By Neeta Mishra: Rajkummar Rao’s action thriller Maalik has hit the theaters, and it looks to make a mark with its intense performances and explosive story.Pulkit directed Maalik that combines emotional rawness, heart-thumping action, and an exciting storyline with an underworld theme.Let’s check out the story of Maalik along with the early reviews words and the cast members who brought to life this drama…
Maalik is an upcoming gangster drama film. The film tells the story of a man’s ambitious journey through the underworld, combining brutal action with relevant social topics. The shape of the film is energetic, exhilarating, and entertaining; Drama and adventure with high stakes will make for an insane movie experience.
X Review: What Fans Are Saying
Social media is alive with fan reactions. Many fans have praised Rajkummar Rao for diving deep into his role and offering one of the most riveting performances. One user posted on Twitter, #Maalik is a must-watch! Rajkummar Rao is on fire. The story grabs you and doesn’t let go. Solid acting, good background music, and fantastic direction.”Not all feedback is positive. Some audiences felt the first half wasn’t too quick, but viewers claimed the performances had them hooked.”The first half was not what I expected, but let’s see if the second half can save the film. Very solid performances, especially Raj and Manushi,” said another audience member.
Bollywood star Aamir Khan’s return to the big screen after a three-year hiatus has been far from ordinary. Sitaare Zameen Par (2025) which translates to “stars on Earth”, is the first major Bollywood production to feature a mostly neurodivergent cast.
A remake of the 2018 Spanish film Campeones, the story follows a mouthy, knuckle-headed basketball coach, Gulshan (Aamir Khan), who is put in charge of a team of players with intellectual disabilities.
The film slowly grows into itself, much like its characters, but ultimately delivers what the trailer promises: a heartwarming, humorous and uplifting celebration of our individual differences.
In an era of blockbuster spectacles, Aamir Khan Productions brings back a kind of Bollywood storytelling we haven’t seen in a while – something sincere, gentle and quietly revolutionary.
Who is Aamir Khan?
Aamir Khan was born in Mumbai in 1965, and started his acting career as a child actor in his uncle’s film Yaadon Ki Baaraat (1973).
Khan is now one of Bollywood’s most enduring and respected figures. He is one of the iconic “three Khans”, alongside Shah Rukh Khan and Salman Khan (the three are unrelated), who have dominated Indian cinema since the 1990s.
But unlike his Khan counterparts, Aamir Khan has carved a unique career path built on both commercial success and socially-driven storytelling.
He is known for championing social causes through cinema. In one 2015 article, media studies professor Vamsee Juluri referred to him as a “national conscience figure”.
Khan’s films don’t just entertain; they challenge norms and often spark national conversations on important issues.
From producing Lagaan: Once Upon a Time in India (2001), India’s Oscar-nominated colonial-era sports epic, to his directorial debut Taare Zameen Par (2007), a moving portrait of a child with dyslexia, Khan’s work often brings underrepresented stories to the mainstream.
His film PK (2014) challenges religious dogma. Meanwhile, Dangal (2016) is a boundary-pushing film based on real-life female wrestlers from rural India, and is also Bollywood’s highest-grossing film of all time.
Beyond the box office, Khan has hosted the TV show Satyamev Jayate (2012–14), which is also the national emblem of India, meaning “truth alone triumphs”.
This show tackles various topics considered taboo in Indian societies, including female feticide, domestic violence and caste discrimination. It has reached millions of households, and even ignited parliamentary debates.
Khan is also popular in other countries, including China, where his films 3 Idiots (2009), Dangal (2016) and Secret Superstar (2017) were massive hits that resonated with audiences for their universal themes.
Sitaare Zameen Par marks his return following the commercial underperformance of Laal Singh Chaddha (2022), an Indian remake of Forrest Gump (1994).
Sitaare (stars) who make the film shine
Directed by R.S. Prasanna, Sitaare Zameen Par enjoyed a strong opening weekend at the box office.
It stars ten individuals with special needs as they prepare for a basketball tournament under the direction of their coach (Khan). This plot alone makes the film a significant entry to Indian cinema, which often ignores or misrepresents disability.
