It is often said that you can’t go home again, but “Cobra Kai” has been a homecoming for its stars, its characters, and its creators, bringing together the cast of “The Karate Kid” and its sequels, united by three friends who have been passionate fans of the series since they were young children. “This is very high level fan fiction,” series-co-creator and writer John Heald said at a Comic-Con press event. With Jon Hurwitz and Hayden Schlossberg, Heald had worked on raunchy R-rated comedies, but “Karate Kid” was “a series we are fans of and obsessed with.” They said that there were influences and references to the series even in their silliest comedies. 

Bringing the “Karate Kid” story up to date 34 years later, “Cobra Kai” has original stars Ralph Macchio as Daniel LaRusso and William Zabka as his rival, Johnny Lawrence. Martin Kove returned in season 2 as John Kreese, who played Johnny’s coach in the original series. In the present day, Johnny and Daniel run rival dojos. While Daniel teaches the philosophy of balance he learned from his teacher and namesake of his dojo, the late Mr. Miyagi. (Pat Morita), Johnny’s students learn a more aggressive “no mercy” style of fighting.  

The series, which appears on YouTube Premium, includes a cast of newcomers as the dojos’ students, and the dual generation storylines have made it popular with families. Heald, Hurwitz, and Schlossberg explained that the luxury of a television series storyline made it possible for them to give the characters more nuance. It isn’t just about good guys and bad guys anymore. Everyone is struggling in one way or another.  ‘YouTube Premium is treating this like it’s their ‘House of Cards,’” Hurwitz said. “It gives us more levels to play with. We used to think of a two-hour movie as the highest form of narrative. But this gives us a much bigger landscape, even than ‘Lord of the Rings.’ TV can give you a canvas that changes the whole industry. It’s not a limiting thing.” Kove made the same point in talking about what audiences learn about Kreese that makes him more sympathetic because you know where his philosophy of fighting comes from. “My favorite part is the more vulnerable moments…That’s why the show is so good, because they’re writing gray. They’re not writing black and white anymore….I never thought of him, even in the movies, as a villain. He’s a purist…He’s not an emotional man. He’s not a sensitive man. He’s not committed to the dark side. He’s committed to winning.  He lost his most valuable player because they showed mercy, and they don’t want that to happen again. In a tournament you can knock your opponent down and walk away but God forbid that happens in the street. You have to make sure he stays down.”

The third season will be another kind of homecoming, as the backstories of Mr. Miyagi and John Kreese will be explored. “We’re going to find out in this season why we are the way we are,” Kove told us.  Daniel returns to Mr. Miyagi’s home in Okinawa and learns more about his sensei’s past.

The last season left us with many unanswered questions. Zabka says, “We have to see how Miguel is doing; we have to check his pulse. Johnny’s out of Cobra Kai. He gave a second chance to his mentor/father figure who took advantage of him. I always say, ‘Why would Johnny go back to the dojo after what happened?’ It was his chance to do it right and had the legs kicked out from under him. He’s a man without a home right how. He’s dojo-less.” His character will continue to try to reach out to his estranged son. Zabka says he keeps coming back to Johnny’s original line, “We have one year to make it work.” “Johnny’s always trying to make it work, to put the pieces together.” Johnny will have to deal with letting down the people he cares most about. He wants to make things right, but “I don’t think he feels that he is worthy of that. He feels like a failure.” 

Macchio says “there will be a lot of stakes for all the characters in season 3. Any time you can tie into the current show pieces of ‘The Karate Kid’ universe that we all remember from the films, that’s what the writers have done beautifully. It’s nostalgia and present-day relevance, like the best meal your grandmother ever made and you get to eat it again, but with new ingredients added.” He says his character had all good intentions in season 2, “but he’s always been that 'acts first, thinks later' guy. So he’s going to have to deal with the repercussions of that, as we saw last season when he took the picture down and said, ‘I’m sorry.’ Or when he said in season 1, ‘I wish you were here right now.’ I love those moments.”

Marvel comic writer/artist Jim Starlin has created many iconic characters, but only one put on a giant glove studded with infinity stones and snapped his fingers to wipe out half of the universe. Thanos, played by Josh Brolin in the Avengers movies was the first character Starlin created for Marvel and he has developed and deepened the character over the years. In an interview with RogerEbert.com at San Diego Comic-Con, Starlin talked about what it takes to be a great super-villain, the quote from Norman Mailer that inspires him, and what comics can do that movies, even with unlimited computer graphics and the best acting and directing and composing talent, cannot.  

What does it take to make a great super-villain?

Complexity. There are so many one-dimensional characters, two-dimensional characters out there. If you add layers to it, you add dimension to it. With Thanos, I had 40 years to play with him, and so there’s 40 years of different little aspects thrown in that weren’t there the previous year. He’s become interesting because he’s not your cut-out bad guy. He’s a little off-kilter and his approaches, if anything, are sometimes too direct and horrifying to be acceptable. You know, fifty percent of everybody gone, that kind of throws people off a little. 

He thinks he is saving the other half, though, doesn’t he?

Well, we’re all heroes in our own story. Why should he be any different?  I don’t think Lex Luthor gets up in the morning and says, “What bad thing can I do today?” It’s more like, “What can I do today to advance my own story?”

Comics are the rare narrative where the characters go on forever, with different artists and writers, endlessly re-imagined, but still, as you said, you’ve had 40 years with Thanos and you have taken over characters invented by others. The characters go on, but the stakes are always life and death.

Norman Mailer said, “Every true story ends in death.” But there are other characters that go on, the Roman gods, you could say the same thing; they were the same as the Greek gods and then they diverged off. James Bond, Doc Savage. This is something that comes with the 20th century and the rise of corporations and business entities owning the characters rather than individuals.

So how do you keep the continuity but still make them vital and up to date enough to keep the fans engaged?

I always take pride in the fact that I think I’m the most self-indulgent artist I know. I do not put into consideration what the fans are looking for.  You play to someone’s anticipation, you’re going do uninteresting stories. I’d rather have a story that I enjoy than one that anyone else will and it seems to have worked out pretty well for me over the years. Readers who get upset because a writer or character did something that they did not want to see happen are not being realistic about what they’re looking for a story on. If they want to stay consistent through the entire thing, they can watch broadcast television. If you want something that’s going to give you a little mental exercise, go for something where you can’t predict what is going to happen. That’s the point where you’re forced to do some thinking and it gives you more pleasure that way.

You also created Gamora. What inspired her?

She was brought in because the Warlock series was kind of a sausage-fest: Thanos, Pip, Worlock, and I figured I needed something else other than testosterone. So I brought her in. It’s kind of embarrassing how the visualization happened, not the most feminist-friendly source.  

I had a friend, Al Weiss, who did very photo-realistic artwork. He had a lot of European skin magazines in his studio. One day I was leafing through it while I was talking to him and I came across this image of a woman in a fishnet outfit with long dark hair, and I thought, “That’s kind of cool!” That was the basis of where Gamora came about. The funny thing was, there was a Spanish artist, Esteban Maroto, and he obviously saw the same photo essay, and then a few months later — they almost came out simultaneously — he had a character in Eerie or Creepy, a horror comic, based on the same pictures. So, a character who became a feminist icon is based on the least reputable source I can think of.

For a long time, comics had the great advantage that if you wanted to show superpowers or another planet, there was no place you could get visual images as powerful as those drawn by comic book artists. It would have been unthinkable to try to make a movie about the Avengers until very recently. Is there anything comics can still do better than the movies?

We can do thought process better. Those little round balloons with the dots on them. Like a novel, we can do the internal characters better than movies and TV can.  They have to be a surface story with a little bit of depth into the character. But you can’t go completely into a person’s soul in that media without losing your audience.

It may be a long time before viewers can appreciate the 2019 remake of "The Lion King" as a freestanding work, instead of judging it against the original. The 1994 version was "Hamlet" plus "Bambi" on the African veldt: a childhood-shaping, Oscar-winning blockbuster, the second-highest grossing feature film of its calendar year, one of the last great hand-drawn Disney animated features (Pixar's original "Toy Story" came out 18 months later), and a tear-producing machine. This remake was controversial long before it opened, mainly because it seemed to take the Walt Disney company's new branding strategy—remaking beloved animated films as CGI-dependent "live action" spectaculars—to its most drastic conclusion. It serves up the same story with different actors, different arrangements of beloved songs and soundtrack cues, a couple of original tunes, a few fresh scenes and sequences, and, of course, photorealistic animals. The latter are the movie's main selling point, so believable that one of my kids remarked afterward that sitting through the film was like watching a nature documentary on mute while the soundtrack to original "The Lion King" played in the background.

But here's the thing: the movie is helmed by a Disney veteran, actor-director Jon Favreau, who's great at this kind of thing. And this might be his best-directed film, if you judge purely in terms of how the scenes and sequences have been framed, lit, and cut together. The cinematographer is Caleb Deschanel, who shot some of the greatest live-action animal adventures in movie history, including "The Black Stallion," and this production straightforwardly owns the notion of "realness," modeling its animals on actual creatures, defining character more through body type and ingenious details of movement than through facial expressions, which might've looked kinda creepy here, honestly. (The animals are a little bit creepy at times, though not as creepy as in Andy Serkis' "Mowgli," where you sometimes felt as if you were watching top secret footage of gene-spliced animal-humans.) 

Favreau broke into filmmaking with such hip indie comedies as "Swingers" and "Made," then improbably transformed himself into a junior version of Steven Spielberg or James Cameron, overseeing the biggest of big-budget properties, including the first two "Iron Man" films and Disney's recent hyper-real remake of "The Jungle Book." This may be his most daunting challenge yet, or at least his most provocative if you cherish the source material. The very idea of presuming to remake Disney's most financially successful late-period animated film with the latest in computer-generated imagery, while continually reminding people of the original by recycling the same story and music (and many of the same iconic shots and locations, including the lions' distinctively shaped Pride Rock), is as close as Hollywood gets to courting charges of blasphemy. 

Visually, the original was 88 minutes' worth of stylized paintings in motion, like a child's storybook come to life, but with expressionistic or psychedelic elements (like the freaky green highlights in the "Be Prepared" sequence, and the stylized hellfire and skewed camera angles during the end battle) that tickled the sensibilities of film-buff parents. In contrast, this new "Lion King" is rooted deeply in the real, from its plain, sometimes drab colors to the animals' intricately rendered bone structures, muscles, and fur. Even when the characters are singing the familiar songs and repeating the familiar lines (or, in one hilarious and oddly postmodern interlude, quoting another Disney movie) the entire crew is working double-overtime to convince you that these creatures exist, that they shed fur and drop scat on the jungle floor. 

