Tag: bollywood

Yash Raj Films’ latest blockbuster Saiyaara has made history by becoming the first theatrical release from the prestigious studio to secure a post–box office streaming deal with Netflix. The Netflix logo appears during Saiyaara’s end–credit song, signaling a new partnership between the Bollywood powerhouse and the global streaming giant. Until now, YRF’s theatrical slate—including mega–hits spanning decades—has exclusively premiered on Amazon Prime Video after their cinema runs concluded. Saiyaara’s Netflix debut ushers in a fresh era, aligning with YRF Entertainment’s broader digital ambitions. YRF Entertainment—established as YRF’s digital arm—has previously collaborated with Netflix on several non–theatrical projects. Their Valentine’s Day docu–series The Romantics (2023) celebrated Yash Chopra’s legacy, followed by The Railway Men, a mini–series honoring Bhopal station workers. In 2024, the courtroom drama Maharaj and the sports slice–of–life film Vijay 69 also joined Netflix’s library. Most recently, the mystery series Mandala Murders, starring Vaani Kapoor, premiered on the platform. At a Netflix launch event earlier this year, YRF announced the upcoming series Akka, featuring Keerthy Suresh, Radhika Apte, and Tanvi Azmi. These collaborations underscore YRF’s commitment to expanding its footprint in the digital space. Meanwhile, Saiyaara, starring Ahaan Pandey and Aneet Padda, continues its unstoppable run in cinemas, on track to surpass ₹300 crore by the end of its third weekend. Given its box office dominance, Netflix’s premiere date for the film remains under wraps—but, as with all major Hindi releases, viewers can expect a significant theatrical window before it lands on the streaming service.

Filmmaker Karan Johar took to Instagram on Saturday to congratulate his longtime friends and collaborators Shah Rukh Khan and Rani Mukerji for being honoured at the 71st National Film Awards. Johar described their victories as a “full circle moment,” recalling that his very first National Award was won alongside the two stars for his directorial debut, Kuch Kuch Hota Hai. Shah Rukh Khan, celebrated for his role in Atlee Kumar’s blockbuster Jawan, was named Best Actor. Johar praised SRK’s “swag, charm and just… SRK-ness,” noting that this recognition represents 33 years in the making for the superstar. He lauded Khan’s ability to “redefine Indian cinema with every role” and cheered on “picture abhi baaki hai, mere dost.” In the Best Actress category, Rani Mukerji earned the top honour for her powerful performance in Ashima Chibber’s Mrs. Chatterjee vs Norway. Johar called Mukerji “the queen of every screen,” applauding her gift for making audiences “feel every last feeling” and expressing excitement for her future projects. Johar also acknowledged Emmay Entertainment and producers Madhubhojwani, Nikkhil Advani, and Emma Thapa for backing Mrs. Chatterjee vs Norway, and sent “the biggest shoutout” to the team behind the film. This year’s edition of the National Awards was particularly special for Johar, as his own film Rocky Aur Rani Kii Prem Kahaani won Best Popular Film Providing Wholesome Entertainment—the same category in which Kuch Kuch Hota Hai triumphed in 1998. “If this is not full circle, what is?” he quipped, celebrating a journey that began and now continues with the same two co-stars by his side. Jawan, which crossed the ₹1,000 crore mark at the global box office, sees Shah Rukh in dual roles as Army officer Vikram Rathore and his jailed son Azad, alongside Vijay Sethupathi and Nayanthara. Mrs. Chatterjee vs Norway tells the true story of Debika Chatterjee (Mukerji), who battles the Norwegian authorities to retain custody of her children; the film also features Jim Sarbh. Both films have been widely praised for their storytelling and performances, making this year’s National Awards a fitting tribute to two of Bollywood’s most beloved actors.

Shazia Iqbal’s Dhadak 2 opens with the promise of searing social critique, yet the final moments—Triptii Dimri’s anguished scream—clang more than they resonate. The film bravely tackles caste-based atrocities, but lacks the fearless conviction of its inspiration, Pariyerum Perumal. What could have been a blistering political statement is instead diluted, as if softened to sidestep controversy. Performances That Shine Through Moments of True Impact—and Missed Opportunities The film’s greatest flaw is its inconsistency. Neelesh’s ordeals—his pet’s brutal killing, a senior’s suicide, Vidhi’s cousin’s humiliation, his father’s public shaming—each strike hard. Yet these blows come in disjointed bursts, never sustained long enough to break your heart. The narrative oscillates between powerful set pieces and lukewarm interludes. Cameos of political barbs—Vijay Mallya insisting he “doesn’t cheat,” Arvind Kejriwal declining political office—add satirical spice, while Vidhi’s impassioned monologue on “ghar ki izzat” dismantles patriarchal taboos around clothing and behavior. Neelesh’s father offers a stirring redefinition of gender roles. These flashes of boldness remind us that the film’s core is sound—even if it seldom follows through. Craft and Symbolism Visually, Dhadak 2 is striking. Shazia Iqbal weaves the colour blue throughout—an emblem of the Jai Bhim movement—while dignified portraits of Dr. B.R. Ambedkar, Savitribai Phule, and Jyotirao Phule anchor the narrative in India’s social justice lineage. Anirudh’s score pulses with urgency, and the cinematography captures both the intimate and the epic. Final Verdict From Sairat (2016) to Dhadak (2018), Pariyerum Perumal (2018), and now Dhadak 2 (2025), society’s caste wounds persist—and so do filmmakers’ struggles to address them fully. Dhadak 2 has its heart firmly in the right place and boasts compelling performances and moments of genuine power. Yet its muted roar and cautious storytelling keep it from being the unapologetic wake-up call it could have been. Rating: 3/5A heartfelt pulse, but never a thunderous beat.

