The global lockdown caused due to the COVID-19 pandemic hasn't affected Portuguese football superstar Cristiano Ronaldo's workout regime.

 

 

 

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Discovering my island with the best company👨‍👦❤ï¸Â #madeiraisland #staysafe

A post shared by Cristiano Ronaldo (@cristiano) onMay 2, 2020 at 3:55am PDT

Before he returns to Italy next week, the Juventus player took partner Georgina Rodriguez and son Cristiano Jr to the scenic mountain top of the Madeira island for a hike on Saturday. He shared this picture of his son and him, with his 216 million Instagram followers and captioned it: "Discovering my island with the best company #madeiraisland #staysafe."

 

 

 

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🍃🌴🌵🌾ðŸ¦ÂŽ Punta de San Lorenzo ⛰🌏❤ @aloyoga #family #love

A post shared by Georgina Rodríguez (@georginagio) onMay 2, 2020 at 9:10am PDT

Meanwhile, Georgina posted this family picture (right) of them visiting the Ponta de Soo Lourenco (it means the Point of Saint Lawrence in Portuguese), the eastern point of the island, and wrote: "Punta de San Lorenzo #family #love."

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Manchester City's Argentine footballer Sergio Aguero has revealed that the secret to his goal-scoring prowess is a switch in diet from barbecued beef to chicken.

Sergio, who joined City from Atletico Madrid for £38million (R357 crore) in 2011, is their all-time high scorer with 254 goals from 368 games.

However, he struggled with weight issues until a few years back as his love for barbecued beef steaks lowered his blood pressure, leaving him feeling dizzy on the pitch.

"From 2013 to 2016, I could not adapt to food well. Then, I met an Italian doctor online and told him what I usually ate, which was a lot of meat. He said I should try chicken at least once a week. Initially, I was like 'uhhh' but then I adapted. He told me that if I'm very hungry, I should put rice and chicken together. Today, I'm a big fan of rice. Earlier, my weight was 81 or 81.3 kg. Now I am 79.5. In football, even if it's only half a kilo, you feel the difference. It's incredible," Sergio, 31, told Argentine TV channel, TyC Sports.

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Hugo Lloris believes that ending the English Premier League season without declaring Liverpool champions would be "cruel", but the Tottenham captain wants the final table decided on the field. The goalkeeper is following the English social isolation rules at home with his family in London, helping his two oldest daughters with their homework while trying to stay fit in case the reason restarts.

"We're in a situation where everyone wants to finish and get the verdict from the pitch," Lloris told French sports daily L'Equipe. "It would be terrible if it all ended like that with nine or 10 games to go in the Premier League." "We're coming into the most exciting, beautiful time of the season. Nobody wants it to end like this." Liverpool lead the table by 25 points. "It would be cruel for Liverpool with the lead they have. They're practically champions. "There would be a taste of the unfinished business." The France captain says that resuming the Premier League without fans will be strange. "It'll be weird wherever it happens. Football is not a closed-door sport," he said.

"Without spectators, it's not the same sport. That's not how I see football. "We're here to bond, to share our emotions. We all want full stadiums, with atmosphere, fans, colour and song." "But you have to take the context into consideration." "Everyone has to find the right compromise between health, which is above all else, and the need to finish this season," he added. The British government still has not given any indication when football will be able to resume.

"We have to be ready. Just in case," said Lloris, who was among the players to return to Tottenham's training centre last week for individual sessions. The World Cup winner contributed the gloves he wore when Tottenham lost the 2019 Champions League final to Liverpool in France for one charity auction. They raised 4,800 euros ($5,250). He also organised a France team auction with Blaise Matuidi, the Juventus midfielder, and Raphael Varane, the Real Madrid defender, and raised more than 300,000 euros for Paris hospitals. "This gesture does not represent much compared to the investment made by caregivers," he said.

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Former footballer Xavi Hernandez, hoping that Paris Saint-Germain star Neymar will return to Barcelona, said that the latter is among the 'top three or five players in the world'.

"Footballing wise, he's in the top three or five players in the world, no doubt," Goal.com quoted Xavi as saying during an Instagram chat with ex-Barca forward, Samuel Eto'o.

 

 

 

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Avui em connectaré a @roadto2022es per fer una sessió de preguntes i respostes en viu amb @setoo9. Si tens qualsevol pregunta per nosaltres, escriu-la a sota en els comentaris. Les preguntes i respostes es realitzaran a Instagram Live a les 18h horari de Doha, dilluns 4 de maig. ___ Hoy me conectaré a @roadto2022es para celebrar una sesión de preguntas y respuestas en vivo con @setoo9. Si tienes una pregunta para cualquiera de nosotros, escríbela en los comentarios a continuación. Las preguntas y respuestas se realizarán en Instagram Live a las 18:00 hora de Doha, el lunes 4 de mayo. ____ Today, I’ll be in @roadto2022es to participate in a Q&A live session with @setoo9. Send us your questions in comments below, and we’ll answer them on Instagram Live today, Monday 4th, at 18:00h (Doha time)

A post shared by Xavi (@xavi) onMay 4, 2020 at 4:37am PDT

"He can make the difference. Let's hope he returns to Barcelona. I'm a Barcelona fan and I want the best players there," he added.

After a four-year stay in the club, the former Barcelona player, Neymar, left in 2017 to join Paris Saint-Germain.

During the interaction, Xavi also expressed a desire to manage Barcelona saying that it is his dream to coach the club.

"In January, it wasn't the right moment. I had conversations with Eric Abidal [Barcelona's sporting director] and Oscar Grau [Barcelona chief executive] and a big offer, but it wasn't the right moment. I need a bit more experience. Coaching Barcelona is my dream. I'd like to do it one day. I've said that many times," he said.

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Football superstar Cristiano Ronaldo flew back to Italy on Monday after almost two months in Coronavirus lockdown in his native Madeira, Portugal, but he is continues to help with donations during this COVID-19 pandemic.

Lokomotiv Moscow's Portuguese player Joao Mario has told British tabloid, The Sun that Cristiano is donating money to lower league players in Portugal, who are financially hit due to the pandemic.

"It's a bad situation for everyone but in these kinds of situations, it's worse. They [Portugal's lower league players] really need our help. Cristiano presented us an initiative for us all to help especially those players that are struggling, that do not have professional contracts," said Joao.

Meanwhile, Manchester City star Bernardo Silva said, "Ronaldo suggested that Portugal players should donate 50 per cent of their Euro 2020 qualification bonus towards a players's fund in the Portugal Football Federation."

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The head of the English Professional Footballers' Association (PFA) has raised the possibility of playing shorter matches to lighten the load on players if the season can restart. English clubs remain committed to completing the campaign despite severe concerns over player welfare. Players could be tested up to three times a week and be forced to stay quarantined in hotels away from their families for a number of weeks to help limit the risk of them becoming infected with coronavirus. With 92 matches in the Premier League season still to be played, players could have little preparatory time to work on their fitness in group training before being rushed back into playing twice a week.

FIFA have proposed increasing the number of substitutes allowed per side from three to five to also lessen the risk of fatigue and injuries for players on their return. "Safety has to be paramount," PFA chief executive Gordon Taylor told the BBC. "We don't know the future. What we do know is what propositions have been put, what ideas have been put, the possibility of having more substitutes, games possibly not being the full 45 minutes each way.

"There's talks of neutral stadiums. There's been lots of things being put forward. "Try and wait and see what the proposals are, and then have the courtesy to let the managers and coaches and players also assimilate all those and come to a considered view." The Premier League's "Project Restart" has been met with some resistance over plans for all remaining games to take place at up to 10 neutral venues.

The remaining matches would need to be played behind closed doors, but there are fears fans could congregate around stadiums. Some top-flight clubs have argued that under those circumstances there should be no relegation as the sporting integrity of the competition is compromised. However, chairman of the English Football League (EFL) Rick Parry said denying promotion to three Championship clubs would end up in legal battles.

"The lawyers are going to get wealthy if that happens," Parry told the Digital, Culture, Media and Sport committee on Tuesday. "There would be a degree of outrage from a number of clubs in our Championship, and it would be a breach of the tripartite agreement. "The safe answer is that it would get very messy. Our expectation is there would be three clubs promoted from the Championship."

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Former Barcelona player Xavi Hernandez is certain of ex-teammate Lionel Messi featuring in the FIFA World Cup Qatar 2022 as he said that the Argentine has still got "five or seven very good years left in him".

"He's still got five or seven very good years left in him," Goal.com quoted Xavi as saying during an Instagram chat with another ex-Barca forward, Samuel Eto'o.

"He takes good care of himself and he can keep playing until he's 37, 38 or 39. He'll play at the Qatar World Cup, I'm sure," he added.

The 32-year-old Messi scored 24 goals this season in all competitions before coronavirus pandemic brought the football season to a standstill.

Xavi also expressed his desire to manage Barcelona saying that it is his dream to coach the club.

"In January, it wasn't the right moment. I had conversations with Eric Abidal [Barcelona's sporting director] and Oscar Grau [Barcelona chief executive] and a big offer, but it wasn't the right moment. I need a bit more experience. Coaching Barcelona is my dream. I'd like to do it one day. I've said that many times," he said.

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Algeria international Farid El Melali will be tried for indecent exposure after allegedly masturbating in public, AFP learned on Tuesday on the Angers winger's 23rd birthday. El Melali was questioned by police in Angers late on Monday after his neighbours claimed they caught him exposing himself in front of a building where a woman was staying.

The forward admitted to police to having an "inappropriate attitude", according to his lawyer Sandra Chirac-Kollarik, and thought he was alone in the courtyard of the building. "He wasn't targeting anyone, and wasn't aggressive towards anyone," Chirac-Kollarik said. The public prosecutor's department said El Melali had committed a similar act in April but the same victim was unable to identify the individual.

El Melali, who signed a new contract with the Ligue 1 club on Monday, was released but will face trial in terms of an appearance prior to an admission of guilt. His side, who he joined in August 2018, said they had taken note of his situation and added they "would wait for the decision." In February, the outfit from western France's president Said Chabane had been questioned for "aggravated sexual aggression" following accusations from within the club.

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A video of Hertha Berlin forward Salomon Kalou shaking hands with his team-mates "shocked" key German politicians, who are set to decide Wednesday whether the Bundesliga can resume next month. "The video has done the German league (DFL) and professional football a disservice," Anja Stahmann, chairwoman of Germany's regional sports ministers, told radio station RBB on Wednesday. "I have heard from colleagues that they are shocked and shaken.

"We were struck by great doubts when we watched the video," admitted the sports senator for the state of Bremen. "I got the impression that good rules were being written down on paper, but that they were not actually being lived out." The Bundesliga is set to be given the green light by the government on Wednesday to resume later this month behind closed doors and with strict hygiene measures in place.

Germany's regional sports ministers have already approved the Bundesliga's plans to resume, but Stahmann said Ivory Coast international Kalou's video left a bad impression. "Some people think the Bundesliga has lost its grip in times of a pandemic," Stahmann added. On Monday, the former Chelsea forward was suspended by Hertha after posting a video to Facebook showing him greeting team-mates and club employees with handshakes, flaunting hygiene guidelines laid out by the league. Kalou apologised for disregarding the social distancing rules, saying: "it was a big mistake".

The 34-year-old also said he could understand how his video, shot in the dressng room, caused shockwaves as the league was seeking permission to return to action. Kalou has scored 48 goals in 151 Bundesliga games for Hertha, but is out of contract at the end of the season and could have played his last game for the club. "It was respectless and I want to apologise for that sincerely," he added.

"But I am about more than those five bad minutes that people see of me in the dressing room." However, Kalou's video drew criticism from the top of the German government. Health minister Jens Spahn said it was "right" that Hertha suspended Kalou and there were "consequences after the video".

Bavaria's premier minister Markus Soeder said the league has developed an "excellent" hygiene concept but "there are individual players, as we have read, who are behaving very, very poorly".

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Portuguese football superstar Cristiano Ronaldo, 35, could be expecting his fifth child going by an indication from his girlfriend Georgina Rodriguez, 26, via social media.

On Monday, just before leaving for Turin, Italy from Madeira in Portugal where they spent nearly two months, Georgina hinted in a social media post that she was pregnant.

She Instagrammed this blurred picture (above) of herself chewing gum with the words 'baby girl' accompanied by a heart wrapped in a bow emoji.

Cristiano has four children, Cristiano Jr, nine, twins Eva and Mateo, two, born via a surrogate mother and Alana Martina, two, from Georgina. Cristiano and his family arrived in Italy, where he will now self-isolate for two weeks before resuming training with his club, Juventus.

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The virtual war between WAGs Rebekah Vardy, 38, and Coleen Rooney, 34, is far from over. It is learnt that Rebekah, wife of Leicester City footballer Jamie Vardy, wants a public apology from Coleen, the wife of former England captain Wayne Rooney, for accusing her in October of leaking fake stories to the press via social media.

While both ladies are currently locked in a legal battle, it is learnt that they will have an arbitration meeting on Zoom this week in a bid to avoid a costly court case, reported British tabloid, The Sun.

"Becky [Rebekah] is adamant she's done nothing wrong and has told her team she wants a public apology," an insider told the newspaper. "She was hurt that Coleen went straight on social media to lay the blame at her door, rather than speaking to her privately. She has maintained her innocence throughout and doesn't want this to be brushed under the carpet without Coleen publicly apologising," added the source.

The two used to be good friends before Coleen claimed in October that Rebekah's Instagram account had been leaking false stories to the press. Subsequently, Rebekah endured a lot of abuse on social media.

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Portuguese footballer Bernardo Silva has reportedly found love during the ongoing Coronavirus-caused lockdown.

The Manchester City star, who split from his French model girlfriend Alicia Verrando two years ago, is said to be in a relationship with Portuguese model Ines Tomaz.

According to a report in the Portuguese media, Bernardo has been in lockdown near Lisbon in Portugal with Ines for over a month, but the couple are not keen to rush into things.

"They've not been together for very long and they want to take things slowly," a source told Portuguese newspaper Correio da Manha.

It is learnt that Bernardo and Ines have been watching Netflix, playing the piano and even learning to cook together. Bernardo revealed last week that he was in quarantine with a group, including Ines, and had even posted a picture of the bunch on social media.

"Hey guys, it's been over a month that we're all locked down in our homes so I have decided to show you a little bit of what our quarantine looks like. This is the group of friends with whom I'm spending my quarantine," he wrote.

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German footballer Manuel Neuer, 34, who split from his wife Nina only four months ago, is said to be dating a teenage student in Munich.

Bayern Munich's star goalkeeper is reportedly in a relationship with Anika Bissel, 19, a fashion management student, who also plays for a local handball club team named Kuties. Interestingly, Anika bears a striking resemblance to Nina.

Manuel Neuer's ex-wife Nina

According to leading German magazine Bunte, Anika owns a flat in Munich but is seen spending most of her time at the footballer's luxurious home.

It is learnt that 2014 FIFA World Cup winner Manuel is very serious about his relationship and has even introduced Anika to his mother, Marita.

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Manchester City's Kyle Walker says he is being "harassed" after admitting he breached coronavirus lockdown rules to visit his sister and parents. The defender was forced to issue an apology last month after media reports that he had hosted a party at his home. But Walker has hit back at the latest stories, insisting that he is being targeted and that the ongoing controversy is affecting his family's health.

In a statement on his official Twitter feed, Walker wrote: "I have recently gone through one of the toughest periods of my life, which I take full responsibility for. "However, I now feel as though I am being harassed. "This is no longer solely affecting me, but affecting the health of my family and my young children too." Walker admitted contravening coronavirus regulations again by visiting Sheffield to see his sister and his parents -- for which he could be fined and cautioned by police.
"In relation to the events on Wednesday, I travelled to Sheffield to give my sister a birthday card and present, but also to speak to one of the few people I believe I can trust in my life," he said.

"She hugged me to remind me that she cares and that I am loved. What am I meant to do -- push her away? "I then travelled to my parents' house to pick up some home-cooked meals. Again, it's been an extremely tough couple of months for them." He criticised the media for invading the privacy of his family, saying he constantly felt he was being followed.

Aston Villa's Jack Grealish was forced to apologise in March after breaching lockdown rules, while Everton strongly criticised Moises Kean for hosting a party last month.

Walker said the response to his actions had been disproportionate, raising mental health concerns and saying his family had been "torn apart" by the continuing scrutiny.

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The Fast And Furious franchise started way back in 2001. Since then we have seen the franchise evolve from racing to something that includes, heists, spying and of course fast cars. Now two years after the last release in the series THE FATE OF THE FURIOUS hit screens in 2017, we see a spin off feature film in the form of FAST &amp; FURIOUS PRESENTS: HOBBS &amp; SHAW. But will this new action flick woo the Fast and Furious audience or will it like so many other actioners be all glitz and no content is what we analyse. <img class="aligncenter wp-image-1004788 size-full" title="Movie Review Fast &amp; Furious Presents Hobbs &amp; Shaw" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/08/Movie-Review-Fast-Furious-Presents-Hobbs-Shaw.jpg" alt="Movie Review Fast &amp; Furious Presents Hobbs &amp; Shaw" width="720" height="450" /> Starting off, FAST &amp; FURIOUS PRESENTS: HOBBS &amp; SHAW is centred around the titular Luke Hobbs (Dwayne Johnson) and Deckard Shaw (Jason Statham), characters introduced in the main series. The film begins with a crew of MI6 agents attempting to retrieve a virus, Snowflake, which can be programmed to decimate millions of people, from terrorist organization Eteon. Brixton Lore (Idris Elba), an Eteon operative with advanced cybernetic implants, arrives and kills all agents except for their leader, Hattie Shaw (Vanessa Kirby), who injects Snowflake into herself as a dormant carrier and escapes. Brixton frames Hattie as a traitor who killed her team and stole Snowflake, forcing her to go on the run. Luke Hobbs and Deckard Shaw are both informed of the missing virus and are assigned to work together reluctantly to track it down. From here on begins a cat and mouse game to save Hattie and the world while keeping the deadly ‘Snowflake’ out of the wrong hands. Much like the previous FAST &amp; FURIOUS films, this spin off too is an action entertainer that promises edge of the seat stunts, fast cars, and big explosions. While there were initial questions raised whether a spin off on a series like F&amp;F would work and hold the audience’s interest, FAST &amp; FURIOUS PRESENTS: HOBBS &amp; SHAW proves that such films if made well, not only keep the audience in their seats but also provides for a fun filled thrilling watch. Director David Leitch, who has in the past proved his mettle with JOHN WICK (2014), ATOMIC BLONDE (2017) and the more recent release DEADPOOL 2 (2018), has done it again. Thanks to a background as a stuntman with professional martial arts training, Leitch is able to execute and shoot some rather difficult action sequences with precision. Keeping in mind the background of the franchise, Leitch has capitalized on characteristic traits of Hobbs and Shaw to develop seamless fight sequences that are well co-ordinated. As for the story of the film, like most action flicks, this one too features a wafer thin plot. However, it isn’t the plot that is the film’s mainstay; instead it is the eye popping relentless action that is interjected with well-placed humour to break the monotony. Coming to the performances, Dwayne Johnson as Luke Hobbs does what he does best, which is smashing things. Assisting him on this endeavour is Jason Statham as Deckard Shaw who takes the more refined approach as compared to Hobbs’ brute force technique to eliminate targets with finesse. Vanessa Kirby as Hattie Shaw does a commendable job and manages to hold her own despite the fact that the film is centred on the characters of Hobbs and Shaw. However it is Idris Elba as Brixton Lore who steals the limelight. A cybernetic enhanced superhuman hybrid, Brixton is capable of feats that push the boundary. Despite having such power, Elba’s restrain is clearly evident, thus preventing the film from becoming too over the top. The dialogues, though not much are good in places with well time punch lines that deliver. As for the action, well it is a spin off from the FAST AND FURIOUS franchise, so expect tons of it. Though unlike the previous films in the series, this one features fewer high end cars, skimpily clad women and debauchery, but rest assured David Leitch has done well with the action. Adrenaline pumping, edge of the cliff (quite literally) gasoline fuelled explosions that are sure to satiate your hunger for destruction. On the whole, FAST &amp; FURIOUS PRESENTS: HOBBS &amp; SHAW lives up to the FAST &amp; FURIOUS tag, with insane stunts, high octane action, well timed humour and an entertaining rollercoaster ride that keeps you in your seat. At the box office, the film that releases in four languages, English, Hindi, Tamil and Telugu is expected to open well and will see an increase in footfalls over evening and night shows. With little competition at the box office, FAST &amp; FURIOUS PRESENTS: HOBBS &amp; SHAW looks set to dominate the weekend.

Just like how Eid is synonymous with a Salman Khan release, the Independence Day holiday isn’t complete without an Akshay Kumar starrer. From 2013 to 2018, he has had a release during this beneficial weekend, barring 2014. 2019 is no exception and this time, he is out with MISSION MANGAL, based on an important chapter of India’s history. The mood of the film is also apt, considering that just last month, the Indian Space Research Organisation (ISRO) launched Chandrayaan-2 towards the moon. MISSION MANGAL has all the trappings of a blockbuster. So does it turn out to be as exciting and entertaining as expected? Or does the content fails to entice? Let’s analyse. <img class="aligncenter size-full wp-image-1008325" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/08/Mission-Mangal-Review-IMG.jpg" alt="" width="750" height="450" /> MISSION MANGAL is the incredible true story behind India’s mission to Mars. The film begins in 2010. At the Indian Space Research Organisation (ISRO), a space mission under Rakesh Dhawan (Akshay Kumar) fails after Tara Shinde (Vidya Balan) in his team makes an error in judgement. As a punishment posting, he’s asked to handle India’s Mars program, which is not expected to take off anytime soon. A few days later, Tara while cooking puris in her home has a Eureka moment. She realises that through innovative methods, they can try to get our satellite reach Mars in just two years. She tells Rakesh about the plan and he realises it’s a golden opportunity. Rakesh approaches his senior (Vikram Gokhale) for approval who finds the idea unfeasible. Also Rupert Desai (Dalip Tahil) who has come from NASA to join ISRO feels that Rakesh's idea is ridiculous. Rakesh however manages to persuade and begins work. He asks for the best of the men from ISRO for this project. However he’s given inexperienced colleagues like Kritika Aggarwal (Taapsee Pannu), Eka Gandhi (Sonakshi Sinha), Varsha Gowda (Nithya Menen), Neha Siddiqui (Kirti Kulhari) and Parmeshwar Naidu (Sharman Joshi) and a very senior employee Ananth Iyer (H G Dattatreya). What happens next forms the rest of the film. Jagan Shakti's story is superb and also very challenging. It’s not easy to pen down a mainstream film with such a plot. Also many are not aware of what transpired behind the making of India’s Mars mission. Hence it’ll be exciting for them to witness the whole journey. Also there are so many twists and turns in the plot that one might not believe that some of the plot points are actually true incidents. R Balki, Jagan Shakti, Nidhi Singh Dharma and Saketh Kondipathi's screenplay not only simplifies the proceedings but also make it massy. The screenplay blends science and entertainment seamlessly. The film’s goings on are extremely easy to comprehend. R Balki, Jagan Shakti, Nidhi Singh Dharma and Saketh Kondipathi's dialogues are effective and funny. Jagan Shakti's direction is terrific for a first timer. He had a winning screenplay in his hand and he takes it to another level with his execution. The film has also has subplots of each of the main characters and even these are very well woven in the narrative. And through these tracks too, the makers have made some important comments about religion, parenting, marriage, religious bias etc. and all these contribute to the film hugely. MISSION MANGAL starts off beautifully showing Tara running a house efficiently on the day ISRO has an important launch. Rakesh's entry and the confrontation scene when he’s offered Mars program is intriguing as well as entertaining. It also makes it clear that the film won’t get serious and that the entertainment quotient will be maintained. The rest of the team is introduced in a quick but interesting montage like sequences and it adds a lot to the film. The first half moves swiftly with no complaints. The second half is longer and the commencing portions are where the film drops. Also to see the team renovating their work station at a time when they are running against time is a bit too much. Thankfully the film soon picks up. The best is obviously reserved for the finale. There are a lot of obstacles faced by the team here and it makes the film even more gripping. The finale is applause worthy. <p class="entry-title name"><strong><span style="text-decoration: underline;">Mission Mangal | Public Review | FDFS | Akshay Kumar | Vidya Balan | Taapsee Pannu | Sharman Joshi</span></strong></p> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/mission-mangal-public-review-akshay-kumar-vidya-balan-taapsee-nithya-movie-review-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MISSION MANGAL is embellished with some fine performances. Akshay Kumar is in top form. He gets to play such a splendid role and gets into the skin of his character. And he’s very much there throughout the film! The way his character rarely gets serious and makes even serious discussions light and funny is seen to be believed. One of the greatest sequences of the film is when he makes an imaginary call to none other than APJ Abdul Kalam. Vidya Balan dominates most of the first half and suits her character to the T. It’s also admirable that she has no qualms playing mother to teenagers. Sonakshi Sinha is lovely and gets to shine. It’s great to see how she makes an impact in a supporting role. Taapsee Pannu is also quite efficient and gives her best in the climax. Nithya Menen has a smaller role but it serves as a great debut. Kirti Kulhari manages to score and many would be able to relate to her character's struggles. Sharman Joshi is funny and would surely make viewers smile. H G Dattatreya is adorable and the scene where he teaches Kirti's ex hubby a lesson is too good! Dalip Tahil is appropriate as the pessimist. Sanjay Kapoor (Sunil Shinde) is the surprise of the film. He delivers a fine performance and post interval he goes in another mode that would be greeted with whistles in cinemas! Purab Kohli (Vivek) and Mohd. Zeeshan Ayyub (Rishi) lend able support. Rohan Joshi (Dilip Shinde) is hilarious and even heartening as Vidya Balan's son. Kashmira Pardeshi (Anya Shinde) gets no scope. Vikram Gokhale is decent. Others are also good in their respective parts. Amit Trivedi's music is well interspersed with the proceedings. <em>'Dil Mein Mars Hai' </em>is entertaining and catchy. <em>'Shaabaashiyaan'</em> is played at a crucial juncture. Amit Trivedi's background score is engaging. S Ravi Varman's cinematography is quite simple and has the big screen effect. Sandeep Ravade's production design is praiseworthy as it’s straight out of life. Debashish Mishra's sound design is also as real as it gets. Sham Kaushal's action is good in the lone action scene inside the metro. Famulus Media and Entertainment's VFX is top class without which the long climax would not have worked so well. Theia Tekchandaney's costumes are appealing yet not too glamorous. Kirti Kolwankar and Maria Tharakan's costumes for Vidya Balan are authentic. Chandan Arora's editing is just perfect as the film neither moves too fast nor drags. On the whole, MISSION MANGAL is engaging and entertaining while being patriotic in its feel. At the box office, it will be accepted whole heartedly by the audiences and has the potential to emerge as Akshay Kumar's highest grosser ever!