Favreau and Deschanel's camera (or "camera"—this is a digital movie built from ones and zeros) follows closely behind the animals as they gallop through grasslands, scale cliffs and hills, tumble and wrestle and fight, and romp through water and rain. It's as as if they were real animals with intelligence and agency who allowed camera crews to follow them rather than eating them. (Disney always released animal documentaries in addition to their animated and live-action features, and this one sometimes feels like a very basic one from the 1950s, where an editor would cut to an unremarkable close-up of a bear panting in the summer heat, and the narrator would tell you it was sad because it missed its mom.)

It's impossible to deny that this movie represents a technical milestone. We've seen digitized versions of real animals before (perhaps most strikingly in the recent "Planet of the Apes" movies, and in Favreau's "Jungle Book") but they're presented so matter-of-factly by Favreau that if they didn't talk and sing, and if you squinted just a bit, you'd never know they weren't the real deal. And the filmmaking itself adds credibility. The "camera" (again, there is no camera, just CGI) seems to have weight. When it "flies" over "Africa," you'd swear it had been attached to an actual helicopter. When the elder lion king, Mufasa (James Earl Jones, the only actor from the original reprising his part), scales the walls of a canyon to rescue his son  from rampaging wildebeests unleashed by his evil brother Scar (Chiwetel Ejiofor), it's clear that the filmmakers have put a lot of thought into how a 400-pound alpha predator would do such a thing, whereas the original was content with "the lion climbs up the rock."

Of course there's something to be said for sticking to "the lion climbs up the rock" rather than proving you that know how to answer the question "How does a 400-pound lion climb up a rock?" The Dad Joke answer is, "Any way he wants to," but animators need more direction than that. It's easy to make a case that lions and hyenas and baboons and hornbills and antelopes drawn with ink and paint, with an eye towards the simple yet daring gesture rather than Nature Channel texture, register as more emotionally "real" than things that might be mistaken for photos, especially when they're doing vaudeville wordplay and delivering sad monologues and singing songs by Elton John and Tim Rice. 

But that doesn't fly, not anymore, because the movie industry has conditioned audiences to think that "reality" and "believability" are the greatest of all creative virtues, and that the live-action blockbuster is the classiest, most respectful way to tell a story. That's why visually daring animated films like "Spider-Man: Into the Spider-Verse" only make a fraction of the box office haul of more literal-minded live-action Marvel movies. And it's why almost every spectacle-driven live action (or "live action") blockbuster, from Marvel and DC to the "Star Wars" franchise and the American Godzilla films, and the Transformers, and even Pixar, are obsessed with making sure that countertops and pavement and glass and hair and skin and fur and fire and water look photographically real, and that everything moves believably even you're watching wisecracking toys or combat droids or city-destroying kaiju. To quote a friend, if you follow this creative impulse too slavishly, it's like using a magic wand to make a toaster. 

Where you fall on this stuff is anyone's guess, if you care about it at all. You might not, and that's OK. But it should be said that even if you're not obsessed with cinema minutia, this film is still a fascinating aesthetic experiment, less reminiscent of Favreau's previous photorealistic Disney animal picture, "The Jungle Book," than of Gus van Sant's 1998 remake of Alfred Hitchcock's "Psycho," a curiosity that wasn't quite shot-for-shot but got eerily close. Watching this new "Lion King" reminded me of seeing the "Psycho" remake in a theater and hearing people scream their heads off at the film's jump scares, even though they were near-exact reproductions of things Hitchcock had done 28 years earlier, with the same music, but in color instead of black and white, and with different actors. 

Who deserves credit for inspiring that powerful emotional reaction in 1998? Alfred Hitchcock, for making "Psycho" in the first place? Or Gus van Sant, for realizing that the master's work was so fully realized that if he copied it as closely as possible, audiences would still scream in the same places 38 years later? If you retain as much of an original work as possible while reimagining it, is it a gesture of respect or timidity? Is the result a thought experiment, or just an easy way ("easy" in terms of imagination, not effort) to make lots of money by creating a slightly different version of a thing people already know they like? Maybe films like the new "Lion King" take the phrase "give the people what they want" absolutely literally, and that's the whole (cynical?) point of their existence. But is slavish fidelity to an old text really what "the people" want? Or is it possible—to paraphrase a different showbiz maxim that's equally true—"the people" don't actually know what they want until someone shows it to them?

There are parts of the new "Lion King" where that second maxim comes into play, and it's beguiling, sometimes glorious. Like many "live action" Disney remakes of animated movies, this one is much longer than the original, and yet (like Favreau's "Jungle Book," still the best entry in this photorealistic remake series) it uses the extra length to make a statement, creating a sense of stillness. This might sound odd in a review of a CGI-driven 2019 Disney movie, but Favreau often appears to be trying to create a mid-twentieth-century motion picture made with the shiniest new tech—the kind of movie that took its time and gave viewers a bit of mental breathing space, permitting them to contemplate what they were seeing as they saw it.

There are times when the movie clears out music and dialogue and just lets you hear natural sounds and watch lions, giraffes, elephants, birds, rodents, and insects move through the frame. This movie uses the motif of "light" more subtly than the original, because it's striving to look "real" rather than stylized, and the result is a great example of how CGI animation can achieve a different kind of poetic effect that's different from the kind that old-fashioned cel animators might attempt. 

When Mufasa tells young Simba that his domain is "everything the light touches," the scene is illuminated by a golden, dawn-like glow, and when they have what proves to be their final conversation before Mufasa's death (that's not a spoiler, folks—"Hamlet" is 400 years old) the sunlight ebbs and gives way to darkness, and the sky fills with stars, foreshadowing Mufasa taking his place among the ghosts of kings and queens up above. A sequence two-thirds of the way through takes a brief transitional bit from the original—Rafiki the baboon realizing that Simba is still alive by catching his scent in the wind—and builds a lengthy, chain-reaction sequence around it, with a tuft of Simba's fur traveling, like the "Forrest Gump" feather, from the Eden-like jungle where he's exiled himself to the pridelands. 

And while the photorealism of the animals snuffs out any possibility of subtle "human" facial expressions, the creatures' bodies provide more characterization detail than you might expect. Especially impressive is the way Scar's physique contrasts with Mufasa's. The former is angular and raw, a Mick Jagger or David Bowie sort of body that lopes and limps, while the latter is a magnificent bruiser like Dave Bautista or Dwayne Johnson, so thick and powerful that when he moves, you can imagine the air parting around him. When Scar licks his paw and grooms himself absentmindedly as his brother pontificates, the gesture comes across as decadent and contemptuous even though it looks like something a real lion would do. That's filmmaking magic of a different kind than was contained in the source, and it's not necessarily lesser. 

What distinguishes all these choices is that they aren't blatantly trying to re-create or pay homage to something that viewers loved in an original work, in order to comfort us and press our nostalgia buttons. That means they can stand on their own two paws, making unflattering comparison harder. When the movie is doing its own thing, you don't think about whether Donald Glover's performance as the adult Simba is better or worse or merely different from Matthew Broderick's Simba (he's different—more internalized and shell-shocked), or whether Beyonce gives a better acting performance as Nala than Moira Kelly (she doesn't, except when she sings), or whether Billy Eichner and Seth Rogen are a funnier meerkat-warthog duo than Nathan Lane and Ernie Sabella (call it a tie, and ties go to actors with Broadway-caliber singing voices). The movie is never less interesting than when it's trying to be the original "Lion King," and never more compelling than when it's carving out negative space within a very familiar property and strutting to the beat of its own, new music. 

The worst thing you can say about this movie, and perhaps the highest compliment you can pay it, is to say it would be even more dazzling if it told a different story with different animals and the same technology and style—and maybe without songs, because you don't necessarily need them when you have images that sing. 

Tilman Singer’s “Luz” was one of the most buzzed about titles on the genre festival circuit in 2018, earning raves at Montreal’s Fantasia Fest and Austin’s Fantastic Fest. It’s easy to see why. With echoes of everything from Dario Argento to Peter Strickland, “Luz” is a major announcement of a new talent. Singer has what horror fans look for in young directors – a very strong eye, a unique set of influences, a gift with sound design. His debut work sometimes feels more like a student film than a complete project – and not just because it’s barely 70 minutes – but it’s one of those genre pics that instantly raises the bar for whatever he does next. It may have fallen a bit short of my expectations after its remarkable first 15 minutes and the general buzz the film came with, but I am all-in for whatever Singer does next. Someone give him a blank check to do whatever he wants.

Shot on 16MM on only a couple of sets, “Luz” is a Eurohorror nightmare from a filmmaker who clearly admires the Giallo masters of the ‘70s. From the very first shot, an extended, grainy, grimy take in which a cab driver named Luz (Luana Velis) walks into an empty lobby and moves as if she’s in a daze, it’s clear that this is not your typical ‘10s horror film. It shares more in common with Strickland or David Lynch than modern slasher pics or even the work of someone like Jordan Peele. It is about sound and mood more than plot or character, designed to mesmerize you into a cinematic trance. You know how often your dreams don’t make perfect sense? That’s the way to approach “Luz.”

With that in mind, a plot recap seems almost silly. In the opening scenes, the hat-wearing, slightly-injured Luz seems lost and confused. Meanwhile, a woman in a bar named Nora (Julia Riedler) chats with the only other person there, a doctor (Jan Bluthardt). We learn that Luz summoned a demon years earlier with a profane prayer at her religious school. And now that entity wants to find its way back to Luz. The opening parallel sequences are remarkable, easily my favorite part of “Luz.” Singer displays a mastery of composition and startling sound design from the very beginning and the first 20 minutes of “Luz” could have made for a great short film on their own.

Singer lost me a bit in the mid-section of “Luz,” which gets surreal in a way I wasn’t expecting. An interrogation of Luz starts to feel like experimental theater as lines are spoken in Spanish, German, and English, and Singer plays around with space and sound. Luz seems to be recounting what happened earlier that night in much the same way a theatre major would tell a story to her class, complete with pantomime, but Singer drops in the sounds of what Luz is describing like gear shifts and traffic. It’s all right on that line between “interesting” and “effective.” I was never bored during this stretch of the film, but the mesmerizing impact of the opening scenes seemed to fade away.

