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57 Responses to “Dirty Politics, Dum Laga Ke Haisha (ongoing), the rest of the box office”
New Releases Very Dull – Dirty Politics Best
Friday 06 March 2015 13.30 IST
Box Office India Trade Network
The new releases opened to a very dull response with Hey Bro and Badmashiyan – Fun Never Ends opening at 0-5% at multiplexes. Dirty Politics was the best of the lot with 10-15% opening at single screens though multiplexes were low in the 5% range they were still better than the other two films.
Dirty Politics is also the widest release followed by Hey Bro. It is Holi so the day does normally start low due to festivities with collections growing in the evening but that is not the reason for the very dull opening of these films, they would have been poor anyway.
Dum Laga Ke Haisha will continue its strong run as it continues with a similar screen count to week one. The cricket match and Holi could affect collections slightly on Friday but it is sure to have a strong weekend
Dum Laga Ke Haisha Sustains Well In First Week
Friday 06 March 2015 11.30 IST
Box Office India Trade Network
Dum Laga Ke Haisha grossed around 10.75 crore nett in week one and although this is a low figure it is good considering the opening it took, the figures are good and the film is set for a good run over the coming few weeks.
The weekdays hold was very good with no drop between Monday and Thursday as all day grossed over 1 crore nett and remained at a similar level which was also the level at which the film opened on Friday. The best day was Thursday as it got benefit in the evening of the holiday on the next day.
The film fared best in North with east Punjab grossing around 1.40 crore nett and Delhi/UP grossing around 2.60 crore nett meaning nearly 40% of its all India business was from North. Mumbai grossed around 3.40 crore nett which was a 33% contribution. The film has chances to repeat its first week business in week two looking at the trend of week one.
Badlapur At 45 Crore Nett Plus In Two Weeks
Friday 06 March 2015 11.30 IST
Box Office India Trade Network
Badlapur grossed 9.50 crore nett in its second week taking its two week total to 45.25 crore nett approx. The drop in week two was around 75%. Despite the drop in collections the film has done well and may just touch 50 crore nett lifetime in its run
The drop came mainly as Mumbai circuit saw a big drop as it is Gujarat which holds best in the circuit but Gujarat is under performing for Badlapur. North India held up best in week two with drops of around 70%.
The film will finish with the same lifetime total as a similar film Haider released last year, the difference being that Badlapur has a much lower cost.
Ethan Hawke and Denzel Washington Reteam on ‘Magnificent Seven’ (EXCLUSIVE)
March 2, 2015 | 10:01AM PT
Film Reporter @krolljvar
It’s been over a decade since Ethan Hawke, Denzel Washington and director Antoine Fuqua patrolled the mean streets of Los Angeles in “Training Day,” and it looks like that team is looking to head to the Wild West for their next collaboration.
Sources say the Oscar-nominated Hawke is in final negotiations to join Washington in MGM’s “Magnificent Seven” remake with Fuqua directing.
Chris Pratt and Haley Bennett are also on board to star.
The 1960 original, itself a remake of Akira Kurosawa’s “Seven Samurai,” starred Yul Brynner and Steve McQueen. It centered on seven gunslingers who protect an oppressed Mexican village from a group of outlaws.
The script was most recently reworked by John Lee Hancock, with “True Detective” creator Nic Pizzolatto writing the previous draft.
MGM is hoping the pairing of Hawke with Washington leads to the same success the two saw on crime drama “Training Day,” which overperformed at the box office and led to both men receiving Oscar nominations, with Washington eventually taking home the prize.
Hawke is coming off his Oscar-nominated role in “Boyhood” and has several upcoming projects that include Andrew Niccol’s “Good Kill” and the docu he directed, “Seymour: An Introduction.” He is repped by CAA.
Dev Anand (Arjun Mathur) is a coffee expert in Bangalore, but his heart is probably in the Himalayas – he wants to get away from it all, become a sanyasi. He keeps listening to spiritual discourses on his earphones, and his only friend appears to be Sondha (the charming Ishwari Bose-Bhattacharya), a cheerful Bengali neighbour who has no qualms admitting that she’s a “kept woman.” When she playfully makes the moves on Dev – though we’re never sure if she’s playing or serious – he declares, “I won’t dance your sansarik disco.” Sondha shrugs and backs off. After all, that’s the way (aha, aha) he likes it. But there’s no movie there. So Dev goes to Coorg on business, to source coffee from an estate. And he runs into his ex Anika (Sugandha Garg). Soon, he’s barely stayin’ alive…….
