| | | | At this point in time, it's perhaps too much to expect Kartik Aaryan to do a film where he isn't the embodiment of male victimhood. Like his past films, Pati, Patni aur Woh also conforms to the same mould and wouldn't be terribly out of place in Luv Ranjan's 'women-are-trash' universe.
Now one can only cautiously hope that come Valentine's Day, when the actor will be seen in Imtiaz Ali's sequel to Love Aaj Kal, we see a departure from the lowkey toxicity that is a permanent fixture in his movies.
Speaking of toxicity, December is only half-begun and we're yet to see Salman Khan's Dabangg 3, which drops in a couple of weeks. In fact, the last few weeks of 2019 have another tentpole, Akshay Kumar's Good Newz.
Meawhile, watch out for our list of best films of the year and of the decade, which will be dropping in the coming days!
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| | | | In his continuous attempts to channelise discourse around the historically oppressed group of straight upper caste men, Kartik Aaryan yet again plays a role we’ve seen him play before. From spouting monologues about male victimhood in chic Bombay apartments, the milieu has shifted to the ‘charmingly rustic’ city of Kanpur, never mind that it’s one of India’s most polluted cities. And things are worse than ever before....
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| | | | | | Often, historical dramas tell us more about our present than they do about history. What does the battle of Panipat and its present-day depiction tell us about ourselves? While watching the film, it’s hard to not think of the surprising and ideologically-clashing alliance that emerged in Maharashtra (Shiv Sena-NCP-Congress) to keep the BJP in check. Maybe there’s a lesson in here somewhere for Uddhav Thackerey. |
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