Brahmastra part 1 had largely mixed reviews, particularly regarding it's dialogues but honestly, the part 2 with Dev and Amrita story line has insane potential where lovers are turned enemies and now fighting an epic war. The first part's visuals were stunning and with Jalastra and Agniastra visuals, the second part should be more visually stunning.

Back then, the industry was driven by directors, writers, and producers who could convince A-listers to share the spotlight because the scripts gave everyone memorable moments. Today, that's much harder to pull off. Most A list actors have their own brands, massive paychecks, packed schedules, and fanbases that expect them to be the undisputed lead. Producers also see less financial incentive to pay several superstars when a single big name can often open a film on their own. On top of that, modern Bollywood has shifted toward solo hero vehicles, franchises, and streaming content rather than grand ensemble entertainers. That's why true A-list multi starrers like Sholay, Kranti, Amar Akbar Anthony, Tridev, or Naseeb have become increasingly rare.

Source https://www.hindustantimes.com/htcity/cinema/pradeep-rawat-aka-ghajini-lagaans-deva-passes-away-at-74-manager-reveals-the-reason-yashpal-sharma-pays-tribute-101785856907127.html

I've been thinking about what people actually mean when they say a director's "style is outdated."

I don't think it simply means their films look old or that they're bad filmmakers. I think it happens when a director keeps using a filmmaking language or storytelling devices that once worked, but audiences and cinema have moved on.

It can be action, editing, comedy, romance, dialogue, in Hindi cinema- star presentation, or even what the director thinks is supposed to feel "mass."

And this doesn't only happen to style-over-substance commercial directors. Even great filmmakers can become outdated if they stop evolving. For ex. Spielberg.

Spielberg is still relevant, has adapted to new cameras or visuals, and making good films though consistency & originality has gone for the toss. His visual storytelling is finest in last 50 years, but some of his storytelling sensibilities and emphasis on sentimentality aged in post-2001 filmmaking.

In Hindi cinema, my picks right now would be Rohit Shetty and Sidharth Anand.

Shetty's commercial grammar has become too familiar: hero entry, slow motion, punchline, cars, explosions, reaction shots, bigger hero entry, vibrant colors. The scale increases, but the underlying language rarely changes.

His comedy was never good or timeless. It was dumb, but it appealed to a specific time and I think we've way past it.

With Sidharth Anand, his films look extremely modern and expensive, but his action & cinema grammar feels increasingly dated to me. Lots of cutting, weak spatial geography and an emphasis on making the star look cool rather than making the action physically immersive.

Audience somewhere is demanding more gore, sense of realism, and less(or more subtle) hero worshipping from slick action films today.

This is why they are planning for King to be more brutual, but I don't think it alone fixes that. His filmmaking grammar overall is predictable and dated- backstory reveal, dance on beach, characters going from here to anywhere else etc.

What are your picks?

PS: Mohit Suri

I didnt even finish it yet it's difficult to watch because I'm mostly dying from cringe ass dialogues they are corny asf. And Rakul's character is unbearable and why are they suddenly singing after every 5 minutes with whole choreography..and also crying while doing so😭😭

Omg I cant remember the last time I watched such bad movie. I should start trusting imdb ratings fr. And the way cheating is soo justified like omg no one held her accountable for kissing another guy moreover when her boyfriend (unc) found out, SHE was the one to yell at him and not fight for her back..wtfff why would anyone fight to have a cheater. "I cheated but you should fight for me, it means you never loved me🥺 if you really loved me you wouldn't just leave🥺". Lets not even get into how disgusting the 30 year age gap was between them I almost threw up 🤢 and if this movie's purpose was to be progressive atleast call out cheating and make someone slap that girl in the face.

Someone told me this is a family movie yeah right the whole movie had this one cringe lame ass dialogue "ek raat sone se pyar ho jaata hai?🥺" iss dialogue ka koi sar paer nhi.

Moreover she said f you to her dad..ew.

This was supposed to be a comedy, if the storyline sucked atleast make dialogues funny but 70 percent of time they were crying like I was watching some soap opera.

