Dhaka, June 21 (UNB) - Cast: Shahid Kapoor, Kiara Advani, Arjan Bajwa, Suresh Oberoi, Kamini Kaushal, Adil Hussain, Nikita Dutta, Soham Majum
Director: Sandeep Reddy Vanga
Rating:1.5 Stars (out of 5)
Shahid Kapoor steps into Vijay Devarakonda's shoes in Sandeep Reddy Vanga's Kabir Singh, a remake of the director's own 2017 Telugu smash hit Arjun Reddy, reports NDTV. The Bollywood actor, and the rest of the cast, represent the only alterations effected in this totally redundant reiteration of the tale of a young orthopaedic surgeon who goes on a self-destructive rampage when the medical college junior he loves is prevented from marrying him.
Every shot, every scene, every camera angle and every line from Arjun Reddy is replicated in Kabir Singh, leaving one wondering why the director felt the need to mount a separate Hindi version in the first place when all that he has done is give us the same film all over again with merely the language and setting changed for the benefit of a pan-Indian audience. He could have well dubbed Arjun Reddy and re-released it nationwide.
In any case, Kabir Singh is a hugely problematic film. The bloated, overlong love story seeks to lend a veneer of normality to acts of dreadful delinquency and sickening misogyny by painting an empathetic portrait of a wayward doctor who lets heartbreak get the better of him, in the process endangering the life of a patient every time he picks up a scalpel to perform a surgery. The film's protagonist, already dealing with serious anger management issues, goes completely over the edge and turns into a womanizer, an alcoholic and a drug addict when the Sikh girl (Kiara Advani) he thinks he owns marries another man under pressure from her orthodox family.
As all hell breaks loose and his life and career spiral out of control, the audience is expected to summon sympathy for a painfully self-absorbed character who cannot see beyond his own nose. His insolence and sense of entitlement know no bounds. It is one thing to be a flawed hero wronged by circumstances but quite another to be an insufferable lout born with the belief that a woman cannot but play along when a man makes up his mind on matters of the heart.
One key scene from Arjun Reddy is inexplicably done away with in Kabir Singh. It robs the protagonist of the only moment in the three-hour drama where he makes the right noises, however faux. He takes umbrage at sexist remarks about air hostesses that a bloke who has just jetted in from London makes. The hero is livid and gives the guy a piece of his mind. This sequence is obviously meant to underscore that our man is not all bad. He has the right ideas until he is unsettled by rejection. Kabir Singh provides no such glimpse into his mind.
Kabir feels that muscle-flexing and loathsome behaviour are his birthright when he is thwarted. The girl, on the other hand, is a mute spectator as the college topper with "an impeccable academic record" struts around the campus telling everyone within earshot that 'she' is 'his' girl ("meri bandi hai," he says repeatedly). Seriously, does anyone talk like that in this day and age and hope not to be ticked off? Preeti Sikka, the girl in question, is marginally better than a doormat: she does Kabir's bidding like a wound-up doll with no agency of her own and the guy does not have the sense to see that he is doing her absolutely no good.
In an early sequence, the medical college dean (Adil Hussain in a cameo that does no justice to the seasoned actor) hauls Kabir up for a sports field brawl. The latter, his insouciance instact, insists that football is a violent sport and he is well within his rights to arm twist the referee for flashing a red card at him and to bash up a rival who gets in his way. "Frankly, sir, I do not care," he thunders. That is meant to be a show of masculine pride. He seems to be saying that I am what I am, take it or lump it. When a film for the masses not just condones, but also appears to celebrate, such awful demeanour, one can only worry about the message that is going out.
The errant final year student is handed a month's suspension, but he decides to leave the college only to change his mind at the sight of the pretty newcomer who catches his fancy. No words are exchanged. The man jumps to a conclusion. The girl surrenders to him without a whimper. While she is allowed no room to have a say, no transgression is too low for the hero. He rides roughshod over everything that he perceives as a threat and then plays victim when the tables are turned on him.