While Aamir-SRK-Salman turn 50 this year, Amitabh Bachchan is just a few years away from completing his half century in Hindi cinema. The biggest Bollywood star of all time spoke with familiarity and fondness about the three young men who took over the mantle of superstardom from him. Excerpts from an interview.
How has your relationship been with them over the years, since you met them first.
I have known Salman from the time he was a little kid in shorts and shirt. I still see him in them, though often without the shirt! I worked with his father Salim Saheb and would get a glance of him whenever I visited their home. Then he joined films and became hugely successful. I came to know Shahrukh and Aamir when they had already joined the industry and achieved success. Despite their stratospheric status and success, they have always been most respectful, gracious and kind-hearted and have oodles of regard for me. I am most humbled by it.
How are they as individuals?
They are normal individuals in an abnormal profession. Shahrukh, I find determined and energised beyond words. He keeps visualising and achieving fresh horizons, all with an enviable self-confidence. Remarkable coming from someone who, metaphorically speaking, jumped from nowhere onto the stage of Tchaikovsky’s Swan Lake ballet and accomplished the task of the prima ballerina!
“Shahrukh is determined and energised beyond words; Aamir, being from a film family, has a penchant for studied opinion; Salman is an adage in himself .”
Aamir comes from a film family and has a penchant for studied opinion. You may never have reason enough to gather what he thinks and how he thinks, even when he may spend hours with you, but you shall eventually find the results in his final creativity, his conduct or act.
Salman is his own adage. Someone who lives without a care in the world. And what a wonderful asset that is for any human being to possess! A line from one of my songs in the film Naseeb would perhaps…perhaps aptly, describe him—“Hun yaaron ka main yaar, dushmanon ka dushman.” An executive who worked with him on a TV show very succinctly put it: “That’s not Salman, that’s Salman unplugged.” As an individual, he is always ‘Salman unplugged’.
And how has it been working with them professionally?
I have worked with Shahrukh and Salman as co-actors and with Aamir I have done the mahurat shot for a film (Indra Kumar’s Rishta) that did not materialise. I also did the commentary (voiceover) for his film Lagaan. Obviously working with them has been professional and competent, otherwise they would not be where they are today.
What do you think makes their stardom unique?
Stardom has many facets to it: talent, presence, deliverables that matter, and above all, audience acceptability. All three of them came at a time when there was a generational change in the country. The young of the nation, tired and fatigued by the ageing concepts of anti-establishment and anti-heroes, of familial procrastinations and the universal poetic justices of a moral society, wanted to breathe free from it all. They wanted love and romance, have freedom of thought and independent avenues. The audiences saw them in these three, grabbed them, possessed them, obsessed over them and discovered a fresh voice in them. A voice they all wanted to make audible with abandon. Shahrukh, Salman and Aamir gave the audience that voice and they, in turn, gave the three their unique stardom.
How different has it been from your own reign?
Excuse… This question reeks of monarchical vicissitudes. I do not, have never and will never subscribe to such conditions and so will not answer this query.
What makes the three similar and different as people?
Their similarity is their surname. Their dissimilarity is their surname too! All three have their own creative ethos and capability, one that has impressed and continues to impress billions of well-wishers and followers throughout the globe.
Where do you see them go from here?
I don’t know. I guess when they finish their day at work they go home! I am no visionary or astrologer but I imagine they would continue to work as long as they like.
What would their legacy be for the future generation of stars?
A legacy that is inspirational. They are idols for millions of young. Surely that is what most would want to acquire from them—their achievements.
What would your birthday gift for them be?
May they live to be a 100 years and continue to be as they are now and may they make sure that when they appear in public, their fly is zipped! (Shahrukh knows of this, what it implies. I once told this to him when he had asked me a question. It contains a somewhat literal but greatly more metaphorical meaning; me to know and others to find out!)
‘Can’t women control themselves when they drink and watch this film?’ 50 Shades of Grey moviegoers in Idaho are banned from booze
State law prohibits booze when it comes to ‘sexually explicit films’
Apparently at least two theaters have been ordered to comply with the restrictions – leaving many moviegoers up in arms
Dave Corkill, a theater owner in Idaho, agrees the law is flawed
He says for many customers sitting down in front of a movie with a bottle of wine is ‘part of the experience’
By SADIE WHITELOCKS FOR DAILYMAIL.COM
Movie theaters in Idaho have reportedly been banned from serving alcohol during showings of the erotic R-rated blockbuster Fifty Shades of Grey.
