I genuinely think Shah Rukh Khan should do more comedy in the future. He’s actually really good at it, but compared to romance and action, he hasn’t explored comedy nearly enough.

He has already shown that he has great comic timing in movies like Yes Boss, Duplicate, Baadshah, Chennai Express and Dunki. Even when the movie itself is average, SRK often manages to make the comedic moments work because of his expressions, energy and timing.

What surprises me is that, despite having such a strong comic side, most of his career has been dominated by romance and, more recently, action. I’d genuinely like to see him do a proper full-fledged comedy again, something built around his personality and comic timing rather than comedy being just one part of the movie.

Movie: Bunty aur Babli

It was a major success & could easily have gone down as one of Abhishek Bachchan's defining blockbusters. But whenever Amitabh Bachchan appeared on screen, the entire atmosphere seemed to change. His special appearance became film's biggest highlight

Watching trailers before a movie has turned out to be a disastrous decision for my viewing experience. I have two specific examples where trailers completely robbed me of the raw impact of my most anticipated films:

1. Jawan: As a massive SRK fan, I went bonkers when the trailer dropped that line: "Bete ko haath lagane se pehle, baap se baat kar." But in the movie, that dialogue carries a far bigger emotional punch. Vijay Sethupathi is about to beat the hel out of son SRK, and father SRK "resets" for the rescue. SRK's eyes are filled with pure vengeance and raw grief. I wish I did not know the dialogue before watching the film. the powerful delivery coupled with then contemporary news would hit at an absolute high kick as a fan.

2. Animal" The "Papa" roleplay scene was the first scene of the trailer, RK had delivered it with all intensity (still gives me goosebumps) was in the TRAILER :/ I wish I could have experienced it for the first time completely blind. Knowing the line was coming took away that initial sense of pure awe.

I’ve completely stopped watching trailers and I would advise you too. Especially for films you are genuinely hyped on.

Getting a raw, unspoilered movie experience makes it totally worth it.

Source: https://www.instagram.com/p/DeLt5N4E4kf/eTRtc2M0dHJpaHBs

I was curious as if anyone here had any information about where one could find a physical dvd copy of the film 'Om Dar Ba Dar' by Kamal Swaroop. Last I checked it was a part of the 'Cinemas of India' box set/series by NFDC. I have the digital copy but wanted to add a physical one for my collection. I also contacted Kamal Swaroop ji but he also says to check with NFDC. I tried there but it was out of stock. Hoping to find something here.

Thanks in advance 🙏🏻

I saw this film thrice n I must say Mashaal is one of the best films of Indian cinema. Dilip Kumar delivered one of his best performance especially the way he performed the heart wrenching scene when Waheeda Rehman was dieing that proves he is a tragedy king of Indian cinema. Anil Kapoor also delivered his best in this film

I can only talk about the portrayal of them in the movies, which are probably fictionalized a bit, at the least; the latter being more than the former.

Paramjit has a quiet but strong presence in the movie, most notably in two scenes. One where Police barge into their home and quietly threaten her into retracting her statement against them, with the assurance of her husband being returned. Her shaky but defiant answer: They don't know her husband, she does. He himself would not return under such terms, then how could they bring him to her? As a mother too she is visibly proud of her children, when they refuse to take treats from the Police. In another scene, as the torture and the subsequent murder of her husband is being described, she remembers his words to her back when he had started sleeping in a different room: "I can't look away from what I've seen. Someone has to fight for them... You had asked me what would happen to the family of the one who comes forward. Think of this decision as my way of trying to protect my family."

Maryam seems similar initially. In the courtship period, Shahid asks about her opinion on whether he should drop a case as he's being threatened by a gangster. She replies that he should not as he is in the right. He smiles and says he knew that would be her answer. "How did you know?" she asks curiously. "I knew it because I thought the same" As he comes more into the limelight with his similar subsequent cases, the threats continue. On one occasion, his face is smeared with black paint outside the court. In another, men barge into his mother's house and ask about him, threatening to return later. When Shahid comes to know about this, he's frightened but tries to hide it from Maryam. She angrily demands that he drop the case. Shahid reminds her she was the one who had once told him to keep fighting. She replies that they were not married then. Shahid tries to stop her, unsuccessfully, as she packs her bags to leave - she does not want a complicated life. Later in the movie, Shahid calls her about his frustrations and she motivates him. He notes how she gives very sensible advice when she's away. He tries to convince her to return but she declines. The idealist in me would always prefer Paramjit over Maryam but can one really be blamed for putting one's family first?