Political films, based in the hinterland, have a strong chance at the box office, especially when made in a massy way. Sanjay Dutt who has had a rough time at the box office ever since his new innings in Bollywood post his release from jail is now back with PRASSTHANAM, the Telugu remake of the 2010 film of the same name. The original was loved for its plot, concept and performances. So does the remake turn out to be the much-needed hit for Sanjay Dutt? Or does PRASSTHANAM fail to entice? Let’s analyse. <img class="aligncenter wp-image-1020673 size-full" title="Movie Review Prassthanam" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/09/Movie-Review-Prassthanam.jpg" alt="Movie Review Prassthanam" width="750" height="450" /> PRASSTHANAM is the story of family, trust and betrayal in a lawless land. 25 years ago, in Ballipar, Shiv (Anuup Sonii) has stood for elections against a violent rival. The rival stabs Shiv during a rally, resulting in his death. Shiv's father is an ex politico who is distraught by the demise of his son. He tells his most trusted aide, Baldev Pratap Singh (Sanjay Dutt) to take over the reins and also to take care of Shiv’s wife Saroj (Manisha Koirala) and his two children. Baldev agrees but not before eliminating the rival candidate who killed Shiv. Baldev is helped here by his closest confidante, Baadshah (Jackie Shroff). Baldev marries Saroj and this angers Shiv’s daughter Palak. But Shiv’s son Ayush looks up to Baldev. Baldev and Saroj give birth to a son, Vivan due to which Palak further feels alienated. The story then moves 25 years forward in the present day. Baldev has been a four time MLA and is busy with the upcoming elections. He recently got a stay order on a land which is being illegally usurped by a cunning businessman, Bajwa Khatri (Chunky Panday). Palak (Chahatt Khanna) is now a doctor and is happily married and also has two kids. She has completely broken contact with Saroj and Baldev and she only is in touch with Ayush (Ali Fazal). Ayush still has the respect for his step father and dutifully works under him. Baldev is so happy with Ayush that he’s made it clear that he will be his heir. Vivan (Satyajeet Dubey) is infuriated with this bond as he feels he’s the biological son of Baldev and hence he is the rightful heir. Baldev however realises that Vivan is not cut for politics and advises him to study abroad and then handle his hospitality business. Vivan revolts and due to his hot headed nature, ends up insulting Asma (Divinaa Thackur), Baadshah's daughter who’s also the manager in Baldev's hotel. Baldev is aghast with Vivan's behaviour and tells Ayush to apologise to Asma which he does. He also tells Ayush to train under Asma and he agrees. While working together, both get close. One day, Baldev is shot by assailants belonging to Bajwa who wants to avenge the loss of his land. Baldev survives and gets second thoughts about fighting elections. But Ayush takes care of everything and ensures that Baldev signs the nomination papers. Baldev gets whole hearted support from locals and hence, the party assures that he’ll become the state home minister after winning the elections and that Ayush will be youth president. Vivan revolts but Baldev shuts him up. Vivan ends up drinking and creating a scene in the hotel. Asma tries to control the situation but he ends up drugging and raping her. When he and his friends escape from the hotel with Asma, their car meets with an accident. They decide to finish Asma and try to pass it off as a road accident. What happens next forms the rest of the film. Deva Katta's story is promising on paper as the film touches upon issues of how all is fair when it comes to politics. The Machiavellianism bit comes across well. Deva Katta's screenplay (with additional screenplay by Farhad Samji) is also effective especially in the first half. But the film is devoid of entertainment in the second half and gets too violent. A few sequences are also unconvincing at this point. The pre-climax puts some things straight but the anti-climax finale spoils things. Farhad Samji's dialogues are acidic and even clapworthy. Deva Katta's direction is quite simple and that works to an extent as the storyline is quite vast and complicated due to the presence of so many characters and the dynamics they share with each other. But one wishes he had done something about the finale as it’s the most disappointing part of the film. Also, audiences have seen films like RAAJNEETI, SARKAR, GANGS OF WASSEYPUR etc which are also based on corruption and bloodshed in politics and these films had far better impact. PRASSTHANAM pales in comparison of these memorable flicks. <span style="text-decoration: underline;"><strong>“Salman Khan- TIGER, Shah Rukh Khan- BADSHAH, Ranbir – DILWALA”: Sanjay Dutt | Rapid Fire</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/salman-khan-tiger-shah-rukh-khan-badshah-ranbir-dilwala-sanjay-dutt-rapid-fire/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> PRASSTHANAM begins on a fine note showing the flashback and how the dynamics haven’t changed between certain characters over the years. The title track played during an action scene of the flashback is quite massy and would be enjoyed in single screens. The first half has some well written and executed scenes and has enough drama. The rape sequence and the aftermath is a shocker and makes for a great interval point. The second half is when things get really messy. The characters become sworn enemies of each other resulting in bloodbath. Sure there’s unpredictability but it’s get too much. There’s a solid twist in the pre climax that revives interest. However, shockingly the climax is absolutely <em>thanda</em>. One expects fireworks but it just ends on a tepid note. Single screen audiences, the target audience, will be expecting such an action packed film to end on a rocking note. But they surely would come out feeling dejected. Sanjay Dutt gives a genuinely good performance and doesn’t go over the top. He keeps it restrained and it suits the character. Ali Fazal however steals the show. He gets the maximum screen time and he rocks the show. Jackie Shroff hardly has any dialogues but his screen presence is electrifying. The <em>'Haji Ali'</em> track comes suddenly and seems weird to see a character run all the way from Uttar Pradesh to Mumbai. But Jackie’s performance saves the day. Manisha Koirala is decent but doesn’t have much to do. She’s like the silent observer and one surely expected more from such a dynamic performer. Satyajeet Dubey is great in the villainous role and oozes fear. Chunky Panday is passable. Amyra Dastur (Shivi) doesn’t get much scope. Chahatt Khanna and Divinaa Thackur do well. Other actors who leave a mark are Deepraj Rana (S P Narang), Zakir Hussain (Majid Maqbool) and Annup Sonii. Ishita Raj is smoking hot in the item number. Talking of music, the title track is the most memorable. This is followed by <em>'Haji Ali'</em> chiefly due to Jackie’s presence. <em>'Dil Bevda'</em>, the item song, is nothing great. <em>'Charo Khane Chit'</em> is forgettable while <em>'Dil Dariyan'</em> is wasted. Mahesh Shankar's background score is dramatic. Ravi Yadav's cinematography is appropriate and the birds-eye shots of Lucknow are well captured. Abbas Ali Moghul's action is a bit gory as per the requirement. Pallavi Bagga and Suman Roy Mahapatra's production design is average. Priyanka Mundada's costumes are straight out of life. Ballu Saluja's editing is quite good in the first half especially. On the whole, PRASSTHANAM rests on some great performances and a fine first half. But the second half and especially the lacklustre ending spoil the show. The buzz for the film is low due to which it will face a tough time at the box office.

Since last year, Bollywood has seen a rise in period films based in the pre-Independence era. Not just films based on real-life characters like MANIKARNIKA – THE QUEEN OF JHANSI, KESARI or SYE RAA NARASIMHA REDDY, but even fictional sagas like THUGS OF HINDOSTAN, TUMMBAD or the upcoming SHAMSHERA are also being made. Saif Ali Khan’s latest outing, LAAL KAPTAAN, belongs to the latter category and attempts to tell a revenge drama. So does LAAL KAPTAAN succeed in entertaining despite the niche appeal? Or does it fail to impress? Let’s analyse. <img class="aligncenter wp-image-1031588 size-full" title="Movie Review: Laal Kaptaan" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Movie-Review-Laal-Kaptaan.jpg" alt="Movie Review: Laal Kaptaan" width="750" height="450" /> LAAL KAPTAAN is the story of revenge spanning a couple of decades. The year is 1789, 25 years after Battle of Buxar. Hunter (Saif Ali Khan) is a Naga Sadhu who’s looking for a man called Rehmat Khan (Manav Vij). Through Noor Bibi (Sonakshi Sinha), Hunter finds out that Rehmat is a governor of a kingdom somewhere in North India. At this time, the evil Rehmat takes away all the treasure of his kingdom and kills his servants. Along with his army, his confidant Aadham Khan (Aamir Bashir), his wife (Simone Singh), wet nurse (Eshika De) and his newborn son, he abandons the fort and is on a way to the banks of the river Yamuna. By the time Hunter reaches the fort, there’s no one except a widow (Zoya Hussain). Hunter gets injured while fighting some Pathans on the way and the widow takes care of him and treats his wounds. In return, she requests him to take her with him. Hunter refuses and yet, she follows him. After Hunter and the widow leave, a tracker (Deepak Dobriyal) who’s an expert in finding out whereabouts with the help of his smelling power and pet dogs, reaches the fort. In some time, the Marathas attack the fort and the tracker agrees to help them find Rehmat. Rehmat was to give a portion of the treasure to the Marathas but since he didn’t, they are trying to find him. Meanwhile, a few days later, the Hunter reaches the place where Rehmat and his army have camped for the night. Hunter quietly enters Rehmat’s tent but he doesn’t kill him, which has always been his sole aim since 25 years. Rehmat’s army nabs Hunter but Rehmat doesn’t want him eliminated. He wants to know who exactly is Hunter and why he wants to kill him. Rehmat is also reminded that six years ago, he had crossed paths with Hunter and the latter had told him that he’ll finish him. Even then, Hunter had spared him. What happens next forms the rest of the film. Deepak Venkatesha and Navdeep Singh's story is very poor and gives a déjà vu of certain period films of Bollywood and also Hollywood. Deepak Venkatesha and Navdeep Singh's screenplay is confusing and ineffective. The film has too many tracks and except Hunter’s track, none of them are interesting. Also, the transition between tracks is not smooth. There’s a twist in the tale revealed in the pre climax but it arrives at a time when viewers are tired with the goings on and just want the film to end. Sudip Sharma's dialogues are nothing special and quite pretentious. The philosophical one-liners fail to entice. Also, various dialects and even Marathi is used and it’ll be difficult to decipher some of the lines in the absence of subtitles. Navdeep Singh's direction is highly disappointing. He had very weak material in his hand and moreover, he further spoils the show with his execution. The film is extremely dry and slow and very few scenes arrest your attention. There’s also an attempt to add humour with the character of the tracker and by showing Pindaris, allied with the Maratha army, as buffoons. But it just doesn’t impress. Even the revenge bit looks silly as Hunter crosses paths with Rehmat Khan twice and yet doesn’t kill him. <span style="text-decoration: underline;"><strong>Laal Kaptaan: Public Review | First Day First Show | Saif Ali Khan</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/laal-kaptaan-public-review-first-day-first-show-saif-ali-khan/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> LAAL KAPTAAN has an intriguing beginning showing the flashback portion. Hunter’s entry is heroic but soon the film falls flat and it remains that way till the end, save for a few minutes in between. The film is too long at 155 minutes and moves at a snail’s pace. The story moreover is very random and also quite confusing. Hence, it becomes difficult for audiences to keep their interest. Also, it is bewildering that Hunter is desperate to find Rehmat Khan since 25 years. And when he finally meets him, he never kills him. Audiences would never be able to understand this factor. In the end, the reason is revealed but it’s very unconvincing and silly. Talking of performances, Saif Ali Khan genuinely puts up a good show. His look is quite dashing and he excels in action scenes. Manav Vij too does very well, as the baddie. His intense eyes work very well for such roles. Deepak Dobriyal is mildly amusing but in most scenes, his act doesn’t raise laughs. Zoya Hussain puts up a confident show. Simone Singh is decent. Aamir Bashir and Eshika De are passable. Neeraj Kabi (Sadullah Khan) gives a nice performance in a cameo and same goes for Chetan Hansraj (Sangram Singh) and Ajay Paul (Thakur). Vibha Rani (Laal Pari) is quite scary as clairvoyant but the director misses the bus here as he could have done a lot with this character. Madan Deodhar (Maratha captain) is appropriate and he’s the only one who manages some laughs. Henry Douthwaite (British officer Theodore Munro) has nothing much to do. Sonakshi Sinha is wasted and is there for just one scene. Samira Koppikar's music is nothing great and songs are badly used. <em>'Taandav'</em> sounds exhilarating but comes at a very confusing point in the movie. <em>'Red Red Najariya'</em> could have made for a great item song but is played just for a few seconds and hence, wasted. <em>'Kaal Kaal'</em> and <em>'Lahu ka Rang Kara'</em> don’t make the desired impact. Benedict Taylor and Naren Chandavarkar's background score is in sync with the film’s mood. Shanker Raman's cinematography is spectacular and the film is shot in some virgin locales. Rakesh Yadav's production design is authentic. Darshan Yewalekar's hair design and Dhananjay Prajapati's makeup is spot on, especially in case of Saif.  Maxima Basu Golani's costumes too are straight out of the 18^th century India. Illusion Ethereal's VFX is fine but could have been better in some scenes. Jabeen Merchant's editing is haphazard in several scenes. On the whole, LAAL KAPTAAN is bizarre and a poor film that has nothing substantial to offer the audiences in general. At the box office, the negligible buzz along with its release in the dull pre-Diwali period will spell doom for the film.

Aamir Khan’s landmark TV show ‘Satyamev Jayate’ introduced viewers to several real-life heroes that were then unknown. Two of the most memorable guests on this series were the ‘Revolver Daadis’, that is, Chandro and Prakashi Tomar. Tushar Hiranandani, for his directorial debut SAAND KI AANKH, decides to adapt their story onto celluloid. So does SAAND KI AANKH manage to enlighten and also entertain viewers? Or do the makers fail to do justice? Let’s analyse. <img class="aligncenter wp-image-1032669 size-full" title="Movie Review: Saand Ki Aankh" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Saand-Ki-Aankh-5-1.jpg" alt="Movie Review: Saand Ki Aankh" width="720" height="450" /> SAAND KI AANKH is the story of two women who find their calling in their 60s. The year is 1999. Chandro Tomar (Bhumi Pednekar) and Prakashi Tomar (Taapsee Pannu) are sister-in-laws living under one roof with their respective spouses, strict and orthodox brother-in-law Rattan Singh (Prakash Jha) and their children in Johri village in Uttar Pradesh. Both have crossed 60 years of age and though they had the desire to do something worthwhile in their lives, they were not allowed to because of the pressures of the patriarchal society. One day, Dr Yashpal (Viineet Kumar) returns back to Johri. He leaves his medical profession and starts his shooting range. Chandro’s daughter Shefali (Sara Arjun) expresses interest to practise shooting but Rattan obviously refuses to give permission. Yet, Chandro takes Shefali to the range. Without giving much thought, Chandro also tries her hand and surprisingly, she hits a bullseye! Yashpal tells her to try few more times and he realizes that Chandro is a pro. Later, even Prakashi joins and even she turns out to be an expert shooter! Yashpal encourages them to hone their skills at his shooting range and later, tells them to take part in a shooting competition held in Chandigarh. The <em>daadis</em> have never stepped outside their village in their lives. Hence, they get apprehensive at first but nevertheless, they agree. They fool their husbands and Rattan smartly and head to the competition where Prakashi emerges first and Chandro second. In no time, they win many tournaments with ease, while also cooking up various stories to tell their spouses. However soon there comes a time when the Tomar sisters are compelled to tell the truth to Rattan. What happens next forms the rest of the film. Balwinder Januja's story is very promising and inspiring. It not just enlightens viewers about the lives of Chandro and Prakashi Tomar but also gives an important comment subtly about the ills of patriarchal society and lack of awareness of population control. Balwinder Januja's screenplay is captivating for most parts but could have been better in the beginning of the flashback portion and in the pre-climax. Jagdeep Sinhu's dialogues are acidic and sharp. Tushar Hiranandani's direction is quite good for a first-timer and he’s in control of the writing material in hand. He also tries his best to make it as entertaining and mainstream as possible. Also he scores on the emotional front as the struggles of <em>daadis </em>and the way they get slammed by the male members of the family can leave viewers moist-eyed. On the flipside, he should have kept the duration in check. The last 15-20 minutes could have been better emotionally as the scene preceding the finale is too good. SAAND KI AANKH begins on an interesting note and Chandro and Prakashi’s entry puts a smile on one’s face. The flashback portion works in parts. In fact, the entire first half though engaging doesn’t really go on a high. There’s not enough drama or tension in this hour as the <em>daadis</em> are able to easily practise and even go to Chandigarh without the men getting suspicious. The best part of the first half is the Chandigarh competition and how both the women silence their detractors. Post-interval too, the tension doesn’t arise till a certain point. Yet, the second half is better as there are some very sweet moments. One of the most touching scenes here is when Chandro and Prakashi mistake the finger bowl for hot lime water and gulp it down the throats. The Maharani (Nikhat Khan) doesn’t want the <em>daadis</em> to be humiliated for their gesture and hence, even she does the same! Even the <em>jugaadu</em> disco light installed by the <em>daadis</em> in their house in <em>‘Baby Gold’</em> song is sweet. The confrontation sequence between the <em>daadis</em> and Rattan Singh is exhilarating. One expects the film to end here but it goes on for another 20 minutes as the film also focuses on the track of Shefali and Seema trying to be shooters. This track also has its moments but after the high-voltage confrontation scene, the film falls flatly in this said scene. The film ends on an emotional note. <span style="text-decoration: underline;"><strong>BLOCKBUSTER : Taapsee &amp; Bhumi’s HILARIOUS Rapid Fire on Akshay, clash with Housefull 4, women crush</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/blockbuster-taapsee-bhumis-hilarious-rapid-fire-on-akshay-clash-with-housefull-4-women-crush/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> SAAND KI AANKH belongs to Taapsee Pannu and Bhumi Pednekar undoubtedly. It’s important to note that they don’t really look that old but both compensate for it through their performances. Taapsee is at ease and the way she breaks into a sheepish smile when her plan of fooling the men succeeds is damn good. She gives her best however in the last portion of the film. Bhumi too gives in her best and her body language is spot-on. Also her attempts to pick up English will elicit laughs in theatres. In a few scenes though, she gets overpowered by Taapsee. Viineet Kumar is endearing and would be loved in the role of the person who serves as catalyst in the journey of the ‘Revolver Daadis’. From his dialogue delivery to his expressions, he gets his act just right. Prakash Jha is very convincing in what can be called a negative role and one can’t help but hate him from start to finish! Shaad Randhawa makes his presence felt in the second half of the film. Nikhat Khan is lovely as the Maharani and she is a part of some of the most important scenes of the film. Sara Arjun has a great screen presence and does well. Yogendra Singh (young Rattan Singh) is apt. S K Batra (I G Jaidev), Pawan Chopra (Jai Singh Tomar), Kuldeep Sareen (Bhanwar Singh Tomar), Pritha Bakshi (Seema) and Himanshu Sharma (Sachin) also put their best foot forward. Vishal Mishra's music is situational and works well, but only as a part of this film. <em>'Udta Teetar'</em> is exhilarating. <em>'Womaniya'</em> appears in the end and is memorable as the real Chandro and Prakashi Tomar also feature in the track. <em>'Aasmaa'</em> is touching and sung well by Asha Bhosle. <em>'Baby Gold'</em> and <em>'Jhunna Jhunna'</em> have catchy tunes and shot appropriately. Advait Nemlekar's background score has the commercial feel. Suddhakar Reddy Yakanti's cinematography is spectacular, especially in the shooting scenes. The camera moves in such a way that it adds to the drama. Also watch out for a scene where all the important movements of characters are captured in that rear-view mirror of a motorbike. Ravi Srivastava's production design is authentic. The fact that it was shot in the village of the Tomar sisters also adds to the authenticity. Rohit Chaturvedi's costumes are straight out of life. Sunil Rodrigues's action gels well with the film. Rajeev K Rastogi's VFX is rich. Devendra Murdeshwar's editing is neat but could have been tighter in the second half. On the whole, SAAND KI AANKH rests on an inspiring story and bravura performances by Taapsee Pannu and Bhumi Pednekar. At the box office, however, it will need a strong word of mouth to survive competition in the form of HOUSEFULL 4 and MADE IN CHINA.

Over the years, there have been several films that have tackled various conditions that lower a person’s self-esteem like skin colour, obesity, stunted growth etc. Premature balding, however, has rarely been the central plot point of a film. Two very lesser known films like I M 24 [2012], HAIR IS FALLING [2011] etc have dealt with the issue but they sank without a trace. Producer Abhishek Pathak for his directorial debut, UJDA CHAMAN, tackles this idea in the romcom space. So does UJDA CHAMAN manage to entertain and move audiences? Or does it fail to entertain? Let’s analyse. <img class="aligncenter wp-image-1036216 size-full" title="Movie Review: Ujda Chaman" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Ujda-Chaman.jpg" alt="Movie Review: Ujda Chaman" width="750" height="450" /> UJDA CHAMAN is the story of a man in search of a life partner. Chaman Kohli (Sunny Singh) is a 30-year-old lecturer in Delhi’s Hansraj College. He has faced acute hair loss in the last five years, affecting his self-esteem and also his marriage prospects. His parents, Shashi Kohli (Atul Kumar) and Sushma Kohli (Grusha Kapoor) put his five-year-old picture in his marriage bio-data and when he goes to see a prospective bride, he wears a cap. Sadly, the cap comes off and the prospective bride and her family kick the Kohli’s from their house. Their family astrologer (Saurabh Shukla) adds to their tension as he claims that if Chaman doesn’t get married before his 31^st birthday, he’ll remain celibate for life. Chaman tries to find love, first at the marriage ceremony of a friend but it proves futile. Later, he tries to woo a fellow lecturer, Ekta (Aishwarya Sakhuja) but she rejects him as she is already dating someone. All of a sudden, a first-year student, Aaina Ali Khan (Karishma Sharma) shows interest in Chaman. Chaman falls for her but in no time, he realizes that she hung out with him for vested interests. With no other option, Chaman accepts his father’s suggestion and downloads Tinder. He uploads his picture, but by cropping his bald patch. In no time, he matches with Apsara (Maanvi Gagroo), who is overweight and just like Chaman, she too puts a close up picture to hide her so-called imperfection. Both decide to meet and obviously get shocked looking at each other. What happens next forms the rest of the film. UJDA CHAMAN is an official remake of the 2017 Kannada film, ONDU MOTTEYA KATHE (Writer: Raj B Shetty). Danish J Singh's adapted story has immense potential as a lot of people can relate to the goings on shown in the film. But Danish J Singh's screenplay plays spoilsport. The narrative is engaging but only in parts. Danish J Singh's dialogues are funny and matter-of-fact. Abhishek Pathak's direction is not worthy enough. The execution seems a bit amateurish and over-the-top. The manner in which Chaman is ridiculed almost on a daily basis by the students because of his receding hairline is too much. Moreover, the direction style is not consistent. The second half looks very different from the first half. Also, with nothing unique happening in the film, the narrative becomes extremely predictable. On the positive side, a few scenes work like the track of Aaina and the hospital scene. UJDA CHAMAN begins on a fun but very loud note with the initial portions being mildly engaging. The humour looks forced in the scene where Chaman attempts to assault his brother Goldy (Gagan Arora). The track of Aaina is thankfully better but still, the film doesn’t reach a high. The intermission point is interesting and the film seems promising from here on. And the initial portions of the second half are very entertaining as Chaman and Apsara get close. But after a point, nothing novel or interesting happens. The film gets dragging and predictable. The final scene is cute but comes too late in the film. <span style="text-decoration: underline;"><strong>Ujda Chaman: Public Review | First Day First Show | Sunny Singh Nijjar | Maanvi Gagroo</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/ujda-chaman-public-review-first-day-first-show-sunny-singh-nijjar-maanvi-gagroo/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Sunny Singh gives his best but the desired impact is not made. The manner in which he seems so serious and lifeless throughout the film is difficult to digest. Even his narration in the beginning is needlessly done in a sombre tone. Maanvi Gagroo does quite better and is a natural. Her issues and predicaments seem very relatable and she plays the part nicely. Atul Kumar also does a genuinely good job. Grusha Kapoor is very loud. Gagan Arora is passable. Karishma Sharma plays her part as per the requirement. Aishwarya Sakhuja has a great screen presence. Sharib Hashmi (Raj) is good but sadly his track is predictable. Saurabh Shukla is strictly okay. Music is disappointing. Only <em>'Chand Nikla'</em> gets registered. The rest of the songs like <em>'Twinkle Twinkle', 'Outfit'</em> and <em>'Oh Bandeya'</em> are forgettable. Hitesh Sonik's background score is too loud and dramatic. Sudhir K Chaudhary's cinematography is neat. Tarpan Srivastav's production design is in sync with the film’s setting. Preetisheel Singh's make up and prosthetics are flawless. Rahil Raja and Himanshi Nijhawan's costumes are realistic. Mitesh Soni's editing is sans complaint and the film’s length is appropriate at 120 minutes. On the whole, UJDA CHAMAN has a promising and relatable story but the inconsistent execution and predictable narrative spoils the show. At the box office, thanks to limited buzz and lack of popular names, the film will have a difficult time.

