From border roads to Char Dham routes infrastructure is changing Uttarakhand's destiny.
Bollywood actor Akshay Kumar playfully responded to the announcement of his wife Twinkle Khanna and Kajol hosting a new talk show titled 'Two Much with Kajol and Twinkle' on Prime Video. Sharing the show's poster on his Instagram Story, he quipped,'Already scared just seeing you two together on the poster, can't imagine the chaos on the actual show.'His witty reaction has gone viral, adding to the excitement around the dynamic duo's upcoming unfiltered celebrity chat series. Akshay's playful fear reflects the show's promise of candid, bold conversations.
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Time of India
20 minutes ago
- Time of India
Flashback Fun: When Kajol asked fans, 'Married or ditched more?' in this throwback post
Kajol brought back the charm of the late '90s with a delightful throwback post from 'Kuch Kuch Hota Hai', a film that continues to hold a special place in the hearts of Bollywood lovers. Earlier this year in January, she took to Instagram and posted a still from the song Saajanji Ghar Aaye, dressed as the bride Anjali. But it wasn't just the photo that caught attention—it was her playful caption that sparked curiosity. 'Is it bridal season still? Hey I got married on screen quite a few times and ditched as well! Which did I do more of??' she wrote, leaving fans to debate whether her characters tied the knot more often or left their love interests hanging. Reliving Anjali's journey In 'Kuch Kuch Hota Hai', Kajol played Anjali—first as the tomboyish best friend, then as the graceful bride-to-be. The film took a dramatic turn after the interval, where Anjali transforms not just in appearance but in her emotions. Caught between two men—Rahul, her college best friend played by Shah Rukh Khan , and Aman, her fiancé played by Salman Khan—Anjali eventually chooses to follow her heart. In the now-iconic climax, she ends up ditching Aman at the altar and reuniting with Rahul, much to the delight of fans. The photo Kajol posted comes from that very wedding sequence, making her cheeky caption all the more relevant. Looking Back on 25 Years of KKHH Marking 25 years of 'Kuch Kuch Hota Hai', Kajol reflected on the film's enduring legacy with warmth. 'Stepping back into Anjali's shoes after 25 years ( couldn't find the basketball though). So many memories and love attached to this film.. So glad that everyone loves it as much as I do,' she wrote. What's next for Kajol? On the work front, Kajol is gearing up for her next project—'Sarzameen', an action thriller slated for release on July 25. 'Already Scared' Akshay Kumar Reacts to Wife Twinkle & Kajol's Talk Show Tease
India Today
an hour ago
- India Today
Sarzameen review: A film that forgets Sar, loses Zameen, still thinks it's patriotic
Another day, another story of maksad, jung, a lopsided sense of nationalism, and emotional arcs that Bollywood never gets entirely right while attempting a patriotic drama without jingoism. 'Sarzameen', from Karan Johar's Dharma Productions, has absolutely nothing that works - not for the genre, not for the makers, not for the actors and certainly not for the audience. The twist is not twisted enough, and the story seems to be written with the most fictionalised understanding of how the Indian Army or even terrorist outfits trailer already revealed the premise: an army officer's son is abducted, and he eventually turns into a terrorist after a life-altering incident. What the trailer didn't prepare us for was how the film takes this promising hook and turns it into a dull, baffling Ali Khan is not convincing as the rebellious son-turned-terrorist, and Prithviraj Sukumaran, despite his natural intensity, seems abandoned by both the writing (Ayush Soni, Kayoze Irani) and direction (Kayoze Irani, a debutant). Kajol, as the boy's mother, seems partly loud and partly lost - a character built on emotional cliches rather than real experiences. And then there's the believability - or the complete lack of it. Which national agency, in reality, would allow a terrorist to freely keep and raise an army officer's son? What kind of protocol-breaking, logic-defying world does this film operate in? Even more baffling is the portrayal of the army officer's wife. Anyone remotely familiar with the families of our armed forces would know the strength and dignity they carry - especially the women who stand tall in the face of unimaginable loss. We've seen them offer salutes, not screams, even as their loved ones return draped in the national flag. But here, Kajol's character is reduced to a howling, emotionally erratic version of a mother, stripped of the very steel that defines so many real-life army wives. Nothing dramatic, just deeply disconnected from reality.'Sarzameen' tries to be a film about the human cost of war, about radicalisation, and about how fragile the line is between loyalty and betrayal. But it ends up being a muddled mess of half-baked ideologies, lazy writing, and loud background music trying to make up for the lack of real intensity. You don't feel for the boy, you don't root for the father, and you don't mourn for the mother. The film never earns you do fall for the stunning Kashmir scenery. The place is pure magic, and you feel it - every single time the camera glides from lush meadows to endless skies embroidered with silver-tipped mountains. It's the one thing that stirs genuine emotion: the land itself, not the story unfolding on the action sequences - usually a saving grace in these dramas - feel strangely inert, like they were choreographed without stakes. The tension is missing, the urgency is absent, and the cinematography doesn't elevate the material beyond average. A subject this politically sensitive and emotionally rich deserved a far better saying 'Sarzameen' is all style and no soul would have been generous - it boils down to empty monologues and staggeringly flat performances, with Ibrahim struggling to rise above high-school-play levels of conviction. Watch it if you want to see how a promising idea can be flattened by poor execution.- Ends1.5 stars out of 5 for 'Sarzameen'.Trending Reel
