gurgaon hindi movie review

Gurgaon Movie Review: Akshay Oberoi, Ragini Khanna's Film Is Splendidly Crafted

Gurgaon movie review: pankaj tripathi delivers a classy performance. the film bears the stamp of cinematic craftsmen who know their art..

Gurgaon Movie Review: Akshay Oberoi, Ragini Khanna on the film's poster (Image courtesy: iraginikhanna )

Gurgaon Movie Review: Ragini Khanna in a still from film

"Inspired by true events", the film delves into a murky world infested with land sharks, satta operators, petty criminals and dangerous drifters. A young, ambitious woman with a mind of her own parachutes into this cesspool. Sibling envy rears its head. A kidnap goes horribly wrong. Skeletons tumble out of the family's creaking closet. This certainly isn't a place for talented women like Preet Singh (Ragini Khanna) , who returns from the US with a degree in architecture and is all set to take over the reins of the thriving construction empire that her father, one-time impoverished farmer Kehri Singh (Pankaj Tripathi), built on dodgy foundations. A brief introduction presages the unfolding of an unrelentingly grim scenario in which unspeakably horrid crimes are committed and plenty of blood is spilled. A jungle has its laws - laws laid down by nature, the lead-in tells us. But in this particular ' gaon ', rules are broken at will. Everybody fancies himself as a hunter here, but there is little left for them to hunt. The resultant turf wars are violent and disastrous. One defining scene in Gurgaon plays out entirely in the form of a reflection in a mirror. We see a worried Preet slouched in the lower left corner of the frame. Sophie (Anna Ador), her American friend, physically monopolises the visual composition. The latter can't fathom why Preet has agreed to marry a guy of her father's choice. "It's complicated... Every inch of land that my father owns is in my name. I cannot say no to him," confesses the reluctant inheritor. What she says next sums up exactly what she's got into: "I'm terrified, I don't want to be sucked into my family business... I shouldn't have come back." But now that she is back, she must learn how not to sink. That's what the battle is about. Preet's brother, Nikki (Akshay Oberoi), peeved at being summarily sidelined, detests the girl that his parents "picked up from the gutter at the behest of some holy man". The reason for the adoption is anything but altruistic.  

Gurgaon Movie Review: Pankaj Tripathi in a still from film

Nikki and his lackeys impulsively place a bet on Virender Sehwag hitting an ODI ton. The batsman falls one short. Trouble erupts when the bookie demands his dough. Given only three days to find the money, Nikki loses his bearings. The consequences are catastrophic. We may have encountered some of these products of urban alienation before, but Gurgaon deviates from norm in many ways. For one, it definitely isn't derivative of the gangster films that emanate from Mumbai's independent cinema space. While it does place itself unmistakably in a specific place and time, it breaks free from the geographical location of the title to subtly articulate an overarching statement on unsustainable urban growth and the social fissures that it causes. The screenplay (Shanker Raman, Sourabh Ratnu and Yogi Singha, with dialogues by Vipin Bhati) invokes multiple themes - female infanticide, predatory land deals, forest encroachment and illegal cricket betting - and uses the various narrative strands to paint a harrowing portrait of urban dystopia. Gurgaon also projects the family not as the kind of benign unit of safety and well-being that much of popular Hindi cinema is predicated on, but as a conflicted, unstable and damaging entity. It also turns the 'sacrosanct' brother-sister bond, another standard mainstream Bollywood trope, on its head and pushes it towards a treacherously and openly adversarial relationship. Dinner time in Kehri's Singh's opulent home isn't an occasion for warm conversation. The very first such sequence lays bare the simmering tensions. The magnate's feckless younger son Chintu (Ashish Verma) fishes out a flyer for a gym that Nikki intends to launch. Kehri shoots the proposal down. The property, he declares dismissively, will house Preet's office. Nikki swallows his pride and sulks. It is easy to see why Nikki is such an empty shell, emotionally drained out and constantly on a short fuse. With him around, a minor skirmish on the dance floor in a watering hole can snowball into a full-on brawl. Preet steps in to stop him from raining blows on the object of his fury. She receives a mouthful in return. Also privy to the dark secrets of this family is policeman Bhupi Hooda (Aamir Bashir), Kehri Singh's brother-in-law. A hustler, he is summoned for a firefighting mission when an unforeseen crisis rattles the family. Bhupi's methods are no less brutal than those that he is on the trail of. Watch the trailer here:  

