#govinda comeback

[djfloops]

COMEDY ENTERTAINMENT | Fryday - Superhit Movie | Govinda & Varun Sharma | Sanjay Mishra, Rajesh S

Experience a double dose of comedy in “Fryday,” as Varun Sharma teams up with Govinda in this hilarious film. It marks Govinda’s comeback to the big screen after a long hiatus, making it a must-watch for fans. TV actress Digangana Suryavanshi makes her Bollywood debut alongside these comedy legends. Sanjay Mishra and Rajesh Sharma also play pivotal roles, adding to the laughter-packed…

[chutneymusic]

COMEDY ENTERTAINMENT | Fryday - Superhit Movie | Govinda & Varun Sharma | Sanjay Mishra, Rajesh S

Experience a double dose of comedy in “Fryday,” as Varun Sharma teams up with Govinda in this hilarious film. It marks Govinda’s comeback to the big screen after a long hiatus, making it a must-watch for fans. TV actress Digangana Suryavanshi makes her Bollywood debut alongside these comedy legends. Sanjay Mishra and Rajesh Sharma also play pivotal roles, adding to the laughter-packed…

[dailymailindia]

From 'Rockstar' to 'Raja Babu': 8 Bollywood Films Are Set for a Re-Release in Theaters

[baekhvuns]

Dude shehzada eye-

At first i thought it was boring like the whole direction imo lacked a bit. Some scenes were cut off in a hurry tht it didn't rlly make sense but then

Like boom they changed off real quick.

And tbh Bollywood needs movies like this Like PUHLEASEEEE it's been like a drought and like some type of a water fountain it emerged. (Wow dramatic much?)

But still the ending was abrupt...i was like wha- that's it? But i enjoyed and it gv off pure 90s vibes esp. Govinda vibes. Like it was sort like hero no 1 but nvm i won't say I loved it but yes it was def ok and bearable and enjoyable and fun 😌👌

so sorry this is late the new tumblr update just made the pfp part disappear & i couldn’t figure it out fbffb 😭😭😭

see just from the trailer it looked a little sad, i think the hype around him became too much after this last good one so it was blind to happen— he’s usually smart w his choice of movie but what happened with this 😭😭 he suits comedy but like the ones like sktks one! BEARABLE?? BDMWBDKW bollywood needs imtiaz ali back, classic slb and the retirement of salman khan, stree comeback, srk action only, dp in a romcom w ranbir & ranveer to not embarrass us every 2 secs in america to make everything better <3

tho im vvvv exicted for ranbir's new movie,, gives very yjhd era vibes from him in the trailer screamed seeing him in a suit <3,,, and it feels like an old classic bolly romcom with sarcastic comedy <3

[don-lichterman]

When Salman Khan, Govinda resurrected each other’s careers with Partner and broke their box office jinx

When Salman Khan, Govinda resurrected each other’s careers with Partner and broke their box office jinx

How old were you when you got to know that the true lyrics of  Partner‘s song “Soni De Nakhre” are “Kehndi pump up the jam…”? The song, just like the movie, continues to remain etched in our memories for reasons more than one. Partner was musical, stylish, funny and more. Despite being an official remake of Will Smith starrer hit comedy Hitch, it was adapted to suit the palate of the Indian…

[salmankhanholics]

Part 3: ★ Highest Grosser of The Year from 1990 to 2020: Salman Khan, Aamir Khan, Shah Rukh Khan dominate, as Hrithik Roshan climbs the ladder!

Dec 29, 2020

In the first part of the highest grosser of the year series, Bollywood Hungama did an in-depth analysis of the actors with maximum highest grossing film of the year spanning 73 years from 1947 to 2020. While Salman Khan was crowned the biggest Bollywood superstar since independence with 10 highest grossers of the year, Dilip Kumar bagged the second spot with 9 films in the list, whereas Aamir Khan was third with 7 films in the list. Shah Rukh Khan on the other hand had 5 films in the list, while Hrithik Roshan was fast climbing the ladder of success with 4 highest grossers of the year in merely 20 years span. The top three stars contributed 26 of the total 73 highest grossers of the year, which in percentage terms is 35%. In the second part of the series, we came up with a detailed decade by decade analysis of stars fighting for the top spot in the respective decades from 1957 to 1989. Now, in the third and final part of this Bollywood Hungama exclusive, we are back with the number crunching analysis from 1990 till 2020. Interestingly, in a span of these 31 years (From 1989 till 2020), the three Khans – Salman Khan (10), Aamir Khan (7) and Shah Rukh Khan (5) – in total delivered 22 highest grossers of the year, whereas Hrithik Roshan delivered 4 more, leaving just 5 spots in three decades for some 25 plus actors of the industry to score the biggest hit of the year. Here’s a 3-decade analysis

1990 to 1999: Sunny Deol, Shah Rukh Khan and Salman Khan take charge

In terms of sheer box-office pull, this decade was dominated by three names – Sunny Deol, Shah Rukh Khan and Salman Khan, though Anil Kapoor and Govinda too were going strong in terms of hit count this decade. While Deol delivered one highest grosser of the year this decade in Border, he maintained his supremacy with constant flow of releases. Ghayal (1990) too managed to surpass the collections of Dil, if we take reruns into account, taking his total to two films.

Salman on the other hand rose like a phoenix with Maine Pyaar Kiya (1989) and followed it up with three other highest grossers of the year in the 90s – Saajan, Hum Aapke Hai Koun and Hum Saath Saath Hain.

