White heroes who have achieved accolades for doing what they were supposed to in accordance with an agenda that skews heavily conservative, preoccupy veteran director Clint Eastwood like no other subjects—even more so than those characters he picks to play himself as an actor. In “Richard Jewell,” his latest based-on-true-events outing, the object of his interest is a security guard whose obsessive attention to protocol prevented the Centennial Park bombing during the 1996 Atlanta Olympics from being deadlier than it was. Yet, Jewell (Paul Walter Hauser) didn’t become compelling enough to be the muse of a famed Vanity Fair article, a screenplay by Billy Ray, and an Eastwood picture solely for his life-saving actions, but rather for the campaign mounted by the FBI and the media to deem him the principal suspect behind the very ploy he helped thwart.

Standard in all craft respects with an absolute lack of stylistic flair, the film still thrives, propelled by some of the finest on-screen performances of the year, which manifest with intriguing complexity. If time grants “Richard Jewell” any sort of legacy, it’ll be for housing a career-defining performance by Hauser, who finally transcends the henchmen ridiculed because of their weight he’d been cast as in “BlacKkKlansman” or “I, Tonya.” But Ray’s screenplay (his third to make it to the screen this year after “Terminator: Dark Fate” and “Gemini Man”) doesn’t put Jewell on a pedestal of virtue either, which allows for Hauser to thread his way through the layers of Jewell’s psyche. As a man whose appearance and socioeconomic background position him as disposable in the eyes of the powerful, Jewell covets respect and validation from authority, a surrogate father of sorts.

“I’m law enforcement too,” he tells Jon Hamm’s Tom Shaw, the federal agent leading the investigation, repeatedly seeking to be seen as an equal and not the butt of their humiliating joke. In magisterial form, Hauser breathes heartbreaking gentleness into a role that could have mined the same stereotypes used to build Jewell’s profile as a “lone bomber.” Rosy-cheeked and with a lump in his throat holding back tears, Hauser culminating speech, coated in pain and disillusionment, hits an affecting high note. 

Hauser’s banter with Sam Rockwell’s Watson Bryant, a hard-ass attorney that takes on the case on the belief that Jewell would never deliberately injure others, works as an anchor for Jewell through the ordeal. Rockwell, an actor on his way to become the official redeemer of bigots, brings a crass and nonchalant attitude that eventually yields fraternal gems between the two actors.

Emotionally jammed for the entirety of its first half, aligning with the protagonist’s desire to believe in the system while withholding his anger, the movie is unclogged when both Richard and his mother Bobi Jewell (Kathy Bates) reach their ultimate breaking point following intense surveillance and public scrutiny. Bates stuns in an incremental turn that goes from playing an unassuming encourager of a kindhearted son who has not always taken the best routes to a desperate and broken defender of his very humanity.  

Olivia Wilde, however, doesn’t enjoy the same treatment from Ray’s text. She ends the year that started with women-driven comedy “Booksmart” as her directorial debut on a sour note with a one-dimensional portrayal of Kathy Scruggs, who’s shown as an unscrupulous journalist bargaining sex with sources for information. Taking on such a disparaging part for the sake of working with Eastwood has backfired. On a similar note, the legendary filmmaker’s engagement with people who are not strapping pale dudes comes in the form of an unfortunate homophobic gag in which Jewell expresses he’d rather be seen as a murdered than a gay man.

For the first time in recent memory, the salt of the earth individuals that Eastwood adores having at his narrative epicenter are not alpha men (“American Sniper,” “The 15:17 to Paris”) fighting bad guys with fists and guns. It’s slightly refreshing to see the director look for courage elsewhere, even if it’s still within his wheelhouse as paladin for untold white male stories.

Notable amongst a crowd of dull choices that fail to exploit the medium is the presence of the “Macarena” craze as a symbol of global unity over something frivolous prior to the digital age. Still, the oppressively gray palette, conventional coverage, and erratic use of score due the piece on an artistic level. One, however, could definitely say that’s Eastwood’s new normal.

At 89, Eastwood treats filmmaking nearly as a manual trade, an unfussy profession with a clear purpose for which flamboyance would represent a burden. In that sense, his recent efforts aesthetically reflect the white men he depicts with aggrandizing righteousness but little concern for cinematic vanity. Their greatness, he seems to believe, comes from their humble simplicity. In turn, he sees the act of telling their stories as his duty, done not as the work of an artist conjuring up evocative imagery, but simply because they are right thing to do for these men. 

Unlike Scorsese, whose brand is to push for innovation even today, Eastwood appears perfectly comfortable with average projects that occasionally feature standout turns from his talented casts. He cranks them out and moves on to find another working-class warrior with big enough balls—Eastwood being the judge of that, of course—to not let himself be bullied by the man. With “Richard Jewell,” nonetheless, he follows that well-traveled path and turns a once thought false hero into a real one whose heart beats for something more than just a flag.

We’ve reached a point, with shows like "Watchmen" and "Stranger Things," in which it feels like even the most successful television needs a high-concept hook. But take the four-part mini-series “The Accident,” the latest production from Jack Thorne (“National Treasure,” “Kiri”) premiering on Hulu this week after a successful Channel 4 run last month. It’s a nuanced look at the human need for blame and how people and systems collapse when there are no easy answers. It doesn’t quite come together like its first half promises—some of the courtroom material in the final episode doesn’t ring true to me at all—but it has solid performances throughout, and contains the kind of adult, philosophical questions that we will lose if we lose this kind of dramatic storytelling on television.   

“The Accident” takes place in a relatively small Welsh town that is in the middle of a festive walk on an average day. As all of the parents are chatting and fast-walking, a group of teens climb a fence at a major construction site on the edge of town and do what kids do—they run through the nearly-constructed building, spray paint the walls, and then one asks for a cigarette. The adults on the other side of town are stopped in their tracks by a huge explosion. It turns out there were gas canisters stored improperly. And then, as the parents watch the rescue effort, the building collapses, killing all but one of the teens.

How does a group of people survive the unimaginable? Thorne was clearly inspired by major incidents like the Grenfell Tower fire in 2017 that killed 72 people. As in that case, human beings have a need to blame someone. The main instigator and only survivor Leona (Jade Croot) happens to be the daughter of Iwan (Mark Lewis Jones), a major proponent of the construction project and the abusive, alcoholic husband of Polly (Sarah Lancashire). Was Leona committing vandalism to get back at her father? Is she to blame for the deaths of her friends?

There are other places to point fingers. We meet Debbie Kethin (Genevieve Barr), whose husband becomes the fall guy for the placement of the gas canisters. And the second lead, after Lancashire’s Polly, is the conflicted Harriet Paulsen (Sidse Babett Knudsen), who works for the company behind the construction. Harriet is constantly torn between wanting to do what’s right and save her job. Attorneys, media leaks, in-fighting among the relatives of the survivors—it’s a lot of action for four 45-minute episodes.

Maybe too much. There are only so many heated, emotional exchanges one can take in a three-hour window, and I think there may be a stronger version of “The Accident” that doesn’t feel as rushed as this one. For example, it’s not like I needed a deep courtroom drama, but handling that material in a quick fashion inherently ups the melodrama because we only get the highlights. “The Accident” works best in its minor beats—an acting decision by the great Lancashire or Knudsen—but I was less interested in the revelations and twists of the climax. I wished it could have breathed more overall, allowing these great actors and a truly excellent writer to deepen the characters in a way that made the melodrama of the final episode a bit more refined.

Still, “The Accident” is worth a look, especially for those who have appreciated Thorne’s other work, also on Hulu. It’s been nice to watch the service enrich this section of its catalog, importing some of the better British dramas of the last few years. With so much TV out there, including new streaming players like Apple and Disney, I worry that this is the first kind of programming that gets lost in the clutter. That would be a tragic accident.

A documentary depicting the achievements of visionary Chicago architect Benjamin Marshall, "Benjamin Marshall Architect," will premiere at noon today, November 19th, at the Gene Siskel Theater, 164 N. State Street, Chicago. The event is hosted by the Benjamin Marshall Society which raised the funds to produce the film.

Following the noon showing of the 30-minute documentary will be an hour-long panel discussion entitled "Tear that Wall Down: Raze the Old, Make Room for the New." Panelists will include Chaz Ebert, CEO of Ebert Companies; Carroll William Westfall, former chair of the School of Notre Dame Architecture; John W. Rutledge, CEO and Founder of Oxford Capital, LLC; Mary Brush of Brush Architects, LLC. The moderator is Cynthia Vranas-Olson, Director of the Mies van der Rohe Society. A second showing at 2pm will be followed by a reception in the theater’s café.

Benjamin Marshall was a flamboyant, early 20th century figure whose works shaped much of Chicago’s architectural heritage. His designs included the apartment buildings lining East Lake Shore Drive, the Drake Hotel, the Edgewater Beach Hotel, the Blackstone Hotel and the Shubert Theater, as well as the iconic 1550 N. State Parkway apartments,and many others. 

Tickets for the premiere are free but guests must be registered here.

Here at RogerEbert.com, we are pleased to offer Mary Angela Rowe's foreword from the new book Beyond Empowertainment. Below is an introduction from Seventh Row's press release, and then the foreword. 

Beyond Empowertainment: Feminist Horror and the Struggle for Female Agency spotlights a new generation of female-centred horror classics that focus on women’s psychological experience of fear. These films go beyond so-called ‘empowertainment’: stories of women rising up against their oppressors, and in so doing, becoming oppressors themselves. Instead, the feminist horror films in Beyond Empowertainment focus on the horror of the everyday: family trauma, gaslighting, partner violence, and objectification. These films each focus on a single female protagonist and the toll oppression takes on her psyche. The films in Beyond Empowertainment examine the bargains women make in order to survive, and what happens when those bargains become bad deals.

With Beyond Empowertainment, Seventh Row brings its interdisciplinary, technical approach to horror cinema. Seventh Row has previously focused on character-driven, naturalistic dramas. These films featured heightened storytelling to make subtle shifts in identities and relationships visible on-screen: a father and daughter separating in Leave No Trace; a boy’s search for home in Lean on Pete. Horror, as a genre, is a natural extension of Seventh Row’s previous work because it magnifies and externalizes our subconscious fears into forces that can Beyond Empowertainment confronted onscreen. The films in Beyond Empowertainment are horrifying because they ask uncomfortable questions of personal responsibility and complicity that most women must deal with every day. 

While Beyond Empowertainment draws on a variety of films to illustrate a new wave in feminist horror, the cornerstone of this book are four case studies: Unsane (2018), Personal Shopper (2016), Thelma (2017), and Raw (2016). These case studies dive deep into the filmmaking choices that make these movies so effective. Each case study features multiple articles that consider each of these films from a variety of different perspectives — interviews with creatives, comparisons, and essay — fostering conversation about films that deserve a place in the horror canon. Most importantly, each case study explores the strong collaboration between director and lead actress that makes each film so effective at getting inside its protagonist’s head.

For horror fans, Beyond Empowertainment provides a new perspective on horror as a genre through reframing classics and incisive analysis of recent horror gems that will be influencing the genre for decades to come. For viewers new to horror, this book illustrates why film lovers should be paying attention to horror and why some feted auteurs are turning to this genre. Taken together, the films discussed in this book reveal a new focus in horror on female agency. 

Beyond Empowertainment: Feminist Horror and the Struggle for Female Agency was edited by Alex Heeney, Mary Angela Rowe, and Orla Smith. 