According to the Idaho Statesman, state law prohibits the sale of booze when it comes to ‘sexually explicit films.’
Apparently at least two theaters have been ordered to comply with the restrictions – leaving many moviegoers up in arms.
Movie theaters in Idaho have reportedly been banned from serving alcohol during showings of the erotic R-rated blockbuster Fifty Shades of Grey (stock image above)
Indeed, Michele Williams, 50, of Eagle told the newspaper: ‘I just found it odd that this movie was singled out.
‘I just thought, “What year am I living in here? Women can’t control themselves when they drink during this movie?” I don’t know what the message was.’
Meanwhile, Michael Deeds who reported the ban for the Idaho Statesman, said it’s just another example of ‘nonsensical’ regulation.
OT, but quite stunned to know that Wikipedia or any other site hardly has any information about this Indian powerlifter Sumita Laha, the first Indian woman to create (and break) a world record in any sport (She created the world record in the 75 kg squat at the National Powerlifting Championship, 1989. She also bagged a silver medal in the Heavyweight category at the World Games of 1989, not a small feat by any means and it’s quite clear that she must have been a giant in the sport at that point of time. And so what if she was apparently later stripped-off that record!). Hope someone who knows more about her atleast puts in a Wikipedia entry at some point. This is a story which needs to be told!
Watching Badlapur I had the sense that this might have been inspired from a Korean film. This is the sort of subject they do quite often (and far more violently!). But as the end credits rolled I noticed that the contemporary Italian writer Massimo Carlotto had been credited. The book in question is Death’s Dark Abyss. In any case the film is engaging, often gripping throughout but I wouldn’t quite join in its (as I see it) overrating. The best thing here might be the opening sequence. I also found Varun Dhawan mostly inadequate here. Not much wrong with the film but I also don’t see any sort of masterpiece here and even though it was less even I’d easily take EHT over it as well as the more even (compared to EHT) Johnny Gadaar. Haven’t read the book so I can’t say whether the book handles these themes better or not. But again this is the kind of thing that crops up very often in contemporary Korean cinema. On some of the surprises in the script they’re only so if one assumes this isn’t going to happen in a Hindi film. Fair enough I suppose but once you catch on to the fact that the material might be sourced from elsewhere the twists are not all that extraordinary. Don’t mean to sound harsh on the film. I saw it from beginning to end and I find it very hard to do this for most HIndi films these days. I’m just reacting to what I consider to be serious overrating of the work. I certainly don’t mind it doing well or anything though the film would have been considerably helped with a more serious actor.
In the final analysis and as a personal matter I continue to be less eager to watch ‘Indian’ films that tend to more or less import templates from elsewhere without ‘Indianizing’ them enough. And when I say this I don’t just mean setting the films in India or providing an authentic local feel and so on (though that’s a start, certainly after the 90s!) but also contextualizing the stories within these contexts. A lot of times these stories are more integrated with a larger set of socio-politico-economic concerns within their original settings. When these are then transplanted to India this latter work is often not done. Which then leaves us with an engaging film or better but not much more.
Satyam: Thanks much for your views, but I still believe you are simply being too harsh on the film. Yes, both EHT and JG are better films, but they are also lot less ambitious than Badlapur. And actually while the reviews on the film have been overall very positive, I don’t think it has been universally celebrated either- quite a few important critics have given it very middling reviews (check out Indian Express’ Shubhra Gupta’s review for one. And Shubhra Gupta is one of the saner and better critical voices in the country). But even if it has been slightly overrated as you, don’t you think far lesser films have been given far more positive and celebratory reception by the media and critics (something like Queen got far better reviews than Badlapur. What about Oh My God!). Atleast Badlapur is a far more authentic film. And with the sort of scenes it has, I think that it is doing so well means something. This is a stunning box-office success story as far as I am concerned (which was the last mainstream film you saw where you had such scenes- that forced-sex one and the two killings- which has done this well. And remember a mainstream lead like Varun Dhawan, who has only done rom-coms till now, is made to do things in the film which a lot of actors wouldn’t have agreed to do. I have a feeling Varun wasn’t Raghavan’s first choice here, I wouldn’t be surprised if Saif would have been offered this film) and second only to the one of GoW-1. You are completely right on Varun Dhawan though, he just looked too lightweight for the part. But for my money, this has been Nawaz’s best performance till now. The range he shows here is remarkable. The other performance which made the film for me was Radhika Apte’s.