Shah Rukh Khan was the biggest find of the 90s, particularly for the kind of consistency he showed at the box-office – both in terms of opening as well as lifetime collections. He delivered two highest grossers of the year in the 90s – Dilwale Dulhania Le Jayenge and Kuch Kuch Hota Hai. He became a superstar within two years of arriving in the industry, and with every passing year, bettered his standing. As the 90’s came to an end, the trade already started to label Shah Rukh Khan alongside legends like Amitabh Bachchan and Dilip Kumar. In-fact, in times to come, he became the biggest superstar India has ever seen in the overseas market (more on this later). Though Salman has a lead in terms of HGOTY in the 90s, the consistency gave Shah Rukh an edge over him for the top spot of 90s, with him and Sunny following suit. However, in terms of highest grossers of the year, Salman scored big, and without any doubts, it was in the 90s itself that he cemented his position as a superstar as he had some solid openers, massive blockbusters and big grossers under his kitty within 10 years in the industry. Sunny Deol on the other hand saw the lead in terms of sheer raw mass fan following in the 90s. Anil Kapoor and Govinda too had one HGOTY year in Beta (1992) and Aankhen (1993).

2000 to 2009: Shah Rukh Khan’s supremacy challenged by Hrithik Roshan

This decade saw a major turnaround of things, as Shah Rukh continued to scale new heights in the beginning, whereas Salman Khan was seeing a slight downfall due to controversies in the personal space, whereas Aamir Khan had taken a break from acting due to some issues in personal life following his divorce. While everyone thought that Shah Rukh Khan will be undisputed number one star of 00’s, there came Hrithik Roshan to challenge the supremacy and following the release of Kaho Naa…Pyaar Hai, there was no looking back for him. He became a superstar overnight and just the second actor after Salman to make his debut with a highest grosser of the year. Till date, Kaho Naa…Pyaar Hai is considered the biggest launch vehicle for a Bollywood actor, and one had to witness the euphoria surrounding Hrithik post his debut, to believe it. It marked the arrival of a superstar, probably the last of Hindi cinema. In the first seven years of this decade, Shah Rukh Khan delivered three highest grossers of the year in Devdas (2002), Veer Zaara (2004) and Om Shanti Om (2007), whereas Hrithik Roshan too had three highest grossers of the year in Kaho Naa…Pyaar Hai (2000), Koi Mil Gaya (2003) and Dhoom 2 (2006). In-fact, in 2006, the top 2 grossers of the year (Dhoom 2 and Krrish) belonged to Hrithik. Towards the decade end, Aamir made a comeback and delivered back-to-back HGOTY in Ghajini (2008) and 3 Idiots (2009). Salman and Sunny Deol had one HGOTY each in No Entry and Gadar, with latter being the biggest grosser of all time in India. Akshay too was strong for a period of 3 years between 2006 and 2008, with back-to-back hits and bumper openers, however, none of his releases could find a place in the prestigious list of highest grosser of the year, and till date, though a major film star, he awaits his turn to open his account in this aspect. The decade belonged to Shah Rukh Khan and Hrithik Roshan.

2010 to 2020: The Salman Khan Era, with some cameo’s by Aamir Khan

It would not be wrong to say that the decade of 2010 to 2019 belonged to Salman Khan as the superstar delivered five highest grosser of the year – Dabangg (2010), Bodyguard (2011), Ek Tha Tiger (2012), Bajrangi Bhaijaan (2015), and Tiger Zinda Hai (2017), along with three second highest grosser of the year – Ready (2011, overlapping with Bodyguard), Kick (2014) and Sultan (2016) – indicating that 7 of the 10 years belonged to him, an unheard phenomenon in Bollywood history, easily putting him in the list of all-time greats.

Aamir comes at the third spot with three highest grossers of the year, which all proved to be all time grossers – Dhoom 3 (2013), PK (2014) and Dangal (2016). 8 of the 10 years belonged to these two mighty Khans, dominating like no other decade post-Independence. Hrithik Roshan took the tally of his highest grosser of the year to 4 films with War becoming the highest grosser of 2019. He is just a film away to tie with Raj Kapoor, Dharmendra and Shah Rukh Khan, and all this within a period of 20 years. Ranbir Kapoor opened his account this decade with his first highest grosser of the year with Sanju (2018), and Ajay Devgn too, after an illustrious career of over 25 years, delivered his first highest grosser of the year with Tanhaji (2020).

To put the last 3 decades in a nutshell, Salman Khan (10 films) + Aamir Khan (7 films) + Shah Rukh Khan (5 films) topped the year 22 times since 1989, whereas Hrithik topped it 4 times since 2000 – Putting these 4 as the top 4 stars of Hindi cinema since the new millennium aka 2000. While the three Khans have at most 5 more years to continue as leading heroes until they reach the age of 60, Hrithik still has ample of gas left in his tank to keep climbing the ladder, and aim at the sky. Salman, Aamir and Shah Rukh can add a film or two more to their kitty and in the years to come. Given the current pattern of working adapted by the actors, it would be near impossible for anyone to reach the double-digit mark in terms of highest grosser of the year and dethrone Salman from the top spot with 10 films at the moment, which is highest for any actor in history of Hindi cinema. Aamir, with 7 films as biggest grosser of the year at present, however can aim at the second spot - a tie with Dilip Kumar, who has ended his career with 9 highest grossers of the year.

