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Category: Movies

  • Intriguing social drama ‘Gulaal’ premieres today

    MUMBAI: Bollywood has seen a plethora of films based on state politics, but there has never been a narrative as startling as ‘Gulaal’. Boasting of superlative performances, this film directed by Anurag Kashyap cuts through the layers of grass-root politics situated in the regions from Rajasthan to Bihar. Zee Classic with its brand promise of Woh Zamana Kare Deewana, will premiere ‘Gulaal’ in India’s Finest Films on Friday, 3 March, at 10pm.

    ‘Gulaal’ revolves around a central god-like leader, illegitimate methods of conducting politics, folk songs heartily sung by Rekha Bharadwaj and strong noteworthy performances by Kay Kay Menon, Mahie Gill, Raj Singh Chaudhary, Jesse Randhawa, Piyush Mishra and a climax that is sure to give goosebumps! The film took seven long years of wait and relentless struggle by Anurag Kashyap to make it happen. It is highly credited for its compelling storytelling and dark themed narrative.

    Dilip Singh (Raj Singh Chaudhary), a soft-spoken man comes to Rajasthan to study law. Due to the lack of hostel occupancy, he is forced to stay with an unstable man Rananjay Singh (Abhimanyu Singh). During his constant attempts to relocate, Dilip encounters a room-full of men who torture and abuse him. He is then locked up in a room with a lady (Jesse Randhawa). Dilip partners with Rananjay and Dukey Bana (Kay Kay Menon) to plan to take revenge on the people who humiliated him. Dukey Bana is a local uncrowned monarch who was contesting for the forthcoming university elections. Murders, bloodshed and conniving tactics to get to the top is what forms the rest of the film.

  • Sony Pix to celebrate World Wildlife Day with a line-up of films

    MUMBAI: This World Wildlife Day which falls on 3 March, Sony Pix plans to give its viewers a chance to get close and personal with the environment in the most entertaining way. With back to back films centred on the beautiful theme, the channel plans to amaze the viewers with the true beauty of nature.

    Two Brothers, a heart touching story of two tiger cubs who get separated at a young age and reunite years later will air on the channel at 8 am. Next up is the fantasy film Evan Almighty at 10:10 am, based on the modern day re-telling of Noah’s Ark. Sming: The Hunt Begins at 11:45 am follows in the day to put you into an emotional tizzy portraying the resentfulness of animals and the extent they go to protect their near ones.

    Blockbuster film Ratatouille will also air on the channel to tickle the viewers’ funny bone. Next comes the comedy horror film Piranha 3D at 5:30 pm. Lake Placid VS Anaconda promises to give you goosebumps with its moments of scare and breath taking direction. The movie will air at 7 pm. End your day with the ever-popular film King Kong at 9 pm.

    http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/large/public/pix.jpg?itok=Er4o87L4

  • Period films don’t work in India

    MUMBAI: Period films, whether fantasy or based on real events, don’t work in India. They usually spell disaster at the box office. Rangoon adds to the list of recent disasters like Pankaj Kapur’s Mausam (2011), Kunal Kohli’s Teri MeriKahaani (2012) and Anurag Kashyap’s Bombay Velvet (2015). Just when one thought Kashyap’s indulgence called Bombay Velvet was the ultimate disaster at the box office, Rangoon has come as the bigger one.

    The other day, Rangoon director Vishal Bhardwaj stated on a TV show that he had no clue about World War II having been fought on an Indian border and yet he decided to make this film? It was okay to do that if one was making a fantasy but not a period film from a chapter from the history as huge as World War II!

    *Rangoon opened on 24 February, a general holiday for Mahashivratri. The holiday could not in any way help the film generate a decent opening response. In fact, it was pathetic opening of five crore.

    There was no sign of Saturday adding anything much as the film remained stagnant while the Sunday collections hovering at same levels with nil improvement.

    The film ended its first weekend with a tally of Rs 14.5 crore.

    The film may not even recover its cost on print and promotion, proving to be a total disaster.

    *The Attack On Ghazi, a film on the 1971 war of the Indian Navy drowning the powerful Pakistan Navy submarine, Ghazi, is appreciated but not enough to make its mark on the box office. The film collects Rs 11.4 crore from its Hindi version in its first week. The film may gain some more patronage as the week’s release, Rangoon, is poor.

    *Running Shaadi is poor, just managing to cross a crore mark in its first week with a figure of Rs 1.5 crore.