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Gurgaon movie review: An intense ride for a very niche audience

Bollywood Bubble

• August 2, 2017
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• Gurgaon movie review: An inten ...

Directed By:  Shanker Raman Produced By: Jar Pictures Cast: Akshay Oberoi, Pankaj Tripathi, Ragini Khanna Duration:  1 hours 47 minutes Bollywood Bubble Rating: 3/5

When a daughter is born in a family, everyone says, “ Lakshmi hui hai. ” But, we still live in a country with places where daughters are not accepted with open arms.

Today we watched a film titled ‘Gurgaon’. We are sure not many of you have heard about it because it has not been promoted at many reality shows, nor does it have songs that can get millions of views on YouTube. But, then we have always heard and even seen in case of few films that ‘content is the king’.

‘Gurgaon’ is about Kerry Singh (Pankaj Tripathi) who is having a great life with his wife and kids. Well, his love for his daughter Preet (Ragini Khanna) is unconditional and his each and every business is named after her. This is something that doesn’t go down well with his son Nikki (Akshay Oberoi). Once Nikki loses in betting and now, has to repay a huge amount. To get the money, he plans to kidnap his sister. But, things don’t go as planned. What happens next? For that you need to watch the film.

The story of the film is very good. The unwanted girl child angle is also wonderfully shown and there are sequences that will give you goosebumps. But, while the story of the movie is amazing, the screenplay lacks a very important thing. When we make a thriller the most important thing is the pace of the movie. In ‘Gurgaon’, the screenplay is very slow. There are no edge of the seat moments or scenes that excite you for what will happen next. The film starts on a pace and ends on the same pace, and that’s the biggest problem here.

Shanker Raman’s narration is realistic and makes the film intense. He doesn’t go overboard at any point to make the film look dramatised. The locations are apt, the accent of the actors are perfect and even the characters make us believe in them. But, as we said that the film’s pace is same throughout, Shanker’s narration is also very static in the whole film. The editing could have been much better. This film should have been more crisp. There’s not much scope for cinematography in the film.

Shanker Raman had some great actors in his hands, and he has used each one of them wonderfully. Pankaj Tripathi is excellent. Is there any role this actor can’t do? Akshay Oberoi is simply fantastic. With that cute-good looking face, he amazingly manages to play the bad guy. Ragini Khanna is superb in her role. It makes us wonder why was she away from the big screen for so long. Shalini Vatsa and Aamir Bashir are too good in their parts.

Talking about music, the songs are there in the background and they suit the film’s theme.

On the whole, ‘Gurgaon’ is very well intended film. If the pace of the movie was a bit fast, then this would have surely been one of the best noir thrillers. It’s an intense film for very niche audiences.

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Gurgaon movie review: You wouldn’t want to be trapped in this dark, mean world

If there is one film which showed similarly mean and dark characters, it is anurag kashyap’s ugly. not comparing gurgaon to the 2015 thriller, but the two films are on the same lines - both uncover the darkness that lies beneath the human skin and show us how mean we can be, even within our families..

Gurgaon Director: Shankar Raman Cast: Pankaj Tripathi, Ragini Khanna, Akshay Oberoi Rating: 3.5/5

Filmmaker Anurag Kashyap has been flooding his social media accounts with promotions for Gurgaon. A small-budget film, Gurgaon does not boast of stars or any major name from the industry. Pankaj Tripathi (who played Sultan in Gangs of Wasseypur) is the biggest name associated with it.

