CCI to file case against Aamir Khan

Los Angeles, Mar 6: Filmmaker-writer Taika Waititi is set to direct two animated series based on Roald Dahl's "Charlie and the Chocolate Factory" for Netflix.

Waititi, who won an Academy Award in February for his adapted screenplay, "Jojo Rabbit", will also serve as the writer and producer on the animated series.

According to Deadline, the first series will be based on the world of "Charlie and the Chocolate Factory", while the second will be an original take on the Oompa-Loompa characters from the book.

The Oompa-Loompas are little humans who were preyed upon in Loompaland before Wonka invited them to work at his chocolate factory. They are paid in cocoa beans and love practical jokes and singing songs.

Netflix said the animation series would "retain the quintessential spirit and tone of the original story while building out the world and characters far beyond the pages of the Dahl book for the very first time."

The series will follow in the footsteps of Gene Wilder's 1971 portrayal of Willy Wonka and Johnny Depp's 2005 interpretation.

New Delhi, Jun 27: Priyanka Chopra Jonas on Friday condemned the alleged custodial deaths of a man and his son who were arrested for allegedly violating lockdown restrictions in Tuticorin district of Tamil Nadu on June 19.

The 37-year-old actor who is currently staying with her husband Nick Jonas in America took to Twitter to post her statement and asked for the guilty to be punished.

"Reeling from what I'm hearing. Absolutely stunned, sad, and angry. No human being deserves such brutality, whatever be their crime," said Jonas.

"The guilty must not be allowed to go unpunished. We need facts. I cannot even begin to imagine what the family must be going through," she added.

Priyanka went on to urge people to use their collective voice to seek justice for the deceased.

"Sending strength and prayers. We need to use our collective voices to seek #JusticeForJayarajandBennicks," her statement further read.

The father-son duo from Tuticorin was allegedly brutally punished by the police before succumbing to injuries.

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.