti Ka Naam Gadi’ and ‘Do Dooni Chaar’. He is effortless on screen and probably the show-stopper in a film laced with seasoned actors like Manoj Bajpayee, Supriya Pilgaounkar, Vijay Raaz, Manoj and Seema Pahwa. In scenes between him and Bajpayee, Dosanj takes away the spotlight with his freshness and innocence. Bajpayee delivers what is expected of him, but appears a bit tired and worn-out in certain scenes. Fatima Sana Sheikh’s Tulsi Rane deserved more meat than what was offered. She is a lost cause in the tug-of-ego between her brother and her lover. For a talent like Sheikh, we expect better than just a half-hearted attempt to portray an ambitious woman looking to become Mumbai's first female DJ.&nbsp;

The film does not have any larger issue in hand. It is paced fine and keeps you invested with the characters and their emotions. There’s certain nostalgia of the 90s, that’s refreshing. However these are the points that draw this film back as well because you see on screen the potential of something great, but that greatness is never achieved, making you feel a bit disappointed in the end. What could have been a great comic ride, turns into a passable pop-corn muncher. Nothing bad, but nothing great either. The film in all likelihood falls in a forgetful pit like numerous other romantic-comedies.&nbsp; 
&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YaSVWTkBaeA" width="560"></iframe>

‘Suraj Pe Mangal Bhari’ could’ve been another rib-tickler with a bit of strong writing and even stronger editing. However, giving credit where it's due, Diljit Dosanjh deserves more films like this to show the world of cinema that what an asset he could be, only if we know how to retain him with entertaining stories because this Punjabi singer knows his worth pretty well and filmmakers have to pull up their socks to fully tap into the potential that he carries.&nbsp;

Overall, watch this film if you want to see Diljit hold his ground strongest in an actor-driven, satirical-comedy or if you are a lover of the genre and don’t mind a passable flick. Otherwise, 'Suraj Pe Mangal Bhari' doesn’t offer anything exquisite or unique. It’s a promise half-fulfilled.&nbsp;

Comedy is one of the most diverse yet undefined genres in Hindi film industry, thus filmmakers find their tweaks in order to keep the genre alive and the film standing tall, in an overcrowded arena.

Comedy is one of the most diverse yet undefined genres in Hindi film industry, thus filmmakers find their tweaks in order to keep the genre alive and the film standing tall, in an overcrowded arena. ‘Suraj Pe Mangal Bhaari’’, tries hard to stay unique but falls short owing to a few unimaginative, or regular tropes of good-guy behaviour in a satirical world. The film also lacks commentary. Set in the 90s, the film is the story of Suraj Singh Dhillon, a good Punjabi boy born and brought up in Mumbai with a thriving milk business. His path crosses with Madhu Mangal Rane and there begins a tom-and-jerry chase of revenge and one-upmanship between the twp, where families get involved and things go on a roller-coaster ride. On paper, this Abhishek Sharma directorial is interesting and witty, however, the execution is not at par. The film could’ve been made crisper by cutting off a few minutes here and there, and by letting go a few one-liners that don’t actually pack any punch. The film’s biggest strength is its cast. Diljit Dosanjh is the star of the film in every sense possible. The singer turned actor has a screen presence and comic timing that might remind you of Kishore Kumar in films like ‘Chalti Ka Naam Gadi’ and ‘Do Dooni Chaar’. He is effortless on screen and probably the show-stopper in a film laced with seasoned actors like Manoj Bajpayee, Supriya Pilgaounkar, Vijay Raaz, Manoj and Seema Pahwa. In scenes between him and Bajpayee, Dosanj takes away the spotlight with his freshness and innocence. Bajpayee delivers what is expected of him, but appears a bit tired and worn-out in certain scenes. Fatima Sana Sheikh’s Tulsi Rane deserved more meat than what was offered. She is a lost cause in the tug-of-ego between her brother and her lover. For a talent like Sheikh, we expect better than just a half-hearted attempt to portray an ambitious woman looking to become Mumbai's first female DJ. The film does not have any larger issue in hand. It is paced fine and keeps you invested with the characters and their emotions. There’s certain nostalgia of the 90s, that’s refreshing. However these are the points that draw this film back as well because you see on screen the potential of something great, but that greatness is never achieved, making you feel a bit disappointed in the end. What could have been a great comic ride, turns into a passable pop-corn muncher. Nothing bad, but nothing great either. The film in all likelihood falls in a forgetful pit like numerous other romantic-comedies. ‘Suraj Pe Mangal Bhari’ could’ve been another rib-tickler with a bit of strong writing and even stronger editing. However, giving credit where it's due, Diljit Dosanjh deserves more films like this to show the world of cinema that what an asset he could be, only if we know how to retain him with entertaining stories because this Punjabi singer knows his worth pretty well and filmmakers have to pull up their socks to fully tap into the potential that he carries. Overall, watch this film if you want to see Diljit hold his ground strongest in an actor-driven, satirical-comedy or if you are a lover of the genre and don’t mind a passable flick. Otherwise, 'Suraj Pe Mangal Bhari' doesn’t offer anything exquisite or unique. It’s a promise half-fulfilled.

'Suraj Pe Mangal Bhari' review: Diljit Dosanjh takes the spotlight in this otherwise passable comedy

Rohena Gera’s&nbsp;internationally acclaimed debut feature,&nbsp;‘Sir’&nbsp; is in the theatres for a post-pandemic release. 
 
The film, starring&nbsp;Tillotama Shome,&nbsp;Vivek Gomber and Geetanjali Kulkarni had its World Premiere at the&nbsp;71st&nbsp;International Cannes Film Festival, in 2018, in the Critics Week competition section&nbsp;making Rohena Gera the first woman filmmaker to bag&nbsp;Gan Foundation Award for distribution. 
 
Talking about the delay in the release of the film, the director, tells WION, "I made the film for India and then it had a crazy international response, from where it got picked up for distribution in many other countries. I got busy travelling and wanted to give proper time to its India release." 
 
The film initially aimed for a March 20 release this year, however, the pandemic followed by a nation-wide lockdown forced its release to shift to November 13. "It's finally out and I hope the government keeps the theatres open till then," quips Rohena.&nbsp; 
 
 
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/tXxoTemNSDA" width="560"></iframe> 
Before 'Sir', Rohena directed a documentary, 'What's Love Got to Do?', a piece that questioned the idea of arranged marriages. On the concept of the docu-film, Rohena says, "I love love-stories. Films that question the idea of love-stories in urban spaces. People like us, urban people, would watch all kind of love-stories but still opt for arranging marriages.' What's Love' raised a basic question, is love more important or is the arrangement more important." 
 
Carrying on her love for romantic stories, Gera says, "In this film when you say is love enough, it's really about if love can overcome barriers. The film really appeals to the best in us." 
 
The director has a really interesting way to look at romance and calls love 'an equaliser'. "What I love about love-stories is that when you are in love with a person you automatically sees the other person's point of view. When you fall in love with a person different from you, you get an exposure to see the world from a completely different perspective. There's real beauty in that idea of enriching your life through a love story." 
 
Produced by Inkpot Films (Brice Poisson and Rohena Gera), and co-produced by Ciné-Sud Promotion, the film&nbsp;is a story of&nbsp;a Marathi widowed domestic&nbsp;worker who finds a complicated romantic spark with her recently single employer who’s just returned from the US after breaking off his engagement.&nbsp;&nbsp; 
 
Speaking about the birth of the film, Gera elaborates, "We have a very intimate relationship with people who work at our homes, they know almost all our life's details, yet there's a distance with which we treat them. This is something that has always bothered me. I wanted to make a film that could address the class-difference, without being preachy." 
 
So what made her turn to a love-story? The director answers, "Probably because of 'What's love' and working on the idea of love, I decided to approach this difference through a love story. In a love-story, two people are pretty much equal. However rich or poor you may be, if a person you love, doesn't love you back, it doesn't matter what you have in your bank account. So, I thought it was a nice way to make each character equal and then to explore what is the barrier actually. Love-story was a way to approach the class difference in a gentle way. " 
 
 
 
Tillotama, who essayed the role of the house Alice in Mira Nair's 'Monsoon Wedding', was Gera's choice for protagonist Ratna for several reasons, however, the director was a little sceptical over getting a positive reply from her initially. Recalling the thought, she says, "Tillotama is a wonderful actress. She's also extremely hardworking and sincere. 'Monsoon Wedding' was a big fear for me because I was afraid she would reject the film in order to not be typecast. But, she read the script, liked the role and wrote back, sounding all excited.&nbsp; 
 
"I think she's the right person for the film because the portrayal of Ratna is a complex one. She's a happy character, but she's not a stupid-happy character. She's an optimistic person but she's had a tough life. There's a level of complexity that Tillotama can bring to a role, where she maintains a dignity required by the character.", she adds 
 
When it comes to sensitive issues, there's a risk of misrepresentation that a maker might face. On being asked if she feared misappropriating the class-difference, Gera answers, "She's convincing as a domestic worker. Tillotama is very sensitive to misrepresentation and careful about misappropriation.&nbsp;For me, it's about being sensitive while writing. I've written the film quite carefully so as to not talk down in any way to the character." 
 
Elaborating on the same lines with a gendered example, Gera feels that its similar issue for women's character to be written from a woman's perspective. She says "It so happens that there are times when there are men writing women's characters. Someone asked me about the idea of Cinderella yesterday if I was writing an anti-Cinderella story. But, Cinderella never entered my mind, I'm a woman writing about a woman. I'm not waiting for somebody to come and save her." 
 
"The fundamental structure of a man saving a woman has not come from a woman writer. Along the way, who wrote those fairy-tales. those stories?" she asks.&nbsp; 
 
The onset of the pandemic and shutting down of cinema halls has seen a larger chunk of production houses and independent films move to streaming platforms. Countering the perception of festival films are meant for a niche audience, Gera wants 'Sir' to reach a larger audience, the people it's actually meant for. 
 
