90s heartthrob Abbas is set for a comeback and joins Sivakarthikeyan's ‘Parasakthi'; an official announcement is awaited
starrer 'Parasakthi' is progressing at a brisk pace. The next phase of shooting took place in Pollachi last month and has since continued in Chennai. According to the latest statement of the makers, the periodic drama will be wrapped up filming in a month.
The film has many important scenes, including scenes featuring actors like Atharvaa, Ravi Mohan, and Sreeleela.
Abbas returns after years in key role
As per Cineulagam, popular hero Abbas has joined 'Parasakthi' in an important role. Abbas, who made his debut in Tamil cinema through the film 'Kadhal Desam,' remained in the minds of the fans with the image of Chocolate Boy. After that, he acted in successful films like 'Minnale,' 'Anandham,' and 'Kandukonden Kandukonden.' The popular 90s hero has got the opportunity to return to Tamil cinema after many years, and he recently signed on to play a key role in a film featuring
GV Prakash
in the lead role.
Strong character expected; no confirmation yet
Reports have emerged that Abbas will be playing a strong character in 'Parasakthi.' Even though he will reportedly only appear in a few scenes, his character is expected to have a huge impact on the film. Meanwhile, it is not yet officially announced whether Abbas's role is confirmed or just a rumor. So far, there have been reports of several language actors joining the film, like Rana Daggubati and Basil Joseph, but there has been no official announcement.
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Sudha Kongara's period drama is set for 2026
Directed by Sudha Kongara, 'Parasakthi' is currently being prepared as a multi-starrer film, and it features Sivakarthikeyan, Atharvaa, Ravi Mohan, and Sreeleela in the lead roles. Reported to be a periodic social drama, the film deals with Hindi imposition, and the earlier released teaser promised fans a gripping film. GV Prakash Kumar is scoring the music, and the film is likely to hit the big screens in early 2026.
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Indian Express
an hour ago
- Indian Express
Coolie feels like 1992 Mammootty film rip-off; Lokesh Kanagaraj missed Rajinism 101, Rajinikanth shines best with OG fan-directors
About 10 minutes in, I started to feel like I had signed up for a trip I couldn't wait to end. As soon as Palanisamy (Kaali Venkat), an undercover police officer disguised as a labourer at Kingpin Logistics in the Visakhapatnam port, started sharing his findings about the company's owner, mafia boss Simon Xavier (Nagarjuna), and his henchman Dayalan (Soubin Shahir), it felt like a forewarning that what was about to unfold might be a series of templated scenes presented in a very basic manner just like this opening one. However, since Coolie was not touted as 'just another typical Rajinikanth film' and was directed by Lokesh Kanagaraj — who previously gave us Kaithi, Vikram and Leo — I thought this might not be the case. It's possible that Lokesh deliberately started with something casually mediocre to lower audience expectations, which would make the subsequent moments of elevation truly blast off. Unfortunately, it did not take me long to realise that I had been in denial and delusional, trying to find meanings and reasons that simply didn't exist. It did not take me long also to realise that Coolie was a Rajinikanth movie made by a filmmaker with almost no understanding of the essence of Rajinism, which comprises the actor's strengths and many weaknesses too. Yes, the visuals here were quite impressive as an overhead shot showed yellow hard hats dotting the heads of workers standing loosely clustered together, hinting they have no identities and are simply part of this syndicate. But there was something unbelievably dull about it. Both the staging and the actions felt like I was watching a mediocre Tamil film and not 'one of the most anticipated movies of 2025'. While Coolie may not rank among this year's worst Indian films, it's worthy of the title of 'the most disappointing movie of 2025', with only a few aspects of the film coming across as at least good. From the start, Coolie gives the impression that Lokesh either had no clue what he was writing or, worse, makes us wonder whether it was he who truly penned his earlier films. The sheer volume of directionlessness and plot holes per square foot in Coolie is such that it eventually leaves one wondering what deserves more hate: the writing or Lokesh's uninspired execution. After an initial series of underwhelming moments, one would hope for 