Latest news with #PVRCinemas
India Today
26-05-2025
- Entertainment
- India Today
Saif Ali Khan, Deepika Padukone, Diana Penty's Cocktail set for re-release in May
Director Homi Adajania's 'Cocktail' has also joined the league of Bollywood films re-releasing in theatres. The 2012 romantic-drama, featuring Saif Ali Khan, Diana Penty and Deepika Padukone in pivotal roles, will return to the big screens in May 'Andaz Apna Apna' re-release, the audience are once again set to witness cinematic nostalgia. PVR Cinemas shared the poster of 'Cocktail' on its social media handle and wrote, "The iconic trio is back! Experience the unforgettable journey of 'Cocktail' once again with our Curated re-releasing at PVR INOX on May 30!"advertisementFans expressed their excitement about the re-release. A social media user commented, "Re-release every single romcom of my blood." A fan wrote, "10/10 movie." Another fan commented, "Manifestation is real finally. Can't wait." A social media user also wrote, "OMGGGGGG Already start advance booking." While giving their approval, fans dropped heart emojis on the post. Homi Adajania's Cocktail will re-release on May 30, 2025. (Photo credit: pvrcinemas_official) Apart from Saif, Deepika and Diana, 'Cocktail' also had Boman Irani, Dimple Kapadia, and Randeep Hooda as the supporting cast. The film marked Diana's Bollywood debut. The film is now returning to the theatres, nearly 13 years after its revolves around Meera played by Diana, who lives with her new-found friend Veronica after her husband Kunal (Hooda) abandoned her. Their loves get complicated when Veronica's boyfriend Gautam portrayed by Saif, falls in love with movie was appreciated for its cinematography and beautiful filming locations at UK and South Africa. The soundtrack by Pritam earned praise amongst the youth, especially 'Tumhi Ho Bandhu,' 'Daaru Desi', 'Second-Hand Jawaani' and 'Yaariyan.'On the work front, Saif was last seen in the Netflix heist-thriller 'Jewel Thief,' co-starring Nikita Dutta, Jaideep Ahlawat and Kunal Kapoor. It was directed by Kookie Gulati and Robby Grewal, and produced by Siddharth was last seen in Vicky Kaushal's historical action-drama 'Chhaava,' where she played Aurangzeb's daughter Zinat-un-Nissa was recently replaced by Triptii Dimri in Sandeep Reddy Vanga's upcoming Telugu film 'Spirit,' starring Prabhas. She is also expected to shoot for 'Pathaan 2' and R Balki's 'The Intern' remake with Amitabh is also likely to be a part of Shah Rukh Khan-Suhana Khan's upcoming action-thriller 'King.'Must Watch IN THIS STORY#Deepika Padukone
News18
26-05-2025
- Entertainment
- News18
Cocktail: Deepika Padukone, Saif Ali Khan, Diana Penty's Film To Re-Release On THIS Date
Last Updated: Homi Adajania's Cocktail, starring Deepika Padukone, Saif Ali Khan and Diana Penty originally released in theatres on July 13, 2012. Nearly ten days after the re-release of Hum Tum, another popular Saif Ali Khan rom-com is making its way back to theaters! This time, it's Homi Adajania's 2012 film 'Cocktail', starring Saif, Deepika Padukone and Diana Penty in the lead roles. The film is set for a theatrical re-release starting May 30, 2025. On Monday, PVR Cinemas announced the re-release of Cocktail on their Instagram account. They shared a poster of Cocktail with Saif Ali Khan, Deepika Padukone, and Diana Penty. The text over the poster reads, 'Veronica, Gautam, Meera—their friendship, their love, their story- back on the big screen!" The rom-com will re-release this Friday. PVR announced the same with a caption that read, 'The iconic trio is back! Experience the unforgettable journey of Cocktail once again with our Curated Shows. Cocktail re-releasing