Sooraj Pancholi had a dream debut in HERO [2015], a film produced by Salman Khan. The film underperformed at the box office but the hype of the film was such that it opened at Rs. 6.85 crore, which was the highest then for a film featuring debutants. Sooraj then, shockingly, disappeared and four years later, he’s finally back with SATELLITE SHANKAR. So does SATELLITE SHANKAR emerge as a great entertainer and meet the expectations raised by the trailer? Or does it fail to entice? Let’s analyse. <img class="aligncenter wp-image-1038693 size-full" title="Movie Review: Satellite Shankar" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Satellite-Shankar1.jpg" alt="Movie Review: Satellite Shankar" width="720" height="450" /> SATELLITE SHANKAR is about the extraordinary journey of a soldier that brings a nation together. Shankar (Sooraj Pancholi) is a rifleman posted near the LOC in Jammu and Kashmir. He is very popular in his regiment because of his jovial nature. He carries with him an idol of Lord Shankar. He pretends that it’s a satellite that can help him connect to anyone in the world. With this little trick, he keeps the officers motivated, despite them not getting leaves. In a firing by the Pakistani forces, Shankar gets hurt. He’s admitted in the hospital and though the injury is not serious, he is asked to rest for eight days. Shankar requests his commanding officer, Cheema (Sanjay Gurbaxani) that he’ll like to go to his hometown, Pollachi, in Tamil Nadu to meet his mother and get her cataract treated. Cheema agrees on the condition that Shankar reaches the base 8 days later at 8 am. Shankar promises to be back on the stipulated day and time by giving a ‘Sainik shapath’. Shankar’s colleagues request him to hand over gifts and other items to his family members while he’s on his way to his hometown. Shankar then begins his three-day-long journey on the train from Jammu. As soon as he commences the trip, an old couple in his bogie are asked to leave as they have boarded the wrong station. While helping them find the right train at the next station, Kathua, Shankar ends up missing his own train. He along with Meera Bakshi (Palomi Ghosh), a vlogger, then take a taxi to Pathankot, where their respective trains was to halt. Again, Shankar is not able to make it on time in his train while helping Meera. However, the family member of an army colleague Subedar Jeetu Singh (Pradeep Singh) picks up Shankar’s luggage from his train when it halts at a station in Punjab. Shankar reaches Jeetu Singh’s residence in Bagha and uses his ‘satellite’ to spread happiness and solve their problem. Shankar then heads to Agra to finally catch his train to Pollachi. Yet again, Shankar gives it a miss as he gets busy in saving people who were in a bus that had met with an accident. Interestingly, even Meera is there in the bus and Shankar gets captured in her video. He overnight becomes a hero of the nation. Meera takes it upon herself to find Shankar and she sets off to find him. Her followers cross the million mark and they too get involved in this journey to ensure that Shankar not only reaches his hometown soon but also that he’s able to adhere to his ‘Sainik Shapath’ and report back to base 8 days later at 8 am. What happens next forms the rest of the film. Vishal Vijay Kumar and Irfan Kamal's story is utopian but has potential and can be best described as ‘Munna Bhai meets Bajrangi Bhaijaan’! Vishal Vijay Kumar and Irfan Kamal's screenplay however don’t do justice to the plot in hand. A few scenes stand out individually but as part of the film, they seem a bit convenient and unconvincing. Vishal Vijay Kumar and Irfan Kamal's dialogues however are appropriate. But a few dialogues are in Punjabi, Tamil and Bengali and are difficult to comprehend. There should have been subtitles for these lines. Irfan Kamal's direction is weak and a bit unpolished. He had a great subject in hand but first he messed it up at the screenplay stage. Then, with his execution, he spoilt it even more. The first 15-20 minutes seem very silly and one might wonder what exactly is happening in the film. The concept of the ‘satellite’ gets clear only after 30-35 minutes in the Punjab village scene. The film boasts of very filmy and convenient plot points and it needed an expert direction so that viewers can digest it. In the absence of it, it’ll be difficult for them to really get engaged with the film. <img class="aligncenter size-full wp-image-1038694" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Satellite-Shankar2.jpg" alt="" width="720" height="450" /> SATELLITE SHANKAR’s beginning portions might seem bizarre. The concept of the ‘satellite’ might not be easy to comprehend. Even the scene of Shankar getting injured in the cross-border firing is not well helmed, although the idea is interesting. The film gets a bit interesting as Shankar gets in the train and he ends up missing it. However, he misses his train three times and that becomes too much. What stands out in the first half is the scene in the Punjab village and the bus accident sequence. Post-interval, the film has some fine moments but again, the direction and script play spoilsport. Still, the film remains somewhat engaging. However, the climax is when the film really falls down. The stone pelting part looks completely forced and mars the rhythm and even tone of the film. Sooraj Pancholi gives a very fine performance and he’s sure to amaze you with his sheer hard work. There’s this earnestness in the way he has played the part and it’s completely in sync with his character. Also, he is quite entertaining and watch out for the scene where he imitates Prime Minister Narendra Modi! Megha Akash (Pramila) is lovely and lends able support. Her scene at Salem railway station is memorable. But sadly, her track is not well handled and it lacks conviction. Palomi Ghosh has a brilliant screen presence and leaves a tremendous mark. Upendra Limaye (Inspector Chavan) is dependable. Pradeep Singh, Anurag Mishra (Anwar Hussain), Anil K Reji (Sridhar), Asif Basra (Taxi Driver), Subrat Dutta (TC) and Sanjay Gurbaxani are fine. Music is nothing special. <em>'Pyaar Ka Satellite'</em> is like a theme track and is the only song that works. <em>'Aari Aari'</em> is foot tapping but comes at a time when viewers are dazed about the film’s concept. <em>'Tere Sang'</em> is forgettable while <em>'Jai He'</em> has a patriotic feel and hence stands out. Sandeep Shirodkar's background score is appropriate. Jitan Harmeet Singh's cinematography is excellent. The film has been shot in real locations to bring the authenticity and the various locales are well captured. Abbas Ali Moghul's action is dated. Tariq Umar Khan's production design is as per the requirement of the film. Same goes for Dipika Lal and Anirudh Singh's costumes. White Apple's VFX is decent. Chandan Arora's editing is sany complaints. On the whole, SATELLITE SHANKAR is a well-intentioned flick but poor script and direction play spoilsport. At the box office, it’ll have a tough time because of lack of awareness.

The excellent box office performance of SATYAMEVA JAYATE was one of the success stories of 2018. It catapulted director Milan Milap Zaveri into stardom and that too at a time when many thought that his directorial career was in trouble. Now the filmmaker is back with MARJAAVAAN, which also seems like a very commercial masala fare, like his earlier flick. So does MARJAAVAAN manage to entertain and provide paisa vasool entertainment to the viewers? Or does it fail to entice? Let’s analyse. <img class="aligncenter wp-image-1041278 size-full" title="Movie Review: Marjaavaan" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Marjaavaan.jpg" alt="Movie Review: Marjaavaan" width="720" height="450" /> MARJAAVAAN is the story of unrequited love, set against the backdrop of the underbelly of Mumbai. In one of the poorer areas of Mumbai, Narayan Anna (Nassar) calls the shots. He has an army of men at his disposal and the most faithful of them is Raghu (Sidharth Malhotra). As an infant, he was found abandoned and it was Narayan Anna who raised him. Raghu is faithful and dedicated and always in the good books of Narayan Anna. As a result, Narayan’s son Vishnu (Riteish Deshmukh), a three-foot-midget, feels very jealous and he detests Raghu. The said locality also consists of a brothel where one of the nautch girls is Arzoo (Rakul Preet Singh). She is in love with Raghu but the latter doesn’t believe in this concept. It all however changes when Raghu comes across Zoya (Tara Sutaria), a mute girl from Kashmir. She teaches him the power and importance of music and love. In no time, both fall for each other. Things go smooth until one day, Zoya witnesses a murder committed by Vishnu. Vishnu informs Narayan Anna about it who in turn tells Raghu to finish off Zoya! Raghu decides to elope with Zoya but he’s caught by Vishnu’s men at the bus stand. Also, Vishnu kidnaps two kids - Timepass (Om Kanojia) and Payal (Alina Qazi) – both of whom train under Zoya. Narayan Anna then gives Raghu two choices – eliminate Zoya and save Timepass and Payal. Or else, everyone will die. Zoya insists that Raghu should kill her and Raghu reluctantly does so. Raghu is shattered like never before and he’s arrested by ACP Ravi Yadav (Ravi Kishan). What happens next forms the rest of the film. Milap Milan Zaveri's story is dated and is reminiscent of the films witnessed in 70s, 80s and 90s. Milap Milan Zaveri's screenplay sets the film in the same zone. A few scenes are well written but one wishes this was consistent throughout the film. Milap Milan Zaveri's dialogues are quite over the top and some of them work very well and are clap worthy. Milap Milan Zaveri's direction is decent, considering the genre and space. Not many can pull off such a film but Milap manages. A few scenes are well executed like Vishnu’s entry, Tara and Raghu falling in love and in the second half, Raghu getting back in the revenge zone is a paisa vasool moment. On the flipside, the character of Vishnu needed to be more menacing. Also, the film dips at a few places and also becomes predictable. A few developments are not very convincing either. <span style="text-decoration: underline;"><strong>Marjaavaan: Public Review | First Day First Show | Sidharth Malhotra | Tara Sutaria | Riteish Deshmukh</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/marjaavaan-public-review-first-day-first-show-sidharth-malhotra-tara-sutaria-riteish-deshmukh/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MARJAAVAAN has a bit of an awkward beginning. The execution is a bit weak and hence it takes a while to get used to the setting and characters. Also, the opening fight is massy to another level and audiences might not be prepared for such kind of masala. Usually, commercial movies are made in such a way that it can appeal to the multiplex audiences as well. But MARJAAVAAN is an exception as its content doesn’t appeal to the sensibilities of the multiplex viewers. A few scenes seem unconvincing. The manner in which the religious harmony bit is presented looks a bit forced. The intermission point is fine. The second half doesn’t start on a great note and seems a bit dragging. The action quotient dips as Raghu abandons all plans of revenge. But the scene where he decides to fight back is when the film rises again. The climax fight is massy as expected but also convenient. Sidharth Malhotra tries his level best and in some scenes, he does shine. But his performance is a bit weak overall. He should have gone really all out as that would have really helped. Riteish Deshmukh also gives his best and his three-foot height gives him a nice edge. Sadly, he’s letdown by the writing of the character to some extent. Tara Sutaria is lovely and without mouthing a single dialogue, she makes her presence felt. Rakul Preet Singh is credited in a special appearance role but she has a supporting part and looks very glamorous. Her performance is decent. Nassar leaves a mark. Ravi Kishan is okay but his dialogue in the pre-climax about the police force will be met with claps in cinemas! Shaad Randhawa (Mazhar) is decent. Uday Nene (Gopi) and Godaan Kumar (Shafi) are passable. Same goes for Suhasini Mulay. Nora Fatehi is sizzling as always. Music is soulful and peppy. <em>'Tum Hi Aana'</em> is like the theme song and well utilized. <em>'Thodi Jagah'</em> is touching. <em>'Kinna Sona'</em> is nothing great. <em>'Ek Toh Kum Zindagani'</em> is smoking hot and <em>'Haiya Ho'</em> is in the same zone.  Sanjoy Chowdhury's background score adds to the massy element, especially in Sidharth’s fight scenes. Nigam Bomzan's cinematography is appropriate. Priya Suhass' production design is not very appealing. Amin Khatib's action is very over the top. Akshay Tyagi's costumes are stylish. Futureworks's VFX is quite good, especially in making Riteish a three-foot-baddie. Maahir Zaveri's editing could have been a bit crisper. On the whole, MARJAAVAAN is a true blue masala entertainer. At the box office, it has the potential to impress its target audience in the single screens.

Masala comedy films are here to stay and still have a loyal fan following. Surprisingly, there are very few directors at present that can do justice to such kind of movies. Anees Bazmee is one of those who have entertained audiences with plenty of mainstream comic capers over the years. And now he’s back with PAGALPANTI and as the name suggests, it promises loads of madness. So does PAGALPANTI stay true to its title and give a rocking time to the viewers? Or does it fail to entertain? Let’s analyse. <img class="aligncenter wp-image-1044049 size-full" title="Movie Review: Pagalpanti" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Pagalpanti.jpg" alt="Movie Review: Pagalpanti" width="720" height="450" /> PAGALPANTI is the story of three unlucky men who wreak havoc in the underworld. Raj Kishore (John Abraham) is astrologically very unlucky. Wherever he goes, destruction follows. He joins Public Mercantile Bank in India and on his first day at job, it comes to light that Niraj Modi (Inaamulhaq) has run away from the country after stealing Rs. 32,000 crores from the bank. Raj loses his job as a result. He then comes to London where he befriends two brothers, Junky (Arshad Warsi) and Chandu (Pulkit Samrat). He convinces the duo to put money and set up a fireworks shop. Again, due to Raj’s bad luck, the shop goes up in flames on the first day itself. Raj then woos Sanjana (Ileana DCruz). He then cons her and her maternal uncle (Brijendra Kala) of a lot of money to start a delivery company with Junky and Chandu. As they are about to make their first delivery, an expensive car, Sanjana, who finds out the truth, arrives with an army of goons to nab Raj. Raj, Junky and Chandu run away in the delivery truck itself and after a nail-biting chase and jumping from a flyover, they escape from the clutches of the goons. They then reach the place of delivery, the palatial residence of Raja Sahab (Saurabh Shukla). It’s his daughter Janvi’s (Kriti Kharbanda) birthday and the expensive car is her gift. Unfortunately, when the car is unloaded from the track, it is found to be extensively damaged due to their reckless driving while escaping from the goons. The car is worth Rs. 7 crores and to recover this amount from the trio, Raja Sahab’s brother-in-law WiFi Bhai (Anil Kapoor) offers them a job where they’ll be paid Rs. 10 lakhs each. Of course, they won’t get the money but their salary will go in recovering the Rs. 7 crore cost of the car. Raj, Junky and Chandu happily take up the job, not realizing that their work can prove fatal. Junky and Chandu are given the job of being the food tasters, to ensure that there’s no poison in Raja Sahab’s meal. Raj is asked to sit in Raja Sahab’s car so that if anyone tries to attack, the former will bear the brunt. The trio learn that these precautions are being taken because of Raja Sahab’s enemies, the brothers named Tulli (Zakir Hussain) and Bulli (Ashok Samarth). Realizing that this enmity has gone too far, Baba Jani (Mukesh Tiwari), a mentor for Raja Sahab and Tulli-Bulli, arranges a meeting with all of them. He advises them to shake hands and also presents to them none other than Niraj Modi. Niraj gives Rs. 700 crores to Raja Sahab and tells him to invest and double this money. Raj’s bad luck plays spoilsport here in two ways. Firstly, Raj, Junky and Chandu, not knowing that Raja Sahab is now friends with Tulli and Bulli, goes ahead and attack Bulli, injuring him grievously. Next, Raj accidentally sets fire to the library which is in Raja Sahab’s house. The fire spreads to the strongroom, where Niraj Modi’s money is stored. All the money worth Rs. 700 crores hence goes up in flames. Realizing that Raj, Junky and Chandu are epitomes of bad luck, Raja Sahab and WiFi kick them out of the house. The same day, Raja Sahab is stopped from going to bet on a derby race due to threat from Tulli and Bulli. WiFi too chickens out and with no other option, they send Raj, Junky and Chandu to put money on their favourite horse, Lucky. However, Raj is advised by a derby expert to bet on the other horse, Johnny instead. Suddenly, Sanjana and her maternal uncle reach the spot to take back their money. Raj advises them to put their money on Johnny as well, suggesting that if they win, their money problems will be solved. As luck would have it, Johnny loses the race while Lucky wins! The trio are too scared to go back to face Raja Sahab and WiFi and hence, they decide to run away to Scotland. What happens next forms the rest of the film! Anees Bazmee, Rajiv Kaul and Praful Parekh's story is full of madness and also quite clichéd. Still, it could have made for a good film if the script was upto the mark. Anees Bazmee, Rajiv Kaul and Praful Parekh's screenplay sadly is disappointing. The writing is plain lazy as in the first half, it’s repetitive. To see Raj spreading bad luck every now and then gets too much. And in the second half, it is a bhel puri of various such films in the past. Anees Bazmee's dialogues are quite funny but in the absence of a tight script, these one-liners also don’t make the desired impact. Anees Bazmee's direction is weak. He has done a much better job in the past and his work in PAGALPANTI is nowhere close. The script is not that funny but still the film could have been slightly more entertaining if he had remained true to the genre. But sadly, he forced a lot of elements in the film. In one crucial scene, the characters suddenly become patriotic and it’s embarrassing to see it unfold. <span style="text-decoration: underline;"><strong>PAGALPANTI – When Pagals Get Together | The MADDEST Interview Ever | John | Arshad | Ileana | Pulkit</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/pagalpanti-when-pagals-get-together-the-maddest-interview-ever-john-arshad-ileana-pulkit/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> One doesn’t expect anything else but mindless comedy from a film titled PAGALPANTI. And sure enough, the beginning scenes give a fair indication that the film is riddled with maddening scenes. There’s nothing wrong with that but the jokes are not that funny either. A few scenes do raise laughs like Junky and Chandu being compelled to taste food and Raj finding out the reason why he’s driving in Raja Sahab’s car and not Raja Sahab himself. The entry of Niraj Modi is menacing. The intermission point too gives a promise that hopefully, the second half is where the film’s brilliance would come out. Shockingly, the opposite happens. The scene where the trio escape in a truck filled with glue is still fine. But then, the writers and makers add a horror touch that backfires. It seemed like the team got impressed with the success of horror comedies like GOLMAAL AGAIN [2017] and STREE [2018] and hence decided to cash in on it. The finale meanwhile gives a déjà vu of Anees Bazmee’s earlier film WELCOME [2007] and many other Priyadarshan comedies. Not just that, they even straightaway lift a crucial scene and dialogue from the classic comic caper ANDAZ APNA APNA [1994] and that’s where the film goes completely downhill. John Abraham is decent but it’s nowhere close to the great work he’s doing off late. It’s nice that he’s trying his hand at comedy for a change but then he should have opted for a film that would have given him a chance to excel. Arshad Warsi is as usual quite entertaining. Pulkit Samrat tries his best but doesn’t succeed in giving the performance that his character demanded. Anil Kapoor gets his share of funny scenes but the writing lets him down. Saurabh Shukla is quite superb. Same goes for Brijendra Kala and it’s nice to see that he even got a chance to shake a leg! From the heroines, Kriti Kharbanda gets to play an interesting character and she does justice. Ileana DCruz is strictly okay. Urvashi Rautela enters quite late and is hardly there. Talking about the supporting cast, Inaamulhaq is too good and the role suits him to the T. Jameel Khan (Panditji) has an important role and is dependable. Mukesh Tiwari, Zakir Hussain and Ashok Samarth are over the top. Jiten Mukhi (Mehul Chowksi), Naresh Sharma (Raja Sahab's butlet) and Raja Sahab's driver (Kanchan Pagare) are okay. Music is decent. <em>'Tum Par Hum Hai Atke'</em> comes all of a sudden but is foot-tapping. <em>'Walla Walla'</em> is well picturized but the song is nothing great. <em>'Bimar Dil'</em> is from where the film really gets bad. <em>'Thumka'</em> is forced. Title track is played in the background mainly. Sajid-Wajid's background score is better. The theme of Niraj Modi works well. Sunil Patel's cinematography is appropriate. Durgaprasad Mahapatra's production design is appealing. Pradyuman Kumar Swain's action is not so memorable. Anushka Tugnait, Sanam Ratansi, Kshitij Kankaria Shamanaz Parakh, Rahil Raja and Himanshi Nijhawan's costumes are very glamorous and sexy, especially the ones worn by the girls. N Y VFXWaala and Final Post's VFX is tacky, particularly in the lion scene. Prashant Singh Rathore's editing is not upto the mark. On the whole, PAGALPANTI fails to raise the desired amount of laughs due to lazy writing and recycled jokes. This movie is strictly for the audience who love brainless entertainers.