Then, why should you watch it? For its thrilling, dark and twisted story and the director’s understanding of our deep-rooted gender issues.

Shanker Raman makes his directorial debut with Gurgaon and has gathered a group of solid actors for the film. It’s a dark story of a family living in Gurgaon - the city - and the members struggling with their individual demons, of conscience and the past. Kehri Singh (Pankaj Tripathi) is a real estate baron, who rose from rags to riches and wants to retire, passing on the baton to his daughter Preeto (Ragini Khanna). What follows is a dark tale of the worst emotions human hearts can conjure up and the film brings forth the most meanest of twists to the family drama.

The film also gives us a blunt commentary on the way a rural area was transformed into a cyberhub that Gurgaon is today. There are farmers losing land to government officials and real estate agents, high-class pubs, farmhouses and discos, pieces of land waiting to be turned into new concrete jungles and more.

Apart from an authentic portrayal of the village-turned-metro city, Shankar also displays a deep sense of understanding the gender equations in our society. Without being offensive to either sides, he manages to depict the issues vis-a-vis our moral and family values.

The lingering dark frames and shaky camera add to the heavy impact that Gurgaon leaves.

If there is one film which showed similarly mean and dark characters, it is Anurag Kashyap’s Ugly. Not comparing Shankar’s film with the 2015 thriller, but the two films are on the same lines - both uncover the darkness that lies beneath the human skin and show us how mean we can be, even within our families. In fact, Shankar’s style of filmmaking is a reminder of Anurag Kashyap’s craft. The rawness of their characters, the unapologetic attitude and a sensible handling of social and gender equations is all there.

Pankaj Tripathi’s sturdy, brooding performance brings out his best while Ragini Khanna rises up to her character and delivers an impressive performance. Akshay and Shalini Vatsa (Pankaj’s wife in the film) too offer a restrained but strong act.

The narrative is, however, scarily slow. Though it works for some parts, it also takes away the thrill most of the times. Shanker lingers too much at almost every nook and corner of his twisty tale and that stops Gurgaon from becoming a gripping thriller. They could have easily done away with a good 15-20 minutes of the film for a sharper impact and intense experience.

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Sweta Kaushal has 13 years of experience covering Bollywood and regional movies, TV shows, national current affairs and social issues. ...view detail

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Gurgaon (2017)

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‘Gurgaon’ film review: Visually stunning but heavy-handed study of corruption and the Indian family

Shanker raman’s directorial debut examines the effect of a kidnapping on a wealthy property developer’s clan..

Shanker Raman’s first film as director – after stacking up several acclaimed credits as a cinematographer – is a visual treat. That is, if a relentlessly grim King Lear- esque account of an imploding family can be described as such.

Vivek Shah’s outstanding cinematography in Gurgaon conjures up a sepulchral world in blacks, browns and greys. Like Raman’s script, which has been written by the director and three collaborators, Shah’s camera looks hard into the moral void, producing memorable close-ups and frames in the process. The invisibility that cloaks even the daytime is one of many metaphors in a film whose title itself is portentous.

In Raman’s telling, ambition and aspiration have run their course in the metropolis that has come up on land that was only recently covered by farms. Farmer-turned-property developer Kehri Singh (Pankaj Tripathi) has a palatial home stuffed with luxurious accessories and expensive paintings, but his favourite spot seems to be his bar. No matter what the time of day, he always mixes himself several drinks at a time and speaks in a low rumble that screams “spent force”.

Some of Kehri’s earlier ambition has passed on to his son Nikki (Akshay Oberoi). While the father once ruthlessly transformed agricultural land into chrome-and-steel townships, Nikki’s concerns are far more modest – all he wants is a gym to pass the time between haunting nightclubs with his posse and to place high-value bets on cricket matches.

Kehri’s real inheritor is his beloved foreign-returned daughter Preet (Ragini Khanna), who he hopes will expand his empire. When Preet is abducted, Kehri is momentarily jolted out of his stupor by his wife (Shalini Vatsa), and he recruits his old associate Bhupi (Aamir Bashir) to track down the kidnapper.