Despite early online trolling and negativity, the film depicts its neurodivergent characters not as victims, or “inspirations”, but simply as people with dreams, struggles and joy.
One line captures this beautifully: “Everyone sticks to their own normal. We each have our own normal.”
Aamir Khan, now 60, plays a key role in the film, but doesn’t dominate it. Instead, his younger co-stars shine. The result is a healing film that celebrates inclusion, while being full of joy and humanity.
Stories that matter
No film is perfect. But it’s hard to dislike a film made with so much compassion.
Bollywood as an industry has increasinglyleaned into action-packed blockbusters, as well as nationalist and Hindu-centred narratives (such as in the 2022 film Brahmāstra).
While many of these offer thrills, few deliver the kind of emotional and social depth that once defined Hindi cinema’s global appeal. Much like Taare Zameen Par – a spiritual prequel to the new release – did 18 years ago, Sitaare Zameen Par invites the audience to slow down and reflect.
It prompts neurotypical viewers to see people with Down’s syndrome as part of the same emotional universe as them – and to laugh with, not at them.
In an interview, Khan explains how the film goes further than just neurodivergent representation, to participation:
In [Taare Zameen Par], it’s the teacher, Nikumbh, a supposedly neuro-typical person, who helps the child with dyslexia. In this film, ten neuro-atypical people are helping the coach, Gulshan. I feel Sitare takes the discourse of the first film ten steps ahead, especially in our country where people need to be sensitised to the topic of neurodivergence.
Last week, India’s president, Droupadi Murmu, attended a special screening and met the cast. The visit sent a clear messsage: stories like this matter.
With Sitaare Zameen Par, Aamir Khan returns to what he does best: using film as both a mirror and message for Indian society. While it won’t change the world overnight, it will make viewers see the world, and each other, a little differently.
By Aamna Aamna, The much-awaited comeback of Aamir Khan to the big screen with the latest film Sitaare Zameen Par has provided mixed reports not only in terms of Sitaare Zameen Par review scores but also in the Sitaare Zameen Par box office collection reports. Although the Sitaare Zameen Par review ratings have accorded the film a favorable rating of 3.5 stars by critics, the first day Sitaare Zameen Par box office collection is a humble beginning to the comeback film by the superstar.
Sitaare Zameen Par Box Office Collection
The current Sitaare Zameen Par box office collection India net total is near to Rs 0.65 crore on Day 1, and the opening has been a modest affair as far as director R.S. Prasanna is concerned in his emotional entertainer. Such a low first-day box office figure of Sitaare Zameen Par compared to the industry expectation, that is, the industry is highly disappointed with such a negative number of opening day and in comparison to the previous release of Aamir Khan, Laal Singh Chaddha, which is having an opening day box office collection of 11.70 crores.
Trade analysts who had tracked the Sitaare Zameen Par box office collection trend said advance bookings fetched Rs 6.88 crore, and more than 1.15 lakh tickets were sold at 9,542 shows all over the country. The Sitaare Zameen Par box office collection report shows that the Hindi version claimed the most money, collecting Rs 3.18 crore out of 9,037 shows, whereas the regional versions earned a minimal part of the total Sitaare Zameen Par box office collection.
Sitaare Zameen Par Review Scores vs Commercial Performance
Although critics awarded Sitaare Zameen Par with fair rating, which said that the film was moving and depicted the specially-abled characters, the box office collection record of Sitaare Zameen Par shows that the audience might not have been so impressed. All the big Sitaare Zameen Par reviews talked about the good second half of the film and how Aamir Khan has regained his entry into serious cinema, but that good Sitaare Zameen Par review mood is not reflecting yet in the way Sitaare Zameen Par’s box office collection is progressing.
The mismatch between the positive reviews of Sitaare Zameen Par and its mediocre box office performance indicates that content-oriented movies do not need to record-breaking first-day collections to succeed, but rather rely on word-of-mouth promotions. According to the industry experts, due to the positive Sitaare Zameen Par review trend, the Sitaare Zameen Par box office collection would travel upwards during the weekend.