&nbsp;She feels that when a film directly goes to a streamer, its relation with the audience is mediated.&nbsp; "I have been fighting for the film to not just be shown to a selective, subscriber-based audience of OTT platforms. I wanted it to be released for a larger theatre audience, where people choose to go and see a film and not just stumble upon it while scrolling. I want to face the feedback, to see if the audience get what I was trying to convey or not. Which is a bit difficult from the privilege, targetted audience", she adds. 
 
Gera, now out with her maiden feature film has already started working on her next project. "There's a silver lining of COVID. Once the release got pushed and I flew back to France, to be with my family. I had enough time to start working on a new project." she quips. 
 
However, she is quick to add, "After international recognition, you have constant doubt, self-censorship if your next will be good enough. There's a certain expectation attached to you, which you try and fulfil." 
 
'Sir' is among the top&nbsp;5 highest-grossing Indian films&nbsp;released&nbsp;theatrically in France including 'Salaam Bombay' and 'The&nbsp;Lunchbox'.&nbsp;The film has released theatrically in more than 25 countries across the world and has garnered critical acclaim and popular success.&nbsp;&nbsp;

Rohena Gera’s internationally acclaimed debut feature, ‘Sir’ is in the theatres for a post-pandemic release. The film, starring Tillotama Shome, Vivek Gomber and Geetanjali Kulkarni had its World Premiere at the 71st International Cannes Film Festival, in 2018, in the Critics Week competition section making Rohena Gera the first woman filmmaker to bag Gan Foundation Award for distribution.

Rohena Gera’s internationally acclaimed debut feature, ‘Sir’ is in the theatres for a post-pandemic release. The film, starring Tillotama Shome, Vivek Gomber and Geetanjali Kulkarni had its World Premiere at the 71st International Cannes Film Festival, in 2018, in the Critics Week competition section making Rohena Gera the first woman filmmaker to bag Gan Foundation Award for distribution. Talking about the delay in the release of the film, the director, tells WION, "I made the film for India and then it had a crazy international response, from where it got picked up for distribution in many other countries. I got busy travelling and wanted to give proper time to its India release." The film initially aimed for a March 20 release this year, however, the pandemic followed by a nation-wide lockdown forced its release to shift to November 13. "It's finally out and I hope the government keeps the theatres open till then," quips Rohena. Before 'Sir', Rohena directed a documentary, 'What's Love Got to Do?', a piece that questioned the idea of arranged marriages. On the concept of the docu-film, Rohena says, "I love love-stories. Films that question the idea of love-stories in urban spaces. People like us, urban people, would watch all kind of love-stories but still opt for arranging marriages.' What's Love' raised a basic question, is love more important or is the arrangement more important." Carrying on her love for romantic stories, Gera says, "In this film when you say is love enough, it's really about if love can overcome barriers. The film really appeals to the best in us." The director has a really interesting way to look at romance and calls love 'an equaliser'. "What I love about love-stories is that when you are in love with a person you automatically sees the other person's point of view. When you fall in love with a person different from you, you get an exposure to see the world from a completely different perspective. There's real beauty in that idea of enriching your life through a love story." Produced by Inkpot Films (Brice Poisson and Rohena Gera), and co-produced by Ciné-Sud Promotion, the film is a story of a Marathi widowed domestic worker who finds a complicated romantic spark with her recently single employer who’s just returned from the US after breaking off his engagement. Speaking about the birth of the film, Gera elaborates, "We have a very intimate relationship with people who work at our homes, they know almost all our life's details, yet there's a distance with which we treat them. This is something that has always bothered me. I wanted to make a film that could address the class-difference, without being preachy." So what made her turn to a love-story? The director answers, "Probably because of 'What's love' and working on the idea of love, I decided to approach this difference through a love story. In a love-story, two people are pretty much equal. However rich or poor you may be, if a person you love, doesn't love you back, it doesn't matter what you have in your bank account. So, I thought it was a nice way to make each character equal and then to explore what is the barrier actually. Love-story was a way to approach the class difference in a gentle way. " Tillotama, who essayed the role of the house Alice in Mira Nair's 'Monsoon Wedding', was Gera's choice for protagonist Ratna for several reasons, however, the director was a little sceptical over getting a positive reply from her initially. Recalling the thought, she says, "Tillotama is a wonderful actress. She's also extremely hardworking and sincere. 'Monsoon Wedding' was a big fear for me because I was afraid she would reject the film in order to not be typecast. But, she read the script, liked the role and wrote back, sounding all excited. "I think she's the right person for the film because the portrayal of Ratna is a complex one. She's a happy character, but she's not a stupid-happy character. She's an optimistic person but she's had a tough life. There's a level of complexity that Tillotama can bring to a role, where she maintains a dignity required by the character.", she adds When it comes to sensitive issues, there's a risk of misrepresentation that a maker might face. On being asked if she feared misappropriating the class-difference, Gera answers, "She's convincing as a domestic worker. Tillotama is very sensitive to misrepresentation and careful about misappropriation. For me, it's about being sensitive while writing. I've written the film quite carefully so as to not talk down in any way to the character." Elaborating on the same lines with a gendered example, Gera feels that its similar issue for women's character to be written from a woman's perspective. She says "It so happens that there are times when there are men writing women's characters. Someone asked me about the idea of Cinderella yesterday if I was writing an anti-Cinderella story. But, Cinderella never entered my mind, I'm a woman writing about a woman. I'm not waiting for somebody to come and save her." "The fundamental structure of a man saving a woman has not come from a woman writer. Along the way, who wrote those fairy-tales. those stories?" she asks. The onset of the pandemic and shutting down of cinema halls has seen a larger chunk of production houses and independent films move to streaming platforms. Countering the perception of festival films are meant for a niche audience, Gera wants 'Sir' to reach a larger audience, the people it's actually meant for. She feels that when a film directly goes to a streamer, its relation with the audience is mediated. "I have been fighting for the film to not just be shown to a selective, subscriber-based audience of OTT platforms. I wanted it to be released for a larger theatre audience, where people choose to go and see a film and not just stumble upon it while scrolling. I want to face the feedback, to see if the audience get what I was trying to convey or not. Which is a bit difficult from the privilege, targetted audience", she adds. Gera, now out with her maiden feature film has already started working on her next project. "There's a silver lining of COVID. Once the release got pushed and I flew back to France, to be with my family. I had enough time to start working on a new project." she quips. However, she is quick to add, "After international recognition, you have constant doubt, self-censorship if your next will be good enough. There's a certain expectation attached to you, which you try and fulfil." 'Sir' is among the top 5 highest-grossing Indian films released theatrically in France including 'Salaam Bombay' and 'The Lunchbox'. The film has released theatrically in more than 25 countries across the world and has garnered critical acclaim and popular success.

I was afraid Tillotama Shome might refuse 'Sir' because of 'Monsoon Wedding': Director Rohena Gera

The much anticipated season of Disney’s 'Mandalorian' is off to a good start. Streaming on Disney+ Hotstar, two episodes of Season 2 are out and they have offered fans enough enticement and excitement for the rest of the season. Now if you are Star Wars’ geek, you must already know that 'The Mandalorian' Season 2, aims to bring the Universe of the Lucas franchise and the series closer.

The first episode (and Chapter 9 in continuation with Season 1) titled ‘The Marshall’ made the makers' intention clear about calling back a few of the known names from the galaxy far far away. Continuing on its theme of a Western on the edge of the Star Wars galaxy, the first episode takes us to a mysterious new city full of dangerous criminals and monsters that roam the streets at night. Starting right where it left, Mando is on a mission to rejoin ‘The Child’ (Baby Yoda) with its tribe.

&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/eW7Twd85m2g" width="560"></iframe>

‘The Marshall’ takes us back to Tatooine, but unlike the pure fan service we got while visiting the planet in Season 1, this time around, there's a lot more to discover. After a brief cameo from Amy Sedaris, who reprises her role as a friendly mechanic while dropping a dozen movie references in under a minute, Mando jets off to a new town where he encounters fresh faces, a possible ally, and an incredible monster to fight. 
 
Similarly, the next Chapter ‘The Passenger’ sees Peli giving Mando a lead on another covert of Mandalorians, but with a catch. He needs to ferry ‘Frog Lady’ and her unfertilized eggs to her home planet. Travelling through hyperspace will damage the goods, so it’s going to be a slow ride. Eventually, they get stranded on a snowy planet and have to fight their way through action staples (a canyon dogfight, sinking sand, spiders). 
 
The execution of the action, set-up and visual effects are at par (if not better) than the previous seasons. Jon Favreau&nbsp;has kept the spirit alive and kicking and the latest episode does the fan-service to all the Baby Yoda clubs, with abundant screen time and yet again establishing that ‘The Child’ is not just a cute package to be ferried but an inquisitive, grotesque creature. (He slurps down the unfertilized eggs of the poor lady, like a box of chocolate, at any given moment).

&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/mAA0hJp5MvU" width="560"></iframe>

&nbsp;

 
Season 1 might have existed in the Star Wars galaxy, but it was a new story about new characters with little connection to the mainline movies. Season 2 is already changing that approach in a big way. Episode 1 introduced a new character wearing some very familiar armour, and the final shot all but confirmed that one of the popular Star Wars characters&nbsp;is going to be the part of Mando's world soon.&nbsp;It's exciting to see for a fan, however, the clapbacks and references can send a casual fan or strict Mandalorian watcher in a bit of a tizzy (or a geek-verse with no end), losing what made this show special in the first place.

Hopefully, 'The Mandalorian' Season 2 can strike the right balance between its accessible space western story and some hardcore fan service. If the first two episodes are any indication, it's already on the right path. The Krayt dragon and the big mother spider- watching Mando taking on gigantic beasts in the first two episodes, only promises a thrilling, adventurous ride ahead. Then again, with ex-Jedi Ahsoka Tano still rumoured to show up, Moff Gideon waiting in the wings, and Baby Yoda's Force powers only growing, we could be getting something in 'Mandalorian' Season 2 that Season 1 never offered: a lightsaber battle.

Baby Yoda's antics and energetically weird tone of the episodes make it a delightful spectacle. Expect the fun to only double with more absurdity, a bit of nostalgia and Taika Waititi’s return to the director seat for a roller-coaster finale? Well, one can hope.