Singer brings “Luz” in for an effective ending, but it still feels like a movie that just barely works as a feature film, and almost would have been better as a 45-minute, extended short. Still, while this may read like only a mild recommendation for most readers, it is a hearty one for genre fans. We are lucky enough to be in a very strong era for horror, and I have a feeling Singer is going to be a major part of it. 

“Into the Ashes” tells a blood-soaked story of violence, betrayal, and revenge that's so familiar that if one of the actors on the screen inexplicably forgot what to say, a viewer could feed them their lines without hesitation. The problem is not that it tells a story that's been done many times before, but that it never finds a new or interesting way of approaching the familiar material. Instead, it merely goes about with the kind of plodding predictability that makes you wonder why anyone involved with the project felt that it needed to be told in the first place. And on the very rare occasions when it threatens to try something different, it only takes a few minutes for it to hurry back to the safety of the well-beaten trail.

Set in rural Alabama, the film is centered around Nick Brenner (Luke Grimes), a man who seems to have everything that a guy like him needs for a reasonably good life—a steady job, a loyal best pal in Sal (James Badge Dale) and, most significantly, a loving wife in Tara (Marguerite Moreau). As it turns out, Nick also has a secret that he has kept from everyone—he used to be part of a violent criminal gang and stole the proceeds from their last job, taking off as the boss of the group, Sloan (Frank Grillo), was going to prison. Having just been released, Sloan, along with a couple of cohorts, sets off to track his former partner down and in the inevitable confrontation, they take away the most important element of Nick’s world before putting a couple of bullets in him for good measure. He survives and, to quote from the film’s promotional material, “Nick must decide if he will stay on his new path or indulge in his need for revenge and force his enemies to pay for what they have done.” Naturally, I would not dream of revealing which path he chooses but considering the number of people brandishing guns on the poster, the answer should not be too difficult to figure out.

As you can probably surmise, one does not exactly have to be a walking version of IMDb to realize that “Into the Ashes” is not exactly teeming with originality or innovation. Film buffs could even amuse themselves by watching it by coming up with their own individual lists of films that evidently inspired writer/director Aaron Harvey along the way. However, there is never any real sense of what it was about this particular story that compelled him to make it in the first place. The storyline is fairly superficial, the characters are thinly drawn and the insights that it offers regarding violence and revenge in conversations between Nick and his grieving father-in-law (Robert Taylor), who also happens to be the local sheriff, veer between the empty and the vaguely insulting. There is essentially one sequence in the film where things threaten to become interesting—a sudden cut to the aftermath of a bloody shootout that is both eerie and disconcerting in the way that it simply and quietly observes the result of a few moments of unimaginable brutality without indulging in the expected orgy of blazing guns. Alas, it must have proved to be a little too disconcerting because only a few minutes after this surprisingly subtle touch, Harvey essentially takes it back by inserting a flashback that offers up all the flying bullets and spurting blood anyway.

“Into the Ashes” is not marginally different from the kind of violent revenge dramas that Charles Bronson used to crank out back in the day. Granted, most of those films were not very good either but at least benefitted from his considerable and often underrated screen presence. Alas, this film rests on the shoulders of Luke Grimes and he simply doesn’t have the presence or pull to make it work. He isn’t bad, per se, but you just never really buy him as a person at any given point—there is no real sense of the happiness that he is supposed to be feeling about the second chance he has been given with Tara nor the sense of rage and helplessness that he is mean to be consumed by after she is taken away. What makes this especially frustrating is that the film contains two actors—Frank Grillo and James Badge Dale—who have both the acting chops and screen presence that could have been successfully deployed but who are instead relegated to supporting roles.

Every once in a while, a little crime drama will come out of nowhere and impress with its combination of style and originality—that happened this year with a nifty little effort called “The Standoff at Sparrow Creek,” which you should really check out. This, however, is not the case with “Into the Ashes.” To be scrupulously fair, it is not necessarily a terrible movie. (If it had been truly terrible, it might have contained the kind of energy sorely lacking here.) It has been made with some degree of style and Grillo and Dale manage to overcome the cliched dialogue and characters that they have been handed. It's just that "Into the Ashes" never comes to life. 

More of the lost Justice League has been revealed.

Should he come back from being dusted?

Most excellent!!

Maybe this will help?

Savage! Also ... accurate.

No one could ever replace the OG Avengers, but it looks like the future of the Marvel Cinematic Universe is in good hands. Who can fill the roles of Iron Man, Scarlet Witch, and others?

You can take a look at some of the best photos we got today down below. Some of my favorites included Jessica Rabbit, an A+ balloon animal and the giant Funko Pops, including the one at the top of the article. Well played, everyone. We hope you had fun.

Wait.. which pair of dreamy blue eyes is the live-action Ariel going to fall in love with?

One step closer to actually happening.

The Walking Dead franchise is breaking new ground.

Bong!

The new Lion King is basically the same movie as the old Lion King, but there are a few nmotable differences.

சென்னை: ஒரு திருடனும், டாக்டரும், போலீசுடன் நடத்தும் யுத்தம் தான் கடாரம் கொண்டான். படத்தின் முதல் காட்சியில் மலேசியாவின் டிவின் டவரின் ஒரு மாடியில் இருந்து கண்ணாடியை உடைத்துக்கொண்டு வெளியே குதித்து உயிர் தப்பி ஓடி வருகிறார் விக்ரம். அவரை இரண்டு பேர் விரட்டி வந்து கொல்ல முயற்சிக்கிறார். அப்போது எதிர்பாராத விதமாக அதிவேகத்தில் வரும்

சென்னை: சூழ்ச்சியால் வீழ்த்தப்படும் ஒரு சிங்கக் குட்டி, வளர்ந்து பெரியவனாகி சிம்மாசனம் ஏறும் கதையே தி லயன் கிங். கார்ட்டூன் வெர்ஷனில் தி லயன் கிங் படம் பார்த்தவர்களுக்கு இந்த கதை ஒன்றும் புதிதல்ல. இன்னும் புரியும்படி சொல்வதென்றால், பாகுபலி கதையை லைட்டாக பட்டி, டிங்கரிங் பார்த்து காட்டுக்குள் ஓடவிட்டால், அதுவே தி லயன் கிங்கின்

சென்னை: ஒரு வங்கி கொள்ளை சம்பவத்தை நகைச்சுவையாக சொல்ல முயன்றிருக்கிறது கொரில்லா திரைப்படம். காலையில் அரசு பேருந்தில் திருட்டு, அடுத்தது ஒரு மருந்துக்கடையில் ஏமாற்று வேலை, மாலை போலி டாக்டர் என ஊரை ஏமாற்றி சம்பாதிப்பதே ஜீவாவின் தொழில். சதீஷும், விவேக் பிரசன்னாவும் ஜீவாவின் நண்பர்கள். பொருளாதார மந்தநிலையால் சதீஷுக்கு வேலை பறிபோகிறது. சினிமாவில் ஹீரோவாகும்

சென்னை: தனது தந்தையின் லட்சியத்தை நிறைவேற்ற மகன் விளையாடும் கபடி ஆட்டம் தான் வெண்ணிலா கபடி குழு 2. கதை நடக்கும் ஆண்டு 1989. தென்காசியில் கேசட் கடை நடத்தி வரும் விக்ராந்த், தான் உண்டு தனது வேலை உண்டு என வாழ்பவர். நாயகி அர்த்தனா பினுவை கண்டதும் காதல் கொள்கிறார். இவரும் டூயட் பாடி ஊரை

சென்னை: வெட்டியாக ஊர் சுற்றி திரியும் ஒரு இளைஞன், களவாணித்தனம் செய்து ஊரின் தலைவராவதே களவாணி 2. முதல் பாகத்துக்கும் இரண்டாம் பாகத்துக்கும் இருக்கும் ஒற்றுமை நடிகர்கள் மற்றும் ஒரத்தநாடு, அரசனூர் போன்ற கதைக்களம் மட்டுமே. மற்றப்படி, முந்தைய படத்துக்கும், இதற்கும் எந்த சம்மந்தமும் கிடையாது. வேலை வெட்டிக்கு போகாவிட்டாலும், கஞ்சி போட்டு வெரப்பாக நிற்கும்

சென்னை: மாமன் மகளை திருமணம் செய்ய முடியாமல் தவிக்கும் நாயகனின் புலம்பலே 'எனக்கு இன்னும் கல்யாணம் ஆகல'. காரைக்குடி அருகே உள்ள ஒரு கிராமத்தில் வெட்டியாக ஊர் சுற்றிக்கொண்டிருப்பவர் நண்டு ஜெகன். அதே ஊரில் டீக்கடை நடத்தி வரும் மாமன் மகள் மனிஷாஜித்தை காதலிக்கிறார். போலீசாகி, ஐஜியிடம் கைக்குலுக்கினால் தான் தனது மகளை திருமணம்

சென்னை: வலுவான கதை, சுவாரஸ்யமான திரைக்கதை, திறமையான நடிகர்கள் என ஒரு அருமையான படமாக வந்துள்ளது ஜீவி. தொடர்பியல் முக்கோண அறிவியலின் அடிப்படையில் இருவேறு குடும்பங்களுக்கு இடையே நடக்கும் ஒரே மாதிரியான சம்பவங்கள், ஒரு மையப்புள்ளியில் நிற்பது தான் ஜீவி படத்தின் ஒன்லைன். இதை படிக்கும் போது, ஏதோ இயற்பியல் பாடத்தில் வரும்

சென்னை: 2015 சென்னை மழை வெள்ளத்தின் பின்னணியில் ஒரு காதலை மென்சாரலாய் கொண்டாடுகிறது ஹவுஸ் ஓனர். 2015 டிசம்பர் 1,2 தேதிகளில் சென்னையில் ஏற்பட்ட மழை வெள்ள பாதிப்பை வரலாறு மறக்காது. எத்தனையோ ஆயிரம் மக்கள் பல ஆண்டுகளாக கஷ்டப்பட்டு சேர்த்து வைத்த உடைமைகளை இழந்தார்கள். பல இடங்களில் உயிரிழப்புகளும் ஏற்பட்டது. அப்படிப்பட்ட ஒரு இழப்பை

