(Crisp) Movie Review: PRAHAAR by FENIL SETA


Prahaar is based on how public prosecutor Ujjwal Nikam exposed the wrongdoings of Ajmal Kasab in front of the world. There have been many films made on 26/11 episode and its aftermath, but there has been no films that shows how the trial was conducted. Director Avinash Arun meticulously and interestingly depicts the trial's happenings, making it a great watch. A few scenes are clapworthy and unlike most biopics made in India, this film doesn’t shy away from showing some of the mistakes made by Ujjwal Nikam. Moreover, it's not a propaganda film – it exposes Pakistan’s hand in the attacks but also doesn’t paint people from a certain nationality and community with the same brush. On the flipside, the makers downplay the biryani episode from Ujjwal Nikam’s life. The interest levels drop in some scenes while the Wamiqa Gabbi track doesn’t work as intended. Moreover, both Rajkummar Rao and Wamiqa Gabbi don’t look that old. However, Rajkummar Rao’s performance is stellar and award-worthy. He gets the mannerisms and dialect right and is fiery in some scenes. Wamiqa Gabbi puts her best foot forward, though the writing lets her down. Lalit Prabhakar (Ajmal Kasab) is terrific and the way he displays various shades of his character are seen to be believed. Ritvik Sahore (Aniket Nikam) leaves a huge mark. Sikandar Kher (Kazmi; lawyer) and Ashish Vidyarthi (M L Tahilyani; judge) deliver terrific performances. Jaideep Ahlawat (Chaudhary Zulfiqar Ali) is superb in a special appearance. All in all, Prahaar is a well-made film on an important chapter from history.

My rating - *** ½ out of 5!

Fenil's Bollywood Talk # 956


WILL NAYYI NAVELLI AND PRAHAAR WORK AT THE BOX OFFICE?

Tomorrow will see the release of two mid-sized but exciting films at the box office. Both the movies may not do well on the first day but have the potential to pick up if reports are on their side.

Nayyi Navelli stars Yami Gautam in the lead and marks her first association with director Aanand L Rai. The idea is very interesting - a woman is suspected of being a daayan by her husband's family, leading to madness. Yami's casting has further added to the buzz. This is her immediate release after her National Award win and therefore, the timing is just right.

However, the buzz is still limited for the film. But due to Yami Gautam and the horror-comedy genre, it'll definitely entice a section of moviegoers to check out the film. As of now, it looks like it'll open at Rs. 2-3 crores.

Prahaar, on the other hand, stars Rajkummar Rao as public prosecutor Ujjwal Nikam and focuses on how the 26/11 terrorist Ajmal Kasab was convicted of his crimes. The teaser was decent but the trailer was quite powerful and managed to catch attention.

However, the film belongs to the niche genre and therefore, it would attract only some section of the moviegoers. Also, as it’s a Mumbai-based story, it’ll largely appeal to the people of the city. That’s the ugly truth of our country – people in other parts of India simply shun stories based in Mumbai. This was also visible in the box office performance of films based on the Mumbai underworld like Satya, Shootout At Lokhandwala, Shootout At Wadala, etc. Prahaar, sadly, will go the same way.

The courtroom drama should open at Rs. 1.50-2 crore and may go higher. Both films have released at a great time. Monday is holiday of sorts while Dussehra falls on Tuesday. In other words, these films will enjoy a five-day weekend.