The much anticipated season of Disney’s 'Mandalorian' is off to a good start. Streaming on Disney+ Hotstar, two episodes of Season 2 are out and they have offered fans enough enticement and excitement for the rest of the season.

The much anticipated season of Disney’s 'Mandalorian' is off to a good start. Streaming on Disney+ Hotstar, two episodes of Season 2 are out and they have offered fans enough enticement and excitement for the rest of the season. Now if you are Star Wars’ geek, you must already know that 'The Mandalorian' Season 2, aims to bring the Universe of the Lucas franchise and the series closer. The first episode (and Chapter 9 in continuation with Season 1) titled ‘The Marshall’ made the makers' intention clear about calling back a few of the known names from the galaxy far far away. Continuing on its theme of a Western on the edge of the Star Wars galaxy, the first episode takes us to a mysterious new city full of dangerous criminals and monsters that roam the streets at night. Starting right where it left, Mando is on a mission to rejoin ‘The Child’ (Baby Yoda) with its tribe. ‘The Marshall’ takes us back to Tatooine, but unlike the pure fan service we got while visiting the planet in Season 1, this time around, there's a lot more to discover. After a brief cameo from Amy Sedaris, who reprises her role as a friendly mechanic while dropping a dozen movie references in under a minute, Mando jets off to a new town where he encounters fresh faces, a possible ally, and an incredible monster to fight. Similarly, the next Chapter ‘The Passenger’ sees Peli giving Mando a lead on another covert of Mandalorians, but with a catch. He needs to ferry ‘Frog Lady’ and her unfertilized eggs to her home planet. Travelling through hyperspace will damage the goods, so it’s going to be a slow ride. Eventually, they get stranded on a snowy planet and have to fight their way through action staples (a canyon dogfight, sinking sand, spiders). The execution of the action, set-up and visual effects are at par (if not better) than the previous seasons. Jon Favreau has kept the spirit alive and kicking and the latest episode does the fan-service to all the Baby Yoda clubs, with abundant screen time and yet again establishing that ‘The Child’ is not just a cute package to be ferried but an inquisitive, grotesque creature. (He slurps down the unfertilized eggs of the poor lady, like a box of chocolate, at any given moment). Season 1 might have existed in the Star Wars galaxy, but it was a new story about new characters with little connection to the mainline movies. Season 2 is already changing that approach in a big way. Episode 1 introduced a new character wearing some very familiar armour, and the final shot all but confirmed that one of the popular Star Wars characters is going to be the part of Mando's world soon. It's exciting to see for a fan, however, the clapbacks and references can send a casual fan or strict Mandalorian watcher in a bit of a tizzy (or a geek-verse with no end), losing what made this show special in the first place. Hopefully, 'The Mandalorian' Season 2 can strike the right balance between its accessible space western story and some hardcore fan service. If the first two episodes are any indication, it's already on the right path. The Krayt dragon and the big mother spider- watching Mando taking on gigantic beasts in the first two episodes, only promises a thrilling, adventurous ride ahead. Then again, with ex-Jedi Ahsoka Tano still rumoured to show up, Moff Gideon waiting in the wings, and Baby Yoda's Force powers only growing, we could be getting something in 'Mandalorian' Season 2 that Season 1 never offered: a lightsaber battle. Baby Yoda's antics and energetically weird tone of the episodes make it a delightful spectacle. Expect the fun to only double with more absurdity, a bit of nostalgia and Taika Waititi’s return to the director seat for a roller-coaster finale? Well, one can hope.

'The Mandalorian' Season 2 review: First two episodes promise a thrilling journey into the known 'Star Wars' galaxy

It is said that you find out about a stand-up comic’s relationship on Instagram and about their break-up on stage. Zee 5’s romantic-comedy ‘Comedy Couple’ shows the same. Stand -up scene in India has witnessed a rise in recent years, with many stand-alone comics making their names in the field. To break the clutter, Deep Sharma (Saqib Saleem) and Zoya Batra (Shweta Basu Prasad), &nbsp;a young couple, decide to take their acts on stage as a pair and instantly strike a chord with the youngsters.

The story is of the couple and the little and big problems they encounter due to their differences. Now there is no introduction, cute- meet, the build-up of romance and revealing climax in the film. It takes on the slice-of-life genre, with regular problems of a regular couple. Of course, the stand-up side of their life sees an interesting turn of events, commenting lightly on the state of freedom of speech in the country and how easily harmless jokes hurt the sentiments of people.

&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/E6-H3X-p-D8" width="560"></iframe>

Directed by Nachiket Samant, 'Comedy Couple' feels fresh in its approach of regular run-of-the-mill Bollywood romantic comedies. It is light, fun, easy to relate to and sans melodrama. Though it does play on the trope of a regular small-town boy meets uptown girl, but again, in a country filled with aspiring young minds migrating to bigger cities, to feel free and independent, reality making a space on-screen is understandable.

There’s nothing path-breaking in the story and the intention of the film nowhere claims that to be the case. The execution is again ‘average’, something that the film celebrates through its main protagonist, Deep. Samant does successfully manage to engage the OTT viewer with hilarious twists and circumstantial turns, that make you feel deeply for both Deep and Zoya, at times. In a time when content is merely a click away from being fast-forwarded, you don’t feel like rushing this story.

The cast is the biggest strength of 'Comedy Couple'. Saqib once again impresses with his breezy screen presence and Shweta Basu Prasad is a treat to watch. Saqib portrays Deep as a young man who has found his passion for stand-up only after meeting a girl. He’s sensitive and believes that harmless lies make your life easier. Zoya, on the other hand, is the voice of the couple. She’s the funnier one between the two with all the punchlines, is open about her life with her vivacious mother and sees a long-standing future with Deep. She’s understanding and self-reliant. &nbsp;Both are nonchalantly grounded to their characters. Be it the romance between them or the fights, nothing feels over the top or unreasonable. Supporting the main leads are the likes of Pooja Bedi, Rajesh Tailang, Pranay Manchanda, Jasmeet Singh Bhatia and even comic Adaar Malik, who elevate the average story on the scale of likeability.

&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZJndGmVK5iE" width="560"></iframe>

'Comedy Couple' deserves a watch because it breaks from the clutter. It portrays urban young romance in the most realistic way possible. It turns grim miseries of the society into ‘content’ for jokes and comments on them with hilarity. And most importantly, it gives you a comfort of romantic reliability in a world that seems dystopian and blurred (quite literally). To conclude, in a world expecting satirical comedy and punchlines, 'Comedy Couple' is a reliever, it won’t give you gut-punching, jaw-hurting laughter but a warm smile and a chuckle to remember it with.

PS: Don’t miss out on the soundtrack of the film.

&nbsp;

It is said that you find out about a stand-up comic’s relationship on Instagram and about their break-up on stage. Zee 5’s romantic-comedy ‘Comedy Couple’ shows the same.

It is said that you find out about a stand-up comic’s relationship on Instagram and about their break-up on stage. Zee 5’s romantic-comedy ‘Comedy Couple’ shows the same. Stand -up scene in India has witnessed a rise in recent years, with many stand-alone comics making their names in the field. To break the clutter, Deep Sharma (Saqib Saleem) and Zoya Batra (Shweta Basu Prasad), a young couple, decide to take their acts on stage as a pair and instantly strike a chord with the youngsters. The story is of the couple and the little and big problems they encounter due to their differences. Now there is no introduction, cute- meet, the build-up of romance and revealing climax in the film. It takes on the slice-of-life genre, with regular problems of a regular couple. Of course, the stand-up side of their life sees an interesting turn of events, commenting lightly on the state of freedom of speech in the country and how easily harmless jokes hurt the sentiments of people. Directed by Nachiket Samant, 'Comedy Couple' feels fresh in its approach of regular run-of-the-mill Bollywood romantic comedies. It is light, fun, easy to relate to and sans melodrama. Though it does play on the trope of a regular small-town boy meets uptown girl, but again, in a country filled with aspiring young minds migrating to bigger cities, to feel free and independent, reality making a space on-screen is understandable. There’s nothing path-breaking in the story and the intention of the film nowhere claims that to be the case. The execution is again ‘average’, something that the film celebrates through its main protagonist, Deep. Samant does successfully manage to engage the OTT viewer with hilarious twists and circumstantial turns, that make you feel deeply for both Deep and Zoya, at times. In a time when content is merely a click away from being fast-forwarded, you don’t feel like rushing this story. The cast is the biggest strength of 'Comedy Couple'. Saqib once again impresses with his breezy screen presence and Shweta Basu Prasad is a treat to watch. Saqib portrays Deep as a young man who has found his passion for stand-up only after meeting a girl. He’s sensitive and believes that harmless lies make your life easier. Zoya, on the other hand, is the voice of the couple. She’s the funnier one between the two with all the punchlines, is open about her life with her vivacious mother and sees a long-standing future with Deep. She’s understanding and self-reliant. Both are nonchalantly grounded to their characters. Be it the romance between them or the fights, nothing feels over the top or unreasonable. Supporting the main leads are the likes of Pooja Bedi, Rajesh Tailang, Pranay Manchanda, Jasmeet Singh Bhatia and even comic Adaar Malik, who elevate the average story on the scale of likeability. 'Comedy Couple' deserves a watch because it breaks from the clutter. It portrays urban young romance in the most realistic way possible. It turns grim miseries of the society into ‘content’ for jokes and comments on them with hilarity. And most importantly, it gives you a comfort of romantic reliability in a world that seems dystopian and blurred (quite literally). To conclude, in a world expecting satirical comedy and punchlines, 'Comedy Couple' is a reliever, it won’t give you gut-punching, jaw-hurting laughter but a warm smile and a chuckle to remember it with. PS: Don’t miss out on the soundtrack of the film.