    *Irada, despite the presence of Naseeruddin Shah and Arshad Warsi in the cast, fails to get footfalls and falls short of one crore mark in its first week raking in just about Rs 90 lakh!

    *Jolly LLB seems to be making the most of poor oppositions despite being a mediocre film, especially compared to the first version. The brand equity of the title and Akshay Kumar in the lead have helped the film sustain. The film has added a good Rs 23.8 crore in its second week taking its two week total to Rs 95.9 crore. However, the film still needs to hold its own to emerge as an earning film.

    *Raees adds Rs 20 lakh in its fourth week to take its four week total to Rs 130.6 crore.

    *Kaabil collects Rs 50 lakh in its fourth week to take its four week total to Rs 92.7 crore.

    *Dangal has added another Rs 20 lakh to its total in its ninth week taking its nine week total to Rs 388.1 crore.

  • Cooper’s ‘Burnt’ on Romedy NOW! on Sunday

    MUMBAI: Ever felt like kitchen is the only place you’ve ever belonged to? If yes, then Romedy NOW is set to treat everyone from excellent chefs to foodies and movie lovers, with the Indian TV premiere of comedy-drama movie Burnt. The movie will be aired on Sunday, 26 February, at 1:00pm and 9:00pm.

    Directed by Primetime Emmy Award winner John John Wells, starring Oscar Award winning actor Bradley Cooper (Adam Jones) and BAFTA Award winner Sienna Miller (Helene) in the main roles, the story is about Chef Adam Jones who had it all – and lost it. A rockstar with bad habit, who was once a rising star in the restaurant world, is now recovering from a drug addiction that had destroyed his promising career. After getting cleaned up he heads to London to take the helm of a top restaurant and is determined to earn three Michelin stars, but not without his best team.

    An interesting trivia about the film is that World renowned chefs Gordon Ramsay, Marco Pierre White, Marcus Wareing and Clare Smyth provided inspiration for Cooper’s character – Adam Jones, though Cooper most closely emulates Ramsay’s characteristic kitchen rants.

  • Rangoon… What a debacle!

    MUMBAI: Every filmmaker wants his own ‘all time classic’ and it is best not to confuse such a filmmaker with a realistic, practical maker with business sense. This lot is usually pretentious and indulgent kind. He wants his own Gone With The Wind, a Doctor Zhivago, Mary Poppins, Sholay, Hum Aapke Hain Koun..! or even Dangal. When too many films from the past influence your script and you try to take a bit from each one, the result is Rangoon.

    Rangoon is supposed to be a period musical love triangle. But, even before reaching the love triangle part, the film meanders too much with stuff that has no relevance — like the capturing of a Japanese soldier by Shahid Kapoor, which is treated like fun and games.

    This period drama is based during World War II. The Burma campaign as it was called, was a serious business as the Japanese army had taken over Rangoon and had Assam in mind next. Here the Japanese army personnel in groups of three or so are shown hanging around as if on a picnic! The British side of the army consists mainly of Indians and a few Sikhs to make it easy for the viewer to identify them.

    What the British generals and army personnel do in the film could have been made into a full-blown comedy on the lines of Mel Brooks’ movie, History Of The World II.

    Shahid Kapoor, playing an army man fighting on the Burma front, has been captured by the Japanese. He is granted release thanks to intervention by the Indian National Army of Subhash Chandra Bose. But, he is also sermonised by the INA to enroll and serve the interest of the country rather than the British. He agrees and when he goes back to the British general, he is a mole for INA.

    During this serious war where the untrained British army is always on the defensive and losing ground, the general in charge, Richard McCabe, thinks his army men need some entertainment. So what if Japanese planes are bombing his troops? In the film, the Japanese are either economical or considerate for they only drop a single bomb instead of the carpet bombing as is the norm during a war.

    Kangana Ranaut’s character is invited to entertain the army men on the Burma front. Her character is reportedly modelled on Fearless Nadia, the Australian born queen of Hindi action movies in the 1940s. Kangana, the paramour of her producer, Saif Ali Khan, plays a similar role to Fearless Nadia’s man in real life. Saif and Kangana are madly in love with each other so much so he is ready to divorce his wife. Was this part needed at all?