[sarien27]

Govinda's nephew on his Bollywood comeback https://ift.tt/xZqUJVG

[divyabhashkar]

'Ram Teri Ganga Maili' fame actress Mandakini is making a comeback after 26 years, will be seen with her son

‘Ram Teri Ganga Maili’ fame actress Mandakini is making a comeback after 26 years, will be seen with her son

Raj Kapoor Mandakini, who starred in the film ‘Ram Teri Ganga Maili’, made a splash in 1985 with her distinctive style. Rajeev Kapoor’s first film opposite Mandakini became popular overnight. After this he acted in many successful films like ‘Dance Dance’, ‘Ladai’, ‘Kahan Hai Kanoon’, ‘Nag Nagin’, ‘Pyar Ke Naam Qurban’, ‘Pyar Karke Dekho’. Mandakini was last seen with Govinda, Aditya Pancholi and…

[rbbox]

While the fans await Govinda’s full-fledged comeback, his son Yashvardhan Ahuja has been in the news. The actor made quite a name for himself because of his impeccable acting skills and not to mention, his groovy dance moves. Last seen in Kill/Dill with Ranveer Singh, Ali Zafar, and Parineeti Chopra, Govinda has been low-key ever since.

While the fans wait to see him back on-screen, his son, Yashvardhan Ahuja has been in the news. Apparently, the star kid met with an accident last night at around 8:30 pm. The accident took place in Juhu and it happened when his car collided with another while he drove around the area. Yashvardhan got away with a few minor injuries on his hand and there’s a bit of damage to his car around the headlights. Both parties agreed to mutually settle the case since no one got seriously injured.

Also Read: EXCLUSIVE: Sonu Nigam says he loved singing for Shah Rukh Khan and Salman Khan but his songs with Govinda are unforgettable

June 25, 2020 at 01:53PMGovinda’s son Yashvardhan Ahuja meets with a car accident https://ift.tt/31fI0cn

[sowhatisthisfor]

Movies 2018

 List of films I watched in 2018 from best to worst.

Updated soon after I’ve seen them.

A Ghost Story [David Lowery, 2017, United States] No film has made me feel this melancholic ever. This is a film so profound, it examines existence in the simplest yet most esoteric way possible. It surely goes straight to the top of my all-time favourite list. 10/10

Burning (Boening) [Chang-dong Lee, 2018, South Korea] Shows the interrelation of hunger and class, the truths and the unknowns. Of how desires could either free you or cage you in unhappiness and despair. A mystery of misery that parallels its political viewpoint. 10/10

Roma [Alfonso Cuaron, 2018, Mexico] Its technical expertise in every element of every frame and composition is overwhelming. It's a movie about contrasts and how each opposite gives life balance, told with such authenticity, it's luxurious cinematic experience. 10/10

Women of the Weeping River [Dayoc, 2016, Philippines] A film about a generational blood feud, and also a metaphoric portrayal of the unending armed conflicts in Mindanao where the vulnerable is the most at risk, and the strong isn’t really unbreakable. 10/10

Kung Paano Hinihintay Ang Dapithapon [Carlo Catu, 2018, Philippines] a small film that tackles layers after layers of things too close to heart. Sincere and profound, definitely my favourite. 10/10  

Loveless (Nelyubov) [Andrey Zvyagintsev, 2018, Russia] cold and chilling in all aspect from start to end. It has such great observation of the recognizable societal apathy. 10/10

Beats Per Minute (BPM) [Robin Campillo, 2017, France] Goosebumps. This is a film clear of its objective, it is exhilarating and exhausting in the good kind of way. 10/10

Cold War (Zimna Wojna) [Pawel Pawlikowski, 2018, Poland] Makes something despairing so beautiful with its artful composition, rightly-paced narrative transition, and cold but affecting character treatment. 10/10

Faces Places [JR, Agnès Varda, 2018, France] Wow. This is the film to watch when your soul is dying for art. Tears, I can't help them from falling. 10/10

Sid & Aya [Irene Villamor, 2018, Philippines] It’s too beautiful, I’m crying halfway through the film for how beautiful it is. You can watch this film without audio and understand it by its lighting, it’s that amazing. 10/10

Arrhythmia (Aritmiya) [Boris Khlebnikov, 2017, Russia] For a movie with characters of increasingly tenuous emotional bond, this is teeming with sensitivity and sensibility. It has so much love, neutrality, and longing, yet so cold and fleeting. Definitely, an emotional rollercoaster of my liking. 10/10

Shoplifters [Hirokazu Kore-eda, 2018, Japan] a film that questions if blood is thicker than the ties that bind us. Here’s Kore-eda capturing our hearts again with his gently-observed humanism. 10/10

Gusto Kita With All My Hypothalamus [Dwein Baltazar, 2018, Philippines] a genius anti-romance that plays along the lines of loving the thought of being in love and making yourself believe in your own ethereality. I love it. 10/10

Balangiga: Howling Wilderness [Khavn, 2017, Philippines] Disheartening and provocative in all its hypnagogia. 10/10

A Star is Born [Bardley Cooper, 2018, United States] If only for its music and its astounding performances, I'm already sold. 10/10

Oda sa Wala [Dwein Baltazar, 2018, Philippines] Is an ode to nothing, to the unseen, to the nobody, to the dead that's more alive than the living and to the living that's more dead than those who died. Baltazar has this gilt-edged technique that leaves its audience wretched yet buoyant. 10/10

