I never understood what the scene meant by "hum match cricket ground pe nahi hare" it's been so long since I watched that movie but I never really understood the meaning. Was it just that yuvi was cooler??

after looking at the poster of ayushmann khurana and sharvari's upcoming film, i js felt idk... quite empty looking at its poster. it felt so basic and dull. it didn't have the spark at all. it's not js this film, this applies to most of the films that r being released nowadays. there are a few exceptions like dhurandhar, however, the rest feel incomplete and bland asf. (the sikander poster still tramautises me to this day, it looks like an incomplete mess. the poster for metro... in dino feels monotone as compared to the life in the metro's poster 💔💔💔)

man, im rlly craving for the old, fun, versatile posters we had back in the day

(in order: cocktail, om shanti om, veer-zaara, wakeup sid, krrish, krrish 3, tamasha, don, yjhd, a flying jatt, barfi, znmd)

Source: https://www.instagram.com/p/DfBobm8IB8z/YWYxemsxeGhjcWd0

A window to the neigbour

Diamonds in a doll

A villian chasing the diamonds

3 protagonists:

One has lost his partner - Shyam and Arup

One doesn't have a partner- Baburao and Nitin

One's partner is held as ransom- Raju and Tashi

At the end- Theres a showdown between all the parties

Finally- The diamonds are lost, the protagonists walk away innocent with their new found love.

I watched Baar Baar Dekho years ago as a kid, and back then, I remember thinking the whole concept of time changing every time Sidharth Malhotra opened his eyes was so fascinating. I watched it again yesterday, and honestly, it felt like watching a completely different movie.
This time, I realised it was never just about the concept or the fun of it. It was about life, love, time, priorities, and how easily we get so caught up in planning our future that we forget to actually live in the present.
And considering how fast the world is moving today, I feel like its message is more relevant than ever. We’re constantly chasing the next thing, thinking we’ll be happy once we achieve it, while life is happening right in front of us.
I know the movie has its flaws, and the performances might not be everyone’s favourite, but I genuinely loved how beautifully the message was presented. It made me wonder why Bollywood doesn’t make more movies like this anymore.
If you watched Baar Baar Dekho years ago, I’d genuinely recommend watching it again. You might see it very differently this time around.

Source: https://www.instagram.com/p/De-_qZpIeqA/

Source

https://www.instagram.com/p/DfADr3Poytf/

Source: https://varietyindia.com/paatal-lok-director-avinash-arun-steps-away-from-the-series-says-sudip-sharma-will-helm-season-3-exclusive/

The third season of Paatal Lok will be directed by the creator of the show, Sudip Sharma.

Being a fan of vikramaditya motwane ,i decided to watch lootera finally, i wanted to see for myself why people on the internet call it underrated and hail this film as a masterpiece and let me tell you ,for the first half that emotion stood valid.film looked classy and stood really strong in the first half .the romance felt real,acting was flawless and every scene was so beautiful with the strongest interval point.
But movie falls back with its writing in the second half,where they wanted to adapt the last leaf .that part felt very shoehorned into the film and something that needed to be integrated better into the premise of the film. Pakhi’s obsession with the tree and its leaves felt unnatural and i personally didnt feel the gravity of it at all. Why she connected her own life with the tree? When the tree itself was introduced after the interval ,when i feel chekov’s gun should be introuced in the first half to make it come in play letter ,but i dont remember if the tree had any significance before interval. Sonakshi was so cute in this film hehe.

We often talk about the best comedy actors in Bollywood, but I think we should also discuss the directors behind some of our most memorable comedy films.

For me, Priyadarshan, Rajkumar Santoshi, and David Dhawan are three of the best when it comes to comedy, but all three have very different styles..

Priyadarshan is a master of situational comedy. Movies like Hera Pheri, Hungama, Hulchul, Bhagam Bhag, and Garam Masala show how well he can handle multiple characters, misunderstandings, and chaotic situations..He is also quite versatile, having directed films like Virasat and Gardish.

Rajkumar Santoshi is my personal favourite among these three. I feel his comedy has a certain originality and naturalness that makes it stand out. Andaz Apna Apna is the perfect example. The humour, characters, dialogues, and performances come together in a way that still feels fresh. He has also made films like Ajab Prem Ki Ghazab Kahani. What makes him even more impressive is his versatility. From Ghayal, Damini, and Ghatak to The Legend of Bhagat Singh, he has explored very different genres.

