Vivek Oberoi to star in film on Balakot air strikesVivek Oberoi to star in film on Balakot air strikes

Washington D.C., Jan 16: Barbara Broccoli, who has since long been the producer of the James Bond franchise, recently clarified in an interview that the 007 character won't be played by a woman in the forthcoming rendition.

Broccoli, accompanied by her half brother and fellow producer Michael G. Wilson, told Variety: "He can be of any color, but he is male."

She went on to say: "I believe we should be creating new characters for women -- strong female characters. I'm not particularly interested in taking a male character and having a woman play it. I think women are far more interesting than that."

According to Fox News, the current Bond hero, Daniel Craig, announced last November that he would cease to play the legendary character once he is done with the upcoming 'No Time To Die' movie that is scheduled for release in coming April.

Commenting on Daniel parting ways with the franchise, Broccoli said: "I'm in total denial. I've accepted what Daniel has said, but I'm still in denial. It's too traumatic for me."

Fox News reported last July that the British Actress Lashana Lynch could possibly star in the 2020 Bond flick, but such speculations were dispelled once the trailer for the movie was brought out last December.

Nalgonda,  Jul 5: Bollywood filmmaker Ram Gopal Varma has been booked in connection with his upcoming film 'Murder' which is based on Pranay Kumar's murder in Nalgonda district.

Ram Gopal Varma was booked following Nalgonda court's directive on a petition filed by father of a man who was killed in an alleged honour killing incident in Miryalaguda in 2018.

"We have booked filmmaker Ram Gopal Varma following a court order for his upcoming movie 'Murder', which is based on sensational caste-based Pranay Kumar's murder that occurred in Miryalguda, Nalgonda District in September 2018, " Police said.

On June 21, the filmmaker has released the poster of 'Murder', based on a true story.
Police said, "Pranay's father Balaswamy has filed a petition in Nalgonda Court stating that the film will affect the on-going trial of Pranay's murder case and the film should be stalled."

"We've registered a case under relevant section of SC/ST (Prevention of Atrocities) Amendment Act and taken up investigation."

"The court has ordered Nalgonda police to register a case against the film director Ram Gopal Varma and the producer," added the police.

Feb 10: Bong Joon-ho’s film “Parasite” starts in a dingy, half-basement apartment with a family of four barely able to scratch out a life. There must be no place to go but up, right? Yes and no. There’s nothing predictable when the South Korean director is on his game.

This dark, socially conscious film about the intertwining of two families is an intricately plotted, adult thriller. We can go up, for sure, but Bong can also take us deeper down. There’s always an extra floor somewhere in this masterpiece.

It tells the story of the impoverished four-person Kim family who, one by one, and with careful and devious planning, all get employed by the four-person affluent Park family — as a tutor, an art teacher, a driver and a housekeeper. They are imposters stunned by the way wealth can make things easier: “Money is an iron. It smooths out all the creases,” says the Park patriarch with wonder.

Bong, who directed and wrote the story for “Parasite,” has picked his title carefully, of course. Naturally, he’s alluding to the sycophantic relationship by a clan of scammers to the clueless rich who have unwittingly opened the doors of their home on a hill. But it’s not that simple. The rich family seem incapable of doing anything — from dishes to sex — without help. Who’s scamming who?

Bong’s previous films play with film genres and never hide their social commentary — think of the environmentalist pig-caper “Okja” and the dystopian sci-fi global warming scream “Snowpiercer.” But this time, Bong’s canvas is a thousand times smaller and his focus light-years more intense. There are no CGI train chases on mountains or car chases through cities. (There is also, thankfully, 100% less Tilda Swinton, a frequent, over-the-top Bong collaborator.

The two Korean families first make contact when a friend of the Kim’s son asks him to take over English lessons for the Park daughter. Soon the son (a dreamy Choi Woo-sik) convinces them to hire his sister (the excellent Park So-dam) as an art teacher, but doesn’t reveal it’s his sis. She forges her diploma and spews arty nonsense she learned on the internet, impressing the polite but firm Park matriarch (a superb Jo Yeo-jeong.)

The Park’s regular chauffer is soon let go and replaced by the Kim patriarch (a steely Lee Sun-kyun). Ditto the housemaid, who is dumped in favor of the Kims’ mother (a feisty Jang Hye-jin.) All eight people seem happy with the new arrangement until Bong reveals a twist: There are more parasites than you imagined. The clean, impeccably furnished Park home will have some blood splashing about.

Bong’s trademark slapstick is still here but the rough edges of his often too-loud lessons are shaved down nicely and his actors step forward. “Keep it focused,” the Kim’s son counsels his father at one point. Bong has followed that advice.

There are typically dazzling Bong touches throughout. Just look for all the insect references — stink bugs at the beginning to flies at the end, and a preoccupation with odor across the frames. And there’s a scene in which the rich matriarch skillfully winds noodles in a bowl while, in another room, duct tape is being wrapped around a victim and classical music plays.

Bong could have been more strident in his social critique but hasn’t. There are no villains in “Parasite” — and also no heroes. Both families are forever broken after chafing against each other, a bleak message about the classes ever really co-existing (Take that, “Downton Abbey”).

“Parasite” is a worthy winner of the Palme d’Or at the Cannes Film Festival, the first South Korean movie to win the prestigious top prize. The director has called it an “unstoppably fierce tragicomedy.” We just call it brilliant.