Latest news with #TeriBaatonMeinAisaUljhaJiya
Time of India
10 hours ago
- Entertainment
- Time of India
Dharmendra's speedboat video goes viral, Fans praise his energy, Sunny showers love for his father
Veteran Bollywood actor shared a video of himself steering a speedboat, and it has gone viral on social media for all the right reasons. At 89, the legendary star looked joyful and energetic as he enjoyed a peaceful boat ride amidst a serene location surrounded by hills. Tired of too many ads? go ad free now In the caption, Dharmendra wrote, 'Friends, met the lovely person Vikram and his yacht. A thrilling and delightful journey.' Several fans have commented on his videos saying, "Uncleji aise hi enjoy karte rahiye bohot accha lagta hain." Another user added, "mere apne Dharm g... ...jug jug jeo." Still another fan wrote, "aap sada uhi muskurate raho khusa raho yehi bhagwan se prathana love you papaji @aapkadharam sir" Interestingly, his son Sunny Deol also commented with a string of heart emojis. Earlier, Dharmendra shared a video of himself floating in a swimming pool with the help of a tube. In another clip, he was seen doing exercises with a ball, guided by a trainer from a distance. The actor wore a blue T-shirt and a large hat to shield himself from the sun. On the work front, Dharmendra was last seen in the 2024 film 'Teri Baaton Mein Aisa Uljha Jiya', starring alongside and Kriti Sanon. He also played the role of 's grandfather in Karan Johar's romantic drama 'Rocky Rani Kii Prem Kahani'. Next, the veteran actor will be seen in 'Ikkis', directed by , where he will share the screen with Amitabh Bachchan's grandson, Agastya Nanda. Dharmendra poses with a horse and a husky at his farm
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First Post
26-05-2025
- Entertainment
- First Post
PVR-Inox top boss declares Rajkummar Rao's 'Bhool Chuk Maaf' 'genuine hit', says 'Some wrote off the film citing discount offers and...'
PVR INOX taking Maddock Films to court for their recent release Bhool Chuk Maaf was not only an aggressive move, considering the studio's consistent support for theatrical releases read more Bhool Chuk Maaf, the film starring Rajkummar Rao and Wamiqa Gabbi, has impressed and surprised everyone with its box-office collections so far. And the top boss of PVR INOX, Kamal Gianchandani, Chief Business Planning & Strategy has called the film a genuine hit amid social media debate. He tweeted- 'Some wrote off #BhoolChukMaaf citing 'discount offers' or 'lack of appeal'😇 The box office tells a very different story — it's a genuine HIT💥 May has revived theatres, audiences are back in big numbers, and the big screens are booming all over the country.' STORY CONTINUES BELOW THIS AD PVR INOX taking Maddock Films to court for their recent release Bhool Chuk Maaf was not only an aggressive move, considering the studio's consistent support for theatrical releases. Maddock Films has been responsible for generating over ₹2,500 crore in the past two years alone with films like Stree 2, Chhaava, Teri Baaton Mein Aisa Uljha Jiya, and Munjya. Even post-pandemic, they backed theatres by releasing Zara Hatke Zara Bachke, a small-town film that surprised with its box office success. Maddock Films has been one of the few production houses championing theatrical cinema, and deserved collaboration, not confrontation and blame. Delaying the release reflects Maddock Films' decision to put real-world priorities ahead of profits. With the nation facing more serious concerns, this choice comes across as thoughtful, responsible, and grounded in the moment. PVR Inox's primary concern was that Maddock Films violated the traditional 8-week window rule, which mandates that a film must play exclusively in theatres for at least eight weeks before moving to an OTT platform. While such guidelines may have made sense in the past, when digital access was limited and theatrical viewing was the norm. Now the audience behavior has significantly evolved. Today, especially during uncertain times like the India-Pakistan conflict, many viewers prefer the safety and convenience of watching films at home.
