Singham (2011) marks a milestone in Rohit Shetty's career, as in it was his first non-comedic project which was successful at the box office. It helped erase the "comedy director" mark on him. It was also after Singham that he became recognizable to the general public, as he started appearing on TV shows such as Comedy Circus and Khatron Ke Khiladi as a judge.

As for the film, while its first two acts are good as they closely follow the original Tamil film, its third act is messed up big time. The antagonist having all but won and the protagonist deciding to take the law in his own hands in desperation, is a hallmark of more cynical and realist films such as Ardh Satya or Shool, not an escapist crowd-pleaser like Singham. By going down that path, the makers dilute the message as well as entertainment factor. This becomes more stark when compared to the original, where the protagonist battles the antagonist using both brawn and brain, systematically dismantling his criminal empire, ending where it is the antagonist who makes a fatal move in desperation, in turn giving the protagonist the excuse to move in for the final attack.

I'll go first: Vicky Kaushal in Uri. I didn't pay much attention to him in Raazi, and I hadn't even watched any movies of his before that. After Uri, I became a fan.

Which is that one specific performance of an actor that changed your view of them?

With the decade nearing its end, many people feel the 2020s may have overtaken the 1980s as Bollywood’s weakest era. The 2010s had their ups and downs, but the first half of the decade (2010–2015) was noticeably stronger than the latter half (2016–2019). It was also the last period when Bollywood consistently produced memorable music that is still played at weddings and celebrations today. It was an era when the industry’s biggest superstars, especially the Khans, still dominated and remained major cultural icons.

The 2020s have felt very different. Since the pandemic, Bollywood has struggled creatively, with a lack of originality in both films and music. The rise of OTT platforms, streaming services, and social media has fundamentally changed how audiences consume entertainment. At the same time, there appears to be a shortage of breakout Gen Z actors and actresses, as older stars continue to overshadow the younger generation. Many young viewers have also shifted their attention toward Hollywood films, Korean dramas, and other stuff outside of Bollywood, making Bollywood seem less relevant to today’s youth than it once was.

I don’t think Bollywood is ever gonna recover from this damage.

Most Hindi film dialogue is written to be heard, not believed. Characters say exactly what they mean, explain their feelings out loud, and never talk around anything.

But occasionally a film breaks this and the dialogue just disappears into the scene. You stop noticing it as writing and just hear two people talking.

Gullak does this every episode. Panchayat too. Masaan has stretches where you forget someone wrote these lines. And some older ones, Ijaazat, Jaane Bhi Do Yaaron.

Which film or specific scene had dialogue that felt genuinely real to you? And flip side: which film's dialogue pulled you completely out of the story because it sounded too written?

Source: https://www.instagram.com/p/DbC_1ieDFyk/Z2ExcmM1bHc2MTFl

Written and directed by Richie Mehta (creator of Delhi Crime and Poacher)

Cast: Sneha Kumari, Anurag Thakur, Vikram Pratap Singh, Aakash Dahiya, Prateek Pachori, Dev Dutt Budholiya

Based on an impoverished 17-year-old girl who went on to become one of the country's most infamous outlaws, Phoolan chronicles a defining chapter in the life of Phoolan Devi - a brutal 48-hour siege mounted by more than 2,000 armed men who surrounded a village in an attempt to kill her. The film is inspired by the 1997 book "I, Phoolan - The Autobiography of India's Bandit Queen".

Phoolan will be screened at the Toronto International Film Festival on September 16 at the Princess of Wales Theatre as part of the Special Presentations section.

Hindi is not my first language. I know there are a lot of haters but there's something about hindi films of this 1995-2005 era that gives me very good feeling and I really enjoy watching them. The rich NRI setup, mansions and colleges set in Europe and shown as India, the exaggerations, the cringe fest... I know, but I enjoy all of that!

But then I realise it's not every movie of this era. There is this specific pattern or something in it. But for some reason I can't understand what exactly it is!

I really enjoyed DDLJ, KKKG, KKHH, Mere yaar ki shaadi hai, Mohabbatein and so on. If Romance or Yashraj was the factor, I should have liked other movies too. But I DID NOT enjoy Fanaa, Hum Tum, Hum aapke hai kaun, Veer Zara.

Now my question is... Can somebody please try to understand what the decisive factor here is... And suggest me some bollywood movies like these?