'Comedy Couple' review: Saqib Saleem, Shweta Basu Prasad starrer stands out with its breezy take on romance and life

They may be clashing at the Box office this Friday, but a day earlier Ayushmann Khurrana and Vicky Kaushal bromance on social media grabbed everyone's attention.&nbsp; 
 
Vicky Kaushal's 'Bhoot: The Haunted Ship' and Ayushmann Khurrana's 'Shubh Mangal Zyada Saavdhan' release on February 21 and there is a lot of buzz around both these films. <a href="https://www.wionews.com/entertainment/bollywood-news-interview-vicky-kaushal-opens-up-on-filming-for-his-first-horror-film-bhoot-part-1-the-haunted-ship-281908">Read WION's interview with Vicky Kaushal here.&nbsp;</a> 
 
On Thursday, Khurrana shared a picture of himself and Kaushal on Twitter and wrote, "Ek hi din hum dono bhai aa rahe hain! Dher saara pyaar aur sammaan, Lekar aa rahe hain Vicky aur Ayushmann. Bhoot aur Shubh Mangal Zyada Saavdhan." <a href="https://www.wionews.com/entertainment/review-shubh-mangal-zyada-saavdhan-review-ayushmann-khurranas-film-deals-homophobia-effectively-with-humour-281980">Read WION's review of 'Shubh Mangal Zyada Saavdhan' here</a>

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Ek hi din hum dono bhai aa rahe hain! 
Dher saara pyaar aur sammaan, 
Lekar aa rahe hain Vicky aur Ayushmann. 
Bhoot aur Shubh Mangal Zyada Saavdhan. 🤗👏🏻 <a href="https://t.co/UWWM8wXwzz">pic.twitter.com/UWWM8wXwzz</a>
— Ayushmann Zyada Khurrana (@ayushmannk) <a href="https://twitter.com/ayushmannk/status/1230511060492226561?ref_src=twsrc%5Etfw">February 20, 2020</a></blockquote>
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Responding to Khurrana, Kaushal wrote, "Love is love!" and added a rainbow emoji to the tweet. Alternatively, the `Uri: The Surgical Strike` actor also shared a picture of himself with Khurrana from a photoshoot and wrote, "Kal se aapke nazdeeki cinema gharo mei! #ShubhMangalZyadaSaavdhan #Bhoot."

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Love is love! 🌈 <a href="https://t.co/WNrboDL4pJ">https://t.co/WNrboDL4pJ</a>
— Vicky Kaushal (@vickykaushal09) <a href="https://twitter.com/vickykaushal09/status/1230518532485591040?ref_src=twsrc%5Etfw">February 20, 2020</a></blockquote>
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कल से आपके नजदीकी सिनेमा घरों में! <a href="https://twitter.com/hashtag/ShubhMangalZyadaSaavdhan?src=hash&amp;ref_src=twsrc%5Etfw">#ShubhMangalZyadaSaavdhan</a> <a href="https://twitter.com/hashtag/Bhoot?src=hash&amp;ref_src=twsrc%5Etfw">#Bhoot</a> 🤗❤️ <a href="https://t.co/hwX8hki9lC">pic.twitter.com/hwX8hki9lC</a>
— Vicky Kaushal (@vickykaushal09) <a href="https://twitter.com/vickykaushal09/status/1230520829949235202?ref_src=twsrc%5Etfw">February 20, 2020</a></blockquote>
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While Ayushmann Khurrana`s `Shubh Mangal Zyada Saavdhan` can be seen as a progressive take on the homosexuality, Kaushal`s `Bhoot: The Haunted Ship` is a horror flick revolving around a haunted ship.

<a href="https://www.wionews.com/photos/from-fire-to-shubh-mangal-zyada-saavdhan-tracing-the-journey-of-lgbtq-films-in-india-281580">From 'Fire' to 'Shubh Mangal Zyada Saavdhan': Tracing the journey of LGBTQ films in India</a> 
 
The two actors are considered top actors of Bollywood and lauded for their performances and film choices. Both, in fact, won the prestigious Best Actor National Film Award in 2019 and have often been compared to each other.

They may be clashing at the Box office this Friday, but a day earlier Ayushmann Khurrana and Vicky Kaushal bromance on social media grabbed everyone's attention.

They may be clashing at the Box office this Friday, but a day earlier Ayushmann Khurrana and Vicky Kaushal bromance on social media grabbed everyone's attention. Vicky Kaushal's 'Bhoot: The Haunted Ship' and Ayushmann Khurrana's 'Shubh Mangal Zyada Saavdhan' release on February 21 and there is a lot of buzz around both these films. Read WION's interview with Vicky Kaushal here. On Thursday, Khurrana shared a picture of himself and Kaushal on Twitter and wrote, "Ek hi din hum dono bhai aa rahe hain! Dher saara pyaar aur sammaan, Lekar aa rahe hain Vicky aur Ayushmann. Bhoot aur Shubh Mangal Zyada Saavdhan." Read WION's review of 'Shubh Mangal Zyada Saavdhan' here Ek hi din hum dono bhai aa rahe hain! Dher saara pyaar aur sammaan, Lekar aa rahe hain Vicky aur Ayushmann. Bhoot aur Shubh Mangal Zyada Saavdhan. 🤗👏🏻 pic.twitter.com/UWWM8wXwzz — Ayushmann Zyada Khurrana (@ayushmannk) February 20, 2020 × Responding to Khurrana, Kaushal wrote, "Love is love!" and added a rainbow emoji to the tweet. Alternatively, the `Uri: The Surgical Strike` actor also shared a picture of himself with Khurrana from a photoshoot and wrote, "Kal se aapke nazdeeki cinema gharo mei! #ShubhMangalZyadaSaavdhan #Bhoot." Love is love! 🌈 https://t.co/WNrboDL4pJ — Vicky Kaushal (@vickykaushal09) February 20, 2020 × कल से आपके नजदीकी सिनेमा घरों में! #ShubhMangalZyadaSaavdhan #Bhoot 🤗❤️ pic.twitter.com/hwX8hki9lC — Vicky Kaushal (@vickykaushal09) February 20, 2020 × While Ayushmann Khurrana`s `Shubh Mangal Zyada Saavdhan` can be seen as a progressive take on the homosexuality, Kaushal`s `Bhoot: The Haunted Ship` is a horror flick revolving around a haunted ship. From 'Fire' to 'Shubh Mangal Zyada Saavdhan': Tracing the journey of LGBTQ films in India The two actors are considered top actors of Bollywood and lauded for their performances and film choices. Both, in fact, won the prestigious Best Actor National Film Award in 2019 and have often been compared to each other.

'Bhoot' vs 'Shubh Mangal Zyada Saavdhan': Ayushmann Khurrana, Vicky Kaushal's send each other warm wishes on social media

How big is big in terms of our dreams? Are they even worth a mention if they are not about career goals, owning a house or travelling the world? Kusum answers it the best.

Kusum is a young woman who is possibly in her early 30’s, married to a guy who works with the Indian Railways, leading an average life in a comfy house in Delhi. She is a homemaker who is happily married to her middle-income earning husband who stays busy during the days with the daily chores and spends time with him as he returns every day from work. But there is one dream she has.

And the film ‘Chhodh Pakad’ is all about that.&nbsp;

Director Rahul Bhatnagar packs a poignant message in his short film that will make you smile and take a step back from your dreary lives to express gratitude for what you have!

He celebrates life and the sweetness of harbouring dreams in a beautiful film that is an easy watch. Tanya Singh channels Kusum effervescently, a non-fussy girl who only desires one thing in life, something that we usually don’t give too much importance to while Rishabh Tripathi plays a supportive husband in the film. YouTube star Ankur Pathak is terrific as the milkman cum taxi driver who lights up the screen every time he faces the camera.&nbsp;&nbsp;&nbsp;

Watch ‘Chhodh Pakad’ for its honesty and a story that is simple yet impactful. &nbsp;

The film is currently on YouTube. It premiered on the video-sharing platform on January 10, 2020.&nbsp;

How big is big in terms of our dreams? Are they even worth a mention if they are not about career goals, owning a house or travelling the world? Kusum answers it the best.

How big is big in terms of our dreams? Are they even worth a mention if they are not about career goals, owning a house or travelling the world? Kusum answers it the best. Kusum is a young woman who is possibly in her early 30’s, married to a guy who works with the Indian Railways, leading an average life in a comfy house in Delhi. She is a homemaker who is happily married to her middle-income earning husband who stays busy during the days with the daily chores and spends time with him as he returns every day from work. But there is one dream she has. And the film ‘Chhodh Pakad’ is all about that. Director Rahul Bhatnagar packs a poignant message in his short film that will make you smile and take a step back from your dreary lives to express gratitude for what you have! He celebrates life and the sweetness of harbouring dreams in a beautiful film that is an easy watch. Tanya Singh channels Kusum effervescently, a non-fussy girl who only desires one thing in life, something that we usually don’t give too much importance to while Rishabh Tripathi plays a supportive husband in the film. YouTube star Ankur Pathak is terrific as the milkman cum taxi driver who lights up the screen every time he faces the camera. Watch ‘Chhodh Pakad’ for its honesty and a story that is simple yet impactful. The film is currently on YouTube. It premiered on the video-sharing platform on January 10, 2020.

'Chhodh Pakad' review: Rahul Bhatnagar's short film will leave you with a smile

Eleven years after members of terror outfit Lashkar-e-Taiba laid siege on Mumbai city on November 26, the wounds remain fresh not just for those who suffered or lost a dear one on those fateful few days but also for the entire nation. Which is why director Anthony Maras’s film ‘Hotel Mumbai’, based on the Mumbai terror attacks, is not ‘entertainment’ per se. Yet with powerful performances from actors like Dev Patel, Anupam Kher, and Armie Hammer and a detailed screenplay, it makes for a compelling watch.

Maras also serves as the writer of the film along with John Collee and together the duo re-tell a story that is all too known to Indians. The writer duo bases its film on the documentary ‘Surviving Mumbai’ and narrates a gripping story of good vs evil, that celebrates the spirit of goodness in the darkest hour. Also see:&nbsp;<a href="https://www.wionews.com/photos/11-year-of-2611-mumbai-attack-see-how-the-world-cinema-has-narrated-the-deadliest-memories-264627">11 years of Mumbai terror attacks: How world cinema retold the horrific incident</a>

Maras condenses the terror attack that spread over three days into one night inside the majestic Taj Mahal hotel in Mumbai and only narrates what happened inside the hotel. In real life, terrorists had attacked not just the Taj hotel but also two other five star hotels, a restaurant, a railway station and a religious place of the jews.&nbsp;In ‘Hotel Mumbai’ Maras sticks to the Taj hotel, using fictitious characters and dramatizing several of the incidents but drawing inspiration from actual heroes and incidents.