சென்னை: ஒரு பெண் புலியை காப்பாற்ற போராடும் மூன்று இளைஞர்களின் கதையே தும்பா. நாயகன் 'கனா' தர்ஷனுக்கு டீக்கடை தொடங்க வேண்டும் என்பது நீண்ட நாள் ஆசை. ஆனால் அதற்கு பணம் இல்லாததால், கிடைத்த வேலைகளை செய்து வருகிறார். இந்நிலையில் நண்பன் தீனாவுடன் சேர்ந்து, டாப்ஸ்லிப்புக்கு பேயின்டிங் வேலைக்கு உதவியாக செல்கிறார். ஒயில்ட்

சென்னை: வங்கி கொள்ளையர்களுக்கும், போலீசுக்கும் இடையே நடக்கும் சண்டையில் தீவிரவாதிகளும் நுழைந்தால், அதுவே சுட்டுப்பிடிக்க உத்தரவு. விக்ராந்த்தும், சுசீந்திரனும் மேலும் இருவருடன் சேர்ந்து ஒரு வங்கியை துப்பாக்கி முனையில் கொள்ளை அடிப்பதில் இருந்து படம் தொடங்குகிறது. பொதுமக்களையும் காவல்துறை அதிகாரிகளையும் சுட்டுவிட்டு அவர்கள் தப்பிக்கிறார்கள். அவர்களை பிடிக்கும் பொறுப்பை காவல் அதிகாரி மிஷ்கின் எடுத்துக்கொள்கிறார்.

சென்னை: ஒரு சைக்கோ கொலைகாரனிடம் இருந்து தப்பிக்க, ஒரு பேயின் உதவியுடன் நாயகி ஆடும் ஆட்டம் தான் கேம் ஓவர். பொதுவாக தமிழ் சினிமாவில் பேய் மற்றும் சைக்கோ படங்களுக்கு எப்போதுமே மவுசு அதிகம். அதுவும் சமீபத்தில் பேய் படங்களும் சைக்கோ திரில்லர் படங்களும் மாபெரும் ஹிட்டானதால், இதுபோன்ற பல படங்கள் ரிலீசுக்கு வரிசைக்கட்டி நிற்கின்றன.

சென்னை: ஒரு கொலையும், அந்த கொலையை செய்த குற்றவாளியைக் கண்டுபிடிக்க போலீஸ் நடத்தும் விசாரணையும் தான் கொலைகாரன் படத்தின் கதை. கொலைகாரன் ஒரு க்ரைம் திரில்லர் படம். எனவே இதன் முதல் பாதி கதையை எழுதினால், படம் பார்க்கும் சுவாரஸ்யம் குறைந்துவிடும். ஆதலால், படத்தின் கதையை மேலோட்டமாக மட்டுமே எழுதுகிறோம். படத்தின் துவக்கத்தில்

After Temple, director Puri Jagannadh does not have any notable hits. On the other hand, Ram does not have any hits after the movie Nenu Sail.....

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Music: Vive.....

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Director : Raj R</sp.....

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Dire.....

മലേഷ്യയിലെ വടക്കുപടിഞ്ഞാറൻ പ്രവിശ്യയിൽ പെട്ട ഒരു സ്റ്റേറ്റ് ആണ് കെദാഹ് ദാറുൽ അമീൻ. കടാരം എന്നത് അതിന്റെ തമിഴ് പേരാണ്. എഡി രണ്ടാം നൂറ്റാണ്ടിൽ എഴുതപ്പെട്ട തമിഴ് സഹിത്യങ്ങളിൽ വരെ കടാരത്തെ കുറിച്ചുള്ള പരാമർശങ്ങൾ ഉണ്ട്. അതിനുമുന്പേ തന്നെ തമിഴ് രാജവംശങ്ങൾ കടാരത്തിൽ ആധിപത്യം സ്ഥാപിച്ചിരുന്നു എന്ന് ആർക്കിയോളജിസ്റ്റുകൾ കണ്ടെത്തിയിട്ടുമുണ്ട്. ചിയാൻ വിക്രം നായകനായി ഈയാഴ്ച

പതിനൊന്നാമത്തെ പുതുമുഖസംവിധായകനെ അഭിമാനപൂർവം അവതരിപ്പിക്കുന്നു, എന്ന് എഴുതിക്കാണിച്ചുകൊണ്ടാണ് വിജയ്‌ബാബു എന്ന നിർമാതാവ് തന്റെ പുതിയ സിനിമ തുടങ്ങുന്നത്. സിനിമയുടെ പേര് ജനമൈത്രി. സംവിധായകൻ ജോൺ മന്തിരിക്കൽ. തുടർന്ന് മിഥുൻ മാനുവൽ ഫോണിൽ ജോണിനെ വിജയ്ബാബുവിന് പരിചയപ്പെടുത്തുന്നതും മൂപ്പരെ ജോൺ വിളിക്കുന്നതും ഓഫീസിൽ നേരിട്ട് വന്ന് കഥ പറയുന്നതും രണ്ടുപേരും ചേർന്ന് കാസ്റ്റിങ്ങ് തീരുമാനിക്കുന്നതും മറ്റുമൊക്കെയായുള്ള സംഭാഷണങ്ങൾ

തന്റെ കൂട്ടുകാരന് മൂന്നാമത്തെ കുഞ്ഞുപിറന്ന വാർത്ത അറിയുകയും അതുകേട്ട് അമ്മയുടെ കുത്തുവാക്ക് കേൾക്കുകയും തത്സമയം കണ്ടുകൊണ്ടിരിക്കുകയായിരുന്ന ക്രിക്കറ്റ് മാച്ചിൽ ഇന്ത്യ ആവേശോജ്വലമായി വിജയിക്കുകയും ചെയ്തതിന്റെ സമ്മിശ്രവികാരങ്ങളോടെ ആണ് വിശ്വനാഥൻ ഭാര്യയെയും കൊണ്ട് വാതിലടച്ചത്. പിന്നെ കാണുന്നത് ഹോസ്പിറ്റലിലും ലേബർറൂമിന്റെ പരിസരവുമാണ്. ഫാർമസിയിൽ ക്രിക്കറ്റ് മാച്ച് കണ്ടുകൊണ്ടിരിക്കുന്ന വിശ്വനാഥൻ, പിറകിൽ നിന്ന് കേൾക്കുന്നു ഭാര്യ പ്രസവിച്ച വാർത്ത

ടൈറ്റിൽ റോളിലും പോസ്റ്ററിൽ കേന്ദ്രസ്ഥാനത്തും വരുന്ന കോംഗ് എന്ന ചിമ്പാൻസി ആണ് ജീവയുടെ പുതിയ സിനിമയായ ഗോറില്ലയുടെ മുഖ്യ ആകർഷണം. ഒരുകാലത്തു മൃഗങ്ങളെയും വന്യജീവികളെയും ഒക്കെ കേന്ദ്ര സ്ഥാനത്ത് നിർത്തി കൊണ്ടുള്ള ഇന്ത്യൻ സിനിമകൾ ധാരാളമായി ഇറങ്ങിയിരുന്നെങ്കിലും വനം വന്യജീവി സംരക്ഷണ നിയമമൊക്കെ സ്ട്രിക്ട് ആയ ശേഷം ആരും ഈ ഒരു ജോണർ സിനിമയ്ക്കായി പൊതുവെ

മലയാള സിനിമയിലെ ന്യൂ ജനറേഷൻ സിനിമകൾ അവതരണത്തിലും പേരിലുമെല്ലാം ഒരു ന്യൂ ജനറേഷനായി മാറുകയാണ് ഇത്തരത്തിലുള്ള പാന്ഥാവിലുള്ള ഏറ്റവും പുതിയ ഉദാഹരണമാണ് സത്യം പറഞ്ഞാൽ വിശ്വസിക്കുമോ?തൊണ്ടിമുതലും ദൃക്സാക്ഷിയും എന്ന സിനിമയിലുടെ പുതിയൊരു കാഴ്ചാരീതിയെ മലയാളിക്ക് പകർന്നു നല്കിയ സജീവ്പാഴുരിന്റെ രചന, വീണ്ടും തീർത്തും വ്യത്യസ്തമായ ഒരു പ്രമേയത്തിലേക്കാണ് പ്രേക്ഷകനെ കൊണ്ടു പോകുന്നത്. അതും അവതരണത്തിന്റെ പുതുമയേറിയ

ഉറുമി എന്ന ഒറ്റ തിരക്കഥയിലൂടെ മലയാള സിനിമാരംഗത്തെ വിവിധ മേഖലകളിലേക്ക് കസേര വലിച്ചിട്ടിരുന്ന മനുഷ്യനാണ് ശങ്കർ രാമകൃഷ്ണൻ. ഉറൂമിയ്ക്ക് ശേഷം നത്തോലി ഒരു ചെറിയ മീനല്ല , മൈസ്റ്റോറി എന്നിങ്ങനെയുള്ള സിനിമകളുടെ തിരക്കഥകൾ കൂടി എഴുതിയെങ്കിലും എഴുത്തുകരാണെന്നതിലുപരി ആക്ടർ എന്ന നിലയിൽ ആണ് മൂപ്പർ കുറേക്കൂടി ശ്രദ്ധേയനായത്. സംവിധാനരംഗത്തേക്ക് കൂടി ശങ്കർ രാമകൃഷ്ണൻ തന്റെ മേഖല

ഇന്ത്യന്‍ ഭരണഘടനയുടെ മൂന്നാം അനുച്ഛേദത്തിലെ ആര്‍ട്ടിക്കിള്‍ 15 ഇന്ത്യയിലെ ഏതൊരു പൗരനും മതം, വര്‍ഗം, ലിംഗം, ജനനസ്ഥലം തുടങ്ങി എന്തിന്റെ പേരിലും രാജ്യത്ത് തുല്യമായ അവകാശം ഉറപ്പുനല്കുന്നുണ്ട്. എന്നാല്‍ ഇന്ത്യയുടെ പലയിടങ്ങളിലും പ്രത്യേകിച്ച് ഉത്തരേന്ത്യയില്‍ ഇതിനുനേരെ വിപരീതമായാണ് കാര്യങ്ങള്‍ നടക്കുന്നത്. തൊട്ടുകൂടായ്മയും തീണ്ടികൂടായ്മയുമെല്ലാം ഈ ടെക്‌നോളജി യൂഗത്തിലും നിര്‍ബാധം അവിടെ അരങ്ങേറുകയാണ്. സവര്‍ണ മേല്‍ക്കോഴ്മയുടെ