Gurgaon isn’t a mystery – the kidnapper’s identity is revealed early on – but it certainly tries to milk the enigma. Preet’s fate is intertwined not only with Nikki’s present but also Kehri’s past, which is littered with crimes and questionable choices. Preet’s abduction forces the excavation of shallow graves, and every character walks about with dirt on their person.

This visually stunning world, with its brooding underlit frames and looming sense of dread, doesn’t always know what to do with its humans. Gurgaon has at least two striking performances, by Tripathi as the lush patriarch and Oberoi as his resentful son, but other characters struggle to emerge out of the void. At the top of the list of characters who float about trying to be counted is Srinivas Sunderrajan’s guitarist, who gets embroiled in the kidnapping for no conceivable reason.

Relentlessly grim and morbidly obsessed with the idea of punishment for every action big and small, Gurgaon suffers from an overweening emphasis on producing meaning. The characters are suffocated not by the claustrophobia of mutual distrust that Raman wants to create, but by the symbolism with which he weighs down every frame.

Raman’s battle has actually already been won by the title and the setting, but like the deep shadows in which the characters are trapped, he pushes his story towards points of no return. Events get unwieldy as the investigation into Preet’s abduction wears on, raising questions about Kehri Singh’s actual sphere of influence. The unsubtitled dialogue, most of which is in Haryanvi-inflected Hindi, clarifies matters that should best have been left unsaid.

Suggestion, rather than explanation, might have helped Gurgaon wholly fulfill its ambition of being a study of dystopia in a place that is held up as an example of all that is desirable about the market economy. The movie works best in fits and starts, especially when it lets itself by guided by its richly layered atmospherics.

Among the most effective scenes is the one in which Preet is kidnapped from her office. Minutes before Preet is abducted, she is looking at the scale model of a township in her name, which is her father’s gift to her and the bone of contention with her brother. The shadows are gathering around Preet, and one of them will materialise into her kidnapper, but an overhead light is throwing off a warm and inviting glow. It proves to be an illusion, like parts of Gurgaon itself.

• Akshay Oberoi
• Shanker Raman

• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

Gurgaon Hindi Movie

Gurgaon stands for endless shining high rises, large fancy malls and flashy powerful SUVs roaring down unmarked, untarred roads. This suburb in the country's capital was built by land sharks and bribes and shady deals with the government. But people would rather step into their fancy cars loaded with shopping bags than look at lawless frontier loaded with guns right across the street.

The director forces you to visit this underbelly of the suburb. There is no 'La Vie En Rose' here. There is blood and bribes and cruelty inside the fancy bungalows with tinted windows. Guns and patriarchy live here. And money that reeks of death.

Every visual in the film stays true to this promise. Take the flashback where Kehri Singh the farmer turns to violence in order to become Kehri Singh the builder. Beautiful innocent mustard fields become witness to fratricide. You watch in awe as his determination cannot be tripped by the cry of a baby. The film has been shot so beautifully that the tension which begins with daughter taking mirchi pakodas to her father as soon as she arrives from abroad stays until the moment where her mother is brooding over her death. The editing keeps you at the edge of the seat. And you realise that you too have taken sides with characters without being told who is right and who is wrong. The director's invisible hand is guiding you to look at things you never thought you'd see on screen.

How much can one hate one's better educated, smarter sibling who is clearly a favorite of the parents? If you said yes, then you will understand the simmering jealousy Nikki Singh (Akshay Oberoi) experiences when he sees how his drunk dad Kehri Singh (played brilliantly by Pankaj Tripathi) favors his sister Preet over him. Daddy-o crumples the plans of Nikki's Powerhouse Gym leaflet and wipes his fingers and throws it on his dinner plate like a used tissue with complete disregard. Pankaj Tripathi say very little, and it is a pity that he's shown rather drunk in most of the film, but his actions are nothing like a drunk person. His instincts are right. He brings in his estranged brother Hooda (Aamir Bashir in a surprise casting, well done!), who will come home to fix the crisis only on the behest of his wife (Shalini Vatsa). What crisis?