Vidyut Jammwal has carved a niche for himself thanks to his death-defying stunts and his films which are mostly of the action genre. He’s popularly known as the ‘Commando’ actor as he been a part of both the COMMANDO films. And now he’s back with COMMANDO 3, which like its predecessor promises lot of action, entertainment and patriotism. So does COMMANDO 3 manage to give the audiences a <em>paisa-vasool</em> time? Or does it fail to impress? Let’s analyse. <img class="aligncenter wp-image-1045975 size-full" title="Movie Review: Commando 3" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Commando-3.jpg" alt="Movie Review: Commando 3" width="720" height="450" /> COMMANDO 3 is the story of a secret agent in a race against time to save his country. In Mumbai, two young kids – Usman and Omar – are arrested along with their mentor, Subhan after a tip-off. It is revealed that Umar and Omar’s real names were Rakesh and Amit respectively and they converted to Islam after watching provocative propaganda videos of Buraq Ansari (Gulshan Devaiah). Buraq is someone with no record and even his face is covered in his videos. Hence, the Indian intelligence is unaware about his identity and name. Realizing that he’s planning a major terrorist attack in India and that the festival period is coming up, the senior intelligence official Roy (Rajesh Tailang) asks his most trusted and brave officer, Karanveer Singh Dogra (Vidyut Jammwal), to handle the case. Karanveer finds out that the video and currency notes found in the houses of Usman, Omar and Subhan were sourced from London. Roy meanwhile realizes that Subhan talked about 9/11 attack repeatedly and it means that the attack in India will take place on November 9 or 9/11 in other words and incidentally, it’s the day of Diwali. With only 33 days to go for Diwali, Karanveer is urgently sent to London to track down Buraq. He’s helped in this mission by Bhavana Reddy (Adah Sharma) who is now no longer corrupt but still in love with Karanveer. In London, they are provided local help by two British Intelligence agents, Mallika Sood (Angira Dhar) and Armaan Akhtar (Sumeet Thakur). After carefully going through a lot of suspects, the foursome finally manage to find out Buraq’s identity and also that he runs a restaurant. Not just that, they also discover that he is divorced from his wife, Zahira (Feryna Wazheir) and that he loves his son Abeer (Atharva Vishwakarma) immensely. Karanveer hence goes after his son and takes him in his custody, along with Zahira, who is aware of Buraq’s activities and hence agrees to be a witness. Buraq is so enraged by these turn of events that he decides to advance the date of attack to catch the Indians unawares. What happens next forms the rest of the film. Darius Yarmil and Junaid Wasi's story is clichéd and ordinary. But Darius Yarmil and Junaid Wasi's screenplay is where they bring some novelty in terms of character sketch, twists and turns etc. that keeps the interest going. However, it should have been consistently entertaining from start to finish for a better impact. Darius Yarmil and Junaid Wasi's dialogues are poor. A film like this ought to have one-liners that should have ideally packed a punch. Sadly, the dialogues here are strictly okay and even quite poor at places. Aditya Datt's direction is neat and he handles it in such a way that the masses will be able to enjoy and more importantly, comprehend what’s going on. A few of the scenes are deftly handled. The sequence where Karanveer and his colleagues are tracking down Buraq while in a parallel sequence, Buraq is hunting down Karanveer is very nicely done. The romantic track is hardly there and that’s good as no time is wasted with the focus being firmly on the story. On the flipside, the beginning portions are not at all interesting and even in the second half, it takes time for the film to pick up. Many developments are too unconvincing and difficult to digest. Some questions remained unanswered till the very end. No back story of Buraq is given and audiences never come to know how he became such a dreaded terrorist, that too by escaping the radar of the intelligence. It also remained unclear what exactly did Buraq tell in his videos that the youth got brainwashed to the extent that some Hindus turned towards Islam. A few snippets of this is shown but it hardly makes for a convincing watch. <span style="text-decoration: underline;"><strong>Commando 3 | Public Review | Vidyut Jammwal | Adah Sharma | Angira Dhar | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/commando-3-public-review-vidyut-jammwal-adah-sharma-angira-dhar-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> COMMANDO 3 doesn’t start on a great note. The beginning portions seem a bit slow and not that engaging. Vidyut Jammwal’s entry brings the much-needed action in the film. The interrogation scene, though nice, again slows down the film. It’s only when the drama shifts to London that the film gets really interesting. The manner in which Karanveer and his colleagues manage to track down Buraq is interesting. A scene to watch out for is when Buraq is watching Karanveer’s video on a news channel and gets a sudden jolt! The intermission point, though filmy and beaten to death, arrests attention. Post-interval portions are when the film again slides down. The interest level drops and an important sequence is inspired from the classic Hollywood film THE DARK KNIGHT [2008]. Thankfully, the last 30 minutes is quite entertaining and massy. It is also very convenient but the target audience – the single screen viewers – will surely lap it up since the makers give a great message here on Hindu-Muslim unity. COMMANDO 3 belongs to Vidyut Jammwal – no two doubts on that! His acting is nothing great as such but he manages to handle the film on his shoulders. And he does action in adequate doses and that’s what audiences will be expecting the most from him. His act in the finale will be greeted with whistles and claps! Adah Sharma repeats her act from COMMANDO 2 and is quite likeable. Her humour quotient is less this time as compared to the second part but fans of Bhavana Reddy won’t be disappointed. Angira Dhar is great as the no-nonsense cop and underplays her part. Both the heroines get to do their share of action and it looks authentic. Gulshan Devaiah is menacing and scary as the villain. Watch out for how his eyes convey so much! Special mention should also go to his British accent – it’s quite nicely done! Anil George (Momin) is wasted and it’s amusing to see him doing similar roles repeatedly. His character disappears suddenly which is quite weird. Rajesh Tailang is dependable. Sumeet Thakur has a fine screen presence. Feryna Wazheir gets to play a lovely character and does justice. Atharva Vishwakarma makes his presence felt with his expressions and he makes sure he doesn’t go overboard. Virendra Saxena (Subhan’s father) and the actors playing Subhan, Omar/Amit, Usman/Rakesh, Inspector Tambe and Zaytun are fine. Music has no scope. <em>'Tera Baap Aaya'</em> is relegated in the background and works well in the film. <em>'Main Woh Raat Hoon'</em> too plays in the background but doesn’t register. <em>'Akhiyaan Milavanga'</em> and<em> 'Iraade Kar Buland'</em> are missing from the film. Saurabh Bhalerao's background score is racy and exhilarating. Mark Hamilton's cinematography is captivating, especially in the action scenes. Andy Long Stunt Team Ltd, Allan Amin and K Ravi Verma's action is quite hardcore and violent. But the stunts by the actors make for a fine watch. Juhi Talmaki's production design is neat. Sandeep Kurup's editing could have been tighter in some scenes. On the whole, COMMANDO 3 is a decent action entertainer that works because of the action sequences, social message and some paisa-vasool scenes. It arrives sans any competition and hence, has chances to work in the mass centres.

The year 2019 has seen the release of big-budget period action films and all of them have been well received by the audiences, like MANIKARNIKA – THE QUEEN OF JHANSI, KESARI and SYE RAA NARASIMHA REDDY. Now the final 2019 film in this league, PANIPAT, is all set to release, and it promises to be a grand and entertaining affair. So does PANIPAT manage to give the audiences a great time? Or does it fail? Let’s analyse. <img class="aligncenter wp-image-1048659 size-full" title="Movie Review: Panipat" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Panipat-4-5.jpg" alt="Movie Review: Panipat" width="720" height="450" /> PANIPAT is the story of one of the most important chapters of history. The year is 1760. The Marathas under Sadashivrao Bhau (Arjun Kapoor) finally annexe the Udgiri Fort in present-day southern Maharashtra and thereby finish the Nizamshahi rule for good. The Marathas have now occupied most of India. Nana Saheb Peshwa (Mohnish Bahl) is very happy with the developments and especially with Sadashiv. Nana Saheb's wife Gopika Bai (Padmini Kolhapure) however feels insecure with her hubby’s fondness for Sadashiv. At her insistence, Sadashiv is given the responsibility of handling the treasury. Sadashiv is shocked at this development as he has always been a warrior. Nevertheless he accepts this change of duty. He also gets to spend time with Parvati Bai (Kriti Sanon), a physician. Both fall in love and get married. Meanwhile, while checking the finances, Sadashiv realises that the kingdoms up North are not paying the dues to the Marathas, as they had promised. A message is then sent to all these kings, including Mughal empeor Alamgir II (S M Zaheer). Najib-Ud-Daula (Mantra) is a part of the Mughal court and he’s asked to leave. He’s so frustrated with the high handedness of the Marathas that he decides to defeat them once and for all. To do so, he knocks on the doors of Ahmed Shah Abdali (Sanjay Dutt), the Afghan ruler of Kandahar. At first, Abdali declines since he realises that Najib-Ud-Daula is seeking his help for his selfish gains. But then he also realises that if he manages to capture a large part of India, it would add to his prowess. Hence he sets off to India. The Marathas find out about Abdali's plans and that he is approaching with 1 lakh soldiers. Sadashiv however feels that despite having lesser number of soldiers, the Marathas can still defeat Abdali. Nana Saheb gives Sadashiv the responsibility of going up North to stop Abdali with 40,000 soldiers. On the way, Sadashiv seeks help from various kingdoms and forges alliances. Most of them agree to be on his side and provide armymen. Shuja-Ud-Daula (Kunal R Kapoor) is the Wazir of Awadh and Sadashiv asks for his help as well. In return, he agrees to make him the Wazir of Delhi once Abdali is defeated. Shuja-Ud-Daula asks for this agreement in writing. The Marathas agree to do so and said that they’ll return in a few days with the written assurance. In the interim, Abdali’s men meet Shuja-Ud-Daula. They too make the same offer that he’ll be made Delhi’s Wazir and what’s more, they get the written agreement with them. Shuja-Ud-Daula hence joins Abdali. This serves a blow for Sadashiv since Shuja-Ud-Daula’s alliance would have helped him immensely. Nevertheless, he agrees to fight, come what may. What happens next forms the rest of the film. Chandrashekhar Dhavalikar, Ranjeet Bahadur, Aditya Rawal and Ashutosh Gowariker's story is close to reality. It is praiseworthy that Gowariker and his team chose this topic as it’s one of the significant battles of Indian history. Also, many viewers would not be aware that the Marathas at one point were so strong in India. Hence, it turns out to be an entertaining as well as enlightening experience for them. Chandrashekhar Dhavalikar, Ranjeet Bahadur, Aditya Rawal and Ashutosh Gowariker's screenplay is fine for most parts but is not consistent. A few scenes don’t pack a punch and hence, bring the impact down. A few scenes however are exceptionally written. Ashok Chakradhar's dialogues are nothing great. Ashutosh Gowariker's direction is neat and uncomplicated for most parts. He’s in form after a long time. He very beautifully presents the Maratha Empire in all its glory. The battle scenes in the second half keep the interest going. Also noteworthy is the scene of the truce between Sadashiv and Abdali. But the politics and the problems faced by Marathas in getting help in battling Abdali ought to have been better explained. Also, the film could have been more commercial and massy as there were several scenes that had that kind of appeal. The length is another issue. At 2.53 hours, the film is quite long, especially in the first half. Another big problem with the film is that the tagline is ‘The Great Betrayal’. This bit comes out in a crucial scene in the climax. But the build up to it is very weak. Hence, audiences don’t really get a shock when the man who does the ‘great betrayal’ shows his true intentions. Hence, the impact gets diluted. <span style="text-decoration: underline;"><strong>“I disagree that Abdali was a VILLAINOUS character…”: Sanjay Dutt | Arjun | Kriti | Ashutosh | Panipat</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/i-disagree-that-abdali-was-a-villainous-character-sanjay-dutt-arjun-kriti-ashutosh-panipat/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> PANIPAT begins on a fair note with the scene of the Udgiri Fort annexation. The film then falls a bit as the focus shifts to the politics happening within Shaniwar Wada, Pune. Also, the romantic track of Sadashiv-Parvati Bai is decent but nothing extraordinary. The entry of Abdali is quite interesting and it enhances interest. The film dips once again and the interest then only rises during the intermission point. This is an excellent sequence, when Sadashiv and Abdali come face to face and it sets the mood of the second half. The post interval portion starts off well as Sadashiv comes up with a great plan of capturing Delhi’s Red Fort. This sequence is quite significant, also because viewers might not be aware of this chapter of history. Ashutosh Gowariker however reserves the best for the finale. The truce sequence followed by the 30-minute-long climax engrosses viewers. The betrayal bit however could have been better explained. The final scene of Abdali is fine and it is a great way to end the film. Arjun Kapoor gives his hundred per cent. His physique comes in handy for this character and he indeed looks like a ferocious warrior who can induce fear in enemies. In non-action scenes too, he is quite good. But in a few scenes, he’s a bit off. This is especially in the romantic portions. Sanjay Dutt too tries his best to be menacing but succeeds partly. A fine effort, nevertheless! Kriti Sanon is quite confident and gives an impressive performance. She is not there in the film for the heck of it. She has a very important part and her action scene would be loved! Mohnish Bahl is dependable but he’s hardly there in the second half. Sahil Salathia (Shamsher Bahadur; Bajirao and Mastani’s son) leaves a tremendous mark and it’s great to see that he got such an important part. Same goes for Nawab Shah (Ibrahim Khan Gardi). Mantra understands his character and brings the require jealousy and immaturity. Zeenat Aman (Sakina Begum) is excellent in the cameo and her scene with Kriti Sanon is one of the highpoints of the film. The other actors who do a good job are Padmini Kolhapure, Kunal R Kapoor, S M Zaheer, Milind Gunaji (Dattaji Shinde) Abhishek Nigam (Vishwas Rao), Ravindra Mahajani (Malhar Rao Holkar) and Suhasini Mulay (Sadashiv’s grandmother; presumably Radha Bai). Ajay-Atul's music is a big letdown. None of the songs are memorable. <em>'Mard Maratha'</em> is shot well but the song is very dull. Same goes for <em>'Mann Mein Shiva'</em>. <em>'Sapna Hai Sach Hai'</em> lacks soul. Ajay-Atul's background score is way better and exhilarating. Muraleedharan C K's cinematography is spectacular and captures the battle and other scenes effectively. Raju Khan's choreography is worth appreciating in <em>'Mann Mein Shiva'</em>. Nitin Chandrakant Desai's production design, as expected, is grand and visually stunning. However, some sets seem too similar to that of JODHAA AKBAR [2008] and PREM RATAN DHAN PAYO [2015]. Neeta Lulla's costumes are quite authentic and in sync with the bygone era. Vikram Gaikwad's makeup and hair design is very detailed. Abbas Ali Moghul's action makes for a great watch and is sans gore or too much of bloodshed. VFX is done by Ashutosh Gowariker’s company (AGPPL VFX) and is fine in most scenes. The slow-motion shots in climax fight adds to the impact. Steven Bernard's editing could have been tighter. On the whole, PANIPAT throws light on an important chapter of Indian history with the battle scenes as its USP. At the box office, it will need a strong word of mouth since it faces competition in the form of PATI PATNI AUR WOH.

The Nirbhaya gang rape case of 2012 in Delhi shocked one and all across the country. What added to the astonishment was that one of the violent assaulters was a minor. It generated a debate on whether juveniles can be treated like an adult in cases where the crime committed is exceptional and of an extremely violent nature. Yash Raj Films’ latest offing, MARDAANI 2, also deals with this burning topic and coincidentally, comes around two weeks after a similar violent gang rape committed in Hyderabad sparked nationwide outrage. So does MARDAANI 2 manage to shock as well as thrill the audiences? Or does it fail to keep the viewers engaged? Let’s analyse. <img class="aligncenter wp-image-1051871 size-full" title="Movie Review Mardaani 2" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Movie-Review-Mardaani-2.jpg" alt="Movie Review Mardaani 2" width="720" height="450" /> MARDAANI 2 is the story of a psychotic rapist trying to challenge the police. Shivani Shivaji Roy (Rani Mukerji) is now the SP of Kota, Rajasthan. In this town, a girl named Latika (Tejaswi Singh Ahlawat) attends a fair where she fights with her boyfriend Monty (Pratyaksh Rajbhatt). A mysterious person, Sunny (Vishal Jethwa), witnesses the way Latika blasts Monty. He has an issue with such outspoken women and on an empty stretch, he abducts her. He takes her to an abandoned place where he brutally tortures Latika, rapes and then kills her. Shivani is shocked with the violence but carries out the investigation immediately. At the press conference, she calls the murderer 'dedh shaana'. This hurts Sunny and he decides to teach Shivani a lesson. He sends her flowers with a taunting note. He sneaks into her house and steals her clothes and accessories. He wears her saree to trap a journalist Kamal Parihar (Anurag Sharma) and eliminates him, as part of the contract given to him by a local politician Panditji (Prasanna Ketkar). Sunny then smartly gets employed in the tea stall outside Shivaji’s police station. Hence he gets access to visiting the police station and even eavesdropping what the cops are talking about the case. When a kid, who had seen Sunny, comes forward to identify him, Sunny kidnaps him from the police station toilet and kills him. Shivani hence faces backlash for what is termed as a lapse on her part. She is transferred. But as everyone is busy with Diwali celebrations, the replacement is expected to take charge only 2 days later. Hence Shivani has 48 hours to crack the case and nab Sunny. What happens next forms the rest of the film. Gopi Puthran's story is excellent and serves as a worthy sequel to the first part. It also makes a nice comment on misogyny. Gopi Puthran's screenplay is highly effective and also entertaining. The way he has thought of novel ways to show the villain's sharp mind is seen to be believed. He could have avoided a few cinematic liberties in the second half though. Gopi Puthran's dialogues are acidic and work very well. Rani Mukerji's monologue during her TV interview is applause worthy. Gopi Puthran's direction is terrific, also considering that this is his debut film. He adds the required thrill and entertainment to keep the viewers gripped. Also there are sub plots in the film, of the fellow cops who don’t like taking orders from a female officer and of a politician using Sunny for his gains. All of it is brought together nicely. On the flipside, the film gets a too convenient in the second half. The antagonist is freely roaming in the city although his picture is out everywhere. Moreover the film has a lot of disturbing content. The scene where the forensic doctor (Deepika Amin) is explaining Latika's injuries will make viewers highly uncomfortable. <span style="text-decoration: underline;"><strong>Mardaani 2 | Public Review | Rani Mukerji | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/mardaani-2-public-review-rani-mukerji-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MARDAANI 2 is just 105 minutes long and doesn’t waste time. The villain gets introduced in the beginning itself and the way he smartly traps Latika and then violates her shocks you. The astonishment continues as Sunny manages to kill Kamal Parihar as well and passes it off as suicide. The sequence where he abducts the child also keeps the thrill going. Post interval, one expects the film to drag but a surprise awaits here as Shivani finds Sunny minutes after second half commences. And it’s after this scene that the film drops a bit. The cat and mouse chase becomes a bit repetitive. Also after a point it becomes unconvincing the way Sunny is always able to outsmart Shivani and has thought ten steps ahead. The climax however is massy and viewers would surely break into applause. MARDAANI 2 belongs to Rani Mukerji and Vishal Jethwa. Rani yet again delivers a terrific performance as Shivani Shivaji Roy. It’s great to see how she understands her part so well. She is tough but she also has a sensitive side, as seen during her conversation with the forensic doctor and also in the very final scene. But both the characteristics look very organic and nothing seems forced. She also gets the action scenes right. Vishal Jethwa rocks the show and how! He impresses from the first scene itself when he breaks the fourth wall and talks directly to viewers. Surprisingly, he gets more screen time than Rani in the first half! Throughout the film, he gets the menacing bit perfectly. Tejaswi Singh Ahlawat is decent while Deepika Amin is fine in a special appearance. Other actors who do a fine job are Pratyaksh Rajbhatt, Prasanna Ketkar, Shruti Bapna (Bharti), Sumit Nijhawan (Brij Shekhawat), Sunny Hinduja (Viplaw Beniwal) and Richa Meena (Sunanda). Rajesh Sharma (Amit Sharma) is quite good as the reporter and his scene with Rani is one of the highpoints of the film. Mardaani 2 is a songless film. John Stewart Eduri's background music is loud but exhilarating. Jishnu Bhattacharjee's cinematography is quite neat and captures the small town feel to an extent. Sukant Panigrahy's production design is passable. Leepakshi Ellawadi's costumes are realistic. Vikram Dahiya's action is realistic. Shanoo Sharma's casting is spot on. Monisha R Baldawa's editing is uncomplicated. On the whole, MARDAANI 2 is a gripping thriller that boasts of an exciting script and bravura performances by Rani Mukerji and Vishal Jethwa. At the box office however, it will need a strong word of mouth to sustain.

Salman Khan’s career got a new lease of life with WANTED [2009]. But it was DABANGG [2010], that released a year later, which confirmed that he was there to stay on top for a long, long time. Audiences too loved the superstar like anything in his Chulbul Pandey act. DABANGG 2 [2012] also repeated the blockbuster commercial success of the first part, though collections didn’t grow much as response was not unanimously positive. Now seven years later, Salman and producer-brother Arbaaz Khan present DABANGG 3 and release it in the beneficial Christmas week. What’s more, massy director Prabhudheva is helming the flick this time. So does DABANGG 3 emerge as a complete entertainer that will give fans their money’s worth? Or does it fail to entertain? Let’s analyse. <img class="aligncenter size-full wp-image-1054364" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Movie-Review-Dabangg-3.jpg" alt="" width="720" height="450" /> DABANGG 3 is the story of a badass cop. Chulbul Pandey (Salman Khan) is now the SP of a town named Tundla. As soon as he arrives, he nabs a bandman-turned-goon Guddu (Nawab Shah) and reforms him. He then busts a human trafficking racket under Chinti Valia (Dolly Bindra). The kingpin of this business is Bali Singh (Kichcha Sudeepa). As soon as Chulbul finds out about this aspect, he goes into a shock. Some repressed traumatic memories come alive in front of his eyes. The story then goes in a flashback mode. This is a time when Chulbul's name was Dhaakar. He comes across the picture of Khushi (Saiee M Manjrekar). She was selected as the bride for Dhaakar's brother Makkhi (Arbaaz Khan). But Dhaakar falls for her. He meets her and wins her heart with his progressive thoughts and of course, style. At the insistence of Khushi, he changes his name to Chulbul. The alliance was fixed and all was going well. One day Bali Singh bumps into Khushi and he falls for her. But when he learns that Khushi is madly in love with Dhaakar, he gets enraged and kills her in front of Dhaakar. On top of that, Dhaakar is jailed for the murder of Khushi and her parents. In the prison, he comes across a large hearted police officer Satyendra Singh (Sharat Saxena). He helps him get acquitted and also motivates him to join the police force. As soon as he turns cop under the name of Chulbul Pandey, the first thing he does is to throw Bali Singh down a cliff. He is presumed to be dead. Hence, Chulbul is shocked that Bali survived and is now back to challenge him. What happens next forms the rest of the film. Salman Khan's story is weak and beaten to death. He has such great characters at his disposal but he makes good use of them only partially. Salman Khan, Prabhu Deva, Dilip Shukla and Aloke Upadhyaya's screenplay is effective but only in parts. The film keeps one engaged but again, the script suffers because of outdated storyline. What’s praiseworthy is how they have joined the dots. Audiences get to learn a lot about why Chulbul and other characters behave the way they do. Dilip Shukla and Aloke Upadhyaya's dialogues pack a punch in most places. A few jokes however fall flat, especially the toilet humour. Prabhudheva's direction is average and again, the story is to blame. He tries to add something new but doesn’t succeed in all scenes. Also, there are far too many songs that hamper the film’s pace. And shockingly, an important mystery, with regards to Bali Singh, remains unsolved till the very end. It’s bewildering why the makers chose to do that DABANGG 3 starts off on a fine note. The entry scene of Salman Khan as expected is whistle and clap worthy and in many ways, it’s the best part of the film. The manner in which Chulbul frees the trafficked girls and even teaches Chinti Valia a lesson will also be loved. The flashback portion too commences well and is also funny. But the Bali Singh track here looks very clichéd and outdated. Post interval, the film gets a bit better as Chulbul outsmarts Bali Singh. Again, most of the parts are predictable and of convenience. The climax fight will be liked by masses, particular the shirtless sequence bit of Salman Khan. <span style="text-decoration: underline;"><strong>“Salman Khan has always worked VERY HARD, You don’t…”: Arbaaz Khan | Dabangg 3</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/salman-khan-has-always-worked-very-hard-you-dont-arbaaz-khan-dabangg-3/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Dabangg 3 belongs to Salman Khan and he’s the one who makes the film watchable. The superstar is enjoying playing this part and it shows. His sense of humour is spot on. Also he looks dashing in the flashback portions. Sonakshi Sinha as expected lends support. She looks energetic in the songs. Newcomer Saiee M Manjrekar seems beautiful and tries her best. But her dialogue delivery is not upto the mark. Kichcha Sudeepa looks evil and menacing. But his track ought to be more terrifying for a better impact. Arbaaz Khan is fine and has a crucial part in the second half. Dolly Bindra is loud but suits her part. Nawab Shah is over the top. Pramod Khanna plays the part essayed by his deceased brother Vinod Khanna in the first two parts and slips into the role effortlessly. Bharat Dabholkar is wasted. Sharat Saxena is decent. Rajesh Sharma (S S Sharma) and Paresh Ganatra (Dabboo) try to be funny but don’t really succeed. Sajid-Wajid's music won’t have a huge shelf life. <em>'Hud Hud'</em> is the best of the lot followed by <em>'Munna Badnaam Hua'. 'Naina Lade' i</em>s sweet. <em>'Yu Karke'</em> and <em>'Habibi Ke Nain' </em>are forced. <em>'Awara'</em> is not memorable. Sandeep Shirodkar's background score is heroic and exhilarating. Mahesh Limaye's cinematography is spectacular and some scenes are well shot. Anl Arasu's action is a bit gory but works. Wasiq Khan's production design is appealing. Same goes for Ashley Rebello and Alvira Khan Agnihotri's costumes. Ritesh Soni's editing is not smooth, especially in the action scenes. On the whole DABANGG 3 is a predictable revenge saga which capitalises on the star power of Salman Khan. At the box office, it has enough masala for Salman Khan fans which will result in terrific opening weekend [extending into Christmas holidays] post which it might face a slowdown at the multiplexes.