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First Post
2 hours ago
- First Post
Kajol, Prithviraj Sukumaran, Ibrahim Ali Khan's 'Sarzameen' movie review: The most forgettable take on terrorism in recent times
Only if that supposed twist towards the climax was not undone. Where are Gupt, Khakee, and Fida when you need them? read more Cast: Kajol, Prithviraj Sukumaran, Ibrahim Ali Khan Director: Kayoze Irani Language: Hindi The backdrop is Kashmir again. A voiceover by Boman Irani with gorgeous and ghastly visuals of the state is the opening frame of Kayoze Irani's directorial debut titled Sarzameen. Irani Sr. made his directorial debut last year with a part-petite and part-pulsating ode to fatherhood titled The Mehta Boys. Irani Jr. doesn't take a different route, he creates a new path. For a first time director to grapple with an issue as delicate and difficult as Kashmir is tricky. Action director Tinnu Varma did that with Maa Tujhe Salaam, and of course Aditya Dhar with the 2019 URI: The Surgical Strike. But does Kayoze have the rigor or the razor-sharp vision to pull the material off? As the story progresses, we see the debutant has made an attempt to dig deeper into political commentary and complexities juxtaposed with personal turmoil and tensions. STORY CONTINUES BELOW THIS AD Sarzameen ensures it presents its hero heroically. So we don't see Prithviraj Sukumaran's face just so easily. We first see his lips, a smirk, a command, and then a warning. It's only after the damage is done we see him sprinting in slow motion, which is followed by a stiff and swift combat. We then meet the woman who commands the man who commands his men. This character is Meher (an omnipresent Kajol). What binds the directorial debuts of the Iranis is the father-son conflict that forms the central theme of the story. In The Mehta Boys, it was the long distance that strained the relationship due to the silences. In Sarzameen, it's the closeness that becomes the reason for the father's resentment as the son stutters and struggles to speak. One can see the purpose, but also the predictability. And the way the early scenes are staged, you know exactly what's going to happen next. The gatekeepers will turn out to be the ghosts that will haunt the central character and his family only because he refused to abide by the cliched demands. By when will these fictional terrorists realize Indian soldiers are not even half as pliant as they assume? All the tried and tested pandemonium unfolds as a forgettable qawwali number takes centre stage. An urgent phone call is not responded to because the owner is far away busy dancing. This is no Bajrangi Bhaijaan, so any room for miraculous goodness is obliterated. There's also a tinge of Ramesh Sippy's Shakti. Duty or son? This didn't strike me until a late night message from a friend who asked me if it was similar to that 1982 drama. It became all the more familiar when Vijay says his motherland comes first. The fact that the father is called Vijay 42 years later is no coincidence. However, Sarzameen also has the perspective of the mother, what's unfortunate is that the role is essayed by Kajol. By now, she can safely call herself a veteran of tear jerking stories and terrorism clashes. (Fanaa, My Name Is Khan, and the most recent Maa- She was a mother in all three). But the actress who has made a solid career out of some of the most emotionally stirring breakdown scenes struggles with cosmetic tears here, and the title song tries its best to camouflage the surprisingly emptiness in a crucial scene. The distance between the husband and the wife in this scene suggests the marriage is going to crumble. The half-effective Mission Kashmir (2000) got the bruises of the mother right as the son grew up to be what he never wanted to. Ditto for Fiza, both starring Hrithik Roshan in the same year. This character here is given to Ibrahim Ali Khan. His acting debut Nadaaniyan was unfortunately received rather brutally with scathing reviews all over. His second choice could be best described as Imran Khan moving from Jaane Tu Ya Jaane Na to Kidnap within a span of three months. This (mis)step seems intentional to tell the world there's a lot more to them than their chocolate boy aura. At least for Imran, his debut is still a fresh part of the pop culture. Ibrahim didn't fair that smoothly. Those muscles and ripped body do half the job. The gunshot to his head is deceptive for anyone who saw the trailer. This is the basic problem with Kayoze Irani's directorial debut. You are always one step ahead of the people who inhabit the story, which is never a good sign. STORY CONTINUES BELOW THIS AD The most baffling aspect of Sarzameen is the climax with a twist that's never milked to its juiciness. That's because the makers are too busy screeching the idea about humanity and hatred with two fine actors unleashing their most one-note performances in recent times. The action scenes are raw and the final shot before the final shot is the second time they cheat the audiences. Don't be fooled when the end credits begin. This has to be a unique case where there are two end credits. Marvel and DC would be crying in one corner. Only if that supposed twist was not undone. Where are Gupt, Khakee, and Fida when you need them? Rating: 2 (out of 5 stars) Sarzameen is now streaming on Jio Hotstar