Horror is often stereotyped as sexist. It often trades in objectification, and sometimes, outright misogyny. The crude moral code of slasher films is so hostile to women that it’s become a cliché. So how to explain the reality that so many horror fans are female? Scholar Carol Clover argues that both men and women identify with female victims (not male aggressors), and that women feel vicarious power through the triumph of the “final girl”. Critic Gita Jackson says women are attracted to horror films because they tell us our fears are real, and force viewers to experience women’s real-life fears through empathizing with onscreen victims. Similarly, critic Sady Doyle contends that horror films provide a vehicle for women to process and talk about their experiences of violence in a way that’s depersonalized (safe) and not necessarily inflected with the politically-charged language of feminism. In other words, for some women, the misogyny of horror may be part of why we turn to it in the first place: from slut-shamed victims to final girls, horror is a genre that speaks to women’s lived experiences.

Seventh Row has not often focused on genre films, but we observed the way filmmakers we love have turned toward horror as the best vehicle for the stories they are interested in telling. In recent years, auteurs and festival darlings like Luca Guadagnino, Olivier Assayas, and Joachim Trier have tried their hand at horror films. Get Out (Jordan Peele) was nominated for the Academy Award for Best Picture in 2018, further suggesting that horror is leaving the genre-film ghetto. The phrase “elevated horror” has become common for horror films that are also critical darlings (as though the rest of horror was a distasteful morass from which good movies must be rescued). Elevated horror seems to be the label slapped on scary movies that are really ‘about’ something else. But all horror movies scare us because they tap into our fears from real life. The heightened world of horror, the audience’s suspension of disbelief, and the visceral experience of fear are all potent dramatic tools for filmmakers portraying complex characters and emotional extremes. The filmmakers in Beyond Empowertainment chose to use those tools to vividly portray the internal experiences of women.

As a by-product of those vivid internal portrays, the horror films in Beyond Empowertainment are also almost all character studies. Each film focuses on one woman and her choices in the face of threatening circumstances. By necessity, each of these films is anchored by a strong central performance. These actors are tasked with conveying a character’s emotional extremes — rage, terror, elation, despair — while maintaining a grip on the character’s psychological realism, her essential believability. The strong, nuanced performances of Eili Harboe, Claire Foy, and Garance Marillier, to name a few, are key to what sets these stories apart. The movies in this book dive deep into the inner conflicts and experiences of their female main characters, whose fears and struggles are made manifest by the horror setting.

Feminist horror: an incomplete study of the struggle for agency

Feminist writing on horror films has moved into the critical mainstream. Search results for “feminist horror” produce a torrent of results from within the past five years. This recent (and welcome) focus on feminism in horror emerged at the same time as the valorization of female monsters, or monstrous women. Female monsters have been rebranded from abhorrent and unnatural to brave and intrepid, violators of moral and gender norms who are feared and loathed for their power. Here, monstrosity is oppositional: a characterization imposed on ‘deviant’ or rebellious women by a hostile, patriarchal world. Yet this reading may celebrate women simply for being monstrous — mistaking “power” for “empowerment”. Horror films where individual women take bloody, indiscriminate revenge on their oppressors may give us a rush of vicarious satisfaction, but they also verge on empowertainment. 

That’s an equivalence the films in Beyond Empowertainment resist. This book collects writing on horror films with female protagonists whose terror often springs from internal struggles: madness, uncontrollable appetites, ambition, or the desire to survive, rather than knife-wielding killers, school bullies, or supernatural forces. These films employ the tropes and mechanisms of horror to pose complicated questions about the degree of harm the protagonists have caused, and how responsible they were for their actions. They plumb the depths of their protagonists, asking us who these women really are and how their gender has shaped their experiences. Sometimes, violence against women is a villain; sometimes, it’s a backdrop; sometimes, it’s a red herring. In all cases, the filmmakers caution that retaliation doesn’t make you better, and it may make you worse. The women at the centre of these movies are linked by their fear of their own capacity for destruction.

Beyond Empowertainment does not purport to exhaustively examine feminist horror; instead, Seventh Row aims to contribute to the critical conversation by highlighting some recent horror movies that are essentially character studies of the female protagonist. She is at once victim and perpetrator, occasionally of violence against herself. Bypassing the experience of victimhood, the characters in these films are largely in conflict with themselves or their own choices. The oppressive reality of life under patriarchy is omnipresent — these women aren’t making choices in a vacuum, and sometimes, their internal conflict springs from resolving tensions or contradictions imposed on them. Often they are left deciding between a number of bad options. Nevertheless, what unites the women in these disparate movies is their need for control over their bodies and their lives. In a genre often dismissed for objectifying women, these female protagonists strive to be subjects, each the centre of her own story.

Why horror? How these feminist films leverage genre

The feminist horror films in Beyond Empowertainment leverage the conventions of horror to disorient the viewer, giving us new insight into each film’s central character. Many of these films are connected to touchstones of the genre. Thelma (Joachim Trier, 2017) reads as an updated Carrie (Brian De Palma, 1976); Unsane (Steven Soderbergh, 2018) parallels Charlotte Perkins Gilman’s short story The Yellow Wallpaper; Raw (Julia Ducournau, 2016) echoes Ginger Snaps (John Fawcett, 2000) and Jennifer’s Body (Karyn Kusama, 2009). Unsane and The Yellow Wallpaper each tell the story of an intelligent young woman who is coerced into confinement and psychiatric treatment, even though she insists this is actually making her worse. The person doing the coercing is a sort of romantic partner who wields the authority of the medical establishment (a stalker who works as an orderly in Unsane; the protagonist’s husband who is a doctor in The Yellow Wallpaper). In both these texts, the protagonists are systematically gaslit and punished via psychiatric treatment for their unwillingness to conform to traditional gender roles. Raw, Ginger Snaps, and Jennifer’s Body each focus on an intense, eroticised relationship between two women (sisters in Raw and Ginger Snaps; sapphic best friends in Jennifer’s Body), and how that relationship changes when one of them becomes a literal man-eater who starts chowing down on the local male population.

Considering these recent films against the backdrop of their horror progenitors highlights not just the similarities, but the gaps between them. Such comparisons throw into sharp relief the way horror itself has changed, as well as how differently these feminist horror films present their female protagonists. Most of the original texts listed above end tragically. The modern reminaginings are more ambiguous, and the women involved have much more scope to choose their own endings.

The rape-revenge subgenre of horror can be cathartic for women viewers, but it can also be alienating, relying on stereotypes about sexual assault and valorizing individual vengeance at the expense of systemic change. Both Revenge (Coralie Fargeat, 2017) and Prevenge (Alice Lowe, 2016) use the conventions of the rape-revenge film to question the very assumptions underpinning this horror sub-genre. Jen, the protagonist in Revenge would probably die first in an ‘80s slasher movie, but the film refuses to punish her for being a “bad girl”, and instead, insists that no-one could ever deserve what happened to her. Prevenge seems like a standard revenge narrative but with a twist — an evil foetus urging homicide from within the pregnant protagonist — until we realize that Ruth isn’t on a righteous quest for vengeance, and our understanding of her narrative goes off the rails. In both cases, the filmmakers lean on conventions of the rape-revenge film to build up our expectations and then subvert them. 

In keeping with horror’s newly-burnished critical image, the rape-revenge narrative has crossed the borders of genre film and into mainstream drama. Two recent dramas — the movie Elle (Paul Verhoeven, 2016) and the first season of Big Little Lies (Jean-Marc Vallée, 2017) — also leverage the conventions of the rape-revenge plot to lampshade the ways it stereotypes women, and cast doubt on the implicit promise that individual vengeance will make women feel safer. Looking at these dramatic takes in the context of their horror progenitors, it becomes clear how much these modern psychological examinations of sexual trauma owe to (and/or are reacting against) the familiar rape-and-revenge story propagated in horror. The success of Big Little Lies and Elle illustrates the way modern dramatic filmmakers are employing the tropes and conventions of horror to tell empathetic and meaningful stories about women outside of the genre.

Madness has become nearly a horror cliche: are there ghosts or is she crazy? (It is almost invariably a “she” whose perspective we are led to distrust.) The prospect of the heroine’s madness is much more frightening than any supernatural threat. Yet the root of women’s madness in Perfect Blue (Satoshi Kon, 1997) and Unsane is unambiguous and concrete: these two very different films each explore the psyche of a victim of stalking. Stalking is an attempt to overwrite the victim’s personality and identity by insisting on a relationship that doesn’t exist, or by punishing her for living in a way the stalker considers out of line. It is a kind of gaslighting by force. 

Perfect Blue and Unsane both resist the trope of the stalker as a lone nut in an eroticised relationship with his victim, wherein the audience enjoys a voyeuristic thrill at the stalking itself and then feels satisfied that the threat can be contained when the stalker is vanquished. Instead, both Mima (voiced by Junko Iwao) in Perfect Blue and Sawyer (Claire Foy) in Unsane experience stalking as just one very extreme manifestation of misogyny — an embodiment of the objectification and gaslighting that wear them down from all corners every day. Madness, for these women, is the result of life in a patriarchal system where none of their choices are good.

“Madness” is also a label often applied to people making irrational choices because they’re faced with irrational situations. Depending on the perspective of the viewer, those choices can either seem brave or horrifying. That’s the issue Orla Smith tackles in her essay on female monsters, where she compares three films recently held up as empowering or feminist: Ex Machina (Alex Garland, 2014), Lady Macbeth (William Oldroyd, 2016), and Beast (Michael Pearce, 2017). In each of these films, the female protagonist lashes out with violence at those around her, murdering in service of her own desires. These films know their leads are not normal, but we are supposed to root for them anyway: homicide is a rational response to the irrational situation of life under patriarchy. But these protagonists’ cold calculation is driven by straightforwardly selfish motives and a lack of complex inner life. The same can’t be said of Saint Maud (Rose Glass, 2019), a modern-day religious horror film about a fanatical young nurse determined to save the soul of an alluring, difficult, and hedonistic cancer patient. Maud’s madness may be religious ecstasy or demonic possession or merely personal obsession, but the film always leaves open the possibility that Maud is, in fact, in touch with the divine.

Since horror reflects back what we fear, many horror texts have translated our anxiety about new technologies. Cam (Daniel Goldbaher, 2018) and Personal Shopper (Olivier Assayas, 2017) are different: these films focus on why the main character was attracted to a technological development in the first place. Cam takes a feminist look at sex work by exploring what happens when camgirl Alice’s account is hijacked by her doppelganger, who turns out to be more popular than the original. The semi-anonymity of online identity and the live-through-video experience of camming are simulacra of reality masquerading as the real thing — much like the replica who takes over the camgirl account, and in some ways, like sex work itself. In Personal Shopper, Maureen’s relationship with an anonymous texter is mediated entirely through her phone, and she becomes increasingly absorbed in the device at the expense of real life. But Maureen’s relationship with her mysterious texter is alluring precisely because it is mediated through a machine: Maureen is paralyzed by grief over the death of her brother, and her phone allows her to feel connected and alive without ever actually connecting. Both women experience identity as something that can be performed and then stopped — in Alice’s case by turning off her camera; in Maureen’s case, by changing her clothes. But ‘you’ keeps going after you have stopped streaming or changed back into sweatpants. Alice and Maureen find that technology doesn’t provide much of a buffer between the parts of themselves they want to show and the desires or emotions they want to avoid.

These films emphasize how technology has allowed threats to become incorporeal, and how Alice and Maureen are feeding incorporeal versions of themselves. It’s almost an inversion of the slasher film, where the threat is present and palpable and bodily, and the knife is an allegory of sexual penetration. Although Cam and Personal Shopper both engage with how their protagonists’ identities are rooted in their bodies (Cam more explicitly, in every sense of the word), these films are more about existential crises than any more literal anxiety. If Alice never recovers her camgirl account from her doppelganger, her real life will likely go on, largely unimpeded, but she’s poured so much of herself into the creation of her camgirl persona that Alice feels like she’s fighting for her identity. In Maureen’s case, grief and depression have caused her to withdraw from the world and stop caring for herself — she only starts to take pleasure in life once she engages with the anonymous texter, trying on forbidden clothes and pursuing a thrilling correspondence with a texter that she doesn’t recognize. As Alice and Maureen construct selves and relationships that only exist via wireless communication, those selves become increasingly distant from the women they are in real life.