ദിൻജിത്ത് അയ്യാത്താൻ എന്ന പുതുമുഖസംവിധായകനും സനിലേഷ് ശിവൻ എന്ന തിരക്കഥാകൃത്തും ചേർന്ന് ഒരുക്കിയിരിക്കുന്ന ഓപി 160/18 കക്ഷി:അമ്മിണിപ്പിള്ള എന്ന സിനിമ അതിന്റെ കൗതുകകരമായ ശീർഷകം കൊണ്ട് തന്നെ ശ്രദ്ധ പിടിച്ചു പറ്റിയിരുന്നു. ആസിഫ് അലി നായകനാവുന്ന ചിത്രത്തിൽ പക്ഷെ, ടൈറ്റിലിൽ കാണുന്ന അമ്മിണിപ്പിള്ളയുടെ റോൾ ചെയ്തിരിക്കുന്നത് ആസിഫ് അല്ല എന്നതാണ് മറ്റൊരു കൗതുകം. അഹമ്മദ് സിദ്ദിഖ്

റിയൽ ലൈഫ് നാച്ചുറൽ ആക്ടിംഗും ലാർജർ ദാൻ ലൈഫ് ഹീറോ പരിവേഷവും തനിക്ക് ഒരുമിച്ച് ചുമക്കാൻ പറ്റിയ ഒന്നല്ല എന്ന് രാജാപാലയത്തുകാരൻ 'മക്കൾ സെൽവൻ വിജയ് സേതുപതി മുൻപും തെളിയിച്ചിട്ടുള്ള കാര്യമാണ്. റെക്ക, ജുങ്ക, കറുപ്പൻ എന്നിവയൊക്കെ ഉദാഹരണം. എന്നിട്ടും ഒരിക്കൽ കൂടി മക്കൾ സെൽവൻ ഇമേജ് വിട്ട് ദളപതി വിജയ് ഇമേജിലേക്ക് ചേക്കേറാനുള്ള വിജയ്

സിനിമയിൽ കഥ മാത്രം നന്നായതു കൊണ്ട് കാര്യമില്ല മറിച്ച് ആ കഥാതന്തുവിനെ സീനുകളിലൂടെ പറഞ്ഞ് പ്രതിഫലിപ്പിക്കുവാൻ പറ്റിയ രീതിയിലുള്ള ഒരു തിരക്കഥ കൂടി ഉണ്ടായാലേ സിനിമ പ്രേക്ഷകന് അനുഭവവേദ്യമാകൂ. പക്ഷേ ഇത് പലപ്പോഴും തിരിച്ചറിയാൻ സാധിക്കാതെ പോകുന്ന അവസ്ഥയുണ്ടാകാറുണ്ട്. സമാനമായ ഒരവസ്ഥയാണ് വകതിരിവ് എന്ന സിനിമയുടെ ആദ്യ കാഴ്ചയും നല്കുന്നത്. കുടുംബ പശ്ചാത്തലത്തില്‍ കഥ പറയുന്ന വകതിരിവ് മാതാപിതാക്കളും മക്കളും കണ്ടിരിക്കേണ്ട സിനിമ തന്നെയാണ്‌.

സാത്താൻ, യമൻ, പിച്ചക്കരൻ, തിമിരുപിടിച്ചവൻ, കാളി, നാൻ എന്നിങ്ങനെ വിജയ് ആന്റണിയുടെ സിനിമകളുടെ പേര് തന്നെ എപ്പോഴും വെറൈറ്റി ആയിരിക്കും. ആ നിരയിൽ പെട്ട പുതിയ ഐറ്റമാണ് കൊലൈകാരൻ. ഒരുകാലത്ത്, തെന്നിൻഡ്യയെ ഇളക്കിമറിച്ച മ്യുസിക് ഡയറക്‌ടർ ആയി വന്ന വിജയ് ആന്റണി പിന്നീട് നായകനായി മാറിയത് നടനെന്ന നിലയിലുള്ള തന്റെ പരിമിതികൾ എല്ലാം അറിഞ്ഞുകൊണ്ട് തന്നെയാണ്,

അങ്ങനെ, അബ്ദുൽ റഷീദ് സലിം സൽമാൻ എന്ന സൽമാൻ ഖാന്റെ പതിനാലാമത്തെ സിനിമയും -ഭാരത്- നൂറുകോടി ക്ലബിൽ കയറി. അതും റിലീസിന്റെ നാലാമത്തെ ദിവസം 130കോടി കളക്ഷനോടെ... താരങ്ങൾ പലഭാഷയിലായി ഇൻഡ്യയിൽ ഒരുപാട് ഉണ്ടെങ്കിലും, ആരാധകർ സ്നേഹത്തോടെ സല്ലുഭായി എന്നു വിളിക്കുന്ന സൽമാന് അല്ലാതെ ഇത്തരം ഒരു നേട്ടം മറ്റാർക്കും ക്രെഡിറ്റിൽ ഇല്ല. ഈ പതിനാലു

ಮದುವೆ ಬಳಿಕ ನಟಿ ರಾಧಿಕಾ ಪಂಡಿತ್ ಅಭಿನಯಿಸಿದ ಸಿನಿಮಾ ಆದಿಲಕ್ಷ್ಮಿ ಪುರಾಣ. ಬಹಳ ನಿರೀಕ್ಷೆಯೊಂದಿಗೆ ತೆರೆಗೆ ಬಂದಿರುವ ಈ ಚಿತ್ರದ ಬಗ್ಗೆ ಮಿಶ್ರಪ್ರತಿಕ್ರಿಯೆ ವ್ಯಕ್ತವಾಗಿದೆ. ಯಾವುದೇ ರೋಚಕತೆ, ಟ್ವಿಸ್ಟ್, ಥ್ರಿಲ್ಲ ಇಲ್ಲದಿರುವು ಸಾಮಾನ್ಯವಾದ ಮನರಂಜನೆ ಇದು ಎಂಬ ಅಭಿಪ್ರಾಯವನ್ನ ಪ್ರೇಕ್ಷಕರು ವ್ಯಕ್ತಪಡಿಸಿದ್ದಾರೆ. ಸುಮಾರು ಎರಡೂವರೆ ವರ್ಷದ ನಂತರ ರಾಧಿಕಾ ಪಂಡಿತ್ ಅವರನ್ನ ತೆರೆಮೇಲೆ ನೋಡೋದೆ ಒಂದು ಮಜಾ.

ರಿಯಲ್ ಕಥೆ ಇಟ್ಟುಕೊಂಡು ಸಿನಿಮಾ ಮಾಡುವುದರಲ್ಲಿ, ಬಾಲಿವುಡ್ ಸಿನಿ ನಿರ್ದೇಶಕರು ಎತ್ತಿದ ಕೈ ಎನ್ನುವುದು ಮತ್ತೆ ಸಾಬೀತು ಆಗಿದೆ. ಈ ಹಿಂದೆ 'ಕ್ವೀನ್' ಎಂಬ ಸುಂದರ ಸಿನಿಮಾ ಮಾಡಿ ಗೆದಿದ್ದ, ವಿಕಾಸ್ ಬಹ್ಲ್ ಮತ್ತೆ ಗೆಲುವಿನ ಸೂಚನೆ ನೀಡಿದ್ದಾರೆ. ಸೋಲು ಗೆಲುವು ಎಲ್ಲದಕ್ಕಿಂತ ಹೆಚ್ಚಾಗಿ ಒಂದು ಒಳ್ಳೆಯ ಸಿನಿಮಾ ಮಾಡಿದ್ದಾರೆ. 'ಸೂಪರ್ 30' ಸಿನಿಮಾ ಹೆಸರಿಗೆ ತಕ್ಕ ಹಾಗೆ ಸೂಪರ್ ಆಗಿದೆ.

ಪ್ರಿಯಾಂಕಾ ಉಪೇಂದ್ರ ಅಭಿನಯದ ದೇವಕಿ ಸಿನಿಮಾ ಜುಲೈ 5 ರಂದು ರಾಜ್ಯಾದ್ಯಂತ ತೆರೆಕಂಡಿದೆ. ಸಿನಿಮಾ ನೋಡಿದ ಪ್ರೇಕ್ಷಕರು ದೇವಕಿ ಬಗ್ಗೆ ಖುಷಿಯಾಗಿದ್ದಾರೆ. ಸಿನಿಮಾ ಸಖತ್ ಥ್ರಿಲ್ಲಿಂಗ್ ಆಗಿದೆ, ಒಳ್ಳೆಯ ಸಸ್ಪೆನ್ಸ್ ಮಿಸ್ಟರಿ ಕಥೆ ಹೊಂದಿದೆ ಎಂದು ಅಭಿಪ್ರಾಯ ವ್ಯಕ್ತಪಡಿಸಿದ್ದಾರೆ. ನಿರ್ದೇಶಕ ಲೋಹಿತ್ ಅವರ ಕೆಲಸಕ್ಕೆ ಮೆಚ್ಚುಗೆ ವ್ಯಕ್ತವಾಗಿದ್ದು, ತಾಂತ್ರಿಕವಾಗಿ ದೇವಕಿ ರೋಚಕತೆಯಿಂದ ಕೂಡಿದೆಯಂತೆ. ಮಮ್ಮಿ ಸಿನಿಮಾದ ನಂತರ