David Dhawan is probably the king of mainstream commercial comedy. His collaborations with Govinda gave us classics like Coolie No. 1, Hero No. 1, Haseena Maan Jaayegi, and Saajan Chale Sasural. ..

For me Santoshi is better than both of two because of originality and better comic timing..

I know many people might put Priyadarshan at number one, and I can understand why. But personally, I find Santoshi's approach to comedy more distinctive, especially when we consider his work outside the genre as well...

What's your thoughts on this...let's share your views..

We’ve heard this debate many times, but I want to bring it up again. Is Shahid Kapoor actually the better actor among the two Kapoors of this generation?

Ranbir Kapoor has an incredible filmography, with movies like Rockstar, Barfi, Tamasha, and Animal. He has consistently delivered memorable performances and has an excellent track record of choosing interesting roles.

However, I feel Shahid Kapoor has greater acting range and untapped potential. Look at his performances in Jab We Met, Kaminey, Haider, Udta Punjab, and Badmaash Company. He has shown that he can handle romance, comedy, intense dramas, and dark, complex characters.

I think Ranbir might have the edge in filmography, but does Shahid have the edge in acting range and versatility...

What's your thoughts on this...let's share your opinion..

My Mom, who has studied drama, says that a good actor is one who can play comedy role well without making it look cringe. Cause almost everyone can pull of a good serious acting, cry, but only a good actor can pull off both, serious roles and comedy roles. And for me my all time favourite will always be these too.
So who are you all time favourite versatile actors.
(Inframe: Supriya Pathak and Deepak Dobriyal)

Source: https://www.instagram.com/reel/De8jw27ILpR/b25uaGFxN2s3OGEz

Source: https://www.bollywoodhungama.com/news/bollywood/breaking-akshay-kumars-mohra-to-clash-with-ranbir-kapoor-yashs-ramayana-this-diwali-gupt-tridev-yudh-and-vidhaata-re-releases-also-planned/

Trimurti Films is also planning 4K re-releases of other films like Vidhaata (1982), Gupt (1997), etc

Source: https://www.instagram.com/p/De8s9Sjl3cN/MTYxaWhybms5YXFsNw==

Cast: Manoj Pahwa, Mihir Ahuja, Neelu Kohli, Aurora Bhatnagar Badoni

Just look at 90's bollywood villains. You can see that terror in their face. The best thing which I find is their role clearly displays their intentions. Like gulshan grover for eve teasing role, Prem Chopra for back biting role etc etc. you can easily feel the weight of their presence whenever their scene comes. Plus they used to even do experiment with their looks in a non cringey way to make their character more menacing, amrish puri is the greatest epitome of it.

But. Why is current bollywood lacking villains? Literally anybody is becoming villain without that quality. There's no screen presence, no menacing quality. You will hardly recall a single decent villain in modern times. For now, old Bollywood heroes are becoming villains, which is ok but their role doesn't really display their character. Like something is forced 🫩🥀

Anyways, what are your thoughts about it?

And that's a wrap! 🎬❤️

The final category of our Best of Bollywood Community Vote has concluded!

Munna Bhai M.B.B.S. (2003) wins Best Feel-Good with 127 upvotes, narrowly defeating some seriously strong competition from 3 Idiots (2009), which finished with 115 upvotes.

What a way to end this journey. 🥹

🏆 The Complete Best of Bollywood Hall of Fame

Romance — Veer-Zaara (2004)

Action — Kill (2024)

Comedy — Hera Pheri (2000)

Drama — Kabhi Khushi Kabhie Gham... (2001)

Thriller — Andhadhun (2018)

Horror — Tumbbad (2018)

Biopic — Bhaag Milkha Bhaag (2013)

Family — Hum Aapke Hain Koun..! (1994)

Gangster — Gangs of Wasseypur (2012)

Cop — Sarfarosh (1999)

Sci-Fi — Mr. India (1987)

Fantasy — Jajantaram Mamantaram (2003)

Sports — Chak De! India (2007)

Best Film — Sholay (1975)

Experimental — No Smoking (2007)

Feel-Good — Munna Bhai M.B.B.S. (2003)

❤️ A Huge Thank You!

