Kartik Aaryan and Sara Ali Khan’s Love Aaj Kal has now made Rs 20.41 crore at the domestic box office. The romantic drama, a Valentine’s Day release, opened with a decent Rs 12.40 crore, but witnessed a fall on Day 2 (Rs 8.01 crore).
Trade analysts note that the drop was witnessed in multiplexes and metropolitans, which is the film’s target audience. Love Aaj Kal has also performed dismally in tier-2 cities and other regions.
Business Today writes that 2009’s Love Aaj Kal, which starred Khan’s father Saif in the lead alongside Deepika Padukone had opened to Rs 8.02 crore. The film went on to make a total of Rs 66.56 crore. The Imitiaz Ali directorial is currently competing with Aditya Roy Kapur-Disha Patani-starrer Malang.
Love Aaj Kal has also become Aaryan’s highest opener now, followed by the comedies from last year, Pati Patni Aur Woh (Rs 9.10 crore) and Luka Chuppi (Rs 8.01 crore).
Much like the 2009 movie of the same name, this film also follows two parallel narratives “separated by decades” but find their common ground in romance. The trailer follows Aaryan as a young school boy and his crush played by newcomer Arushi Sharma. The modern day love story focuses on Khan’s Zoe and Aaryan’s Veer, who have a tumultuous yet passionate relationship. The film also stars Imtiaz’s Highway actor Randeep Hooda.
The makers of Angrezi Medium and Gunjan Saxena: The Kargil Girl announced a change in their projects’ release dates on 17 February (Monday). According to the announcement, Irrfan Khan and Radika Madan’s drama will now be out on 13 March instead of 20 March.
Karan Johar, the producer of Gunjan Saxena said the drama will hit cinemas on 24 April, a date which was originally reserved for the horror comedy, Roohi Afzana.
Angrezi Medium, a slice-of-life comedy features Khan as a doting father and owner of a sweet shop, who bends over backwards to get his young daughter a foreign education. The trailer, which was unveiled on 13 February, shows Khan in a hilarious exchange with Tillotama Shome’s admission officer, where he realises that the admission will cost upto a crore.
Besides Khan and Madan, Kareena Kapoor Khan, Dimple Kapadia, Pankaj Tripathi, Deepak Dobriyal, Ranvir Shorey, and Kiku Sharda are also part of the cast. Angrezi Medium is directed by Homi Adajania, who has earlier helmed films like Being Cyrus, Cocktail, and Finding Fanny.
Meanwhile, Gunjan Saxena is based on the story of Flight Lieutenant Gunjan Saxena. The film will be a tribute to one of the first women Indian Air Force pilots who went to war. Tripathi will portray Kapoor’s onscreen father and Neena Gupta will play her mother. Angad Bedi will take on the role of the protagonist’s brother. Rajat Barmecha, Vijay Varma, Manu Rishi, and Harsh Chhaya will portray pivotal characters as well.
Mohit Suri’s suspense thriller Malang is slowly and steadily inching towards the Rs 50 crore milestone. Starring Aditya Roy Kapur, Disha Patani, Anil Kapoor and Kunal Kemmu in pivotal roles, the film has earned Rs 47.67 crore so far.
In its second week of theatrical release, trade analysts mention that Malang has made Rs 2.25 crore on Friday, Rs 2.52 crore on Saturday, with a added boast of Rs 3.25 crore on Sunday. Trade experts also claim that the film may cross Rs. 50 crore mark during the week and might slow down after the new releases of Shubh Mangal Zyada Saavdhan and Bhoot: The Haunted Ship this Friday.
However, trade analysts also note that the underwhelming performance of Kartik Aaryan, Sara Ali Khan’s fresh release Love Aaj Kal have benefitted Malang’s box office run.
Patani in an interview to Firstpost opened up on her prep for the film and said, “Aditya (Roy Kapur, her co-star) and I shot underwater for 12 hours, from 6 pm to 6 am, in the pitch dark. We also had to hold our breath at times. Swimming in a long dress was difficult, all that looks good in shots. The activities were very different and challenging because we had to learn everything in just a day or two, whereas, normally people take years of experience to learn underwater sports. But overall it was a lot of fun for me performing all those stunts because I really like sports.”
Malang has become Kapur’s highest-grossing film that features the actor in a solo lead over the opening weekend while Aashiqui 2 comes a close second with a collection of Rs 20.50 crore.