Regional Performance in Sitaare Zameen Par Box Office Collection
The multi-release strategy of the language is questionable because early Sitaare Zameen Par box office collection reports are mixed. The above is the box office collection of Sitaare Zameen Par in just one of the versions of Sitaare Zameen Par, that is the Hindi version which also witnessed impressive ticket sales than the other versions of Sitaare Zameen Parat the Sitaare Zameen Par box office collection, the Tamil version accounted for Rs 2.73 lakh out of 163 shows, the Telugu version brought in Rs 9.84 lakh from 342 shows to the overall Sitaare Zameen Par box office collection.
This regional Sitaare Zameen Par box office collection distribution suggests that Khan’s brand value is the strongest in Hindi-speaking markets, although the reception in regional markets to the Sitaare Zameen Par review may have a bearing on the Sitaare Zameen Par box office collection in each city, as weekend collection patterns become clearer.
By Neeta Mishra, Kuberaa, the highly anticipated crime drama starring Dhanush, has finally arrived on screens, and audiences are already raving about its intense narrative and strong performances. The film is directed by Sekhar Kammula and features an unexpected blend of crime, emotional underpinning, and violent action while inviting the viewer into a new cinematic experience.
Star Cast
The film features an exciting ensemble. Dhanush is the protagonist, bringing his intensity to the main character. Dhanush’s fellow veteran Nagarjuna and super popular Rashmika Mandanna play existential characters who add a level of engagement to the film’s narrative. Jim Sarbh and Rajiv Kumar Aneja join them and create an ensemble of actors that strengthens the film’s importance.
Plot & Genre
Kuberaa is about a man grappling to deal with power, crimes, decision making, and morality. It is an undeniably gritty drama, featuring emotional plots that intrigue viewers to ask themselves how far one can take their pursuit of power and justice, abuse of power, and even more crime. There are elements of violent action and gritty filmmaking that keep viewers’ interest while exploring the foundations of authenticity and obscure contextual underscored narratives.
First Review #Kuberaa : A Powerful Crime thriller with Top Notch Performances by #Nagarjuna , #Dhanush & #RashmikaMandanna. Engaging Story & Climax is the USP of movie. #AamirKhan should learn versatile performance from Dhanush 😂😛. Go for it !
Kuberaa hit theatres on June 20, 2025. The makers of the film have yet to confirm an OTT release for the film. The OTT release announcement should be happening soon, but scheduling indications suggest that early reports expect to see the thriller film on Netflix or Amazon Prime Video streaming services in the very near future.
According to critics, Dhanush’s performance and the film’s imagery have been positively reviewed. In the audience reviews, viewers enjoyed the gripping screenplay and haunting background score. By and large, Kuberaa is being defined as a must-watch for any fan of crime dramas, Kuberaa Movie Review: Cast, Platform & Streaming Details
Mumbai, India: Fans of the acclaimed 'Jolly LLB' franchise have reason to rejoice! Bollywood superstar Akshay Kumar has exclusively confirmed that the highly anticipated 'Jolly LLB 3' will be based on a true story, adding a compelling layer of realism to the popular courtroom dramedy. Furthermore, Kumar, who reprises his role as Jolly Jagdishwar Mishra, warmly praised his co-star and original Jolly, Arshad Warsi, calling him a "lovely lad."
This exciting revelation comes directly from Akshay Kumar, building immense anticipation for the third installment which promises to deliver both sharp wit and a powerful real-life narrative.
A True Story at the Heart of 'Jolly LLB 3'
The 'Jolly LLB' series has always been lauded for its ability to blend humor with poignant social commentary, often drawing inspiration from real-world legal scenarios. The first film (starring Arshad Warsi) subtly touched upon the infamous hit-and-run case, while 'Jolly LLB 2' (starring Akshay Kumar) highlighted issues of police brutality and fake encounters.
Akshay Kumar's confirmation that 'Jolly LLB 3' will be rooted in a true story suggests the film will continue this tradition, bringing a relevant and impactful legal case to the big screen. This approach not only lends authenticity to the narrative but also allows the filmmakers to explore a contemporary societal issue through the lens of the courtroom.