The vultures flying over dumped garbage may have an answer. Or men who will do anything for money. Or things that will go wrong.

Some will say there's too much of the Haryanvi dialect of Hindi being spoken in the film. There is that, but the raw language gnaws at you from the inside forcing you to look at the dark side of men. This film will not let you look away from the screen. You may not want to know people like those shown in the movie, but when you step out into the mall attached to the multiplex after the film, you might not want to go shopping. The film is that powerful.

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Gurgaon: Shanker Raman’s nihilistic film noir is the perfect primer for the lurid Love Hostel

Post credits scene: director shanker raman's underseen film noir has a smash-the-patriarchy spirit that has only grown in relevance since its release..

Basically the only thing that a movie needs to do to effectively foreshadow murder is to find a way of gently introducing that idea in the first act, either through dialogue, or, if the movie is feeling especially bold, by actually showing an on-screen death. You know, Chekhov’s gun… This is precisely the due diligence that director Shakun Batra neglected to do before having one of his two protagonists attempt to kill the other in his recent film Gehraiyaan. The twist, as many including me have pointed out, felt out of place in a movie that had thus far remained a tonally consistent relationship drama.

Gehraiyaan, in its final act, turned into what one viewer hilariously described on Twitter as ‘ameeron ka Crime Patrol’. Although Batra would probably still insist that it’s a ‘domestic noir’.

Either way, it is the latest in a new wave of mainstream Hindi noir movies that began around a decade-and-a-half ago, and has been dominated by directors such as Sriram Raghavan, Anurag Kashyap and Navdeep Singh. None of these films, unfortunately, ever quite broke out. In fact, there was a tier two to this resurgence in the genre’s popularity—a batch that was watched by even fewer people—that included films such as BA Pass, Monsoon Shootout, and the one that we’ve all gathered here to discuss: Gurgaon.

Released in 2016 with next to no buzz, the film was notable for many reasons. Perhaps most pertinently, it featured one of the earliest starring performances by the now-omnipresent Pankaj Tripathi, who, by the way, made the objectively bold (and frankly quite hilarious) choice to whisper his way through the entire movie. And second, it introduced the world to the talents of director Shanker Raman, whose reputation as a particularly militant nihilist will only be cemented by Love Hostel , his quietly brilliant and potentially explosive second feature that I’m not yet allowed to talk about, but can probably reveal is an excellent companion piece to his first.

It shares with Gurgaon not just an actor (Akshay Oberoi), and language (Haryanvi), but also themes such as patriarchy, parenthood, and predestination. Murder and bloodshed is sown into the very fabric of Raman’s movies.

As if to illustrate the point that I was trying to make about foreshadowing, Gurgaon opens with a shot of a car being pulled out of a lake, as a wry voiceover muses about mankind’s propensity for animalistic disorder in the background. We haven’t yet met a single character, but we know already that before the credits roll, someone important will die. Imagine my surprise when I realised that Raman isn’t the kind of filmmaker who likes to hold himself back. When he teases death, he means it.

Set against the backdrop of major infrastructural upheaval that leads to bureaucratic corruption and corporate crime—like Chinatown—Gurgaon adheres to the conventions of film noir. It also features mostly masculine characters trapped in a cycle of their own morally dubious decisions, haunted by sins of the past, and terrified by the mere idea of what the future holds. “Jaan de denge, jamin na denge,” a character says in the movie, in what has to be the most Gurgaon sentence ever uttered, besides, of course, “Bro, Cyber Hub mein parking full hai.”

