Early in Vipul Shah’s “Namaste England”, the hero thinks the only way he can start a conversation with the girl he fancies is if one of his friends marries one of hers! “Who’s willing to sacrifice themselves?” he asks, to which a friend volunteers, allowing Param (Arjun Kapoor) and Jasmeet (Parineeti Chopra) to acquaint themselves at the wedding.
Indians are known to be obsessed with marriage and children, but as Amit Ravindernath Sharma’s comedy “Badhaai Ho” (Congratulations) illustrates, they are equally concerned about timing.
MUMBAI, India The Bollywood actress who helped trigger the #MeToo movement in India challenging sexual harassment and abuse sees it as part of her religious education after an experience 10 years ago she said effectively ended her career.
More than six years after he made his debut, Ayushmann Khurrana seems to have finally found his sweet spot in the Hindi film industry. Last year, his roles in “Bareilly Ki Barfi” and “Shubh Mangal Saavdhan” led some to compare him to Amol Palekar, the 70s Bollywood actor who made an art form out of playing the everyman.
Pradeep Sarkar’s “Helicopter Eela” should have been called “How Not To Parent” and shown as a cautionary tale for those who think hovering perennially over their offspring is a good thing. A shrill, dated and insipid story of a co-dependent relationship between a mother and her son, the film is as enjoyable as having your mother breathing down your neck all day.
The rain never stops in Rahi Anil Barve’s “Tumbbad”. It pelts the ground relentlessly, rendering everything else insignificant and giving the film an eerie atmosphere and a sense of foreboding. This gloom is what gives the film its best attribute – atmospherics. Barve’s film is redolent with a texture and detail that is rare in Indian films.
Arjun Kapoor is preoccupied with his social media feed to an extent that he won’t let a full day of promotional interviews stop him from relentless checking and updating. That’s common for his generation of Bollywood stars. Reuters interviewed him as he maintained his brand.
The #MeToo movement in India has gathered momentum in recent days, with more than a dozen complaints of sexual harassment and other sexual misconduct levelled online against prominent journalists, actors, movie directors, comedians and other public figures.
When it comes to crime and thrillers in Bollywood, there is no one better than Sriram Raghavan. From “Johnny Gaddar” to “Ek Haseena Thi” the filmmaker has managed to perfect the Indian thriller genre by borrowing stylistic elements from Alfred Hitchcock and the Coen brothers.
If the first movie character you play on screen is called “Susu”, it cannot portend well for the future. For all the effort that seems to have gone into Aayush Sharma’s Bollywood debut, the makers of “Loveyatri” overlooked one aspect – the leading man is called by a name that is a synonym for peeing.