(Crisp) Movie Review: JAILER 2 by FENIL SETA


Jailer was a fun, timepass watch and usually, sequels are not as good as the first part. But Jailer 2 is an exception. It begins on a rocking note and nicely takes the story forward from where the first part ended. The massy moments, obviously, are memorable. But the film also scores big on the humour quotient. In fact, the first half relies more on humour than action. However, whenever the action and massy moments kick in, they are sure to send the audience into a frenzy. The special appearances further add to the fun. On the flipside, the interest dips at the beginning of the second half. A few developments are convenient. Agreed that the Jailer series belongs to a space where one is not supposed to look for logic. Yet, these loopholes dent the impact, more so when they crop up even in emotional scenes. Speaking of performances, Rajinikanth is simply outstanding. At the age of 75, he continues to pull off such a performance with effortless swagger and charisma. Hats off! Vidya Balan looks stunning and delivers a stupendous performance. S J Suryah, as expected, rocks the show, while Mithun Chakraborty, too, makes his presence felt. Namo Narayana (Moorthi) is the surprise package of the film, and in some scenes in the first half, he even overshadows Rajinikanth! Yogi Babu raises laughs, while Suraj Venjaramoodu (Dileep) is memorable. As for the cameos, Hrithik Roshan steals the show, followed by Shiva Rajkumar, Mohanlal and Jackie Shroff. All in all, Jailer 2 is not just a worthy sequel but also manages to surpass the first part.

My rating - *** ½ out of 5!

Ramayana makers plan a special screening at Rashtrapati Bhavan

(L-R) Ravie Dubey, Ranbir Kapoor, and Sai Pallavi in the film. Pics/Youtube, Yogen Shah

Mohar Basu (MID-DAY; October 14, 2026)

November 5 is when filmmaker Nitesh Tiwari’s ambitious epic, ‘Ramayana: Part 1’, will reach the audience. Interestingly, the Ranbir Kapoor, Sai Pallavi, and Yash-starrer will also reach the corridors of power that day. mid-day has learnt that the film will be screened for political leaders at Rashtrapati Bhavan in Delhi. The makers are said to be currently seeking the required permissions for the event.

A source revealed, “The Rashtrapati Bhavan screening is being planned for the same day as the film’s worldwide release, adding a high-profile engagement to the launch of Indian cinema’s most ambitious project. The event is yet to be officially confirmed, with the team understood to be pursuing the necessary permissions.” Kapoor, Pallavi, and Yash are expected to attend the screening along with Tiwari.

The makers are also working on two premieres, one in Mumbai that will be held at the Nita Mukesh Ambani Cultural Centre, and another in Delhi for dignitaries. 

mid-day reached out to the film’s production team, which didn’t respond till press time.

We had 15-20 versions of the ending, says Drishyam The Conclusion co-writer Aamil Keeyan Khan

(L-R) Parveez Shaikh, Abhishek Pathak, and Aamil Keeyan Khan. Pics/Youtube, By Special Arrangement
(L-R) Parveez Shaikh, Abhishek Pathak, and Aamil Keeyan Khan. Pics/YouTube, By Special Arrangement

Drishyam The Conclusion co-writer Aamil Keeyan Khan shares how the team reworked their original story several times to stay one step ahead of the audience
Upala KBR (MID-DAY; October 14, 2026)

Big risk, big reward holds true for Drishyam The Conclusion. Writer-director Abhishek Pathak crafted an original story for the Ajay Devgn, Tabu, and Jaideep Ahlawat-starrer, departing from the Malayalam franchise on which the first two instalments were based. Now, the win is for all to see as the suspense thriller’s threequel has reportedly grossed over Rs 300 crore in India. Aamil Keeyan Khan, who co-wrote the screenplay and wrote the dialogues, attributes its success to Pathak’s vision and Devgn’s faith in it.   

“Ajay sir stood behind us like a rock, supporting us in whatever we did. We narrated the first draft to him in April 2025, he loved it. After that, we made a lot of revisions and he was on board with everything,” recalled Khan of how they closed the story that began eight years ago when Devgn’s Vijay Salgaonkar and his family covered up an accidental murder. 

Besides not relying on the Malayalam Drishyam 3, the Hindi counterpart had another challenge — Akshaye Khanna walked out of the film a week before it rolled. The writers quickly reworked the script, and Pathak roped in Ahlawat. Easier said than done.

Khan recounted, “We had to set Jaideep sir’s character dynamics with other players, and we had to deliver in seven days! We wrote 100 drafts for some scenes. We even had 15-20 versions of the ending. It was a humongous challenge as people had seen the first two parts and we had to surprise them. A lot of [the script] was scrapped and rewritten in those seven days.”