    Kangana proceeds to Imphal to entertain the army. A free and fearless kind that she is, she is not ready to be protected by anybody but Shahid has been appointed as her bodyguard. A situation is created so that Saif, who was to accompany her, can’t do that anymore because his father has suffered a heart attack. (But when Saif reaches his father, Gerson Da Cunha, the father is reading a Gujarati newspaper which has a banner headline about Germany’s partition……..and this is only 1943!)

    Kangana arrives at the army base which consists of a few junior artistes dressed in olive fatigues. It does not matter that the Indian and British army both wore mostly khaki in those days. The general, McCabe, is depicted as a sadistic buffoon and comes across as more entertaining than the invited guests. He likes to quote Ghalib, recites Indian classical ragas and makes all kinds of faces.

    At this point, the writer and director seem to have forgotten that Kangana is renowned for her onscreen stunts and action and not dancing. Once on the border, all she does is sing and dance at the drop of a hat!

    If Kangana can turn a dancer from being a stunt queen, she can also shed her deep-rooted love for Saif and start making out with Shahid on day two without much ado. That done, she also falls in love with Shahid in due course while also being in love with Saif. It is all very complicated.

    Time to bring in a shade of patriotism, now. There is a Maharaja, Amrit Pal, who owns a sword which, he claims, if donated to INA, can raise enough money to throw the British out of India and pave the way for the INA to march to Delhi to realise their motto of ‘DilliChalo’. Somehow, the sword has landed at the Burma front and Shahid is supposed to deliver it to the INA on the other side of the bridge. Now, how many films have had their climax over or across a bridge? And what happened to the love triangle?

    Rangoon is such a tacky film, neither the writer nor the director seem to know what it is about as they jump to a new track every so often after shelving an old one inconclusively. No research seems to have been done on the subject. The script is full of inconsistencies and irrelevant subplots. No character is properly defined. The result is 247 minutes of patience trying tedium.

    The script is episodic without sticking to a theme. Editing is nonexistent. Direction is poor with experimental stage approach. Music is bad and, yet, as many as a dozen tracks are forced in. The lyrics are incomprehensible.

    Why do makers of period films go on to make good-looking actors look ugly? Saif, with his sticky wig and wrinkled face looks aged. He has lost the palm of his right hand and wears an ugly detachable appendage which, again, is of no consequences except indulgence. Shahid is scarred, muddy or has his face blackened most of the time. Kangana looks painted and dons a silly wig. All three fail to impress in this film. The film has a few well penned dialogues. Art direction is not convincing. Stunts are oft seen.

    Period films are a bad idea and some recent examples: Pankaj Kapur’s Mausam (2011), Kunal Kohli’s Teri Meri Kahaani (2012) and Anurag Kashyap’s Bombay Velvet (2015).

    Rangoon is a very poorly conceived and executed film. A classic happens but, when you plan one, you come up with a Rangoon, a debacle!

    Producers: Sajid Nadiadwala, Vishal Bhardwaj, Viacom 18.

    Director: Vishal Bhardwaj.

    Cast: Saif Ali Khan, Shahid Kapoor, Kangana Ranaut, Richard McCabe, Alex Avery, Gerson da Cunha.

  • Tax concessions would have boosted ‘Attack On Ghazi’

    The past week saw a variety of new releases. `The Attack On Ghazi’, was a rare war film for the Indian audiences and an underwater film about war between an Indian and Pakistani submarine, Ghazi. The film, based on the 1971 war, was painstakingly made.

    The other film, `Irada’ — film’s title did not reveal much about the product — was on an ecological problem faced by the State of Punjab as some vested interests involved in reverse boring draining water and causing ground water to turn poisonous for farm lands as well as for drinking purposes.

    The third was the usual run of the mill romantic comedy about a couple on the run.

    Though ‘The Attack On Ghazi’ emerged as the best of the three releases at the box office, it was not enough as the film registered just over Rs. 1 crore or Rs 10 million on its opening day. The film deserved much better and the initiative to attract more footfalls should have rested with multiplexes, which could consider reducing the admission rates for this kind of film that is made with sincere intentions.

    The film narrates a chapter from Indian history, not very far long, though. If multiplexes increase admission rates at will with big star cast films, reducing the rates for a film like `The Attack On Ghazi’ is the least they can do to promote honest cinema.

    The film deserved entertainment exemption but many States did not do so under election’s model code of conduct and the film stayed deprived of this advantage. The film showed a decent rise on Saturday in collections doing better on Sunday to end its opening weekend with Rs. 6.6 crore or Rs. 66 million (excluding Telugu and Tamil versions).

