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Angrezi Medium: Irrfan Khan, Radika Madan’s drama to release on 13 March instead of Dharma’s Gunjan Saxena: The Kargil Girl

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.

Anil Kapoor and Kunal Kemmu talk about Malang, working with Mohit Suri and playing offbeat characters

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 Bad Lieutenant 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.

Ajay Devgn’s first look from Maidaan sees him as former Indian football coach Syed Abdul Rahim

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.

Street Dancer 3D movie review: More dance, less gyaan would have made this Varun Dhawan, Shraddha Kapoor film better

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.

Street Dancer 3D box office collection: Varun Dhawan, Shraddha Kapoor’s dance drama makes Rs 10.26 cr on first day

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.

Jai Mummy Di movie review: Pyaar Ka Punchnama’s team returns with a not regressive, not progressive, not anything film

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.

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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?

 

What’s in a name? Love Aaj Kal borrows its title from the 2009 Imtiaz Ali film; Is it a sequel, reboot or reimagining?

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The first look of an Imtiaz Ali film is always highly anticipated. In the case of his latest – Love Aaj Kal, more so because there has been a lot of online buzz over the past few weeks about what the film would be called.

The ‘original’ Love Aaj Kal had Saif Ali Khan and Deepika Padukone essay the title roles, while this one has Kartik Aaryan and Sara Ali Khan. So why is everyone calling it a sequel? Maybe it is because our collective media dubbed it Love Aaj Kal 2 in the absence of an official title. For the longest time, I could not wrap my head around a sequel that did not feature the original actors —is a sequel not, after all, supposed to take a story forward? Unless this is one of those ‘saat janmon ka rishta’ thingamajigs, where Saif gets reborn with more hair. Well, who knows?

Now that the makers have settled on the same title as the 2009 film, one can confidently walk into a theatre knowing it is a reboot. Or is it? What if it is a reimagining? Or a remake?

Damn. All this Hollywood terminology is so confusing. Which is why we in Bollywood, use the word sequel to describe any and every film in a franchise. Take Dostana 2, for example. The upcoming film features Kartik Aaryan, Janhvi Kapoor, and Lakshya in the lead roles. Again, unless the characters played by John Abraham, Priyanka Chopra Jonas, and Abhishek Bachchan had kids that have grown up to be 20-somethings in the last dozen years, it seems strange the studio would append a ‘2’ after the original title. But that is what they are calling it. Go figure.

This ambiguity creates an element of suspense Hollywood totally seems to have missed out on. I will be going to watch Dostana 2 knowing it has got something to do with the original, but will not know whether it is a case of new actors in a new story or new actors living in the same Miami apartment. Will they wear the same Manish Malhotra threads? And, more importantly, will they dance to a Tanishk Bagchi remix of ‘Desi Girl?’

As a true-blue believer in all things Bollywood though, I think, it is important to understand what I am dissing on the other side.

Hollywood reserves the word sequel for the continuation of a story. Studios add numbers like 2, 3, 4… to the original title in order to make it clear to people that what they are going to watch begins where they left off the last time. If you think about it, though, this shows an utter lack of imagination, and dumbs things down. Where is the fun in that?

Hollywood also loves a good prequel, where you dial back the story in time, and finish the new story where the old one begins. Sometimes, the prequels can have second and third parts, which are technically still prequels to the originals, but sequels to previously released prequels, as George Lucas (Star Wars) would tell you. And because they are spoilsports, they numbered the films with Episode numbers. A totally lost opportunity if you ask me. It would have been so much fun had they just announced every film saying it is a prequel/sequel, and let the audience figure which is which.

They also have spin-offs, which focus on aspects and characters that did not get much footage in the original story, but got uber-positive vibes from controlled audience tests conducted by their research teams. Take Fantastic Beasts And Where To Find Them. When Harry Potter was done killing Voldemort, one would have thought that is the end of that cash cow. But Warner Bros and author JK Rowling were not ready to give up yet. They took a 12,000-word book, and announced a five-film series around it. See? Capitalism at work. However, they could have spiced things up a little bit more by calling it a sequel, and letting us imagine everything from Harry’s newfound interest in bestiality to the return of Voldemort as a dragon. No?