The Clash of the Jollys: A Much-Awaited Reunion
One of the most exciting aspects of 'Jolly LLB 3' is the return of Arshad Warsi, who played the original Jolly in the 2013 hit. The film will feature both Jollys – Jagdish Tyagi (Arshad Warsi) and Jagdishwar Mishra (Akshay Kumar) – in a dynamic courtroom showdown, promising double the entertainment and double the legal fireworks.
Akshay Kumar's affectionate remark about Arshad Warsi as a "lovely lad" underscores the positive camaraderie between the two actors, dispelling any notions of rivalry. Their chemistry is expected to be a major highlight, as both actors are known for their strong comedic timing and dramatic prowess.
Director and Production Details
Subhash Kapoor, who helmed the first two successful installments, returns to direct 'Jolly LLB 3', ensuring continuity in the franchise's unique tone and narrative style. The film is being produced by Star Studios and Cape of Good Films, Akshay Kumar's production banner, signifying a strong commitment to delivering a high-quality product.
The official announcement of the film with a teaser featuring both actors in their Jolly avatars has already created a significant buzz, setting the stage for a compelling and entertaining cinematic experience.
What to Expect from 'Jolly LLB 3'
With a true story at its core and the combined star power of Akshay Kumar and Arshad Warsi, 'Jolly LLB 3' is poised to be a significant release. Fans can anticipate:
Engaging Courtroom Drama: Based on a real case, the film will likely offer intricate legal arguments and dramatic twists.
Signature Humor: The 'Jolly LLB' franchise is known for its witty dialogues and comedic relief, which will undoubtedly be present with both Jollys.
Strong Social Message: True to the series' nature, the film is expected to shed light on a pertinent societal issue.
Akshay Kumar and Arshad Warsi's Chemistry: The dynamic between the two lead actors is set to be a major draw.'Jolly LLB 3' is shaping up to be a powerful and entertaining addition to the franchise, promising to keep audiences on the edge of their seats while delivering its characteristic blend of humor and social relevance. With Akshay Kumar's confirmation of a true story, the excitement for this courtroom battle has only intensified. Gossips4fans - Bollywood, Hollywood and Tollywood Latest Information for you: Jollys Unite! Akshay Praises Arshad for 'Jolly LLB...
Raid 2, the follow-up to the popular 2018 movie Raid, stars Ajay Devgn as the uncorruptible IRS inspector Amay Patnaik. The film, which was directed by Raj Kumar Gupta and came out on May 1, 2025, follows Patnaik as he takes on another case of white-collar crime, this time against Dada Manohar Bhai, a well-known and influential politician who is portrayed by Riteish Deshmukh. Even while the sequel aims to expand on the original's idea, its predictable plot and erratic pacing only make it half-interesting.
The Storyline Takes a Known Route:
Raid 2 is set seven years after the events of Raid and centers on Amay Patnaik's 75th raid, this time in Bhoj, Rajasthan, where he targets Dada Manohar Bhai, who is thought to be untouchable. Even though Dada Bhai has a solid reputation and a lot of power, Patnaik believes he has illicit assets. Patnaik is suspended after the first raid fails to provide any results. After that, the movie chronicles Patnaik's unwavering attempts, despite obstacles, to find the truth and hold Dada Bhai accountable.
Performances: Shine by Riteish Deshmukh and Intensity by Ajay Devgn:
Once more, Ajay Devgn portrays the steadfast Amay Patnaik in a nuanced yet powerful performance. He does a good job of embodying the character's honesty and resolve. He doesn't get much new character development in the movie, either.
Riteish Deshmukh, who plays the antagonist Dada Manohar Bhai, gives the most impressive performance. His portrayal of a seemingly modest yet powerful and unscrupulous politician is intriguing, and he excels in a role that lets him explore a darker side.
Ileana D'Cruz plays Amay Patnaik's wife, Malini, but Vaani Kapoor takes her place. Although she and Ajay Devgn have a strong on-screen chemistry, her part doesn't significantly deepen the primary plot.