The Shape of Water [Guillermo del Toro, 2017, United States] Elegant in its visuals, storytelling, and performances. It is del Toro’s best yet. 10/10

The Guilty (Den Skyldige) [Gustav Möller, 2018, Denmark] Is clever in its minimalism. A fast-paced action thriller and a psychological suspense, all shot entirely between four walls. 9.5/10

Hereditary [Ari Aster, 2018, United States] Unsettling down to the core with a convincing cast and a powerful storytelling. 9.5/10 

Batch 81 [Mike de Leon, 1982, Philippines] In its subversiveness and its sardonic undertone is a remarkable spectacle of expertise, bravery, esoterica, and dynamism. 9.5/10 

Dogman [Matteo Garrone, 2018, Italy] Examines a man's need to be recognized as a chihuahua in a shepherd's world. 9.5/10

BuyBust [Erik Matti, 2018, Philippines] a spectacular display of astounding filmmaking where every element is designed and choreographed fittingly well. Entertaining yet harrowing from start to finish, it's the kind of film that stays. 9.5/10 

God’s Own Country [Francis Lee, 2017, United Kingdom] Features a kind of romance with such carefully-observed realism. It was very well portrayed. Very well. 9/10

Sunday's Illness (La Enfermedad del Doming) [Ramon Salazar, 2018, Spain] Scene after scene of mesmerizing mystery and such powerful attention to detail. 9/10 

Annihilation [Alex Garland, 2018, United States] Though at times flawed, it ended with such thought-provoking, ambitious, and lasting impact. 9/10 

Captain America: Civil War [Joe Russo, Anthony Russo, 2016, United States] it’s hard to point out which part of the film I didn’t like, that’s if I hated anything. 9/10 

The Florida Project [Sean Baker, 2017, United States] Kids, no matter the social class, are still just kids in search for adventure, friendship, and love. This movie doesn't feel like a movie at all, it's brilliant. 9/10

Signal Rock [Chito Rono, 2018, Philippines] Very raw and phenomenal. Each character formidably plays an important role in characterizing a small town of heartwarming spirit. If not for its distracting bad CGI which I think is unnecessary, I’d give it a perfect 10. 9/10

Beti [P. Sheshadri, 2017, India] manages to oppose patriarchy in Indian culture in such an innocent yet intelligible perspective. 9/10 

Train to Busan [Yeon Sang-ho, 2016, South Korea] When everyone's becoming a monster, humanity is the way to survive. Fast-paced. Thrilling. Heartfelt. I honestly feel like Train to Busan lacks a stronger female character, but it's interestingly very human that I'm completely captured by it. 9/10

ML [Benedict Mique, 2018, Philippines] teeming with ingenuity and masteful filmmaking, it’s a suspense too relevant for anyone to miss. 9/10

Liway [Kip Oebanda, 2018, Philippines] Is at most powerful when it exposes the correlation of facts and fiction. Doesn’t hit you right away but when it does, it hits hard. It hits still. 9/10

Sicilian Ghost Story [Fabio Grassadonia, Antonio Piazza, 2017, Italy, France, Switzerland] Cinematic and poetic. Beautiful in all its mythological symbolism. 9/10

Get Out [Jordan Peele, 2017, United States] a satire of utmost significance, it lives. 9/10

Si Chedeng at Si Apple [Rae Red, Fatrick Tabada, 2017, Philippines] Hilarious with punchlines, intelligent with comebacks. This is comedy with brain, soul, and heart. 9/10 

Happy as Lazzaro (Lazzaro Felice) [Alice Rohrwacher, 2018, Italy] a charming small film with a subtext of such vivid social allegory. 9/10

I am Not a Witch [Rungano Nyoni, 2018, United Kingdom] For a debut film, this is quite a remarkable take on exploitation, abuse, and misogyny. 9/10

A Quiet Place [John Krasinski, 2018, United States] For a film that’s supposed to be silent, I find it quite overscored. Still a good watch though. 9/10

Ang Panahon ng Halimaw [Lav Diaz, 2018, Philippines] Sarcasm at its best. Quite fun. 9/10

L'amant Double [Francois Ozon, 2018, France] Wild and mindblowing, a film of endless curiosity. 9/10

Seklusyon [Erik Matti, 2016, Philippines] a thought-provoking jewel on the corruption of divinity and an examination of people’s inner evils. 9/10

BlackKKansman [Spike Lee, 2018, United States] Although satirically exaggerated, this film is teeming with entertainment and importance. 8.5/10 

In This Corner of the World [Sunao Katabuchi, 2017, Japan] It stays. Films like this, they always do. 8.5/10

Euthanizer (Armomurhaaja} [Teemu Nikki, 2018, Finland] An examination of how suffering is commensurate with cruelty. For something so bleak, it is surprisingly a good exemplification of moral values. 8/10

Padman [R. Balki, 2018, India] Speaks volumes in a humorous way. Something enlightening and empowering, I love it. 8/10

Gutland [Govinda Van Maele, 2017, Luxembourg] For a debut feature, Van Maele is a master of slow-burn tension. 8/10

The Square [Ruben Ostland, 2017, Sweden, Denmark] An ironic and satiric take on elitism, privilege, and humanity. 8/10

A Prayer Before Dawn [Jean-Stéphane Sauvaire, 2018, France, Thailand] For something that feels hesitant in showing violence, this is already quite a tough watch. 8/10

We Need to Talk About Kevin [Lynn Ramsey, 2012, United States]