A little over two hours long, the film wastes no time and dives right in as it opens in Mumbai on that fateful day. Terrorists enter Mumbai on a boat, and soon break out in groups of two and set towards different locations of the city. Meanwhile, Arjun, a Sikh waiter at the Taj Hotel, rushes to work only to be admonished by the head chef Oberoi (Kher) for coming to work without formal shoes. He is almost sent back, but Arjun insists on staying back, unknown of what lies ahead. Meanwhile, David (Hammer) and Zahra(Naznin Boniadi) arrive with their baby and nanny (Tilda Cobham-Hervey) for a vacation in Mumbai and check in to the hotel the same morning.

In the evening, as terror strikes Mumbai, David and Zahra find themselves trapped at the Hotel’s Shamiana restaurant where Arjun takes charge of the guest’s safety. With no support from the special forces and a skeletal police force that is still trying to comprehend the crisis at hand, the staff of the hotel has to fend for themselves and the guests and ensure their safety.&nbsp;

Even though the film is not shot inside the actual hotel, it still manages to recreate the majestic structure all thanks to the production designer &nbsp;Editing by Peter McNulty and Maras himself and Nick Remy Matthews's cinematography set the tone well of the film- that of a grim city, burning, dying at the hands of bunch of extremists.

<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/58svRJKTx_0" width="560"></iframe>

Films that are based on real-life incidents tend to take a socio-political stand. But not ‘Hotel Mumbai’, as it tries to depict both sides of the story. The helpless, confused, anguished victims as well as the misguided attackers. In a very poignant scene in the second half, an attacker is shown humming a Punjabi folk as a montage of various key characters are shown- each dealing with myriad emotions, grappling in fear and pain- connected weirdly through grief.

The film boasts of a superb cast. Patel (who also serves as one of the executive producers of the film) emotes through eyes and is pitch-perfect as the man who rises to the occasion even though he is sacred himself of dying. Kher plays the only real character in the film and as Chef Oberoi, delivers assured performance. So do actors Armie Hammer and Naznin Boniadi who play the anguished couple stuck in a restaurant downstairs worrying about the safety of their child who is locked upstairs with the nanny as terrorists create mayhem inside the hotel.&nbsp;

There are a few scenes though which seem unnecessary and predictable- and play to the gallery, but films made on real-life tragedies play on human emotions to a great extent to garner the desired reactions.&nbsp;

‘Hotel Mumbai’ is not comforting at all. It narrates the story as it is and brings back memories of the horrific days of 2008. Cleverly using actual TV footages, the film bridges the gap between fiction and reality beautifully. It may make you uncomfortable but it will still keep you glued nevertheless- for its screenplay and its performances.

Eleven years after members of terror outfit Lashkar-e-Taiba laid siege on Mumbai city on November 26, the wounds remain fresh not just for those who suffered or lost a dear one on those fateful few days but also for the entire nation.

Eleven years after members of terror outfit Lashkar-e-Taiba laid siege on Mumbai city on November 26, the wounds remain fresh not just for those who suffered or lost a dear one on those fateful few days but also for the entire nation. Which is why director Anthony Maras’s film ‘Hotel Mumbai’, based on the Mumbai terror attacks, is not ‘entertainment’ per se. Yet with powerful performances from actors like Dev Patel, Anupam Kher, and Armie Hammer and a detailed screenplay, it makes for a compelling watch. Maras also serves as the writer of the film along with John Collee and together the duo re-tell a story that is all too known to Indians. The writer duo bases its film on the documentary ‘Surviving Mumbai’ and narrates a gripping story of good vs evil, that celebrates the spirit of goodness in the darkest hour. Also see: 11 years of Mumbai terror attacks: How world cinema retold the horrific incident Maras condenses the terror attack that spread over three days into one night inside the majestic Taj Mahal hotel in Mumbai and only narrates what happened inside the hotel. In real life, terrorists had attacked not just the Taj hotel but also two other five star hotels, a restaurant, a railway station and a religious place of the jews. In ‘Hotel Mumbai’ Maras sticks to the Taj hotel, using fictitious characters and dramatizing several of the incidents but drawing inspiration from actual heroes and incidents. A little over two hours long, the film wastes no time and dives right in as it opens in Mumbai on that fateful day. Terrorists enter Mumbai on a boat, and soon break out in groups of two and set towards different locations of the city. Meanwhile, Arjun, a Sikh waiter at the Taj Hotel, rushes to work only to be admonished by the head chef Oberoi (Kher) for coming to work without formal shoes. He is almost sent back, but Arjun insists on staying back, unknown of what lies ahead. Meanwhile, David (Hammer) and Zahra(Naznin Boniadi) arrive with their baby and nanny (Tilda Cobham-Hervey) for a vacation in Mumbai and check in to the hotel the same morning. In the evening, as terror strikes Mumbai, David and Zahra find themselves trapped at the Hotel’s Shamiana restaurant where Arjun takes charge of the guest’s safety. With no support from the special forces and a skeletal police force that is still trying to comprehend the crisis at hand, the staff of the hotel has to fend for themselves and the guests and ensure their safety. Even though the film is not shot inside the actual hotel, it still manages to recreate the majestic structure all thanks to the production designer Editing by Peter McNulty and Maras himself and Nick Remy Matthews's cinematography set the tone well of the film- that of a grim city, burning, dying at the hands of bunch of extremists. Films that are based on real-life incidents tend to take a socio-political stand. But not ‘Hotel Mumbai’, as it tries to depict both sides of the story. The helpless, confused, anguished victims as well as the misguided attackers. In a very poignant scene in the second half, an attacker is shown humming a Punjabi folk as a montage of various key characters are shown- each dealing with myriad emotions, grappling in fear and pain- connected weirdly through grief. The film boasts of a superb cast. Patel (who also serves as one of the executive producers of the film) emotes through eyes and is pitch-perfect as the man who rises to the occasion even though he is sacred himself of dying. Kher plays the only real character in the film and as Chef Oberoi, delivers assured performance. So do actors Armie Hammer and Naznin Boniadi who play the anguished couple stuck in a restaurant downstairs worrying about the safety of their child who is locked upstairs with the nanny as terrorists create mayhem inside the hotel. There are a few scenes though which seem unnecessary and predictable- and play to the gallery, but films made on real-life tragedies play on human emotions to a great extent to garner the desired reactions. ‘Hotel Mumbai’ is not comforting at all. It narrates the story as it is and brings back memories of the horrific days of 2008. Cleverly using actual TV footages, the film bridges the gap between fiction and reality beautifully. It may make you uncomfortable but it will still keep you glued nevertheless- for its screenplay and its performances.

'Hotel Mumbai' review: Dev Patel, Anupam Kher's film is a gripping story of goodness amid tragedy

For the characters of Remo D'Souza's latest film 'Street Dancer 3D', the world is a stage. Divided into two groups representing the two warring nations- India and Pakistan- the two groups are at loggerheads and keep clashing on streets (of London), dance floors, restaurants and have dance-offs. A motley group of youngsters, they seem to all come from affluent families where nobody has to bother about jobs and earning a livelihood and pursue a passion of dancing and indulge in dance-offs to put down each other.&nbsp;

A part of D'Souza's ABCD franchise, 'Street Dancer 3D' too has a dance competition at its backdrop. Sehej( Varun Dhawan) wants to win the biggest dance battle- Ground Zero- for his elder brother who at one point of time was close to winning the coveted trophy but suffered an accident that left him with a limp. Now, Sehej and his group called the 'Street Dancer' want to win the prize for the big brother. They need practice and are aware that the rival gang - The Rule Breakers- a group of Pakistani youngsters led by Inayat (Shraddha Kapoor) are better than them.&nbsp;

The two gangs often clash in a restaurant that's managed by Anna (Prabhudeva) who himself feels that if the two groups work together, they can win the competition. Inayat's purpose of winning the competition is different from Sehej's though. She wants to use the prize money to help illegal immigrants of Indian and Pakistan go back home. Would she be able to convince Sehej to join her group for a greater good and be able to win the competition forms the rest of the story.&nbsp;

Now, on paper, the story seems to be well-intended- a tale of a group of talented dancers wanting to bring positive change to society through dance. Sure, why not! But when it comes to implementation, D'Souza films take a very different route where the main plot seems like a prop of a very elaborate, long dance program.&nbsp;

A film that's called 'Sreet Dancer' is bound to be about dance, no doubt. You know what you are getting into when you start watching the film. Like his previous films, D'Souza uses a lot of reality TV dancers as characters in the film- giving the choreographed sequences an authentic feel but after a point, the thrill of seeing of these dancers do multiple backflips, and some unimaginable limb movements- wears off making the dance routines appear repetitive.&nbsp;

Released on the Republic Day weekend- it also tries to pelt out patriotism through dance- pitting India and Pakistan against each other, using the Indian tricolour in the final dance-off and making everyone dance to desi tunes.&nbsp;

Acting and logic are not the high points of this film. A film on ultimate dance competition- the rules are fluid where anyone can join any group at any point in time. The competition runs on emotions and not logic.&nbsp;

<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/2Ym7LJv6L_c" width="560"></iframe>

Among the actors, Nora Fatehi and Aparshakti Khurrana who show some spark in a story that doesn't give anyone any scope for acting. But these two actors still manage to make their presence felt-which is commendable. Khurana, who is now almost the go-to person for all supporting characters in Hindi films- brings the right amount of vulnerability to his character. Fatehi plays Varun Dhawan's girlfriend and adds the much-needed oomph to the film and the dance sequences. An exceptionally good dancer, Fatehi gets a few lines and manages to impress in those scenes.&nbsp;

Varun Dhawan tries earnestly to perform in the film that resorts to dance sequences for everything but we've seen better films of the actor. He may be a good dancer but that alone cannot salvage this film. Shraddha Kapoor and Prabhudeva deliver what they have already done in previous films.