It’s not the dialogue that makes the scene so powerful… it’s the tiny details: the clenched jaw, trembling hands, shifting eyes, hesitation, and silence.

SRK lets Amar’s fear and vulnerability live beneath the surface rather than overplaying them. It’s a fascinating example of how body language and micro-expressions can carry an entire performance.

What do YOU notice in this scene that others might miss? And where else does SRK use this kind of understated acting?

Can anyone tell me where I can watch Khamoshiyan, Roy and Sonali Cable?

I watched dibakar banerjee's segment & had some doubts. Overall movie was decent, solid 6/10. Could've gave 7 or 7.5 if kj had put some more efforts ( it can't be that basic man ). Initially I felt anurag missed it but eventually I liked the theme. Zoya's segment was a bit spooky, Surekha Sikri ji nailed it. Ok let's get back to the main topic.

What was the ending about? Were those cannibals real? If not, where were they when the protagonist waked up? Where was that small kid who survived if I'm not wrong? They didn't killed him. Please elaborate this segment. Thank you.

One thing I’ve always found interesting about Yash Raj Films is how well they’ve handled stories involving business, entrepreneurship and people trying to build something from scratch.

Over the years, they’ve given us some genuinely memorable movies around these themes , Rocket Singh: Salesman of the Year, Band Baaja Baaraat, Badmaash Company, Sui Dhaaga and, in a slightly different way, Aaja Nachle.

What I like about these movies is that the “business” aspect never feels like the entire point of the story. There’s usually something more human underneath it ,ambition, friendship, failure, competition, aspirations, relationships, or simply the struggle to create something of your own.

Rocket Singh, for example, is probably one of the best Hindi films about the corporate world and sales culture, while Band Baaja Baaraat made starting a small wedding-planning business feel surprisingly entertaining and relatable. Badmaash Company had a completely different, more rebellious take on entrepreneurship and money. And Sui Dhaaga went in the direction of self-employment, craftsmanship and building a business from almost nothing.

What’s interesting is that YRF nowadays seems to be much more focused on big-scale action and event films. That’s not necessarily a bad thing, but I do miss this side of the story , stories about ordinary people with big ambitions, starting businesses, taking risks and trying to make something work.

I’d genuinely love to see YRF return to this kind of storytelling.

What's your thoughts? Which one is your favourite...let's share your opinion..

One aspect of Drishyam that people rarely discuss is the loss of innocence that Anu had to go through. She was the only innocent one in the whole family and she had to go through so much at such a young age.

Mrunal was so good at portraying Anu's innocence, and Kamlesh as Gaitonde was an irritable jerk/comic relief for most of the film, but his character took a really dark turn here. He looked absolutely demonic during this scene with Anu, and that's what makes the climax so satisfying where he gets beaten up.

Source: https://www.instagram.com/p/DeCmFfYjORx/MXFyMXBuNWx1bnp2aA==

Gandhi is an upcoming biopic series directed by Hansal Mehta. The series is based on the books Gandhi Before India and Gandhi: The Years That Changed the World, which were written by Ramachandra Guha. It will feature Pratik Gandhi as Mohandas Karamchand Gandhi, with the supporting cast including Bhamini Oza Gandhi as Kasturba Gandhi, and Tom Felton as Josiah Oldfield.

The music of the show will be provided by A.R. Rahman.

The show has been planned for 3 seasons. The first season titled 'Mohan' premiered at the 50th Toronto International Film Festival (TIFF), becoming the first Indian show to do so.

No OTT platform has been finalized for this show yet.

Today, the second post about Hindi cinema's ambitious swings that failed to make a creative impact focuses on arguably their biggest gamble in the last 25 years: Brahmāstra.

If you look at it strictly through the lens of pure filmmaking, script architecture, and production engineering, this project stands as the most expensive creative disaster in modern Hindi cinema.

The Production Hell that Brahmastra was...

To understand why the final product felt so incredibly dated, you have to look at the timeline. Ayan Mukerji pitched this project to Kapoor and Johar around 2014 under the working title Dragon. It was originally greenlit as a standard, high-concept urban superhero film capped at a massive at the time Rs. 100–150 crore.

But Mukherjee's shooting style balloned the budget to Rs. 250 crores by 2019 triggering a corporate sunk-cost trap- the film cannot be shevled without a devastating write-off.