Bollywood is already drooling over the elder Kaushal brother. Vicky Kaushal, from a humble debut with MASAAN, is now the dark horse that filmmakers look up to. In that light, here’s Sunny Kaushal, who hasn’t exactly made it big yet, but looks consistent with his efforts. After his debut stint SUNSHINE MUSIC TOURS AND TRAVELS which didn’t quite hit the gold spot and a brief appearance in GOLD, here’s he, with his third outing, a dance drama. Does BHANGRA PAA LE turn out to be the game-changer, or does it not? <img class="aligncenter size-full wp-image-1058602" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Bhangra-Paa-Le-1.jpg" alt="" width="750" height="450" /> BHANGRA PAA LE revolves around Jaggi (Sunny Kaushal), a Punjabi lad and a vehement Bhangra enthusiast. He gets through to an international competitive platform and needs to win it over other contestants to exhibit the dance form to a larger audience. However, Jaggi isn’t your regular Bhangra guy. He is also trying to transcend beyond a set dance form and bring flavours of fusion by merging Bhangra with several Western dance forms. Parallel to this runs a story of Jaggi's grandfather Kaptaan Singh (Sunny Kaushal), a warrior fighting the World War II. As it sounds, it is also about how different generations are bound together in the essence of evergreen music and dance. Then comes Simi (Rukshar Dhillon), not as Sunny’s dreamy romantic companion but as his rival. A feisty Punjabi girl with a strong grip of Punjabi folk steps, she is the daughter of a single mother. Will Jaggi manage to win the competition, will his passion for bhangra rub off on the audience is what the rest of the film is? The story (Dheeraj Rattan) shuttles between two different time periods, trying to strike a chord with similar kinds of love, loss and agony. However, the depiction is rather forced. As a soldier who wants to come back home to his ladylove, Sunny is relatably nice. As a college guy who is unable to accept his defeat, he doesn’t impact us much. While the idea of an enthusiastic dancer upholding his art sounds good, the script, in reality, is entangled. It slips off its pace at times, and seems to focus too much on the dance part, therefore not maintaining its compactness. Also, if you are someone who has watched LOVE AAJ KAL, you will probably end up finding a gallon of similarities! BHANGRA PAA LE marks the directorial debut for Sneha Taurani, who has earlier assisted filmmakers such as Ayan Mukerji and Mohit Suri. Her approach towards the story is fresh, but the product turns out to be mundane in many parts. It’s one thing that BHANGRA PAA LE has no extraordinary plots to offer you, but Sneha’s attempt of spinning a predictable story could result in better things. Coming to performances, while the box office wasn’t kind to him in his first film SUNSHINE MUSIC TOURS AND TRAVEL, Sunny Kaushal's got the mettle. You can say that, looking at how he assimilates the energy, passion and determination that his character demands him to show. Adding to that, he has certainly put in noticeable efforts to master his steps. Rukshar is great to look at when she grooves, but she yet has a long way to go in terms of acting. Rukshar and Sunny’s chemistry doesn’t cook up either. Shriya Pilgaonkar has a brief part to play, and with her sober self. <img class="aligncenter size-full wp-image-1058601" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Bhangra-Paa-Le-2.jpg" alt="" width="750" height="450" /> The music has been worked upon, by young, off beat and talented composers such as A Bazz, Rishi Rich and Yash Narvekar. But, 10 songs in 2 hours felt like an overdose, and none of the songs really stay with you. Rather, the background score is neat and situational, and complements the moods. The cinematography (Jitan Harmeet Singh) is clean but adds no special value to the film. However, editing (Antara Lahiri) has saved the film to a large extent. If the time lapses went wrong, we’d probably be left confused as to who was doing what. On the whole, BHANGRA PAA LE is strictly average one-time watch with no remarkable performances. At the box office, it will go largely unrecognised.

Off late, Bollywood has been making period dramas, focusing on the brave warriors of the medieval and early modern history of India. While films like MANIKARNIKA – THE QUEEN OF JHANSI and PANIPAT focused on the somewhat known chapters of history, the Akshay Kumar starrer KESARI was based on an incident that wasn’t known to many. Now another film joins this latter category – TANHAJI: THE UNSUNG WARRIOR. It depicts the bravery of Tanhaji Malusare, a legend in Maharashtra, but largely unknown elsewhere. The film is mounted on a huge scale and moreover, has a terrific star cast, both of which have contributed to its hype. So does TANHAJI: THE UNSUNG WARRIOR manage to give a great time to the viewers? Or does it disappoint? Let’s analyse. <img class="aligncenter size-full wp-image-1060929" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Tanhaji-–-The-Unsung-Warrior-Review-IMG.jpg" alt="Tanhaji – The Unsung Warrior Review IMG" width="720" height="450" /> TANHAJI: THE UNSUNG WARRIOR is the story of one of the greatest warriors of India. The year is 1664. Chhatrapati Shivaji Maharaj (Sharad Kelkar) has given a tough fight to the Mughals, headed by Emperor Aurangzeb (Luke Kenny), in the Deccan region. However, when things get tough for the Marathas, Shivaji Maharaj decides to sign a treaty. As part of this agreement, he hands over some 23 forts to the Mughals, including the strategic Kondhana Fort. A few years later, Chhatrapati Shivaji Maharaj expresses his desire to recapture Kondhana. This is especially when he finds out that Aurangzeb has sent Udaybhan Rathod (Saif Ali Khan), an evil military officer, to control the fort. Chhatrapati Shivaji Maharaj realizes that his brave Subedar Tanhaji Malusare (Ajay Devgn) is the best man to get the fort back. But Chhatrapati Shivaji Maharaj refuses to even let Tanhaji know about this operation. This is because Tanhaji is busy with the marriage of his son. However, Tanhaji finds out about the plan. He persuades Chhatrapati Shivaji Maharaj to let him go for it. The Maharaj agrees and hence, Tanhaji keeps his son’s marriage on hold. He then begins to plan how to recapture the fort and thereby create history. What happens next forms the rest of the film. Prakash Kapadia and Om Raut's story is excellent and well-researched. It talks about a landmark moment in India’s history and at the same time, it has enough entertainment and drama. Prakash Kapadia and Om Raut's screenplay does justice to the plot in hand. The script is peppered with dramatic and massy moments that keep the interest going. However, the film drops a bit in the middle of the second half. Also, the first half could have had more hard-hitting moments. Prakash Kapadia's dialogues are simple but also sharp-worded as per the requirement. Om Raut's direction is quite praiseworthy and he handles the film like a pro. He does full justice to the scale and grandeur of the film. He also keeps the narrative uncomplicated and very simple to understand. And his biggest achievement is that he doesn’t make TANHAJI: THE UNSUNG WARRIOR look like the recent period films, especially the ones of Sanjay Leela Bhansali. Bhansali's films have become a genre in itself, hence when it comes to period flicks many recent ones looked like clones of his movies. TANHAJI: THE UNSUNG WARRIOR, however, stands out. And moreover, he adds enough <em>masala</em>, especially in the climax, which takes the film to a high. See it to believe it! TANHAJI: THE UNSUNG WARRIOR begins with the childhood sequence of Tanhaji and the background of the Maratha Empire. The film moves too quickly here but no complaints as the impact is made. The entry of adult Tanhaji is too good and viewers would welcome it with claps and whistles. Even Udaybhan’s introduction makes for a great watch. From here on till the intermission, the film keeps one engaged but the film here lacks action and a punch, which one might expect after the action scene in the start. But the intermission point is fine and it indicates that the second half will be better. And thankfully, the post-interval portion has a lot more entertainment. The sequence where Tanhaji and Udaybhan come face to face is electrifying. Also Tanhaji urging the Maratha soldiers to fight for him is a scene to watch out for. The film then drops again but the makers reserve the best for the finale. The climax battle is incredible and single screen audiences especially will go in frenzy! <span style="text-decoration: underline;"><strong>Tanhaji – The Unsung Warrior | Public Review | Ajay Devgn | Kajol | Saif Ali Khan | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/tanhaji-the-unsung-warrior-public-review-ajay-devgn-kajol-saif-ali-khan-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> TANHAJI: THE UNSUNG WARRIOR belongs to Ajay Devgn and Saif Ali Khan. Ajay is perfect for the part and adds a lot through his body language and expressions. Also his dialogue delivery in confrontational scenes is spot-on. But he goes into another mode in the climax fight and viewers would surely lap it up. Also, he deserves kudos for putting together this mammoth project and ensuring that it looks like a great cinematic product, at par with international standards. Saif Ali Khan is superb in the villainous role. He is menacing but also has a goofy side and the balance is very nicely done. In one scene dipped with black humour in the second half, he gets his act totally right! Kajol (Savitri) doesn’t have much to do but her presence adds a lot to the film. Her scenes with Ajay are endearing. Sharad Kelkar stands out as Shivaji Maharaj. His personality, build and baritone voice was just right for such an important historical character. Padmavathi Rao (Rajmata Jija aau) has a fine screen presence. Luke Kenny fits the role and one wishes he had more screen time. Neha Sharma (Kamla) is decent in a supporting role. Kailash Waghmare (Chultiya) and Hardik Bharat Sangani (Gidya) are over the top but that works for their respective characters. The other actors who do well are Shashank Mahadeo Shende (Shelar Mama), Ajinkya Ramesh Deo (Pisal), Vipul Kumar Gupta (Jagat Singh), Deodatta Gajanan Nage (Suryaji), Yuri Suri (Mirza Raje Jai Singh), Nissar Khan (Beshak Khan), Arush Nand (Raiba; Tanaji's son), Prasanna Vidyadhar Ketkar (Ghesarnaik) and Niranjan Jadhao (Trimbak Rao; spy). The music is situational and not of chartbuster variety. <em>'Ghamand Kar'</em> is the theme song of the film and is quite exhilarating. <em>'Shankara Re Shankara'</em> comes at a great juncture. <em>'Maay Bhavani'</em> is average while <em>'Tinak Tinak'</em> is moving. Sandeep Shirodkar's background score adds to the drama heavily. Keiko Nakahara's cinematography is of superior quality. Despite so much of action and fights happening, the camerawork ensures that all is captured well.. Sujeet Subhash Sawant and Sriram Kannan Iyengar's production design is straight out of the bygone era. The sets are authentic and not needlessly grand, considering that the film focuses on the life of the Maratha soldiers and their houses can’t resemble palaces. But while depicting Aurangzeb’s residence, the designers have gone all out, rightfully so. Ramzan Bulut and R P Yadav's action is a bit gory but is controlled and visually looks great. Vikram Gaikwad's make-up is neat. Nachiket Barve and Mahesh Sherla's costumes are realistic. NY VFXWaala's VFX is splendid and there’s not a single moment where the effects look tacky. Also, the 3D is not done for the heck of it and it actually complements the narrative. Dharmendra Sharma's editing is slick. On the whole, TANHAJI: THE UNSUNG WARRIOR is an entertaining and a paisa-vasool film that would be loved by the masses as well as classes. At the box office, it can run riot in Maharashtra and other mass centres and could turn out to be the first Rs. 100 crore grosser of 2020. Highly Recommended!

Dance films have been a rage in the West and in Bollywood, this genre got an establishment thanks to ABCD – ANY BODY CAN DANCE [2013]. Directed by Remo Dsouza, it starred unknown faces and yet fetched a decent opening and did good business at the box office. The series got a boost as the second part, ABCD – ANY BODY CAN DANCE – 2 [2015] starred Varun Dhawan and Shraddha Kapoor and was a Rs. 100 crore grosser and the first such film for both the actors. Now Varun, Shraddha and Remo join hands once again for STREET DANCER 3D, which is also in the same zone as the ABCD films. This time, they promise to take the dance and madness many notches higher. So does STREET DANCER 3D manage to fulfil the expectations? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1066172" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Street-Dancer-3D.jpg" alt="Movie Review: Street Dancer 3D" width="720" height="450" /> STREET DANCER 3D is the story of two warring groups uniting for a larger cause with the backdrop of dance. Sahej (Varun Dhawan) is an Indian origin British resident based in London with his family. He and his brother Inder (Punit J Pathak) are a part of a dance group called Street Dancers. Inder had participated in a globally reputed dance performance called Ground Zero. Sadly, in the final act of his dance performance, he gets injured and breaks his knee. Two years later, Sahej travels to Punjab, India for a wedding. He returns with lot of money which he uses to buy a dance studio. He tells Inder that he got this money by performing back home. Sahej reunites the Street Dancers gang and they begin their street dance performances. In the same locality, another dance group resides called Rule Breakers. They are of Pakistani origin and comprise of Inayat (Shraddha Kapoor), Zayn (Salman Yusuff Khan) among others. Their dance is quite superior and both groups often get into tussles. Sahej realizes that Street Dancer group has to get their dance moves right. He takes the help of Nora (Nora Fatehi), a dancer in a British dance group called The Royals and also his girlfriend. She improves the dance of the group. Street Dancers and Rule Breakers often assemble at a restaurant run by Prabhu Anna (Prabhudheva) to watch the India vs Pakistan cricket match. One such time, they get into a fight and attack each other with food. They stop only when a cop (Murli Sharma) intervenes. While leaving from there, Inayat notices suspicious looking men entering from the back door of the restaurant. During her next visit, she again witnesses it and this time, she enters the same entrance and confronts Prabhu. At this, Prabhu reveals that these men are illegal immigrants from the Indian subcontinent and that he gives them leftover food. Not just that, he packs all the leftover dishes and distributes them to a colony housing illegal immigrants. Inayat is moved with this gesture. Meanwhile, the Ground Zero competition is announced again and the prize money is staggering. Inayat informs the Rule Breakers about the plight of the immigrants. They all decide that if they win Ground Zero, they’ll use the prize money to help these people return back to their country. Street Dancers too decide to participate in Ground Zero. Prabhu Anna advises both the groups to unite as that’ll help them win. What happens next forms the rest of the film. Remo Dsouza's story is not novel. A few developments are fine but predictable. However, Tushar Hiranandani's screenplay (additional screenplay by Jagdeep Sidhu) is quite entertaining and very simple. It’s easy to comprehend what’s going on despite so many characters and so much of dance happening. A few dramatic sequences especially are well scripted. Farhad Samji's dialogues (addtional dialogues by Jagdeep Sidhu) work well but one expects a lot from this talented writer especially some witty one-liners. Remo Dsouza's direction works for most parts. The dance sequences, obviously, are handled well. He excels especially in the confrontational sequences be it Mac (Francis Roughly) assaulting Poddy, Poddy-Sahej’s fallout, Sahej’s emotional moment with his brother Inder in the second half and Sahej’s speech in front of Inayat’s family. On the flipside, the film is a bit too long at 143 minutes. The first half, particularly, could have been shorter. Also, one wishes if some of the developments were backed by logic. It is bewildering why Amrinder (Aparshakti Khurana) and his friends blame Sahej for their bad experience in London. It was Amrinder and his pals who were behind Sahej in Punjab and they literally forced him to take them to London. So Sahej should not have felt responsible and guilty for their miserable condition. A similar illogical development can be seen in the climax. Thankfully, the film has many other plusses that compensate for these minuses. STREET DANCER 3D begins on a visually stunning note. The introduction piece is well shot and thought of and instantly sets the mood. The introduction of Inayat is quite fun while Nora’s entry will surely soar the temperatures in this cold weather. Nothing much then happens till a point. It’s only when Sahej narrates his Punjab experience to Poddy (Raghav Juyal) that the interest lifts again. The intermission comes at a fine juncture. Post-interval, the film drops again but a nice plot point is added here when Sahej breaks off from Street Dancers. This track works well. The immigration bit is touching but logically flawed and that affects some impact. But the film has lot more to impress. The semi-final sequence is sure to be greeted with claps and whistles. The climax has enough drama and entertainment to keep viewers hooked. The film ends on a touching note with a montage of the SWAT (Sikh Welfare &amp; Awareness Team) and their noble work in London. <span style="text-decoration: underline;"><strong>Street Dancer 3D | Public Review | Varun Dhawan | Shraddha Kapoor | Nora Fatehi | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/street-dancer-3d-public-review-varun-dhawan-shraddha-kapoor-nora-fatehi-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, Varun Dhawan as always is quite entertaining and has a terrific screen presence. And he looks dashing. Shockingly, in comparison to Shraddha Kapoor and Nora Fatehi, he pales when it comes to dance. Shraddha Kapoor looks like a million bucks and is a treat to watch. Her screen time is a bit limited however in the second half. Also, one wished to see some sort of romance between the two as that would have made their fans happy. Nora Fatehi has a very small role but it’s very crucial and it’s bigger than her part in BATLA HOUSE. She is smoking hot and her entry scene is the best out of all actors! Aparshakti Khurana is great and makes sure that he doesn’t go overboard. Prabhudheva is effortless. His dance part appears late but once it does, it takes the film to a high! Punit J Pathak is memorable. The rest of the actors playing the dancers like Salman Yusuff Khan, Raghav Juyal, Dharmesh Yelonde (D), Sushant Pujari (Shushi), Caroline Wilde (Alisha) etc do well. The rest of them are also quite good and dance well but don’t get registered much. Francis Roughly is fine in a sort of villainous role. Zarina Wahab (Amarinder’s mother), Murli Sharma and Manoj Pahwa (Chabda) are passable. Others are good. There are almost 10-11 songs in the film and most of them thankfully are well choreographed and make an impact. <em>'Muqabla'</em> is the best of the lot and single-screen cinemas especially will go in a frenzy! <em>'Mile Sur Mera Tumhara'</em> comes next best followed <em>by 'Bezubaan Kab Se', 'Pind'</em> and <em>'Garmi'. 'Gann Deva'</em> seemed forced while <em>'Suno Gaur Se Duniya Walo'</em> is missing in the film. <em>'Dua Karo' </em>is moving and is well shot. <em>'Illegal Weapon 2.0', 'Lagdi Lahore Di'</em> and <em>'Nachi Nachi'</em> are okay.  Sachin-Jigar's background score is a bit loud but is in sync with the film’s mood. Kruti Mahesh, Rahul Shetty and Tashan Muir's choreography is one of the highpoints. Each and every dance piece is novel and visual treat. Vijay Kumar Arora's cinematography (Punjab schedule shot by Tushar Kanti Ray) is sans complaints and the dance scenes especially are beautifully captured. Tanvi Leena Patil's production design is appealing. Costumes are quite sexy especially the ones worn by Varun (Aki Narula), Shraddha (Tanya Ghavri) and Nora Fatehi (Jerry Dsouza). Post House Studios' VFX has played a major role here. The slow motion and light effects especially enhance the impact. Even the 3D is a treat to the eyes. Manan Ajay Sagar's editing is good for most parts but could have been more tighter. On the whole, STREET DANCER 3D is a terrific combination of rich visuals, amazing choreography and strong emotions. At the box office, it will appeal to its target audience - the youth and is most likely to enter the 100 crore club.

A small track in Priyanka Chopra-starrer MARY KOM [2014] dealt with the protagonist returning back to boxing after motherhood. It gave a nice insight of what women go through when they make a comeback in sports after giving birth and how it’s tough for them not just physically but more so, mentally. Now Ashwiny Iyer Tiwari, of NIL BATTEY SANNATA [2016] and BAREILLY KI BARFI [2017] fame, takes this aspect as a central idea for her next film, PANGA, starring Kangana Ranaut in the leading role. So does PANGA manage to touch as well as entertain? Or does it fail to entice? Let’s analyse. <img class="aligncenter wp-image-1066622 size-full" title="Movie Review: Panga" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Panga-2.jpg" alt="Movie Review: Panga" width="720" height="450" /> PANGA is the story of a mother trying to fulfil her dreams. Jaya Nigam (Kangana Ranaut) is a pro at Kabaddi. She slowly rises and also becomes the captain of the Indian Kabaddi team. She is meanwhile married to Prashant (Jassie Gill) and gets pregnant just before she is to go for a major tournament. She still assures her seniors that she’ll be back soon. However, her son is born prematurely and with a very weak immune system. The doctor informs that they’ll have to take care of the baby tremendously and only then will he have a normal growth. Jaya hence gives up her dream. She takes up a job in the railways and divides her time between her work and raising her son Adi (Yagya Bhasin). 7 years pass. Jaya is finding it difficult to fulfil the responsibilities expected from her. Moreover, she meets Meenu (Richa Chadha), who was in Jaya's team and still plays Kabaddi. One day, Adi suggests that his mother should make a comeback in Kabaddi. He persuades Prashant and both begin nag Jaya. Jaya is unsure as she feels she has grown old and is not that fit. Prashant suggests that Jaya should pretend to make comeback and a month later, she can claim that she didn’t get selected. Jaya hence begins her practice. At first, it’s difficult for her but soon, she gets enthusiastic about the whole process. After a long time, she realises she is finally living her life. Two months pass and one day, she tells Prashant that she wants to continue practicing and try to get into the Indian team. What happens next forms the rest of the film. Divya Rao's research and concept is fairly nice and simple. The story has a lot of potential and also it’s a bit unique. We have had sports films in the past but a film on a mother making a comeback hasn’t been tackled as a main plot. Nikhil Mehrotra and Ashwiny Iyer Tiwari's screenplay (additional screenplay by Nitesh Tiwari) also retains the simplicity and relatability. The writing is peppered with some entertaining moments that keep the interest going. On the flipside, it could have been tighter, especially towards the second half. Also, the film gives a heavy déjà vu of DANGAL [2016]. Nikhil Mehrotra and Ashwiny Iyer Tiwari's dialogues (additional dialogues by Nitesh Tiwari) are one of the highpoints. Some of the one-liners, especially the ones uttered by the child actor, will bring the house down. Ashwiny Iyer Tiwari's direction is good. It’s evident that her own personal experiences have also seeped in the film. A few sequences are very deftly handled. The finale especially is too good and would be greeted with claps and whistles. The beauty of it is that you know what’s going to happen and yet, you can’t help but feel exhilarated when it unfolds. Also, to see the way Jaya gets the support of her husband, her son, her mother, her bestie and even her neighbour is quite heartwarming and would be loved by female audiences especially. On the flipside, except for the ending, the predictability of the script does affect the impact along with the long length. Jaya’s flashback doesn’t really make it clear that she had achieved such heights of stardom. Also, Prashant seemed sad when Jaya announces her plan to do a comeback but it wasn’t the case, as revealed later on. This bit was bewildering and could have been done away with or handled better. <img class="aligncenter size-full wp-image-1066623" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Panga-1.jpg" alt="" width="720" height="450" /> PANGA has a fine commencement showing the small town life with the focus on Jaya's family and their day to day activities. A lot happens in the first half – Meenu coming back into her life, Jaya missing the sports day, Jaya getting reprimanded by Adi, Jaya's flashback and Jaya’s practise session. The first half surprisingly is just 51 minutes long. The post interval portion, however, is almost 1 hour 18 minutes in duration and could have been shorter. It’s touching to see how Jaya balances between her passion and her family and also the politics that happens over the selection of the team. But the pace of the film is slow here and also, the training session is stretched. Jaya not getting to play for most of the matches also gets a bit repetitive. Thankfully, the climax is powerful which helps the film end on a high note. PANGA rests on Kangana Ranaut majorly, though others also do well. The actress, as always, delivers a smashing performance and not even for a single second, does she go off character. As Jaya the mother, she’s quite adorable and convincing. And even as Jaya the player, she is effortless. Jassie Gill lends able support and his character will be loved. But he grins a bit too much, especially in the flashback portions, and it makes him look a bit of a caricature. Yagya Bhasin is a rockstar. He gets to play a great part and he uplifts the mood of the film in many places. Richa Chadha is credited as a special appearance part but she has a major role to play. She too contributes a lot to the film, not just in terms of comedy, but also in terms of much-needed moral support to Jaya. Megha Burman (Nisha Das) has a late entry but leaves a huge mark. Neena Gupta (Jaya’s mother) is passable. Rajesh Tailang (Indian national coach) is good and is an actor to watch out for. Smita Dwivedi (Smita Tambe, team captain), Kusum Shastri (Jaya’s neighbour), Sudhanva Deshpande (Indian Railway coach) and Shantanu Das (Eastern Railway coach) are decent. Shankar-Ehsaan-Loy's music is soulful but is not memorable at all. <em>'Bibby Song'</em>, the title track and <em>'Jugnu'</em> are okay while <em>'Dil Ne Kaha'</em> and <em>'Wahi Hain Raste'</em> are forgettable. Sanchit Balhara and Ankit Balhara's background score is subtle but rightfully loud in the scene where Adi tells Prashant that Jaya should make a comeback. Jai I Patel's cinematography is fine in the crucial Kabaddi scenes but in a few scenes, its quite in-the-face. Sandeep Meher's production design is straight out of life. Rushi Sharma, Manoshi Nath and Bhagyashree Rajurkar's costumes also add to the authenticity. Special mention should also go to Sunita Vishwas Rao (Kabaddi co-ordinator), Gauri Wadekar (Kabaddi Coach and choreographer) and Abdul Salam Ansari (Kabaddi action director) for making the Kabaddi scenes look so rich and real. Ballu Saluja's editing should have been slick. On the whole, PANGA is a progressive and touching sports drama that works thanks to its plot, execution, some fine moments and of course the superlative performance of Kangana Ranaut. At the box office, it faces tough competition from STREET DANCER 3D and also the holdover release TANHAJI: THE UNSUNG WARRIOR and hence it’ll need a strong word of mouth to succeed.