at PVR INOX on May 30!" Fans React As Cocktail Re-Release Is Announced Needless to say, fans were beyond thrilled! While one fan commented, 'Manifestation is real finally. Can't wait," another one wrote, 'OMG SO HAPPY." '10/10 movie," wrote a third netizen. Originally released in 2012, Cocktail was directed by Homi Adajania and starred Saif Ali Khan, Deepika Padukone, and Diana Penty in lead roles. The film also included performances by Boman Irani, Dimple Kapadia, and Randeep Hooda. The film is returning to theatres nearly 13 years after its release. Back in 2012, the film received widespread acclaim for its direction, costumes, cinematography, and standout performances by the cast. Its soundtrack, composed by Pritam, also earned massive praise. Songs like 'Tumhi Ho Bandhu', 'Daaru Desi', and 'Second-Hand Jawaani' became instant chartbusters and continue to be remembered fondly even today. On the professional front, Saif Ali Khan was last seen in the Netflix film 'Jewel Thief', co-starring Nikita Kapoor, Jaideep Ahlawat, and Kunal Kapoor. The film was directed by Kookie Gulati and Robby Grewal, and produced by Siddharth Anand. Diana Penty last appeared in the Vicky Kaushal-led Chhaava, while Deepika Padukone will soon start working on Shah Rukh Khan's King, which will also feature Suhana Khan, Abhay Verma, and more. First Published:
Pink Villa
26-05-2025
- Entertainment
- Pink Villa
After Hum Tum, Saif Ali Khan's THIS beloved rom-com returns to cinemas, get ready for another nostalgic ride
Nearly ten days after the re-release of Hum Tum, Saif Ali Khan's another beloved rom-com is set to return to the silver screens! Yes, you read it right, and this time it is Homi Adajania's Cocktail co-starring Deepika Padukone and Diana Penty. It has recently been announced that the film is set to have its re-run in the theaters from May 30. On May 26, PVR Cinemas took to their Instagram handle and shared the poster of Saif Ali Khan, Deepika Padukone, and Diana Penty starrer Cocktail. The announcement poster reads, "Veronica, Gautam, Meera— Their friendship, their love, their story— Back on the big screen!" It has been revealed that the rom-com is set to release this Friday, and the post was captioned, "The iconic trio is back! Experience the unforgettable journey of Cocktail once again with our Curated Shows. Cocktail re-releasing at PVR INOX on May 30!" Take a look Soon after the post was shared, several internet users flooded the comments section expressing their excitement for the re-run. A user exclaimed, "Manifestation is real finally. Can't wait," another requested, "Please release Hasee Toh Phasee too!" a third user called it, "10/10 movie" and another admitted, "OMG SO HAPPY." It was earlier this month that the movie chain announced the re-release of Saif Ali Khan and Rani Mukerji's Hum Tum from May 16. In addition to this, Akshay Kumar, Suniel Shetty and Shilpa Shetty's Dhadkan was also released on May 23. Released in 2012, Cocktail was directed by Homi Adajania, and it featured Saif Ali Khan, Deepika Padukone, and Diana Penty in the key roles. It also featured Boman Irani, Dimple Kapadia, and Randeep Hooda among others in important roles. On the professional front, Saif Ali Khan was last seen in Netflix's Jewel Thief alongside Nikita Kapoor, Jaideep Ahlawat, and Kunal Kapoor in the key roles. Directed by Kookie Gulati and Robby Grewal, the film was backed by Siddharth Anand. Diana Penty's last appearance was in Vicky Kaushal -led Chhaava, whereas Deepika Padukone is currently focusing on her daughter, Dua, and will soon start working on Shah Rukh Khan's King. The film will also feature Suhana Khan, Jaideep Ahlawat, Abhay Verma, and more.