But what makes Gurgaon a standout entry in the pantheon of Hindi neo-noir is its fascination with upending genre tropes—Raman dangles the carrot of progressiveness in front of the audience’s eyes, but in a bit of a genius move, cruelly yanks it away at the last moment, almost mocking you for believing, even for a moment, that these characters are capable of decency.

This is a black-hearted movie that is unafraid to push against the boundaries of good taste. It leads you to believe that it has a ‘smash the patriarchy’ spirit—it probably does, and in that regard, it’s idealistic—but it’s also a realist. Essentially, Gurgaon is about an emasculated man who decides that the only way to restore his battered pride is to remove the woman who is in his way. And in this movie, the woman in question happens to be his sister.

Clearly affected by past crimes—but in no way remorseful of them—Pankaj Tripathi’s Kehri Singh adopts a baby girl after a baba tells him that it will turn his fortunes around. It does, and so, Kehri Singh goes from being a lowly landowner to a real estate baron. He overcompensates by naming his business after his adopted daughter Preet, and makes her his sole inheritor. This leaves his biological son—his first born child, Nikki–extremely bitter. After blowing Rs 1 crore on a bad bet and finding himself in neck-deep trouble with a loan shark, Nikki hatches a plan to kidnap Preet in an ill-conceived shakedown scheme directed at his dad—it would be his revenge for everything that they’ve put him through, as well as an easy way to make a quick buck.

Raman establishes the antagonistic father-son relationship in Nikki’s first scene, as he gets whacked in the back for misbehaving with Preet. Later, when Nikki finds himself in trouble, his father’s first question to him is, “Chhori ko cheda toh nahi tu, bin pooche,” which translates to, “Did you touch a girl without her consent?” By including these asides, Raman isn’t really emphasising Kehri Singh’s progressive personality—we already know that he’s a particularly regressive man—but instead, he is sneakily encouraging you to concoct your own conclusion to this story.

All conventional wisdom would point to a resolution that involves Preet escaping from her brother’s clutches, getting back at him for what he has done to her, and perhaps putting her family in the rearview mirror as she hightails it out of G-Town. Preet flying the nest, by the way, was an eventuality that had been cleverly hinted at the beginning of the movie. And for a while, it seems like this is exactly what’s going to happen. Until it doesn’t. Preet dies, Nikki dies, and their parents are reduced to empty shells of their past selves.

Each person got what was coming to them—this is the morality of Raman’s films—except Preet, who didn’t deserve to die. So, why did she? By killing her, is the film trying to suggest that collateral damage is a non-negotiable truth when striving for social change? Or is it implying that social change, as a concept, is a foolish pipe-dream to begin with? This is the signature cynicism that Raman brings to both his movies; each of which individually is more powerful than a dozen Bollywood happy endings combined.

Post Credits Scene is a column in which we dissect new releases every week, with particular focus on context, craft, and characters. Because there’s always something to fixate about once the dust has settled.

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Rohan Naahar is an assistant editor at Indian Express online. He covers pop-culture across formats and mediums. He is a 'Rotten Tomatoes-approved' critic and a member of the Film Critics Guild of India. He previously worked with the Hindustan Times, where he wrote hundreds of film and television reviews, produced videos, and interviewed the biggest names in Indian and international cinema. At the Express, he writes a column titled Post Credits Scene, and has hosted a podcast called Movie Police. You can find him on X at @RohanNaahar, and write to him at [email protected]. He is also on LinkedIn and Instagram. ... Read More

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Movie Review: Gurgaon

Gurgaon Rachit Gupta , Aug 4, 2017, 16:37 IST

Gurgaon Review

Cast: Pankaj Tripathi, Ragini Khanna, Akshay Oberoi, Aamir Bashir, Shalini Vatsa Director: Shanker Raman Quick take: Slick and gruesome Rating: 3/5

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Unlike its namesake city, Gurgaon isn’t messy enough and doesn’t leave you gasping for air.

Gurgaon Movie Review

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Great India 1449 days ago

6/10 above average

Happytimes User 1452 days ago

One time watch

Naveen Kumar 10 1463 days ago

Subhajit naskar 12 1468 days ago, aditya 35 1485 days ago.