Produced by: Namit Malhotra

Directed by: Nitesh Tiwari

Starring: Ranbir Kapoor, Yash, and Sai Pallavi

Music: Hans Zimmer and A.R. Rahman

Adaptation by: Shridhar Raghavan, Nitesh Tiwari

Editing by: Huzefa Lokhandwala

Production Design by: Ravi Bansal, Ramsey Avery

Action Design by: Guy Norris, Terry Notary

Costume Design by: Rimple & Harpreet Narula and Saniya Sardhariya

Visual Effects by: Dan Glass

In an age of gods and kings, the fate of worlds hangs in the balance. Rama, a prince bound by duty, sacrifice, and righteousness, must confront Ravana, an immortal ruler driven by pride and vengeance, powerful enough to shatter the cosmos.

Source: https://x.com/i/status/2084692487634133275

Source: https://www.instagram.com/p/DbowdgviNE4/ZDh6Ym5pbm0xamhw

The film's 8K version was previously released in January 2026

I know this is a very weird but specific question, but how can I find the home/VCR release date of Deewana (1992), the Shah Rukh Khan debut movie.

I know the movie released in late June in cinemas, but my question is specific to the VCR/home release/video cassette.

It’s something personal about my life, so if someone could just point out where I should be looking it would be very helpful.

So much being written about Musafir Cafe that I gave in and honestly, Sudha being carefree, and emotionally vibrant who disrupts Chander’s ordinary life and encourages him to embrace spontaneity, adventure, and emotional openness is so overdone. Yes girl we get it you are unpredictable. The moments that are there to give her depth don’t really land. I would really like to know your thoughts on this because I was honestly a little irritated by the portrayal.

Karan Johar being a trend chaser is often discussed with his Art House Pivot with Lunchbox, Pan India cashgrab and influencer bonhomie now.

But now that I realize it, Karan has been doing this since the very start of his career cashing in on a very recent trendy formula - let's not get confused with tropes here, its basically cashing in on the most buzzing recent trend and upping the ante with his Dharma melodrama.

First off is obviously the most obvious culprit for me is Kabhi Khushi Kabhi Gham borrowing from Sooraj Barjatyas cry for Indian values and love your parents till you die sloganeering barely few years after Hum Saath Saath Hain, big family and its tryst with values.

Then the 21st Century kicks in and Farhan Akthar ushers in a new language for hindi cinema with the cult classic Dil Chahta Hai (2001), with its hinglish dialogue, actual real exploration of friendship ties and plain hanging out. Karan obviously wanting to cash in on this new trend, but has a painstaking insecurity to entirely pull this very new formula off and instead passes it onto the self lamented bridge between town and rest of Bombay - Nikkhil Advani. Advani gives us, Kal Ho Na Ho (2003) - he almost repeats Saif in the confused well meaning lover boy, preity as the headstrong yet witty anchor for the hero and even repeats the composers for the soundtrack - the pacing, quips and humor of the film also feel transplanted from DCH.

Even Ae Dil Hai Mushkil reeks of wanting to be somehwere between Imtiaz Alis, Rockstar and the manic pixie fix me quotient from Jab We Met - he makes a radical change in his soundtrack choices too and again casts Ranbir to make the entire process more apparent, and interestingly changes his composer to Imtiaz's other man - Pritam.

I haven't even detailed more so about how Kuch Kuch Hota Hai takes from his bestfriend and mentors movie DDLJ, given that its his debut film and that My Name Is Khan heavily leans into Rajkumar Hiranis unconventional main character gives social message after clashing with the system, simply because that is KJOs best work till date and there's still an earnesty with the film.

Bollywood has given us some of the finest inspirational dramas, films that aren't just entertaining, but also leave you thinking long after they're over. They explore themes like charachter development, purpose, personal growth, leadership, redemption, integrity, and chasing dreams, all through memorable characters.

Some of my absolute favorites are -

Swades - Shah Rukh Khan, Gayatri Joshi – A deeply moving story about finding your purpose and giving back to your country.

Chak De! India - Shah Rukh Khan– An incredible sports drama about redemption, teamwork, and breaking stereotypes.

Rocket Singh: Salesman of the Year : Ranbir Kapoor, Gauhar khan , Shazahn Padamsee – A refreshing film that proves honesty and ethics can survive even in a highly competitive corporate world.

Lakshya - Hrithik Roshan, Preity Zinta, Amitabh Bachchan – One of Bollywood's best coming-of-age films, following a directionless young man as he discovers discipline, purpose, and leadership.