Finally, many horror texts focus on the turmoil of adolescence, expressing cultural anxieties about a girl’s growth from child (object) into woman (potential subject). One established narrative, played out in films from The Exorcist (William Friedkin, 1973)  to Ginger Snaps, focuses on puberty — physical and sexual maturation — as the site of horror: a girl’s body becomes threatening to the world around her as she makes the transition into womanhood. But the coming-of-age horror films in Beyond Empowertainment focus less on women’s bodies and more on the fact that growing up means leaving your family behind you. In Thelma, Raw, We Are What We Are (Jim Mickle, 2013), and The Little Girl Who Played With Matches Too Much (Simon Lavoie, 2017), danger doesn’t lurk in the dark woods;  it is in your living room, and maybe it even loves you. For the girls and women at the centre of these films, coming of age means confronting the menacing legacy their parents have passed down to them, in the form of trauma or in their blood. The protagonist’s body is often a source of conflict, but that conflict is either imposed upon her by her parents, or else it’s a part of her biological heritage that she’s never been prepared to deal with. Bodily changes and sexual maturity may be the catalyst, but these films refuse even to suggest that a woman’s body is inherently monstrous or threatening. Instead, the family itself is the locus of horror, and family ties must be severed (by force, if necessary) for the female protagonists to grow up. 

The women in the films discussed in Beyond Empowertainment: Feminist Horror and the Struggle For Female Agency are in conflict with themselves and their own choices. They are surrounded by forces that want to control them, through methods ranging from love or manipulation (Thelma) to bodily imperatives (Raw, Prevenge) to brutal sexual violence (Revenge). These disparate films, organized around several central themes, have a lot in common. To illustrate most clearly how horror conventions are deployed, we selected four films to be case studies within this book. Unsane, Personal Shopper, Thelma, and Raw are covered by multiple articles considering each of these films from a variety of different perspectives — interviews with creatives, think pieces, comparisons, and essays. These case studies allow us to dive deep into the filmmaking choices that make these movies so effective, while also fostering conversation about films that should really be getting more attention. These four films gave us particular insight into how current filmmakers are using horror to tell feminist stories, reflecting women’s fears as their characters struggle for control and self-determination.

*The women characters in the films of this book are generally portrayed as cisgender. However, the writers and editors of this book intend the terms “women” and “female” to be inclusive, encompassing all people who significantly identify as female.

Find out more about the ebook at: http://feministhorrorbook.comListen to our podcast episode on feminist horror and the ebook Beyond Empowertainment here. Read excerpts from the book here. Read Seventh Row here. 

About Seventh Row: 

Seventh Row is an online Canadian Non-Profit publication that releases six highly-focused ebooks a year, each focusing on a film, director, or theme in cinema we’re passionate about. Through in-depth interviews and well-researched essays, we demystify the myriad technical choices behind films we love. Seventh Row is supported entirely by ebook sales and donations. 

Where to Find Seventh Row: 

Website: http://seventh-row.comPodcast: https://seventh-row.com/category/podcasts/ Twitter: https://twitter.com/SeventhRow Facebook: https://www.facebook.com/TheSeventhRow/ Instagram: https://instagram.com/SeventhRow 

Yasujirō Ozu expressed grand philosophical ideas through little moments of everyday life. He is, in my humble opinion, the most sensitive and disciplined director to ever hold a camera. Ozu disregarded how the rest of the world shot films and created his own cinematic language. He broke every rule there was and did it the most subtle way possible. Ozu’s films exercised the most discreet rebellion against cinematic norm. 

Widely considered the most Japanese of all film directors, his films feature no heroes or villains. We simply witness life in motion. When we arrive at a significant moment, Ozu cuts to “pillow shots” or perfectly composed shots of landscapes, street signs, or inanimate objects. The idea was to give viewers room to breathe or provide them with the time to contemplate what they had just seen. It’s little thing like “pillow shots” that have allowed Ozu to create his own unique cinematic language.

I think the awareness of how little of the world we’ll experience is what really drew me towards cinema. Films were like gateways to other worlds, and there’s no world I would rather visit than one directed by master Ozu. In a span of two hours, you experience a lifetime. You go through a stranger’s life journey with all its turbulences and unique epiphanies. And then it hits you, the realization that each and every one of us is living a life as vivid and complex as the other. 

I’ve always had trouble writing about the films that shook me. Maybe it’s because I always thought that no matter what I wrote, I wouldn’t be able to do the movies any justice. Ozu's films have repeatedly changed my outlook on life. Particularly, the three masterpieces also known as the “Noriko trilogy,” which he directed in the early 1950’s. All three of the films, “Late Spring,” “Early Summer,” and “Tokyo Story,” had a profound effect on me at key moments of my life. 

The first time I watched them back-to-back was around the time my grandfather passed away, and I remember it being one of the most profound experiences ever. Watching these films felt like I was going through something spiritual, something beyond human language. I remember after watching “Tokyo Story,” I kept thinking about what really happens when you lose someone you love. And how that person lives on in your memory, and the memories of every person he or she touched throughout his or her life. Part of who they are lives on inside of us. They become part of who we are, and eventually the time comes for you to project yourself as a memory to future generations, and that part of you is a synthesis of every person you lost and held dearly in your heart. So, in a way, no one ever leaves us; no one passes away, we are merely passed on.

Ozu triggers these thoughts through simple imagery of peaceful scenery. The passing of trains, for example, is a reoccurring image in all of Ozu’s films and it holds much importance in his work. It marks the beginning or end of a life journey. The train is also a link between the younger and older generations for it connects the modern city of Tokyo with the old villages in Japan. Ozu was a master of subtlety and he often examined lives in transition. Maybe that’s why I always found myself resorting to his work when things got tough.

The “Noriko trilogy” helped me cope with my grandfather’s passing, and today it is helping me deal with the news that my father has cancer. Ozu films are achingly bittersweet and therapeutic that way. His serene cinema is that of contemplation; it almost always leaves you lingering in deep reflective thoughts. You find yourself accepting all of life’s uncertainties and inevitabilities. And for the briefest moments, you feel reassured that everything will be ok. I realize this far into my essay that I did not discuss what the films are about, or maybe I have. One thing I know for certain is, the sublime cinema of Ozu transcends life on this planet.

It's time for the Skywalker Saga... to end.

Scarlett Johansson's long-running Black Widow character was given a heartbreaking goodbye in Endgame.

He was asked and he answered.

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நடிகர்கள்: விஜய்சேதுபதி, ராசி கண்ணா , நிவேதா பெத்துராஜ், நாசர்,ஸ்ரீமன் இசையமைப்பாளர்: விவேக் மெர்வின் இயக்குனர்: விஜய் சந்தர்  சென்னை: தென்னிந்திய நடிகர்களில் படத்திற்கு படம் வித்தியாசமான கதாபாத்திரங்களில் நடிக்க வேண்டும் என்ற ஆர்வத்துடன் இருப்பவர்களில் நடிகர் விஜய் சேதுபதியும் ஒருவர். அந்தவகையில் அவர் நடித்திருக்கும் சங்கத்தமிழன் திரைப்படத்தில் ரெட்டை கதாபாத்திரத்தில் நடித்திருக்கிறார் என்று நம்ப பட்டு

சென்னை : விஷால் மற்றும் சுந்தர் .சி இணையும் மூன்றாவது படம் இதுவாகும். இதுவரை இவர்கள் மதகஜ ராஜா மற்றும் ஆம்பள படங்களில் ஒன்றாக பணியாற்றியுள்ளனர் .ஆம்பள படம் ரிலீஸாகி நல்ல வரவேற்பை பெற்றது, மதகஜ ராஜா படம் பல பிரச்சனைகளால் இன்றளவும் ரிலீஸாகவில்லை . ஆனால் ஆக்ஷன் படம் ஒரு பக்கா பிளான் போட்டு

நடிகர்கள்:அர்னால்டுலின்டா ஹேமில்டன்மார்க்கென்ஸி டேவீஸ்கேப்ரீயல் லுனாநட்டாளியா ரைஸ் இயக்கம் : ஜேம்ஸ் கேமரூன் சென்னை : டெர்மினேட்டர் திரைவிமர்சனம் டெர்மினேடர் மற்றும் அர்னால்ட் ரசிகர்கள் பெரிதும் எதிர்பார்த்துகாத்திருக்கும் திரைப்படம் டெர்மினேடர் டார்க் ஃபேட். இதனோடு சேர்த்துஇதுவரையில் 6 பாகங்களாக டெர்மினேடர் தொடர்கள் தொடர்ந்து வெளியாகிரசிகர்களை மகிழ்வித்துவருகிறது. டெர்மினேடர் படத்தின் முதல் பாகத்தை ஹாலிவுட்டின் பிரம்மாண்ட இயக்குனர்என்று அழைக்கப்படும்

சென்னை: தீபாவளி எப்ப வரும் வரும்னு காத்துக்கிட்டு இருந்தவங்கள விட, தளபதியோட பிகில் எப்ப வரும் வரும்னு காத்துகிட்டு இருந்தவங்க பலர். தளபதி படம் வெளியாகுது என்றாலே அது மாஸ். அதுவும் தீபாவளிக்கு ரிலீஸ்னா சும்மாவா. தமிழ்நாட்டு ரசிகர்களின் நாடித்துடிப்பை நன்கு அறிந்த இயக்குநர் அட்லீ. சர்க்கார் திரைப்படத்திற்கு பிறகு, மிகுந்த எதிர்பார்ப்பு உள்ள விஜய்

நடிகர்கள் : ஷாம்,ஆத்மியா,ஸ்ரீதேவி குமார்,சத்யன்ஒளிப்பதிவு - என்.எஸ்.ராஜேஷ் குமார்இசை - ஷ்யாம் மோகன்பாடல்கள் - மோகன்ராஜ்,படத்தொகுப்பு - அருண்தாமஸ்தயாரிப்பு - 2எம் சினிமாஸ் எழுத்து, இயக்கம் - சாரதி. சென்னை: ரசிகர்களின் கவனத்தை பெரிதும் ஈர்க்கும் மற்றுமொரு த்ரில்லர் திரைப்படம் இன்று வெளியாகியுள்ளது. அறிமுக இயக்குநர் சாரதி இயக்கியுள்ள காவியன் என்ற இப்படத்தில் ஷாம் ஒரு

சென்னை: அருவம் படம் எப்படி உள்ளது என்பது குறித்து தெளிவாக அலசியிருக்கிறார் போஸ்டர் பக்கிரி. த்ரில்லர் ஆக்ஷன் படமான அருவம் நேற்று திரைக்கு வந்தது. இந்தப் படத்தில் சித்தார்த், கேத்தரின் தெரேசா, சதீஷ், ஆடுகளம் நரேன், மயில்சாமி, மனோபாலா ஆகியோர் நடித்துள்ளனர். இந்நிலையில் தனது ஸ்டைலில் படத்தின் போஸ்டரை ஒட்டியப்படியே படம் எப்படியிருக்கிறது என அலசியிருக்கிறார் போஸ்டர்