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• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

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Gurgaon Movie Review

Lalitha Mallikeswaran

I am Lalitha Mallikeswaran, the senior c ...

Content/Senior Editor

• Critic Review
• User Review

C AST & C REW

M ORE C AST & C REW

• Nisha Sujan
• Alan McAlex
• Madhukar R Musle
• Music Director:
• Benedict Taylor
• Naren Chandavarkar
• Shan Mohammed
• Shanker Raman
• Supporting Actress:
• Ragini Khanna
• Shalini Vatsa
• Costume Designer:
• Kirti Kolwankar
• Sound Designer:
• Mohandas VP
• Varun Grover
• Hussain Haidry
• Co-Producer:
• Mukesh Chhabra
• Abbas Ali Rattansi
• Sajid Mansuri
• Akshay M Musle
• Director of Photography:
• Stunt Director:
• Sunil Rodrigues
• Executive Producer:
• Vishesh Agrawal
• Rakesh Bhagwani
• Dialogue Writer:
• Vipin Bhati
• Associate Producer:
• Amit A Musle
• Navmeet Singh
• Avani Batra
• Madhav Roy Kapur
• Casting Director:
• Sound Effects Editor:
• Premsanker S
• Vineet Vashishtha
• Screenplay Writer:
• Sourabh Ratnu
• Story Writer:
• Yogi Singha
• Production Designer:
• Makeup Artist:
• Dhananjay Prajapati
• Visual Effects Artist:
• Zenish Mehta
• Kuldeep Mehta
• Playback Singer:
• Jaspreet Jasz
• Prateek Kuhad
• Jayadev Tiruveaipati
• Boom Operator:
• Jahangir Hussain
• Sound Editor:
• Supporting Actor:
• Arjun Fauzdar
• Ashish Verma
• Srinivas Sunderrajan
• Akshay Oberoi
• Vinod Subramanian
• Aamir Bashir
• Pankaj Tripathy

Preet is the adopted daughter of Kehri Singh. He believes that all the good fortunes are caused only by the presence of Preet. Kehri Singh makes Preet complete her education abroad. Kehri’s son Nikki has a dream to open his gym. Nikki bets on cricket matches and try to earn money but fails to make it. In a bet, Nikki loses a lot and plans to make money from his father to compensate his loss. His master plan to loot money from his father gets derailed and makes him know about his father’s past. What happens next? Did Nikki get the money, he needed? Watch the interesting film in theaters.

Star Performance

Pankaj Tripathi excelled in his role as Kehri Singh. Ragini Khanna’s performance is adorable. Akshay Oberoi and Shalini Vatsa had done their part excellently well.

What’s There?

• Performance of the stars is impressive, especially Pankaj and Ragini
• Different script and good direction by Shanker Raman

What’s Not There?

• The narration is slow at times and hence we miss the thrill effects

With not so popular star cast and a medium budget, Shanker had given a good film in his style. Gurgaon, the thriller movie is worth watching!

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EXCLUSIVE: Akshay Oberoi on Fighter being the HIGHEST grossing film of 2024, “It gets more respect for the movie”

Akshay Oberoi thanks Siddharth Anand for casting him in Fighter.

Akshay Oberoi has been gaining rave reviews for his work in Zee5’s web show The Broken News season 2. But earlier this year, he tasted success at the box office through Siddharth Anand’s aerial action film Fighter, which also starred Hrithik Roshan, Deepika Padukone and Anil Kapoor. In an exclusive interview with Bollywood Hungama , Akshay shared how important fighter is for him.

“It’s probably one of the most important films in my filmography,” he said. “ Gurgaon was one through which people took me seriously as an actor. And Fighter gave me, I wish I could use a better word, popularity in a way. Suddenly there was awareness that Akshay Oberoi was in Fighter . Today, if I go into any restaurant, people say, ‘Tum Akshay Oberoi ho Fighter ke?’ This didn’t used to happen earlier.”

