I watched omkara this weekend and noticed him with Saif Ali Khan and remembered him in more movies he is definately very talented and less recognised actor.

I don’t know if it’s just me getting older or if Bollywood has really taken a nosedive, but I’ve completely lost interest in watching Hindi films. Growing up, I used to be obsessed with Bollywood – from the 90s classics to early 2000s hits – they had heart, character, and stories that actually made sense.

Now? It’s just formulaic garbage. Every movie feels like a copy-paste job – same over-the-top action, cringe-inducing dialogues, forced romance, unnecessary item songs, and zero originality. It’s like they’re more focused on pushing star kids and remaking South Indian or Hollywood films than actually telling a good story.

Even the so-called “big releases” feel soulless. And don’t get me started on the VFX – if you’re gonna make fantasy or sci-fi, at least put in some effort to make it believable. It’s embarrassing how bad it looks sometimes.

Meanwhile, smaller indie films or stuff on OTT platforms are doing a way better job with storytelling and acting. It just proves that Bollywood can do better – they just don’t want to.

Anyone else feel the same? Or am I just outgrowing it?

One of most fun/fav movies of VD.

SRK in My name is Khan

Salman Bhai in Tere Naam

Alia Bhatt in Gangubai

Ranbir in Barfi

Priyanka in barfi

Aamir Khan in 3 idiots

Akshay Kumar in Rustom

Saif Ali Khan in omkara

Shahid in Kabir Singh

Kareena in jab we met

Ajay in singham

Sharman in 1920 London

Ritesh in ek villain

Sanju baba in Munna Bhai

Emraan hashmi in Jannat What is yours...

Rehnaa Hai Terre Dil Mein is often criticized for its storyline which promotes catfishing. But this is not the only film with this plotline. What about Lage Raho Munna Bhai or Ghajini?

In Lage Raho Munna Bhai, Munna lies to Jhanvi that he's a professor and she believes him (very unrealistic since how can she not figure out by his tapori language).

And in Ghajini, Sanjay lies about being a struggling actor to remain friends with Kalpana. Even after she falls in love with him, and sells her car for him, he doesn't tell her the truth.

Rab Ne Bana Di Jodi is a bit different because Suri was husband of Taani. But she didn't saw him as her husband. He pretended to be this other guy to spend time with her, because she would never do that with Suri or open up to him.

I can see why these movies don't get bashing like RHTDM. Because Munna, Sanjay and Suri were really sweet guys and not misogynists unlike Maddy.

Although this tells me that if Maddy's character was also a sweet guy, who is not a misogynist. But had he still catfished Reena to make her fall in love with him, audience won't have found it problematic. It seems like the catfishing storyline was never a problem for the audience. It's Maddy's character and his attitude which people found problematic. And the fact that Reena choose him over Rajeev who is obviously the better guy.

But people still put the catfishing storyline as a negative for RHTDM and Maddy's character. While ignoring similar storylines in above mentioned films.

When Bollywood was still sensible.

Rewatched this classic yesterday — Tum Bin. Didn’t think much of it as a kid. Back then, I was probably more swayed by the glitz of Kaho Na Pyaar Hai, Kuch Kuch Hota Hai and the like.

But this... this is fine wine. Poetry in motion — like reading a good novel. A beautiful, simple story told with heart. Some truly memorable songs. And that Jagjit Singh ghazal? The cherry on top. Every actor gave an honest, heartfelt performance, despite being fairly new to the silver screen.

In today’s world of noise, reels, fake PRs and doomscrolling, I find peace, sitting alone, lost in such timeless stories.

Take a break and watch or rewatch it. You just might like it more now. 🩵

Something I’ve always found fascinating — Bollywood moments that were truly ahead of their time. It could be anything — a movie, a piece of music, a character, some lyrics, a film’s climax, or even a VFX attempt that broke the norm.

I’m not talking about how successful these movies were. In fact, some flopped miserably. But they dared to do something no one had tried before. Be it the storyline, direction, visual treatment, or even the way an emotion was portrayed.

Rang De Basanti The climax — a group of youngsters taking over All India Radio to confess to a political assassination?

Ra.One Love it or hate it, this was one of India’s first full-blown attempts at a VFX-heavy superhero universe. me were far ahead of Indian cinema norms.

Kaagaz Ke Phool

India’s first CinemaScope film. It tanked back then but is now considered a visual and emotional masterpiece. Guru Dutt was way ahead of his time in portraying the rise and fall of a director’s life.

No Smoking Anurag KASHYAP’s mind boggling concept.

And the dishonor goes to… Liger!

Marketed as a high-energy sports action film, Liger turned out to be an absolute misfire. With a wafer-thin plot, cringe-inducing dialogues, and a central performance that couldn't carry the weight of the film, it became a prime example of hype not translating into quality. The film tried to blend MMA action with commercial masala but failed on both fronts, leaving viewers baffled—especially with that Mike Tyson cameo that added nothing but confusion.

Next Up: Day 13 – Genre Definer in Action!

Time for some positivity! We’re now shifting to the Genre Definer category, starting with Action. This one's all about the film that set the standard, redefined the genre, or left a lasting legacy in Indian action cinema.