நடிகர்கள்: தமன்னாசத்யன்யோகிபாபுகாளி வெங்கட்டீ எஸ் கேமுனீஷ் காந்த் இயக்கம்: ரோஹின் வெங்கடேசன்இசை: ஜிப்ரான்  காமெடி கலந்த பேய் படமாக உருவாகி உள்ளது பெட்ரோமாக்ஸ். இப்படத்தில், தமன்னாவுடன் இணைந்து சத்யன், முனீஷ்காந்த், மைம் கோபி, லிவிங்ஸ்டன், பிரேம், காளி வெங்கட் ஆகியோர் பலர் நடித்துள்ளனர். இந்த படம் பேய் படம் என்பதால் திரையரங்கில் அதிகமான குழந்தைகளை காண

சென்னை: சமூகம் சார்ந்த பிரச்சனை, அரசியல், குடும்ப கதை என பலதரப்பட்ட திரைப்படங்கள் வெளியானாலும் பெண்களை மையமாக வைத்து எடுக்கப்படும் படங்கள் என்றால் மக்களிடம் அதற்கு ஒரு தனி ரெஸ்பான்ஸ் இருக்கும். அப்படி பெண்கள் தங்களது தினசரி வாழ்வில் சந்திக்கும் பல பிரச்சனைகள் குறித்த ஒரு கதை தான் மிக மிக அவசரம் திரைப்படம். வி

சென்னை: வடக்கூடாரானுக்கும் சிவசாமிக்கும் இடையே நிலத்தகராறு. சிவசாமியின் மூத்த மகன் முருகன் கொல்லப்பட அதற்கு பழி தீர்க்க இளைய மகன் சிதம்பரம் வடக்கூரானை கொலை செய்ய அதற்கு பழிக்குப் பழி வாங்க வடக்கூரானின் ஆட்கள் கத்தியை தூக்க பரபரப்பாக டாப் கியரில் கிளம்புகிறது அசுரன். வெற்றிமாறன் இயக்கத்தில் தனுஷ் நடித்துள்ள நான்காவது படம் அசுரன். பொல்லாதவன்,

நடிகர்கள்: ஹிருத்திக் ரோஷன் டைகர் ஷெராப் வாணி கபூர் அசுதோஷ் ராணா, அனில் ஜார்ஜ், அனு பிரியா, கீத் டல்லிசன் இயக்கம் : சித்தார்த் ஆனந்த்ஒளிப்பதிவு : பெஞ்சமின் ஜாஸ்பரின்இசை : விஷால் தத்லானி சென்னை: வார் ஹிருத்திக் ரோஷன் டைகர் ஷெராப் நடித்து இயக்குனர் சித்தார்த் ஆனந்த் இயக்கியுள்ள படம். தமிழில் பெரிய

சென்னை: ஜோக்கர் என்ற ஹாலிவுட் திரைப்படம் நேற்று வெளியாகியுள்ளது. இதில் ஜோகுயின் பீனிக்ஸ் ஜோக்கராக நடித்துள்ளார். இந்த படத்தில் அவருக்கு ஆர்தர் என்று பெயர் இட்டுள்ளனர். படத்தில் இவர் சமூகத்தால் ஒதுக்கப்பட்டவர். ஜோக்கர் படத்தின் ட்ரைலர் வெளியான போதே உலகம் முழுவதும் பெரும் வரவேற்பு கிடைத்தது. பேட்மேன் படத்தில் வரும் புகழ்பெற்ற கதாப்பாத்திரமான ஜோக்கரை அடிப்படையாக உருவாகியுள்ள

சென்னை: நடிகர்கள் : பார்த்திபன், கயல் சந்திரன், சாட்னா டைட்டஸ்இசை : அஷ்வத்ஒளிப்பதிவு: மார்ட்டின் ஜோஇயக்கம்: சுதர் ஐந்து பேர் கொண்ட திருட்டு கும்பல் எப்படி ஒவ்வொரு திருட்டையும் திட்டம் தீட்டி கொள்ளையடிக்கிறது என்பதை மிகவும் நகைச்சுவையோடு மிக அழகாக திட்டம் போட்டு திருடுற கூட்டம் படத்தில் திரைக்கதையாக அமைத்திருக்கிறார் இயக்குனர். கொள்ளை கதை என்பதால்

சென்னை: நம்ம வீட்டு பிள்ளை படத்திற்கு கலவையான விமர்சனங்களே கிடைத்து வருகின்றன. இயக்குனர் பாண்டிராஜுடன் சிவகார்த்திகேயன் மீண்டும் இணைந்துள்ள படம் நம்ம வீட்டு பிள்ளை. ஐஸ்வர்யா ராஜேஷ், அனு இமானுவேல், சமுத்திரகனி, பாரதிராஜா, நட்டி, ஆர்.கே.சுரேஷ், உள்ளிட்ட பலர் இப்படத்தில் நடித்துள்ளனர். சன் பிக்சர்ஸ் தயாரித்துள்ள இப்படம் இன்று திரைக்கு வந்துள்ளது. தொடர் தோல்விகளை சந்தித்து வரும்

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  സുന്ദർ സി യുടെ പടം എങ്ങനെയാവുമെന്ന് നമ്മൾക്കറിയാം. വിശാലിന്റെ പടം എങ്ങനെയാവുമെന്നും അറിയാം. രണ്ടുപേരും കൂടി ജോയന്റാവുമ്പോ, അതിൽ നിന്നും ആവറേജ് മൂളയുള്ള ഒരു മനുഷ്യജീവിയ്ക്ക് എന്ത് പ്രതീക്ഷിക്കാനാവും. അത് തന്നെയാണ് അവരുടെ പുതിയ സിനിമ. പേരും കറക്റ്റ് തന്നെ — ആക്ഷൻ. 'നോ ബ്രെയ്‌നർ ആക്ഷൻ മസാല വിത്ത്‌ ഫ്‌ളൈയിംഗ് കളേഴ്സ്' എന്ന് അടിവര

അതിസാധാരണ ജീവിതവുമായി മുന്നോട്ട് പോവുന്ന ഒരു പാവം പെൺകുട്ടി. അവൾ ഒരു ദിവസം തീർത്തും അപ്രതീക്ഷിതമായി ഒരു ട്രാപ്പിൽ അകപ്പെടുന്നു. അതും തിരിച്ചുകേറാനാവാത്ത മഞ്ഞ് ഗർത്തത്തിൽ. കനത്ത തോതിൽ മഞ്ഞ് പെയ്ത് പെയ്ത് അവളെ മൂടിക്കൊണ്ടേയിരിക്കുന്നു. കണ്ടു നിൽക്കുന്ന നമ്മുടെ ഉടലിലും അസ്ഥിയിലും മഞ്ഞ് പടർന്നുകേറാൻ തുടങ്ങുമ്പോൾ അതിജീവനത്തിനായുള്ള അവളുടെ അവസാനം വരെയുള്ള ശ്രമങ്ങൾ. ഇതാണ്

മലയാള സിനിമയ്ക്ക് പൊതുവെ അന്യമായൊരു ഴോനർ ആണ് സൈ-ഫൈ ഡ്രാമ/എന്റർടൈനർ. സാധ്യതകൾ വിശാലമാണെങ്കിലും കൈ പൊള്ളുമോയെന്ന ഭയം കാരണമാവാം സീനിയർ സംവിധായകർ വരെ ഈയൊരു മേഖലയിലേക്ക് തിരിഞ്ഞ് നോക്കാൻ ധൈര്യപ്പെടാറില്ല. എന്നാൽ ഈയാഴ്ച തിയേറ്ററിൽ എത്തിയിരിക്കുന്ന ആൻഡ്രോയ്ഡ് കുഞ്ഞപ്പൻ വേർഷൻ 5.25 ഒന്നാന്തരം സയൻസ് ഫിക്ഷൻ സിനിമയാണ്. ക്ളീൻ എന്റർടൈനർ. ചിത്രം സംവിധാനം ചെയ്തിരിക്കുന്നത് രതീഷ്

ടീസറും ട്രെയിലറും സൃഷ്‌ടിച്ച ഹൈപ്പ് , നിവിന്റെ മെയ്ക്ക് ഓവർ, ഗീതു മോഹൻദാസിന്റെ സംവിധാനം, അനുരാഗ് കശ്യപ് ഉൾപ്പടെയുള്ള വമ്പൻ സ്രാവുകളുടെ പങ്കാളിത്തം എന്നിവയൊക്കെ കൊണ്ട് വളരെയേറെ കാലമായി ആകാംക്ഷയോടെ കാത്തിരിക്കുന്ന സിനിമയാണ് മൂത്തോൻ. കാനഡയിലെ . ടൊറന്റോ ഇന്റർനാഷണൽ ഫിലിം ഫെസ്റ്റിവലിൽ ആയിരുന്നു മൂത്തോന്റെ വേൾഡ് പ്രീമിയർ. ഇന്ത്യൻ പ്രീമിയർ ആവട്ടെ മുംബൈ ഇന്റർനാഷണൽ

യാദൃശ്ചികമായിട്ടാണെങ്കിലും ആകാശഗംഗയുടെ രണ്ടാം ഭാഗം മലയാളത്തിലും ടെർമിനേറ്റർ സീരിസിലെ പുതിയ സിനിമ ഹോളിവുഡിലും റിലീസ് ചെയ്യപ്പെട്ടത് ഒരേ ദിവസമായിരുന്നു. നിർഭാഗ്യമെന്നു പറയട്ടെ രണ്ടു സിനിമകളും തിയേറ്ററിൽ സമ്മാനിച്ച കാഴ്ചാനുഭവം സമാനമാണ്. അങ്ങേയറ്റം നിരാശാജനകം. ഡാർക്ക്‌ ഫെയ്റ്റ് എന്നാണ് പുതിയ ടെര്മിനേറ്ററുടെ ശീർഷകം. ഗംഭീരമാംവിധം അന്വർത്ഥമായ നാമകരണമായിപ്പോയി ഇതെന്നു സമ്മതിക്കാതെ വയ്യ. സിനിമയ്ക്ക് ടിക്കറ്റെടുത്ത് തിയേറ്ററിൽ കയറുന്നവന്റെ കൊടൂരവിധി.   പ്രേക്ഷകന്റെ ഡാർക്ക്‌ ഫെയ്റ്റ് എന്ന് അടിവര

1999ലെ സൂപ്പർ ഹിറ്റ് ആണ് വിനയന്റെ ആകാശഗംഗ. മലയാളത്തിൽ ഹൊറർ കോമഡി എന്നൊരു എടപാടിന്റെ അപ്പോസ്തലൻ തന്നെയാണ് വിനയൻ ചേട്ടൻ. വിലക്കിന്റെ കാലത്തും മുൻപുമായി പുള്ളി ആകാശഗംഗയ്ക്ക് ഒരു പാട് പാരഡികൾ ഒരുക്കിയിട്ടുണ്ട്. ഇപ്പോൾ വിലക്കും പിണക്കവും ഒക്കെ കഴിഞ്ഞ് അമ്മയും ഫെഫ്കയുമൊക്കെയായി ജോയന്റായ സമയത്ത് പുള്ളി ദാ ഒറിജിനൽ രണ്ടാംഭാഗവുമായി വന്നിരിക്കുന്നു ആകാശഗംഗയ്ക്ക്. ഹൊറിബിൾ ആയ ഹൊററും ഹ്യൂമറും എന്ന് അടിവര.