Saif Ali Khan excels in all kinds of roles but his role of a cool dude in light-themed films has been a favourite for many moviegoers. He played such characters in several memorable films like HUM TUM [2004], SALAAM NAMASTE [2005], LOVE AAJ KAL [2009] and got immense praise. Now the actor is back in this space after a hiatus with JAWAANI JAANEMAN. It’s a special flick as it’s the first production under his new banner, Black Knight Films. So does JAWAANI JAANEMAN emerge as a fine piece of entertainer? Or does it fail to impress? Let’s analyse. <img class="aligncenter wp-image-1069154 size-full" title="Movie Review: Jawaani Jaaneman" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Jawaani-Jaaneman.jpg" alt="Movie Review: Jawaani Jaaneman" width="720" height="450" /> JAWAANI JAANEMAN is the story of a 40-year-old playboy whose life suddenly turns upside down. Jassi aka Jazz (Saif Ali Khan) is in his 40s and is based in London. He's single and in no mood to commit. By profession, he's a real estate broker and works with his brother Dimpu (Kumud Mishra). But he spends most of his time partying and getting involved with girls. He is also about to seal a redevelopment deal that will make him the biggest broker in London. Life is going great for him until one day he meets Tiya (Alaya F). At first he flirts with her, with the ultimate aim to take her to bed. However, she drops the bomb that she might be his daughter! To make matters worse, the DNA test confirms that they are related. And that's not all. It also comes to light that Tiya is pregnant! So Jazz finds out that he's not just someone's father but also to-be grandfather! What happens next forms the rest of the film. JAWAANI JAANEMAN is a remake of an Italian film. The plot is promising and could have made for a hilarious and touching entertainer. The screenplay however is inconsistent and weak at many places. Only some scenes work and provide laughs. Hussain Dalal and Abbas Dalal's dialogues are witty and try their best to enhance the impact. Nitin Kakkar's direction is average. He doesn’t keep the flow of the film organic. Some developments happen suddenly, be it Jazz developing feelings for Rhea (Kubbra Sait) or Jazz asking Tiya to shift in his house. These scenes are still digestible. But a scene in the second half where a local randomly accuses Jazz of cheating him in a property deal comes out of nowhere. Till now, viewers knew Jazz as a lazy worker but not someone who is deceitful. Hence, this revelation seems bizarre. On the positive side, he gets the emotion and humour right in some scenes. Also, he keeps the duration in check (119 minutes). JAWAANI JAANEMAN starts off on an okay note as the viewers get introduced to Jazz and his playboy lifestyle. The film gets interesting once he gets Tiya home and she reveals the truth. It makes for a hilarious watch. Another memorable scene in the first half is when Jazz and Tiya meet Dr. Kriplani (Kiku Sharda). One expects lot more to happen but story just doesn’t move then. The intermission point is a bit awkward. Post interval thankfully there’s some movement in the story. But now the film drags. Also, the impact is weakened by property deal track. What brings some respite is the track of Ananya (Tabu) but even that loses fizz soon. The final scene of the film is heartwarming. <span style="text-decoration: underline;"><strong>Jawaani Jaaneman | Public Review | Saif Ali Khan | Alaya Furniturewalla | Tabu | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/jawaani-jaaneman-public-review-saif-ali-khan-alaya-furniturewalla-tabu-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Saif Ali Khan is completely in his element and entertains thoroughly. Such kind of a role suits him to the T and he constantly tries to rise above the script. Alaya F makes an excellent debut and puts up a confident act. She looks gorgeous and is the only actor who moves viewers to an extent. She has a promising career ahead. Tabu has a late entry but raises loads of laughs. But her character has no emotional arc. Chunky Panday (Rocky) doesn’t have much to do initially. He has a crucial scene in the second half in the hospital but it doesn’t work. Kubbra Sait is adorable and one wishes to see more of her. Kumud Mishra is dependable. Kiku Sharda is funny. Dante Alexander (Rohan) is over the top, as per the character’s requirement. Rameet Sandhu (Tanvi) leaves a mark. Farida Jalal (Jazz’s mother), Shivendra Singh Mahal (Jazz’s father) and Diljohn Singh (Grover) are okay. Songs are all forgettable. <em>'Ole Ole 2.0'</em> gets registered a bit as it’s a popular tune. <em>'Gallan Kardi'</em>, <em>'Bandhu Tu Mera'</em> and <em>'Mere Baabula'</em> don’t work. <em>‘Jinhe Mera Dil Luteya’</em> is played in the end credits.  Ketan Sodha's background score is sans complaints. Manoj Kumar Khatoi's cinematography is pleasing. The locales of London are well captured. Urvi Ashar Kakkar and Shipra Rawal's production design is superior. Sanam Ratansi's costumes are quite glamorous and all the actors in the film look great. Sachinder Vats's editing (additional editing by Chandan Arora) jumps at places. On the whole, JAWAANI JAANEMAN boasts of fine performances by Saif Ali Khan and newcomer Alaya F. But the direction is weak and emotionally, the film doesn’t work. At the box office, it will be a tough ride for the flick considering the lack of buzz.

The tiny state of Goa has been a great destination for our filmmakers over the years. Rohit Shetty has shot and based most of his films there. Besides, there have been films where Goa played an indispensable part like HONEYMOON TRAVELS PVT LTD [2007], DIL CHAHTA HAI [2001], KABHI HAAN KABHI NAA [1994], GO GOA GONE [2013], FINDING FANNY [2014] etc. Then there was DUM MAARO DUM [2011] which talked about the dark side and the drug mafia of this beach state. Now Mohit Suri futher explores this idea with loads of madness and romance in his style in his latest flick, MALANG. So does MALANG manage to entertain and appeal to its target youth audience? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1071329" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/Movie-Review-Malang.jpg" alt="" width="750" height="450" /> MALANG is the story of love and revenge. Two tracks run simultaneously in the film. The flashback track shows Advait (Aditya Roy Kapur), with a disturbing family history, going to Goa for some fun. Here he bumps into Sara (Disha Patani) who has come to Goa from abroad to conquer her fears. Over drugs and running away from the police, they fall for each other. At first they decide to keep their relationship casual but things get serious. In the present day track, five years later, Advait has just got released from the jail. He's now a killing machine with rage in his eyes. As soon as he's out, he calls Inspector Anjaane Agashe (Anil Kapoor) and informs him that he's about to commit a murder. Agashe takes it lightly at first but in no time, Advait kills a person, that too a police inspector named Victor (Vatsal Seth). Few hours later, he kills two more cops – Nitin Salgaonkar (Keith Sequeira) and Deven Jadhav (Prasad Jawade). All three work under Inspector Michael (Kunal Kemmu). He's married to Teresa (Amruta Khanvilkar) and his marriage is on the rocks. He believes in following the law and faces trouble in solving the case with Agashe, who relies on committing encounters on the spot. Both get to work before Advait can kill anyone else. In the course of his investigation, Michael begins to follow Jessie (Elli AvrRam) who he believes is connected with the case. Meanwhile, Agashe comes face to face with Advait. The latter had the opportunity to escape but he doesn't. He wilfully surrenders. What happens next forms the rest of the film. Aseem Arrora's story is decent. But it is a <em>bhel puri</em> of various films like EK VILLAIN [2014], MURDER 2 [2011], MARJAAVAAN [2019], RACE [2008] etc. Aniruddha Guha's screenplay ensures most scenes don’t give a strong déjà vu of any film. There’s a lot happening in the film and the script is written in such a way that it does not bore the audience. Aseem Arrora's dialogues are subtle but sharp and don’t go over the top in most places. Mohit Suri's direction is good. There’s a marked improvement from his previous films. There’s a lot of style in his execution that gives the film a fresh and a nice touch. There are lot of characters and subplots but he joins them seamlessly. Also, often, filmmakers go the psychedelic way while showing the effects of drugs on protagonists. This has become quite clichéd now and surprisingly, Mohit doesn’t go that route at all. A few scenes are very well handled, especially the present-day scenes. But on the flipside, some developments don’t work as intended whether it’s the love story or Michael’s dilemma. Even the backstory of Advait and Sara seems half-baked. MALANG begins on a massy note. The one-take action scene is quite entertaining. The film then goes on a flashback mode showcasing Advait and Sara’s romance. It is interspersed with the present-day thrilling portions. A few portions here stand out like Agashe interrogating the African drug dealer (this is sure to raise tons of laughs), Agashe finding Nitin Salgaonkar and of course the intermission point. Post-interval, the flashback slows down the film a bit as one is more curious to see what happens once Advait is in the clutches of the cops. There’s a solid twist in the tale and though it comes as a shocker, it is also a bit convenient. <span style="text-decoration: underline;"><strong>Malang | Public Review | Aditya Roy Kapur | Disha Patani | Anil Kapoor | Kunal Khemu | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/malang-public-review-aditya-roy-kapur-disha-patani-anil-kapoor-kunal-khemu-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Speaking of performances, each and every actor does fine. Aditya Roy Kapur is in great form. He looks very convincing as a fearless man with a vengeance who can take on dozens of goons. His acting in some crucial scenes could have been better but he manages. Disha Patani probably gets the most screen time ever. She looks gorgeous and delivers a heartwarming performance. Anil Kapoor provides the humour quotient. But his character is a lot more than just a funny man and the talented actor gets it just right. And he looks dashing! Kunal Kemmu’s character too has a lot of shades and he rocks the show. Elli AvrRam is decent at best. Her dialogue delivery could have been a bit better. Vatsal Seth, Keith Sequeira and Prasad Jawade are okay. Devika Vatsa (Vani Agashe) leaves a huge mark in a cameo. The music of the film weak and a film like this ought to have super-hit music. The title track and <em>'Hui Malang'</em> are the best of the lot and are well shot. <em>'Chal Ghar Chalen', 'Bande Elahi', 'Humraah'</em> and <em>'Phir Na Milen Kabhi'</em> lack repeat value. Raju Singh's background score is dramatic. Vikas Sivaraman's cinematography is stunning and one of the best in recent times. Notice how the first scene (the long one-take shot) is captured and how sufficient care is taken not to show Aditya Roy Kapur’s face until the right time. Even the scenes of Goa and Mauritius are captured with perfection. Vintee Bansal and Sidhant Malhotra's production design is a bit theatrical but works. Ayesha Dasgupta's costumes are super stylish, especially the ones worn by Aditya Roy Kapur, Disha Patani and Anil Kapoor. The manner in which Anil wears his police shirt on a T-shirt and keeps it unbuttoned makes a unique style statement. Aejaz Gulab's action is not too gory and seems realistic. NY VFXwaala's VFX is fine. Devendra Murdeshwar's editing is simplistic. On the whole, MALANG is high on style with good performances and thrilling moments but has an average storyline. At the box office, it only has the advantage of a clear one-week window and will therefore do average business.

Over the last three decades, Bollywood has come up with quite a few films on homosexuality like FIRE [1996], MY BROTHER NIKHIL [2005], EK LADKI KO DEKHA TOH AISA LAGA [2019], ALIGARH [2016], MARGARITA WITH A STRAW [2015] etc. Aanand L Rai and T-Series are now all set to bring SHUBH MANGAL ZYADA SAAVDHAN and unlike other gay-themed films, this one is light-hearted and looks quite commercial. Moreover, it stars Ayushmann Khurrana, who has become a brand in himself. So does SHUBH MANGAL ZYADA SAAVDHAN manage to entertain? Will it succeed in becoming the first legitimate LGBT-themed hit film of Bollywood? Or does it fail to succeed? Let’s analyse. <img class="aligncenter size-full wp-image-1077035" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/Shubh-Mangal-Zyada-Saavdhan-1-26.jpg" alt="" width="720" height="450" /> SHUBH MANGAL ZYADA SAAVDHAN is the story of two men in love in Section 377 era. Aman Tripathi (Jitendra Kumar) is the son of Shankar Tripathi (Gajraj Rao) and Sunaina (Neena Gupta), who are based in Allahabad. Aman works in Delhi and unknown to his family, he's a gay and is living in with Kartik (Ayushmann Khurrana). Jitendra's cousin sister Goggle (Maanvi Gagroo) is getting married and Neena calls Aman to come back to attend her marriage. Aman at first refuses but then gives in. Kartik also joins him and they meet the entire Tripathi family in a marriage special train called Vivah Express. In the train, Aman and Kartik kiss when they assume that no one is looking. Sadly for them, Shankar sees them and he gets the shock of his life. He doesn't tell anyone about it out of shame. At Goggle's marriage, Aman, in front of everyone, kisses Kartik, thus astonishing the Tripathi family. Thanks to this development, Goggle's to be husband refuses to get married. In anger, Goggle runs away. Kartik is asked to leave and Shankar's brother and Goggle's father Chaman (Manurishi Chadha) drops him off to Allahabad station. At the railway station, Kartik bumps into Goggle and stops her from ending her life. She tells Kartik that he shouldn't run away and that he should fight for his love. This motivates Kartik and he decides to return to win over not just Jitendra but the entire Tripathi family. What happens next forms the rest of the film. Hitesh Kewalya's story is decent and had the potential to be a game-changer. Hitesh Kewalya's screenplay however is a big culprit. Under the pretext of making situations funny, he resorts to too many difficult-to-digest situations. This was prevalent in SHUBH MANGAL SAAVDHAN as well but there, they kept a nice balance. Here, the balance is just not there. The first half is still decent. But in the second half, it all goes downhill. Hitesh Kewalya's dialogues are witty but some of them are just over the top. It won’t be wrong to say that even the one-liners, which are supposed to be funny, take away the realism from the film. Hitesh Kewalya's direction is weak. The film has lot of subplots but he doesn’t put it together well. A major chunk of the film is about rift within the family and during such times, the principle homosexuality angle takes a backseat. Also, he should have succeeded completely in two aspects – comedy and messaging. Sadly in both these areas, he doesn’t do justice. Even the black cauliflower angle that provided laughs initially proved to be the biggest downer of the film in the climax. It gave a bad déjà vu of the ‘kala bandar’ angle of DELHI-6 [2009]. On the positive side, he handles few scenes with élan and some scenes genuinely raise laughs. SHUBH MANGAL ZYADA SAAVDHAN’s starts off on a funny note and the subplot of black cauliflower appears hilarious. Devika's (Bhumi Pednekar) scene too adds to the fun. The scene where Shankar Tripathi catches the lovers kissing brings the house down. Scenes like Aman kissing Kartik in full public view and Aman talking to his parents about dopamine and other such stuff keep the interest going. Post interval however, the film drops. The scenes are supposed to be funny but don't make you laugh. Also it becomes too preachy and unconvincing. The makers try their best to make things interesting but it doesn't work. <span style="text-decoration: underline;"><strong>Shubh Mangal Zyada Saavdhan | Public Review | Ayushmann Khurrana | Jitendra Kumar | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/shubh-mangal-zyada-saavdhan-public-review-ayushmann-khurrana-jitendra-kumar-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Ayushmann Khurrana shockingly is not in his usual form. He has always played the victim but here, he plays the instigator and an actor of his calibre should have hit the ball out of park. Shockingly, he goes overboard. The other bigger shocker is that his screen time is very limited. Believe it or not, Gajraj Rao has the maximum screen time followed by Jitendra and then comes Ayushmann! Gajraj Rao however is too good as always and performs as per the script. Jitendra Kumar fits the role to the T and few of his scenes in the first half are great. Neena Gupta is average. Manurishi Chadha and Sunita Rajwar (Champa) do justice to their respective parts. Pankhuri Awasthy (Kusum) is quite funny. Maanvi Gagroo raises few laughs. Neeraj Singh (Keshav) is decent. Bhumi Pednekar is passable while Gopal Dutt (Doctor in the train) is okay. Music is peppy and gels with the film. <em>'Pyaar Tenu Karda Gabru'</em> is the best followed by <em>'Arey Pyaar Kar Le'</em>, which is played in the end credits. <em>'Ooh La La'</em> comes at a great point while <em>'Mere Liye Tum Kaafi Ho'</em> is forgettable. The recreated version of <em>'Kya Karte The Saajna'</em> sounds great but is not utilised well. Karan Kulkarni's background score adds to the quirkiness of the film. Chirantan Das's cinematography is appropriate. Ravi Srivastava's production design is in sync with the film’s setting. Ankita Jha's costumes are realistic and special mention should go to Ayushmann’s look. Ninad Khanolkar's editing is sans complaints. On the whole, SHUBH MANGAL ZYADA SAAVDHAN is a decent attempt and makes an interesting comment on homophobia which exists in our country. At the box office, it has the chance to work with the urban audiences, especially the youth. However, it will be a challenge to bring in family audiences and the audiences from small towns and cities. The presence of Ayushmann Khurrana may give a boost to its collections.

Education-based films might not seem like profitable ventures but over the past few years, several such films have tasted enormous success like SUPER 30 [2019], CHHICHHORE [2019] and HICHKI [2018]. And the film that started this trend in recent times was HINDI MEDIUM [2017]. The film was a runaway success thanks to its message, realism, humour and performances. And now producer Dinesh Vijan is back with a second part of this franchise, titled ANGREZI MEDIUM. The film has been awaited keenly mainly because it’s a comeback of sorts for Irrfan Khan, after he was diagnosed with a neuroendocrine tumour. So does ANGREZI MEDIUM manage to entertain and impress as much as HINDI MEDIUM? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1082858" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/03/Angrezi-Medium-Review-1.jpg" alt="" width="720" height="450" /> ANGREZI MEDIUM is the story of unconditional love between a father and daughter. Champak (Irrfan Khan) is a single parent of Tarika (Radhika Madan) and is based in Udaipur. His brother is Gopi (Deepak Dobriyal) and though both have lot of love for each other, they are also involved in a legal tussle. Both run a shop named Ghasiteram Sweets and both claim to be the original shop running since generations. The matter reaches court where Justice Chheda (Zakir Hussain) gives a verdict in favour of Gopi. In a drunken state, Gopi later reveals that he bribed the judge which is why he won the case. Gajju (Kiku Sharda), a friend of the brothers, records this statement. Tarika, meanwhile, is an average student and wishes to win the scholarship offered by her school that will take her to London. She works quite hard and manages to get 85% and it makes her eligible for UK scholarship. A felicitation ceremony is held for this occasion. The chief guest here is none other than Justice Chheda. Champak, in anger, informs the crowd of the nefarious activities of Chheda, not realising that Chheda is the husband of the Principal of the school (Meghna Malik). The Principal, in anger, cancels Tarika's scholarship. Champak promises Tarika that come what may, he’ll get her admission done, that too in the college of her choice in London. Sadly, Tarika fails to get the admission from other quotas. Gopi suggests Champak that they contact Bablu (Ranvir Shorey), their childhood friend who is settled in London. Bablu comes to Udaipur on a plane ticket sponsored by Champak. He tells Champak that he can help him get British citizenship after which Tarika can get admission easily. Champak, Gopi and Tarika reach London airport. Here, Champak and Gopi are mistaken for drug dealers. They are deported back to India while Tarika is stranded in London. What happens next forms the rest of the film. Bhavesh Mandalia, Gaurav Shukla, Vinay Chhawall and Sara Bodinar's story sounds interesting on paper. Their screenplay, however, doesn’t live up to the expectations. While the writers get the father-daughter bond right, the other tracks aren’t convincing and arguably, not even necessary. Bhavesh Mandalia, Gaurav Shukla, Vinay Chhawall and Sara Bodinar's dialogues are decent and a few one-liners are witty. Homi Adajania's direction is decent. He gets brownie points for the scenes involving Champak and Gopi as these scenes and their performances elevate the impact. Also the scenes of Champak and Tarika at some places will be loved. The Indian audiences, especially the middle aged and senior citizens, would connect with the message of children often leaving them after turning adults. On the flipside, the film has too many subplots that are difficult to digest. Audiences will find it strange that Champak and Gopi are business rivals and even fighting it out in the court. But at the same time, they even drink and hang out together like best of buddies. Not just that, Gopi doesn’t even mind when Champak leaks his video where the latter brags that he bribed the judge! The manner in which Champak and Gopi get deported over a misunderstanding seems stupid. Tarika, meanwhile, gets settled in London and finds a job and house, even before her admission is done. She doesn’t ask Champak even once how they’ll manage to procure funds. Also the track of Naina and her mother Mrs. Kohli (Dimple Kapadia) seem totally unwanted. Audiences never come to know why they are at loggerheads. ANGREZI MEDIUM starts on an average note, depicting the life of Champak and Tarika, and also the feud between Champak and Gopi. The latter part seems bewildering though as their love-hate relationship. A few scenes here stand out like a drunken Tarika accusing Champak of being intoxicated, the madness at the court and at the school ceremony. The father-daughter bond touches viewers. The intermission point is unconvincing. Post-interval, the film drops at places thanks to too many confusing developments and too many subplots. Thankfully, a few genuinely novel moments stand out here like Tarika turning her T-shirt into a crop top to fit in among her new London friends, Gopi tying Champak to his bed and Champak and Gopi rescuing Mrs. Kohli and later singing Happy Birthday song for her. Also the finale might leave viewers teary eyed. <span style="text-decoration: underline;"><strong>Angrezi Medium | Public Review | Irrfan Khan, Kareena Kapoor Khan, Radhika Madan | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/angrezi-medium-public-review-irrfan-khan-kareena-kapoor-khan-radhika-madan-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, Irrfan Khan delivers a top-notch performance. He seems completely in form and ensures that he makes audiences laugh and moist eyed. Deepak Dobriyal too is superb and his chemistry with Irrfan saves the film to a huge extent. Radhika Madan has a fine screen presence and gives a fine performance. Her dialogue delivery, however, is difficult to comprehend at few places. Kareena Kapoor Khan looks great but is underutilised and same goes for Dimple Kapadia. Ranvir Shorey gets some scope in the second half and excels. Pankaj Tripathi (Tony) tries too hard but manages to raise laughs. Kiku Sharda is dependable. Zakir Hussain, Meghna Malik, Manu Rishi (Bheluram), Ankit Bisht (Anmol) and Manish Gandhi (Advait) are fine. Tillotama Shome (Counsellor) leaves a mark and deserved more screen time. Sachin-Jigar's music is disappointing. <em>'Ek</em> <em>Zindagi'</em> works well as per the situation. The rest of the songs are forgettable. Sachin-Jigar's background score is however quite better. Anil Mehta's cinematography is appropriate. Smriti Chauhan's costumes are real and the transformation of Radhika once she moves to London is effective. Bindiya Chhabria's production design is quite good. A Sreekar Prasad's editing is nothing great and suffers because of loopholes in the script. On the whole, ANGREZI MEDIUM works only because of Irrfan Khan and Deepak Dobriyal's chemistry and also due to some touching moments. At the box office, HINDI MEDIUM’s goodwill and Irrfan's comeback will ensure decent footfalls for the movie over the weekend.

During the COVID-19 lockdown, individuals are losing patience -- moving freely and not following the necessary social distancing. This lack of civic sense and maturity on their part is weakening our fight against the deadly contagion pathogen.

The capital markets, as a result, also has witnessed intense volatility and bears are running lose. Certain sections of investors, however, have shown tremendous maturity during these challenging times.

At a time when Foreign Portfolio Investors (FIIs) have net sold or dumped Indian equities (owing to markets worldwide falling sharply and margin calls being hit), domestic fund managers are looking for value-buying opportunities in the carnage of the markets.

It is also heartening to see retail and High Net-worth Individuals (HNIs) buying into various equity-oriented mutual funds in a lump sum as well as the SIP (Systematic Investment Plan) mode. Monthly SIP inflows have touched a record high in March 2020 and the SIP folios, too, surged to 3.12 crore.

However, in debt-oriented schemes, investors seem to be pressing the panic button. The mutual fund industry recorded a net outflow of Rs 1.95 trillion in March 2020. Barring Overnight Funds and Gilt Funds, all other sub-categories of debt mutual funds have reported an outflow in March 2020.

Advance tax payment obligations, deterioration in asset quality, potential risk of defaults in the COVID-19 lockdown, and heightened volatility in the Indian debt market are some of the key reasons for outflows from debt-oriented mutual schemes.

[Read: Why Investors Pulled Out Money from Debt Mutual Fund Schemes in March]

The massive outflows were also seen from the Liquid Funds and Arbitrage Funds.

Table 1: Action in March 2020

Unprecedented redemptions in the Arbitrage Funds and Liquid Funds, as well as the net inflows recorded by the overnight funds, suggest that investors preferred safety over returns. As you know, liquidity is a key concern as the world continues to fight the COVID-19 pandemic.

Some arbitrage schemes such as Tata Arbitrage Fund and ICICI Prudential Equity-Arbitrage Fund had stopped taking in fresh subscriptions in the third week of March 2020 for the lack of arbitrage opportunities as markets faced broad-based selling.

But now markets are finding some sort of stability and bouncing back -- rallied over 20% from March lows - although the bears continue to run loose.

So, is it a time to consider arbitrage funds again?

Yes, I think so.

Arbitrage Funds aims to exploit the price differential in two different segments (spot and futures or cash and derivatives) of the equity market. They buy stocks in the spot market and sell in the future market simultaneously thereby making gains with the price differential (called the spread).