Kabir sinks into a blue funk, has a combination of alcohol and morphine and passes out for two days. His elder brother Karan (Arjun Bajwa), who is in the middle of his own wedding, and his best pal Shiva (Soham Majumdar) fret and fume over the hero's aggravated state but to no avail. After he returns to his senses but continues to drink heavily and snort cocaine day and night, he turns his attention to a movie actress Jia Sharma (Nikita Dutta) who comes to his hospital with a sprained ankle. Kabir treats her without a modicum of respect. Again, like Preeti, Jia falls into his trap. Look, no point cribbing, Kabir Singh is a man who is difficult to resist, so he can get away with murder!
This is absolutely the same film as Arjun Reddy and has nothing new to offer except for the fact that the Mangalore/Hyderabad setting of the original makes way for Delhi and Mumbai, with neither of the two places showing up on the screen in any significant manner as action-0defining cityscapes. Kabir Singh has obviously inherited all the ills of the earlier film. Emancipation for the heroine here means her jumping into bed with the hero at every available opportunity and then preening over the number of times that the two have had pre-marital sex. This approach to gender assertion comes from a caveman philosophy that one thought India's filmmakers have put behind them for good. But no, Kabir Singh and its makers are too firmly stuck in the past to notice that the world has moved on.
Shahid Kapoor stretches himself very thin indeed in trying to convince us that Kabir Singh is a present-day incarnation of Devdas that we should shed tears for. But the man he portrays does not suffer quite as irreversibly as the classic tragic hero did. But he raves and rants through his ordeal and would have us believe that he is more sinned against than sinning. Sorry, we aren't buying that.
Kiara Advani is trapped in a role that requires her to be no more than a sounding board designed for periodic ego massages for the male protagonist. Veteran actress Kamini Kaushal, playing the hero's sagacious, sensitive granny, endeavours to inject some warmth into the story. Unfortunately, Kabir Singh is beyond redemption. Strictly for Shahid Kapoor fans.
New York, June 20 (AP/UNB) — Like “Casablanca,” ″Toy Story 3″ concluded with the beginning of a beautiful friendship.
It’s an ending that has very possibly produced an ocean’s worth of tears, not to mention countless awkward moments for children mildly embarrassed by their parents suddenly turning into waterfalls. “Um, dad, it’s a movie about a toy cowboy.”
But the sentimental crescendo of the “Toy Story” trilogy was real. The films’ young boy, the one whose name was emblazed on the bottom of Woody’s foot, had grown up. Andy was going to college. The fate most feared by the toys — boxed up in the attic — was miraculously avoided when Andy gifted his beloved playthings to a young girl named Bonnie.
As he drove off, after one last imaginative romp in the yard, Woody watched Andy go like a wistful father. After three brilliant and heartfelt parenting parables that ruminated on aging, loss and impermanence alongside the pitfalls of arcade claw machines and toddler daycare centers, this was the final goodbye. Goodbye to Andy, yes, but goodbye to childhood. “So long, partner,” said Woody.
The finale was immediately received as a classic Hollywood ending. “The chances of topping this one are infinitesimal,” New York magazine wrote at the time. “Toy Story 3″ won the Oscar for best animated film. Everyone, including the film’s makers and cast, believed they had neatly, perfectly wrapped up their trilogy.
Tom Hanks and Tim Allen discuss the generational success of the 'Toy Story' franchise, as well as making a fourth movie and carrying the story forward. Also, Tony Hale talks about his new character. (June 18)
“From the inside, ‘Toy Story 3’ was definitely the end of it,” said Tim Allen, the voice of Buzz Lightyear. “That one scene was it.”
But, of course, that wasn’t it. “Toy Story” has returned, nine years later, with “Toy Story 4.” In today’s movie business, nothing is safe from ongoing sequelizing, not even a story about the very necessity of letting go and making peace with the passage of time.
That movie franchises have been extended well beyond their natural cycle is nothing new. But “Toy Story 4” may mark when Hollywood officially gave up saying goodbye.