Ajay Devgn returns as the lovable Jassi in Son of Sardaar 2, but this time the turbaned hero is far from home—stranded in Scotland and tangled in double trouble. What begins as a reunion with old-school desi comedy spirals into a chaotic mix of confused identities, cultural collisions, and half-baked patriotism. Directed by Vijay Kumar Arora, the film follows Jassi as he meets Rabiya (Mrunal Thakur), a Pakistani wedding dancer, and soon finds himself pretending to be both a girl’s father and a soldier in the Indian Army. It’s a premise begging for comic gold—but what we get is a patchy, sometimes awkward script with a strange urge to blend slapstick, romance, and social commentary on the art of dance. Where the original Son of Sardaar thrived on high-octane action, earthy humour, and desi warmth, this sequel trades that charm for awkward romance and India-Pakistan jabs. Unfortunately, the film stumbles more than it soars. Chemistry Misfires & Character Fatigue Devgn and Thakur’s pairing feels more mismatched than refreshing. Their scenes together are devoid of spark, and the age gap—though not visually jarring—drains believability from the romantic subplot. One nearly-intimate scene between them, intended as comic or romantic relief, instead comes off as plain awkward. Meanwhile, Devgn’s performance feels uninspired. As Jassi, he mostly sulks, frowns, and fumbles through scenes with a glazed expression—as if wishing to be somewhere else. His role in the action is minimal, barring a song sequence and a bizarre tank-driving moment involving Neeru Bajwa. Comic Relief Comes to the Rescue It’s the supporting cast that injects much-needed energy. Ravi Kishan steals every scene as Raja, a Pakistan-obsessed gangster-businessman whose comic timing is impeccable. Deepak Dobriyal surprises with depth and nuance as a transgender woman, while Sanjay Mishra adds his trademark UP-Bihar charm as a local thug in Scotland. Vindu Dara Singh and Mukul Dev reprise their roles with nostalgic ease, and their camaraderie with Kishan’s Raja provides some of the film’s most genuine laughs. Patriotism or Parody? The film walks a dicey line when depicting Pakistan. While Rabiya and a few Pakistani characters are shown sympathetically, the script often slides into caricature—recycling old tropes of terrorism, cowardice, and “bomb-dropping” punchlines. A long monologue by Jassi on India’s war victories is more of a jingoistic detour than a clever punchline. Funny to some, perhaps—but certainly exaggerated and tonally out of place. Verdict: A Struggle to Entertain The film’s second half delivers a few more laughs than the first, but getting there is a slog. Comedy is inconsistent, action is almost absent, and the emotional beats are forced. Even the scenic beauty of Scotland fails to leave an impression, and the music is entirely forgettable. In the end, Son of Sardaar 2 is a clean family entertainer on the surface, but beneath the bright colours and broad gags lies a muddled, undercooked film trying too hard to recapture lost magic. It checks all the boxes—patriotism, romance, comedy—but without conviction or coherence. Rating: 2.5 out of 5Some laughs, some nostalgia, but not quite the sardaar we signed up for.