Kapoor will be next seen playing the role of an ‘eccentric and an angry cop frustrated with the system’ in Mohit Suri’s directorial, Malang (releases on 7 February). This isn’t the first time he has played a cop on screen. Earlier, he wore the khaki uniform in films like Ram Lakhan and Race. “I was worried how will I do it. I have played similar characters in my past films but not so dark that people hate you. My character has a lot of angst and violence inside him. He is angry towards the department, towards the system, he is also angry with his life. He wants to inflict pain on himself. He takes drugs. He goes crazy. But I wanted my character to be fun because after all it is for a commercial movie and people want to be entertained. So we played a lot with the look. The red glasses and tattoo was Mohit’s idea and we let the natural grey shine. He is 50 plus and he should look like one,” said Kapoor.
Kapoor’s prep has been exhaustive, as usual. He says he invests a lot of time on working on his character, and till the time he doesn’t get a grip on it, he is restless, cranky and irritable. “Also, here I was working with a team of young people – Mohit, Aditya (Roy Kapur) and Disha (Patani). You do get tense with young people around you. Their body is great. My motivation always is how do I add value to my character as well as the film and make the director happy so that he casts me again (laughs). Besides doing workshops and research, I watched films that were close to this film and my character. My son suggested that I watch BadLieutenant because it has a cop with slightly dark shades. Then, I also spoke to some cops and encounter specialists here in Mumbai. I prepped and practiced a lot at home and then called Mohit to tell him how I want to make the character little humorous and bring in a bit of madness to it without looking fake and unreal,” adds Kapoor, who will be next seen in Karan Johar helmed Takht. The film will mark his first appearance in a period drama.
Makers of Maidaan have unveiled Ajay Devgn’s first look as a football coach in the sports drama set for a November release. The actor will essay the role of football coach Syed Abdul Rahim in the film who coached India to victory at the Asian Games in 1951 and in 1962. He also served as the manager of the Indian football team from 1950 till 1963.
Devgn shared his first look poster on social media, adding that the narrative of Maidaan charts the “golden years of football.
The film is being directed by Amit Ravindernath Sharma of Badhaai Ho! fame. National Award-winning actor Priyamani stars as the female lead opposite Devgn.
Keerthy Suresh, who was earlier supposed to star alongside Ajay, was replaced by Priyamani as the makers felt that she looked “too young” for the part.
“Keerthy shot for the film for a day. After the shoot the makers and Keerthy both felt that she looked too young as she had lost a lot of weight since being signed for the film to authentically portray the role of a mother as has been written in the script,” a statement from the makers read.
Keerthy and the producers then decided to part ways so as to stay true and authentic to the film’s story.
Priyamani most recently featured alongside Manoj Bajpayee in Amazon original The Family Man. She will next step into the shoes of Sasikala in the J Jayalalithaa biopic Thalaivi. Meanwhile, Ajay Devgn’s latest release Tanhaji: The Unsung Warrior, has been on a money-minting spree. Currently in its fourth week of release, the Om Raut directorial has made a total of Rs 228.96 crore.
Maidaan is produced by Zee Studios, Boney Kapoor, Akash Chawla and Arunava Joy Sengupta. Saiwyn Quadros and Ritesh Shah have been credited for screenplay and dialogues, respectively.
The film is scheduled to be released on 27 November.
Jawaani Jaaneman has had a satisfactory opening day at the box office. The film, starring Saif Ali Khan, Tabu, and Alaya, F made Rs 3.24 crore on the first day of its box office run.
Trade analysts have stated the film performed better many of Saif ‘s earlier solo movies. In fact, the multiplexes saw a spike in footfalls towards the evening.
However, it needs to pick its pace up during the weekend to secure a healthy weekend collection.
Saif’s other film this month, Tanhaji: The Unsung Warrior, featuring Ajay Devgn in the lead, has been having a dream run at the ticketing counters. The film, as per latest reports, has Rs 240.64 crore currently in its kitty.
Jawani Janeman is directed by Nitin Kakkar, who had previously directed Filmistaan and Mitron. The film went on floors in London on 18 June, and features Saif as the middle-aged bloke Jazz, who shirks at the mention of responsibility. His life takes a dramatic turn when Alaya’s character Tia finds him in an alley, and tells him there is a possibility he is her father. Soon, Tabu’s character also finds her way into Saif’s house, and it comes to the fore Tabu is Tia’s mother.
Speaking to Firstpost about his expectations out of the commerce of this film, Kakkar said, “I have actually not given importance to box office till now. Maybe I should because that might change things in my filmmaking (laughs). I should make films that people want to watch.”
Saif has co-produced the film under his banner Black Knight Films, along with Jackky and Vasu Bhagnani’s Pooja Entertainment and Northern Lights Films.