The differential usually is in sync with the prevailing interest rates in the economy; but depending on the market volatility, it could sometimes be higher as well. That being said, these are short-term opportunities that spring up due to lack of information to a set of market participants in one of the markets.

The capital market regulator's mutual fund categorisation and rationalisation mandates that an Arbitrage Fund must strictly follow the arbitrage strategy and invest at least 65% of its total assets in equity & equity related instruments.

Since the transactions are in either direction, the positions are completely hedged. And the remaining 35% of the total asset is deployed in debt and money market instruments.

In March 2020, when the stock futures started quoting at a discount to the spot prices in the cash market, it was a concern. But now that we have seen some sharp up-moves in the Indian equity markets as the government has done relatively well in containing the spread of the deadly virus (compared to other nations) and thanks to the prompt fiscal measures also have been taken -- both by the Ministry of Finance (the Rs 1.75 trillion package) and the Reserve Bank of India (by reducing policy rates sharply, keeping monetary policy stance 'accommodative as long as it is necessary', and ensuring enough liquidity in the system) -- in my view, it would be perceived positively by the markets in times to come and enough arbitrage opportunities would be available. It is possible that Arbitrage Funds may even perform a tad better vis-a-vis Liquid Funds.

Table 2: Report Card of Arbitrage Fund, Liquid Funds and Short Duration Funds

Over the last one year, the returns generated by Arbitrage Funds have been quite satisfactory. In fact, these funds have outperformed those clocked by Liquid Funds. The 3-month returns clocked by Arbitrage Funds have been almost at par with Liquid Funds.

Do note that an Arbitrage Fund carries low risk and the returns depend on the market conditions and fund manager's ability to reap rewards from arbitrage opportunities.

Short-Term Capital Gains (i.e. realised profits within a year) on arbitrage funds are taxed at 15%, while the Long-Term Capital Gains (i.e. gains made after staying invested for more than a year) are taxed at 10% for gains above Rs 1 lakh in a financial year.

To park money for the short-term for an investment time horizon up to 1-year, you may consider investing in an Arbitrage Fund.

And if you have an extreme short-term time horizon (of 3 to 6 months), consider a Liquid Fund with high-quality debt papers, which does not have high exposure to Commercial Papers (issued by private entities).

Alternatively, if you wish to park in a much safer category, you would be better off investing in an Overnight Funds.

Happy Investing!

PS: If you wish to select worthy mutual fund schemes, I recommend you to subscribe to PersonalFN's unbiased premium research service, FundSelect.

Additionally, as a bonus, you get access to PersonalFN's popular debt mutual fund service, DebtSelect.

Each fund recommended under FundSelect goes through our stringent process, where they are tested on both quantitative as well as qualitative parameters.

Every month, PersonalFN's FundSelect service will provide you with insightful and practical guidance on equity mutual funds and debt schemes - the ones to Buy, Hold, or Sell.

If you are serious about investing in a rewarding mutual fund scheme, Subscribe now!

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Author: Rounaq Neroy

This article first appeared on PersonalFN here.

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

COVID-19 has started showing its impact on the mutual fund industry. Few days ago I mentioned in my article, Debt mutual funds witnessed massive outflows of Rs 1.95 trillion in the month of March.

Though we could attribute most of that outflow to corporates redeeming funds to meet their quarter end obligations, high volatility and uncertainty as consequences of the pandemic could have also played a major hand in the redemption pressure for debt schemes.

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FII have been redeeming investments heavily in equity and debt segment ever since WHO declared COVID-19 a pandemic. In March, FIIs pulled out Rs 60,375 crore from the debt market.

High redemption and lack of buying interest has made debt mutual fund schemes vulnerable, especially those with higher exposure to low rated instruments.

This instability has claimed its first casualty in debt mutual funds...

Franklin Templeton Mutual Fund (FTMF) has decided to wind down six of its debt schemes with effect from April 23, 2020 due to COVID-19 related market dislocation. This is something that is unheard of in the mutual fund industry and has perplexed many investors and advisors.

The schemes that are wound up are:

• Franklin India Low Duration Fund
• Franklin India Dynamic Accrual Fund
• Franklin India Credit Risk Fund
• Franklin India Short Term Income Plan
• Franklin India Ultra Short Bond Fund
• Franklin India Income Opportunities Fund

Together these schemes have an AUM of 30,854 crore as on March 31, 2020. Notably, these are the very schemes which in the past had to create segregated portfolio for its exposure to downgraded papers of Vodafone Idea and Yes Bank.

What led to the move?

According to a statement to investors from FTMF, "Despite several measures taken by the Reserve Bank of India (RBI), the liquidity in certain segments of the corporate bond markets has fallen-off dramatically and has remained low for an extended period. In this scenario, mutual funds are facing unprecedented liquidity challenges due to a variety of factors-rising redemption pressures due to heightened risk aversion, mark to market losses following a spike in yields and lower trading volumes in the bond markets. These factors have together caused a significant and worsening liquidity crunch for open-end mutual fund schemes investing in corporate credits across the credit rating spectrum."

The schemes had to resort to continuous borrowing to fund redemptions during this time, and were unable to repay the borrowings through sale of portfolio securities due to the prevailing market environment. The Investment manager did not believe it was prudent to continue funding redemptions through potentially increasing levels of borrowings.

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FTMF follows a high-risk high-return strategy for the above mentioned funds - Meaning a major part of its portfolio is exposed to lower rated securities (rating below AAA). The market disruption due to the virus outbreak has impacted these securities the most.

Under conditions of high redemption pressure, mutual funds sell their liquid assets to meet the demand, leaving the portfolio highly exposed to illiquid assets.

Thus, investors who choose to stay invested are at a disadvantage here.

Anticipating continued liquidity stress to the funds, the fund house thought winding up the scheme is the only viable option for the unitholders to minimize erosion of value.

Table: Details of schemes being wound up

What does it mean for investors of these schemes?

Investors of these schemes will not be able to purchase/redeem investment, switch to other schemes or do systematic transactions. In short their funds will be locked. The fund will not charge any management fees for the funds that are being wound up.

The fund house will rely on coupon payments, maturity value of underlying securities, and selling of securities at realisable value. While the fund house expects to realise most of the proceeds as per maturities, there may be some low rated securities that may even default on the due date. The fund house may create segregated portfolios for such securities and pay back as and when the money is realised.

It will be prudent to check the average maturity of portfolios of each fund and expect major repayment within that period.

What should investors in debt funds do?

Debt mutual fund Investors are not as confident, due to incidents of exposure to toxic papers in the past. This event could make them even more wary about their investment in debt schemes. As a consequence, there may be some panic selling in other debt schemes by investors worried about their funds getting locked.

However, instead of taking any hasty decisions, it would be a great idea to check your funds for the quality of assets it holds.

Choose a fund house that follows prudent investment process and stringent risk-management system. In these uncertain times, it would be wise sticking to liquid funds and overnight funds for the fixed-income part of your portfolio. Alternatively, if you prefer safety of capital, invest in Bank fixed deposits.

Our friends at Quantum Mutual Fund have highlighted the secret behind their debt management strategy which has helped them provide safety and liquidity to investors when it comes to investing in quantum funds. Don't Worry, Quantum Liquid Fund always aims for Safety and Liquidity

The way ahead...

While the fund house has done this to protect investors' interest, it has made the funds illiquid from the investors' point of view. Many investors may lose faith in debt funds for their short-term goals.

Going further, investors may have to consider liquidity risk due to AMC action, while investing in any high credit risk oriented debt funds.

It is time for the regulator to step up and clarify the illiquidity part for other debt schemes out there to investors. Moreover, it needs to provide a framework of strict guidelines to restrict fund managers from putting investors' hard-earned money at risk by exposing them to low rated securities for higher yield.

Meanwhile, AMFI has assured investors that a majority of the fixed income fund assets is invested in superior credit quality securities, and the schemes have appropriate liquidity to ensure normal operations. It further stated that the industry remains fully committed to the investors' interests and there is no need for them to panic and redeem investments.

Author: Divya Grover

This article first appeared on PersonalFN here.

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PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

Unnerving movements for debt mutual funds investors!

Just last week my colleague, Divya explained the fiasco at Franklin Templeton Mutual Fund, which took a decision to abruptly wind down six debt mutual fund schemes, namely:

• Franklin India Low Duration Fund
• Franklin India Dynamic Accrual Fund
• Franklin India Credit Risk Fund
• Franklin India Short Term Income Plan
• Franklin India Ultra Short Bond Fund
• Franklin India Income Opportunities Fund

In all, the above debt mutual fund schemes had an AUM of Rs 30,854 crore as of March 31, 2020.

The fund house cited, "severe market dislocation and illiquidity in the fixed income space" caused by the COVID-19 pandemic, as the reason behind the decision.

Investors in these schemes are now left in the lurch: they cannot sell (nor buy) these funds and will have to rely on the fund house to get back their hard-earned money. Investors will have to hold their investments in these schemes until liquidity is available to the mutual fund house by either selling securities in the fund's portfolio or receiving maturity proceeds.

Currently, a fact is, not just Franklin Templeton Mutual Fund, but debt mutual fund schemes of many other fund houses are have a remarkable exposure to stressed assets.

According to portfolios disclosed on March 31, 2020, mutual funds collectively held Rs 1.38 trillion of exposure to debt securities issued by Non-Banking Financial Companies (NBFCs). Approximately Rs 51,000 crore of the exposure in debt securities has a maturity profile of less than 3 months; and now, mutual funds fear that there will be defaults.

NBFCs and other corporate borrowers claim that they do not have enough liquidity to fulfil their obligations and have requested for additional time. Given that, rating downgrades from rating agencies look likely.

However, some companies are playing smart: they are approaching the Courts to prevent a rating downgrade, plus seeking a stay on sale of pledged shares. Of course, they are well within their right to approach the judicial authority or Courts and contest.

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But the capital market regulator, seems to be in no mood in offering them any leeway. On the contrary, the regulator is asking the mutual fund industry to act against the issuer of securities who are possibly carrying high credit risk; facing asset quality problems.

Delays in repayments would mean the creation of more side-pockets by mutual funds. And in my view, more the losses investors suffer, more frustrating it will be for mutual fund houses and their investors. Eventually retail and High Net-worth Individuals, particularly, will lose confidence and may not be keen to invest in debt funds.

If you are wondering what has gone wrong, here's everything you may like to know about liquidity, credit risk and the exposure of mutual funds to corporate debt in the present scenario.

If you remember, the capital market regulator had mandated large corporations to source at least 25% of their borrowings from the bond markets from the beginning of FY 2019. This move was expected to deepen Indian bond markets and reduces the stress on banks. Just a year later, the same move is proving fatal for companies that went to the bond markets to raise money.

Now that the COVID-19 lockdown has forced many business units to shut off temporarily or operate much below their optimal operational capacity with a skeletal staff, companies, including the large organisations that relied heavily on debt markets, are finding it difficult to honour maturity claims on Commercial Papers (CPs), Non-Convertible Debentures (NCDs), and Bonds.

They were hoping for an 'at-par treatment' with Banks when the Reserve Bank of India (RBI) offered a moratorium period to borrowers. But the RBI circular came to them as a shocker. The devil was in the details.

On March 27, 2020, the RBI issued a notification allowing a three-month moratorium on all outstanding term loans and working capital facilities on account of disruptions caused by the outbreak of coronavirus. This circular did not cover around 10 thousand NBFCs, who mainly depend on CPs, NCDs, and Bonds for their funding requirements.

As far as NBFCs are concerned, the RBI has already provided them with a liquidity facility through the banking channel. The RBI directed banks to utilise funds infused under Targeted Long Term Repo Operations (TLTRO) facility to invest in 'investment-grade' CPs, NCDs, and Bonds issued by NBFCs. Also, RBI mandated banks to allocate 50% of Rs 50,000 crore of liquidity introduced by way of TLTRO 2.0 to small and mid-size NBFCs and small finance banks.

But NBFCs seemed not too happy with just liquidity and many of them are now approaching courts to prevent rating downgrades. This is not a best practice for the industry, although fund houses may be well within their rights to contest.

Recently, Indiabulls Housing Finance was successful in receiving the interim order from Delhi High Court, throttling any coercive action against the housing finance company for its inability to repay its bondholders. The Delhi High Court will hear the case further on May 19, 2020.

This has added to the worries of mutual fund houses that now fear other NBFCs will follow the same path.

The capital market regulator, only recently (a few days ago) following the three moratorium by RBI (due to disruptions caused by COVID-19 pandemic) has relaxed the valuation norms for debt and money market instrument held by mutual funds vide a circular dated April 23, 2020, wherein it states as under:

• Based on assessment, if the valuation agencies appointed by AMFI are of the view that the delay in payment of interest/principal or extension of the maturity of a security by the issuer has arisen solely due to COVID-19 pandemic lockdown and/or in light of the moratorium permitted by Reserve Bank of India (RBI) (vide notification no. RBI/2019-20/186, dated March 27, 2020) creating temporary operational challenges in servicing debt, then valuation agencies may not consider the same as a default for the purpose of valuation of money market or debt securities held by Mutual Funds.
  
  However, in the scenario, as stated above, if there is any difference in the valuation of securities provided by two valuation agencies, the conservative valuation shall be accepted.

But then what is the point of coming up with these valuation norms as an afterthought, and not in close synchronisation when the RBI came with its notification a month ago?

The damage now is already done and companies are anyways approaching the Courts to prevent a rating downgrade.

Let's say shares of a company are pledged and to recover the proceeds -- if they cannot be sold due to a court order -- then such lending would be as good as unsecured lending.

Also, why should that not be construed as an instance of deviation from the stated fundamental attributes of a debt mutual fund scheme? After all, mutual fund investors invest in debt fund schemes taking into account a certain level of risk. Change in the risk profile of a scheme is a change in the fundamental attribute/s.

According to India Ratings, NBFCs having the asset base of Rs 500 crore to 5,000 crore, largely fall between "A" and "BBB" rating categories.

The mid-path could be a decision on payment or deferring the payment in consultation with all stakeholders, including debenture trustees. The industry will require a blanket resolution because a case-to-case resolution approach is cumbersome and may create more chaos.

Unless the RBI takes a clear stance on NBFCs and other financial institutions, mutual fund houses are likely to feel the heat of redemptions. Suppose, there's no further statement issued by the banking sector regulator; mutual funds will have to be prepared to handle large-scale defaults, which might look inevitable. After all, a majority of NBFCs' customers are retail borrowers and they enjoy a moratorium on the EMI payment for 3-months. This has been the trickiest part for NBFCs.

While COVID-19 outbreak has been the genuine reason for the potential defaults this time, asset-liability mismatches of NBFCs are well-known. Many NBFCs have gone overboard with cheap credit available during stable market conditions. Their credit underwriting has been questioned widely. The industry has also witnessed belly-up instances such as IL&FS and DHFL. Many mutual fund houses have burned their fingers badly in such defaults.

At the time of writing this piece, to ease the liquidity pressure on mutual funds, the RBI today decided to provide a special liquidity facility of Rs 50,000 crore for mutual funds. Under this facility, the RBI will conduct repo operations of 90 days tenor at the fixed repo rate. This will be on-tap and open-ended, and banks can submit their bids to avail funding on any day from Monday to Friday (excluding holidays). The scheme is available from today i.e., April 27, 2020, till May 11, 2020, or up to utilization of the allocated amount, whichever is earlier. The Reserve Bank will review the timeline and amount, depending upon market conditions.

The RBI has stated further that the liquidity support availed under the Special Liquidity Facility for Mutual Funds shall be used by banks exclusively for meeting the liquidity requirements of mutual funds by, 1) extending loans; and (2) undertaking outright purchase of and/or repos against the collateral of investment-grade corporate bonds, CPs, debentures and certificates of Deposit (CDs) held by mutual funds.

Having taken this measure, keep in mind that it does not make investing in debt mutual funds risk-free. Considering the prevailing investment environment, you should stay away from mutual fund schemes whose portfolio characteristic appears compromised. Also, avoid credit risk funds and corporate bond funds as they are likely to be more vulnerable amidst the financial crisis followed by COVID-19 pandemic.

As a thumb rule: Choose mutual fund schemes from fund houses that follow prudent judicious investment processes and stringent risk-management systems.

In these uncertain times, it would be wise sticking to liquid funds and overnight funds while considering debt funds.

Our friends at Quantum Mutual Fund have highlighted the secret behind their debt management strategy which has helped them provide safety and liquidity to investors when it comes to investing in quantum funds. Don't Worry, Quantum Liquid Fund always aims for Safety and Liquidity.

As with all financial matters, better be safe than sorry!

PS: If you wish to select worthy mutual fund schemes, I recommend you to subscribe to PersonalFN's unbiased premium research service, FundSelect.

Additionally, as a bonus, you get access to PersonalFN's popular debt mutual fund service, DebtSelect.

Each fund recommended under FundSelect goes through our stringent process, where they are tested on both quantitative as well as qualitative parameters.

Every month, PersonalFN's FundSelect service will provide you with insightful and practical guidance on equity mutual funds and debt schemes - the ones to Buy, Hold, or Sell.

If you are serious about investing in a rewarding mutual fund scheme, Subscribe now!

Join Now: PersonalFN is now on Telegram. Join FREE Today to get 'Daily Wealth Letter' and Exclusive Updates on Mutual Funds

Author: Rounaq Neroy

This article first appeared on PersonalFN here.

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

Last month, SEBI had asked credit rating agencies not to consider any delay in payment of interest or principal loan amount arisen solely due to the nationwide lockdown conditions as a default.

The stress in the Indian mutual fund industry due to the pandemic impact deepened after Franklin Templeton MF decided to wind down six of its debt schemes. The lack of liquidity and redemption pressure compelled FTMF to take the extreme step.

In this economic environment, Mutual Fund houses are concerned about companies that are likely to delay and default in payments. Many companies have sought deferment/rescheduling of payment due to COVID-19 related disruptions. In order to minimize the resultant damage, market regulator SEBI recently provided temporary relaxation in valuation norms for instruments mutual funds hold.

SEBI has asked valuation agencies to avoid treating delays in payment of interest/principal or extension of maturity of a security as default for the purpose of valuation of money market or debt securities held by Mutual Funds, if it has been caused solely due to COVID-19 pandemic lockdown and/or in light of the moratorium permitted by RBI.

[Read: Will Mutual Fund Houses Act Against Companies Approaching Courts To Prevent Rating Downgrade Amidst COVID-19?]

"In view of the nationwide lockdown and the three-month moratorium/ deferment on payment permitted by RBI, a differentiation in treatment of default, on a case to case basis, needs to be made as to whether such default occurred solely due to the lockdown or loan moratorium", SEBI circular said.

SEBI has stated that in the above mentioned scenario, if there is any difference in the valuation of securities provided by two valuation agencies, the conservative valuation shall be accepted. This revised norm will be in effect until the RBI's period of moratorium.

However, AMCs shall continue to be responsible for true and fairness of valuation of securities.

Mutual fund houses have to mark the value of their assets based on valuations provided by valuation agencies appointed by AMFI.

At present, a debt or money market security is classified as 'Default' if the interest and/or principal amount has not been received on the day such amount was due; or when such security has been downgraded to 'Default' grade by a credit rating agency. Default denoted that the security is below investment grade.

This leads to mark down of the respective security and thereby impacts NAV of the scheme.

SEBI's move provides some relief in this regard. It will ensure that all fund houses follow a uniform approach while dealing with defaults/delay due to COVID-19.

Will it make investment in debt fund safe?

SEBI has not yet provided any moratorium on commercial paper and corporate bond repayment. According to a report published in Livemint, Rs 1.5 trillion worth of commercial paper and corporate bonds will be maturing in the first quarter.

As mentioned earlier, AMCs shall continue to be responsible for true and fairness of valuation of securities. But in the absence of rating downgrade from valuation agencies, fund houses cannot side-pocket their exposure to a defaulting company. Therefore, we may still see some write-offs if the AMC finds recovery to be difficult even after the relaxation period.

COVID-19 has impacted businesses across sectors. Some sectors such as NBFCs were under stress even before the pandemic. The default risk has thus amplified.

The relaxation of valuation would delay the issue, but downgrades would arise subsequently. Spike in number of side pockets (by fund houses) may thus become imminent.

My colleague, Rounaq, rightly mentioned yesterday, losses the investors suffer will be directly proportionate to the stress, pressure mutual fund houses and their investors will face. Eventually retail and High Net-worth Individuals, particularly, will lose confidence and may not be keen to invest in debt funds.

What should investors do?

In these uncertain times, it would be wise sticking to liquid funds and overnight funds for the fixed-income part of your portfolio and avoid funds that take higher credit risk. Alternatively, if you prefer safety of capital, invest in Bank fixed deposits.

Choose a fund house that follows prudent investment process and stringent risk-management system.

Our friends at Quantum Mutual Fund have highlighted the secret behind their debt management strategy, which has helped them provide safety and liquidity to investors when it comes to investing in quantum funds. Don't Worry, Quantum Liquid Fund always aims for Safety and Liquidity.

SEBI has time and again taken steps to tighten norms for debt funds. As an investor, if you take portfolio risks, align it with your own risk appetite and financial objective.

PS: If you wish to select worthy mutual fund schemes, I recommend you to subscribe to PersonalFN's unbiased premium research service, FundSelect.

Additionally, as a bonus, you get access to PersonalFN's popular debt mutual fund service, DebtSelect.

If you are serious about investing in a rewarding mutual fund scheme, Subscribe now!

Author: Divya Grover

This article first appeared on PersonalFN here.

Join Now: PersonalFN is now on Telegram. Join FREE Today to get 'Daily Wealth Letter' and Exclusive Updates on Mutual Funds

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

Coronavirus or Covid-19 is showing no signs of receding. On the contrary, the number of cases is increasing by the day and the situation is rather depressing, as almost every region of the world and country is infected.

Sadly, there is no antidote or a vaccine conclusively developed to fight this deadly pathogen yet. And according to the World Health Organisation (WHO), Coronavirus will be with us for a long time. Most cases are still in the early phase of the epidemic and some countries which were affected early in the pandemic, are now seeing a resurgence in the number of cases, said the WHO Chief.

COVID-19 is truly playing havoc and may be followed with a financial crisis owing to the lockdowns imposed to contain the spread. The risk of global recession undeniably looms large. "This crisis is like no other", as what the International Monetary Fund's (IMF), Chief Economist, Ms Gita Gopinath wrote in the foreword to the World Economic Outlook, April 2020.

Graph 1: The virus has spread even to Indian equities

The graph above depicts the S&P BSE Sensex falling off the cliff and investors' wealth being eroded. Since the all-time high of the S&P BSE Sensex (42,273.87 points made on January 20, 2020), we have fallen more than -25% and overall sentiments seem downbeat and volatility has heightened.

On a year-to-date basis, Indian equity is down nearly -23.2% (as of April 27, 2020), while gold -- with uncertainty looming around the world -- has exhibited its sheen and demonstrated its trait of safe haven and an effective portfolio diversifier, clocking nearly +5.0% absolute return as of April 27, 2020.

Graph 2: YTD Performance of key asset classes

The graph above validates the importance of tactical asset allocation. The key lesson here is: all asset classes will not necessarily move in the same direction (up or down) always - over the long-term; some may even move in the opposite direction as what we have seen in the recent past (in the case of equities and gold).

As we (the world) continue to fighting COVID-19 and the aftereffects of it are conceivable, a further correction cannot be ruled out and the bottom is unknown. COVID-19 is likely to impact corporate earnings amidst a time when India is already facing slowdown blues. As people are quarantined, demand would remain muted and inflation risk will begin to surface, particularly in food prices.

So, although the current levels offer a decent value-buying opportunity, skewing your portfolio completely to equity as an asset class could endanger wealth creation. In such times you, as an investor, need to follow tactical asset allocation while you aim to generate wealth.

Tactical Asset Allocation with Quantum Multi Asset Fund of Funds

To invest sensibly in the current times, you need a Multi-Asset Fund that invests in mainly three asset classes: equity, debt and gold; and is truly balanced.

Among the plethora of Multi-Asset Funds, the Quantum Multi Asset Fund of Funds (QMAFOF) incepted on July 11, 2012, is truly balanced and holds well-diversified portfolio (across the three key asset classes: equity, debt and gold) at all the times -- unlikely many of its peers who swayed by the excess exuberance in equities, lost sense, and eroded investors wealth.

Table 1: Asset Allocation of Quantum Multi Asset Fund of Funds

The Scheme predominantly invests in the units of Equity, Debt / Money Markets and Gold schemes of Quantum Mutual Fund. Currently, the following schemes are used to gain exposure to a particular asset class:

For equity - Quantum Long Term Equity Value Fund, Quantum Nifty ETF

For debt & money market instruments - Quantum Liquid Fund, Quantum Dynamic Bond Fund

For Gold - Quantum Gold Fund (ETF)

The Units of any other Equity and Debt / Money Markets scheme launched by Quantum Mutual Fund from time to time would be eligible to be part of the above asset allocation components.

