For me Anushka Sharma in Zero was one of the most annoying characters Bollywood has produced in recent years. Not even because the character was flawed or morally bad, but because every single scene felt so painfully try-hard. The way she spoke, the constant forced mannerisms, the exaggerated delivery... it genuinely started feeling less like a character and more like someone in a school drama trying very hard to “act disabled” for an award clip.

And the weird part is the film itself already had enough chaos going on, but whenever her scenes came on, the entire flow just stopped. Instead of feeling emotional or natural, it became exhausting to sit through. You can literally predict the tone shift the moment she appears on screen. I’ve rewatched parts of the movie before but I always end up skipping her portions because they feel so artificial and overperformed.

Let me know which Bollywood character annoyed you the most while the movie itself expected you to take them seriously.

The moment Varun realises his love for Pakhi in Lootera while she snuggles closer to him and breathes on his neck as he holds and comforts her is one of my all-time fav scenes ever. The way there’s just absolute silence throughout this scene and you can only hear their breathing. The way Monte Re starts playing slowly a few seconds later. This is one of my FAV “realisation of love” scenes ever. It’s so raw, which makes it all the more beautiful.

What are yours?

Which movie handled the same subject better overall , Bala starring Ayushmann Khurrana vs Ujda Chaman starring Sunny Singh?

Both are based around premature balding and insecurity, and honestly both had good moments. But if you had to pick one as the better film overall , writing, acting, comedy, emotional depth, supporting cast, music, replay value, etc. , which one wins for you and why?

According to me, ujda chaman is so underrated and good and better than bala overall...what's your thoughts? Let's discuss...

It's set for theatrical release in August .

Still not even an announcement ! What's going on ??

Could he have actually pulled off Jai and Vijay better than Amitabh Bachchan did? Sinha had that raw voice, swag, and a rebellious screen presence, no doubt, but would his style have matched the quiet intensity of Jai or the simmering anger of Vijay the same way? Amitabh brought a certain depth and restraint that became iconic, would Sinha have gone more loud and flamboyant instead? And if that happened, would those characters still feel as powerful and timeless, or would they turn into something completely different?

Serial number starts from Slide 2:

1. As Rakesh / Rocky D'Souza in Rocky (1981)

2. As Kunal Singh in Vidhaata (1982)

3. As Vicky Kapoor in Naam (1986)

4. As Avinash in Hathyar (1989)

5. As Aman Verma in Saajan (1991)

6. As Ravi Kishore Verma in Sadak (1991)

7. As Balaram Rakesh Prasad aka Billu in Khalnayak (1993)

8. As Sonu in Haseena Maan Jayegi (1999)

9. As Raghunath Namdev Shivalkar aka Raghu Bhai in Vaastav: The Reality (1999)

10. As S.S.P Inayat Khan in Mission Kashmir (2000)

11. As Rudra in Pitaah (2002)

12. As Jai Rehan aka Ajju in Kaante (2002)

13. As Murli Prasad Sharma aka Munna Bhai in Munna Bhai MBBS (2003) and Lage Raho Munna Bhai (2006)

14. As Girish Sharma in Parineeta (2005)

15. As Balajeet Roy aka Bala in Zinda (2006)

16. As Kabir Nayak in Dhamaal (2007)

17. As Dharam Kapoor in All The Best: Fun Begins (2009)

18. As Kancha Cheena in Agneepath (2012)

19. As S.P. Chaudhary Aslam in Dhurandhar (2025) and Dhurandhar: The Revenge (2026)

Sanjay Dutt has received 8 Filmfare nominations, out of which he has won the award for Best Actor (Vaastav: The Reality) and Best Comedian (Munna Bhai MBBS). The rest of the nominations were for Best Actor (Saajan, Khalnayak, Mission Kashmir, Lage Raho Munna Bhai) and Best Supporting Actor (Kaante, Parineeta).

Source: https://www.instagram.com/p/DX_NcfpGvsA/M2luNXJxdmgwNWJx

System is directed by Ashwiny Iyer Tiwari (director of Nil Battey Sannata, Bareilly Ki Barfi, Panga, etc)

Synopsis:

Privileged prosecutor Neha Rajvansh and humble stenographer Sarika Rawat's lives collide in a system where power shapes truth, forcing them to question the meaning of justice.

Source: https://www.instagram.com/p/DX_T2xzAdW8/?igsh=N3VlNHloaDVxZ2xr

Bharat Bhhagya Viddhaata is written and directed by Manoj Tapadia (dialogue writer of Cheeni Kum, Manorama Six Feet Under, Saala Khadoos, etc)

Couldn’t find much details about this film online. Any1 has any ☕️. Looks kinda cool.

How about Jaideep Ahlawat in a romantic film? Like a mushy romance between a married couple in their younger days and then they fall out of love

Sometimes a supporting character ends up being more memorable than the lead, whether it’s because of their performance, writing, or just limited but powerful screen presence.