ദീപാവലി ആഘോഷങ്ങൾ കളർഫുളാക്കാനായി ഇന്ത്യയെമ്പാടുമുള്ള സിനിമാപ്രേക്ഷർക്ക് മുന്നിൽ സാജിദ് നാദിയാവാല മുതലാളി പ്രദർശനത്തിനെത്തിച്ചിരിക്കുന്ന കളർഫുൾ സിൽമ ആണ് ഹൗസ്ഫുൾ4 . വൻവിജയം എന്നവകാശപ്പെടുന്ന ഹൗസ്ഫുൾ സീരീസിലെ നാലാം ഉരുപ്പടി. കോമഡിയും എന്റർടൈനറുമൊക്കെ ആണെന്നാണ് വെപ്പ്. ബട്ട് സഹിച്ചിരിക്കാൻ വല്യ പാടാണ് തലയുടെ ആണിക്കല്ല് ഇളക്കുന്ന സിനിമ എന്ന് അടിവര

നിരവധി സിനിമകളിൽ ചിത്രസംയോജകനായി വർക്ക് ചെയ്തിട്ടുള്ള പീറ്റർ സാജൻ തിരക്കഥ എഴുതി സംവിധാനം ചെയ്തിരിക്കുന്ന ആദ്യ ചിത്രമാണ് ഒരു കടത്ത് നാടൻ കഥ. മുൻപ് ചെറിയ വേഷങ്ങളിൽ അഭിനയിച്ചിട്ടുള്ള ഷഹിൻ സിദ്ദിഖ് ആദ്യമായി മുഴുനീള നായകൻ ആവുന്നു എന്നൊരു സവിശേഷത കടത്ത് നാടൻ കഥയ്ക്കുണ്ട്. അതുല്യനടനായ സിദ്ദിഖിന്റെ മകൻ ആണ് ഷഹിൻ. മൊത്തത്തിൽ പറയുമ്പോൾ കണ്ടിരിക്കാവുന്ന ഒരു നാടൻ കടത്ത് സിനിമ.

തെറിയും മെർസലും കണ്ടവർക്ക് ഒരു ഏകദേശ ധാരണയുണ്ടാവും വിജയും ആറ്റ്ലിയും ഒരുമിക്കുമ്പോൾ എന്തായിരിക്കും സംഭവിക്കുകയെന്ന്. എന്നാൽ ആ ധാരണകളെയും പ്രതീക്ഷകളെയും മറികടക്കുന്ന ഒന്നൊന്നര വെടിച്ചില്ല് ഐറ്റമാണ് ഇന്ന് പ്രദർശനത്തിന് എത്തിയ ബിഗിൽ. വിജയിന്റെ എവർബെസ്റ്റ് ബ്ലോക്ക് ബസ്റ്ററുകളായ ഗില്ലി, പോക്കിരി, തുപ്പാക്കി എന്നിവയുടെ റെയ്ഞ്ചിൽ പെടുത്താവുന്ന ആദ്യ പകുതിയും സമ്പൂർണമായി സ്ത്രീകൾക്ക് ഡെഡിക്കേറ്റ് ചെയ്തു കൊണ്ടുള്ള

പടത്തിന്റെ പേരും ഇരുണ്ട ടോണിലുള്ള പോസ്റ്ററുകളും കാണുമ്പോൾ മാലഫിസന്റ്: മിസ്ട്രസ് ഓഫ് ഈവിൾ ഒരു ഹൊറർ സിനിമയോ ഡാർക്ക് ഷെയിഡുകൾ വാരി വിതറിയ കടുംവെട്ട് ഐറ്റമോ ആണെന്ന് തോന്നിപ്പോവും. പക്ഷെ ആ തോന്നലിന്റെ നേരെ വിപരീതമായ കാഴ്ചാനുഭവമാണ് ഈ മിസ്ട്രസ് പകർന്നു തരുന്നത്. കാഴ്ചാനുഭവം എന്നൊന്നും ലഘുവായി പറഞ്ഞാൽ പോര. 'ദി റിയൽ വിഷ്വൽ എക്സ്ട്രാവഗൻസ' --- അതാണ്! അതിഗംഭീരമായൊരു വിഷ്വൽ ട്രീറ്റ് എന്ന് അടിവര

ഭേദപ്പെട്ടതും വിഷയവൈവിധ്യമുള്ളതുമായ സിനിമകൾ സംവിധാനം ചെയ്യാൻ താൽപര്യമുളള ആളാണ് എം എ നിഷാദ് എന്ന ഡയറക്റ്റർ. അദ്ദേഹത്തിന്റെ സിനിമകളുടെ ലിസ്റ്റ് എടുത്ത് നോക്കിയാൽ ഈ ഒരു ആത്മാർത്ഥത കൃത്യമായി ബോധ്യപ്പെടും. എന്നാൽ അതിന്റെ ഫലം തിയേറ്റർ പ്രതികരണങ്ങളിൽ ലഭിക്കാറില്ലെന്നത് വേറെ കാര്യം. ഈയാഴ്ച തിയേറ്ററുകളിൽ എത്തിയ തെളിവ് ഏറ്റവും പുതിയ 'നിഷാദ്–സിനിമ'യാണ്. കണ്ടിരിക്കാവുന്ന ഒരു ആവറേജ് സിനിമ എന്ന് അടിവര.  

നൂറ്റിപ്പത്ത് മിനിറ്റ് നേരത്തിന്റെ ദൈർഘ്യമേ ഉള്ളൂ ടൊവിനോയുടെ പുതിയ സിനിമയായ എടക്കാട് ബറ്റാലിയൻ 06 ന്. ഒരു ആവറേജ് ഇന്ത്യൻ കൊമേഴ്‌സ്യൽ സിനിമയ്ക്ക് ഉണ്ടാവാറുള്ള സ്‌ക്രീനിംഗ് ടൈമിനേക്കാൾ വളരെ കുറവ്. പക്ഷെ, ആ 110 മിനിറ്റ് പോലും തിയേറ്ററിൽ സമ്മാനിച്ചത് സഹനത്തിന്റെയും ബോറടിയുടെയും പരകോടിയിൽ, ജീവപര്യന്തം കഠിനതടവ് അനുഭവിക്കുന്നവന്റേത് പോലുള്ള ഒരു പീഡാനുഭവമാണ്. സ്‌കൂൾ

ലോകം ഈവർഷം ഏറ്റവും പ്രതീക്ഷയർപ്പിച്ച്‌ കാത്തിരുന്ന സിനിമ "ജോക്കർ" കഴിഞ്ഞ ആഴ്ച ആയിരുന്നു വേള്‍ഡ് വൈഡ് റിലീസ്‌ എങ്കിലും കേരളത്തിൽ വിരലിലെണ്ണാവുന്ന സെന്ററുകളിൽ മാത്രമേ പ്രദർശനത്തിനെത്തിയിരുന്നുള്ളൂ. തൃശൂരിന് വടക്ക് കോഴിക്കോട്ടെ ഒറ്റ തിയേറ്ററിൽ മാത്രമായിരുന്നു ഷോ. സിനിമാപ്രേമികൾ കേരളത്തിലങ്ങോളമിങ്ങോളമുള്ള തിയേറ്ററുകളുടെ എഫ് ബി പേജുകളിൽ നിരാശ അടക്കാനാവാതെ രോഷപ്രകടനം നടത്തി പൊങ്കാലയിട്ടു . ഏതായാലും ഒരാഴ്ച വൈകിയാണെങ്കിലും

ದೆವ್ವಗಳು ತುಂಬಿದ ಮನೆ. ಆ ದೆವ್ವಗಳು ಮನೆಯಿಂದ ಹೊರಹಾಕುವ ಸಾಹಸಕ್ಕೆ ಕೈಹಾಕುವ ರಘುಪತಿ-ರಾಘವ-ರಾಜ-ರಾಮ್. ದೆವ್ವಗಳು ಜೊತೆ ಈ ಕಾಮಿಡಿ ಕಲಾವಿದರ ಜುಗಲ್ ಬಂದಿ ಸಖತ್ ಮಜಾ ಕೊಡುತ್ತೆ. ಪೂರ್ತಿ ವಿಮರ್ಶೆ ಮುಂದೆ ಓದಿ.... (ಮಾಹಿತಿ: ತಮಿಳಿನ 'ಪೆಟ್ರೋಮ್ಯಾಕ್ಸ್' ಚಿತ್ರದ ರೀಮೇಕ್) ಚಿತ್ರ: ಮನೆ ಮಾರಾಟಕ್ಕಿದೆ ನಿರ್ದೇಶಕ: ಮಂಜು ಸ್ವರಾಜ್ ನಿರ್ಮಾಪಕ: ಎಸ್ ವಿ ಬಾಬು ಕಲಾವಿದರು:

'ಕಪಟ ನಾಟಕ ಪಾತ್ರಧಾರಿ'...ಇದು ಮೇಲ್ನೋಟಕ್ಕೆ ಆಟೋ ಡ್ರೈವರ್ ಒಬ್ಬರ ರೆಗ್ಯುಲರ್ ಕಥೆ. ಫ್ಯಾಮಿಲಿ, ಲವ್, ವಿಲನ್ ಎಂದು ಊಹಿಸಿದ್ದರೆ ಆ ಊಹೆ ತಪ್ಪು. ಇದು ಕಂಪ್ಲೀಟ್ ಮನರಂಜನೆ ತುಂಬಿದ ರೋಚಕ ಕಥೆ. ಪೂರ್ತಿ ವಿಮರ್ಶೆ ಮುಂದೆ ಓದಿ..... ಚಿತ್ರ: ಕಪಟ ನಾಟಕ ಪಾತ್ರಧಾರಿನಿರ್ದೇಶಕ: ಕ್ರಿಶ್ಕಲಾವಿದರು: ಬಾಲು ನಾಗೇಂದ್ರ, ಸಂಗೀತಾ ಭಟ್, ಕರಿ ಸುಬ್ಬು ಮತ್ತು ಇತರರುಬಿಡುಗಡೆ: 8 ನವೆಂಬರ್  

ಏಳೆಂಟು ಜನರ ಗುಂಪು....ಕೆಲಸ ಕೇಳುವ ಅಥವಾ ಕುಡಿಯಲು ನೀರು ಕೇಳುವ ನೆಪದಲ್ಲಿ ಒಂಟಿ ಹೆಂಗಸರು ಇರುವ ಮನೆಗಳಿಗೆ ಬರ್ತಾರೆ. ಯಾರೂ ಇಲ್ಲದ ಸಮಯ ನೋಡಿ ಮನೆಗೆ ನುಗ್ಗಿ ಆಸ್ತಿ-ಪಾಸ್ತಿಯನ್ನ ದೋಚಿಕೊಂಡು, ಆ ಹೆಣ್ಣು ಮಗಳ ಮೇಲೆ ಅತ್ಯಾಚಾರ ಮಾಡಿ, ಕೊಲೆ ಮಾಡಿ ಪರಾರಿ ಆಗ್ತಾರೆ. ದಂಡುಪಾಳ್ಯ ಹೆಸರಿನಲ್ಲಿ ಈ ಹಿಂದೆ ಬಂದಿದ್ದ ಮೂರು ಚಿತ್ರಗಳಲ್ಲಿ ಇದನ್ನು

90ರ ದಶಕದ ಬ್ಯಾಕ್ ಡ್ರಾಪ್ ನಲ್ಲಿ ಗಂಟುಮೂಟೆ ಸಿನಿಮಾ ಮೂಡಿ ಬಂದಿದೆ. ಹೈಸ್ಕೂಲ್ ಹೊಸ್ತಿಲಲ್ಲಿ ಯುವತಿಯ ಮನಸ್ಸಿನ ತಳಮಳ, ಹದಿಹರಿಯದ ವಯಸ್ಸಿನವರ ಆಸೆಗಳು, ಸಿನಿಮಾ ಮತ್ತು ನಿಜ ಜೀವನ ಎರಡು ಒಂದೆ ಎಂದು ಭ್ರಮೆಯಲ್ಲಿ ಬದುಕುವ ವಯಸ್ಸಿನ ಕಥೆಯನ್ನು 'ಗಂಟುಮೂಟೆ' ಮೂಲಕ ಕಟ್ಟಿಕೊಂಡಿದ್ದಾರೆ ನಿರ್ದೇಶಕಿ ರೂಪ ರಾವ್. ಹೈಸ್ಕೂಲ್ ಹೋಗುವ ಮೀರಾ ಚಿತ್ರದ ನಾಯಕಿ. ಸಂಪೂರ್ಣ ಸಿನಿಮಾಕಥೆ