Technical Aspects and Direction:
The first film's genuine and gritty tone is something that director Raj Kumar Gupta tries to preserve. But in the first half, the screenplay seems strained and cliched. With more exciting aspects and an improved background score by Amit Trivedi, the second half gains up speed. Although Sudhir K. Chaudhary's cinematography is respectable, the editing could have been more precise to keep the movie moving at a steady tempo.
Pros and Cons:
Pros:
- Riteish Deshmukh's Performance: One of the film's highlights is his portrayal of the adversary.
- Interesting Second Half: There are more surprises and intrigue in the second half of the movie.
- Ajay Devgn's Relentless Performance: He does a good job as the resolute lead.
- Connected Plot: The plot of the sequel seems like a logical progression for viewers who have already seen Raid.
Cons:
- Predictable Plot: Particularly in the first half, the plot feels recognizable and has few noteworthy turns.
- Slow Paced First Half: The first half of the movie puts viewers to the test.
- Superfluous Songs: The crime thriller's pace is broken by the insertion of several songs.
- Weak Climax: The conclusion may not have the impact that was anticipated.
- Lack of Depth: Both the first half's narration and the characters' general growth should have been improved.
Raid 2 is a decent criminal thriller, mostly because to Ajay Devgn's performances and Riteish Deshmukh's standout performance. The first half's slowness and predictable plot are major flaws, but the second half's exciting features successfully hold the audience's attention. Although genre fans may find it entertaining, it falls short of its predecessor.
“A Flying Jatt”, is the story of the local superhero of the same name. Apart from the name, there is nothing original about the film. The character, chiselled on the lines of the DC Comics fictional character Superman, is an Indianised version of the superhero which includes his traits and costume.
It is the story of a reluctant martial arts teacher, Aman Dhillon (Tiger Shroff) who is forced to fight a prominent and powerful industrialist, Mr. Malhotra and his goons, when they forcibly try to usurp a track of land which his mother, Mrs. Dhillon (Amrita Singh) owns.
How Aman transforms from a meek person to the local crusader — “A Flying Jatt”, forms the crux of the tale.
The film is director Remo D’Souza’s pretentious plea to save the planet. Pretentious because the film, in all sincerity, is treated with an artificiality which includes his direct appeal — “Everything has an alternative, except Mother Earth.”
The plot is layered and complex, but not without flaws. It ropes in all the tried and tested formulas of film marketing; Deus ex-machina as a plot device, a superhero who tugs on patriotic themes and religious affinity, bonding with the mother, romance, fight between good and evil and moreover, it tackles the serious issue of environmental pollution.
Apart from this, the film is replete with tell-and-show expositions, half-baked characters, plot holes galore and interplanetary fight sequences.
Tiger Shroff in the titular role is sincere and charming. With a stubble and turban he is striking and he lights up the screen with his presence. His character is designed like a satire and he excels in its caricature, but the poorly scripted drama does not back him enough.
Jacqueline Fernandez in a relatively small role is competent as Aman’s love interest, the giggly headed Kriti.
She looks radiant, performs ably and matches Tiger in histrionics. But she fails to be consistent in the accent. Her dialogue delivery fluctuates from an anglicised accent to a local one.
The hulk Nathan Jones plays the stereotypical henchman with aplomb and elevates the character to the rank of an antagonist. Kay Kay Menon as the pivotal bad man essays his role in a hackneyed manner.
The two characters who make their presence felt are Amrita Singh as the drunk Mrs. Dhillon and the character who plays Rohit — Aman’s friend, accomplice and brother-figure.
Technically, the film boasts of ace production values, but the spirit is diluted with poor craftsmanship.
The effects are not at par with international standards and though the computer generated images mesh seamlessly into the live action, the finesse is missing.
The songs are well choreographed and well picturised except for the “Beat pe booty”. This one seems forced and poorly mounted in a studio environment.
Overall, the director seems to have lost the plot after the second act, as the narrative meanders making the entire comic affair agonising.