Two underdog rival dance teams, South Asian in origin but born and brought up in London, relentlessly fight against each other to be declared the ultimate street dancing ensemble, only to realise their real rivals are the Britishers (Bollywood’s perennial antagonist).
And so, on the Republic Day weekend, here’s a film that pits Indians and Pakistanis against each other, only to ultimately make them realise that their strength lies in unity, against white supremacy. (No brownie points for guessing who wins.)
A keen observer could gather all this from Street Dancer 3D trailer. There’s no real need to watch this play out in a painfully formulaic manner on the big screen. But then you are pacified by seeing Prabhudeva do a Muqabala 2.0. Total paisa vasool, as they say. And even though the rest of this review may end up being snarky, the dancers and their hard work deserve a special mention. These kind of films are not easy to make.
Street Dancer 3D couldn’t be more predictable with its plot and messaging (this would be a good time to remind everyone that the director Remo D’Souza’s last film was Race 3); but in these politically turbulent times, it’s heartening to see a film that puts peace and harmony above xenophobia. But sadly, Street Dancer 3D has nothing new to offer — even the choreography and the dance sequences seem familiar if you’ve seen Indian reality shows. It’s a breezy film that goes by rather quickly, but don’t expect any nuance or depth in Street Dancer 3D.
The film follows the same track as its predecessors, ABCD and ABCD 2 — however this time the cause at the heart of the film is illegal immigrants in the UK, and rehabilitating them. Sahej (Varun Dhawan) runs a dance centre where he and his fellows dancer friends compete with the rival Pakistani dance troupe, fronted by Inayat (Shraddha Kapoor). Some familiar faces can be found in these groups, including Salman Yusuff Khan, Dharmesh Yelande and Puneet Pathak among others, whose claim to fame have been Indian dance reality shows.
Prabhudeva or Anna (sigh) owns a cafe where these guys kill time (because nobody really has a job in these films okay?), and it is his brainchild to unite these two teams and fight off the reigning dance champions, The Royals (brute Britishers who won’t smile even if someone paid them). The money they win will help illegal immigrants in their area get back to their hometowns in India, Pakistan, Bangladesh and Sri Lanka.
There’s also an extremely sanitised track involving four Punjabi dholwaalas, led by Aparshakti Khurranna, who enter London illegally with the help of Sahej, and they become the moral centre of the film. Street Dancer 3D has its heart in the right place, one only wishes the music and the choreography had something new to offer. The 3D and some semi-cool visual effects only slightly distract you from a wafer-thin plot that is constantly on the verge of breaking.
The last two ABCD films boasted of decent music and great dance sequences (‘Bezubaan’ and ‘Ga Ga Ga Ganpati’ have a combined total of 500 million views on YouTube), but the same can’t be said about Street Dancer 3D. That said, the real tragedy is that the insanely talented Nora Fatehi gets the short end of the stick, with a forgettable role and having to share screen space dancing next to Varun Dhawan, who always manages to steal the spotlight.
Varun Dhawan and Shraddha Kapoor’s Street Dancer 3D performed well on the first day of its release. The movie, directed by choreographer-turned-director Remo D’Souza, has earned Rs 10.26 crore. It released alongside Kangana Ranaut’s film Panga, which has earned Rs 2.70 crore at the box office.
Trade analysts have said that film’s business has been affected in Mumbai because of Tanhaji: The Unsung Warrior’s dominance at the ticketing counters. The period drama, featuring Ajay Devgn, Saif Ali Khan and Kajol in the lead, released on 10 January along with Deepika Padukone’s Chhapaak and has since been trending at the box office. Tanhaji has now surpassed the Rs 200-crore mark.
Street Dancer 3D portrays Dhawan as an Indian dancer, and Shraddha Kapoor as a performer from Pakistan. Shakti Mohan, Aparkshakti Khurana, and Nora feature in supporting roles. Mohan will make her Bollywood debut with the film.
While Street Dancer 3D has been dubbed “India’s biggest dance film,” director Remo D’Souza had clarified the movie is unrelated to his other directorial, the ABCD franchise. He said to Mid-Day, “This is completely different from the earlier franchise. Although we are exploring different forms of dance, including jazz and contemporary, when these dance forms are incorporated on the street, they become completely different.”
The film is produced by Bhushan Kumar, Divya Khosla Kumar, Krishan Kumar, and Lizelle D’Souza.
Kangana Ranaut’s latest release Panga has had a slow opening day at the box office. The film, which released alongside Varun Dhawan and Shraddha Kapoor-starrer Street Dancer 3D, made Rs 2.70 crore on its opening day.