Although QMAFOF aims to invest predominantly only in the schemes launched by Quantum Mutual Fund, QMAFOF may seek to invest in the units of similar schemes of other mutual fund houses in case of any investment and regulatory constraints that arise that prevent the Scheme from increasing investments in the schemes of Quantum Mutual Fund.

The investment objective of Quantum Multi Asset Fund of Funds is, "to generate modest capital appreciation while trying to reduce risk (by diversifying risks across asset classes) from a combined portfolio of equity, debt/money markets and gold schemes of Quantum Mutual Fund"

QMAFOF benchmarks it against the Crisil Composite Bond Fund Index (40%) + S&P BSE Sensex Total Return Index (40%) + Domestic price of Gold (20%).

Being a fund of fund, this benchmark is most suitable to compare QMAFOF's performance. The unique combination clubs together the relatively risky assets with other stable asset classes in the portfolio.

Backed by an astute investment strategy, taking the relative valuations between asset classes into consideration such as Price-to-Earnings relative to historical averages; the relationship between earning yield to bond yield relative to historical averages; and macroeconomic factors prevailing globally and within India, the two fund managers of QMAFOF, namely Mr Chirag Mehta (MMS - Finance, M.Com, and CAIA with over 13 years' experience in research and investments) and Mr Nilesh Shetty (B.Com, MMS -Finance, and CFA with collectively 16 years in equity markets), have generated respectable returns for investors.

Table 2: Report card of QMAFOF versus some of its peers

Even as the equity market is panting for breath attributable to COVID-19 and volatility has intensified, QMAFOF due to its sensible asset allocation to equity, debt and gold through its underlying portfolio, has fared relatively better than some of the peers.

ICICI Prudential Multi-Asset Fund, Axis Triple Advantage Fund, HDFC Multi-Asset Fund, and UTI Multi-Asset Fund, on the other hand, have all eroded investors wealth posting double-digit negative returns (see Table 2) in this downturn. Some of these schemes have fared well during upswings by keeping to the allocation to equities high, but on the downside, they have not managed the risk very sensibly. Investors, as a result, have experienced a roller-coaster ride in the journey of wealth creation.

A multi-asset fund, ideally, is expected to be truly balanced and sensibly allocate its assets whereby the downside risk of one asset class is compensated by the positive returns of the other asset classes.

Here are five good reasons to invest in Quantum Multi Asset Fund of Funds

1. You gain from a diversified portfolio across asset class which, in turn, reduces risk and optimizes returns.
2. You do not have to worry about portfolio rebalancing; the fund manager will astutely do it for you at regular intervals in the endeavour to achieve the set-out investment objective of the fund.
3. Portfolio tracking will be easy for you instead of tracking 10 different schemes
4. You will benefit from the lowest expense ratio in the category
5. And above all, Quantum Mutual Fund's strong research capabilities across various asset markets - equity, debt and gold, -- with robust investment processes & systems followed at the fund house.

Suitability of Quantum Multi Asset Fund of Funds

QMAFOF is a perfect fund for investors looking to tactically diversify the portfolio with a single fund across equity, debt and gold, plus leave the aspect of rebalancing to the discretion and expertise of the fund manager.

Furthermore, the fund is appropriate for investors seeking long term capital appreciation, who have a moderately high-risk appetite, and an investment time horizon of 3 to 5 years.

It is the best time to invest in the Quantum Multi Asset Fund of Funds. Valuation-wise, Indian equities look attractive and there appears to be a decent margin of safety (with a high return potential if the equity markets ascend).

Similarly, given the uncertainty surrounding the world, gold is expected to display its lustre. The economic uncertainty surrounded by the COVID-19, GDP growth rates being revised downwards, easy monetary policy action and stance followed by central bank across the world, geopolitical tensions, trade tension, and increased stock market volatility are likely to keep spotlights on gold.

Likewise, with credit risk getting amplified, it makes sense to have exposure to a pure Liquid Fund (that does not take exposure to Commercial Papers issued by private entities). Now that policy rates are already lowered by RBI to address growth concerns, it does not make much sense to take exposure to the longer end of the yield curve; it could prove less rewarding and risky (may encounter high volatility) in the foreseeable future. Deploying your hard-earned money is short-end of the maturity curve, would be far better.

By investing in Quantum Multi Asset Fund of Funds, you will be able to balance the risk better with a sensible investment strategy in place.

Just as an excess drug dosage cannot treat COVID-19, your investment portfolio, too, needs just a fair amount of diversification to clock optimal risk-adjusted returns in the journey of wealth creation.

Go ahead and consider investing in Quantum Multi Asset Fund of Funds.

Happy Investing!

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Author: Rounaq Neroy

This article first appeared on PersonalFN here.

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

Many investors park their surplus money in debt schemes in an attempt to earn higher returns than Bank FDs. However the recent incident of Franklin Templeton MF winding down six of its debt schemes has dented investor sentiment and sparked speculation about the safety of their investments.

The news came as a shocker to the investors because the six schemes, the fund house, and the fund manager had a good performance record. Investors in the wound up debt schemes of FTMF are now left with no choice but to wait for the fund house make repayments.

If you are one of them, surely you want to know about the timeline of payouts from the respective schemes.

Here is what you should know first...

Before returning the money to unitholders, the fund will have to repay the borrowings by the respective schemes that was taken to fund the heightened level of redemptions. Keep in mind that the repayment of borrowings does not impact the value of money to be returned to the unit holders, though it can delay the start of pay out to unitholders.

The repayment of the borrowings that the fund has taken, along with the cash flows it receives in the respective schemes based on the maturity of the underlying securities in the portfolio as well as coupon receipts will determine the payout to the unitholders.

Moreover, the fund will seek pre-payment from issuers of the underlying securities and will look to sell portfolio holdings in secondary market at fair value.

Table 1: Maturity profile of wound up FTMF schemes

Franklin India Ultra Short Bond Fund (FIUBF) and Franklin India Low Duration Fund (FILDF) are the schemes with shorter maturity. If you are an investor in this scheme, you may expect a significant payout within 2-3 years. However, to recover the entire amount you may have to wait up to 5 years.

If you are wondering why a scheme with average maturity of just 0.44 years and 1.45 years will take around 5 years to repay the entire amount?

This is because the maturity of some underlying securities is much longer (around 4-5 years), even though the schemes belong to low duration category. Additionally, the schemes have borrowings in the range of 6.5% and 8.5% respectively, which have to be repaid first.

Whereas, if you are an investor in Franklin India Dynamic Accrual Fund (FIDA), Franklin India Short Term Income Fund (FISTIP), Franklin India Credit Risk Fund (FICRF), and Franklin India Income Opportunities Fund (FIIOF) your wait will be longer. These schemes primarily invest in medium to long duration securities.

These funds had to sell a number of their short term and liquid securities in the portfolio to meet redemptions. Hence, to get a significant payout from these schemes you will have to wait at least 4-5 years. The year wise expected cumulative cash flows is given in the table below.

Notably, FIIOF is the longest duration fund from among the six funds that have been wound up. It will only be able to repay a very small portion (5%) in the next two years.

Another key reason that could delay the payout from these schemes is the high borrowing rate. FISTIP has 28% of its assets as borrowings, FIIOF has 26%; while FICRF also has significant 16% as borrowings. Furthermore, factors such as credit issues or payment delays faced by any of the investee companies could negatively impact cash flows.

Table 2: Cash flows expected by FTMF across different time period

Many of the securities with longer maturities have regular interim cash flows and features such as interest rate resets or call/ put options, which significantly reduce the effective maturity and the same has been factored into the calculation of the Macaulay Duration.

FTMF said that it would actively explore opportunities with a goal to facilitate repayment prior to the maturity of the portfolio investments. To do this it will seek prepayment from the issuers of the underlying securities and look to sell the securities in the secondary market.

However, the current market scenario is rife with risk aversion and illiquidity. The fact that wound up schemes have high holding of lower rated securities, FTMF will have to wait for the market conditions to go back to normal to liquidate the portfolio at the earliest, without causing value erosion for investors.

[Read: RBI Steps in to Take Some Pain Off Mutual Funds. Will It Help?]

Way ahead for debt fund investors

Keep in mind that debt funds are not risk-free. Investment in debt funds carry various risks relating to liquidity, credit quality, and interest rate. Therefore, before investing in debt funds understand the various risks involved and invest in schemes where the portfolio risk aligns with your own risk appetite and financial objective.

In this market environment, it would be preferable to invest in instruments issued by government and public sector enterprises, and stay away from those having high exposure to private issuers.

At PersonalFN, we arrive at top rated funds using our SMART Score Model. If you wish to select worthy mutual fund schemes, I recommend you to subscribe to PersonalFN's unbiased premium research service, FundSelect.

Additionally, as a bonus, you get access to PersonalFN's popular debt mutual fund service, DebtSelect.

If you are serious about investing in a rewarding mutual fund scheme, Subscribe now!

Author: Divya Grover

This article first appeared on PersonalFN here.

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PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

The Indian equity markets are on a rollercoaster with the uncertainty surrounding the COVID-19 pandemic. It's been a nerve-racking experience for investors and wealth has been eroded.

As we continue to battle COVID-19 with lockdown 3.0, on a year-to-date basis the S&P BSE Sensex is down -23.9% as of May 5, 2020, (see Table 1 below).

Table 1: Wealth erosion across market cap segments

Balanced Hybrid Funds that are supposed to be balanced and protect downside risk have gone on to erode investors' wealth by seldom maintaining a 'fair balance' and displaying unreasonable love and exuberance for equities plus for taxation reason -- to be treated as an equity-oriented fund. (see Table 2 below).

Similarly, many multi-asset funds that hold the mandate to invest with allocation across three asset classes i.e. equity, debt and gold with minimum 10% in each have posted negative returns (see Table 2 below).

Table 2: Report card of Balanced Hybrid Funds and Multi-Asset Funds

ICICI Prudential Multi-Asset Fund, HDFC Multi-Asset Fund, and UTI Multi-Asset Fund, in particular, have not lived up to the expectation and the trust evinced by investors (going by their AUM size). Not just are their recent returns amidst the outbreak of COVID-19 crisis unappealing, but even the 3-year and 5-year compounded annulaised return is nothing to vie for. This is because they haven't been able to sensibly allocate to the three key asset classes: equity, debt and gold, and play the investment strategy astutely.

On the other hand, the Quantum Multi-Asset Fund of Funds (QMAFOF) has depicted true balance backed by its sensible investment strategy arrested the downside risk and relatively fared better vis-a-vis its peers over 3-year and 5-year time periods.

The Quantum Multi-Asset under normal circumstances by maintaining 25%-65% exposure to units of equity schemes (vide Quantum Long Term Equity Value Fund, Quantum Nifty ETF); 25%-65% exposure to units of debt and money market instruments (vide Quantum Liquid Fund, Quantum Dynamic Bond Fund); 10%-20% in units of gold schemes (vide Quantum Gold ETF); and up to 5% in money market instruments, Short-term Corporate Debt securities, Tri-Party Repo, Repo/ Reverse Repo in Government securities and Treasury Bills has been able to generate modest, yet appealing returns than the rest, and mitigated the risk by diversifying across asset classes: equity, debt and gold.

Historically it is proved that all classes never move in the same direction -- up or down -- at the same time. There could be times when certain asset classes perform better than the other and/or show an inverse relation to another (see Table 3).

Table 3: Here's how various asset classes fared per calendar year

If your multi-asset fund strategically allocates between equity, debt, and gold sensing the pulse of each asset class, maintains balance, and takes calculated risk sensible wealth creation is possible.

In the on-going COVID-19 crisis, equities will remain volatile, but given the sharp correction, there are and will be, enough long-term value-buying opportunities with a decent margin of safety.

Gold in such uncertain times would continue to gain all the attention. Easy monetary policy action and accommodative stance to address growth concerns, a record-high debt-to-GDP ratio, trade war tensions, geopolitical tensions, the potential risk to the inflation trajectory mainly due to food prices, increased stock market volatility, and the U.S. Presidential election in November 2020 are some of the factors expected to work in favour of gold. The precious yellow metal will demonstrate its trait of being a portfolio diversifier, a hedge (when other asset classes fail to post alluring returns), and command a store of value.

And speaking of debt & money market instruments, with exposure to highly rated papers and predominantly government securities, will act as a stabilizer.

A unique aspect of QMAFOF is that it has always taken relative valuations between asset classes into consideration, such as:

• Price-to-Earnings relative to historical averages;
• The relationship between earning yield to bond yield relative to historical averages; and
• Macroeconomic factors prevailing globally and within India

It is this wide-ranging and sensible approach that has helped QMAFOF to protect against the downside risk and reward its investors better than many of its peers. The fund managers, Mr Chirag Mehta (MMS - Finance, M.Com, and CAIA with over 13 years' experience in research and investments) and Mr Nilesh Shetty (B.Com, MMS -Finance, and CFA with collectively 16 years in equity markets), have strategically moved in and out of the aforesaid asset classes wisely recognising their upswings and downswings.

[Read: Why Tactically Invest Across Asset Classes amidst COVID-19 with Quantum Multi-Asset Fund Of Funds]

The choice is completely yours: to stay invested in a 'Balanced Hybrid Fund'/ Multi-Asset Fund that does not show true balance and keep harming your health and wealth; or make a sensible move and switch over to Quantum Multi Asset Fund of Funds that is truly balanced and has sensibly generated wealth for investors without the shrieking experience of a rollercoaster.

Wish to invest in Quantum Multi Asset Fund of Funds? Click here.

Happy Investing!

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Author: Rounaq Neroy

This article first appeared on PersonalFN here.

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

India tennis ace Sania Mirza celebrated her 10th wedding anniversary along with husband and veteran Pakistan all-rounder Shoaib Malik on April 12, 2020. It was an auspicious day as it was also Easter

Sania Mirza took to social media site Instagram to share a few pictures with her husband Shoaib Malik from their big day back in 2010. She also wished him a "Happy Anniversary".

Sania Mirza also showed her fans a glimpse of her humorous side as she made a tongue-in-cheek statement in her post comparing the two contrasting photos by saying "Expectations vs reality". Sania Mirza wrote: Happy Anniversary @realshoaibmalik. A decade of being married looks like this!! Expectation vs reality. Swipe right for reality." Take a look at the post below. 

 

 

 

View this post on Instagram

Happy Anniversary @realshoaibmalik 😌ðŸ¤Â— A decade of being married looks like this!! Expectation vs reality 😅😂 Swipe right for reality âž¡ï¸Â

A post shared by Sania Mirza (@mirzasaniar) onApr 12, 2020 at 3:55am PDT

Sania Mirza and Shoaib Malik tied the knot in April 2010 in Hyderabad in a grand manner. Sania Mirza gave birth to a baby boy named Izhaan in October 2018. After giving birth to her child in October 2018, Sania Mirza returned to the court in January 2020.

She clinched the women's doubles title at Hobart International, pairing up with Nadiia Kichenok, in her comeback competition.

Sania recently shared a photo of her son with a tennis racquet in hand, looking confused. "I am pretty sure he's thinking what the fuss is all about? #IzhaanMirzaMalik," Sania said in her Twitter post.

Sania last played at the Qatar Open in February. She has helped raise Rs 1.25 crore in one week which will help close to 1 lakh people in need during the 21-day lockdown to fight the coronavirus pandemic.

Inputs from IANS

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Canadian tennis ace Eugenie Bouchard, 26, has agreed to go on a date with a random online fan for a charitable cause. The fan will pay her an amount which she will donate to feed hospital staff battling the Coronavirus pandemic.

After Genie put out a message on Twitter that she felt like "quarantine would be a lot more fun with a boyfriend," she received many messages from fans.

So, in an Instagram Live chat with sportscaster Allie LaForce, she decided to pick a viewer named Bob, who initially offered to pay GBP 400 (approx Rs 36,000) for the date.

LaForce however, upped the stakes further, demanding GBP 2,410 (approx R2 lakh), the expenditure to feed hospital staff on the tennis player's behalf. Bob agreed and Genie said yes. Interestingly, Genie asked Bob to get some toilet rolls along, to which, Bob agreed but offered an extra GBP 800 (approx Rs 72,000) if she spoke in a British accent.

An embarrassed Genie replied: "Why are you doing this to me, Bob? I'm going to say yes but I have no skill whatsoever in imitating accents."

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With the world coming to a standstill due to the coronavirus outbreak, sporting events across the globe have either been cancelled or suspended and Indias star tennis player Sania Mirza cannot wait to go back to the tennis court.

Taking to Twitter, she wrote: "Waiting to play tennis again like." Earlier, Sania had made her displeasure known as there has been a rise in the number of 'cooking' posts that celebrities are putting out on social media as they stay indoors to fight the coronavirus outbreak. Sania feels posting such pictures in these times is unwanted.

Waiting to play tennis again like 🎾 ⏳
📸- @avigowariker pic.twitter.com/RUZaNRjHHf

— Sania Mirza (@MirzaSania) April 14, 2020

Taking to Twitter, she wrote: "Aren't we done with posting cooking videos and food pictures yet ? Just spare a thought - there are hundreds of thousands of ppl, specially in our side of the world starving to death and struggling to find food once a day if they are lucky."

After giving birth to her child in October 2018, Sania returned to the court in January this year. She clinched the women's doubles title at Hobart International, pairing up with Nadiia Kichenok, in her comeback competition.

Sania recently shared a photo of her son with a tennis racquet in hand, looking confused. "I am pretty sure he's thinking what the fuss is all about? #IzhaanMirzaMalik". Sania said in her Twitter post.

Sania last played at the Qatar Open in February. She has helped raise Rs 1.25 crore in one week which will help close to 1 lakh people in need during the 21-day lockdown to fight the coronavirus pandemic.

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Novak Djokovic said that he, Roger Federer and Rafael Nadal are organising aid for players struggling with the paralysis of the game due to the Coronavirus pandemic. "I spoke to Roger and Rafa a few days ago," Djokovic, the World No. 1, said in an Instagram chat with friend and rival Stan Wawrinka on Saturday.

No support from federation
"We had a long conversation about the near future of tennis, what is going to happen, how we can contribute and how we can help especially lower-ranked players, who are obviously struggling the most. The majority of the players who are ranked between 200, 250 in the world, and the 700th or 1,000th do not have federation support, do not have sponsors. They are completely independent and left alone," he said. "Guys who are ranked between 200-250, especially to 700...are thinking of leaving tennis right now."

He said players, the ATP and the four Grand Slams "would all get together and will contribute to a player relief fund that ATP will distribute." "It looks, hopefully, that there will something between $3 million (2.75 million euros) and $4.5 million that is going to be distributed," he estimated. Djokovic said the cash could come from the prize money for the season-ending World Tour Finals or the final bonus pools for top players.

Lack of tournaments
"Maybe if we don't have any tournaments this season, we can take a certain percentage from our prize money from Australian Open in January," he said. "These guys are the grass roots of tennis. The future of tennis. We need to show them they still can rely on support of the top guys." According to reports in tennis media, Djokovic, as president of the ATP Players' Council, which also includes Federer and Nadal, proposed to members that players in the Top 100 for singles and the Top 20 in doubles contribute according to their rankings.

The proposed scale runs from $30,000 for a Top-5 player to $5,000 for those between 51 and 100. That would raise approximately $1 million and the ATP would make a similar contribution. On Friday, ATP chief Andrea Gaudenzi echoed the call for unity on the tour website. "Our guys are at home, obviously unable to play, unable to earn money and financially struggling, so we will try to help," he said.

"I've been quite touched by the top players who reached out, the big names expressing their desire of helping the lower-ranked players and putting those players first. We are also talking with the Grand Slams about it. They may want to join in the effort. I think it would be a great message for the sport." World tennis has been at a standstill since the beginning of March and will not resume until mid-July at the earliest following the postponement of Roland Garros and the cancellation of Wimbledon.

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Canadian tennis ace Eugenie Bouchard's tendency to pick dates online is set to become the theme of an upcoming Hollywood romantic comedy.

According to report in The Canadian Press, a script based on Eugenie's date with one of her Twitter followers, John Goehrke, who won a bet on the 2017 Super Bowl, is already being worked upon.

The couple continued to meet thereafter for more dates. However, this story has an update with Eugenie, 26, recently deciding to go on another random date with an online fan.

During an Instagram chat last week, Eugenie, agreed to go on a date with a fan named Bob, who donated GBP 3,210 (Rs 2.7 lakh) to help feed hospital staff battling the Coronavirus pandemic.

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American tennis player Sloane Stephens has started a fundraiser for students and teachers in Haiti in association with her fiance Jozy Altidore's JA Foundation. "Can you imagine climbing 200 flights of stairs every day simply to access clean water, and education, and healthcare? The children and families in Marre-a-Coiffe, Haiti do just that. I'm taking the Hike for Haiti Challenge to raise awareness and funds to help provide students and teachers in Haiti vital support.

Jozy Altidore

From April 17 to May 17, we'll be hiking 200 flights of stairs in solidarity," Sloanne, 27, says on her fundraising page. Meanwhile, Jozy remarks: "In these times of adversity and social distancing, it's so important to find ways to virtually stay connected to others in our community, and to stay healthy and active at home. The JA Foundation will be matching funds donated to my team page up to $2,500, so your contribution will have double the impact."

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The ATP and WTA, along with the International Tennis Federation and organisers of the four Grand Slams (Tennis Australia, the Federation Francaise de Tennis, All England Club and United States Tennis Association) are planning create a 'Player Relief Programme' to provide assistance to the coronavirus-impacted players.

"With so much uncertainty around when it will be safe to restart the professional tennis tours, the international governing bodies of world tennis can confirm they are in discussions to create a Player Relief Programme to provide much-needed assistance to the players who are particularly affected during this time of the coronavirus (COVID-19) crisis," ITF said in a statement on Tuesday.

"These discussions have been progressing well and details are being finalised with an announcement expected in the near future. Already agreed is that the ATP and the WTA will administer the Player Relief Programme and all seven stakeholders will make a significant contribution," the statement added. IFT further said: "We know that for our players, as well as for so many people worldwide, there is the need for financial support for those who need it most and we look forward to finalising and sharing the further details of a plan in due course."

The London-based governing body has also announced the creation of player panels for those competing on its World Tennis Tour. "The panel will provide a forum for players to provide their input and have their say on how the tour is run and will be a further opportunity for the ITF to engage with the player community," ITF said. The men's and women's players will each elect a panel of seven current player members, who will have voting rights.

Men's players with an ATP ranking of below 350 and women's tennis players with a WTA ranking not higher than 151 will be allowed to nominate a fellow player or stand in the election.

All professional tennis activities remain suspended till July 13 due to coronavirus outbreak which has so far claimed more 1.7 lives across the world.

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WTA founder Billie Jean King joined Roger Federer and Rafael Nadal on Wednesday in suggesting now is the time to merge the men's ATP and women's body into one umbrella organisation to oversee the two professional tennis tours. Federer, holder of the men's record of 20 Grand Slams, was the first to raise the notion on Twitter, triggering an overwhelmingly enthusiastic response from King and Nadal.

"Just wondering...am I the only one thinking that now is the time for men's and women's tennis to be united and come together as one?" Federer said. "I am not talking about merging competition on the court, but merging the two governing bodies [ATP and WTA] that oversee the men's and women's professional tours." Trailblazer King, who was a part of establishing the WTA in 1973 and was one of the 'Original 9' on the tour, said her support for the idea dates back decades.

Common voice needed

"I agree, and have been saying so since the early 1970s. One voice, women and men together, has long been my vision for tennis. The WTA on its own was always Plan B. I'm glad we are on the same page. Let's make it happen. #OneVoice," she tweeted. Nadal, who has 19 Grand Slam titles, supported his long-time rival's proposition. "Hey @rogerfederer as you know per our discussions I completely agree that it would be great to get out of this world crisis with the union of men's and women's tennis in one only organisation," he said.

Federer and Nadal argued by a merger tennis could emerge stronger from the Coronavirus lockdown which has seen the sport shut down, with Wimbledon cancelled for the first time since World War II and the French Open pushed back to the end of September. "It probably should have happened a long time ago, but maybe now is really the time. These are tough times in every sport and we can come out of this with two weakened bodies or one stronger body," Federer wrote. He said the current system was "too confusing for the fans when there are different ranking systems, different logos, different websites, different tournament categories".

Talks underway: Wawrinka

Later, three-time Grand Slam winner Stanislas Wawrinka claimed discussions are underway regarding the move with the ATP's chairman Andrea Gaudenzi. "It was not just a comment like that, there is more talk behind that. Gaudenzi at the ATP was already talking about it," he said during an Instagram Live with 18-time Grand Slam champion Chris Evert. Australian star Nick Kyrgios and two-time women's Grand Slam champion Simona Halep also said they were behind the idea.

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