Director : Shujaat Saudagar, Producers : Farhan Akhtar, Ritesh Sidhwani, Music Director : Shankar–Ehsaan–Loy, Starring : Farhan Akhtar, Shradha Kapoor, Arjun Rampal
A sequel to the 2008 film, “Rock On!!”, which was about the coming together of a band called Magic, this one is more than the reinforcement of the band.
The narrative begins with the band being dismantled once again not because of differences between the team members, but because each one of them has their own demons to deal with.
Aditya (Farhan Akthar) hounded by the guilt of a suicide case, settles in Meghalaya with his solitude and the villagers, helping them have a better life.
Joe Mascarenhas (Arjun Rampal), concerned about who is going to pay his bills, becomes a club manager and a reality show judge. Kedar Zaveri or KD (Purab Kohli) is still trying to find a balance between his friends and himself.
The trio and their families reunite in Meghalaya for Aditya’s birthday and they decide to reassemble their once famous band.
Meanwhile, as deus ex machina, Aditya’s path crosses with Jiah Sharma, a music enthusiast recording local talent in Meghalaya. And in Mumbai, Uday, Jiah’s friend sends her CD to the trio.
It is only when the five of them assemble at Joe’s office, that there is an instant acceptance, but not without their own hurdles.
Meanwhile, disaster strikes in the form of a forest fire and destroys the village Aditya had adopted. So, he goes back to Meghalaya to salvage the villagers from their miseries. And what better way to raise funds than a rock concert.
The story credited to Abhishek Kapoor and Pubali Chaudhari is interesting, but the plot is staid and formulaic with each scene packed with conflict, making the entire tale seem dramatic and forced. Also, the blatant plot holes due to the cinematic liberties taken make viewing a dreary fare.
With no memorable lines and the use of staid imagery, the dialogues written by Farhan are lame and run-of-the-mill.
The characters too don’t grow organically and thus there is a dissent with the viewers.
Farhan with his weak coarse voice as the lead singer is not imposing. Though he strives to put his heart into the character, he fails miserably while internalising his pain and his forlorn, unkempt look further accentuates his clumsiness.
Purab, though suave, is perfunctory and so is Arjun.
Prachi Desai as Sakshi, Aditya’s wife, with her blunt haircut and sedate outfits looks like she has just emerged from the Hollywood films of the 1960s.
Shraddha Kapoor as Jiah Sharma, and the talented Shashank Arora as Uday, who we had witnessed in the noir film “Titli” are good, but limited.
In supporting roles, topping the list is Kumud Mishra in a restrained performance as Pandit Vibhuti, Jiah’s father. He is unfaltering when he sermonises, “Kya, yeh sangeet hai?”, (Is this music?) to his son Rahul or when he is silent when Jiah argues with him in a tele conversation.
The others who have their moments of onscreen glory are the characters who play Rahul Sharma, Jiah’s brother and Manjot – a reality show contestant. They both show promise.
Mounted with excellent production values, the film is visually glossy and vibrant. The locales and the massive sets are beautifully exploited by cinematographer Marc Koninckx’s camera work.
The snappy edits by Anand Subaya keep in tune to the genre of the film.
Music by Shankar-Eshaan-Loy is well integrated into the narrative, but they do not propel the narrative. The title track that plays often is effectively used to pump adrenaline. The choreography in some songs is clumsy though.
Unfortunately, unlike the prequel, this film is not made with a passion for music. Instead, it is made with the intent of exploiting the franchise and it fails miserably.
The film is a neat explanation, both for the need of, and for the working of, the unbelievable powers of superheroes in Western popular culture CAST: Benedict Cumberbatch, Chiwetel Ejiofor, Tilda Swinton, Mads Mikkelsen| DIRECTOR: Scott Derrickson
In 1956, a strange book called The Third Eye was written in England by a man called Lobsang Rampa. He was apparently a Tibetan, and the book was about himself growing up in a monastery in Tibet, during which time, he wrote, a small hole was drilled into his forehead to trigger his ‘third eye’, a sixth sense that enabled him to gain extra-sensory perception, through which he was able to see people as they are, and not as they pretend to be. The book became a bestseller, and was followed by a whole series on the same subject.