ಸಾವಿರ ಸುಳ್ಳು ಹೇಳಿ ಒಂದು ಮದುವೆ ಮಾಡು.....ಎಂಬ ಗಾದೆ ಮಾತಿದೆ. ಆದರೆ, ಸೃಜನ್ ಲೋಕೇಶ್ ಹೇಳುವ ಒಂದು ಸುಳ್ಳು, ಸಾವಿರಾರು ಸುಳ್ಳುಗಳನ್ನ ಹುಟ್ಟುಹಾಕುತ್ತೆ. ಆ ಸುಳ್ಳಿನ ಗೋಡೆ ಮೇಲೆ ಕಟ್ಟುವ ಪ್ರೀತಿಯನ್ನ ಉಳಿಸಿಕೊಳ್ಳಲು ಸೃಜನ್ ಪಡುವ ಹರಸಾಹಸವೇ 'ಎಲ್ಲಿದ್ದೆ ಇಲ್ಲಿ ತನಕ'. ಮುಂದೆ ಓದಿ..... ಚಿತ್ರ: ಎಲ್ಲಿದ್ದೆ ಇಲ್ಲಿ ತನಕ ನಿರ್ದೇಶಕ: ತೇಜಸ್ವಿ ಕಲಾವಿದರು: ಸೃಜನ್

ಹದಿನೆಂಟನೇ ಶತಮಾನದಲ್ಲಿ ಈ ಹೆಸರಿನ ಸ್ವಾತಂತ್ರ್ಯ ಹೋರಾಟಗಾರರೊಬ್ಬರು ಇದ್ದರು ಎನ್ನುವುದನ್ನು ಪ್ರೇಕ್ಷಕರ ಮುಂದೆ ತರುವುದು ತಮಾಷೆಯ ಮಾತಲ್ಲ. ಅದೇ ರೀತಿ ಐತಿಹಾಸಿಕ ಅಥವಾ ಪೌರಾಣಿಕ ಸಿನಿಮಾ ಮಾಡುವುದೂ ಸುಲಭದ ಕೆಲಸವೇನಲ್ಲ. ಬಹುಕಾಲದ ನಂತರ ಮೆಗಾಸ್ಟಾರ್ ಚಿರಂಜೀವಿ ಪ್ರಧಾನ ಭೂಮಿಕೆಯಲ್ಲಿರುವ 'ಸೈರಾ ನರಸಿಂಹ ರೆಡ್ಡಿ' ಅಕ್ಟೋಬರ್ ಎರಡರಂದು ಮೂರುವರೆ ಸಾವಿರಕ್ಕೂ ಅಧಿಕ ಸ್ಕ್ರೀನ್ ಗಳಲ್ಲಿ ತೆರೆಕಂಡಿದೆ. ಕನ್ನಡ ಪ್ರೇಕ್ಷಕರಿಗೆ

'ಕಿಸ್' ಸಿನಿಮಾ ನಿನ್ನೆ (ಶುಕ್ರವಾರ) ಬಿಡುಗಡೆಯಾಗಿದೆ. ಮತ್ತೆ ಎ ಪಿ ಅರ್ಜುನ್ ಪ್ರೀತಿಯ ಕಥೆ ಹೇಳಿ, ಹೊಸ ಜೋಡಿಯನ್ನು ಪರಿಚಯ ಮಾಡಿದ್ದಾರೆ. ಈ ಸಿನಿಮಾ ಯುವ ಜನತೆಗೆ ಹತ್ತಿರ ಆಗುವ ಕಥೆ ಹೊಂದಿದೆ. ಪಕ್ಕಾ ಲವ್ ಸ್ಟೋರಿ ಆಗಿರುವ ಈ ಸಿನಿಮಾ ರಾಯಲ್ ಹುಡುಗ ಹಾಗೂ ಕ್ಯೂಟ್ ಹುಡುಗಿಯ ಕಿಸ್ಸಿಂಗ್ ಕಥೆಯಾಗಿದೆ. ಮೊದಲ ಸಿನಿಮಾದಲ್ಲಿಯೇ ನಟ ವಿರಾಟ್

'ಕರ್ನಾಟಕದಲ್ಲಿ ಕನ್ನಡಿಗನೇ ಯಜಮಾನ, ಕನ್ನಡಿಗನೇ ಸಾರ್ವಭೌಮ....' ಸ್ವಾಭಿಮಾನಿ ಕನ್ನಡಿಗನ ಹೋರಾಟದ ಕಥೆಯ ಜೊತೆ ಸುಂದರವಾದ ಪ್ರೇಮಕಥೆಯ ನಂಟು. ಗಣೇಶ್ ಸ್ಟೈಲ್ ಮತ್ತು ಇಮೇಜ್ ಗೆ ತಕ್ಕಂತೆ ಕಥೆಯೂ ಇದೆ. ಗಣೇಶ್ ಅವರಿಂದ ಏನಾದರೂ ಹೊಸ ರೀತಿ ಸಿನಿಮಾ ಬೇಕಲ್ವಾ ಎಂದುಕೊಂಡವರಿಗೆ ಸರ್ಪ್ರೈಸ್ ಕೂಡ ಇದೆ. ಪೂರ್ತಿ ವಿಮರ್ಶೆ ಮುಂದೆ ಓದಿ...

'ಪೈಲ್ವಾನ್' ಅಖಾಡಕ್ಕೆ ಇಳಿದಿದ್ದಾನೆ. ಕ್ರೀಡಾ ಹಿನ್ನಲೆಯ ಭಾವನಾತ್ಮಕ ಸಿನಿಮಾ ಬಹುಪಾಲು ಜನರಿಗೆ ಇಷ್ಟ ಆಗಿದೆ. ನಿನ್ನೆ (ಗುರುವಾರ) ಸಿನಿಮಾ ಬಿಡುಗಡೆ ಆಗಿದ್ದು, ಎಲ್ಲೆಡೆ ಹೌಸ್ ಫುಲ್ ಆಗಿದೆ. ಸುದೀಪ್ ಅಭಿಮಾನಿಗಳ ಮೆಚ್ಚಿಗೆ ಪಡೆಯುವಲ್ಲಿ ಯಶಸ್ವಿಯಾಗಿದೆ. ಸುದೀಪ್ ಪಾತ್ರ ನಿರ್ವಹಣೆ, ಸಿನಿಮಾದ ಸಂದೇಶ, ಕುಸ್ತಿ ಮತ್ತು ಬಾಕ್ಸಿಂಗ್ ಆಟವನ್ನು ಪರದೆ ಮೇಲೆ ಕಟ್ಟಿಕೊಟ್ಟಿರುವ ರೀತಿ ತುಂಬ ಚೆನ್ನಾಗಿದೆ. Pailwan

ಅಭಿನಯ ಚಕ್ರವರ್ತಿ ಕಿಚ್ಚ ಸುದೀಪ್ ಅಭಿನಯದ ಪೈಲ್ವಾನ್ ಸಿನಿಮಾ ಇಂದು ದೇಶ-ವಿದೇಶದಲ್ಲಿ ತೆರೆಗೆ ಬಂದಿದೆ. ಬೆಂಗಳೂರು ಸೇರಿದಂತೆ ಕೆಲವು ಕಡೆ ಬೆಳಗ್ಗೆ 5.30ಕ್ಕೆ ಮೊದಲ ಶೋ ಪ್ರಾರಂಭವಾಗಿದೆ. ಬಾರಿ ನಿರೀಕ್ಷೆಯೊಂದಿಗೆ ತೆರೆಗೆ ಬಂದ ಪೈಲ್ವಾನ್ ಕೆಲವು ಪ್ರೇಕ್ಷಕರ ಮನ ಗೆದ್ದರೆ ಇನ್ನು ಕೆಲವರಿಗೆ ನಿರಾಸೆ ಮೂಡಿಸಿದೆ. ಕೆಜಿಎಫ್, ಕುರುಕ್ಷೇತ್ರದ ಮುಂದೆ ಗೆದ್ದು ನಿಲ್ಲಲೇಬೇಕಿದೆ ಪೈಲ್ವಾನ್ ಮೊದಲ ಶೋ

ಬಾಹುಬಲಿ ನಂತರ ಪ್ರಭಾಸ್ ಅಭಿನಯದ ಸಾಹೋ ಸಿನಿಮಾ ತೆರೆಗೆ ಬಂದಿದ್ದು, ಬಾಕ್ಸ್ ಆಫೀಸ್ ನಲ್ಲಿ ಈ ಹಿಂದಿನ ಎಲ್ಲ ದಾಖಲೆಗಳನ್ನ ಅಳಿಸುಹಾಕುತ್ತೆ ಎಂಬ ಲೆಕ್ಕಾಚಾರ ಮಾಡಲಾಗಿದೆ. ಸುಮಾರು 350 ಕೋಟಿ ಬಜೆಟ್, ಹಾಲಿವುಡ್ ರೇಂಜ್ ಆಕ್ಷನ್, ಶ್ರದ್ಧಾ ಕಪೂರ್ ಹೀರೋಯಿನ್, ಕಲಾವಿದರ ದಂಡು ಇದೆಲ್ಲ ಸೇರಿ ಸಾಹೋ ಮೇಲೆ ಬೆಟ್ಟದಷ್ಟು ನಿರೀಕ್ಷೆ ಹುಟ್ಟಿಕೊಂಡಿತ್ತು. ಇದಕ್ಕೆಲ್ಲಾ ಇಂದು ಸ್ಪಷ್ಟ

ಸಿನಿಮಾ: ಉಡುಂಬಾ ನಿರ್ದೇಶಕ: ಶಿವರಾಜ್ ತಾರ ಬಳಗ: ಪವನ್, ಚಿರಶ್ರೀ ಅಂಜನ್, ಶರತ್ ಲೋಹಿತಾಶ್ವ 'ಉಡುಂಬಾ' ಕರಾವಳಿ ತೀರದ ಕತೆ. ಒಂದು ಊರು, ಇಬ್ಬರು ಪ್ರೇಮಿಗಳು, ಪ್ರೀತಿಗೆ ಆಗುವ ಅಡಚಣೆ, ಪ್ರೇಮಿಗಾಗಿ ಹೋರಾಟ, ಖಳ ನಟನ ಸಾವು ಇದಿಷ್ಟು ಈ ಸಿನಿಮಾದಲ್ಲಿ ಬಂದು ಹೋಗುವ ದೃಶ್ಯಗಳು. ಇದರ ನಡುವೆ ಒಂದು ಸರ್ ಪ್ರೈಸ್ ಅಂಶ ನೋಡುಗರಿಗಾಗಿ ಕಾದಿದೆ. ಮೀನು

ಕನ್ನಡಕದ ಮೇಲೊಂದು ತ್ರೀಡಿ ಕನ್ನಡಕ, ಅಜ್ಜ, ಅಜ್ಜಿ, ಅಪ್ಪ, ಅಮ್ಮ ಕುಟುಂಬ ಸಮೇತ ಚಿತ್ರಮಂದಿರಕ್ಕೆ ದಾಂಗುಡಿಯಿಟ್ಟ ಪ್ರೇಕ್ಷಕ. ಮಹಾಭಾರತದಲ್ಲಿ ಬರುವ ಕ್ಲೈಮ್ಯಾಕ್ಸ್ 'ಕುರುಕ್ಷೇತ್ರ' ಸನ್ನಿವೇಶದಲ್ಲಿ ಬರುವ ಕಥೆ, ಪಾತ್ರಧಾರಿಗಳ ಬಗ್ಗೆ ಮಕ್ಕಳಿಗೆ ತಿಳಿದಿರಬೇಕು ಎನ್ನುವ ಕಾರಣವೂ ಸೇರಿದಂತೆ ತುಂಬಿ ಕುಳಿತ ಚಿತ್ರಮಂದಿರ. ರಾಷ್ಟ್ರಗೀತೆಗೆ ಎದ್ದುನಿಂತ ನಂತರ, ಸಿಗರೇಟ್ ಆರೋಗ್ಯಕ್ಕೆ ಹಾನಿಕರ ಎನ್ನುವ ಸಂದೇಶದೊಂದಿಗೆ ಸಿನಿಮಾ ಆರಂಭ.