'Thalaivar' to make an appearance and take charge. However, Lokesh delivers what can only be described as the most colourless Rajinikanth intros of all time. Even the supposedly 'sleek' shots of him 'stylishly' using butcher knives come across as artificial, with Girish Gangadharan's cinematography, which did wonders in Vikram, Jallikkattu, and Angamaly Diaries, looking cartoonish here. Anyone who grew up watching Rajinikanth's films knows one fundamental truth: he possesses a pace and rhythm that are unmatched. Although filmmakers like to showcase him in slow motion due to the sharpness of his movements, his inherent swiftness is an even bigger part of his trademark. This not only adds to his swagger but also helps to mask his limitations as an actor when it comes to exploring complex, layered emotions deeply. While he is not just about cigarette flicks and sunglass twirls, there exists a fine line between portraying Rajinism as natural and artificial. And it's best presented by filmmakers who are OG fans of Rajinikanth. Consider the mass Rajinikanth films directed by SP Muthuraman, KS Ravikumar, Suresh Krissna, S Shankar, Pa Ranjith and Karthik Subbaraj. One thing visible in all these films — such as Priya, Pokkiri Raja, Mr Bharath, Velaikkaran, Muthu, Padayappa, Annamalai, Baashha, Sivaji: The Boss, Kabali, Kaala and Petta — is the palpable enjoyment the directors seem to have had when presenting 'Thalaivar' on screen. They all appear thrilled to capture him through the lens. In Coolie, however, we don't get to see this Rajinikanth. Nor do we see the actor being guided into breaking free from his 'stock expressions', which he hilariously shared during the Ponniyin Selvan: 1 audio launch, as seen in Mani Ratnam's Thalapathi (1991). Instead, we are introduced to a version of the superstar who appears like a lost child, unsure of what to do after being 'kidnapped' by Lokesh. The ironic thing is that the 'kidnapper' Lokesh also seems just as clueless about what to do with Rajinikanth. The fear that his fans would be disappointed if he attempted to make a stylish star vehicle like Nelson Dilipkumar's Jailer, with the elevation moments and 'Thalaivar's swagger dictating the story's progression, is evident throughout Coolie. To avoid that, despite the absence of a cohesive script, Lokesh has attempted to unnecessarily understate the moments and Rajinikanth's performance as if to pander to the 'intellectual audience', who blindly find non-existent meanings in the works of their favourite filmmakers. However, the thinness and the holes in the script are too glaring to overlook. The two title cards for Rajinikanth — one in the OG style and one crafted in a semi-Lokesh style, reminiscent of the iconic Marvel-inspired card 'Thalapathy' Vijay received in Leo, to commemorate Rajinikanth's 50th year in cinema — themselves were a joy kill. It was then that I felt a level of admiration for director Shankar, considering the seamless way in which he pulled this off in Sivaji. The lack of blending visible here persists throughout the movie and across all aspects, ultimately resulting in a disjointed and half-baked experience. Although Coolie pretends, at least on its surface, to revolve around the strong bonds between various characters like Devaraj (Rajinikanth) and his friend Rajasekar (Sathyaraj), Preethi (Shruti Haasan) and her 'father' Rajasekar, Simon and his son Arjun (Kanna Ravi), and Dayalan and his crime partner Kalyani (Rachita Ram), the writing fails throughout to establish any of these dynamics properly. Instead, we are left to hear various characters engaged in spats with soap opera-ish dialogues like the senseless 'Ava ungalkuu appava irukkalam, aana avan enakku nanban (He may be your father, but he is my Friend)' and its cringey reply, 'Avaru ungalkku verum friend thaan, engalukku appa (He's just a friend to you, but for us, he's our Father).' Lokesh Kanagaraj's inability to flesh out the story and characters also results in iconic lines like 'Thodra paakkalam (I dare you to touch her)' and 'Verum panam (It's just money)' from Thalapathi going unimpactful. Without a glimpse of the so-called unbreakable bond between Devaraj and Rajasekar — or any insights into the former's past or present — how are we expected to empathise with Deva or grasp the emotion behind his mission to 'avenge Rajasekar's death' and 'protect Preethi and her sisters'? Had Deva been a 'ghost' like Vikram, this tactic might have made sense. But here he lives openly in his lodge, Deva Mansion, surrounded by many with whom he shares warm bonds. So, what's the point of keeping these