Category Archives: Movies Review

Tiger Shroff’s Baaghi 3 becomes highest opener of this year; here are records the action drama missed breaking

Tiger Shroff’s star power has driven Baaghi 3 to a promising start at the box office, despite odds stacked up against its business. Moreover, it has also been panned by critics.

The film made Rs 17.50 crore at the ticketing counters, becoming the biggest opener of 2020 yet. It has bested Ajay Devgn and Saif Ali Khan-starrer blockbuster Tanhaji: The Unsung Warrior. Imtiaz Ali’s rejigged Love Aaj Kal has nabbed the position of the third-highest opening film with Rs 12.40 crore, followed by Street Dancer 3D (Rs 10.26 crore) and Shubh Mangal Zyada Saavdhan (Rs 9.55 crore).

Tiger Shroff’s third-highest opening movie Baaghi 3 is now Shroff’s third-highest opening film ever, behind Yash Raj Films’ War (Rs 53.35 crore) and the franchise predecessor Baaghi 2 (Rs 25.10 crore). Since War also starred another mainstream actor, Hrithik Roshan, Baaghi 3 is Shroff’s second-highest solo film. The collections of his other films are Student of The Year 2 (Rs 12.06 crore), A Flying Jatt (Rs 7.10 crore), Munna Michael (Rs 6.65 crore), and Heropanti (Rs 6.63 crore). Here are the figures

The Ahmed Khan-directorial, starring Shraddha Kapoor as the female lead, also became the second-highest opener in the franchise, followed by Baaghi 2 (Rs 25.10 crore).

Potential roadblocks in the box office results

Trade analysts state the high-octane action drama fared well regardless of being released during the board examination month, the coronavirus scare, and the pre-Holi lull period. They added the film recorded higher footfalls at the single screens. However, the film was a decent performer in the multiplexes as well.

The revenge drama also features Riteish Deshmukh, Jackie Shroff, Vijay Varma, Jaideep Ahlawat, and Ankita Lokhande in pivotal roles.

Thappad box office collection: Taapsee Pannu starrer collects Rs 3 crores on first day

The Taapsee Pannu-starrer Thappad, directed by Anubhav Sinha, saw a low-key opening on Friday, its first day of release, in the domestic market despite excellent reviews and positive word of mouth. The film collected 3.07 crores on Day 1.

The makers of Thappad had systematically worked on creating a buzz about the socially relevant and well-crafted film over the past week or so, by screening it for select audiences in Delhi and Mumbai.

The viewers have loved how such a critical topic has gotten light and has been talked about in such a tenacious way. Weekend collections expected to be big due to strong word of mouth and positive media reviews.

Thappad marks the hattrick of hits given by Anubhav Sinha after Mulk and Article 15. The movie also marks the reunion of Taapsee Pannu and Anubahv after Mulk. The on-screen duo has surely created the right noise with such a gut-wrenching storyline.

Thappad is directed by Anubhav Sinha and stars Taapsee Pannu in the lead role. The movie hit the screens on 28th February 2020.

Thappad box office collection: Anubhav Sinha, Taapsee Pannu’s film makes Rs 3.07 cr on opening day

Anubhav Sinha’s social drama Thappad had a slow start at the box office on Friday but the business gained momentum in the latter part of the day. The film has raked in Rs 3.07 crore on its opening day.

According to trade analysts, the Taapsee Pannu-starrer witnessed a healthy footfall in the metros, especially in Delhi. The movie is expected to multiply its business at least two-fold during the opening weekend.

In an earlier interview with Firstpost, Taapsee Pannu had spoken about what it means for her to be a star:

“By definition, a ‘star’ means someone who can ensure a certain consistent opening at the box office. When I meet the media, they make me feel like a star. But it’s their job to observe cinema. My first day figures grounds me, and prove that in the mind of an audience member, I’m still not a star. These people have a lot of work to do. The day they take time out for my film, I think that is the day I’ll call myself a star. I’m waiting desperately for that day.”

Thappad seems to investigate the nitty-gritties of systemic oppression in even a “seemingly normal” marriage. Pannu essays the role of an educated, upper-middle-class woman who is forced to evaluate her relationship after being slapped by her husband, played by Pavail Gulati. Thappad chronicles her struggle as she files for a divorce petition, and ventures on in her pursuit of justice.