A Taxi Driver [Hun Jang, 2017, South Korea] an entertaining yet affecting tribute to nameless heroes. 8/10

Memoir of War (La Douleur) [Emmanuel Finkiel, 2017, France] Sadly, its visual choices, experimental scoring, and drawn out structure don't match Marguerite Duras's poetic writing. 8/10

The Wound (Inxeba) [John Trengove, 2017, South Africa] More than the physical wound from a boy's transition to manhood, this movie tackles a deeper kind of pain, the kind that scars forever. 8/10

Pan de Salawal [Che Espiritu, 2018, Philippines] a hard-hitting reminder that the most painful challenges people overcome are also the most rewarding. Don’t be afraid to feel them all. 8/10

The Great Buddha+ [Hsin-yao Huang, 2018, Taiwan] Not sure if saying "this is my kind of humour" is something I should be proud of but damn this film is hilarious! Oh and really clever too. 8/10 

Leave No Trace [Debra Ganik, 2018, United States] a small film of massive authenticity and warm touch. It will leave a trace. 8/10

Manila by Night [Ishmael Bernal, 1980, Philippines] a classic representation of the realities of how Manila is a witness to the city's moral lethargy. 8/10 

Coco [Lee Unkrich, 2017, United States] Understands what La La Land doesn’t – relationships shouldn’t suffer when achieving our dreams. 8/10

Don’t Breathe [Fede Alvarez, 2016, United States] Alvarez has some serious skills to make this suspenseful with only a blind villain inside a small house. 8/10  

The Other Side of the Wind [Orson Welles, 2018, United States] Not for a Welles beginner but is surely a completist's delight. 7.5/10

Felicite [Alain Gomis, 2017, Senegal, Congo, France] With such lyrical tone, its narrative was thinly sketched that some of its elements don't match. 7.5/10

Malila: The Farewell Flower [Anucha Boonyawatana, 2018, Thailand] A beguiling narration of existentialism, redemption, and the philosophy of Buddhism. All told in such calming gaze, it's actually hypnotic. 7.5/10 

Revenge [Coralie Fargeat, 2018, France] Caution: explicit cursing while watching and cheering to this. 7.5/10 

Aria [Carlo Catu, 2018, Philippines] Could have gone deeper and darker to make a more harrowing but lasting impact. It borders on the safe side, but still able to tell something important. 7.5/10

Billie & Emma [Samantha Lee, 2018, Philippines] There's magic in its production design and an amusing chemistry that would remind you of what it's like to fall in love the first time. It is everyone's teenage romance, the kind that buries heteronormativity. 7.5/10

Of Love & Law [Hikaru Toda, 2017, Japan] Questions the intricacies of Japanese culture through a collection of simple yet meaningful moments. 7.5/10 

Jurassic World: Fallen Kingdom [JA Bayona, 2018, United States]

Saving Sally [Avid Liongoren, 2016, Philippines] Is the freshest and has the most creative visual style I’ve seen in a long long time. I want more of it. 7,5/10 

One Week Friends [Masanori Murakami, 2017, Japan]  There’s a good reason for my sunken eyes right now, right? 7.5/10 

Room 8 [James Griffiths, 2013, United States] Unique and smart. Too amazed, I had to share it with everyone. 7.5/10

Isle of Dogs [Wes Anderson, 2018, United States] A quirky imagination of a simple narrative, told in a hyper-stylized artistry. 7.5/10

Black Panther [Ryan Coogler, 2018, United States]

Hintayan ng Langit [Villegas, 2018] I'm not completely sold on a couple of its elements but boy, Gina Pareño is a gem. A sparkling one.  7.5/10  

Avengers: Infinity War [Anthony and Joe Russo, 2018, United States]

The Invitation [Karyn Kusama, 2016, United States] I know a psychological thriller like this is effective when I find myself so uncomfortable, wanting to leave, cautious of being brainwashed. 7.5/10

Ready Player One [Steven Spielberg, 2018, United States] Too amusing to the point of apathy. Still entertaining though. 7.5/10

Disobedience [Sebastian Lelio, 2018, Ireland] Depicts the beauty of internal turmoils and hidden desires, it’s gripping. 7.5/10

Apostasy [Daniel Kokotajlo, 2017, United Kingdom] the more it rolls, the more I loathe religion. 7.5/10 

Wonder Woman [Patty Jenkins, 2017, United States] More than it being a feminist is it being human and that I think is more important. 7.5/10 

Meet Me in St Gallen [Irene Villamor, 2018, Philippines]

Never Not Love You [Antoinette Jadaone, 2018, Philippines] Beautifully and realistically written. It’s just really hard for me to like Reid’s character. 7/10 

Eight Grade [Bo Burnham, 2018, United States] One of the most important and most natural teen movies of the year. 7/10

Cam [Daniel Goldhaber, 2018, United States] Pushing its flaws aside, this is actually quite an accomplished thriller of a possible near future. It didn't end with an impactful resolution though. 7/10

The Miseducation of Cameron Post [Desiree Akhavan, 2018, United States] Provocatively presents how emotionally abusing conversion therapy could be. 7/10

Crazy Rich Asians [Jon Chu, 2018, United States] Important and feel-good, but that's just it for me. 7/10

Distance [Perci Intalan, 2018, Philippines] a tender family drama with powerful performances of characters who choose to love no matter how wrong or right. 7/10 