aspects of his life mysterious? I doubt even Lokesh knows the answers. Also, why does Preethi hate Deva so much? Why did Rajasekar instill that kind of emotion in her, despite knowing Deva's actions three decades ago were righteous? Why is Simon's firm named Kingpin Logistics; does he want the world to know he's running a 'secret', shady business behind it? How did Dayalan know Monica beforehand? How did he manage to kill the loco pilot and take over the train? More importantly, how did he finally stop it? Is driving a train really that easy? How stupid was Preethi to make Deva's men stop their car to buy her food while they were fleeing Dayalan? Couldn't she have just gotten a takeaway? Also, does this world exist in a parallel universe without cops or any law enforcement whatsoever? By the way, Power House-aa?! Loki dey! So, what is Chandler Bing's job? Oops, my bad; what is Rajasekar's job? And how did he, an 'inventor', become BFFs with Deva, who worked at a port? What made Kaleesha (Upendra) confine himself to that room, rarely coming out? How did Simon forget Deva's face, despite witnessing him murder his father, while Dahaa (Aamir Khan) — who saw the same act at the same age — remembered it, as this made him Deva's fan? Even if one tries to justify this by pointing to Simon's 'substance abuse', Coolie fails to establish this aspect properly. Sure, a filmmaker needn't spoon-feed everything, but at the very least, the dots should be revealed so that the audience can connect them. Not just in its writing and presentation, but Coolie disappoints in its technical aspects too. The colour palette in most scenes was so pretentious that I couldn't tell if I was watching a Lokesh film or a Sun TV serial. While the use of 'Thamarai Poovukum' in Leo felt in tune with the aesthetics, the filmmaker's attempt to replicate that in Coolie backfires. From the odd placement of the track 'Monica' and the mediocre background scores to the underuse of 'Powerhouse' and the lack of fluidity in editing, Coolie never truly impresses. Yes, the overuse of 'Hukum – Thalaivar Alappara' in Jailer was a letdown, but that doesn't mean composer Anirudh Ravichander should have almost entirely avoided using the title track here. Towards the end, Lokesh even attempts to take Coolie into 'appa paasam' territory, with both Deva and Simon leaning into this. But thanks to the absolute lack of characterisation, the already-weak antagonist Simon's arc comes across as unimpressive, while Deva's feels like a poorly made, soulless rip-off of Joshiy's Mammootty-starrer Kauravar (1992). Incidentally, these moments only serve to remind us of Pa Ranjith's mastery as a filmmaker. As Coolie draws to a close, Lokesh reveals Deva's wife through a photo where Rajinikanth is seen posing with Shobana — yet another hat-tip to Thalapathi — and also discloses the identity of Deva's long-lost daughter. But as these scenes fall completely flat, one cannot help but recall how movingly Ranjith choreographed similar moments in Kabali and Kaala — not just two masterful movies, but also the finest Rajinikanth films since Baashha, in my opinion — which not only made the best use of him as both actor and superstar but also did not compromise on overall cinematic excellence. Among all the disappointments in Coolie, Aamir Khan's cameo stands tallest. Not only does the absence of substance detract from the moment, but the contrived exchanges between Rajinikanth and Aamir make it even worse. What I wouldn't have given to see Rajinikanth, Aamir Khan, and Upendra in a single frame, lighting beedis from the same flame and savouring them, in a film that truly deserved them! Sigh. A post shared by R R (@rachita_instaofficial) For the sheer swagger Nagarjuna Akkineni brought, the stellar screen presence Upendra ensured, and the strong performances delivered by Soubin Shahir and Rachita Ram, they all also deserved a much better film. Had Lokesh managed to channel even 10 per cent of the impact seen in the intercuts between flashback shots of a de-aged Rajinikanth and the present-day visuals of him, stylishly smoking a beedi, into the rest of the film, Coolie might have been at least 'not disappointing'. I feel sorry for the fans who, before the release, speculated that Coolie would be a sci-fi film with time-travel elements. Don't worry, guys, we'll file a petition to borrow Rajasekar's electric chair and incinerate the film completely so that no 'intellectual' comes back 10 days or 10 years later to 'convince' us that Coolie was 'a misunderstood masterpiece, much like Mani Ratnam's Kamal Haasan-starrer Thug Life.'