I don’t agree that this is Nawaz’s best performance. I’d take him in Talaash over this for example. But there are other moments too. I do think he’s becoming a bit repetitive in some ways.
On the rest I might agree that the film seems to have a more ambitious premise but I’d argue (for some of the reasons I’ve pointed out) that those ambitions aren’t quite borne out by the existing film.
Doing very well always makes me skeptical when it’s about meaningful cinema in contemporary Bollywood. To restate an old point I think that a film that does well is almost by definition not radical enough. The multiplex audiences never back such a film. This doesn’t of course mean that every film that fails along the same lines is automatically radical but at every end of the spectrum the most interesting films have actually not done too well if at all in this past decade or more. Even including Aamir’s Khan’s work. Take Talaash recently or MP earlier. The problem is (not saying you do this) that when such films don’t work people automatically resort to banal statements like ‘the film wasn’t good’ or ‘the script wasn’t good’ and so on. As if every film that works is a masterpiece of writing!
Now when I say these things people often wonder what my standard is. I think a film is radical when it unsettles its audience or disturbs its deepest ideological commitments. If you celebrate the current Indian metropolis as a great ‘symptom’ of New India you get the opposite in Talaash and not just this but you also get precisely New India types who’re implicated in the morbid truth (of the film). The Badlapur story and whatever ethical questions it asks might not be a subject for everyone but it doesn’t disturb anyone either. I said the same for GoW. There are certain kinds of films which might attract a limited audience for a variety of reasons but this is different from films that make the audience uncomfortable. My favorite bit from any Raghavan film so far is the first half of EHT (it became more regular in the second half unfortunately) but here the great thing about the Saif character is precisely his ambiguity. He could be a perfectly normal go-getter, maybe even in a ruthless sense but on the other hand he could also be this sleazy type. He turns out to be the latter and the script becomes easy beyond a point in this sense but the whole point is that the same ‘type’ can be both. The point of Talaash isn’t that those three guys did it but that even in New India a certain kind of life is simply not valued and can be easily discarded. There is nothing in fact in the film that is as horrifying as the news. But you make such a film and it upsets people. And it’s laughable to suggest that there are script problems. The same Aamir Khan who’s nearly perfect everywhere else suddenly has problems with Talaash or MP? One must look more closely at these films!
And so again this isn’t a knock on Badlapur. There just isn’t anything here to my mind that’s comparable to the larger critique of Talaash. Badlapur is about one event, two lead characters, their ethical predicaments but it neither engages with its deeper contexts to make these mean more nor is it even true enough in just that more limited sense. And though this isn’t a fair analogy it’s neither Incendies nor Enemy. I’d also say that the Varun Dhawan problem isn’t a minor one in a film that depends on the lead in more ways than one.
Satyam: I had read the novel almost a year back and as far as I can remember the plot (and pretty much all the plot details) is entirely taken (each and every character apart from Ashwini Kalsekar’s hilarious female private eye, drawn from the book right down to the character details. Nawaz’ s character in the book also keeps talking and dreaming about sex and drugs all the time) from Death’s Dark Abyss right down to the climatic twist (including the forced anal sex with the prostitute) with one important change in the film-
Mild SPOILERS ahead-
In the book, you have both the protagonist and antagonist (for the want of a better term) alternating as narrators. Also here is a major difference- in the film, you get to know in that fine opening sequence itself that Nawaz is the one who killed the kid and the wife. But in the book, we get to see the accident from the antagonist’s point of view so for a long time both the protagonist as well the readers are convinced that the triggered was pulled by antagonist’s accomplice. It’s only very late in the book that antagonist owns up that he was the one who committed the killings and he was lying (in the court- where he refuses to divulge the name of his accomplice- and infront of his mother and sister) because he didn’t want to live with the burden of the guilt of having committed those murders.