News18
10-05-2025
- Entertainment
- News18
PVR Slaps Rs 60 Crore Lawsuit On Maddock Films After Bhool Chuk Maaf Skips Theatre
Last Updated: PVR Cinemas sued Maddock Films for Rs 60 crore over financial losses as Rajkummar Rao's Bhool Chuk Maaf will now premiere on Prime Video. In a surprising turn of events, Maddock Films' upcoming release Bhool Chuk Maaf, starring Rajkummar Rao and Wamiqa Gabbi, was pulled from its planned theatrical debut just a day before its scheduled release on May 9. The film will now premiere directly on Amazon Prime Video on May 16. The last-minute decision, reportedly prompted by escalating tensions between India and Pakistan, has triggered legal action from leading exhibitor PVR Cinemas. According to a report by News9Live, PVR has filed a RS 60 crore lawsuit against Dinesh Vijan's Maddock Films, citing significant financial losses resulting from the abrupt cancellation. PVR CEO Kamal Gianchandani confirmed the move, with a senior official noting that legal proceedings are now underway. Maddock Films has yet to issue a statement addressing the lawsuit. However, on Thursday, the studio did release a public note explaining its reasoning for shifting the release to OTT: 'In light of recent events and the heightened security drills across the nation, we at Maddock Films and Amazon MGM Studios have decided to bring our family entertainer, Bhool Chuk Maaf, directly to your homes on May 16—only on Prime Video, worldwide. While we were eagerly looking forward to celebrating this film with you in theaters, the spirit of the nation comes first. JAI HIND." View this post on Instagram A post shared by Maddock Films (@maddockfilms) The production banner, known for its consistent commercial success, recently delivered the year's biggest box office hit Chhaava, starring Vicky Kaushal, which amassed ₹783 crore globally. Maddock also enjoyed a strong run in 2024, with crowd-pullers like Teri Baaton Mein Aisa Uljha Jiya, Munjya, and Stree 2. Meanwhile, Bhool Chuk Maaf is a sci-fi romantic comedy, written and directed by Karan Sharma. The film is produced by Dinesh Vijan under the Maddock Films banner in collaboration with Amazon MGM Studios. It features Rajkummar Rao and Wamiqa Gabbi in the lead, alongside Seema Pahwa. Set against the vibrant backdrop of Varanasi, the film follows Ranjan, a love-struck young man who lands a secure government job in hopes of marrying his longtime girlfriend, Titli Mishra. However, just as their wedding festivities begin, a mysterious time loop disrupts everything—forcing Ranjan to relive the same day over and over again. While Titli remains unaware of the strange phenomenon, Ranjan finds himself trapped in a repeating cycle that resets daily at their haldi ceremony, turning his dream wedding into an unpredictable ride through time. First Published: May 10, 2025, 16:11 IST
Telegraph
13-03-2025
- Entertainment
- Telegraph
Film lovers hate ads – so why do cinemas show so many?
To the ever louder cries that films are getting too long, I'm here to add a further howl: so is the wait for them to hurry up and start. Adverts have never been lengthier, more numerous, or less worth seeing on the big screen. Statistically, this tends to be denied – surprise, surprise – by cinema advertising agencies, who have time-honoured ways of fudging the issue. Everybody else knows it to be true. Forget about your 7pm showtime so that you can be tucked up in bed at a reasonable hour. If the film is, say, Wicked, you won't escape the auditorium these days until 10.15pm. Berate Universal for the film's bloat, by all means, but don't let your chosen cinema chain off the hook. You might happily tolerate 10 minutes of trailers, even if those too have lost any virtue of brevity they once had. But long before you're whisked off to Oz, you can rest assured that at least 15-20 minutes of arbitrary commercials will first be holding you hostage. (The average wait, according to trade body Digital Cinema Media, is 24 minutes.) We've always been expected to put up with this. Much like Cillian Murphy at the Oscars, who stood to one side waiting, and waiting, for Adrien Brody to stop speaking, most filmgoers are resigned to having their time egregiously wasted in this way. But not Abhishek M R, an Indian film fan and lawyer from Bengaluru, who last month was awarded damages against the country's largest chain, PVR Cinemas. The film he was seeing, a 2023 war biopic called Sam Bahadur, was scheduled to end at 6.30pm, but ran half an hour behind, according to the plaintiff, because of 'trailers, advertisements and other fillers'. Arguing that he was caused to miss subsequent appointments, he decided to complain to the Bangalore Urban Consumer Disputes Redressal Commission, who ordered PVR to pay him the equivalent of £270 in compensatory damages, as well as £890 in regulatory fines. All told, Abhishek has done pretty well off his three tickets, totalling £8. But most filmgoers have surely felt his pain at some point. Industry spokespeople always counter that lead-in reels remain an 'integral part' of going out to the cinema, allowing latecomers to shuffle in and find their seats without disrupting the rest of the audience. They even point to customer research which claims to show a majority of viewers (70 per cent!!) consider the pre-amble to be desirable. Trailers usually start at showtime. If your movie starts at 12 but you get there at 11:30, that's on you. But, the