It’s probably a fool’s errand to wish for prudence from a corporate-made, multi-billion dollar property that was, from the outset, designed to sell as many toys as it jerked tears. “Toy Story 4,” which opens in theaters Friday, is widely expected to make around $150 million over the weekend and gross close to $1 billion over its worldwide run, just like “Toy Story 3″ did.
And, for some, Woody is again coming to rescue. The Walt Disney Co. release will break a spell of underperforming sequels . The box office has recently slumped about 7% below last year, partly due to a string of disappointing returns for badly reviewed (or just plain bad) sequels: “Dark Phoenix,” ″The Secret Life of Pets 2,” ″Men in Black: International.”
As Jeff Bock, senior box office analyst for Exhibitor Relations notes, it’s difficult for any studio, even Disney, to leave $1 billion on the table.
“Audiences might not actually need ‘Toy Story 4’ but theaters desperately need it,” said Bock. “It’s very reflective of where we are today with sequels and continuing sagas. We’re at a point where three is no longer the magic number. It’s beyond that.”
It would be an unfair Buzz kill to call “Toy Story 4” simply a blatant cash grab. Quality control is too high at Pixar to give us a “Toy Story” sequel on par with, say, “Jaws: The Revenge,” or something that we collectively pretend never existed, like “Godfather 3.” ″Toy Story 4″ is quite good, critics say . Though many reviewers have questioned its necessity, the film rates 99% fresh on Rotten Tomatoes.
Directed by veteran Pixar animator and first-time feature filmmaker Josh Cooley, “Toy Story 4” finds Woody and the gang now settled in with Bonnie. But Woody slips into another existential crisis of self-worth when Bonnie favors other toys, especially one she quickly crafted herself out of a spork and some kindergarten trash. She names him Forky, a neurotic character voiced by Tony Hale. When Forky goes missing on a family road trip, the resulting adventure forces Woody to confront the possibility of not only post-Andy life, but post-kid life.
It’s become standard business for franchises to slowly abandon the numbers that might too bluntly remind fans of their lengthy runs. The “Fast and the Furious” series understandably chose to title its upcoming installment “Fast & Furious Presents: Hobbes and Shaw” over its almost shocking actual numerical value: “Fast & Furious 9.” Pixar, at least, hasn’t shied away from where this “Toy Story” fits in, even if its lead actor would have gone a different direction.
“It really should be called ’Toy Story: Forky,” said Tom Hanks. “Because it’s all about the Forky.”
Sequels have always been a somewhat touchy subject for Pixar. Since its groundbreaking first feature, 1995′s “Toy Story” (the first full-length computer generated animated movie), Pixar has, for much of its existence, eschewed repetition for originality. In his 2014 book “Creativity, Inc.” , Pixar co-founder Ed Catmull called quality “the best business plan” and suggested sequels can lead to “creative bankruptcy.”
Lately, things have been changing at Pixar, and not just because of a recent preponderance of sequels including “Finding Dory,” ″Cars 3″ and “Incredibles 2.” Former Pixar chief John Lasseter, who directed the first two “Toy Story” films, exited the company last year after acknowledging “missteps” in his behavior with female staff members. In 2017, Rashida Jones departed “Toy Story 4,” which she was helping to write, and said then that the company had “a culture where women and people of color do not have an equal creative voice.”
“Inside Out” and “Up” director Pete Docter, who has a story credit and is an executive producer on “Toy Story 4,” last year took over as Pixar’s chief creative officer. The studio’s next two releases will be originals: “Onward” next March and Docter’s own “Soul,” in June 2020.
And given Pixar’s unique stature as one of Hollywood’s few remaining factories of fresh storytelling capable of reaching mass audiences (its last original, “Coco,” grossed more than $800 million), some are rooting for “Toy Story 4″ to — really this time — be Woody’s last go-around. Not because they won’t watch another one, but because they will. In a movie world of endless “Star Wars” episodes and even actors who can be digitally resurrected, closure — the kind preached in “Toy Story 3″ — is increasingly a hard-to-come-by commodity. Not everything is meant to keep going for infinity and beyond.
