Katrina, Salman skip Karan Johar's birthday bash

Washington D.C., Mar 1: British actor Daniel Radcliffe in a recent interview said he is not rushing back to reprise the role of young wizard, Harry Potter, anytime soon.

The 30-year-old star who rose to fame with the first eight films in J.K. Rowling's famed franchise, told Variety that he doesn't like to say no to things but reprising the role in the 'Fantastic Beasts' prequels is not something he's "rushing to do".

"I feel like those films have moved on and they're doing just fine without us. I'm happy to keep it that way. I like what my life is now," Radcliffe told the outlet.

"I'm not saying that I'll never go back into any franchise, but I like the flexibility that I have with my career now. And I don't want to get into a situation where I'm signed up for one series for years in advance," cited Variety as Radcliffe as saying.

Radcliffe is currently gearing up for his upcoming mystery-thriller 'Escape from Pretoria,' a true-life prison drama, where he is set to essay the character Tim Jenkin.

The forthcoming flick is set to hit the theatres on March 6.

Mumbai, Jun 30: Actor Aamir Khan on Tuesday issued a statement and confirmed that some of his staff members have tested positive for COVID-19, while the rest of his family members have tested negative.

Khan also announced that he was taking his mother for a COVID-19 test and urged his fans to pray for her test to come out as negative.

The '3 Idiots' star put out the statement on Instagram and said, "This is to inform you that some of my staff have tested positive. They were immediately quarantined, and BMC officials were very prompt and efficient in taking them to a medical facility."

Thanking the Brihanmumbai Municipal Corporation (BMC) for their precautionary steps, he added, "I would like to thank the BMC for taking such good care of them, and for fumigating and sterilising the entire society."

Informing about the health of his family members, the 'Thugs of Hindostan' actor added, "The rest of us have all been tested and found negative," and informed that, "Right now I am taking my mother to get her tested. She is the last person in the loop. Please pray that she is negative."

Thanking the BMC, and hospital authorities for their swift prompt, he added, "I would, once again, like to thank the BMC for the prompt, professional and caring manner in which they helped us. And a big thank you to Kokilaben Hospital and the doctors, nurses and staff there. They were very caring and professional with the testing process."

Aamir also urged his fans to be safe amid the coronavirus outbreak.

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.