Showroom [Fernando Molnar, 2014, Argentina] is a showroom of how beautiful and luxurious an artificial world could be. 7/10 

Contagion [Steven Soderbergh, 2011, United States] Believable but somehow lacking in its scare tactic. 7/10 

Zodiac [David Fincher, 2007, United States] Intelligent drama, boring thriller. Not a fan. 7/10

The Greatest Showman [Michael Gracey, 2018, United States]

Smaller and Smaller Circles [Raya Martin, 2017, Philippines] Suspense done right but there's something about its exchanges that seems unnatural. 7/10 

Pop Aye [Kirsten Tan, 2018, Thailand, Singapore] Is as slow but as heavy as its lead. 7/10

The Day After Valentine’s [Jason Paul Laxamana, 2018, Philippines] Brilliant in its canny use of language to illustrate people's tendency to miscommunicate emotions. 7/10 

Thoroughbreds [Cory Finley, 2018, United States] The kind of film that doesn't lead to what you think. It's black comedy of my liking. 7/10

Nearest and Dearest [Kseniya Zueva, 2017, Russia] displays the weakening social and moral values in contemporary Russian society. 6.5/10 

Hearts Beat Loud [Brett Haley, 2018, United States] Magical in its little ways. 6.5/10

Me Casé Con Un Boludo [Juan Taratuto, 2016, Argentina] Nothing much in here but laughter after laughter. 6.5/10

Delinquent [Kieran Valla, 2016, United States] a small-town thriller with a set location that breathes on its own. 6.5/10

Ang Babaeng Allergic sa Wifi [Jun Lana, 2018, Philippines] I thought it was just a cutesy take on appreciating moments and living life in the present, but heck no, prepare to find your tears falling. 6.5/10

Bakwit Boys [Jason Paul Laxamana, 2018, Philippines] a warm and light-hearted family drama with beautiful original songs to brag about. 6.5/10

Musmos Na Sumibol sa Gubat ng Digma [Iar Arondaing, 2018, Philippines] At times, it feels like it's trying too hard both to make a point and to sound subtle to a point that it feels a bit disconnected. 6.5 /10 

What If It Works [Romi Trower, 2018, Australia] Delightfully charming amidst the chaos of mental disorders. Works quite well. 6.5 /10

Eternity Between Seconds [Jan Alec Figuracion, 2018, Philippines] There’s comfort somewhere between the discomforts of bad acting here. 6.5 /10

Love, Simon [Greg Berlanti. 2018, United States] It’s a very familiar coming-of-age romance, but that familiarity is what made it stand out. 6.5 /10

Blockers [Kay Cannon, 2018, United States] Definitely my kind of humour. The sarcastic wit is overflowing. 6.5 /10

Alex Strangelove [CraigJohnson, 2018, United States] Nothing too new but isn't short of likeable. 6.5/10

Lobster Cop [Li Xinyun, 2018, China] Hilarious. I’d like it to be more brutal with its action scenes but it’s already otherwise quite entertaining. 6.5/10

Ant-man and the Wasp [Peyton Reed, 2018, United States] Funny as always, but I'm in love with Paul Rudd so I must be biased. 6.5/10

Kuya Wes [James Mayo, 2018, Philippines] explores the fundamental need of being appreciated in a light yet stinging narrative. I don't like a number of things, but the soundtrack works well, it's satiating. 6.5/10 

To All the Boys I've Loved Before [Susan Johnson, 2018, United States] There's substance in its shallowness, it's charming. 6.5/10

The Snow White Murder Case [Yoshihiro Nakamura, 2014, Japan] It’s a little too long to keep it entirely interesting. 6.5/10

Cardinals [Grayson Moore, Aidan Shipley, 2018, Canada] It was burning slowly until it was shot to the head. Could have been more painful if not for its loose ending. 6.5/10

Unli Life [Miko Livelo, 2018, Philippines] Not a fan of its comedic banters but I find its rare seriousness quite a gem. 6.5/10

The Cured [David Freyne, 2018, United Kingdom]

Sympathy for Mr Vengeance [Park Chan-wook, 2002, South Korea]

Berlin Syndrome [Cate Shortland, 2017, Australia, Germany] Cold and riveting with a third act that would push you to the edge. 6.5/10 

Wonder [Stephen Chbosky, 2018, United States]

12 Strong [Nicolai Fuglsig, 2018, United States] All that technical expertise and still end up saying nothing. 6/10

Goodbye, Grandpa [Yukihiro Morigaki, 2017, Japan] depicts the kind of mourning we tend to overlook and is only intensified by the bonding of family. 6/10 

Deadpool 2 [David Leitch, 2018, United States] Started off fun, ended up exhausting. 6/10

Bird Box [Susanne Bier, 2018, United States] a film with no emotional connection, no proper climax, and therefore no sensical resolution. 6/10

Madilim Ang Gabi [Adolf Alix, 2018, Philippines] seems like a show-off of stars after stars after stars playing bit roles to the point that it already feels unauthentic. 6/10 

Call Her Ganda [PJ Raval, 2018, Canada, Philippines] I'm not convinced of its storytelling, still an important one to watch though. 6/10 

A Million Happy Nows [Albert Alarr, 2017, United States] Despite the smallness of this film, it actually hits big. 6/10 

Bomba [Ralston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 6/10

Oceans 8 [Gary Ross, 2018, United States] Slow and mediocre, quite a waste of powerhouse cast. 6/10