I rarely see anyone mention EMI- liya hai to chukana padega , whenever underrated Bollywood movies are discussed, and I think it deserves more attention...

Sanjay Dutt, Arjun Rampal, Ashish Chaudhary, Urmila Matondkar, and Malaika Arora are the lead cast and the film revolves around a concept that still feels relevant today, EMIs, loans, debt, and how financial pressure can completely change people's lives. It mixes comedy with drama while exploring a subject that wasn't very common in mainstream Bollywood back then.

Today, conversations around credit cards, personal loans, home loans, and EMI culture are common, which makes the film feel even more relevant in today's time...

What's your thoughts about this one? Do you watch this movie or not? Let's share your views...

My both hands salute to those 2000's era warriors who entered the theatre with Rs. 250 tickets, popcorn, coke, burger & handled these cult flops.

(Movies Name for your FYI: Mela, Jaani Dushman - Ek Anokhi Prem Kahani, Saawariya, Desh-Drohi, Ram Gopal Varma Ki Aag, Love Story 2050).

Kabir was introduced as this suave, cool and no-nonsense agent in War. He was more level-headed and smarter than ​Pathaan and Tiger and relied on his intelligence and skills instead of intuition or brute force. Among the 3 male spies he seemed the most dangerous and lethal and there were hints in War that he wasn't afraid of going down dark paths to complete his objectives.

But then Aditya Chopra and Ayan Mukherji had this brilliant idea of giving him not one but two moronic and unnecessary backstories in War 2 (childhood with Jr. NTR which was supposed to be a "tribute" to 70s masala movies and early romance with Kiara where they couldn't deage him). As of that wasn't enough they gave him the nickname "Kabbu". Even parodies aren't this insulting. It's like they did literally everything to dumb down his character as much as possible.

Inspite of it's faults, War ​was an entertaining action-thriller where the main focus was on stunts and action sequences and a fun plot. It felt like Bollywood finally understood why Mission Impossible works so well. There were no unnecessary melodramatic scenes and neither was it stupid. By making everything dumb and stupid and using their shitty VFX ​for ridiculously boring action scenes in War 2 it seemed like YRF somehow learned all the worst lessons. They could've taken Kabir on a darker adventure and it's maddening to see the amount of potential they foolishly squandered. All the mystery surrounding him was destroyed in just one film. Out of the 3 agents he was the most interesting one and they wasted him completely.

Edit - Just saw the comments about his cameo in Alpha, I'd forgotten that atrocity completely.

How shameless do you have to be to have hundreds of people, massive budgets, endless resources, and entire teams of grown adults working full-time, only to put out movies like Dhamaal 4, Bhoot Bangla, War 2, Alpha, and then go on a promotional tour telling people, "Don't use your brain."

It should immediately tell you everything you need to know about the movie. But somehow... it doesn't. What's even more insane is people ACTUALLY DEFENDING THIS STANCE. Some lobotomized person commented:

"Leave your brain at home and just enjoy. Purely for entertainment. No logic, only magic. Even I liked it very much but a lot of logic is missing" ... for an OTT.......

Do people even hear themselves?

Nobody is asking for every movie to be some 200 IQ masterpiece. Nobody is asking for Interstellar every Friday. We're asking for BASIC EFFORT. If your entire defense is "don't think," then what are all these people even getting paid for?

The whole "don't use your brain" thing has become a free pass for lazy writing, plot holes, inconsistent characters, convenient storytelling, and zero accountability. Apparently expecting things to make sense is asking for too much now.

And the saddest part is... it works. As long as there's demand, there will be supply. If people keep accepting this shit (YES PEOPLE ARE STUPID, THERE I SAID IT), why would they ever put in more effort? Why spend more time writing a better script when the audience itself is saying, "Bro, just turn your brain off."

And now AI is here, making the lack of passion even more obvious. You can literally see it. One AI shot, looks decent enough, call it final. One AI-generated asset, good enough, move on. No refinement, no polish, no passion. Just the fastest way to finish the project and cash the cheque.

The cash grab has become so in your face, especially with these boomer directors (almost all old age directors) , writer(frahad samji has everyone cds) and actors (Akshay, Ajay, Salman, Amir, Sharukh) romancing and exploiting actresses young enough to be their poti...pathetic.