Should you be watching this film? Only if you need to learn a few complicated dance steps.&nbsp;

For the characters of Remo D'Souza's latest film 'Street Dancer 3D', the world is a stage. Divided into two groups representing the two warring nations- India and Pakistan- the two groups are at loggerheads and keep clashing on streets (of London), dance floors, restaurants and have dance-offs.

For the characters of Remo D'Souza's latest film 'Street Dancer 3D', the world is a stage. Divided into two groups representing the two warring nations- India and Pakistan- the two groups are at loggerheads and keep clashing on streets (of London), dance floors, restaurants and have dance-offs. A motley group of youngsters, they seem to all come from affluent families where nobody has to bother about jobs and earning a livelihood and pursue a passion of dancing and indulge in dance-offs to put down each other. A part of D'Souza's ABCD franchise, 'Street Dancer 3D' too has a dance competition at its backdrop. Sehej( Varun Dhawan) wants to win the biggest dance battle- Ground Zero- for his elder brother who at one point of time was close to winning the coveted trophy but suffered an accident that left him with a limp. Now, Sehej and his group called the 'Street Dancer' want to win the prize for the big brother. They need practice and are aware that the rival gang - The Rule Breakers- a group of Pakistani youngsters led by Inayat (Shraddha Kapoor) are better than them. The two gangs often clash in a restaurant that's managed by Anna (Prabhudeva) who himself feels that if the two groups work together, they can win the competition. Inayat's purpose of winning the competition is different from Sehej's though. She wants to use the prize money to help illegal immigrants of Indian and Pakistan go back home. Would she be able to convince Sehej to join her group for a greater good and be able to win the competition forms the rest of the story. Now, on paper, the story seems to be well-intended- a tale of a group of talented dancers wanting to bring positive change to society through dance. Sure, why not! But when it comes to implementation, D'Souza films take a very different route where the main plot seems like a prop of a very elaborate, long dance program. A film that's called 'Sreet Dancer' is bound to be about dance, no doubt. You know what you are getting into when you start watching the film. Like his previous films, D'Souza uses a lot of reality TV dancers as characters in the film- giving the choreographed sequences an authentic feel but after a point, the thrill of seeing of these dancers do multiple backflips, and some unimaginable limb movements- wears off making the dance routines appear repetitive. Released on the Republic Day weekend- it also tries to pelt out patriotism through dance- pitting India and Pakistan against each other, using the Indian tricolour in the final dance-off and making everyone dance to desi tunes. Acting and logic are not the high points of this film. A film on ultimate dance competition- the rules are fluid where anyone can join any group at any point in time. The competition runs on emotions and not logic. Among the actors, Nora Fatehi and Aparshakti Khurrana who show some spark in a story that doesn't give anyone any scope for acting. But these two actors still manage to make their presence felt-which is commendable. Khurana, who is now almost the go-to person for all supporting characters in Hindi films- brings the right amount of vulnerability to his character. Fatehi plays Varun Dhawan's girlfriend and adds the much-needed oomph to the film and the dance sequences. An exceptionally good dancer, Fatehi gets a few lines and manages to impress in those scenes. Varun Dhawan tries earnestly to perform in the film that resorts to dance sequences for everything but we've seen better films of the actor. He may be a good dancer but that alone cannot salvage this film. Shraddha Kapoor and Prabhudeva deliver what they have already done in previous films. Should you be watching this film? Only if you need to learn a few complicated dance steps.

'Street Dancer 3D' review: The story acts as a prop in this very elaborate dance show

In a poignant scene in Ashwiny Iyer Tiwari’s ‘Panga’, as Jaya’s husband and son come to see her off at the station, instead of bidding them farewell, she starts quizzing the two most important men in her life about what all needs to be done at home every day in her absence.

In a poignant scene in Ashwiny Iyer Tiwari’s ‘Panga’, as Jaya’s husband and son come to see her off at the station, instead of bidding them farewell, she starts quizzing the two most important men in her life about what all needs to be done at home every day in her absence. How many ml of cough syrup does the son have, what time does his school bus come, how many whistles does it take to boil the daal- hurriedly revising the daily routine before she embarks on a difficult journey- givings wings to her long-suppressed dream. The scene, along with few other similar moments sum up the ‘Panga’ beautifully and narrates the most heartwarming story of a mother who dares to dream for herself at a time when most are wanting to give up. Jaya Nigam's(Kangana Ranaut) life seems picture-perfect when the film begins. She has a government job, lives in Bhopal with husband Prashant(Jassie Gill), an engineer in the Railways and an over-curious 7-year-old son Adi. While she is a dedicated wife, a loving and anxious mother and a perfect homemaker- in the daily humdrum of life she misses her first love the most. She was a National level Kabaddi player once upon a time- and amid domesticity, Jaya misses the court and her old self the most. Mind you, she has the most supporting family around and Jaya left sports out of her own will to take care of her son who is born with a medical condition yet she admits to her ever understanding husband then when she looks at herself, she doesn't feel happy. The son is a sprightly young boy who insists on her comeback and the couple agrees to humour him for a month. But Jaya soon realises that this is her calling and she wants to again get back to the game. But taking up sports post domesticity is never easy- a fact that Jaya discovers with every push, every sprint and every bout of game. View this post on Instagram Apni Mummy ke liye #Panga lena hai. @foxstarhindi @team_kangana_ranaut @jassie.gill @therichachadha @neena_gupta @yagyabhasin @mehrotranikhil @shankarehsaanloy #JavedAkhtar @saregama_official #panga #pangastories #24Jan A post shared by Ashwiny Iyer Tiwari (@ashwinyiyertiwari) on Jan 20, 2020 at 11:25pm PST × With support from her best friend Meenu, who was a fellow teammate and now a women's Kabaddi team coach, and a lot of egging from her excited son, husband, and mother, Jaya takes on a herculean task to get back to the game and earn a spot in the Indian women's Kabbadi team. The beauty of 'Panga' lies in its simplicity. Director Ashwiny Iyer Tiwari along writes a very detailed screenplay with Nikhil Mehrotra which never overimagines or overdramatizes the narrative. The family of three lives in modest government accommodation in Bhopal, where the set up is just like any ordinary middle-class household and not a slick Instagram friendly household. As Jaya starts training, her rise is never shown as meteoric- she struggles, grapples to first maintain a balance between her family and professional life, then to prove to the world that she still has it her to make it to the Indian team with a body that needs 'oiling'. Sports dramas mostly narrate stories of underdogs, of triumphing over odds. The approach is mostly dramatic- but that is not the case with 'Panga'. Mehrotra and Tiwari along with an additional screenplay by Nitesh Tiwari, find beauty in the everyday routine. There is no oppressive husband here, no critically ill child or parent, no financial hardship- yet Jaya wants to get back to her first love- something that a lot of us can relate to. As Jaya leaves for medical camp, the husband tries to manage the household- as promised to her- and fails quite often much to the son's dismay. The parathas are served burnt, the bed is never made, the food is too oily, even the tiger make up for the school annual function goes awry - things that are part of the daily life start becoming glaringly different because the woman of the house is gone. The actors are pitch-perfect in their respective roles. Be it the helpful neighbour who often takes care of the child when the parents are away at work, to the helpful roommate that Jaya meets at camp who like a younger sister guides helps her overcome her shortcomings in the game to the central characters who all cheer Jaya to dream one more time. It is refreshing to see Kangana Ranaut play someone so normal and relatable like Jaya. She has over the past few years made her mark playing eccentric characters which have often been compared to her real-life persona, but perhaps Ranauat channelizes her mother and scores of other middle-class mothers in India while playing Jaya. Understated, restraint and very elegant. Jaya is like every other middle-class Indian woman who goes the extra mile to ensure their families get everything and often put their desires and aspirations to rest for domestic bliss. Ably supporting Kangana Ranaut is singer-actor Jassie Gill, who never oversteps and plays the supportive husband and doting father to the hilt. There's something really endearing about Gill's personality which makes him perfect for the role of the supportive Prashant. Neena Gupta plays Jaya's mother who is just as spirited as a person as her daughter. Richa Chadha as Meenu, Jaya's best friend and coach, gets the funny lines and delivers a commendable performance in the limited screen time that she has. The star of the film though is young actor Yagya Bhasin who plays Jaya's son Adi- a bright talented find who emotes through his big bright eyes and doesn't have a single false note. His scenes with Gill are so endearing to watch and the two make for a very good father-son duo- complementing each other with great performances. The filmmaker who has in the past made films like 'Nil Battey Sannata' and 'Bareilly Ki Barfi' and has by now completely aced the depiction of the societies in small-town India- where they are slowly getting accustomed to modernity but still are rooted to traditions and cultures. With each of her films, Tiwari makes small-town India look warm, real yet fascinating. View this post on Instagram #DILNEKAHA PANGA LO #PANGA in Theatres on 24th JAN 2020 @foxstarhindi @team_kangana_ranaut @jassie.gill @therichachadha @neena_gupta @yagyabhasin @mehrotranikhil @shankarehsaanloy #JavedAkhtar @saregama_official @sanchitbalhara @wrkprint #ballusaluja @castingchhabra @mehersand45 @rushimanoshi @bohamian_bhagyashree @shajithkoyeri @mehersand @_architpatel_ @roo_cha @kachak26 @shikhakapur @guptadipankar #pangastories #pangahumans #panga #ilovemovies #lifeofafilmmaker #storytellersofindia A post shared by Ashwiny Iyer Tiwari (@ashwinyiyertiwari) on Jan 16, 2020 at 10:21pm PST × There is not a single false note in 'Panga'. It's that good and that real. The writers show Jaya rubbing off the Indian captain Smita (Smita Tambe) the wrong way in the second half which may appear a tad dramatic and unnecessary but ultimately they put together such a riveting, gripping, sensitive story that this little dramatization can be easily overlooked. 'Panga' works for its performances, it's an inspiring story and its detailed screenplay. But above all its Ashwini Iyer Tiwari's ode to mothers- the unsung heroes of our lives and that should be a good enough reason to watch the film.