It turned out that Lobsang Rampa wasn’t a Tibetan. He was an Englishman from Devon, a man whose name was Cyril Hoskin. He was the son of a plumber and had never been to Tibet and spoke no Tibetan. When his true identity was discovered, he explained that one day he had fallen off a tree and lost consciousness. When he woke up, a Tibetan monk called Lobsang Rampa came to him and asked permission to occupy his body. Cyril agreed, after which a transmigration of the soul took place and so he, Cyril, was now Lobsang Rampa, and had written all these books about his life as a monk who was in possession of supernatural powers.
The Marvel comic superhero, Dr. Strange, on which this 2016 film is based, was created by Steve Ditko in 1963, and has odd parallels. It is about a brilliant neurosurgeon called Dr. Stephen Strange, who is in a car accident and loses the use of his gifted hands, once capable of pinpoint precision in surgery. He (Benedict Cumberbatch) is devastated by this blow to his professional skills and, after a period of depression, travels to Kathmandu where he meets the ‘Ancient One’ at a monastery called ‘Kamar-Taj’. The ‘Ancient One’ (Tilda Swinton) teaches him that a person has a physical body and an astral persona, and though Strange will never regain his surgical skills, he has another dimension of his consciousness he can use for the protection of the entire world, not just the single patient he happens to be operating on. The conceptualization of ‘Dr. Strange’, a man of Western science and Western faith, coming to the end of his tether and seeking a solution in Buddhist thought and religion, is eerily similar to the idea of The Third Eye of Lobsang Rampa.
What this film adaptation does is to visualize transcendental thinking very well; it creates a prism through which it looks at the world in which we exist - the dimensions of space/time/matter/gravity - and hops out of it, every now and then. Primarily, the film uses 3D very intelligently to give the impression of Dr. Strange exiting our world and then entering one in which the continuum of the physical laws of our universe are temporarily suspended. In this new world, time can be stopped, space can be refigured, matter can be deconstructed and gravity can be neutralized. So basically, Dr. Strange leaves our constraining world, of which his trembling and ineffective surgeon’s hands are a part, and enters a world where he has enhanced powers; i.e. he is a superhero.
With the help of Eastern spirituality, Dr. Strange is a neat explanation, both for the need of, and for the working of, the unbelievable powers of superheroes in Western popular culture. The essential text in the library of ‘Kamar-Taj’ is in Sanskrit and Dr. Strange, with his wonderful memory (he did his MD and PhD simultaneously), reads it from cover to cover. There are a few pages missing in the book, of course, but it doesn’t really matter, because despite this he is one step ahead of the villain (Mads Mikkelsen), whose knowledge of spoken and written Sanskrit, apparently, is not as good.
'Dr. Strange' has a few things that many other comic book adaptation movies don’t - irony, self deprecating humor and good actors in Cumberbatch and Mikkelsen who can speak the funny lines in the script, with a perfectly straight, superhero and/or villainous face. Source: OPEN Magazine
Home On The Range, Treasure Planet, Atlantis: The Lost Empire... all is finally forgiven Disney.
