Hindi
Himmatwala : No guts or glory
MUMBAI: Sajid Khan prefers to make entertainers but this time he decided to take a tried-and-tested formula and stick to it by remaking Himmatwala from 1983, which in turn was a remake of a Telugu hit, Ooriki Monagadu (1981). As was the case with the earlier version, this film too has a village backdrop. And instead of a contemporary setting which is how the main, multiplex and overseas audience likes it now, he has opted to keep it a 1983 story. However, by treating it like a spoof, the attempt to revisit the original is hurried and patchy and leaves it in a mess.
Ajay Devgn has returned to Rampur to avenge his father‘s death caused by the village sarpanch, Mahesh Manjrekar, aided by his brother-in-law, Paresh Rawal. Manjrekar is a tyrant who has usurped the land and property of each and every villager and treats them like his slaves. Nobody dare oppose him. Years back he had framed Devgn‘s father, the local priest, and shamed him in front of people to the extent that he committed suicide. A young Devgn‘s attempt to kill him fails. The goons chase him and set fire to his house but he runs away after his mother, Zarina Wahab and sister goad him to.
Devgn grows up in an orphanage in a big city and is informed that contrary to what he believed, his mother and sister are very much alive but in a bad shape. He decides to return to look after them as well as to avenge his father‘s death. Being a Devgn film, the original social musical is turned into an action movie. His skills are already established as a street fighter who brawls for money.
Devgn, on his arrival to the village, starts the clean up first tackling Rawal and then, immediately, neutralising Manjrekar. What is the purpose of carrying on your film once your main villain is humiliated and defeated? None, really, and that is what happens with rest of the film. The villainy is now reduced to comic villains‘ scheming and plotting to little effect.
If Manjrekar is a tyrant, his daughter, Tamannaah, is more so. When Devgn crosses her path, she sends goons after him. Of course, they are no match for this super-powerful man. Next, she lets loose a tiger on him. Things go wrong, and instead of her enemy, she is about to become the tiger‘s prey. Devgn stands between her and the tiger and saves her. Love happens. Songs and dance follow. When you are borrowing a film, you might as well dig a bit more and also take songs from the original. So we have two songs from the earlier Himmatwala. Thanks to Bappi Lahiri‘s racy score, these remain the only good tunes in the film.
Since the villains are already neutralised, the fights are outsourced to a bunch of toughies. Street fighters are brought in to make the climax action-packed but when Devgn can‘t win against this well-armed bunch, who will save the family? It is time to invoke superpower, the Goddess Durga. The tiger, which Devgn had fought and later befriended, returns to chase the villains away. RIP Manmohan Desai.
Himmatwala is badly scripted and the director does not seem to be serious about this film. As one of the dialogues in the films suggests, it is 1983 story so anything goes! That also seems to be director Sajid Khan‘s approach to the film. The climax is stretched. There is nothing much for actors to do. Devgn is happy being Himmatwala with action scenes. Tamannaah is okay. Manjrekar hams it up. Wahab is sincere. Whatever little entertainment the film offers is thanks to Rawal.
Himmatwala will find it tough to sustain after the weekend as despite a holiday today, the opening is below par.
Hindi
Boney Kapoor acquires remake rights of Tamil political satire Thalaivar Thambi Thalaimaiyil
Strong word-of-mouth turns Pongal satire into remake pick
MUMBAI: A Pongal release, a village satire and a theatre visit in Coimbatore have turned into Boney Kapoor’s latest acquisition. The producer has secured the remake rights to the Tamil political satire Thalaivar Thambi Thalaimaiyil (TTT), a film that has been enjoying a strong theatrical run powered by word-of-mouth and praise for its sharp, rooted writing.
Set in a rural milieu, the story follows a panchayat leader thrown into disarray when a wedding and a funeral land on the same day. What unfolds is a swirl of satire and humour that skewers local politics, power games, bruised egos and family tensions, all anchored in the textures of everyday village life.
Kapoor first encountered the film earlier this year while in Coimbatore for the Celebrity Cricket League. With time to spare, he caught a screening at a local theatre. That viewing proved decisive. According to sources, the narrative style, performances and the film’s balance of political commentary and comedy caught his attention.
Interest quickly turned into intent. Kapoor reached out to the producers soon after to explore a remake. Talks gathered pace over the following weeks and came to a head last Friday at the film’s success party in Chennai, where Kapoor joined the celebrations and continued negotiations with the makers.
By the end of the evening, the deal was sealed, with Kapoor formally acquiring the remake rights.