BTW the author, Carlotto’s own story is nothing less than unbelievable (which he has covered in some of his own novels) and gut-wrenching. I mean what he has gone through isn’t a joke. And while we all rightly complain about the Indian judicial system, the Italian one is far worse in certain respects.
Incidentally, and perhaps this might be somewhat SPOILER-Y, but I recall reading an interview of his where he categorically said that in his novels, he has no interest in making the good guys win at the eyed. And when you read his novels or about his life, you completely understand, why he is so disillusioned and disenchanted with everything.
Haven’t /won’t watch badlapore because it’s difficult to justify watchin a Varun dhawan solo!
It might be a good move though –to those who have time n energy to give Varun dhawan a chance to show off his acting credentials –all the best to those
As for me, I tease out the best bits of such flicks
And DISCARD the rest (for others!)
An average ‘generic’ composition
But elevated somewhat by–
Heard some saying he doesn’t have ‘formal training’ on singing ?
‘Formal training’ my foot!
Check out some lyrics I’ve written (without formal training!)
Dehleez pe mere dil ki
Jo rakhe hain tune kadam
Tere naam pe meri zindagi
Likh di mere humdum….
Dum Laga Ke Haisha Is A Hit
Monday 09 March 2015 12.00 IST
Box Office India Trade Network
Dum Laga Ke Haisha has emerged a hit as its second weeeknd grossed more than the first weekend. The first weekend was around 6 crore nett while the second is 6.75 crore nett. The total business of the film in ten days is around 17.50 crore nett which is not a big total but from where it started it is huge.
The film is well settled and will hold very well over the weekdays and will gross around 30 crore nett in its lifetime run which is enough for it to be a hit. It is hard to judge the upper limit at present as it is the third week which will decide that.
The film has very strong contributions from the main circuits with Mumbai at around 5.75 crore nett, Delhi/UP at around 4.75 crore nett and East Punjab at around 2.30 crore nett. The other circuits to go over 1 crore nett are West Bengal and Mysore.
A rape documentary banned from airing in India received its U.S. premiere at a star-studded event that included actors Meryl Streep and Freida Pinto.
The screening of India’s Daughter at Baruch College began on Monday with a vigil as Oscar-winner Ms. Streep lit about a dozen candles honouring the Indian student who died after being gang-raped on a bus in 2012. Organisers said about 650 people attended the event.
“Tonight we light these candles to honour the value and the work of the (victim)’s short, promising life,” Ms. Streep said. “She was India’s daughter. Tonight she’s our daughter too.”
“Ultimately, this is a film that needs to go out,” said Ms. Pinto, the Indian actor known for her role in Slumdog Millionaire, who does not appear in the film. “This is not a shame-India documentary.”
The film’s U.S. premiere follows a week of controversy in India.
The documentary, by British filmmaker Leslee Udwin, herself a rape victim, was to have aired on NDTV on Sunday, International Women’s Day, but a court order halted the broadcast. It was done in the interest of maintaining public order, according to Indian authorities. Instead, the channel showed a blank screen.
India’s Daughter first was screened in Britain on a British Broadcasting Corporation channel last week. Indian viewers cannot see it on the BBC website, but it can be seen on YouTube.
“This film in no way is propagating violence in order to solve the problem. In fact, what we’re saying is let’s do this in the most civilized possible way ever,” Ms. Pinto told The Associated Press before the film’s screening.
“This is not just an India problem; this is a problem that inflicts almost every country in the world,” she said. “There’s not a single country in 2015 that is free of sexual violence against women.”
Shot on real locations, low budget and in a span of eight to nine months, ‘Badlapur’ had scene-stealing turns by other cast members too be it the four heroines – Yami Gautam, Huma Qureshi, Radhika Apte and Divya Dutta – or Ashwini Kalsekar, Vinay Pathak and Kumud Mishra.
The movie’s success has brought a lot of positivity in Raghvan, who will next adapt Vikas Swaroop’s third novel ‘The Accidental Apprentice’. “Its success had a good effect on me in every sense. There was an honesty of approach, not only from me, but from the entire unit. It is a rare thing in movie world and you can’t crack the formula always,” he says.
‘Mohenjo Daro’ Star Hrithik Roshan to Reprise Di Caprio’s Role in Bollywood Remake of ‘The Departed’
By Parismita Goswami March 11, 2015 14:09 IST
Hrithik Roshan, who is busy shooting for Ashutosh Gowariker’s “Mohenjo Daro”, has bagged yet another project. Roshan has teamed up with producer Sajid Nadiadwala for a Hollywood remake, which will be helmed by “Haider” director Vishal Bharadwaj.