Pink Villa
24-05-2025
- Entertainment
- Pink Villa
Box Office: Bhool Chuk Maaf sees a spike on day 2; Mission Impossible 8 and Final Destination 6 sees a surge too
The Rajkummar Rao and Wamiqa Gabbi led Bhool Chuk Maaf is seeing an upward trend in business on the second day. According to early estimates, the film is looking to collect in the range of Rs 9.50 crore, taking the two-day total to Rs 16.50 crore. There was an offer of discounted tickets on the opening day, and the film has managed to show a growth even after the discontinuation of the same on day two, surpassing the general industry expectations by a margin. In the post pandemic world, all films produced by Maddock have over-indexed vis-à-vis the generation expectations: ranging from Zara Hatke Zara Bachke, Teri Baaton Mein Aisa Uljha Jiya, Munjya, Stree 2, Chaavva and now Bhool Chuk Maaf. Bhool Chuk Maaf Day Wise Box Office: Friday: Rs 7.00 crore* Saturday: Rs 9.50 crore (Expected) Total: Rs 16.50 crore* The Tom Cruise led Mission Impossible: The Final Reckoning is showing an impressive jump in the biz on 2nd Saturday, as early estimates are indicating 8th day business in the range of Rs 7.00 crore. With this, the total collections of Mission Impossible 8 stands at Rs 62.50 crore, and the film will stand around the Rs 70 crore mark at the end of second weekend. The film will be aiming at a finish around the Rs 85 crore mark, with a shot towards the Rs 90 crore number too, depending on the trend in third weekend, falling short of the last Mission Impossible Film, Dead Reckoning, which collected Rs 106 crore in India. Though an average success, the film has underperformed vis-à-vis the pre-release expectations in India. Week One: Rs 51.50 crore (6 Days) Friday: Rs 4.00 crore 2nd Saturday: Rs 7.00 crore (Expected) Total: Rs 62.50 crore Another Hollywood release, Final Destination: Bloodlines is seeing a superlative trend at the box office in India, as the film is looking to collect around Rs 4.00 crore on 2nd Saturday, taking the total collections to Rs 38.25 crore. The total of film at the end of second weekend will stand around the Rs 43 crore mark, and the sixth film of Final Destination franchise will aim to close its run in India with collections around Rs 60 crore. The film is a clean hit at the box office in India. Final Destination: Bloodlines Day Wise Box Office Week One: Rs 32.25 crore (8 Days) 2nd Friday: Rs 2.20 crore 2nd Sunday: Rs 3.80 crore (Expected) Total: Rs 38.25 crore Stay tuned to Pinkvilla for more updates.
Hindustan Times
23-05-2025
- Entertainment
- Hindustan Times
Bhool Chuk Maaf review: A tiring comedy where time loops, laughs lag and Rajkummar Rao hits refresh again
After watching Bhool Chuk Maaf, I felt the more entertaining drama has unravelled off screen, between the theatres and OTT for its release. But Rajkummar Rao's love for small town comedies is such, I am pretty sure even his GPS refuses to navigate anywhere post the city limits of either…. hehe, gotcha. This one's a time loop drama. Ranjan Tiwari (Raj) is in love with Titli (Wamiqa Gabbi) and they can't wait to get married. But her father has a condition: get a government job, or get lost. In comes Bhagwaan Das (Sanjay Mishra) who fixes government jobs for money. And voila, it's done. But now Ranjan finds himself stuck, re-living the day of his haldi again. And again.. He tries to tell people around him, but nothing comes out of it. Why, what, how- watch the film to find out the rest. Director Karan Sharma's story takes forever (time loop, you see!) to get to the point. The entire first half actually. The dialogues by Karan are sharp in places, but the screenplay seems uneven, barely salvaged by the comic timing of Rajkummar. We have seen the same setup in so many of Maddock's (production house) previous films like Mimi, Luka Chuppi, Teri Baaton Mein Aisa Uljha Jiya- even actors have been repeated. And worse, there is not enough chemistry between the family members. Usually, such films thrive on the comfort actors share, for the jibes and banters to seem real. Here, it doesn't shine through. The chemistry between Raj and Wamiqa grows on you though. Post the interval, when the plot is firmly established, Bhool Chuk Maaf picks up pace. But the humour still doesn't flow