Since the 1940s, the world's most iconic animation studio has tried it darndest to adapt Hans Christian Andersen's classic fable The Snow Queen, but not even the great Walt Disney could get it right. Finally, in 2013, the Magical Kingdom has nailed it with their 53rd animated classic Frozen, which had the largest ever opening weekend for a Disney animation in the studio's history. It's ironic that Frozen has been brewing behind the scenes for over 70 years, as it's the first film to capture the magic of classic Disney since The Lion King. Co-directors Chris Buck (Tarzan) and Jennifer Lee (Wreck-It Ralph) oversee the
story of two sisters who clash when Elsa (Idina Menzel) accidentally reveals her ability to control snow and ice, plunging their kingdom into an eternal winter as she retreats into exile. As Anna (Kristen Bell) races to find her sister and restore order to Arundell, she is joined by Kristoff (Jonathan Groff), a charmingly rugged ice harvester who travels with a trusty reindeer companion and Olaf (Josh Gad), a surprisingly likable snowman brought to life by Elsa's magic. So far so Disney right? True, Frozen does
contain many of the ingredients common to most Disney films - beautiful princesses, dashing princes, comedy sidekicks - but what their latest offering excels at is turning these conventions on their head without ramming it in your face. Not like a certain green skinned ogre we all know and love then... Take the lead character for example. Sure, Anna is a pretty princess searching for love but once her character is established, the script takes delight in confounding the audiences expectations. Despite a royalupbringing, Anna lacks the grace and finesse of other Disney princesses, making mistakes along the way as she fights to save her sister. That's right guys; love may be in the air but once shit hits the fan, the Princess becomes more concerned with saving her family and kingdom then shacking up with the first Prince she meets. Feminist film critics will have a field day dissecting exactly what this now means for the future of princesses in Disney animation but apparently, this forward thinking representation of women
wasn't shared by all members of the creative team. One animator has been controversially quoted as saying that female characters are harder to animate as they need to be kept pretty while expressing emotions... Ironically, the real villain of the piece is less clearly defined, demonstrating a new and more mature approach to storytelling, the likes of which we have never seen before from Disney. Is the Duke of nearby Weselton (Alan Tudyk) after the throne of Arrundel for himself? Is Prince Hans (Santino really
as Fontana) clean cut as he seems? Or is Elsa the real villain of the piece, holed up in her enchanted castle of ice as the population starve around her, caught in the snowstorm she created? It's refreshing to watch a Disney animation that doesn't dumb itself down for younger audiences. Instead, Frozen remains relevant through it's fresh humour and feisty lead characters who don't try too hard to be edgy, unlike the ill fated protagonists of Treasure Planet and even Lilo & Stitch. Love or hate it, all Disney characters
have an almost psychotic need to express their emotions in a loud and unabashed Broadway style number. Things are no different here, but while many animated films feel clunky when singing is introduced, this has always been a huge strength of Disney animation and I'm happy to say that after some forgettable tracks from Tangled, the studio is back on top form with a songbook created by the husband and wife songwriting team of Robert Lopez and Kristen Anderson-Lopez... they worked together
on The Book of Mormon and Avenue Q. Obviously! Menzel is clearly the big talent in the singing stakes and her show stopping number Let It Go is destined to become a Disney classic, bravely turning what could have been a villainous moment into an anthem of empowerment. Bell surprisingly holds her own against the Broadway powerhouse and Groff brings a likable charm to love interest Kristoff but the surprise for me was Gad, whose rendition of In Summer explores what it's like to long for sunshine when
you're made of snow. Frozen is a magnificent film, one that will be loved by generations to come, so it's fitting that the short film preceding it pays homage to what came before. Get A Horse! is a Mickey Mouse short drawn in the style of Disney movies from the 1920s which plays with our preconceptions of animation in a beautifully simplistic way, continuing the impressive streak started by Paperman last year. While the CGI of Frozen is absolutely stunning, Get A Horse! made me hanker still for traditionally hand-drawn animation. Hell, I could write a 1000 word review just on the short alone! But that's not what we're
here for...Not only is Frozen a million times better than the latest Pixar films, it's also a huge improvement on both Princess & The Frog and Tangled, two films I already held in high regard. Ladies and gentlemen, forget Dreamworks. Pixar's had it's day. The second Disney Renaissance has finally arrived in full force and I feel like an over excited 6 year old all over again, eagerly waiting with bated breath to see what will come next from the Disney studios. Source: Article, Image: flickr.com, photobucket.com
upbringing, Anna lacks the grace and finesse of other Disney princesses, making mistakes along the way as she fights to save her sister. That's right guys; love may be in the air but once shit hits the fan, the Princess becomes more concerned with saving her family and kingdom then shacking up with the first Prince she meets. Feminist film critics will have a field day dissecting exactly what this now means for the future of princesses in Disney animation but apparently, this forward thinking representation of women