First of all, thank you to everyone who participated throughout this series — whether you nominated your favourite films, upvoted other people's choices, debated the results, or simply followed along.

The best part of this project was seeing people come together to celebrate Hindi cinema, from iconic classics and beloved blockbusters to unconventional films that deserve more appreciation. Of course, not everyone will agree with every winner, and that's part of what makes cinema so special!

A special thank-you to the r/bollywood moderation team for allowing this series to happen under the subreddit's rules and giving us the opportunity to complete all 16 categories. I genuinely appreciate the permission and support.

And finally, thank you for making this little community project possible. From the first category to this final showdown, it's been a wonderful journey through Bollywood. ❤️

Sixteen categories. Sixteen winners. One Hall of Fame.

Which winner are you happiest to see, and which category result surprised you the most?

Thanks for being part of this. Until next time, keep celebrating cinema. See you at the movies! 🎬🍿

Today I rewatched shoot out at lokhandwal ​(2007). I don't think anyone else from that era could've played Maya Dolas better than Vivek Oberoi.

Redditors who love gangster movies or were following Bollywood in the 2000s would remember how Vivek was being touted as the next big thing. I agree he did some stupid roles and made some questionable choices along the way, but watching him in this movie makes you wonder how things might've turned out differently.

Tbh, I'm not even a die-hard fan of his, but the guy clearly had the acting chops back then. I honestly don't know where things went wrong with him. Was it his own decisions, the roles he chose, or the opportunities he didn't get that held him back? Don't you guys think Vivek Oberoi wasted his potential, or did Bollywood overlook his talent & waste a genuinely good actor?

If you sat through the post credits scene of Animal, you would be aware that the "Animal Kingdom" has got another one out there only more vicious, sadistic & brutal than the first one.

Ranbir would be playing a double role for Ranvijay Singh Balbir & Aziz Haq in Animal Park.

The interesting thing here is that in Animal's post credit scene Aziz's voice is actually Sandeep Reddy Vanga's voice. Do you think he's going to lend his voice for the entirety of Animal Park? Who would you like to see Aziz Haq's real face in Animal Park?

I've been trying to understand how money actually flows in the Indian film industry between producers, distributors, and theatre owners, but most explanations only discuss box office gross collections without explaining who earns what.

I want to understand the actual business model across Indian cinema, including Bollywood and South Indian film industries.

Let's take a hypothetical example:

• Production budget: ₹50 crore
• Marketing expenses: ₹10 crore
• Total investment: ₹60 crore
• India box office gross: ₹150 crore

My questions:

1. How is the ₹150 crore gross collection divided between GST, theatre owners, distributors, and producers? Can someone show the actual calculation step by step?
2. What percentage do theatre owners keep, and what percentage goes to distributors? Does this change every week?
3. How do distributors actually make profits? If a distributor buys theatrical rights for ₹40 crore, how much does the movie need to collect for them to break even?
4. How does the producer earn money from theatrical collections? Do they sell the rights before release or receive a percentage of the collections?
5. What's the difference between Minimum Guarantee (MG), outright distribution, commission-based distribution, and revenue sharing? How does the maths work for each?
6. If a film earns ₹150 crore at the box office but costs ₹60 crore to produce and market, does that automatically make it profitable? How do we calculate the actual profit or loss for each party?
7. Can a movie be a hit for the producer but a flop for the distributor or theatre owner?
8. Do these calculations differ between Bollywood, Telugu, Tamil, Malayalam, and Kannada industries?

What I'm really looking for is a realistic financial breakdown.

For example, if a film collects ₹100 crore gross in India:

• GST = ₹?
• Theatre owners receive = ₹?
• Distributors receive = ₹?
• Producers receive = ₹?
• Actual profit/loss for each = ₹?

I understand that contracts differ, but even an approximate calculation using common Indian industry practices would be extremely helpful.

I'd especially appreciate answers from people with experience in film distribution, exhibition, production, or box office economics.

I want to understand the actual maths behind Indian cinema, not just box office numbers reported in the media.