There are also remakes which essentially tell the same story, but with CGI. And then there are reimaginings, something Disney has built an empire around — take an old story, change one major thing, and you have got yourself a new Cinderella. So, what is a reboot then? This one is actually complicated. Here, the writers can either take an existing story and mess with the continuity, thereby creating a new status quo, or reconfigure the entire story. I am not sure I get it either, which is why I love Bollywood, and how it refuses to get caught up in semantics. Everything is a ‘sequel,’ deal with it. Even when none of the Housefull films have anything to do with each other.

 

Chhapaak, Deepika Padukone, Vikrant Massey’s film, makes Rs 4.77 cr on opening day at domestic box office

Chhapaak was one of the most Deepika Padukone films in recent memory. Based on true events in the life of acid attack survivor Laxmi Agarwal, audiences were eagerly awaiting Deepika’s treatment of such an unconventional subject.

The opening day collection of the film, as stated by trade analysts, was underwhelming in certain sections of the country, but the film did well in urban multiplexes. Chhapaak has made a total of Rs 4.77 crore on its opening day at the box office.

Leading film trade analyst Taran Adarsh has shared the figures, and added the film was unable to perform in tier-2 and tier-3 cities.

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But contrary to belief, the collections have not been affected by the supposed boycott declared after the lead actress extended her support to the students of Jawaharlal Nehru University.

Trade Analyst Atul Mohan informs Firstpost, “Even before the boycott, we were expecting the film to open at Rs 3.50-4.50 crore, as the release was very limited. It is still a limited release. They haven’t gone all out. The film has received well in the multiplexes of Chandigarh, Delhi, and the northern part of the country. The film registered good occupancy in the high-end multiplexes.”

Another trade expert, Vishek Chauhan, adds no political stance could affect the box office numbers, mostly because according to him, film business and politics are unrelated to each other. “I think it all media hype. People don’t watch film depending upon the political ideologies of an actor. Please don’t mix cinema with politics, and that is the worst thing we can do. Deepika is one of the best actresses, and let’s not demean her by saying that her film worked because she went to JNU or vice-versa. The picture will work on its merits. Let’s not mix it as it becomes dangerous. I haven’t come across anyone who said that he’s watching Chhapaak because Deepika visited JNU or not watching it because of Deepika went to JNU,

Street Dancer 3D song Illegal Weapon 2.0 sees Shraddha Kapoor, Varun Dhawan gear up for high-stake dance-off

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After the revamped ‘Muqabla’ and the party number ‘Garmi,’ the makers of Street Dancer 3D have dropped the third song from the lineup, ‘Illegal Weapon 2.0.’ The song will serve as Shraddha Kapoor’s introductory number in the movie, reports Mid-Day.

Rivals Inayat (Shraddha Kapoor) and Sahej (Varun Dhawan) whirl, twirl, and shake a leg in perfectly choreographed and coordinated dance moves. They break-dance and hip-hop across the streets of an urban space, challenging each other to up their game at every beat.

In an interaction with Mid-Day, director Remo D’Souza reveals Shraddha Kapoor and Varun Dhawan belong to different dance groups, and keep competing with each other. In ‘Illegal weapon 2.0‘, the two groups meet for the first time. The director further says the makers were looking for a groovy number for the sequence when producer Bhushan Kumar recommended the 2018 hit. “We realised it could be a perfect song to introduce Shraddha’s character. We have retained the music and hook line, but have changed the lyrics. We have pumped up the groove and added a street mix vibe to the track,” Remo states. ‘Illegal Weapon’ is a Punjabi single sung by Jasmine Sandlas and Garry Sandhu. Ahead of the release of the song, a promo video was also launched.

The first song released by the makers was ‘Muqabla,’ a rehashed version of Prabhu Deva’s iconic number ‘Muqabla Muqabla’ from the 1994 film Humse Hai Muqabla. The song features Prabhu, Varun, and Shraddha locking and popping with ease, as they sway to the classic dance steps from the songs. There are many other interesting formations and rain dance sequences in the rehashed song.

The trailer, released on 18 December, portrays Dhawan as an Indian dancer and Shraddha as a performer from Pakistan. Shakti Mohan, Aparkshakti Khurana, and Nora Fatehi feature in supporting roles.

The film is produced by Bhushan Kumar, Divya Khosla Kumar, Krishan Kumar, and Lizelle D’Souza. Street Dancer 3D is slated to release on 24 January, alongside Kangana Ranaut-starrer sports drama Panga.