The film also stars Ratna Pathak Shah, Manav Kaul, Dia Mirza, Geetika Vidya Ohlyan, Kumud Mishra, Tanvi Azmi, and Ram Kapoor in pivotal roles.

 

 

Bhoot — Part One: The Haunted Ship’s box office collection stands at Rs 5.10 cr on opening day

Vicky Kaushal-starrer Bhoot — Part One: The Haunted Ship had a promising opening day at the box office. The film, which released alongside Ayushmann Khurrana and Jitendra Kumar’s Shubh Mangal Zyada Saavdhan on 21 February, raked in Rs 5.10 crore.

Trade analysts say Bhoot’s performance benefited from the Mahashivratri holiday. However, they add that the film needs to display an increase in earnings during its weekend run, to accumulate a healthy total.

Bhoot is Vicky Kaushal’s third-highest opening film (excluding Sanju, where he played a supporting part), after Uri: The Surgical Strike (2019) and Raazi (2018).

The film is directed by Bhanu Pratap Singh and also stars Bhumi Pednekar and Ashutosh Rana in key roles. It has received mixed reviews from critics.

Bhoot – Part One: The Haunted Ship, is produced by Karan Johar, Hiroo Johar, Shashank Khaitan and Apoorva Mehta. Previously, Khaitan had said that their main intention with this film was to develop it into a series (which might also include horror comedies).

The production house also approached Ram Gopal Varma to buy the rights of the title ‘Bhoot'; he made the 2003 horror film of the same name starring Urmila Matondkar. Johar thanked Varma in a statement, mentioning that with Bhoot – Part One: The Haunted Ship, the makers at Dharma would “aspire to make sure the title is in the right hands of horror.

Shubh Mangal Zyada Saavdhan movie review: Ayushmann Khurrana-starrer crosses a new frontier by Bollywood

From the pre-2000 decades when LGBT+ persons were almost always (almost, but not always) written purely as objects of either derision or comedy by Bollywood scriptwriters, to this week’s Shubh Mangal Zyada Saavdhan (SMZS); from an earlier era when comparatively sensitive Hindi filmmakers packed their works with subliminal messaging about same-sex love, to the post-2000 era’s intermittent open declarations; from the days when the homosexual relationships in My Brother Nikhil (2005) and I Am (2011) were assumed to be of niche interest by producers, distributors and exhibitors, to the present day when glamorous mainstream stars have been cast as same-sex lovers in films bearing all the trappings of mainstream commercial Bollywood such as Ek Ladki Ko Dekha Toh Aisa Laga (2019) and SMZS, it has been a long long time coming.

Bollywood in 2020 is far from being a jannat, orthodox masses still seem to need comedy as a package for a sensitive reality, and at a couple of places, Shubh Mangal Zyada Saavdhan (Be Extra Wary of Marriage) does make apologetic noises to traditionalists. Still, from a time when audiences were conditioned to assume that songs like ‘Yeh dosti hum nahin todenge’ (We will not break this friendship) were about platonic male buddies, to today when SMZS is questioning those assumptions, Bollywood has come a long way, baby.

Ayushmann Khurrana stars in writer-director Hitesh Kewalya’s Shubh Mangal Zyada Saavdhan as Kartik, a young man living in Delhi and in a committed relationship with Aman (Jitendra Kumar, listed for some reason as Jeetu in the closing credits here). The two are not out to their families. When they travel to Aman’s hometown, Allahabad, for a wedding, relatives go berserk on accidentally discovering that they are a couple in love. SMZS is devoted to how Kartik and Aman come to terms with this rejection and how the family comes to terms with their truth.

Kewalya’s film is an intelligently handled affair. It is hilarious, but it never mocks the two gay men at the centre of the story. Its laughter is reserved entirely for the prejudice they encounter and the straitjacketed existence of those around them who are determined to preserve their notion of “normal”, even if that “normal” has sucked the joy out of their own lives. SMZS’s sense of humour does occasionally slip up for other reasons (example: that really flat joke about Neil Nitin Mukesh), but at no point does its comedy turn homophobic.