According to trade analysts, the film picked up pace during the latter half of Friday. However, the film has not performed well in Tier 2 and Tier 3 cities. It’s commerce is expected to improve during the weekends because of positive word-of-mouth.
Panga revolves around a retired Kabbadi player, essayed by Ranaut, who is hoping to make a comeback in the game. Directed by Ashwiny Iyer Tiwary, also features Richa Chadha, Neena Gupta, Jassie Gill, and Pankaj Tripathi in key roles.
Speaking about the film to Firstpost, Ashwiny said in an interview, “Panga is not a sports drama in its purest form. It is a human story and just like the characters in my previous films they are all real and relatable people. It isn’t a biopic or based on any real person. It’s a very universal idea. It was very important for me to tell this story in the era of co-parenting and supporting each other. Today, we have both, husband and wife distributing work. It’s about co-existing and helping each other. There are hundreds and thousands of ‘Prashants’ and ‘Jayas’ (characters played by Jassi Gill and Kangana) in the country. It is a universal idea.”
If you are a fan of director Luv Ranjan’s brand of visceral misogyny in Pyaar Ka Punchnama 1 and 2 and Sonu Ke Titu Ki Sweety, and that is what you are hoping to get in Jai Mummy Di, then you will be disappointed. This new film, despite being co-produced by Ranjan, displays a surprising lack of animosity towards women.
If you saw the trailer of Jai Mummy Di, were intrigued by the hint of a long-buried lesbian romance and were hoping to see a film on this still taboo subject, then too you will be disappointed.
If the pace and sense of humour you spotted in the trailer left you expecting a couple of hours of light-hearted fun, again, disappointment awaits you.
That is the thing about director Navjot Gulati’s Jai Mummy Di. It is not regressive, not progressive, not anything.
Jai Mummy Di is the story of Pinky Bhalla (Poonam Dhillon) and Laali Khanna (Supriya Pathak Kapoor) who have been sworn enemies for decades. They are neighbours in a north Delhi locality and their mutual antagonism is so strong, that their children — Saanjh Bhalla (Sonnalli Seygall) and Puneet Khanna (Sunny Singh) — dare not reveal to the families that they have been in love since school. When the youngsters realise they cannot live without each other, they set out to find the root cause of the mothers’ hatred which, they are told, dates back to their college days. Back then, their common friend reveals, the two were so thick that they were even rumoured to be girlfriends.
The first half of Jai Mummy Di is certainly mildly funny, but the comedy and the film as a whole fizzle out as it gradually becomes clear that Gulati does not know where to take it. This was also the problem with that earlier film he wrote, 2017’s Running Shaadi starring Taapsee Pannu and Amit Sadh — there was the seed of a good idea there, but it got lost on a road to nowhere.
Once Jai Mummy Di starts going round and round in circles, it becomes limp and purposeless. Dialogues are left hanging, extra seconds hang loose and it begins to feel like an amateur stage production where the actors don’t understand poor timing.
Veterans Pathak Kapoor and Dhillon get to shout and grimace a lot, but for a film that is supposedly centred around their characters, Jai Mummy Di has precious little about them and gives them hardly any screen time in the second half. Sunny Singh and Sonnalli Seygall, both of whom are recognisable from Ranjan’s most famous films, look dapper and deliver competent even if not sparkling performances. Singh needs to work on his dialogue delivery though. In several places in the film I found myself straining my ears to figure out what he had just said because of his tendency to swallow words or shoot them out too fast.
Possibly because the Pyaar Ka Punchnamas gained notoriety for their misogyny, this screenplay tries to compensate with occasional moments of overt feminism. Saanjh demands to know why a woman must follow her husband wherever he goes after marriage, and Puneet does not disagree. When they hear of the possibility that their mothers were once romantically involved with each other, they respond with a complete lack of judgement. But these instances of pointed liberalism add up to nothing when actor Alok Nath surfaces intermittently in the narrative as a hanger on, and it appears that although the man has no particular role to play in this film, he has been placed there as an act of defiance against those who asked why he was cast in Ranjan’s last production De De Pyaar De despite the allegations of rape and harassment that were made against him during the Me Too movement in 2018, allegations he responded to with the most bizarre, apathetic non-denial.
His presence is a distracting irritant. What really kills this film though is the supposed big reveal in the end about Laali and Pinky’s intense enmity. It is so poorly conceived and so so ordinary, that you have to wonder why this plain film was ever made. Seriously, why?