'Panga' review: Kangana Ranaut's film is a heartwarming tribute to mothers

Toilet: Ek Prem Katha is a satirical romantic comedy, starring Akshay Kumar and Bhumi Pednekar in the lead. Directed by Shree Narayan Singh, the movie is based on the issue of the lack of toilet facilities leading to open defecation that is still happening in many parts of the country. Prime Minister&rsquo;s Swachh Bharat Abhiyaan campaign also plays a major factor in the story. While the message that the movie intends to deliver is fine, will it really mesh well with the review? Read our review to find out&hellip;

What&rsquo;s it about

The storyline of Toilet Ek Prem Katha is no mystery. Based on a true story of a woman leaving her husband after his family refuses to construct a toilet for her, this Akshay Kumar &ndash; Bhumi Pednekar drama tries to build up a narrative around the incident and lace it with light moments. Akshay plays Keshav the husband whose father believes in every superstition and religious occult in the book. Bhumi who plays Jaya is his nemesis, an educated girl who stands out like a fish out of water in a village where women organise &lsquo;Lota Parties&rsquo; to defecate in the open and discuss their marriage woes. The clash between Keshav and Jaya goes beyond ideologies and comes down to basic beliefs and values. Their idea of hygiene and sanitation is based on the principles their parents have instilled in them. Jaya refuses to live with Keshav until he constructs a toilet in his house while the villagers and elders believe that doing so is an open challenge to age old morals and religious doctrines. Toilet Ek Prem Katha is an attempt to make a full-length film out of a 15-minute public service announcement, which is why it feels so stretched and invariably long in the second half. However, there are a few redeeming factors that make Toilet worth a watch. Let&rsquo;s find out what.

What&rsquo;s hot

Akshay Kumar has aced versatility like no one else. His choice of films and the characters he&rsquo;s played over the last few years have showcased that he can approach any subject with utmost dedication. With Toilet Ek Prem Katha, Akshay uses his natural charm to his advantage making Keshav likeable. Despite the gaping holes in the script and over the top preachy monologues, Akshay keeps you engaged with his act. His scenes with his father and the outburst in front of the villagers are the highlight. But the star of the film for me was Bhumi Pednekar. She makes Jaya seem real not just superficially with the dialect and look, but her agony, pain and anger is utterly relatable. You don&rsquo;t necessarily have to be from a small town or village to empathise with her. Bhumi also holds her ground in several big scenes with Akshay. Having established the fact that he&rsquo;s playing an older man their pairing doesn&rsquo;t look weird. Ample research has gone down in ensuring the film touches upon the right facts and figures and most of this information is downright shocking. Toilet is an important film solely because it addresses such a basic issue that has been veiled under the lace of social embarrassment. Also, full marks to the dialect coaches of ensuring all characters are in sync with their accents.

What&rsquo;s not

Toilet has a weak and shaky second half. It is so stretched and agonisingly painful that you just might take multiple loo breaks before the end credits roll in. The makers go overboard in ensuring the commercial viability of the film by putting in too many songs and dramatic face offs post interval. Keshav and Bhumi who felt real and empathetic in the first half become nagging and annoying in the second. Also despite having an important message to convey the film gets too preachy and serious towards the end. Keshav&rsquo;s scenes with his father have such loud over the top background music that you feel a TV soap is being played out on the big screen. Also the message of the film could have been a 15-minute public service announcement, perhaps it would have championed the cause better? But to have a two and half hour long film about sanitation and defecation problems starts losing its sheen on the entertainment quotient. The songs like I mentioned don&rsquo;t really add any value to the story neither do they help the tempo of the film.

What to do

Toilet Ek Prem Katha is too long and preachy. Despite standout performances by Akshay and Bhumi the film fails to engage or connect with you largely because of its snail paced tempo and long Sunday school styled monologues.

Rating: 2/5 
&nbsp;

The movie is about the lack of toilet facilities in the country

Toilet: Ek Prem Katha is a satirical romantic comedy, starring Akshay Kumar and Bhumi Pednekar in the lead. Directed by Shree Narayan Singh, the movie is based on the issue of the lack of toilet facilities leading to open defecation that is still happening in many parts of the country. Prime Minister’s Swachh Bharat Abhiyaan campaign also plays a major factor in the story. While the message that the movie intends to deliver is fine, will it really mesh well with the review? Read our review to find out… What’s it about The storyline of Toilet Ek Prem Katha is no mystery. Based on a true story of a woman leaving her husband after his family refuses to construct a toilet for her, this Akshay Kumar – Bhumi Pednekar drama tries to build up a narrative around the incident and lace it with light moments. Akshay plays Keshav the husband whose father believes in every superstition and religious occult in the book. Bhumi who plays Jaya is his nemesis, an educated girl who stands out like a fish out of water in a village where women organise ‘Lota Parties’ to defecate in the open and discuss their marriage woes. The clash between Keshav and Jaya goes beyond ideologies and comes down to basic beliefs and values. Their idea of hygiene and sanitation is based on the principles their parents have instilled in them. Jaya refuses to live with Keshav until he constructs a toilet in his house while the villagers and elders believe that doing so is an open challenge to age old morals and religious doctrines. Toilet Ek Prem Katha is an attempt to make a full-length film out of a 15-minute public service announcement, which is why it feels so stretched and invariably long in the second half. However, there are a few redeeming factors that make Toilet worth a watch. Let’s find out what. What’s hot Akshay Kumar has aced versatility like no one else. His choice of films and the characters he’s played over the last few years have showcased that he can approach any subject with utmost dedication. With Toilet Ek Prem Katha, Akshay uses his natural charm to his advantage making Keshav likeable. Despite the gaping holes in the script and over the top preachy monologues, Akshay keeps you engaged with his act. His scenes with his father and the outburst in front of the villagers are the highlight. But the star of the film for me was Bhumi Pednekar. She makes Jaya seem real not just superficially with the dialect and look, but her agony, pain and anger is utterly relatable. You don’t necessarily have to be from a small town or village to empathise with her. Bhumi also holds her ground in several big scenes with Akshay. Having established the fact that he’s playing an older man their pairing doesn’t look weird. Ample research has gone down in ensuring the film touches upon the right facts and figures and most of this information is downright shocking. Toilet is an important film solely because it addresses such a basic issue that has been veiled under the lace of social embarrassment. Also, full marks to the dialect coaches of ensuring all characters are in sync with their accents. What’s not Toilet has a weak and shaky second half. It is so stretched and agonisingly painful that you just might take multiple loo breaks before the end credits roll in. The makers go overboard in ensuring the commercial viability of the film by putting in too many songs and dramatic face offs post interval. Keshav and Bhumi who felt real and empathetic in the first half become nagging and annoying in the second. Also despite having an important message to convey the film gets too preachy and serious towards the end. Keshav’s scenes with his father have such loud over the top background music that you feel a TV soap is being played out on the big screen. Also the message of the film could have been a 15-minute public service announcement, perhaps it would have championed the cause better? But to have a two and half hour long film about sanitation and defecation problems starts losing its sheen on the entertainment quotient. The songs like I mentioned don’t really add any value to the story neither do they help the tempo of the film. What to do Toilet Ek Prem Katha is too long and preachy. Despite standout performances by Akshay and Bhumi the film fails to engage or connect with you largely because of its snail paced tempo and long Sunday school styled monologues. Rating: 2/5

Toilet Ek Prem Katha review: Akshay's, Bhumi's performances fail to save film from becoming bore fest

Raabta was long awaited because of Sushant Singh Rajput and Kriti Sanon&lsquo;s chemistry. Their real-life romance was reflected in the trailer of the film and that had got everyone damn excited. Also, the return of the reincarnation theme after so many years sweetened the wait too but the film fails on all other accounts:

What&rsquo;s it about:

Reincarnation stories are tricky but there&rsquo;s a certain air of mystery about them that has a huge appeal. I mean who doesn&rsquo;t want to time travel and experience an alternate paradigm of sensory overload. The subject has seduced filmmakers over the years in different generations. Now Dinesh Vijan attempts the genre with Sushant Singh Rajput and Kriti Sanon in the lead. The plot is simple, Shiv and Saira meet, stare at each other, even have an instant liplock to realise they have a Raabta, what sort they are unable to figure out. Jim plays the odd man out who spirals this love story out of control making them revisit their lives, centuries ago, when they were warring tribes speaking strange dialects. They died only to meet again. Well, the story sort of ends here, but the setup and premise is long, tiring and tests your patience.&nbsp;

What&rsquo;s hot:

Raabta is a good looking film. Meaning, besides the eye candy that is Sushant and Kriti, Dinesh has definitely spent a lot of money in capturing the lush locales of Bulgaria and the special effects and makeup especially of Rajkummar Rao in the role of an Oracle is terrific. Dinesh creates a light and breezy first half where the banter between Sushant and Kriti feels easy and organic. Casting these two in the film was a brilliant idea because the chemistry between them is sizzling. Sushant especially has gone to all lengths to make get a toned body for his role as the tribal warrior. The hard work pays off handsomely as he&rsquo;s the best part of the film. There is immense likeability in him and he goes full throttle with his charm. Kriti manages to leave a mark with her scenes in the second half. The best moments are the one liners Shiv and Saira throw at each other and the tomfoolery that follows. Rajkummar Rao deserves a medal for enduring hours of torture to get into the difficult prosthetic make up for a blink and miss role.

What&rsquo;s not:

Raabta needed to have more edge and I mean not in terms of visuals but with its narrative. There isn&rsquo;t much happening once we move to the flashback scenes and the parallel world. It is tough to understand and comprehend the strange tribal dialect and accent that Sushant uses to communicate with his audience. The costumes are fine, but there is a lack of cohesiveness. There is always something missing in a lot of scenes like you wish there was more of Rajkummar and maybe he had a cool backstory. Or Jim Sarbh who is a miscast didn&rsquo;t have to struggle with his dialogues and we don&rsquo;t even know if it was intentional. His character is the weakest link in an already frail plot. Deepika Padukone&rsquo;s sexy yet boring song cameo goes unnoticed. It comes too late in the film, while the best track of the film a club song shot on an almost shirtless Sushant comes at the end credits. Raabta tests your patience in a time when attention deficiency is a major issue with an audience that won&rsquo;t settle for less.