He added, “It’s because we live in a capitalistic society; talent isn’t everything. So, people used to say ‘Yeh actor achha hai’, but I would not get the work I wanted because I wasn’t a part of a big commercial film. So, being in a big commercial film and having an important part to play suddenly changes the perception about you. But as a person and actor I am the same as I was before Fighter . It gives you an invitation to play with the big boys of the industry.”

Akshay is thoroughly thankful to Siddharth Anand for Fighter . “I thank Siddharth Anand for giving me that platform yaar,” he said. “He could have taken anyone for that role and I know that. But he chose me and gave me the chance to enter mainstream commercial cinema, which I have a great deal of respect for. Although I have mostly been a sort of indie actor who did OTT stuff, I am a fan of Hindi commercial cinema.”

Fighter was released in January this year. We are currently in the middle of May and the film is still the highest grosser of 2024. It’s India collection stands almost at Rs. 200 crores. Reacting on this, Akshay said, “It all boils down to the same thing and same story – money matters. The fact that people gave the viewership that it got, it gets more respect for the movie and people talk about it more. All this visibility matters. So, the fact that I have been able to stay relevant because the film has performed so well, that’s great. It just opens more doors for me.”

Akshay is now gearing up for a pivotal role in Shashank Khaitan’s Sunny Sanskari Ki Tulsi Kumari .

Also Read: EXCLUSIVE: Akshay Oberoi on the Breaking News culture, “We all should sit down and reflect till what extent should we continue pushing this”

More Pages: Fighter Box Office Collection , Fighter Movie Review

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The TOI Entertainment Desk is a dynamic and dedicated team of journalists, working tirelessly to bring the pulse of the entertainment world straight to the readers of The Times of India. No red carpet goes unrolled, no stage goes dark - our team spans the globe, bringing you the latest scoops and insider insights from Bollywood to Hollywood, and every entertainment hotspot in between. We don't just report; we tell tales of stardom and stories untold. Whether it's the rise of a new sensation or the seasoned journey of an industry veteran, the TOI Entertainment Desk is your front-row seat to the fascinating narratives that shape the entertainment landscape. Beyond the breaking news, we present a celebration of culture. We explore the intersections of entertainment with society, politics, and everyday life. Read More

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'The Garfield Movie' Review: Chris Pratt's 'purr-fect' film is a laughter riot

Director mark dindal's 'the garfield movie' is an adventure comedy that has chris pratt lending his voice for the titular character. the film is hilarious, says our review..

Listen to Story

• 'The Garfield Movie' graced the cinemas on May 17
• Chris Pratt has given voice-over for Garfield
• The film is a laughter riot with minor flaws, says our review.

Release Date: 17 May, 2024

‘The Garfield Movie’ brings back the humour of Jim Davis’ comic strip and late 80s-90s TV show, ‘Garfield and Friends’. Times have changed, but Garfield remains relatable. He hates Monday, loves eating and has a peculiar sense of humour. Director Mark Dindal attempts to adapt this into a film, but does this work in this world where Gen X and Gen Z dominate the pop lingo?

In this new Garfield movie, you see him reunite with his long-lost father, a scruffy street cat Vic, who draws him into an adventurous ride, which is a high-stakes heist. So, together, Garfield, his dad and Odie join hands with a few new additional characters who perfectly fit the shoes of characters like Norman.

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However, the film doesn’t move on from the yesteryear comedy pattern which might not land in today’s time. While scenes involving violent banter between Garfield and his dad might look funny in the late 80s, today, it might not really pass the ‘vibe’ check for the younger generation.

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The film is currently in theatres.

3.5 out of 5 stars for 'The Garfield Movie'. Published By: K Janani Published On: May 17, 2024 ALSO READ | 'The Garfield Movie' trailer: Chris Pratt’s Monday-hating, lasagna-loving fat cat is back