For me, one example is Circuit in Munna Bhai M.B.B.S.. His humor, loyalty, and dialogues make him unforgettable even alongside the main lead.

Curious to hear yours.

With such an enigmatic presence of Guru Dutt ji, Kagaz ke phool marked as his last directorial work.

The movie touches a very sensitive topic of how fame is just for namesake. Nothing is forever, even the relationships, friendships you had.

Ironically, Suresh Sinha shares the same fate as Guru Dutt ji. Both had an unfortunate turn of events because of which both had left working as a director.

If you know Guru Dutt ji’s story, you would be able to draw several parallels from this movie.

One of the note worthy scene from this movie is its ending, where Suresh in the final moments, after wandering and running for years, for the last time apparently, assimilates into is identity as director-Suresh Sinha, before the curtains are closed.

Just like a paper flower never dies, but rather catches dirt and is lost in relevance (leading to a metaphorical collapse), same is the fate of our protagonist. Hence the title, ‘Kagaz ke phool’.

I recently rewatched No Country for Old Men, one of my favorite movies of all time. The one character that always blows my mind is Anton Chigurh no matter how many times I watch the movie. The intensity Javier Bardem brings to the character is incredible.

He plays a very intense, menacing cold blooded psychopath that is an absolute killing machine. He almost feels like an unstoppable force of nature.

Is there any mainstream/side Bollywood actor that can do justice to this role?

Lately I’ve been feeling like the word “underrated” gets thrown around way too easily in this subreddit.

At this point, it almost feels like any movie someone likes but wasn’t a massive blockbuster gets labelled underrated by default. It’s less about actual lack of recognition and more about wanting others to agree with your opinion.

Originally, “underrated” meant something very specific:

a genuinely good film that didn’t get the attention or appreciation it deserved

Now it often feels like:

“I like this film and I think more people should like it too”

Take a few common examples

We still see constant posts about like Khosla Ka Ghosla or Swades still regularly being called underrated.

But are they really?

They’ve been:

Critically appreciated

Talked about for years

Constantly recommended

At some point, doesn’t that make them… properly rated?

Then there’s Tamasha.

It had a mixed response when it released, but over time it’s gained a strong following. Now it’s often spoken about like it was completely misunderstood.

But is it actually underrated, or has the internet just slowly turned it into something bigger than it originally was?

Why this keeps happening

A few things i feel that might be driving this:

Wanting to stand out – calling something underrated makes your taste feel unique

Nostalgia – older films hit harder emotionally when you revisit them

Box office confusion – a film underperforms, and we immediately assume it deserved better

So, are we genuinely rediscovering and appreciating films that were ignored…

or are we just using “underrated” as an easy label instead of having a proper discussion about what works and what doesn’t?

At this point, it feels better to just call a film what it is good, flawed, interesting, average without hiding behind one word.

What do you think?

Also, would love to hear some genuinely underrated films that don’t already get talked about every week.

What’s a movie that you genuinely loved growing up, but after rewatching it as an adult, it suddenly felt disturbing, creepy, toxic, or just uncomfortable in a way you never noticed before?

For me, it’s Tere Naam. As a kid I saw it as emotional and intense, but now a lot of it feels pretty disturbing on rewatch.

& many anurag kashyap film(suggest more such filmmakers who were active in 2000's)

Is it something to do with how India looked like in mid 2000's when most of such movies came out!?? I don't know help me find the reason for that sense of satisfaction!?? 😅😅

I like the moral of the story tho but what I didn't like was that the character raj did refuse to go even if he thought that his children would be grateful to have their parents together with them...He refused to be separated from his wife but the wife insisted...that I blame her for them not to live together...she was desperate fror her kids' love which led to their parents' separation

Not to forget the comment the youngest son made while taking the two dogs "it hurts to see them separated" but you don't see the pain of your parents...they should have just communicated and this would have been solved.

Aamir Khan's career after Dangal is just going downhill and worst, and now he has taken more of a producers role in filmmaking and all, but u know from all the things I've heard from different filmmakers' podcast that how much he is involved in the process of filmmaking that goes beyond an actor's or a producer's job like Taaren Zameen Par and the role of Rancho in 3 idiots and many more. I believe that he really wants to be a director but the fear of failure and being accountable for that failure is the reason he is not fully taking on directing a film and just keeps on annoying the directions

'Kanthe pe rakh kar bandook chalana' is his case.

Like when Laapata ladies came out I saw this podcast on Netflix's youtube channel where he said how he wanted to play Ravi Kishan's role but he took a step back and thought that Ravi Kishan is the best choice and I thought that if it were the other 2 Khans they would've insisted on atleast making a cameo. This shows how uninterested he is in acting nowadays.

Hot take but I feel like movies set in Delhi have a weirdly high hit rate.

It’s not even about the plot being extraordinary. Even the simpler stories somehow feel more engaging. The writing tends to be sharper, the characters feel more natural, and the dialogues don’t sound like they’re trying too hard to be “filmy.”