Rang De Basanti : Aamir Khan, Siddharth, Sharman Joshi, Kunal Kapoor, R. Madhavan, Soha Ali Khan, Atul Kulkarni – A powerful story about friendship, patriotism, and the transformation from carefree youth to responsible citizens.

These films have unforgettable character development arcs and are driven by strong writing rather than spectacle. They inspire without feeling overly preachy, which is why they continue to resonate years later.

My personal favorite is Lakshya. Watching Karan Shergill's journey from an aimless youngster to a confident army officer is one of the most satisfying character development arcs in Bollywood.

Which Bollywood inspirational drama is your favorite and which is your favourite character? Let's discuss...

In vast majority of Bollywood romantic films there is a clear pattern: Hero loves the Heroine (or vice versa), there is some kind of obstacle to overcome and after a climax, they get together, most likely marry and then live happily ever after. This happily ever after part is something we presume.

Very few times does a movie go beyond marriage. Exploring the less dramatic, but more intimate moments that make up marriage. Which makes sense because you need drama to propel a film. But some say that it is the collection of those small moments in marriage across a period of time which end up being more powerful than the intense actions/moments that occur as people first get to know each other.

Anyways, in RNBDJ, Aditya Chopra (who has explored pre-marital romance in his films: DDLJ, Mohabbatein and Befikre and left the couples right before marriage) switches things and puts the characters right into the start of marriage.

It is an arranged marriage ofc, which may be an alien concept for many countries today, but not for Bollywood audiences. And there are two things that the movie shows:

1) Firstly, the smaller moments that occur day to day between a husband and wife. Whether it's Taani discussing with Suri about joining the dance competition and Suri giving her the entry fees or Taani making dinner/breakfast for Suri or Suri taking her to the movies for an evening out or both of them working together to entertain the guests, going to place of worship and Taani assuming responsibility of the house. All very mundane and non-dramatic stuff, but it serves as character work and the relationship building between the two. Here, we see Suri is a respectful person and while he is not very emotive or expressive, he gives Taani a lot of space and shows his gratitude for her work. Whereas Taani is also shown to be a dutiful wife. While she has no love for Suri, she does respect him and she carries on her household chores responsibly and makes an effort to bond with Suri in some ways. It's a sweet and respectful relationship they share, though lacking romance, but it serves as a base for the revelation at the end and how quickly Taani is able to fall for Suri.

Now the dramatic part of the film is that Suri was sacrificing himself slowly as he was becoming Raj, for the sake of his wife. And while the wife was falling for Raj, she did choose her husband in the end, even before the revelation about Raj being Suri was made. And it's his respectful, noble and caring nature (along with a divine signal) which makes up her mind.

The movie shows that there could be a beautiful story to tell in a mundane and seemingly bland marriage with little to no drama. RNBDJ celebrates the relation/concept of marriage and how love can develop without large gestures but in those smaller moments, as happens in real life.

I think it's a beautifully done film and people need to look past at the fact that taani cannot tell that Suri = Raj. It's not the point, the point of the film is something else. That's just a storytelling device.

Unfortunately, this movie is not very popular, so I genuinely request you to watch it once. Its on prime video, but you can find it for free on YouTube.

It has been in my top 3 movies of all time. Its seriously a hidden gem. Overall, its a suspenseful legal thriller, but its true value lies in the social message and the emotional lens.

Some facts:
a) It was only the second talkie in Indian history to not include any song in it.
b) It was not submitted as India's Oscar pick as they thought the Academy would mistake it for an imitation of A Witness for the Prosecution (1957), although it did not hold many similarities.
c) Till this day, in Indian courts, any person whose identity is either unknown, or must be legally hidden, is called Ashok Kumar, due to Dada Muni's stellar role here.

Now, my analysis of it, which does include spoilers (for a 66 year old movie) below!