Koxa [Ekrem Engizek, 2018, Turkey, Germany] Uninteresting for the kind of fact it exposes. 6/10

2 Cool 2 be Forgotten [Petersen Vargas, 2017, Philippines]

Beastmode [Manuel Mesina III, 2018, Philippines] ingenious and inventive but it’s not the kind I enjoy. 6/10 

Dedma Walking [Julius Alfonso, 2017, Philippines]

Can We Still Be Friends [Prime Cruz, 2017, Philippines]

The Belko Experiment [Greg McLean, 2017, United States] The experiment and the film are both pointless, but pointless sometimes is entertaining. 6/10

Hooked [Max Emerson, 2018, United States]

Sierra Burgess is a Loser [Ian Samuels, 2018, United States] I was enjoying it until its last act which felt rushed and unnatural. 5/10

Skyscraper [Rawson Marshall Thurber, 2018, United States] Plot after plot of action-packed impossibilities. 5/10

Glorious [Connie Macatuno, 2018, Philippines] Watching it is like riding a taxi cab with a clutch driver, it’s making me dizzy. 5/10

Rampage [Brad Peyton, 2018, United States] Feels like a bargain with nothing much to offer but cool CGI. 5/10

Je Ne Suis Pas Un Homme Facile [Eleonore Pourriat, 2018, France]  

Mga Mister Ni Rosario [Alpha Habon, 2018, Philippines] Entertaining but also miserably problematic. 5/10

Carrie [Kimberly Peirce, 2014, United States] Is quite an urban myth version of a school shooting. 5/10

Rough Night [Lucia Aniello, 2017, United States] Watched it on a plane, not sure if it's as fun if landed. 5/10

Bomba [Rolston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 5/10 

Avengers: Age of Ultron [Joss Whedon, 2015, United States] Boring with a capital B. 5/10

The Meg [Jon Turteltaub, 2018, United States] Mediocre. Very mediocre. 5/10

Final Score [Scott Mann, 2018, United States] It has potential but didn't quite scored a goal. 5/10

Uncle Drew [Charles Stone III, 2018, United States] I can't force myself to get comfortable watching this. 5/10

A Piece of Paradise [Patrick Alcedo, 2017, Canada, Philippines] It’s okay but there’s nothing much in there. 5/10

Happy Death Day [Christopher Landon, 2018, United States]

The Flu [Kim Sung-soo, 2013, South Korea] Stupid but fun. It's the kind of silly you enjoy. 5/10

Ali and Nino [Asif Kapadia, 2017, Azerbaijan, Georgia] Badly-acted, badly-designed production. Offers nothing much of excitement. 4/10 

Unexpectedly Yours [Cathy Garcia-Molina, Philippines, 2017] Fun at times. Corny at most. 4/10 

Forget About Nick [Margarethe von Trotta, 2017, Germany] is as if made as an example of movies that failed the Bechdel test from supposed to be feminist directors. 4/10 

I Love You, Hater [Giselle Andres, 2018, Philippines] I find its main plot gender insensitive so it’s a nope nope for me. 4/10

The Mumbai Siege: 4 Days of Terror (One Less God) [Lliam Worthington, 2018, Australia, India] That’s an annoying take on a siege that marked world history. 4/10

Life is What You Make It [Jhett Tolentino, 2018, United States, Philippines] For some reasons, I’m not sold on how it tries to inspire. 4/10 

We Will Not Die Tonight [Richard Somes, 2018, Philippines] If you're looking for brutal action and relentless stabbing where blood and sweat are like fireworks, go see it. If you're looking for sense or better fight choreographies, go somewhere else. 3/10 

Bleeding Steel [Leo Zhang, 2018, Hong Kong] Feels like switching between channels. 3/10

Citizen Jake [Mike de Leon, 2018, Philippines] Is like a collection of everything de Leon wants to try. Not effective at that. 3/10

On Again Off Again [Arsalan Shirazi, 2017, Canada, India] Undesirable characters in undesirable performances. 3/10

Jigsaw [Spirieg brothers, 2017, United States]

Tomb Raider [Roar Uthaug, 2018, United States] Impossible but fun. 3/10

Insidious (The Last Key) [Adam Robitel, 2018, United States] 

Pitch Perfect 3: Last Call Pitches [Trish Sie, 2018, United States] The worst of them all pitches. 3/10

When We First Met [Ari Sandel, 2018, United States]

Attack on Titan: Part 1 [Shinji Higuchi, 2015, Japan] Lacks character development, lacks plot continuity, it’s the movie adaptation disappointment of the decade. 3/10

Alright Now [Jamie Adams, 2018, United States] is said to be a feel-good movie but more like a feel-regretful for the time wasted watching this. 3/10

Hostel [Eli Roth, 2006, United States] Nothing here is pleasing. Not its concept, not its execution, and not even its gore. Down to the trash bin. 3/10

One More Chance [Cathy Garcia-Molina, 2007, Philippines] I’m sorry, I really can’t stand this movie. 3/10

Slumber [Jonathan Hopkins, 2018, United States] Is a snoozefest as simple as that. 3/10

In Un Giorno La Fine (The End?) [Daniele Misischia, 2018, Italy] Is funny in a bad way. 3/10

Peter Rabbit [Will Gluck, 2018, United States] RBF the entire freaking time. 3/10

You, Me and Him [ Daisy Aitkens, 2018, United Kingdom] Just one of those films that pass you by. 3/10