ಹ್ಯಾಟ್ರಿಕ್ ಹೀರೋ ಶಿವರಾಜ್ ಕುಮಾರ್ ಅಭಿನಯದ ರುಸ್ತುಂ ಸಿನಿಮಾ ನಿನ್ನೆ ತೆರೆಕಂಡಿದೆ. ಕಂಪ್ಲಿಟ್ ಆಕ್ಷನ್ ಮಸಾಲೆ, ಮಾಸ್ ಪ್ರಿಯರಿಗೆ ಹೇಳಿ ಮಾಡಿಸಿದ ಚಿತ್ರ, ಶಿವಣ್ಣ ಅಭಿಮಾನಿಗಳು ಫುಲ್ ಥ್ರಿಲ್ ಆಗಿದ್ದಾರೆ ಎಂಬುದು ಸಿನಿಮಾ ನೋಡಿ ಬಂದ ಪ್ರೇಕ್ಷಕರ ಅಭಿಪ್ರಾಯ. ಫಿಲ್ಮಿಬೀಟ್ ಕನ್ನಡದಲ್ಲೂ ರುಸ್ತುಂ ಚಿತ್ರದ ವಿಮರ್ಶೆ ಮಾಡಲಾಗಿದೆ. ಚಿತ್ರದ ಬಗ್ಗೆ ಇಟ್ಟುಕೊಂಡಿದ್ದ ನಿರೀಕ್ಷೆಯನ್ನ ಹುಸಿಮಾಡದ ನಿರ್ದೇಶಕ ರವಿವರ್ಮ,

ಸಾಹಸ ನಿರ್ದೇಶಕ ರವಿವರ್ಮ ನಿರ್ದೇಶನ ಮಾಡಿರುವ ಮೊದಲ ಚಿತ್ರ. ಬಹುಶಃ ಸಿಕ್ಕಾಪಟ್ಟೆ ಆಕ್ಷನ್ ಇರಬಹುದು. ಅದೇನ್ ಮಾಡಿರ್ತಾರೋ ಅಂದುಕೊಂಡು ಹೋದವರಿಗೆ ರುಸ್ತುಂ ಸಿನಿಮಾ ಖಂಡಿತಾ ನಿರಾಸೆ ಮಾಡಲ್ಲ. ಸಖತ್ ಕಿಕ್ ಕೊಡುವುದರ ಜೊತೆಗೆ ಇಷ್ಟವಾಗುತ್ತೆ. ಪೂರ್ತಿ ವಿಮರ್ಶೆ ಓದಿ....

ಸ್ಟಾರ್ ನಟರ ಸಿನಿಮಾಗಳಲ್ಲಿ ಸಣ್ಣಪುಟ್ಟ ಪಾತ್ರಗಳನ್ನ ಮಾಡುತ್ತಿದ್ದ ವರ್ಧನ್ ತೀರ್ಥಹಳ್ಳಿ ನಾಯಕನಾಗಿ ನಟಿಸಿರುವ ಚಿತ್ರ ಹಫ್ತಾ. ಪೋಸ್ಟರ್ ಮತ್ತು ಟ್ರೈಲರ್ ಬಹಳ ಗಮನ ಸೆಳೆದಿತ್ತು. ಎರಡು ವಿಭಿನ್ನ ಶೇಡ್ ಗಳಲ್ಲಿ ಕಾಣಿಸಿಕೊಂಡಿದ್ದ ವರ್ಧನ್ ಪ್ರೇಕ್ಷಕರ ಗಮನ ಸೆಳೆದಿದ್ದರು. ಇದೀಗ, ಸಿನಿಮಾ ರಿಲೀಸ್ ಆಗಿದೆ. ನಿರೀಕ್ಷೆಯಂತೆ ವಸೂಲಿ, ಕೊಲೆ, ಜೊತೆಗೊಂದು ಲವ್ ಸ್ಟೋರಿ ಜೊತೆ ಥಿಯೇಟರ್ ಗೆ ಬಂದಿದೆ.

''ಲವರ್ ಗಿಂತ ಹೆಂಡತಿ ಮುಖ್ಯ.. ನಾವು ಪ್ರೀತಿಸೋ ಲವರ್ ಗೆ ಐ ಲವ್ ಯೂ ಹೇಳುವ ಬದಲು, ನಮ್ಮನ್ನು ಪ್ರೀತಿಸೋ ಹೆಂಡತಿಗೆ ಐ ಲವ್ ಯೂ ಹೇಳಬೇಕು'' ಇದು ಐ ಲವ್ ಯು ಸಿನಿಮಾದಲ್ಲಿ ಸಿಗುವ ಸಂದೇಶ. ಈ ಸಂದೇಶವೆನೋ ಉತ್ತಮವಾಗಿದೆ. ಆದರೆ, ಈ ಒಂದು ಮೇಸೆಜ್ ಕೇಳಲು 2 ಗಂಟೆ 2 ನಿಮಿಷ ಚಿತ್ರಮಂದಿರದಲ್ಲಿ ಪ್ರೇಕ್ಷಕರು ಕಷ್ಟಪಟ್ಟು ಕೂರಬೇಕು.

'ಅಮರ್' ಸಿನಿಮಾ ಹೇಗಿದೆ..? ಅಭಿಷೇಕ್ ಹೇಗೆ ನಟಿಸಿದ್ದಾರೆ..? ಇದು ಎಲ್ಲರಿಗೆ ಇದ್ದ ಕುತೂಹಲ. ಅದಕ್ಕೆ ಕಾರಣ ಅಂಬರೀಶ್ ಪುತ್ರನ ಮೊದಲ ಸಿನಿಮಾ. ಇಂತಹ ಆ ಪ್ರಶ್ನೆಗಳಿಗೆ ಉತ್ತರ ಸಿಕ್ಕಿದೆ. 'ಅಮರ್' ಸಿನಿಮಾ ನಿನ್ನೆ (ಶುಕ್ರವಾರ) ಬಿಡುಗಡೆಯಾಗಿದೆ. ಪ್ರೇಕ್ಷಕರಿಂದ ಸಿನಿಮಾಗೆ ಮಿಶ್ರ ಪ್ರತಿಕ್ರಿಯೆ ಸಿಕ್ಕಿದೆ. ಅದೇ ರೀತಿ ವಿಮರ್ಶಕರು ಸಹ ಸಿನಿಮಾಗೆ ಮಿಶ್ರ ಪ್ರತಿಕ್ರಿಯೆ ನೀಡಿದ್ದಾರೆ. ಕೆಲವರಿಗೆ ಚಿತ್ರ

ಹರಿಪ್ರಿಯಾ ಮತ್ತು ಸುಮಲತಾ ಅಭಿನಯದ ಡಾಟರ್ ಆಫ್ ಪಾರ್ವತಮ್ಮ ಸಿನಿಮಾ ನಿನ್ನೆ (ಮೇ 24) ರಾಜ್ಯಾದ್ಯಂತ ತೆರೆಕಂಡಿದೆ. ಇದೊಂದು ಮಹಿಳಾ ಪ್ರಧಾನ ಸಿನಿಮಾವಾಗಿದ್ದು, ಇದೇ ಮೊದಲ ಬಾರಿಗೆ ಆಕ್ಷನ್ ಒರಿಯೆಂಟೆಡ್ ಚಿತ್ರದಲ್ಲಿ ಹರಿಪ್ರಿಯಾ ನಟಿಸಿದ್ದಾರೆ. ಈ ಕಾರಣಕ್ಕಾಗಿ ಡಾಟರ್ ಆಫ್ ಪಾರ್ವತಮ್ಮ ಸಿನಿಮಾ ಬಹಳ ನಿರೀಕ್ಷೆ ಹುಟ್ಟುಹಾಕಿತ್ತು. ನಿರೀಕ್ಷೆಯಂತೆ ಹರಿಪ್ರಿಯಾ ಸಕ್ಸಸ್ ಆಗಿದ್ದಾರೆ. ಚಿತ್ರಕ್ಕೂ ಒಳ್ಳೆಯ ರೆಸ್ಪಾನ್ಸ್

ಜೀವನ ಎಂಬ ನಾಟಕದಲ್ಲಿ ನಾವು ಕೆಲವೊಮ್ಮೆ ನಮ್ಮ ಪಾತ್ರದ ಬದಲಿಗೆ ಬೇರೆ ಪಾತ್ರವನ್ನೇ ಮಾಡುವ ಪರಿಸ್ಥಿತಿ ಬರುತ್ತದೆ. 'ಸೂಜಿದಾರ' ಸಿನಿಮಾ ಕೂಡ ಅಂತಹ ಪರಿಸ್ಥಿತಿಯಲ್ಲಿ ಇರುವ ಎರಡು ಪಾತ್ರಗಳ ಕಥೆಯಾಗಿದೆ. ಸೂಜಿದಾರವನ್ನು ಬಟ್ಟೆ ಹೊಲಿಯಲು ಮಾತ್ರವಲ್ಲದೆ, ಮೈ ಮನವನ್ನು ಹೋಲಿಯಲು ಬಳಸಿದ್ದಾರೆ. ಎರಡು ಪಾತ್ರಗಳ ಈ ಭಾವನಾತ್ಮಕ ಕಥೆ ಇಷ್ಟ ಆಗುತ್ತದೆ.

8ಎಂಎಂ ಸಿನಿಮಾದ ಬಳಿಕ ನಟ ಜಗ್ಗೇಶ್ ಮಾಡಿರುವ ಹೊಸದೊಂದು ಪಾತ್ರ. ಜಗ್ಗೇಶ್ ಶೈಲಿಯ ಸಿನಿಮಾಗಳನ್ನ ಮೀರಿದ ಚಿತ್ರವಿದು. ಈ ಚಿತ್ರದಲ್ಲಿ ಸಂಪೂರ್ಣವಾಗಿ ಹೊಸ ರೀತಿಯ ಜಗ್ಗೇಶ್ ನೋಡಬಹುದು ಎಂದು ಹೇಳಲಾಗುತ್ತಿದ್ದ ಚಿತ್ರ ಪ್ರೀಮಿಯರ್ ಪದ್ಮಿನಿ. ಹೇಳಿದಂತೆ ಇದು ಜಗ್ಗೇಶ್ ಅವರನ್ನ ಹೊಸ ರೀತಿಯಲ್ಲಿ ಕಾಣಬಹುದಾದ ಚಿತ್ರವಿದು. ನಿನ್ನೆಯಷ್ಟೇ ಪ್ರೀಮಿಯರ್ ಪದ್ಮಿನಿ ಸಿನಿಮಾ ತೆರೆಕಂಡಿದೆ. ಭಾವನಾತ್ಮಕ ಮನರಂಜನೆ ಮೂಲಕ

ನಿರ್ಮಾಪಕ ಕೆ ಮಂಜು ಅವರ ಮಗ ಶ್ರೇಯಸ್ ಅಭಿನಯದ ಚೊಚ್ಚಲ ಸಿನಿಮಾ ಪಡ್ಡೆಹುಲಿ ರಾಜ್ಯಾದ್ಯಂತ ಈ ವಾರ ಬಿಡುಗಡೆಯಾಗಿದೆ. ರಾಕ್ ಸ್ಟಾರ್ ಹುಡುಗನ ಕಥೆ ಹೊಂದಿರುವ ಈ ಚಿತ್ರಕ್ಕೆ ಮೊದಲ ದಿನ ಪ್ರೇಕ್ಷಕರಿಂದ ಒಳ್ಳೆಯ ಅಭಿಪ್ರಾಯ ಸಿಕ್ಕಿದೆ. ಮೊದಲ ಸಿನಿಮಾದಲ್ಲೇ ಅಭಿನಯ, ಡ್ಯಾನ್ಸ್, ಫೈಟ್ ಎಲ್ಲದರಲ್ಲೂ ಗಮನ ಸೆಳೆದಿರುವ ಶ್ರೇಯಸ್ ಯಂಗ್ ಟೈಗರ್ ಆಗಿ ಮಿಂಚಿದ್ದಾರೆ. ಒಬ್ಬ

Manny Pacquiao beat defending champion Keith Thurman on a split points decision on Saturday to take the WBA Welterweight Super Championship in Las Vegas.