pre-show and trailers need to be cutdown to 10-12 minutes. I sat through 27 minutes of ads before 'COMPANION' started. That's too damn long. @AMCTheatres — Adam Hlaváč (@adamhlavac) February 10, 2025 You can bet these stats come from bracketing together trailers and ads as if they were one homogenous block of content, which they are not. How would polled customers respond if 30 minutes or, say, 10 were put to them as alternatives? I think we know. If Pearl & Dean's market research study had a sample size of just me, I predict these results: Trailers? OK, but a maximum of three, please. Adverts? Bin the lot. Of course, cinema advertising affects the operating profits of the exhibitors showing them, or no one would bother. But that's an argument from corporate greed, dressed up as one about an enhanced consumer experience. The cinema screen is valued real estate, we're told. Because audiences are essentially captive there, all-important levels of engagement are meant to be higher than when the same commercials play on TV. Here's the problem: levels of aggravation are definitely higher, too. You can't fast-forward them, or use the time to put the kettle on. They're just eating up a chunk of your evening you'll never get back. To claim that adverts in cinema enjoy a pure claim on our attention is nonsense, anyway. Explicit or tacit, the edict to put your phone away should be crucial etiquette for the film itself. But all I ever see during the advert phase is restless scrolling on socials and rustling around for sweet packets. Who's actively 'engaging' with what's on screen? No one. Why? 98 per cent of adverts are empirically offensive to the eye and ear, according to the very reputable study above that was conducted on just me. Try to name an enjoyable one screened in 2024, and you may struggle. Even a purported list of the year's best, compiled by Campaign magazine, includes utterly forgettable campaigns for Kia, NatWest, Lego, Google Pixel and the RAF. If the point of advertising is to lodge itself in the mind, these failed totally. The last cinema advert I truly admired, and remember in detail? Jonathan Glazer's black-and-white surfing one for Guinness. That's from 1999. Senator Martin Looney of Connecticut talks a lot more sense on this subject than you might guess from his name. Looney has lately proposed a bill that would insist cinemas separately list the start times of the programme and the film itself. Advertisers would hate this to be enacted, of course – the last thing they want is everyone punctually arriving just in time for the feature. They want us tricked into rushing to our seats so that we can be treated as gormless receptacles for a solid half-hour. Looney argues, quite sanely, that our time is being abused as things stand. I'd go further: no one who has bought a ticket to see anything – anything at all – should be force-fed advertising before it starts. If advertising rightly belongs anywhere, it's to fill gaps between things we aren't paying for. Instead of getting out tiny violins about chains and their operating profits, let's imagine another approach. If you lopped 20 minutes off the programme time, all day long, for every screen in a multiplex, you'd carve out scope to fit in extra showings. For almost everything that isn't The Brutalist or Oppenheimer, anyway. There's a particular reason that cinema ads also seem more dated than they ever have. We now get targeted by advertisers with terrifying accuracy on Instagram. Somehow, they seem well aware that I'm theoretically interested in a dining room vitrine with frosted glass. So the hit-and-hope mentality of blandly bombarding entire audiences, with no specificity whatsoever, has become so outmoded as to be laughable. I have no need for Chanel No. 5, no matter how fragrant Margot Robbie looks wearing it. Sometimes we get a near-perfect mismatch. London's BFI Southbank is the capital's premier mecca for treating cinema as high art, attended by habitués who book months ahead for a rare Visconti print, or could tell you the exact duration in seconds of everything in Chantal Akerman' s oeuvre. They are rather less in the market for a life-affirming Lloyds Bank commercial, which played there routinely for years, featuring a girl on a bike growing up, with black stallions galloping alongside her on coastal paths. As this pablum would come on, I would actively look forward to the strains of Alicia Keys's Girl on Fire fading, drowned out every time by a bellowed 'Rubbish!' from a fuming denizen of the back row. In the same venue, we've been treated before to an 'immersive', four-minute long, bafflingly indulgent attempt to capture the seven flavour profiles of Hennessy X.O., 'directed' by Ridley Scott, which was capable of sending entire roomfuls of Kurosawa nerds into a bewildered stupor. The Lloyds one was finally put out to pasture, but has since been replaced by a Rolex one, with James Cameron up on screen pontificating about his quest for the cutting edge. It's even worse. I know from bitter, hilarious experience that there is no more hostile crowd you could possibly pick for Cameron's tech-bro blather than one about to settle in for the amour fou of Visconti's Senso (1954), or basically anything the BFI would ever elect to screen. So my final plea is twofold. If ads are genuinely unavoidable, at least have the courtesy to make them brief. And for all that's holy, read the room they are going to be played in.