One question remained constant as they shaped and reshaped the story: how dark would Vijay Salgaonkar turn to save his family? “Vijay is doing the wrong thing for the right cause. There were so many drafts where he has gone much darker and then we pulled ourselves back, thinking, ‘Is that really Vijay?’ We toyed with the idea of him going completely dark.”

Shah Rukh Khan starts filming final schedule of King in Mumbai ahead of December release

Shah Rukh Khan in King. Pic via X

Shah Rukh Khan has kicked off the final schedule of his upcoming action thriller King in Mumbai with action sequences and an additional song with Suhana Khan lined up
Mohar Basu (MID-DAY; October 13, 2026)

With only two months to go for King’s release, has the Shah Rukh Khan-starrer reached the finish line? It’s nearly there. Filmmaker Siddharth Anand kicked off the action extravaganza’s final schedule on October 11 in Goregaon, Mumbai. In the line-up are some action set-pieces and an additional song featuring Suhana Khan.

A source close to the production revealed, “The cast and crew resumed shooting on Sunday. From October 12, they began filming an action sequence with Shah Rukh at a studio in Andheri East. The idea is to wrap up all the action portions by mid-October after which Siddharth will turn his attention to the song that has been recently added.”

We’re told it’s a dance number that will showcase Suhana’s skills. The source added, “Choreographers Piyush Bhagat and Shazia Samji are working on the track. It will be shot at a massive set in Film City. Simultaneously, the team is wrapping up the movie’s visual effects ahead of its December 24 release.” 

King also stars Deepika Padukone, Rani Mukerji, Abhishek Bachchan, and Jaideep Ahlawat.

Ravi Kishan on playing Lord Ram in Ayodhya Ki Ramleela: "Dara hua hoon"


Deep Saxena (HINDUSTAN TIMES; October 13, 2026)

Actor and Parliamentarian Ravi Kishan, who will be essaying the role of Shri Ram at Ayodhya Ki Ramleela on October 19 and 20 in New Delhi, with the event being telecast worldwide, says he is "scared" to play the deity on stage.

He tells HT City, “Pehli baar Shri Ram ke roop dharan karne ka saubhagya mila and I pray and wish that He enters my body and gives me the energy to perform with grace. I have earlier played Parashuram and Kevat, as a kid I have played Mata Sita as well, and in a TV serial I have essayed the role of Shri Krishna as well, but this is different. I always want to play Shri Ram”

Admitting that he is feeling more scared than he does on screen, he says, "Andar se dara hua hoon! I believe for an actor that fear and scare is very important when you go on the stage, and this is the role of Shri Ram, so all the more reason to get it right… In the subconscious mind it's always there that any mistake does not happen."

Drawing a parallel between stage and screen, he says, "You can't afford to go wrong or improvise and have to stay within the bound script and character. I can have all the experience, but after all we are humans and anyone can commit mistakes! I try to give my 100% and that has resulted in the success of my roles in Mirzapur The Movie, Maamla Legal Hai and Laapatta Ladies."

He recalls that being a son of a priest, he has grown up listening to tales of Shri Ram and Mahadev, and now he is getting the chance. "It's not only about that act – chahrey pe soumyata, shaleenta, saiyam, ekagrita, because you portray the character of puroshon mein uttam Shri Ram. The entire world will watch and on live telecast over 50 crore people will watch it on Doordarshan, OTT and YouTube live streamings."

On his prep, he says, "The great thing is that we are in Navratri and I am fasting, so with a shudh body and pure soul I will essay the role. I am a vegetarian and have been on a special diet to look lean. Before the Ram Leela I will shave off my moustaches and am keeping myself calm and composed so that I can portray the role perfectly."

Mrunal Thakur reveals she hasn't signed any film in nine months

Mrunal Thakur

Priyanka Sharma (MID-DAY; October 13, 2026)

Is Mrunal Thakur a part of Raaka? Is she not? For almost two years, the actor’s name has been linked with Allu Arjun and director Atlee’s ambitious sci-fi actioner, but Thakur has been tight-lipped. So, when we caught up with her recently, we asked her the inevitable.