Englishman Tommy Fleetwood is preparing himself for a wall of noise at Royal Portrush on Sunday when he attempts to reel in fan favourite Shane Lowry and win the British Open.

If there were any nerves concealed behind Shane Lowry's thick beard they had no impact on his golf as the Irishman took the British Open by the scruff of the neck with a sensational course record in Saturday's third round.

Nearly three years after reversing his decision to retire from the sport, Hungarian qualifier Attila Balazs reached his maiden ATP final with a 6-2 6-4 victory over third seed Laslo Djere at the Croatia Open on Saturday.

Shane Lowry knows from personal experience that a four-shot lead starting the final round of a major championship is hardly insurmountable, never mind the wicked weather expected to throw an extra layer of uncertainty into the British Open mix on Sunday.

Jim Herman played with precision to make a president proud, matching his career-best score on the PGA Tour with a 10-under-par 62 in the third round at the Barbasol Championship in Kentucky on Saturday.

Bayern Munich beat Real Madrid 3-1 in an entertaining International Champions Cup match in Houston on Saturday.

Champion Geraint Thomas admitted he felt "quite weak" as he lost further ground on race leader Julian Alaphilippe and other top contenders in the first big mountain test of the Tour de France on Saturday.

South African Akani Simbine pulled off something of a surprise in the London Diamond League 100 metres on Saturday, holding off local hope Zharnel Hughes and former world champion Yohan Blake to come home in 9.93 seconds.

Teenage forward Mason Greenwood rifled home in the 75th minute to give a dominant Manchester United a 1-0 victory against Inter Milan in their International Champions Cup opener in Singapore on Saturday.

Marvel Studios superhero movie "Avengers: Endgame" will claim the top of the global box office charts by Sunday, distributor Walt Disney Co said.

Swedish prosecutors on Friday extended American rapper A$AP Rocky's detention by six days amid their ongoing investigation into a street fight in Stockholm as U.S. President Donald Trump said he planned to call Sweden's prime minister about the case.

An unknown assailant stabbed Hong Kong actor Simon Yam on Saturday during a promotional event in mainland China but Yam's injuries were not life-threatening, Chinese state media reported.

The star-laden movie version of hit stage musical "Cats" released its first trailer on Thursday, but first impressions were far from cuddly.

(Reuters - British broadcasters ITV and the BBC said on Friday they would launch streaming service BritBox in the UK at nearly 6 pounds ($7.51) per month, giving subscribers access to hit shows such as "Love Island", "Gentleman Jack" and "Coronation Street".

Paul McCartney is adding another string to his bow - writing his first musical.

"Gossip Girl," the show that became a youth culture phenomenon with its trend-setting fashion and chronicling of the romantic lives of elite New York teens, is on its way back to television, this time in a new series for upcoming streaming service HBO Max.

R&B singer R. Kelly pleaded not guilty on Tuesday to a raft of federal charges accusing him of running a scheme to force women and girls to provide sex for himself and others, and a judge ordered that he remain in jail without bail.

AT&T Inc's premium cable network HBO scored a record 137 Emmy nominations on Tuesday, topping streaming service Netflix Inc in what has become an annual battle for bragging rights in the contest for television's biggest awards.

Walt Disney Co has taken a high-tech route to remake animated classic "The Lion King" with the look of a nature documentary, an update it hopes will lure audiences to a new version of a film considered a masterpiece the first time.

GT Le MansThe Porsche 911 RSRs of Laurens Vanthoor and Nick Tandy retained their advantage at the start of the race ahead of Connor De Phillippi in the #25 BMW M8, Dirk Muller’s Ford GT and the two Corvettes C7.Rs of Antonio Garcia and Oliver Gavin.Positions stayed the same until on Lap 39 Muller passed De Phillippi for third by which time the Porsches were 7sec up the road. Almost ...Keep reading

The 50-year-old New Zealander has won 12 times at the TT since his debut in 1996, but was forced to miss the last two events due to a battle with cancer. Now in better health, the popular Anstey will return to competition for the first time since 2017 in the Classic Lightweight TT next month aboard a Padgetts-run Honda RS250.Anstey has won the class twice at the Classic TT, and set a the ...Keep reading

Di Resta lost over 30 seconds in the pitlane after a team error meant Jake Dennis stopped on the same lap and inadvertently cause a double-stacked pitstop, with Di Resta forced to wait behind his teammate.Kamelger said Dennis had pitted on the seventh lap of 31 because it was believed Di Resta had stopped on track with a problem, when in fact the 2010 DTM champion had paused to clear oil ...Keep reading

Late in the session, Jones posted his session-best average lap speed of 133.427 mph, topping the pole-winner for Sunday’s Foxwoods Casino 301, Brad Keselowski (133.394 mph). Jones, who will start fourth Sunday, has made three starts at New Hampshire Motor Speedway, with a best finish of sixth in 2017.Read Also:Brad Keselowski tops Kyle Busch for New Hampshire ...Keep reading

Tandy set the fastest first sector in the #911 Porsche, but Vanthoor clawed that deficit and more back over Sectors 2 and 3 to claim pole by 0.052sec.Vanthoor’s margin of less than 0.2sec over the fastest non-Porsche was perhaps less than expected given the 911 RSRs' pace in practice, but a bigger surprise was the identity of their nearest challenger.Connor De Phillippi set a brilliant ...Keep reading

But while the idea of a full-length diffuser is different to the last time cars were designed like this, the aim is identical: produce the maximum amount of downforce possible through undercar aero.Full coverage of F1 2021 plans:Revealed: F1 commits to ground effect for new-look 2021 carExplained: F1’s 2021 blueprint aimed at making the racing betterTech analysis: F1’s ...Keep reading

Romain Grosjean and Kevin Magnussen hit each other on the opening lap of the British Grand Prix, an incident that caused both to eventually retire and ruined Haas’s chances of gathering data for a crucial car experiment.They clashed earlier this season in the Spanish Grand Prix, and collided in Britain last year as well.Steiner said after the race did not “know the solution” because ...Keep reading

Wittmann's first pole position since the Zolder opener in May came after he edged out Audi's Rene Rast on the first flying runs by just 0.158s thanks to a 1m25.434s lap.That time went unbeaten and the second flying lap runs were delayed when R-Motorsport Aston Martin driver Jake Dennis slowed to a halt at the Ramshoek bend and caused a red flag.Once Dennis's Aston Martin Vantage was towed ...Keep reading

The heavily-criticised French Grand Prix has been followed up by two exciting races in Austria and Britain, where the Red Bull Ring and Silverstone circuits regularly produce entertaining contests.  Five-time world champion Hamilton said adding different races to the F1 calendar is a good thing but believes better decisions can be made with track layouts, even though he accepts that ...Keep reading

Vanthoor, championship leader along with Earl Bamber, was the first to turn a 49sec lap, with a 49.938, but Tandy left it until the final minute to grab P1 with a 49.782, following it up with another lap under Vanthoor’s best.This Porsche domination left Richard Westbrook’s Ford GT more than half a second adrift in third, although for many teams the session was about race-runs and pitstop ...Keep reading

Following Busch’s wild victory over brother Kyle last weekend at Kentucky, much of the talk centered on whether the win would provide Kurt an opportunity to continue driving at CGR beyond the one-year deal he signed in off-season.On Friday at New Hampshire Motor Speedway, Busch was asked if discussions had started over the past week about next year.“It doesn’t matter if I’m driving ...Keep reading

Connor de Phillippi’s #25 BMW M8 swapped the fastest time with Jesse Krohn in the #24 RLL-run sister car early on, but they were both pipped by Garcia’s 50.302s lap of the 1.474-mile course in Connecticut, set in the closing four minutes of the hour-long second session.This effort was some way short of the 50.065s laptime set by Nick Tandy’s #911 Porsche in the far cooler morning ...Keep reading

Axar Patel has become the highest placed India bowler in the latest ICC ODI rankings after breaking into the top-10 bowler's list while legspinner Amit Mishra has vaulted 25 places to enter the top-20.

Mishra didn't mince words when asked about the frustration of having to sit out, but added that coach Anil Kumble's tips had helped him tide over the low phase.

Amit Mishra finished with 5/18, his second ODI five-wicket haul as India beat New Zealand by a whopping 190 runs at Visakhapatnam to clinch the five match ODI series 3-2. Mishra was named both Man of the Match and the Player of the series.

"His (Anil Kumble) mental support is the biggest thing for me. I sat out for the entire Test series but he supported me mentally and told me "don't worry, your time will come"," leg-spinner Amit Mishra said.

The New Zealanders, after being thrashed in the three-match Test series, were expected to put up a much improved show in the One-dayers – a format which they have done well in over the years.

"I think the guys are pretty excited to do what no other NZ side has ever done before - come over here and win a one-day series. The excitement in the group is very high," Tim Southee said on the eve of the series decider.

After scores of 0, 12, 7* and 3, MS Dhoni was sent up the order to No. 3 against Pakistan and proceed to smash 148 off 123 balls with 15 fours and four sixes, setting the platform for India's 356/9 at Visakhapatnam in April 2005.

"Batting down the order is one of the toughest things to do. You don't get a (ready-made) player who's complete, who bats at No.5, 6 or 7, all the time," skipper MS Dhoni said.