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Good Newwz movie review: Kareena Kapoor Khan, Akshay Kumar’s dramedy provides perfect dose of infotainment

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The surge in Hindi films addressing ‘taboo’ subjects, particularly those starring Akshay Kumar and Ayushmann Khurrana, have often toed the fine line between entertainment and preaching. Kumar’s latest film, Raj Mehta’s dramedy Good Newwz is the perfect blend of both, given it comes from a place of sheer conviction and embracing all tropes of meaningful entertainment.

Good Newwz revolves around two couples — the Batras, and well, the Batras. The first pair is from an upbeat Mumbai society, and consists of an entertainment journalist Deepti (Kareena Kapoor Khan) and Varun (Akshay Kumar), a sales executive. The second pair is based in Chandigarh, and consists of homemaker Monika (Kiara Advani) and Honey (Diljit Dosanjh). After several failed attempts at conceiving a child naturally, both couples seek treatment from the same Mumbai-based infertility clinic, owned by Doctor Joshi (Adil Hussain) and his wife (Tisca Chopra).

A mix-up of sperms during the In Vitro Fertilisation (IVF) process results in Honey’s sperm getting implanted in Deepti’s womb and Varun’s in Monika. All this is in the trailer but what follows is an organic progression in the narrative, full of situational comedy, resulting in a sumptuous drama. The switch from comedy to drama in the final half hour of the film slides in very smoothly. The tone changes completely but the inflection never seems jarring or unwarranted.

This only proves the command debutant Raj Mehta has over his craft. Though his film is supported by experienced actors, he makes the most of them by lending them both a free hand at what they do best, and yet retain control over the director’s unifying vision. Writers Jyoti Kapoor, Rishabh Sharma, and Mehta not only know how to build a narrative with the perfect pace and precision but also pen some hilariously witty lines for the characters. They also incorporate a few gags that stem from real life, like Akshay referring to his previous collaboration with Karan Johar’s Dharma Productions, Anurag Singh’s historical war drama Kesari earlier this year.

Kareena Kapoor Khan makes the most of her meaty part by sinking her teeth into it. Having worked with seasoned comedy filmmakers like Priyadarshan and Rajkumar Hirani, one knows she has impeccable comic timing. But in this film, besides some sarcastic retorts to Akshay’s character, she lets the boys do most of the comedy. She shines the most either in reacting or the dramatic scenes. A special mention to her for pulling off the scene she had said she did the film for — towards the end of the film, she delivers a monologue to Varun, critisising him for being a non-supportive husband while she has to bear the brunt of pregnancy alone.

Akshay, who probably has the best character graph in the film, is great at comedy, as he has proved time and again over the years. Here, the humour is not close to the Housefull franchise but more on the lines of his character in Jagan Shakti’s space drama Mission Mangal earlier this year. He delivers some skillfully written lines with his trademark straight face. The narrative also allows him to display his range, as he is seen laughing his guts out and crying his eyes out in two different yet key scenes of the film. And needless to say, he does both with immense conviction.

Diljit’s sense of humour is completely tapped into, and his character is the closest to his onscreen persona. But as he has proved with Shaad Ali’s sports biopic Soorma last year, he also possesses a versatality that he can put out if given a chance. In Good Newwz, while he is the one providing most of the cracks, he does not miss a beat when he leads the narrative to a more dramatic tone. Kiara gets the nuances of her character’s Punjabi accent right, and fares well in her role of a ditsy wife. But she is given only a couple of fleeting shots to show her potential. Her character remains in shadows most of the time, given the presence of three scene-stealing co-actors.

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The music does act as a hindrance in some sequences, but Good Newwz does not do a half bad job of embracing the mainstream Hindi cinema abandon of breaking into a song out of nowhere, whether it is Kareena and Akshay in ‘Laal Ghagra’ on the occasion of Lohri or Kiara and Diljit during a Zumba session. The best one, Hardy Sandhu and Badshah’s ‘Chandigarh Mein,’ is saved for the end credits, and is undoubtedly a smashing sequence. The background score is commendably non-intrusive and only complements the narrative, particularly the bits of Kiara and Diljit.

The cinematography (by Vishnu Rao) and the editing boast of flashes of brilliance yet are mostly serviceable to the central narrative. Natasha Poonawala’s production design and Priyanka Mundada and Aki Narula’s costume design splash colours on the screen in every frame of the film. They breathe more life into an already lively narrative. The costume design particularly stands out as it is not only tastefully done, but also bring out the subtle geographical differences between the two Batra couples.

To say Good Newwz is a smart sociopolitical commentary on class would be a slight exaggeration. But it truly is an accurate, evolving into ideal, representation of our social zeitgeist.