naturally. Raj's patented humour-in-frustrated- expression is beginning to lose some of it's initial charm. It's working, as of now. Bhool Chuk Maaf's biggest bhool is it tries to be what it should not be- a social message drama. A monologue on good people/bad people in the climax had me holding my head. The last time I checked, I was sitting there for a comedy film. And that's the problem with most films these days: the pretence to be meaningful. Why can't we expect just pure comedy from comedy films? Did Hera Pheri give us a long speech on how wrong it is to cheat people of their money? Did Golmaal tell us how taking advantage of a visually impaired person is morally wrong? Rajkummar needs to snap out of his small town fascination, and fast. Wamiqa is a relatively fresh face, and grasps the 'papa ki pari' hook well. Sanjay Mishra and Raghubeer Yadav fare well. Tanishk Baghchi's music is okay when viewed in context on screen, but doesn't stand out. Overall, Bhool Chuk Maaf, a time-loop comedy, ends up stuck in a loop of its own clichés. The only thing harder to escape than a time loop is Rajkummar's contract with small-town scripts. It tries to be a comedy, flirts with a social message, and ends up being the cinematic equivalent of a WhatsApp forward — familiar, repetitive, and mildly amusing at best.
India.com
19-05-2025
- Entertainment
- India.com
The Real Bhool Chuk is PVR Inox Taking on Maddock Films - A Studio That Champions Cinema
This is not just about law and order; this is about a huge cultural blasphemy. 'Bhool Chuk Maaf' hits theatres on May 23, which is when the decision was to be taken. Where most studios are going digital, Maddock Films remains standing for theatrical release. So what PVR Inox is attempting to do legally against Maddock Films for Bhool Chuk Maaf is much more than a mere matter of business. By not regarding Maddock as one of the few associates intent on keeping cinema alive on the big screen, the motion by PVR Inox may rub off on other studios, to the detriment of viewers who hate the idea of experience films in a theatre. Taking Maddock Films into court for its recent release *Bhool Chuk Maaf* was not an accusatory move, especially since the company has always stood for theatrical releases. The production house has, in fact, prieced the ₹2,500 crore mark in the past two years with films like Stree 2, Chhaava, Teri Baaton Mein Aisa Uljha Jiya, and Munjya. Even post-pandemic, Maddock Films went out on a limb for theatres by releasing Zara Hatke Zara Bachke, a small-town film that surprisingly did well at the box office. The right attitude for a powerhouse of production cinema-favouring theatrical cinema for so long! The hold-up, then, is the symbolism of a defiant, the hard choice to embrace real-life priorities over profits. The nation from on high has greater issues, come down to a choice of being conscious, being responsible, and being grounded that happens to be in this moment. PVR had contended that Maddock Films violated the traditional *8-week window rule* which stipulated that a film must be allowed an exclusive theatrical run of at least 8 weeks before it is released on an OTT platform. While such norms may have made sense back then, when everything was so focused on the theatres and digital access was limited. Today, the very behavior of audiences has changed. It is clearer now that, especially during these uncertain times around the India-Pakistan conflict, many viewers want to stay safe and enjoy their choice at home. What one wishes to term an attempt to safeguard one's own interests at the cost of production houses attempting to make nimble and audience-centric decisions than adapting to the changing landscape. Theatres have always adjusted windowing timelines as per their convenience-and so the insistence of PVR Inox to stick to an outdated windowing model feels almost as if it were betraying its own interests. Especially with a studio like this, who has been a consistent contributor to the box office, this holds rigid norms more of an optical ego battle rather than genuine concern for industry standards. The decision therefore was clearly between anarchy and collaboration. PVR Inox chose to stick to archaic practices, making it the holdback for future progress within the industry.