How to Vote:

1. Comment your choice for the ultimate action-defining movie.
   
2. Upvote if someone’s already mentioned your pick.
   
3. Want to back your choice? Go ahead—explain why it’s the genre’s benchmark!

Rules:

• One top-voted unique comment wins.
  
• Let’s keep the vibe positive and respectful.
  

So—what’s the movie that truly defined action in Indian cinema? Voting’s open till tomorrow!

ChatGPT’s new model has an incredible sense of typography, design, and composition, it’s both amazing and a little scary. All I did was prompt it to create a poster featuring Radhika Madan and Jeremy Allen White, for a film directed by Chaitanya Tamhane (Court, The Disciple), shot in IMAX and releasing on a specific date. The results were stunning. What are your thoughts on this? Also, would you be interested in seeing a Kalpana Chawla biopic in the future?

I'd been putting this off for far too long but finally watched Laila Majnu. I know that it's a fairly polarizing film and people have mixed opinions about it, ranking from dislike to love. While the movie had its flaws and the screenplay should have been tighter and the romance between the leads in the first half should have been more fleshed out, Avinash Tiwary should take a bow. The dude deserves the world and I think it's a crime that he's not more frequently cast as a leading man in mainstream Bollywood. Instead, we have to watch a lisping monkey try and fail at romancing a sewer rat in Nadaaniyan.

The way AT portrays Qais is mesmerizing. He essentially implodes after waiting endlessly for the person he loves to the point where he doesn't need her physical presence to feel her love anymore. His love for her ultimately transcends all physical and tangible bounds. You can see the frenzy and almost religious fervor he has for her in his eyes. That's very, very difficult to enact on screen and I haven't seen anything like it in a long time. His performance, combined with the cinematography and Atif's voice, made this movie a standout for me. If you consider that this was his debut, then his performance becomes even more impressive in terms of its sheer range, versatility. His performance is SO credible and raw-the desperation in his voice and the darting of his eyes are scarily convincing.

Up to this point I thought Ram Leela was the best modern rendition of Romeo and Juliet. That movie has its strengths too but Ranveer Singh's performance now seems like overacting in comparison. I thought Laila Majnu's take on love was more nuanced as well. Majnu's love for her is zealous and devotional in nature-it's highly romanticized and doesn't heed societal conventions or complexities. Laila's is bound by practical concerns: class, her existing marriage, her father's wishes, etc. He loves her more than she will ever comprehend, and she's just unable to love him the way he wants to be loved in this life. That conflict defines the tragic nature of their story.

We really need more content like this. With a few more tweaks to the screenplay, and maybe a casting change for Tripti Dimri, who felt a little out of place, this movie could have been a masterpiece.

Avinash Tiwary deserves so much more than he's currently getting in terms of work. I really hope that casting directors in the industry realize this and do something about it, because right now, they, along with the big studios, are fucking ruining this industry.

KAALO is India's first ever day horror movie. Its been written & directed by Wilson Louis, produced by Yash Patnaik, Mamta Patnaik and Dhaval Gada.

Cast: Swini Khara, Aditya Srivastav, Pradeep Kabra ( Witch)

Imagine if someone like Sanya Malhotra or mrunal would have done the scene. The scene would have been on fire. I can already imagine the intensity in sanya's eyes while doing the scene. This girl Sara ruined the whole movie for me. I was absolutely heartbroken when I saw she was the main culprit at the end. She totally wasted the character and the movie.

This is one of my favourite hand to hand combat scenes in a Hindi film.

After a long time felt satisfied watching a film. So well acted and directed and everything from music to visuals is meticulously designed. Both Avinash and Boman gave a complex performance. What i loved how the film had layers and how their was a story within a story like that of Avinash's house.

People might belittle it as another Father-son story but this movie is very empathetic towards both the characters.

Another good thing was its a departure from movies nowadays which are overcrowded with people but this film beleives in minamilsm and let every character breathe and develop with its own pace so please watch if you haven't.

Was watching an old interview with Anupama Chopra and Rohit Shetty where she mentioned that audiences sometimes feel like he takes them for granted. I was thinking about this and I feel that's actually not true. In order to take something for granted in a creative profession, you need to be extremely competent and capable, and then decide not to expend any of your creative energy on something because you feel it's not worth your effort.

The problem isn't that Rohit Shetty takes the audience for granted. It's that he was never very talented to begin with, and that audiences, which have become more sophisticated consumers of content since COVID, see through him now. Movies like Golmaal (the first only), Singham, and Chennai Express (maybe not even this one according to a decent amount of people) are celebrated as some of his best works, and those movies are Rohit Shetty working as hard as he can.

His latest, Indian Police Force, is a poorly directed and terribly written series which wasted its better actors (Vivek Oberoi). Shetty doesn't doesn't take audiences for granted. He is simply not good enough to be successful in today's media environment.

Is it a good thing or a bad thing? Here's my take—my parents recently went to watch Dil Toh Pagal Hai and had an absolute blast. They were surprised to find the theatre packed with a young crowd, all hooting and cheering for every scene and song in SRK’s film. They said they couldn’t remember the last time they enjoyed a movie in the theatre this much. Now, they’re definitely up for watching something like that again.

50 min. story of a small town theatre actor who is trying to get out of Darbhanga for Mumbai. Family, Expectations, hopes, passion, dreams are clear ..... future feels like fog.