    `Irada’, a film with a message on environment, takes the thriller route to present and make interesting the issue of how ecology of the bread basket of India, Punjab, was compromised. The problem with the thriller part, that is the investigations, is that you just witness conclusions and not told how they were arrived at. Also, if the film really wanted to take the message across the States, the use of heavy Punjabi language could have been avoided.
    The opening day collections as well as the weekend remained very poor. The film collected approximately Rs. 60 lakh or Rs. 60, 00000 for its opening weekend.

    `Running Shaadi’, a routine love story about a couple in love on the run, fails to convince on counts of comedy as well as romance. Launched a couple of years back, the film did take its own time hitting the screens. Another drawback is that the film is almost entirely in Punjabi language. To what purpose one can’t fathom?
    The film is poor all over from one day one. The film fell far short of even Rs. 1 crore or Rs 10 million mark and collected Rs. 70 lakh or Rs. 70, 00000 for its first weekend.

    `Jolly LLB 2’ that had a tepid opening response picked up on Saturday and Sunday. Though the film dropped on Monday, it had a healthy Tuesday, thanks to Valentine’s Day. Being a solo release in the comedy genre, it maintained Rs. 10 crore or Rs. 100 million per day average to end its first week with Rs. 72. 1 crore or Rs. 721 million. It will get some benefit in its second week in the absence of any strong film releases.
    `Raees’ added Rs. 2.1 crore or Rs 21 million for its third week, taking its three-week tally to Rs. 130.4 crore or Rs. 134 million.

    `Kaabil’ collected Rs. 3.8 crore or Rs. 38 million in its third week taking its three week total to Rs. 92.2 crore (Rs. 922 million).

    `Dangal’ comes at the end of its glorious run. The film added about Rs. 50 lakh (Rs. 50, 00000) in its eighth week, taking its eight-week total to Rs. 387.9 crore or Rs. 3879 million.

  • Berlin Festival: Amar Kaushik’s ‘Aaba’wows audience

    MUMBAI: Indian filmmakers never cease to amaze the global audience with their storytelling and filmmaking skills. As the Berlin Film Festival drew to a close on Saturday, Indians had a reason to rejoice. Debut filmmaker Amar Kaushik’s short film, Aaba bagged the prestigious award at the 67th Berlin International Film Festival 2017. The unconventional love story won Special Prize of the Generation K Plus International Jury for the Best Short Film of the year.

    The film was premiered in the Generation Kplus competition on 11, 15, 16 and 19 February 2017.

    Aaba is the brainchild of Amar Kaushik, who has gone full circle in life before penning down this moving tale about a man on the edge of his death bed. Produced by Raj Kumar Gupta and Mitul Diskshit and co produced by Onir and Alison Welly, the film was shot in Apatani language in Ziro district of the picturesque valley of Arunachal Pradesh, with a cast comprising locals of the state. The story revolves around an orphan girl who comes across the news of her grandfather reaching the terminal stage of lung cancer. As the grandfather (Aaba) starts counting his days, the family faces unexpected turns.

    Kaushik said, “Aaba is my first film as a director and the project is very close to my heart. Being awarded at the Berlin Film Festival for Aaba has given me moments that I will cherish all throughout my life. This award is for my entire team without whom, this would not have been possible. Special thanks to my mother for sharing such a wonderful story with me and to all my producers for placing their trust in me.”

    The producers were confident that the heart-rending story will strike a chord with the audience. From the locations, situations, people and expressions, Amar has put his best foot forward to replicate his imagination into this film. The confidence that Raj, Onir and Mitul had in ‘Aaba’ has clearly well paid off, as the premiere of the film at the 67th Berlin International Film Festival received amazing response, followed by the award on Saturday evening.

    Commenting on Aaba’s success at Berlinale, producer Raj Kumar Gupta, said, “I feel very proud and am elated that our film has won at such a prestigious festival. It was a script that had moved me and I decided to produce it along with my friend, Mitul Dikshit. Congratulations to each and every team member who made this film happen.”

    Born in 1983 in Uttar Pradesh, India, Amar Kaushik grew up in Kanpur with his grandparents and the north-eastern state of Arunachal Pradesh, where his father worked in the government’s forest department. He completed his graduation in Science with an aim to join the Indian Air Force, only to slowly realize that it wasn’t his real calling.