Time of India
an hour ago
- Time of India
Karan Kundrra ‘photo verified' dating app profile reportedly goes viral amid relationship with Tejasswi Prakash; netizens call it a ‘fake account'
Karan Kundrra and Tejasswi Prakash are adored for their adorable relationship. Recently, a viral screenshot of what appears to be Karan Kundrra's profile on a dating app has been circulating on social media. While there is no confirmation about him actually using the app or whether it is a fake account, fans have reacted widely online. What caught many eyes was that the profile appeared to be verified. The picture circulating on social media shows the actor in a beige t-shirt and jeans, with his age listed as 40. The screenshot suggesting Karan Kundrra is on a dating app amid his relationship with Tejasswi Prakash has left fans shocked. The alleged profile quickly became a trending topic, prompting varied reactions from fans. Fans have shared different takes on the situation. Some pointed out that Karan was once a brand ambassador for the app while dating his ex-girlfriend Anusha Dandekar. This connection has fueled speculation that the viral profile may be an old one from that campaign, while others wonder if it indicates recent activity. The screenshots first appeared on Reddit before going viral. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like TV providers are furious: this gadget gives you access to all channels Techno Mag Learn More Undo While some questioned the authenticity of his relationship, others defended Karan, suggesting the account could either be fake or related to past promotional work for the app. One fan wrote, 'This looks badly edited.' Another commented, 'Most dating app verifications are flawed – fake profiles slip through all the time.' Some jokingly referred to the 'useless verification' feature. Karan Kundrra and Tejasswi Prakash have not yet responded to the situation. The couple first met on Bigg Boss 15, where they developed a close friendship. After initially bonding as friends, the duo acknowledged their feelings for each other and have been inseparable ever since. On the work front, Karan Kundrra was last seen on Laughter Chefs 2, which he won alongside Elvish Yadav. Tejasswi Prakash, meanwhile, was last seen on Celebrity MasterChef.
Time of India
an hour ago
- Time of India
Kevin Costner reacts to 'Horizon 2' co-star's sexual harassment lawsuit; calls allegations of 'unscripted' rape scene 'patently false'
Kevin Costner is addressing sexual harassment allegations against him during the filming of his film, 'Horizon 2'. The Hollywood star spoke out in response to allegations by stunt performer Devyn LaBella, who claimed she was forced to perform an "unscripted rape scene" on the film sets, in violation of union protocols. Costner reacts In a motion filed Tuesday to dismiss the suit, Costner denied the claims, calling them 'patently false' and 'deeply disappointing.' In a court declaration reported by Variety, the actor said, "I can only assume that purpose was to use this sensationalistic language to embarrass and damage me and the 'Horizon' movies on an ongoing basis in order to gain a massive and unjustified payday." "Equally as bad, having to read about and address allegations I know to be false involving the words 'rape' and 'assault' has been an absolute nightmare," he added. About the controversial scene Costner asserted that the scene in question was not a rape scene, and emphasised that the scene in question did not even have any nudity. He explained, "This was one artistic shot designed to imply what was going to happen off-screen, and purposely was not a 'simulated rape' as Devyn now falsely describes it." The allegations LaBella filed the lawsuit in May, accusing Costner of sexual harassment and creating a hostile work environment. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Buy Resmed AirSense 11 with flat 20% off ResMed Buy Now Undo She claimed that the actor improvised a moment in which he straddled her and lifted her skirt aggressively. Meanwhile, an intimacy coordinator working on the film, documented lapses in safety protocols, including a lack of planning, communication, and failure to close the set. What others had to say However, according to the report, other members of the production have also denied the allegations made by LaBella. Roger Ivens, the actor involved in the scene, described her lawsuit as a 'false and sensationalist' portrayal. 'It is not what happened,' he said and clarified, 'This was not in any way, shape, or form a simulated sex scene.' Stunt coordinator Wade Allen, who hired and supervised LaBella, also disputed her claims, saying the scene in question involved 'no intimacy, no nudity, no sexual conduct or sexual movement of any kind.' About the film Costner and his production company are seeking dismissal under California's anti-SLAPP statute. His attorney, Marty Singer, argued in the motion that 'Horizon 2' addresses 'the horrific struggles endured by women' in the post-Civil War American West, 'including their extreme vulnerability to rape and other forms of violence,' and therefore qualifies for protection. The motion includes declarations from several crew members who supported Costner's account of the scene. LaBella's lawyer's reaction However, LaBella's attorney, Jeff Vagnini, dismissed the filing, saying that the "baseless motion" was nothing more than a desperate delay tactic from a legal team with no real defence. "The only things damaging Kevin Costner's reputation are his own reckless, harmful behaviour and the offensive narrative he's spreading to cover it up," Vagnini said, as reported by Variety. Under California law, the losing side in an anti-SLAPP motion has the right to appeal immediately. This could delay the case for over a year, regardless of the trial court's decision. DISCLAIMER: If you or someone you know is experiencing domestic violence, assault, or abuse, please seek immediate help. Reach out to a mental health specialist, NGO, or trusted individual. Several helplines are available to offer assistance. "Get the latest updates on Times of India, including reviews of the movie Coolie and War 2 ."