With a word here and a touch there, through long conversations and fleeting references, Kewalya invites us into his questioning mind and shows a deeper understanding of human relations, gender, Hindu mythology and popular culture than most mainstream Hindi filmmakers. In 2014, when I was working on a feature about the history of LGBT+ portrayals in Bollywood, Ruth Vanita, co-editor with Salim Kidwai of the book Same-Sex Love In India, had told me that when she showed Hindi films featuring the old-style intense yaari-dosti between male leads to her students at the University of Montana, “all of them commented on the fact that the men are singing romantic songs to each other like ‘Diye jalte hai’ (from Namak Haram) and the songs from Dosti. If you played those songs without knowing that a man is singing to a man, it sounds like a man is singing to a woman…” (For more on that, click here.)

Like Vanita, Kewalya repeatedly asks us to step outside ourselves and consider the possibility of messaging, including coded messaging, featured in art works and mythological motifs we have long loved but seen with different eyes in the past.

Aman’s relatives, played by the phenomenal Neena Gupta, Gajraj Rao, Sunita Rajwar, Manu Rishi Chadha and Maanvi Gagroo, perfectly capture various shades of bias and acceptance to be found in families that are weighed down by social conditioning and ignorance, not hate.

In the midst of this carefully chosen cast, Bhumi Pednekar appears incongruous, not for any fault of hers but because of what her brief appearance in the narrative signifies. The lovely Ms Pednekar was the heroine of the 2017 Bollywood hit Shubh Mangal Saavdhan (with dialogues and screenplay by Kewalya) in which she had a solid role alongside Khurrana. Shubh Mangal Zyada Saavdhan has no plot connection to the previous film, the title merely cashes in on that one’s recall value. It is telling then that the producers felt comfortable revisiting the name while dispensing with the leading lady, instead of establishing a new brand. As it happens, this is customary in the world of Bollywood franchises and sequels. Obviously Pednekar’s cameo here is a bow to the success of Shubh Mangal Saavdhan, but her role is written almost like a spare tyre lying unused, it is embarrassingly insignificant (a cameo need not be) and forgettable, and it is an unfortunate reminder of the continuing dispensability of women stars in this male-star-obsessed industry.

Repeat: Bollywood is far from being a jannat of progressiveness. It is up to viewers to decide whether to see the glass as half full or half empty. There is a third option: we could celebrate forward movement and yet draw attention to missteps and steps yet to be taken.

SMZS falters during a scene in which Aman’s mother laments her husband’s unwillingness to fight for her son, but simultaneously criticises her son for — so she says — expecting his family to evolve overnight. This monologue is designed as an expression of empathy, so it has to be placed on the record that marginalised social groups do not owe it to dominant groups to break them in gently. Individuals may CHOOSE to do so for strategic reasons or out of love and affection, but no one has a right to demand it.

Whether this scene is a mark of the writer’s own sub-conscious conservatism or a safety net spread out with commercial compulsions in mind is hard to tell. It is troubling though, as is the odd emphasis on how homosexual relations ought to be private during a TV news announcement about the Supreme Court’s ruling on Section 377 of the Indian Penal Code that earlier criminalised same-sex relations. This moment in the film would perhaps pacify conservatives who seem to have this bizarre expectation that anyone who is not heterosexual wants nothing more than to have sex in public. Perhaps that is why it is there.

Hopefully these aberrations will find mention among the many conversations SMZS will spark off. That it will spark off conversations is a given. This is, after all, no ordinary film raising ordinary questions, as is evident early on when two characters dwell on how a father’s sole contribution to creating a child is his sperm. One of them adds that a child spends an entire lifetime repaying the debt of that single sperm. So you see, SMZS’s courage lies not just in its condemnation of homophobia, but also in its questioning of the very foundation of the Indian patriarchal family structure which rests on the belief that children owe parents a debt of gratitude for having made them us.

Love Aaj Kal box office collection: Sara Ali Khan, Kartik Aaryan’s romantic drama makes Rs 20.41 cr in two days

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.

Malang box office collection: Aditya Roy Kapur, Disha Patani’s thriller makes Rs 47.67 cr by second weekend

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.

Jawaani Jaaneman box office collection: Saif Ali Khan’s coming-of-age drama makes Rs 3.24 cr on opening day

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.

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.

Panga box office collection: Kangana Ranaut film makes Rs 2.70 cr on opening day

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.”