  • Sony Le PLEX HD to air tribute-movies of Hollywood actors

    MUMBAI: This February, Sony Le PLEX HD will pay tribute to those well-known actors who passed away too soon into their career. From Heath Ledger to Paul Walker, Hollywood has lost some gems too early, leaving fans and critics disheartened and wanting for more. `WatchIt’s 9O’Talk themed ‘The Tribute’ will feature five great movies with a common theme for the week starting Feb. 20, 2017.

    Robin Williams is another name in the list. After playing iconic characters in movies like `Jumanji’, `Hook’ and `Mrs. Doubtfire’, he garnered a massive fan following all around the world. His death left a void in the entertainment world.

    Another shocker that came to Hollywood was when the young heart-throb Paul Walker lost his life in the tragic car accident while shooting for `Fast & Furious 7’. The remaining part of the movie had to be created with the help of VFX and body doubles.

    Other names in this tribute list include Philip Seymour Hoffman and Chris Farley. While Philip died during production of the blockbuster film `The Hunger Games –Mockingjay Part II’, Chris (known for his comic timing in Saturday Night Live) passed away leaving quite a few unfinished projects and a lot of sorrowful fans behind.

  • How Sultan and Naagin are being pirated in Russia

    MUMBAI: Here’s some food for thought for Indian TV channel broadcasting executives zapping their channels via satellite, cable TV or VOD services into Russia and syndicating content to Vladmir Putin’s land. And this includes movies such as Sultan, and super popular shows such as Naagin.

    A survey by content and data security specialist IRDETO in partnership with YouGov amongst 1,055 Russian adults online, revealed that 87 per cent of Russian consumers believed that producing or sharing pirated video content is not against the law while 66 per cent think that streaming or downloading pirated content is legal.

    Russia, like India and many other nations, has strict regulations against unauthorized copying, broadcasting, distribution or reproduction of copyrighted material – including audiovisual content.

    More than half of those (57 per cent) who participated in the survey said that they actively watch pirated content while 22 per cent said that they watch stolen shows and films at least once a week or more.

    38 per cent of respondents said that they pirate current movies being shown in theatres, 21 per cent said theat they were interested in pirating a TV series. Pirated live sports, OTT content from Netflix and Hulu was preferred by just six per cent of those who answered the survey.

    Almost 75 per cent use their laptops or desktop computers to watch the pirated content whereas tablets and smart phones accounted for just five percent each respectively.

  • Irada….Docu-thriller?

    MUMBAI: The title Irada comes across as B-grade 1970s and it has little relevance to the theme of the film, which is honourable. The film is about an ecological problem, almost a disaster. The issue dealt with here, though, is not as infamous or as well known as the Bhopal gas tragedy.

    Punjab has recently been facing an ecological calamity thanks to overuse of chemicals and pesticides in its farming processes. And this is supposed to have penetrated deep enough into the earth to pollute the land, the food grown here as well the underground water resources.

    Naseeruddin Shah’s character is a retired but much decorated army man who is training his daughter, Rumana Molla, to qualify as an army cadet. The famous Punjab canals where he trains his daughter to set swim time records, happens to be full of cancer-causing chemicals and she develops the disease.

    The reason is the reverse bore-welling process owned by a tycoon, played by Sharad Kelkar, whose company packs all the destructive chemical back into deep earth. The process affects not only all the land in the area but also its farming and waters deep down as well as those flowing through its canals.

    Sharad and the devilish chief minister of the state, played by Divya Dutta, are in cahoots and there is little the local NGOs or the police can do about this equation. The situation is so bad that every family is said to have a cancer patient and a point is reached when the state runs a Cancer Express, on which the afflicted travel for treatment.

    Suddenly, the cancer causing poisonous factories of Sharad are blown up one fine day. Sharad is wild and so is his bankrolled CM, Divya.

    In comes the character of Arshad Warsi, an investigator from the National Investigation Agency, (NIA). Things go a bit haywire here as though Arshad is a central government agent, but the local CM, Divya, treats him like a stooge as if he was the state employee. In between, people are kidnapped, killed and so on all as a matter of fact.

    Naseeruddin, and the cop, Arshad, the single-malt-sharing righteous ones join hands to fight the menace.