Evading a confirmation or denial, she told mid-day, “I haven’t signed any film in almost nine months. I’m waiting for a meaningful role to come [my way]. Now, whatever announcement has to happen, it will happen on my social media handle and then I’d love to talk about it.”

It’s been a busy 2026 for Thakur with four releases — Do Deewane Seher Mein, Hai Jawani Toh Ishq Hona Hai, Dacoit: A Love Story, and the recent Pooja Meri Jaan. While the Hindi Zee5 film won her praise, none of her theatrical outings was a success.

But that doesn’t mean the actor is not flooded with offers. “I am at the top of offers. But I don’t resonate with the stories that are being made. So, I have chosen to take some time off because I don’t want to question why I’m on set every day,” she said.

Is it the dominating genre of action spectacles that has put her off? The choice stems from a deeper place.

“I have to spend 120 days on a movie set. So, it’s my conscious effort to sign movies that give me not just love and recognition, but also creative satisfaction. When I go to bed, I don’t want to think that I did bad work. I want to do good work that will be remembered even 30 years down the line.”

Producers at odds with PVR Inox over ‘charges’ proposed in lieu of VPF


Rajesh Naidu (THE ECONOMIC TIMES; October 13, 2026)

Disagreements among producers over alternatives proposed by multiplex segment leader PVR Inox to Virtual Print Fee (VPF) are growing, as the choices being offered seemingly fall short of their main demand of escaping costs associated with digitally delivering films to theatres.

The alternatives proposed so far amount to substituting one charge by another and maintaining status quo for exhibitors, producers and law firms told ET.

A month ago, PVR Inox proposed to the Competition Commission of India (CCI) to abolish VPF charges and instead it proposed to offer either of the two alternatives: A fixed per-show Exhibition Service Charge (ESC), or a Revised Revenue Share (RRS) formula where the share is capped at 7.5%.

Producers said that these alternatives do not provide cost relief. These alternatives only change the timing of payment to exhibitors to post release.

“On balance, the structure appears more favourable to exhibitors because they remain compensated in either of the two alternatives,” said Suniel Wadhwa, co-founder and director, Karmic Films.

In 2007, India adopted the VPF model. Producers agreed to pay a fee to exhibitors for the costs incurred in graduating to a digital infrastructure ecosystem of delivering digital film prints to exhibitors. By 2015, almost every screen in India became digital. Despite this, the model continues to be in practice.

“VPF has become a guaranteed income for exhibitors who require huge capital to sustain operations,” explained Madhu Chaudhary Gadodia, deputy managing partner, Naik Naik & Company, a leading law firm.

Over the years, VPF has become a significant source of revenue for exhibitors. “India produces around 1,800 films a year. These films are distributed across 8,500 screens. This amounts to a significant revenue stream which exhibitors are unwilling to part with,” said producer Naveen Chandra.

A key aspect in these alternatives that has upset producers is the drop in their revenue share to 42.5% from 50% in the first week.

“Reducing the first-week distributor share from 50% to as low as 42.5% under the RRS model is a substantial concession,” said Wadhwa of Karmic Films.

“Cutting a producer’s share from 50% to 42.5% means a producer gets 15% less. On every Rs 1 lakh collected, a producer gets Rs 42,500 instead of Rs 50,000. And there is no upper limit. Once a film collects more than about Rs 2.8 lakh, the revenue share costs for producers are more than present VPF costs,” explained Nitika Nagar Mohandas, associate partner designate, Naik Naik & Company.

Law firms shared that each of the two alternatives serve distinct purposes depending upon a film’s potential collection and size.

“If I believe I have a very strong film, I will take the per-show charge. This is because the rate drops after 60 shows and I keep my full revenue share. For a small film, where expectations are modest, the revenue share is the safer bet. This is because one pays only if the film earns,” explained Madhu Chaudhary Gadodia of Naik Naik & Company.

In the fixed fee per show model, producers pay an exhibition service charge of Rs 450 per show (standard screens) and Rs 600 (premium screens) for the first 60 shows. Subsequently, the charges fall to Rs 250 and Rs 350 respectively after 60 shows. The average VPF charge per screen is up to Rs 25,000.