Bolton Wanderers have been handed a suspended five-point deduction and financial penalties after being found guilty of failing to fulfil their fixtures against Brentford and Doncaster Rovers this year, the English Football League (EFL) has said.

Australia captain Lleyton Hewitt criticised the scheduling at the revamped Davis Cup Finals after his team lost 2-1 to Canada in the quarter-finals on Thursday.

Canada's tennis revolution continued as they claimed their first Davis Cup victory over Australia to reach the semi-finals on Thursday with 150th-ranked Vasek Pospisil the hero once again.

Diego Maradona decided to stay on as coach of Argentine club Gimnasia y Esgrima in a surprising about turn on Thursday, two days after saying he was leaving his job at the struggling first division side.

American Webb Simpson birdied his last three holes to take a one-stroke lead in the first round of the RSM Classic in Georgia on Thursday.

The president of Russia's athletics federation and several other federation officials were suspended on Thursday by the Athletics Integrity Unit (AIU) for serious breaches of anti-doping rules, adding to the federation's woes ahead of next year's Olympics.

Organisers of the Davis Cup Finals in Madrid have brought forward the start times of Friday's last-eight ties by half an hour after a week of late finishes at La Caja Magica.

Serbia sealed their place in the Davis Cup quarter-finals in straightforward fashion but Britain survived another nailbiter before joining them in the last-eight on Thursday.

Winger Gareth Bale has been heavily criticised by the Spanish media for celebrating Wales' Euro 2020 qualification by holding up a flag that appeared to indicate his passion to play for Real Madrid is way down the pecking order.

This year's Copa Libertadores final features two of the biggest clubs in South America, but Saturday’s encounter between River Plate and Flamengo is unusual in that attention is focused as much on the coaches as the players.

The annual Victoria's Secret fashion show, known for its jewel-encrusted bras and supermodels sporting angel wings, will not be held this holiday season, parent L Brands Inc said on Thursday.

British band Coldplay will not tour to promote their new album, but are working on how to make their gigs environmentally sustainable, lead singer Chris Martin said.

Apple Inc has canceled the world premiere of movie "The Banker," one of its first original films, as it investigates unspecified concerns surrounding the period drama, the company said on Wednesday.

Two years after the #MeToo scandal first roiled Hollywood, causing dozens of powerful men to lose their jobs, a new group on Wednesday launched what it said was the largest-ever industry-wide survey aimed at countering sexual misconduct in the entertainment industry.

Queen Elizabeth presented broadcaster David Attenborough with an award on Wednesday for his hit television nature series Blue Planet II, which raised public awareness around the world of the danger of plastic pollution in oceans.

The nominations for the Grammy Awards, the highest honors in the music industry, were announced on Wednesday.

British singer-songwriter Elton John said he was so worried about getting the words wrong when performing an adaptation of "Candle In the Wind" at Princess Diana's funeral that he had a teleprompter installed by the piano.

In 1990, a bikini-clad Madonna wrapped in a U.S. flag urged MTV viewers to vote in Senate elections as the youth television network partnered with a “Rock the Vote” campaign that mixed pop culture and politics.

Ukrainian Bogdan Senchukov wants to carve his way into the Guinness Records: by making the world's biggest collection of musical instruments from matchsticks. 

Former Beatle Paul McCartney will headline Glastonbury Festival, the pinnacle of Britain's pop music calendar, for its 50th anniversary next year, organisers said on Monday.

The Penske Ford driver spent much of the 30-minute session floating around the Top 10, one of his runs interrupted by a wild moment coming into Turn 11.Then, just inside the final minute, he soared to the top of the times, a 1m10.609s on his last lap leaving him 0.01s clear of outspoken rival Reynolds.The Erebus driver had gone fastest just seconds earlier, pulling more than four-tenths ...Keep reading

Hamlin revealed earlier this month that he would undergo shoulder surgery during the offseason in order to repair a torn labrum in his shoulder.Read Also:Denny Hamlin to have offseason shoulder surgeryThe discomfort did not preclude him from winning his way into the final four and battling for the 2019 championship, ultimately placing fourth in the standings after a ...Keep reading

Correa spent over a week on a life-support machine after his lungs filled with liquid as his body went into shock in the aftermath of the 70G impact at Raidillon. Once stablized, he subsequently underwent a 17-hour surgery on his leg injuries, and now faces a long rehabilitation phase at home in Miami.Speaking to the Mundo Sport radio show in Argentina, Correa gave an extensive insight into ...Keep reading

Chase, who spent most of last season as a member of Starworks Motorsports’ part-time campaign with the Audi R8, will thus replace Richard Heistand who, together with Hawksworth, landed two GT Daytona-class wins this year. Chase became third man in the #14 Lexus at Road Atlanta last month.Team co-owner Jimmy Vasser said: “Parker is a young, up and coming driver, who showed good speed when ...Keep reading

The Finn, who was teammate to Sebastien Ogier in the Versailles-based squad, says he intends to fight for one of the remaining M-Sport seats left next season."I read the rumours, but I was expecting it to be more related to Seb, to be honest," Lappi told Motorsport.com."I tried to get some info from [team boss] Pierre [Budar] earlier, but he didn't really give me anything. I thought ...Keep reading

The 32-year-old driver is currently without a race seat for 2020.He was most recently linked to a deal in IndyCar with Ed Carpenter Racing, though team boss Ed Carpenter said this would not happen on Tuesday.In F1, he had been holding on to the slim possibility of a seat at Alfa Romeo before it extended Antonio Giovinazzi's deal.Hulkenberg had already acknowledged that he would not ...Keep reading

The governing body investigated a trio of fuel systems after the Brazilian Grand Prix, one believed to be from a Ferrari, another from a Ferrari customer team and a third from a non-Ferrari powered car.On Wednesday, the FIA issued its latest technical directive – a third in four weeks – instructing teams they will be required to add a second FIA-controlled sensor in 2020.Though it is ...Keep reading

Iannone caused a red flag a couple of hours into Wednesday’s running at the Valencia test when his Aprilia burst into flames on the main straight on the run into Turn 1.Aprilia had no new items to test in Valencia – which Aleix Espargaro branded as “not at all” acceptable – but were trying different set-up solutions to apply to the development of its radical 2020 bike.One such ...Keep reading

The British driver described the four-race in China as "massively encouraging" despite the fact that the two Team LNT-run cars propped up the LMP1 order at the finish.Robertson led the early stages in the #6 Ginetta G60-LT-P1 that started second and set the fastest lap of the race in the opening stint, with Ben Hanley running behind in second.But after the first round of stops, Hanley had ...Keep reading

Part of World RX since 2016, the Latvian round had been in doubt due to uncertainty over government funding for the event.Having requested more time from World RX promotor IMG to secure enough support, the RA Events-run event will take up its now-traditional slot on the calendar as the ninth round, on September 19 – 20 next year.The event name will switch from being the World RX of ...Keep reading

Citroen's cited Ogier's departure for Toyota, which is set to be announced on Monday, as the reason for its withdrawal from the WRC in an announcement made on Wednesday.The six-time champion was surprised at the wording of Citroen's communication, saying he was concerned about the message Citroen had sent to other competitors in the WRC.Ogier told Motorsport.com: "Maybe communication ...Keep reading

The Milton Keynes-based outfit sent a crew from its live demo team to the Yuri Gagarin Cosmonaut Training Center at Star City in Russia to undergo a week of cosmonaut training to prepare for the pitstop.Using an Ilyushin II-76K training plane, which experiences zero gravity for around 20 seconds when it is put into a parabolic flight at 33,000 feet, the crew successfully changed tyres on an ...Keep reading

Ahead of its inaugural season scheduled for 2021, the XE off-road electric SUV will first participate in the shakedown ahead of January’s Dakar Rally, which will take place in Saudi Arabia for the first time in 2020.The XE car will then join the full field of competitors in the last stage - which will take place between Haradh and the Qiddiyah finishing point on January 17th.Alejandro ...Keep reading

"Tickets worth Rupees 52,36,000 were unsold. Why all the tickets were not sold-out? DDCA started online ticket sale quite late that too without proper advertisement," Khanna claimed in a media release.

TOI Sports runs the rule over the performers for India during their 3-2 ODI series win over New Zealand. A report card on the players who featured in India's first ODI series win at home in two years, over NZ across five matches.

India completed a 3-2 series win over New Zealand by beating them in the decider at Vizag by 190 runs. Here we look at the several passages of play that stood out during the match.

Dhoni lavished praise on his bowlers for the resounding series-clinching win over New Zealand in the fifth and final ODI, describing the effort as "one of the best performances by the bowlers".

Bruised and battered by India after being bundled out for a meagre 79 while chasing 270 in the series-deciding fifth and final ODI, New Zealand skipper Kane Williamson today termed the performance of his batting department as "frustrating".

Dhoni faced the conventional white ball and practised his trademark shots in a lengthy session at the nets. The series poised at 2-2, Rohit Sharma, Ajinkya Rahane and Virat Kohli stayed away from the nets.

​​Jadhav, who's playing in place of an indisposed Suresh Raina, bowled for the first time in international cricket when MS Dhoni gave him the ball ahead of the regular spin duo of Axar Patel and Amit Mishra on a seaming Dharamsala track in the first one-dayer.

With conditions overcast, the last thing India would want is a wash-out. Despite weakening, cyclone Kyant, there's forecast of localised downpours as both the teams will keep their fingers crossed.

Sourav Ganguly insisted that Mahendra Singh Dhoni should stick to batting at No 4 which will enable him and Virat Kohli could play the finishers' role. The former Indian captain however said India were not becoming too much over dependent on Kohli.

India's limited overs skipper Mahendra Singh Dhoni has said that the job of a finisher is one of the toughest and it is difficult to find a 'complete' player who is adept at batting in lower order and take the team through when the chips are down.

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Teenagers worldwide are jeopardizing their health by failing to get enough exercise to reduce their risk of obesity and cardiovascular diseases, a World Health Organization-led study released on Friday warns.

(Reuters Health) – Even among smokers, people who eat more fiber and yogurt may be less likely to develop lung cancer than those who don't consume much of these foods, a research review suggests.

U.S. health officials on Thursday reported 2,290 confirmed and probable cases and 5 more deaths from a mysterious respiratory illness tied to vaping, taking the total death toll to 47 so far this year.

(Reuters Health) - Experts recommend that home birth only be considered for low-risk pregnancies, but that's often not what happens in the U.S., where no formal guidelines exist, researchers say.

Researchers in Canada have identified a new kind of vaping-related lung injury they believe is linked to flavorings in conventional vape pens, causing symptoms similar to the "popcorn lung" injury seen in workers exposed to flavorings in microwave popcorn.

A trio of polls released ahead of Wednesday's Democratic presidential debate showed a majority of Americans support Medicare for All, but offered conflicting signals about whether the proposed healthcare overhaul could hurt the party in the November 2020 general election.

Hong Kong is looking into importing live pigs from countries in Southeast Asia, including Malaysia, to supplement a dwindling supply from mainland China that has caused pork prices to surge, Food and Health Secretary Sophia Chan said on Wednesday.