According to a report in Absolute India, the “Krrish 3” star will reprise the role of Leonardo di Caprio in the official remake of Oscar winning flick, “The Departed” (2006).
For the past few years, both Bharadwaj and Roshan has been in talks to work on the project, however, things got delayed due to their previous commitments.
“Vishal and Hrithik have been trying to get together for a film since quite some time now,” a source told the daily. “In 2009, it was announced that Hrithik would be doing Vishal’s film and even Aishwarya Rai’s name was in contention for it. However, after that in 2010 there was news doing the rounds that Hrithik would step in the shoes of Leonardo Di Caprio for the official remake of The Departed, which Vishal was to direct. However, now all things have fallen in place and Vishal will indeed do the film. Everything about the film has been kept under wraps.”
No official announcements have been made regarding the same, but reports have been doing the rounds that the honey-eyed actor has signed the dotted line.
And if reports are anything to go by, then with the ace actor-director duo teaming up for the first time, no doubt that the film will turn out to be a Bollywood blockbuster.
The untitled project is expected to go on floors in October this year, soon after Roshan wraps up the mega-budget film, “Mohenjo Daro”.
Akshay Kumar Starrer ‘Main Gabbar’ Is Now ‘Gabbar Is Back’
Akshay Kumar’s next which was earlier titled ‘Main Gabbar‘ will now be called ‘Gabbar Is Back‘. The film is being produced by Sanjay Leela Bhansali and Viacom 18. Gabbar Is Back will be an action film and stars Shruti Haasan as the female lead while Kareena Kapoor too has a cameo role.
Katrina Kaif, Aditya Roy Kapur’s Fitoor Will Be A 2016 Valentine’s Release
Katrina Kaif and Aditya Roy Kapur were recently spotted shooting for their upcoming film ‘Fitoor‘ in Kashmir. The film which is being helmed by Abhishek Kapoor is based on the literary work of Charles Dickens’ classic ‘Great Expectations’. The film also stars yesteryear actress Rekha in a key role.
Aditya plays a artist in the film named Noor, Katrina plays Firdaus while Rekha will be seen as Begum.
Looks like he’s putting all his time into making sure the Rohit Shetty film releases xmas this year. That would explain Raees getting delayed but no idea about FAN. Perhaps the VFX taking too long is actually true. Or maybe they gave the Independence Day release up to release it on a non holiday and lower BO expectations since this film doesn’t seem too commercial. But after watching Dum Laga Ke Haisha I have more faith in FAN turning out to be a good film.
Aniruddha Guha @AniGuha 9h9 hours ago
Had my balls in my mouth watching #NH10. Solid comeback by director Navdeep Singh. And an unhinged, fantastic performance by @AnushkaSharma.
Ranveer Singh @RanveerOfficial 1m1 minute ago
Saw #NH10! Gripping, nail-biting, edge-of-ur-seat thrill ride from hell! @AnushkaSharma kicks some serious ass! Beyond brilliant! #girlpower
Avtar Panesar @AvtarPanesar 24m24 minutes ago
In a few short years she proved her metal as an actor and now @AnushkaSharma produces a a Film NH10 she will always be proud of!! Bravo!!
Scary how good #NH10 is. Crackerjack film. And @AnushkaSharma is f**king exceptional. What commitment. Bravo, Navdeep Singh, bravo
Faridoon Shahryar @iFaridoon 21m21 minutes ago
An unbelievably good performance by Anushka.Dispassionate,astute n hard hitting narrative.A story worth visiting.Do go the #NH10 way!!
@raghuvendras 32m32 minutes ago
Just watched #NH10. It’s fast, gripping & hard hitting. @AnushkaSharma is terrific. What a performance! It’s her best till now. @DarshanKumaar & @neilbhoopalam are amazing. Still thinking abt the movie. Congrats team #NH10
Guess we have found our Eden Lake. Always had faith in Navdeep and the trailer was also kickass. But these reviews are just exceptionally good. This is Anushka’s year, no doubt about it. Bombay Velvet and Dil Dhadakne Do coming up.
The success of these low-budget films recently have reposed my faith in both the industry and the audience. Also helps that we have the following directors releasing films this year –