When contacted to seek the company’s views about the proposals, a PVR Inox spokesperson said: "The commitments proposed holistically address the specific concerns identified in the CCI’s prima facie order….It introduces a uniform and non-discriminatory, choice-based framework for all producers.”

We Indians stereotype our own communities on screen-Vidyut Jammwal


Vishakha Pandit (HINDUSTAN TIMES; October 12, 2026)

Playing Dhalsim, an Indian yogi and martial artist, in the upcoming video game adaptation Street Fighter, actor Vidyut Jammwal says he is struck by how well his international collaborators understand Indian culture. Making his Hollywood debut with the film, he believes the experience has also made him reflect on how Indians perceive their own representation on screen.

“They see us exactly the way we are meant to be seen; only we see them thinking that they are seeing us like this,” he says, reflecting on whether Indian actors are still being offered characters that fit familiar stereotypes. He points to the portrayal of Sardars in Indian cinema as an example of how the industry has often relied on caricatures of its own communities. “We Indians have a problem, we see Sardars as somebody you can joke about in movies till people like Diljit Dosanjh and other spectacular Sardars came,” he says.

Speaking about his co-stars’ connection with India, Vidyut points out that 50 Cent has visited the country repeatedly, while Momoa’s interest in Indian culture and Cody Rhodes’ curiosity about the country’s audiences have challenged his assumptions about how international stars view India. “50 Cent has come to India more than a lot of Indians living abroad. Jason loves everything he knows about India, and Cody wants to come to India because he believes what Roman has told him, that Indians are crazy about watching action live,” he says.

For Jammwal, the conversation around representation is not limited to how international cinema portrays India. He believes the country’s cultural traditions and identities deserve to be understood in their entirety. His character in Street Fighter, he points out, represents much more than yoga. “But Dhalsim is not just a yogi, he is the Kalaripayatt practitioner. He’s a person who’s dedicated his life to martial arts and we Indians are like this. We’ve dedicated our lives to so many things. We are the flag bearers of yoga, martial arts. In the real sense,” he says.

The actor also feels a personal connection with Dhalsim, whose discipline and philosophy resonate with his own approach to life. “It’s a complete autobiographical role for me. Like, everything, like he’s a yogi who will fight for a cause otherwise he’ll not fight. He’s highly skilled but he will only fight if he has to really stand up for a cause. His breathing is one of his fortes and I enjoy breathing a lot in awareness. I talk about it, I post videos on it, I do stories on it, I display it. So it was like quite, it was meant to come to me,” he says.

What particularly impresses Jammwal is the research that went into finding an Indian actor for the character. He says the film’s producers and director took the time to understand his work and personality before approaching him. “The first thing was that the producer and the director have really worked on looking for this character. Like the hard work they’ve done to find an Indian actor with the character that they wanted to merge of Street Fighter. The research they’ve done is incredible,” he says.

His first conversation with director Kitao Sakurai further reinforced that impression. “When I spoke to the director who’s Japanese-American, I was impressed with the fact that he really has watched my movies. He’s watched my interviews to know that if he’s the real thing. And for me, it was amazing. It was easy for me to experience somebody who’s done everything, all the research. He knows everything about me, my past, my meditations. And the first call was about everything about breathing and how I do it. So, it was good to be in a conversation with somebody who knows more about you than a lot of people,” he says.

Sakurai’s approach to cultural representation also leaves an impression on the actor. “Kitao, who’s a Japanese-born American, is so particular about the sensibility of the culture and the religion that it impresses me,” Jammwal says, adding that the experience challenges assumptions about how people from outside India understand its traditions.

Despite making his Hollywood debut in a film featuring some of the biggest names in international entertainment, Jammwal says the prospect of working on a global platform does not weigh on him. Instead, he approaches the opportunity with excitement. “There was no pressure. There was only excitement,” he says, describing the experience as an opportunity to learn, connect with his co-stars and take his work to a wider audience.