    Here, as in so many such public interest films, the subject is not known to the masses. This has been a local issue unlike the Bhopal incident. That notwithstanding, the process is not shown as to how our heroes, Naseeruddin and Arshad, reach certain conclusions.

    Besides this being a local issue, the makers somehow feel that the plight or the essence of the film would be better explained in the filmusing Punjabi language, which is alienates much of the audience. The thriller is treated like many others where the solutions and conclusions that the lead characters arrive at are given and the audience taken for granted. The viewer is not a part of the investigation process.

    The film is tautly executed and easy on the eye. The businessman-politician as partners in crime makes it routine subject. The dialogue writing is meaningful and deep. There is no scope for songs. The editing is effective. The direction and treatment are taut.

    With good performances all around, the two who excel are Divya Dutta and, in a brief role, Rumana Molla. Naseeruddin Shah and Arshad Warsi contribute with their seasoned act. SharadKelkar is effective in a negative role. Sagarika Ghatge is okay.

    The film has nothing really to draw entertainment seeking viewers.
    Producers: Falguni Patel, Prince Soni.
    Director: Aparnaa Singh.
    Cast: Naseeruddin Shah, Arshad Warsi, Rumana Molla, Divya Dutta, Sharad Kelkar, Sagarika Ghatge.

    Running Shaadi….So routine!

    Earlier titled Running Shaadi.com, Running Shaadi is supposed to be another rom com like so many before it. The rich versus poor, the city girl vs gawaar and so on has been the staple for love story writers. An attempt has been made to give it a contemporary look. And, it is not incidental that such films are based in the Hindi belt. This one adheres to the norm. It is based in sada Amritsar, the heart and soul of Punjab.

    Basing the film in Punjab was fine but, the makers seem to have got carried away. They even made almost the whole film in Punjabi! And, with no subtitles!

    Amit Sadh’s character works in a fabric shop, Singh & Singh, in Amritsar, owned by a Sikh family managed by father and son where, along with a couple of others, Amit is a help. An illiterate from Bihar, he is a hands-on help for the shop as well as the owners’ personal errands like from the shop to domestic affairs. He is the trusted one.

    Singh’s daughter, played by Taapsee Pannu, is an outgoing girl, defying norms. Along with the rest of the Singh family, she also counts on Amit whenever she is in trouble besides using him as a proxy. Just short of her 18th birthday, she has had a misadventure with a college friend leading to the need for a gynecologist.

    The only person she can trust to help her with the episode is Amit. While she gets over her unwanted pregnancy, Amit is the one who tends to her. Already nursing an infatuation for Amit, she is now in love with him what with all his caring ways.

    That is when Amit falls short of his boss, Singh’s, expectations. Insulted by his boss, he walks out on his job. Illiterate he may be but he is never short of ideas. Having seen an eloping couple being thrashed by relatives, he comes up with an idea inspired by, who else but Bill Gates. He suggests he and his cheerful Sikh friend, Arsh Bajwa aka Cyberjeet, launch a portal to help and facilitate runaway couples.

    The portal has a lawyer and a magistrate in its loop and soon becomes a big success. And, this is all in the first half of the film. The portal has had 49 successful eloping clients, all married off against various odds, thanks to the portal, running shaadi.

    But, the 50th eloping shaadi on the running shaadi portal is going to be the portal’s own host, Amit, something he never contemplated!

    The second half is all about Taapsee talking Amit into marrying her and, sadly, this half contains just about every scene and sequence seen in umpteen earlier films. For the viewer, it feels never-ending. This part takes the film down all the way.

    Writing wise, the film is just another recycled love story. It is not cute as it was aimed to be. And, what is it with the Punjabi background film telling its story in Punjabi? Direction is routine. Editing is weak. Songs are sober but incidental; they don’t aid the story or process of the film. Cinematography is fair.

    Amit Sadh, despite lack of expression, carries his limited range just about enough to suffice for the film. Taapsee Pannu is okay but her Punjabi is such a drawl, you feel like learning lip-reading. Arsh Bajwa as a comedian sidekick of the hero is not comic. Brijendra Kala is, as usual, good. Neena Singh, in a brief role, is energetic and impressive.

    Running Shaadi lacks novelty and is a routine fare with scarce entertainment value.

    Producers: Ronnie Lahiri, ShoojitSircar.

    Director: Amit Roy.

    Cast: Amit Sadh, Taapsee Pannu, Arsh Bajwa, Brijendra Kala, Neena Singh.