Gowtham Tinnanuri’s Kingdom opens with cinematic promise. Set in 1920, a small tribal community on the Srikakulam coast stands bravely against British imperialists seeking their gold. The visuals are compelling, the action gripping. The film even loops back to this moment for its climax, teasing grandeur and epic stakes. But what starts as a sweeping tale of resistance and legacy quickly devolves into a bloated, unfocused, and emotionally hollow saga. A Tale of Two Timelines, No Cohesion Kingdom stars Vijay Deverakonda, Satyadev, and Bhagyashri Borse in key roles. While the film begins in the past, its primary arc unfolds in the 1990s, following Soori (Deverakonda), a police constable on a mission to track down his long-lost brother Srinu (Satyadev), now a smuggler in Sri Lanka. In what feels like a cinematic stretch, Soori approaches a sketch artist with nothing but a childhood photo of Srinu and gets an adult portrait. Miraculously, this sketch helps identify his brother as a wanted criminal overseas. Soon, Soori is sent on a covert operation to infiltrate a dangerous cartel and bring Srinu back to India. A Complex Backdrop, Oversimplified Set during the Sri Lankan civil war, Kingdom has a rare opportunity to delve into layered political and historical territory. The film briefly references the assassination of Rajiv Gandhi but otherwise reduces the brutal Tamil-Sinhala conflict to a vague setting for slow-motion shootouts and clunky exposition. Fictional island “Divi” becomes the focal point, where Adivasis are caught between militant Tamils and a powerful smuggling syndicate. This could’ve made for compelling drama, but the writing remains shallow. Cultural and historical nuances are ignored. Instead, the conflict serves merely as a flashy backdrop for action sequences. A Plot Full of Holes The story is riddled with logical flaws. Why is Soori, a constable, chosen for a mission involving international smuggling and armed conflict? The film hints that answers may arrive in the sequel, but as a standalone narrative, Kingdom lacks coherence. Important details are glossed over or forgotten entirely—like why the Adivasis initially reject Soori as one of their own, or the inconsistent rule barring Adivasi women from stepping onto the mainland. A gruesome massacre sequence—reminiscent of Game of Thrones’ infamous “Red Wedding”—suddenly gives way to joyful celebration, jarringly shifting tone. Such abrupt emotional pivots rob the film of dramatic impact. Performances: Strength in Isolation Despite a flawed script, the actors do their best. Vijay Deverakonda brings intensity and sincerity to Soori, even as his character is underwritten. Satyadev delivers a grounded performance, though he’s given little material to work with emotionally—there’s barely a moment of connection between the brothers or Soori’s family. The real standout is Venkitesh as Murugan, the menacing antagonist. He commands the screen with charisma and menace, often outshining the protagonists. Bhagyashri Borse, however, is sadly underutilized, with her character given no space to grow or contribute meaningfully. Visuals and Sound: A Saving Grace Technically, Kingdom is a visual treat. Girish Gangadharan’s cinematography captures the coastal terrain and action set pieces with flair. Anirudh’s score is thunderous and elevates many otherwise flat scenes. But strong aesthetics can only go so far. Without emotional depth, clarity of vision, or compelling character arcs, Kingdom ends up feeling hollow. The cliffhanger ending teases a grander universe and a KGF-style showdown, but whether audiences will return for part two is uncertain. Final Verdict Kingdom wants to be epic. It has the ingredients—an ambitious premise, a historical backdrop, and a star-driven cast. But ambition without strong storytelling makes for a frustrating watch. The film forgets that great cinema isn’t just about scale, but about storytelling that resonates—with heart, purpose, and coherence. Rating: 2.5/5Grand visuals, strong villain, but a kingdom without a soul.

Bollywood action icon Sunny Deol has signed on for a high-concept, big-budget action thriller with Farhan Akhtar and Ritesh Sidhwani’s Excel Entertainment, marking his first collaboration with the production house. Known for backing acclaimed films such as Dil Chahta Hai, Zindagi Na Milegi Dobara, and KGF, Excel is set to bring its expertise in large-scale storytelling to Deol’s next adrenaline-fueled venture. According to industry insiders, the yet-to-be-titled project impressed Sunny with its gripping script and expansive scope. “Sunny loves the script and is excited to partner with Farhan Akhtar and Ritesh Sidhwani on the film,” a source told Pinkvilla, noting that both the actor and producers have been in discussions for several months. Filming is slated to begin in December 2025, with Excel Entertainment keen to mount elaborate action set pieces befitting Deol’s trademark intensity. While specific plot details remain under wraps, the collaboration signals Excel’s ambition to diversify into edge-of-the-seat thrillers and Sunny’s intent to continue raising the bar for action cinema in India. Fans of Deol’s hard-hitting screen presence can look forward to another powerhouse performance, this time under the banner of one of Bollywood’s most respected production houses. Further announcements regarding the director, co-stars, and release timeline are expected in the coming weeks.

The wait is almost over for fans of Kollywood Superstar Rajinikanth as the makers of his upcoming pan-India gangster drama Coolie have officially locked the theatrical trailer launch date — August 2. The announcement was made by director Lokesh Kanagaraj in a recent interview, and has now been confirmed by Sun Pictures, who also released a striking new poster featuring the film’s ensemble cast:Rajinikanth, Aamir Khan, Nagarjuna, Upendra, Soubin Shahir, Shruti Haasan, and Sathyaraj. Coolie is gearing up for a massive global release on August 14, positioned as a major Independence Day weekend spectacle across languages. The film’s music is composed by Anirudh Ravichander, who is reportedly preparing a special surprise for Telugu audiences in the lead-up to release. Given the scale, cast, and crew, Coolie is shaping up to be one of the biggest cinematic events of 2025.