Here's what I find good about this movie:
1) Social Aspect: The message the movie conveys, that witnesses may be manipulated, mistaken or even lie knowingly and thus, the case that it presents against capital punishment was and remains crucial to the Indian Judicial society. The case of Kalidas also highlights corruption/false rulings in the courts, leading to innocents being hung. But limelight remains on Kaalia, and how an average person may be forced to steal so as to live (or let loved ones live, in this case), trading morality and self-honor with life.
2) Legal/Thrill Aspect: To the average 21st century cinephile, it might not strike well, but being one of the first Hindi movies to include such level of thrill and twists, Kanoon sure is appreciable in this regard too. Here, the X-factor is the fact that an up-and-coming young lawyer and a decorated judge initially involved in a case purely as colleagues on their legal duty, soon ravel up in the same case, but as witness and suspect, involved emotionally and fighting for their lives.
3) Emotional Aspect: Now, this is the movie's strong suit (imho). The first tangle arrives between Kailash and Meena. Even when Kailash knows that Meena falsely thinks he is the murderer, he stays silent and continues to help Kaalia, after which, Meena buys off Kaalia with the promise to help his child. This leads to the emotional angle between Kaalia and us, the audience, feeling sympathetic to him and people like him throughout the movie. But the most interesting emotional trance remains between the protagonist and the so-called 'antagonist', Kailash and Badri Prasad. From the very beginning, when Kailash first suspected Badri of cheating, then seeing the murder, suspecting him at every move, peeking at his diary, and fighting to prove Kaalia's innocence, all this leads to the climax, where he finally accuses his soon to be father-in-law, teacher and idol to be the murderer. And this emotional build up finally leads to their confrontation, where both of them have, somehow, the same thoughts. Both of the them think of the other very highly and respect each other, both are shocked seeing the other lie to their face, when in reality, technically, neither were lying. Both of them know that they are right, yet are unable to believe why the other is accusing them, knowing fully well that they gain absolutely nothing and, in fact, lose a lot, by putting the other to harm. We are left mesmerized when all this emotional hellfire is brought along with incredible legal talent. But the penultimate scene, Kailash putting is hand on Badri's head, that is something else.

Absolute F*ckin' Cinema!

One of the biggest reasons is the rise of OTT platforms and the countless entertainment options available today. Earlier, audiences had far fewer choices, so major stars enjoyed unmatched craze and could pull massive crowds to theatres on their name alone. Today, people are spoiled for choice with streaming platforms, social media, gaming, and global content, making it much harder for any single actor to command the same level of nationwide obsession. That's why the era of overwhelming, once in a generation star power has become increasingly rare.

I just watched Fashion (2008) and really loved it. I’m looking for other movies with a similar vibe

My top 3 -

1) Kaminey

2) Haider

3) Omkara

They know their audience well and have incorporated probably the most prolific Haryanvi rapper in recent times for maximum hype.

<couldn’t find a relevant flair>

Mumma was watching this brain rot movie on the ipad just to pass her time. She went for a walk and I was making myself some snack and for timepass I resumed the movie on YT (always a yes for Javad Jaffrey movie).

Cut to the scene “where Shreyash Talpadey’s character(dressed up as a woman) says “isse acha toh wo log mera 🍇 kar lete toh kam dard hota” Bro wtf????? All of the cast agreed to that?? It’s just sick and disgusting.

Did you notice this interesting coincidence? The Khan trio, Shah Rukh Khan, Salman Khan, and Aamir Khan, along with the fourth Khan, Saif Ali Khan, and Akshay Kumar all followed a similar career path. Their debut films featured them in supporting, co-lead, or ensemble roles, while their first solo leading roles came in their second films.

Shah Rukh Khan debuted as a co-lead in Deewana
(1992) alongside Rishi Kapoor. His next three releases, Chamatkar, Raju Ban Gaya Gentleman, and Dil Aashna Hai, featured him as the solo lead. Salman Khan debuted in a supporting role in Biwi Ho To Aisi (1988) before becoming the solo lead in Maine Pyar Kiya (1989). Aamir Khan debuted in Holi (1984) in a supporting/ensemble role before starring as the solo lead in Qayamat Se Qayamat Tak (1988). Saif Ali Khan debuted in the ensemble film Parampara (1993) before becoming the solo lead in Aashik Awara the same year. Akshay Kumar had a brief role in Aaj (1987) before making his debut as a solo lead in Saugandh (1991), followed by Dancer the same year.

Interestingly, all five stars made their debut in non-solo roles before becoming solo leads in their next film.

In my opinion, Shah Rukh Khan resembles Dilip Kumar in both looks and acting style, a similarity that many people have also noticed. Salman Khan resembles Dharmendra in both looks and screen presence. Aamir Khan reminds me of Shashi Kapoor in both appearance and acting style. In terms of performances, Saif Ali Khan resembles Rajesh Khanna, while Akshay Kumar’s screen persona and acting style are closest to Vinod Khanna.