Eyeing a historic bilateral ODI series win in India, New Zealand batsman Ross Taylor said they are hungry to win the five-match series decider on Saturday and make up for the 0-3 whitewash in Tests. "You don't often win series away from home especially in the sub-continent," Taylor said.

A look at the major talking points from the fourth ODI between India and New Zealand played at Ranchi's JSCA International Stadium on Wednesday where the hosts went down by 19 runs allowing the Kiwis to level the series 2-2

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England won by 2 runs. RSA 328/5 (50.0 Ovs).

Opener Billy Godleman remained unbeaten on 70 in the run chase as Derbyshire defeated Yorkshire by five wickets

Never the heartbeat of neutral fans but this World Cup might just be the end of that for England

The opener will lead the side in the three-match series in Mashrafe Mortaza's absence

India A have already clinched the five-match series by winning the first three games

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Biohaven Pharmaceutical Holding Co Ltd said on Friday the U.S. health regulator failed to approve its treatment for amyotrophic lateral sclerosis, or Lou Gehrig's disease, sending its shares down nearly 6% in extended trading.

(Reuters Health) - It's long been known that the highly effective acne medication isotretinoin - marketed as Accutane and Roaccutane - is tied to the risk of severe birth defects. But even with a special program in place to prevent conception in women taking the drug, each year two to three hundred women in the U.S. become pregnant while taking it, a new study shows.

(Reuters Health) - People with pets may be able to use their companion animals to practice techniques for managing chronic pain without medication, researchers say.

(Reuters Health) - Heart attack rates dropped among older adults in Scotland in the decade after a nationwide indoor smoking ban took effect, a new study suggests.

Novartis's Gilenya multiple sclerosis drug has won approval in China, the Swiss drugmaker said on Friday, as the company expands further into the world's most-populous country's growing healthcare sector.

Canada opposes any U.S. plans to buy Canadian prescription drugs that might threaten the country's drug supply or raise costs for its own citizens, officials have told U.S. authorities, in a new setback to the Trump administration's efforts to tackle high drug prices, according to documents obtained by Reuters.

The Environmental Protection Agency on Thursday said it will not ban the use of the pesticide chlorpyrifos, which has been linked to health issues in children, from use on U.S.-grown fruits and vegetables.

Democratic presidential front-runner Joe Biden and rival Bernie Sanders are waging a public battle this week over universal healthcare, staking out competing turf on an issue that has become the most divisive in the party's primary campaign.

(Reuters Health) - Pregnant women who work nights or long hours may be more likely to have a miscarriage or preterm delivery than mothers with day jobs, a research review suggests.

When young women use abortion services, the adolescent men who avoid becoming teenaged fathers go on to have better educational and financial futures than peers who do become teen fathers, a U.S. study suggests.

A while back Dangal director Nitesh Tiwari had shared a behind the scenes making of the poster of his film Chhichhore. Starring Sushant Singh Rajput and Shraddha Kapoor, the film which went on floors sometime back was slated to release on August 30. However, now we hear that the makers of the film have decided to postpone the release of the film by a week.

"Yes, in all likelihood the release of Chhichhore will be pushed by a week since Saaho which was slated to release alongside Mission Mangal and Batla House shifted to August 30. Because of this shift Chhichhore will face competition at the box office and to avoid this the makers of the film are contemplating delaying its release by a week to September 6", says a source close to the film. If this is true, thanks to the delay in its release Chhichhore will hit screens only in September.

Though an official confirmation on the same is awaited, the official spokesperson for the film says, "As of now there is no update on the postponement of Chhichhore. As and when the makers take a call an official announcement will be made.”

As for the film, Chhichhore that stars Sushant Singh Rajput and Shraddha Kapoor is directed by Nitesh Tiwari. Produced by Sajid Nadiadwala the film follows the life of a group of friends from college as they progress into middle-age life and go their own separate ways.

Also Read: Director Nitesh Tiwari shares the making of Chhichhore’s official poster featuring Sushant Singh Rajput and Shraddha Kapoor

Aashiqui actor Rahul Roy hasn’t been quite active on the Bollywood circuit. But recent reports reveal that the actor is planning to make a comeback and it will be with Kanu Behl’s film. Kanu Behl gained fame as his film Titli received critical acclaim in many festivals. Further speaking of the film titled Agra; this one too will be an unconventional film revolving around a dysfunctional family.

In reports, Kanu Behl also spoke about getting Rahul Roy on board wherein he stated that the actor has got a lot of untapped potential and that he wanted to channelize his energy through this medium. He was all praises for the actor further mentioning about how he understood the intricacies of the role and how he is willing to take the plunge as the protagonist of Agra.

Explaining about the film, Behl maintained that Agra is a story of a family and revolves around the subject of exploration of space as the world is becoming a crowded place to live in. He also went on to describe the film as the quest for a sexual odyssey of an individual. Yoodlee Films is expected to back the project and further details on it are yet to be revealed.

As for the casting, the makers have locked on the major cast which includes Priyanka Bose, Mohit Agarwal, Vibha Chibber, Sonal Jha, Ruhani Sharma, Aanchal Goswami amongst others.

#Update: #Titli director Kanu Behl starts new film... Titled #Agra... Rahul Roy - who shot to fame with #Aashiqui - makes a comeback with the film... Has an ensemble cast... Will be filmed in and around #Agra... 2020 release... Produced by Yoodlee Films. pic.twitter.com/s5xzQmqfKn

— taran adarsh (@taran_adarsh) July 20, 2019

Priyanka Chopra and Mindy Kaling are coming together for the first time for a Netflix original film. While in earlier reports, it was being said that it will be like Crazy Rich Asians meet My Big Fat Greek Wedding, now it has also been learnt that the film will have an extensive Indian actors. The film is expected to be a cross cultural comedy and now reports have it that Priyanka has hired casting agents to hire as many as 20 Indian actors for the film.

While she is making her comeback in Bollywood with The Sky Is Pink, Priyanka Chopra also has many projects including ventures of her production house Purple Pebble Pictures. Amidst the same, the actress decided to collaborate with Mindy Kaling who will be writing the screenplay with Dan Goor. She will also be starring in the film that will also feature Priyanka. If reports are to be believed, we hear that the film will focus on portraying the diverse characters that explores the variety of ethnicity in India.

In fact, it is being said that the film has space for many actors to showcase their talents and that too not in cardboard characters. It has also been mentioned that the makers are keen on casting a few Tamil actors for some specific roles. Further, reports also suggest that the production team in India has started work on it and the recce in India will kick off somewhere in October. The film is expected to go on floor by the end of this year.

On the other hand, Priyanka Chopra will be reuniting with Dil Dhadakne Do co-star Farhan Akhtar in The Sky Is Pink that also stars Zaira Wasim as their daughter. The film is inspired by the real life events and is directed by Shonali Bose. The film will release on October 11, this year.

Sonakshi Sinha made her debut with Dabanng and has come a long way since then. The actress, who is currently gearing up for her next release Khandaani Shafakhana, is busy promoting the film across the country. But away from films, Sonakshi recently made some revelations about her personal life, saying that she even secretly date a celebrity!

Talking about dating, Sonakshi Sinha stated that she was in a relationship with a celebrity, but no one knew about the same. However, the actress was cautious not to reveal any names and divulge details of the said relationship. Further talking about marriage, Sonakshi claimed that her parents’ want her to marry a ‘susheel ladka’, but unfortunately no one from the industry fitted the bill. If that wasn’t all, Sonakshi went on to talk about cheating in a relationship and said that, if her boyfriend were to ever cheat on her, he wouldn’t live to see the next day!

As for her film, Khandaani Shafakhana is directed by Shilpi Dasgupta and follows the story of a young girl who inherits her dead uncle's sex clinic in Punjab. The film is slated for release on August 2.

While we haven’t got a glimpse of Jacqueline Fernandez post Race 3, the actress, we hear, is keen on experimenting with the kind of work she has been doing the industry. After a break in Los Angeles, the actress, who has signed the web-series Mrs. Serial Killer, will kick off work on the same. On the other hand, another interesting project that she has in mind is her production house. Not only is she contemplating on producing her first film but reports assert that the actress has found her first script to produce which is an action franchise.

Recent reports have asserted that Jacqueline Fernandez, after attending acting classes, has decided to explore the film industry further from the eyes of the producer too. The actress, who has been a part of Race 2 and Race 3, has time and again expressed her interest and keenness towards the action genre and hence it is believed that the actress will also be producing an action franchise for her production company. In fact, these reports suggest that the initial prep for the same has even kick started as writers have already started writing the script of the first film in the series. It is being said that if all goes well, the film will go on floors by the end of this year.

Furthermore, it has also been learnt that Jacqueline Fernandez will be playing as the leading lady and that she will be seen in the role of a complete badass who will be kicking some ass in the high octane action sequences in the film. On the other hand, let us tell you that Jacqueline has always loved combating and martial arts. In fact, she considers it to be a great stress buster and often attends the classes for the same reason. The actress has also mentioned in one of her interviews that she has learnt weaponry.

On the film front, Jacqueline Fernandez is expected to feature in Sushant Singh Rajput starrer Drive, which is a remake of the Hollywood film by the same name. The film, which has been in the pipeline for long, is yet to receive a release date.

It is difficult to say who between Deepika and Ranveer the bigger box office star is. But we can tell you that Deepika’s latest much talked-about role as acid victim Laxmi Aggarwal in Meghna Gulzar’s Chhapaak happened because of Ranveer.

Here’s how. Director Meghna Gulzar actually wanted to make a male-centric film after Raazi. She was all set to do a bio-pic on Field Marshal Sam Manekshaw with Ranveer in the lead.

Says a source close to the development, “Meghna Gulzar had the project scripted and ready. She was keen on Ranveer Singh to play Manekshaw. They met, and Ranveer seemed maha-excited. But when it came to a narration, Ranveer seemed to have no time. Meghna simply decided to move to the next project, on acid attack victim Laxmi Aggarwal. That’s how Deepika came into the picture.”

Meghna intends to return to her Manekshaw bio-pic after Chhapaak. But now the coveted role has gone to Vicky Kaushal who played Alia Bhatt’s Pakistani army-husband in Meghna Gulzar’s Raazi.

I guess every role has its own destiny and casting karma.