What to do: 

Sushant and Kriti&rsquo; s terrific chemistry deserved so much better. I hope filmmakers take notice and cast these two in a film that exploits their full potential. Raabta is an opportunity wasted.

<h3>Rating: 2.0 out of 5</h3>

Sushant Singh Rajput and Kriti Sanon's sizzling chemistry is all you will enjoy in this frail film.

Raabta was long awaited because of Sushant Singh Rajput and Kriti Sanon‘s chemistry. Their real-life romance was reflected in the trailer of the film and that had got everyone damn excited. Also, the return of the reincarnation theme after so many years sweetened the wait too but the film fails on all other accounts: What’s it about: Reincarnation stories are tricky but there’s a certain air of mystery about them that has a huge appeal. I mean who doesn’t want to time travel and experience an alternate paradigm of sensory overload. The subject has seduced filmmakers over the years in different generations. Now Dinesh Vijan attempts the genre with Sushant Singh Rajput and Kriti Sanon in the lead. The plot is simple, Shiv and Saira meet, stare at each other, even have an instant liplock to realise they have a Raabta, what sort they are unable to figure out. Jim plays the odd man out who spirals this love story out of control making them revisit their lives, centuries ago, when they were warring tribes speaking strange dialects. They died only to meet again. Well, the story sort of ends here, but the setup and premise is long, tiring and tests your patience. What’s hot: Raabta is a good looking film. Meaning, besides the eye candy that is Sushant and Kriti, Dinesh has definitely spent a lot of money in capturing the lush locales of Bulgaria and the special effects and makeup especially of Rajkummar Rao in the role of an Oracle is terrific. Dinesh creates a light and breezy first half where the banter between Sushant and Kriti feels easy and organic. Casting these two in the film was a brilliant idea because the chemistry between them is sizzling. Sushant especially has gone to all lengths to make get a toned body for his role as the tribal warrior. The hard work pays off handsomely as he’s the best part of the film. There is immense likeability in him and he goes full throttle with his charm. Kriti manages to leave a mark with her scenes in the second half. The best moments are the one liners Shiv and Saira throw at each other and the tomfoolery that follows. Rajkummar Rao deserves a medal for enduring hours of torture to get into the difficult prosthetic make up for a blink and miss role. What’s not: Raabta needed to have more edge and I mean not in terms of visuals but with its narrative. There isn’t much happening once we move to the flashback scenes and the parallel world. It is tough to understand and comprehend the strange tribal dialect and accent that Sushant uses to communicate with his audience. The costumes are fine, but there is a lack of cohesiveness. There is always something missing in a lot of scenes like you wish there was more of Rajkummar and maybe he had a cool backstory. Or Jim Sarbh who is a miscast didn’t have to struggle with his dialogues and we don’t even know if it was intentional. His character is the weakest link in an already frail plot. Deepika Padukone’s sexy yet boring song cameo goes unnoticed. It comes too late in the film, while the best track of the film a club song shot on an almost shirtless Sushant comes at the end credits. Raabta tests your patience in a time when attention deficiency is a major issue with an audience that won’t settle for less. What to do: Sushant and Kriti’ s terrific chemistry deserved so much better. I hope filmmakers take notice and cast these two in a film that exploits their full potential. Raabta is an opportunity wasted. Rating: 2.0 out of 5

Raabta movie review: Sushant Singh Rajput and Kriti Sanon?s crackling chemistry is the only highlight of this film

Hidden Figures is an american biographical drama film directed by Theodore Melfi. The movie is based on a non fiction book of the same name by Margot Lee Shetterly. It is nominated in the Best Pictures category at Academy Awards.

Storyline: 4.5/5

Hidden Figures is a story of women African American Mathematicians in NASA in 1960s. The movie is a refreshing break from regular mundane plots.

Everyone has heard about racial discrimination during those days but it is tough to imagine it in a science haven like NASA. This biographical drama made that tough job really easy.

Direction: 4.5/5

A well directed movie will never let you feel the ticking of clock and this one makes you forget the existence of clock. From the opening frame to the closing, there is not a single dull moment in the film.&nbsp;

Melfi successfully managed to convert a biographical book to a binding visual experience.

Acting: 5/5

For a successful movie, actors needs to feel the characters. The three leading ladies in this movie aced the art of absorbing their characters and bringing them alive on the screen.

Taraji P Henson, Octavia Spencer and Janalle Monae were not the only one, Jim Parsons and Mahershala Ali too did full justice to their roles.

Entertainment : 5/5

This movie is a full packed entertainment. Even after being a NASA oriented film, it is not heavy on scientific jargons or mathematical theorems.&nbsp;

This enriching journey of three women takes the audience with them, glides through their strengths and finally lands on the pedestal of a future that changed history.

Overall rating: 4.5/5 
&nbsp; 
Book the earliest possible show, double up your popcorn and make sure you see this movie even if you are neck deep in work.

(WION)

The movie has an overall rating of 4.5. So book the earliest possible show, double up your popcorn and make sure you see this movie

Hidden Figures is an american biographical drama film directed by Theodore Melfi. The movie is based on a non fiction book of the same name by Margot Lee Shetterly. It is nominated in the Best Pictures category at Academy Awards. Storyline: 4.5/5 Hidden Figures is a story of women African American Mathematicians in NASA in 1960s. The movie is a refreshing break from regular mundane plots. Everyone has heard about racial discrimination during those days but it is tough to imagine it in a science haven like NASA. This biographical drama made that tough job really easy. Direction: 4.5/5 A well directed movie will never let you feel the ticking of clock and this one makes you forget the existence of clock. From the opening frame to the closing, there is not a single dull moment in the film. Melfi successfully managed to convert a biographical book to a binding visual experience. Acting: 5/5 For a successful movie, actors needs to feel the characters. The three leading ladies in this movie aced the art of absorbing their characters and bringing them alive on the screen. Taraji P Henson, Octavia Spencer and Janalle Monae were not the only one, Jim Parsons and Mahershala Ali too did full justice to their roles. Entertainment : 5/5 This movie is a full packed entertainment. Even after being a NASA oriented film, it is not heavy on scientific jargons or mathematical theorems. This enriching journey of three women takes the audience with them, glides through their strengths and finally lands on the pedestal of a future that changed history. Overall rating: 4.5/5 Book the earliest possible show, double up your popcorn and make sure you see this movie even if you are neck deep in work. (WION)

Oscars special movie review: Hidden Figures

La la land is a romantic musical film directed by Damien Chazelle. The screen sizzles with Ryan Gosling and Emma Stone in the lead roles.&nbsp;

As you might know that Los Angeles is nicknamed as La La Land so it is easy to guess that the movie&rsquo;s plot is based in this city.

Storyline (3/5)

This film is a fluid depiction of a simple yet beautiful story. The plot stands tall on the pillars of love and dreams, and how they impact each other.

Romance and emotions are deeply interwoven into the script. Though there is nothing unique about the story, it keeps you spell bound through the entire 126 minutes.

Choreography (4/5)

Love, anger, separation and dreams ,all achieve new heights in this musical as it is not just about dialogues and acting, the story is depicted through fluid movements of the whole body.

Dance choreography on melodious numbers&nbsp;enlightens the screen with the unspoken chemistry of the actors. Raw dancing skills of Emma Stone and Ryan Gosling bring authenticity to each performance.

Direction (5/5)

Damien Chazelle&rsquo;s direction mesmerises the audience. Making a romantic film is one thing but making you feel the power of love in a magical way is a different story altogether.

&nbsp;Damien did the latter with such expertise that you will love to fall in love again and again.&nbsp;

Sun set on the hollywood hills, hommage to famous musicals and sweet sorrow of separation blends in with such finesse that all you see is the magic on the screen.

Acting (4/5)

The star power of Gosling and Emma is strong enough to intensify the audience curiosity. Top it up with the emotional depth and sizzling on screen chemistry, the result is an intoxicating cinematic concoction.

Gosling brings a charismatic persona and a graceful body with a wave like fluidity. Emma adds charm and beauty. Together they move as one and apart they create the magnetism that pulls the lovers together.

Overall Ratings (4/5)

Life is about music, love, dreams and belief. La La Land puts all these together in a beautifully crafted manner. &nbsp;Watch it and revive your belief in dreams and love.

(WION)

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With an overall rating of 4, the movie is a must watch

La la land is a romantic musical film directed by Damien Chazelle. The screen sizzles with Ryan Gosling and Emma Stone in the lead roles. As you might know that Los Angeles is nicknamed as La La Land so it is easy to guess that the movie’s plot is based in this city. Storyline (3/5) This film is a fluid depiction of a simple yet beautiful story. The plot stands tall on the pillars of love and dreams, and how they impact each other. Romance and emotions are deeply interwoven into the script. Though there is nothing unique about the story, it keeps you spell bound through the entire 126 minutes. Choreography (4/5) Love, anger, separation and dreams ,all achieve new heights in this musical as it is not just about dialogues and acting, the story is depicted through fluid movements of the whole body. Dance choreography on melodious numbers enlightens the screen with the unspoken chemistry of the actors. Raw dancing skills of Emma Stone and Ryan Gosling bring authenticity to each performance. Direction (5/5) Damien Chazelle’s direction mesmerises the audience. Making a romantic film is one thing but making you feel the power of love in a magical way is a different story altogether. Damien did the latter with such expertise that you will love to fall in love again and again. Sun set on the hollywood hills, hommage to famous musicals and sweet sorrow of separation blends in with such finesse that all you see is the magic on the screen. Acting (4/5) The star power of Gosling and Emma is strong enough to intensify the audience curiosity. Top it up with the emotional depth and sizzling on screen chemistry, the result is an intoxicating cinematic concoction. Gosling brings a charismatic persona and a graceful body with a wave like fluidity. Emma adds charm and beauty. Together they move as one and apart they create the magnetism that pulls the lovers together. Overall Ratings (4/5) Life is about music, love, dreams and belief. La La Land puts all these together in a beautifully crafted manner. Watch it and revive your belief in dreams and love. (WION)

Oscars special movie review: La La Land

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