Only realized today that both Namastey London (2007) & Namaste England (2018) were directed by Vipul Amrutlal Shah. On paper, they don't seem worlds apart similar backdrop, similar themes, same director. But somehow they've ended up occupying completely different places in Bollywood's memory. Correct me if i'm wrong Namastey London had a great songs, movie plot & still finds its way into conversations every now & then. Namaste England (Arjun Kapoor - 2018) rarely does. This movie was torture.

Do you think that's because one has genuinely held up better over time & was clicked well with the audience in 2007 (Namaste London), or is it simply a case of nostalgia making us remember one era of Bollywood more fondly than another?

There was a phase when Bollywood regularly made small-budget comedy films that relied more on good writing, characters, and situational humor than on huge stars or massive budgets. Sadly, many of them didn't become mainstream hits but have aged really well.

My personal favorites are -

Luv Shuv Tey Chicken Khurana (2012) – A warm, offbeat Punjabi comedy with great characters ..

Mere Dad Ki Maruti (2013) - A fun, fast-paced comedy packed with hilarious situations and family chaos. Yrf is producer of this movie..

Do Dooni Chaar (2010) - A heartwarming middle-class family comedy with brilliant performances from Rishi Kapoor and Neetu Kapoor.

Chalo Dilli (2011) - Vinay Pathak and Lara Dutta were brilliant, and it's one of the most underrated road-comedies Bollywood has made.

you've watched these, which one is your favorite? And what other underrated comedy would you recommend? Please share your views and opinions...

I recently was watching 'Daawet-e-ishq' a 'Yash Raj Films' romantic comedy, many years ago I saw this movie in a movie theatre. Packed theatre enjoying, cut to 10 years later this movie gave me so much of nostalgia.. that I felt how as a generation has grown up.. the light hearted and non perfect movies are dying a slow death. 

When was the last time you saw a rom com? This genre was a kickstart for several new actors, still some continued to dominate with it Like 'Imran Khan' and 'Ranbir Kapoor. 'It was the ultimate escapism and at the same time these were also called as the date movies.

The journey of romcoms in Hindi Cinema has a journey of its own. 90's was the time when more than the serious romantic dramas.. the comedy by 'Govinda', likes and charm of 'Shah Rukh Khan' ,'Salman Khan' & 'Aamir Khan.' All were excelling with this genre. It gave birth to an epitome of coolness & fashion. A movie doesn't need to be  a really a big spectacle for it to work.. It can have 2 leads.. good direction and writing.. but what elevated it the most was the 'MUSIC.'

I mean 2000's and 90's have still the songs that are being played today in games, events and weddings. Do today's songs have that relevance? Do even people remember them. No, at that time music was created for the story and film not like today that is created to bring the buzz around for the film through instagram reels. Even if you look back.. the music was so powerful enough to bring audiences to the movies. Seriously when I see 'Pritam' in everybody's spotify wrapped by the end of the year. It becomes irritating at a point that do we have really one composer left. No doubt his talent is marvellous.. but there is a need for fresh music.. also what has happened to 'AR. RAHMAN?' 'Chhaava' had the most average Background score for a historical epic war film. 

Everything changed post late 2010's. The idea for an event film is only the product placement producers have because streaming changed everything. Even streaming gives you a wide range of new romantic films.. but it really works as a call back to other films rather than presenting something new & fresh. 

Saif Ali Khan was always considered not a big star or an ctor.. it all change when 'Kal Ho Naa ho' came and the 'Hum Tum', 'Salaam Namaste', 'Love aaj kal.'The list goes on. The guy ruled the genre. All these movies were western in their approach but their ability to tell the story for the hindi speaking audience made them more as a love story , having a strong emotional core.

'Aditya Chopra during the documentary 'The Romantics' stated that In india we don't do rom coms we do love stories. While talking about his movie 'Rab ne bana di jodi.' Also adressing that 'Befikre' was supposed to be the modern Aditya Chopra, but sadly failed because maybe audience for ready for something like this but alteast not for him. 

I mean two of the biggest production house 'Dharma Productions' and 'Yash Raj Films' were banking on romantic films. Both 'Aditya Chopra' and 'Karan Johar.' were masters of it. Even when I see 'Rocky aur Rani kii prem kahaani', it works.. but all of it comes once in a blue moon.