The Dawnseeker [Justin Price, 2018, United States] With that kind of premise, I honestly wanted it to be at least a decent watch. It isn’t. 2/10

Mara [Clive Tonge, 2018, United States] Generic. Mediocre. Forgettable. 2/10

Office Uprising [Lin Oeding, 2018, United States] Dumb. 2/10

School Service [Louie Ignacio, 2018, Phiippines] the intention is there but the concept isn’t concrete enough to be decently executed. 2/10 

The Strangers: Prey at Night [Johannes Roberts, 2018, United States] What a freaking stupid family that was. I could go on and on and on with my disgust towards this movie, but the bacon is cooked and bacon is more important. 1/10

The Matchmaker's Playbook [Tosca Musk, 2018, United States] a misogynist piece of bullcrap. 1/10

The Do-Over [Steven Brill, 2016, United States] Wow. That was boring. 1/10

Aswang [Michael Laurin, 2018, United States] a film perfect for when you can’t sleep. 1/10

The Lookout [Afi Africa, 2018, Philippines] is a joke after joke after joke, so unfunny, it deserves a laugh. 1/10 

[sarien27]

Govinda's nephew to make his B'wood comeback https://ift.tt/9gCFTmO

[uniboss]

Not Shweta Tiwari, it’s Megha Gupta who will star opposite Avinash Sachdeva in Inteqam Ek Masoom Ka

Not Shweta Tiwari, it’s Megha Gupta who will star opposite Avinash Sachdeva in Inteqam Ek Masoom Ka

One of the upcoming shows that is making quite a bit of buzz is Life Ok’s Inteqam Ek Masoom Ka. Reports had surfaced that TV actress Shweta Tiwari would be making a comeback post pregnancy with the thriller show. However, it looks like Shweta and the makers did not sign the deal and another actress has been roped in. Actor Avinash Sachdevaplays the lead role and the show is inspired by Govinda’s…

[khatrimazak]

Shilpa Shetty and Govinda Throwback Dance Video Goes Viral – Retro video of actress Shilpa Shetty and Govinda’s romantic dance appeared on social media; | Khatrimazak

https://ift.tt/eA8V8J

New Delhi. Actress Shilpa Shetty is very active on social media. She often makes many headlines because of her yoga poses. Recently, one of her videos began to go viral on her social networks. In the video, she is seen in a very beautiful style with Bollywood actor Govinda. In fact, a dance video of actress Shilpa Shetty and actor Govinda is quickly going viral. This is your throwback video. What is a reality show. Both stars are seen dancing beautifully on stage. All eyes are on this Bollywood couple.

Shilpa and Govinda are seen dancing in a romantic style in the video that is becoming increasingly viral on the internet. Shilpa’s look in a yellow saree looks quite killer. Govinda also looks quite handsome in a white suit. In the video, Shilpa is dancing to the superhero track ‘Chura Ke Dil Mera’ from his own movie ‘Main Anari Tu Khiladi’. They are both seen dancing in a very romantic style in this song. All the judges and the audience are seen yelling loudly as they both dance. Everyone enjoys their performance. This video of him is much loved.

Speaking about actress Shilpa Shetty’s job front, she will soon be seen on the big screen. She’s making a comeback on the big screen after a long time with the films Hungama 2 and ‘Nikamma’. In the sequel to the film Hungama, she will be seen doing comedy with actors Paresh Rawal and Meejan Jaffrey. The poster for the movie ‘Hungama 2’ has also been released. At the same time, in the movie ‘Nikamma’, she will be seen with Abhimanyu Dasani and Sharlee Setia. Let us know that Shilpa continued to entertain her fans even during the confinement. Keep making funny videos with your family. That continues to upload to social networks. See what makes everyone smile.

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from Khatrimazak https://ift.tt/32XmwA1

[tnewsindia]

Govinda’s son Yashvardhan Ahuja meets with a car accident : Bollywood News

Govinda’s son Yashvardhan Ahuja meets with a car accident : Bollywood News

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While the fans await Govinda’s full-fledged comeback, his son Yashvardhan Ahuja has been in the news. The actor made quite a name for himself because of his impeccable acting skills and not to mention, his groovy dance moves. Last seen in Kill/Dill with Ranveer Singh, Ali Zafar, and Parineeti Chopra, Govinda has been low-key ever since.

While the fans wait to see him back…

[rbbox]

Govinda’s son Yashvardhan Ahuja meets with a car accident

Govinda’s son Yashvardhan Ahuja meets with a car accident

While the fans await Govinda’s full-fledged comeback, his son Yashvardhan Ahuja has been in the news. The actor made quite a name for himself because of his impeccable acting skills and not to mention, his groovy dance moves. Last seen in Kill/Dill with Ranveer Singh, Ali Zafar, and Parineeti Chopra, Govinda has been low-key ever since.

While the fans wait to see him back on-screen, his son,…

[iajcnews-blog]

Govinda’s son Yashvardhan Ahuja meets with a car accident : Bollywood News - Bollywood Hungama

Govinda’s son Yashvardhan Ahuja meets with a car accident : Bollywood News – Bollywood Hungama

While the fans await Govinda’s full-fledged comeback, his son Yashvardhan Ahuja has been in the news. The actor made quite a name for himself because of his impeccable acting skills and not to mention, his groovy dance moves. Last seen in Kill/Dill with Ranveer Singh, Ali Zafar, and Parineeti Chopra, Govinda has been low-key ever since.

While the fans wait to see him back on-screen, his son,…