For an industry constantly mining regional cinema for the next crossover story, the move is telling. A small-town satire with local flavour has found a national backer. And if Kapoor’s instincts hold, a tale born in one village may soon echo far beyond it.
Hindi
Fans take centre stage as Zee Cine awards turns the spotlight around
MUMBAI: When the applause gets louder than the dialogue, you know the fans have taken over. That was the unmistakable mood as Zee formally announced the Zee Cine Awards 2026, flipping the script to celebrate not just cinema’s stars, but the people who cheer them on the loudest.
The 24th edition of the awards marks a fresh chapter in Zee’s long-standing relationship with Hindi cinema, anchored in its fan-first philosophy, Fantertainment. This year’s theme, ‘Yeh Pal Hai Fans Ka’, reinforces a simple idea: cinema’s most powerful moments are shaped as much by audiences as by actors on screen. Presented by Maruti Suzuki, the awards aim to turn fandom into the main event.
The announcement, held in Mumbai, was anything but a routine press conference. Bollywood stars Akshay Kumar, Tamannaah Bhatia, Jacqueline Fernandez, Sonam Bajwa, Aparshakti Khurana, composer Mithoon and singer Palak Muchhal joined fans to kick off the celebrations, turning the launch into a high-voltage, participative spectacle.
Staying true to the theme, fans didn’t just watch the announcement, they drove it. Akshay Kumar took the lead, pulling fellow stars on stage and energising the room, before the unveiling of a live LED Fan Meter. Powered purely by audience cheers, the rising meter culminated in the reveal of the Zee Cine Awards 2026 ground event date, announced in unison with fans, blurring the line between performer and spectator.
The momentum continued as Tamannaah Bhatia, Jacqueline Fernandez, Sonam Bajwa and Aparshakti Khurana recreated iconic hook steps, joined by Mithoon and Palak Muchhal for music-led interactions. Games, spontaneous performances and playful banter kept the focus firmly on shared moments, underscoring the evolving bond between cinema and its audience.
Beyond the launch, the awards will roll out as a multi-platform journey across television, digital, print and fan-led experiences. The aim is sustained engagement from the first announcement to awards night cementing fandom as a cultural force rather than a footnote.
Commenting on the milestone edition Zee head of advertisement revenue, broadcast & digital Laxmi Shetty said the 24th Zee Cine Awards continue to draw strength from the network’s omni-channel ecosystem, reflecting how audiences consume content today across TV, digital and social platforms. She noted that long-standing brand associations, including Maruti Suzuki’s three-year partnership and support from brands such as Hell Energy, underline the platform’s scale, trust and cultural relevance.
As Zee Cine Awards 2026 gathers pace, one thing is clear: this year, the loudest cheers won’t just echo in the auditorium, they’ll shape the show itself.
Hindi
Prime Video to stream Don’t Be Shy, produced by Alia Bhatt
MUMBAI: Prime Video has found its next feel-good original, and it comes with a healthy dose of heart, humour and youthful chaos. The streaming platform has announced Don’t Be Shy, a coming-of-age romantic comedy produced by Alia Bhatt and Shaheen Bhatt under their banner, Eternal Sunshine Productions.
Written and directed by Sreeti Mukerji, the film follows Shyamili ‘Shy’ Das, a 20-year-old who believes her life is neatly mapped out until it suddenly is not. What follows is a relatable tumble through friendship, love and the awkward art of growing up, when plans unravel and certainty gives way to self-discovery.
The project is co-produced by Grishma Shah and Vikesh Bhutani, with music composed by Ram Sampath, adding to the film’s promise of warmth and energy. Prime Video describes the story as light-hearted yet emotionally grounded, with a strong female-led narrative at its core.
Prime Video India director and head of originals Nikhil Madhok, said the platform was delighted to collaborate with Eternal Sunshine on a story that blends sincerity with humour. He noted that the film’s fresh writing, earnest characters and infectious music make it an easy, engaging watch for audiences well beyond its young adult setting.
For Alia Bhatt, Don’t Be Shy reflects the kind of storytelling Eternal Sunshine set out to champion. She said the film stood out for its honesty, its coming-of-age perspective and Mukerji’s passion, which she felt was deeply woven into the narrative. Bhatt also praised Prime Video for supporting distinctive voices and bold creative choices.
With its breezy tone and familiar emotional beats, Don’t Be Shy aims to charm viewers whether they are rom-com regulars or simply in the mood for a warm, unpretentious story about life refusing to stick to the plan.
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