Hindi cinema is known for blending every genre into one film. The songs & dance were the part of our culture. Even though cinema brings gems like 'Dhurandhar' and  'Animal.'Raging Alpha male decade we can call the  2020's. Sadly what was the era of genres of everykind, has disappeared. Needs a solid comeback, but also we don't have really good young mid 20's or early 30's actor who can actually do something without the PR drama and actually delivering. 

Main Vaapas Aaunga in 2026 seems to be the only exception, felt like a breath of fresh air. Hoping more of these original and amazing movies in Hindi Cinema!

Nostalgia aside. Maybe someday something will change.

i see people loving the plot and the movie as a whole with its music and everything. but it leaves me confused about its ending. why did armaan voluntarily throw his car into the sea? is it similar to why Surjan's car got deviated towards the sea? did armaan also have hallucinations of simran? i am not getting a satisfactory answer anywhere.

Most people think the debate is just about "artistic freedom." I think it's much bigger than that. It's about culture and audience.

Tom Cruise fought against the studio to ensure Top Gun: Maverick received a proper theatrical release instead of going straight to streaming. At the film's global premiere, when he was asked why he had fought so hard for theaters, he replied:

"The cultural impact of movie theatres can't be matched."

It summed up most of the things because distribution shapes culture.

Whether it's the controversy around Satluj, or the endless calls to ban films like Kabir Singh and Animal, the conversation is usually framed as "this film shouldn't exist."

But what happens if we keep removing films that make some people uncomfortable?

You don't just censor a filmmaker. You reshape the audience. You decide which stories are allowed to enter public conversation and which aren't. You can remove an audience.

Indian television is a perfect example. As every major channel chased the same saas-bahu formula, they didn't just change programming, they alienated huge sections of the audience.

Many viewers, especially males, stopped watching regular TV altogether and only returned for shows like KBC or TMKOC. Television became culturally narrower because the variety disappeared.

Cinema works the same way.

A healthy film culture isn't built by making only fewer kind of films. It's built by allowing radically different films to coexist- commercial entertainers, uncomfortable character studies, political dramas, romances, art-house films, everything.

Once you start deciding that certain kinds of stories shouldn't even reach audiences, you're not just censoring films.

You're deciding what kind of culture gets to exist.

You're playing with cultural influence of movies.

The three biggest stars of the '70s- Amitabh Bachchan, Rajesh Khanna, and Dharmendra- never acted in a film together.

History repeated itself with Shah Rukh Khan, Salman Khan, and Aamir Khan. Despite ruling Bollywood for over three decades, they never shared the screen in a full-fledged film.

Now that all three are in their 60s... is it finally time?

Would you want to see the three Khans together on the big screen? Is it possible?

The Action category has concluded!

Kill (2024) stormed to victory with 215 upvotes, earning its place as Bollywood's representative for Action on the Hall of Fame grid.

A quick correction regarding last week's Romance category: I had initially announced Jab We Met (2007) as the winner based on the standings at the time I checked. However, after revisiting the final vote count, Veer-Zaara (2004) had finished with the highest number of upvotes before the voting period officially ended. The grid has now been updated to reflect the correct result.

Current Winners:

❤️ Romance — Veer-Zaara (2004)

💥 Action — Kill (2024)

Now it's time for Comedy.

Which Bollywood film deserves the Comedy spot on the Hall of Fame grid?

Rules:

- Bollywood/Hindi films only.

- One film per comment.

- Upvote existing nominations instead of reposting them.

- The highest-upvoted comment at the end of the week wins.

- In case of a tie, the higher-ranked comment at the close of voting will be declared the winner.

Winner will be announced next Sunday at 9 PM IST along with the next category.

P.S. My bet is on any 2000s Akshay movie

From director Navjot Gulati

Pooja Meri Jaan is a thriller with stalking and social message.

Mrunal Thakur plays the titular role Pooja. Huma Qureshi is the other leading actor in the movie.

Film was shot in 2022. But Maddock is only releasing this now. (OTT deal issues?)

This one has the promise of a good movie and a strong performance from Mrunal.

Okay so I'm tryna get more into bollywood. Can you guys recommend some movies with well written female characters or just movies which are centred around women.

Well, I don't know about IMDB, Rotten tomatoes, but this movie is actually a great movie to watch honestly. I mean, in some scenes Salman did overacted a bit, but honestly it did make me watch without checking my phone and all. I might get down voted but I don't think the IMDB rating justifies the movie.

I am not a critique or something but that's what my understanding is, please do help me with your thoughts.