(Reuters Health) - With the help of some London primary school children, scientists have discovered that certain soup broths passed down from generation to generation might aid in battling malaria by interrupting the life cycle of the deadly parasite.

(Reuters Health) - Obese teens who have surgery to lose weight report better quality of life, less joint pain and fewer physical limitations after their operations than before, a new study suggests.

(Corrects name of lawyer to Scott Markowitz from Scott Bickford in 5th paragraph)

Reportedly, actor Jr NTR has declined the offer to feature in the upcoming Jayalalithaa biopic starring Kangana Ranaut. The actor was offered to play the role of his grandfather Nandamuri Taraka Rao (NTR) in the film titled Thalaivi. The former Chief Minister of Tamil Nadu Jayalalithaa has featured in several films along with NTR. The makers of Thalaivi had approached Jr NTR with the offer to play his grandfather but he politely declined it.

Apparently, in the past, Jr NTR has said that he will never be able to play his grandfather on-screen. He had said it would be impossible for him to pull off the role as it’s very tough to replicate the veteran’s aura and charisma. Though, the actor in several of his movies has paid tribute to his grandfather but believes that he cannot play a full-length role.

Meanwhile, the makers are yet to finalise on the rest of the cast in the film where Kangana Ranaut will be seen playing the role of Jayalalithaa. The film stars Arvind Swami as former Tamil Nadu Chief Minister and legendary actor MG Ramachandran.

Kangana Ranaut spent nearly six months prepping for the role. She trained in Bharatanatyam during the period and also underwent hours in the prosthetic make up sessions. The project directed by Vijay was announced along with its title and first look poster on February 25, on the 71st birth anniversary of Jayalalithaa.

Also Read: Thalaivi: Late Jayalalitha’s biopic starring Kangana Ranaut starts rolling 

Aayush Sharma and Arpita Khan Sharma's marital bliss recently completed five years. The couple, who tied the knot in 2014, was blessed with their first son Aahil in March, 2016. Aayush and Arpita are now set to embrace parenthood once more, as they await the arrival of their second child.

Reportedly, the baby arrives in December. But that's not all! If a recent report is to be believed, then the couple has chosen 27th December i.e. Salman Khan's birthday, for Arpita's C section. We all know that Salman is Arpita's lifeline, and in turn, the superstar loves his sister and his nephew to no end. It would be so wonderful if the yet-to-be-born shares its birthday with the uncle!

Earlier, at this year's IIFA, Aayush had opened up on embracing parenting bliss for the second time. "I think the new arrival is always exciting. Arpita and I are expecting our second baby. Ours has been an amazing journey, so it starts all over again. We just can't wait for the baby to arrive," he had said.

On the work front, the actor will be next seen in Kwatha alongside Katrina Kaif's sister Isabelle Kaif.

Six-film-old young but highly acclaimed actor, Bhumi Pednekar, is doing the most commercial film of her career with Pati, Pati Aur Woh and it seems like she was inspired by Karisma Kapoor’s outstanding act in Biwi No 1. While speaking about this, Bhumi also revealed that she has always been a huge fan of Karisma Kapoor.

Bhumi said, “I have been a huge fan of Karisma Kapoor since I was a child. I even bought a dress that was similar to the one she wore in Raja Hindustani. For me, she is the epitome of a commercial film heroine and I have seen and loved her films.“

The actress adds, “A fabulous actor, she was outstanding in comedies and Biwi No 1 was a huge inspiration for me while I was preparing myself for Pati, Patni Aur Woh. Karisma as a simple bahu to becoming the firecracker in the film had bowled me over and she was my most definitive reference point to nail my role in this film.”

Bhumi says she is thrilled to play a character so similar to Karisma’s in Biwi No 1. “It’s a dream come true for me to play a role that is so strikingly similar to hers. I thoroughly enjoyed playing the commercial film heroine for the first time in my career and I realized my childhood wish in the process,” she said.

Also Read: Pati Patni Aur Woh: Kartik Aaryan, Ananya Panday and Bhumi Pednekar sizzle in ‘Ankhiyon Se Goli Mare’

Actor Sidharth Malhotra was last seen in the recently released film Marjaavaan. The actor is currently shooting for his next film Shershaah. The film is a biopic based on the Indian army officer, Captain Vikram Batra.

As per reports, Sidharth Malhotra underwent military training for his role in the film. He revealed that he has been involved with the film throughout the writing of its script and that he has also been in touch with the Batra family.

Talking to a media house, Sidharth said that he has met the family of Captain Batra several times and said that they are the ones who approached him to play the part of their son. The actor said that he has been working actively on the script for almost three years now.

Sidharth said that Shershaah has a more pan-India appeal than Marjaavaan. Captain Vikram Batra was a Kargil Martyr who was also awarded the Param Vir Chakra.

Also Read: Marjaavaan: Special dance number featuring Nushrat Bharucha fails to make the final cut

 A retrospective of films of the recipient of the most prestigious film award of the Country, Dadasaheb Phalke Award is showcased during IFFI (International Film Festival of India). This year, the 50th edition of Asia’s biggest film festival is showcasing a retrospective of Amitabh Bachchan as he was honoured with Dadasaheb Phalke award this year that also makes him the 50th recipient of the Dadasaheb Phalke Award. Mr Bachchan inaugurated the retrospective at Kala Academy in Goa today.

Speaking at the launch Mr Bachchan said, "I feel deeply humbled and would thank the Government of India for this prestigious award. I’ve always felt that I’m not deserving of such recognition but I humbly accept this with a lot of grace and affection."

On the 50the edition he said, "This is the 50th edition of IFFI and I compliment the Government of India and IFFI for conducting themselves in such a wonderful manner. Each year we find a growth in the number of delegates and the choice of films giving us the opportunity to see the works and creativity from different parts of the world."

Calling cinema a universal medium ‘that is beyond language’ he added, “When we sit inside a dark hall we never ask the caste, creed, colour of the person sitting next to us. We enjoy the same film, laugh at the same jokes and cry at the same emotions.”

He warned that there are "very few mediums left in this fast-paced disintegrating world that can claim such integration." He was hopeful that "we continue to make films that will bring people together."

He called for the disintegration of "this rather odd system of keeping sides due to colours, caste, religion, bringing us together in one community, hold hands together to appreciate the creativity and take a step forward to make this world a peaceful place.”

Bachchan who has a close connection to Goa fondly recalled shooting his first film here. He said, “Coming to Goa has always been like coming home and I’ve had many wonderful opportunities to work in this place and receive the hospitality from the people of Goa during our various stints of shooting.”

While Paa will be the opening film, the other films that are being screened of his are Sholay, Deewar, Black, Piku and Badla.

Also Read: “I will never be able to repay that debt”: Amitabh Bachchan thanks fans at IFFI 2019

While there were rumours of Arjun Rampal and Mehr Jesia’s split back in 2011, it was only in 2018 that the couple announced separation. The couple has officially been granted a divorce as of Tuesday, November 19. Arjun Rampal recently had a kid, Arik, with his girlfriend Gabriella Demetriades.

Since Arjun and Mehr’s wedding was an inter-faith one, the process of divorce took longer than usual. Their marriage was registered under the Special Marriage Act where after filing a mutual consent for divorce, the ‘s plea is scrutinized, registered, and then they are required to attend marriage counselling sessions. This is to see if the couple can still reconcile, post which, they are granted 6 more months to work things out, if possible. Later, a final plea is filed and then the divorce falls through.

When questioned to comment about it, Arjun Rampal refused to speak about it saying that he doesn’t want to talk about it and it is nobody’s business. Mehr Jesia, too, remained unavailable.

Also Read: Arjun Rampal’s next to be a supernatural thriller titled Anjaan

Hollywood star Leonardo DiCaprio has raised his concern over Delhi's air pollution. The actor runs the Leonardo DiCaprio Foundation which raises awareness over environmental issues.

Leonardo DiCaprio took to Instagram to share a photo of people protesting at India Gate. The ongoing protests demand the government to pay attention to the growing pollution. He wrote, "Over 1500 citizens gathered in at India Gate, in New Delhi, to demand immediate action on the cities hazardous pollution levels. According to the World Health Organisation, air pollution in India is estimated to kill about 1.5 million people every year; these statistics make air pollution the fifth-largest killer in India."

Leonardo further wrote, "People of all ages joined the demonstration, which succeeded to directly trigger action for Indian citizens: 1. The Indian Prime Minister’s office set up a special panel to address the issue, within a few hours of the protest. The panel is due to report on the issue within 2 weeks. 2. The Supreme Court of India asked the Central Government and respective state governments to fix the crop and waste burning issue of Delhi within a week. 3. The Centre accepted that the Green Fund will be used to combat toxic air pollution. 4. The Indian Prime Minister asked the Agriculture Ministry to distribute equipment urgently so that crop burning is no longer necessary."

Many celebrities have raised their concern over the pollution in Delhi. Priyanka Chopra was recently in Delhi to shoot Netflix movie The White Tiger. She was seen wearing a mask and even took to social media to talk about the issue.

#Regram #RG @extinctionrebellion: Over 1500 citizens gathered in at India Gate, in New Dehli, to demand immediate action on the cities hazardous pollution levels.⁣ ⁣ According to the World Health Organisation, air pollution in India is estimated to kill about 1.5 million people every year; these statistics make air pollution the fifth-largest killer in India. ⁣ ⁣ People of all ages joined the demonstration, which succeeded to directly trigger action for Indian citizens:⁣ 1. The Indian Prime Ministers office set up a special panel to address the issue, within a few hours of the protest. The panel is due to report on the issue within 2 weeks.⁣ 2. The Supreme Court of India asked the Central Government and respective state governments to fix the crop and waste burning issue of Dehli within a week. ⁣ 3. The Center accepted that Green Fund will be used to combat toxic air pollution. ⁣ 4. The Indian Prime Minister asked the Agriculture Ministry to distribute equipment urgently so that crop burning is no longer necessary. ⁣ ⁣ Despite these promises, the air is still unsafe and activists will keep the pressure on until the air pollution reaches safe levels. ⁣ ⁣ The protest was organised by a collaboration of movements; @xrebellionind @LetMeBreathe_In @FridaysForFutureIndia_ along with other activists. ⁣ ⁣ Photography by Arjun Mahatta and co, via @FridaysForFuture ⁣ ⁣ #RightToBreathe #ExtinctionRebellion #IndiaGate #SolutionNotPollution #ActNow #RebelForLife

A post shared by Leonardo DiCaprio (@leonardodicaprio) on Nov 18, 2019 at 7:24am PST

It has been four years since Shahid Kapoor and Mira Rajput tied the knot. Mira Rajput comes from a non-filmy background yet she managed to blend well with the industry. Mira has always appeared confidently in the public eye and at various events.

During an interview with a daily, Shahid confessed that he was aware of Mira's individuality. He said that he realized that on the first day itself when they got done with the marriage rituals and stepped out for some pictures.

He said that when they hosted a small get together in Mumbai after the marriage for people from the film fraternity, she was extremely comfortable. Shahid further said that Mira does not feel the need to change and adjust. He said that people like her for who she is and that he always knew that she will find her own space and will become her own person.

Shahid and Mira got married in 2015 and are now parents to two beautiful kids- Misha and Zain.

On the work front, after the success of Kabir Singh, Shahid Kapoor is currently gearing up for his next titled Jersey. The film is a remake of the Telugu movie of the same name.  The movie co-stars Mrunal Thakur as the leading lady.  The movie will be directed by Gowtham Tinnanauri, who also helmed the original film.

Also Read: Jersey Remake: Shahid Kapoor begins his prep for the role of cricketer