Los Angeles, Jun 15 (AP/UNB) — When it came to their kissing scenes in Netflix's "Murder Mystery ," Jennifer Aniston had one requirement of co-star Adam Sandler.
"I did have him learn to oil the beard up a little bit," the actress said in a joint interview this week. "Conditioned."
Sandler said kissing his longtime friend on camera isn't all that awkward, except when his wife Jackie and children are on set encouraging him a little too much.
"The only awkward part is hearing my wife on the side going, 'Harder! Harder! Kiss her harder! Deeper!" he joked. "They (Jackie and the kids) watched the kissing. They love it. They love Aniston, and they want her to have good things and they say, 'Give her something nice.'"
"That was awkward," Aniston said.
"Murder Mystery" follows a longtime married couple who get framed for murder while they're unlikely guests on a billionaire's yacht in Europe. The movie premiered on Netflix on Friday.
Asked what the movie gets right about marriage, Aniston said teamwork.
"Right, that when it's working good, it's teamwork," Sandler said. "I like that there was no question you and I, our characters, are together, even when we were not getting along. When it was going back and forth with being upset with each other it was never an option of saying, 'I don't know if I can handle this anymore.' It was more like, 'We've got to figure this out.' That's nice."
"Murder Mystery" is the second film for Aniston and Sandler, who've been friends for 30 years after meeting at a deli. The first was 2011's "Just Go With It."
The actors said knowing each other for so long makes their jobs on the set much easier.
"We like to laugh, like to enjoy, like to collaborate, and that just makes it really fun," Aniston said.
Sandler and Aniston are among the few celebrities who've chosen to stay off social media. Though Sandler has social media accounts, he said his friends handle his posts.
Aniston said she doesn't think she'd be very good at it but that she also likes "the idea of keeping certain things private, to yourself."
She said she thinks privacy will eventually win out over the urge for likes and shares on social media.
"Why do people like 'Friends?' 'Friends' is still really loved and watched. They didn't have iPhones. They talked to each other. They connected. They communicated," she said. "It'll come back."
Los Angeles, Jun 13 (AP/UNB) — A Los Angeles judge is set to consider Thursday whether to extend a temporary restraining order taken out in the name of Britney Spears against her former manager.
The hearing on the restraining order against Sam Lutfi is a resumption of one that began on May 28, with lawyers for Spears intending to show that tweets and texts from Lutfi to Spears and her family are doing her emotional damage.
When the last hearing ended, Spears' father Jamie Spears, who runs her affairs through a court-ordered conservatorship, was testifying, and is scheduled to resume on Thursday.
Judge Brenda Penny, who can give a lengthy extension to the restraining order she granted on May 8, has closed the hearing to media and the rest of the public. Britney Spears is not expected to appear.
Lutfi and his lawyer argue that the order, which prohibits him from making disparaging statements about Spears or her family, is a violation of his constitutional rights.
"There has been no psychological or other evidence offered by Ms. Spears that she has actually suffered any distress," Lutfi argued in court documents.
It's the second time the Spears family has taken out a restraining order against Lutfi. He alleges that he has not contacted Britney Spears directly since the last one was taken out in 2009.
That came shortly after Lutfi was a constant confidante and adviser to her, a phase where she also went through a series of very public mental struggles.
Los Angeles, Jun 12 (AP/UNB) — The Oscars will be headed back to late February after next year's show.
The Academy of Motion Picture Arts and Sciences says Tuesday that the 93rd and 94th ceremonies will be held on Feb. 28, 2021 and Feb. 27, 2022 respectively.
The 2020 show was moved up significantly on the calendar to Feb. 9, drastically truncating the awards season calendar.
But the organization that puts on the show says that the following two shows will remain on the last Sunday of February to account for events like the 2022 Olympics, the Super Bowl and national holidays.
The Oscars have in recent years faced declining viewership, but this year saw an uptick with a hostless show. They will air live on ABC at 8 p.m. Eastern.