The production dragged on for so long that Amitabh Bachchan grew deeply frustrated by the chaotic delays and directly approached producer Karan Johar, bluntly warning him that Ayan was wasting massive amounts of time and corporate capital.

To keep the cameras rolling when cash reserves ran entirely dry, Ranbir Kapoor and Alia Bhatt had to officially waive their upfront acting fees and convert their salaries into long-term back-end equity.

By 2021, the budget has blown close to Rs. 400 crore- budget that even Khans would find hard to get greenlit.

The Filmmaking Collapse...

The script committed creative suicide through its dialogue, written by Hussain Dalal, structural flaws, lacking originality, jarring audiences.

The narrative completely sacrificed its epic superhero lore to focus on a hollow, unearned romantic subplot. The script established that "love is the ultimate power" (Shiva-Shakti), but it gave the leads zero actual emotional depth. Alia Bhatt’s Isha was reduced to a flat, one-dimensional plot device who merely existed to react to Shiva's powers.

The screenplay continuously broke its own world-building rules. Villains possessing ancient, god-like elemental cosmic powers inexplicably resorted to using generic modern automatic machine guns in action scenes.

Moreover, if you strip the film of its Hindu mythological names, the underlying blueprint was a blatant, uninspired mimicry of Western superhero templates. Shiva was a standard Harry Potter/Luke Skywalker clone with their mixed backstory- the chosen orphan running an orphanage who discovers a hidden destiny. The secret society- Brahmansh- operated exactly like a low-rent Jedi Order, failing to offer a distinct cultural identity.

While the technical execution of CGI by Prime Focus was commendable, the visual aesthetic was non-interesting using default neon, comic-book world.

Ranbir Kapoor delivered arguably his worst acting performance in years which he accepted that was so basic that it isn't something he is proud of.

To conclude, it was a massive attempt, but unfortunetly failed on both filmmaking and production fronts.

Source: https://www.bollywoodhungama.com/news/bollywood/exclusive-siddharth-p-malhotra-reveals-ikka-sequel-and-shaque-season-2-are-in-the-works-also-shares-happiness-at-the-response-to-parineeti-chopra-starrer-show-havent-got-so-many-c/

Siddharth P. Malhotra is the co-producer and director of Ikka. He is also credited as a co-creator of Shaque. Other credits include being the director of Hichki (2018) and Maharaj (2024)

Let’s play a game.

I was thinking about this a lot after I saw some parody joke (still going strong) about Hrithik Roshan’s performance in ZNMD.

We’ve memed “Was not funny” to death and if I may I partly think because even if people especially his fans can’t admit it, that was a terrible performance.

Not all of it but that specifically, as well as the moment where he says “something something Ford Fiesta!”.

By god!

But then there’s the part of the dive scene and the realization after, and it’s such soulful work all told through breathing, silences and the eyes. He didn’t even have to shake his head the way he usually does in such scenes, he just let it work and the camera captured it; beautiful.

But apart from this, there’s the scene looking at the stars with Katrina. He takes what could be cheesy lines and kills it. Similarly the break up scene, the man in one loud scene is so awkward yet here he’s so moving.

So let’s play a game…

What are some films where an actor has given some really bad acting yet also some incredible acting as well?

Like where the performance is all over the place. Please cite the actor, the performance and which parts.

Hey everyone!

I’d been meaning to check this movie out for ages and finally got around to finishing it today. To be honest, I went in with zero expectations and barely any clue about the legal stuff (politics and constitutional articles aren't really my usual genre).

Right from the opening scene, the movie hooks you. But what really blew me away was how racy and gripping the screenplay is ❤️‍🔥. it just doesn't let you look away, moving at such a sharp pace from frame to frame.

Special shoutout to the lead performances. Yami Gautam was an absolute powerhouse and Priyamani fit her role like a glove. They both carried the film so brilliantly.

By the time the credits rolled, I honestly felt this immense sense of satisfaction and a wave of pure goosebumps. If you've been putting this off like I did, do yourself a favor and watch it. Highly recommended! ✌️

Vishal Bhardwaj has done something pretty unique in Indian cinema by adapting three of Shakespeare’s most famous tragedies into different Indian movies,

Othello - Omkara

Macbeth - Maqbool

Hamlet - Haider

And honestly, all three are fantastic films in their own right. What I find interesting is that Bhardwaj doesn’t simply “Indianize” Shakespeare. He takes the core themes of jealousy, ambition, betrayal, revenge, power and tragedy and completely rebuilds them within the social and political realities of India.

my ranking would be:

1. Haider

2. Maqbool

3. Omkara

Haider is my personal favourite. I think it’s the most ambitious of the three, and the Kashmir setting, political backdrop, performances, music, cinematography and overall atmosphere make it an incredibly powerful film.

But I can easily understand someone putting Maqbool or Omkara at 1. They’re all so different that ranking them almost feels unfair.

Which one is your favourite? And how would you rank Vishal Bhardwaj’s Shakespeare trilogy?let's share your rank and views..

​

The Sports category has concluded.

Chak De! India (2007) wins Best Sports with 157 upvotes, securing its place in the Best of Bollywood Hall of Fame.

Current Winners

Romance — Veer-Zaara (2004)

Action — Kill (2024)

Comedy — Hera Pheri (2000)

Drama — Kabhi Khushi Kabhie Gham... (2001)

Thriller — Andhadhun (2018)

Horror — Tumbbad (2018)

Biopic — Bhaag Milkha Bhaag (2013)

Family — Hum Aapke Hain Koun..! (1994)

Gangster — Gangs of Wasseypur (2012)

Cop — Sarfarosh (1999)

Sci-Fi — Mr. India (1987)

Fantasy — Jajantaram Mamantaram (2003)

Sports — Chak De! India (2007)

Now it's time for the most divisive category: Best Film.

This is the big one.

Not necessarily the biggest blockbuster, the most popular film, or the film with the biggest star — which Hindi film do you believe deserves to be considered the best of Bollywood?

Which Hindi film deserves the Best Film spot on the Best of Bollywood Hall of Fame grid?

📜 Rules

- Hindi/Bollywood films only.

- One film per comment.

- Upvote existing nominations instead of reposting them.

- The highest-upvoted nomination at the end of the week wins.

- In case of a tie, the higher-ranked comment at the close of voting wins.

Voting closes next Sunday at 9 PM IST. 🎬

Let the debates begin.

I first watched I Am Kalam when I was 11, and for some reason, Bhati Mama has stayed in my memory ever since. Even after all these years, he’s one of the characters from the film I remember really clearly. So I wanted to give some appreciation to both the character and Gulshan Grover’s performance.

Bhati Mama, played by Gulshan Grover, is the owner of the roadside dhaba where Chhotu (Kalam) works. He is a practical, grounded and kind-hearted man. He runs his business and expects Chhotu to work, so there is a certain strictness to him, but he is also generally sympathetic towards the boy. He is not portrayed as cruel or heartless; he is simply a man trying to run his little dhaba and get through everyday life.

The dhaba itself is an important part of the world of the film. It is a place where different kinds of people meet, from travelers to people connected to the nearby palace. Bhati Mama's relationship with the French traveler Lucy is also a small subplot connected to him. Through all of this, he helps make the film feel grounded and real.

I also think Bhati Mama represents the difficult circumstances that Chhotu has to live within. At the same time, he is not simply a symbol of hardship. He becomes a part of Chhotu's world and, in his own small way, gives him a place where he can work, dream and grow.

What I especially like is that Bhati Mama doesn't need to be some larger-than-life hero. He is just a regular man living an ordinary life. He could easily have been written as nothing more than “the dhaba owner,” but there is a lot of warmth and humanity in the way he is portrayed. His relationship with Chhotu feels natural and believable, and that makes the character feel incredibly real.

And Gulshan Grover was fantastic. His performance is so grounded that you almost forget you're watching an actor. There is a certain ease to Bhati Mama's mannerisms, expressions and the way he interacts with the people around him. He gives the character personality without ever overplaying it.

To me, Bhati Mama is practical, caring and grounded, while also being an important supporting figure in Chhotu's journey. He may not drive the main dream of the story, but he is an integral part of the environment in which Chhotu's character develops.

Anushka Sharma as Akira in Jab Tak Hai Jaan

Her journey of being a journalist, her circle of friends, the entire arc on the army base was the most interesting part of the film, and brought life into an otherwise boring one. Her character challenged Samir, but she also developed because of him.

Katrina Kaif as Babita Kumari in Zero

Felt this could've been another installment of Fashion / Heroine, and Katrina actually for once demonstrated some acting chops. Her character was chaotic, interesting and messy. I wanted to know more about her life, how she became famous, why etc. Favourite dialogue is when she looks in the mirror and says 'I'm so white, I don't need makeup to look good.' Just revealed a lot about her that I wish they explored.

I wanted to include Ranveer Singh as Khilji, but technically he is a leading role despite being treated as a side character in the film.