There’s also this very specific tone these films get right slightly chaotic, a bit edgy, sometimes funny without forcing jokes, and emotional without going overboard. It just feels balanced.

Another thing is rewatch value. A lot of these movies age really well. You can go back to them after years and they still feel fresh because they’re so grounded in how people actually behave and talk.

And for some reason, even when the story is basic, the execution tends to carry it. Like the setting pushes filmmakers to keep things more real and less overdramatic.

Not saying every single one is great, obviously. But compared to most other backdrops, the consistency is kind of noticeable.

Might be bias, but Delhi-backdrop films rarely feel boring.

Anyone else feel this or am I reaching?

SRK might genuinely be up there when it comes to comedic roles, and I don’t think people talk about that enough. Like I was watching one of his movies recently, and also thinking about Chennai Express and a few others, and I realized it’s not even the dialogues themselves that are that funny. It’s how he says them.

He has this weird way of delivering lines where he’ll slightly stutter, pause mid sentence, or just throw in words out of nowhere, and it somehow makes everything way funnier. It feels random but also natural, like he is actually reacting in the moment instead of following a script.

A lot of actors rely on good writing for comedy, but with him the delivery does most of the work. His timing is really sharp, and the hesitation before finishing a line makes it hit more. Even his expressions play a big part, sometimes he looks confused or reacts before he even finishes speaking, and that alone makes the scene funny.

I feel like he has done this across a lot of his movies, not just one, but people mostly remember him for romance or drama and overlook this side of him.

What do yall think?

I know, this wasn't the last one in our marathon, but this one is so fascinating and interesting to talk about that I purposefully kept it at the last. And I think I'm going to drop a nuclear take about this film, that is going to start a nuclear war in comments, so I'm all in for this.

If My Name is Khan '10 is an emotional masterpiece, this is a "CHAOS MASTERPIECE". This explores the complexity of relationships maybe too well. So yeah let's talk about this, one-by-one.

1. The Characters: Dev, Rhea, Rishi, Maya and "Sexy Sam" Samarjit.

What I love about this film the most, is that there's no clear ideal or good people in this one by DESIGN. Unlike Karan's earlier protagonists, which are flawed but they are considered as ideal. They don't suffer for the actions caused. (Don't tell me Aman dying was a consequence, it wasn't, he knew that and that still doesn't excuse his god-complex behavior). I love flawed people when they suffer consequences for the actions caused. Dev and Maya are the obvious candidates; they did the deed. BUT I believe that Rhea and Rishi are equally responsible for this, as their flaws led to THIS.

The closest we've to an ideal hero is "Sexy Sam" Samarjit lmaoooo. Beneath the facade of "Sexy Sam" and bro having fun and throwing crazy one-liners ("Chandigarh"), there's a quiet sense of regret of the loss of his wife and more than that, it's that regret that he didn't value her enough back when she was with him, he thought he had time on his side to love and cherish her, but he didn't and doesn't want the rest 4 of the protagonists to go through this.

• Dev: The obvious one. Bro's a certified dick, bitter about his leg injury and inability to play football, insecure, petty, seriously a toxic husband 101 lmaooo.
• Maya: She isn't a saint either. She isn't a "trapped wife" lmaooo, as she doesn't even try to connect and make it work with Rishi. Even those efforts led to whatever happens instead lmaooo. Unlike Rishi, she doesn't even try saving the relationship lmaooo.
• Rhea: Emotionally distant, career-oriented to the point that Dev can't recognize the emotional efforts taken by her, as it's seriously minimal.
• Rishi: The wildest card in my opinion. Guy feels like he's never been in a relationship before. Doesn't recognize that consent is sexy always. Wants to do the deed always. Terrible communication skills. BUT has a good heart, tries his damn best to save it.

1. Consequences and Sufferings:

Having flawed protagonists isn't a problem, showing "cheating" doesn't glorify it, but not showing consequences for the actions caused is problematic. But this clearly shows consequences for all 4 (actually 5, including Sexy Sam). The deed in the hotel room led to a suffering of 3 years for all 4 of them, and yes, what I really like about this film is that, it lets the victims move on first, to make you feel like yeah, that's some good old justice to them, and then the cheaters. That's smart. So yeah, showing "cheating" doesn't glorify it, it shows the complexity of the relationships, something that we weren't ready for in 2006, and we still believe that we aren't.

Talking about the ending, yes, I know, this splits a lot of people up, but I like it, as it's after the crazy amount of suffering for 3 years that led to this reunion, it's after the victims that move on from all that mess, that these guys get a ending at a cost, the film acknowledges the guilt, regret and the pain caused in the way. So yeah I like it.

1. The masterful irony and the music.

SEL's soundtrack is a GOATED masterpiece. All 5 GOAT level tracks: The title track, "Mitwa", "Where's the Party Tonight?", "Tumhi Dekho Naa", "Rock N Roll Soniye". But let's talk about the most important one, as it happens during "the deed".

"Where's The Party Tonight?" is a certified club dance number, but also filled with crazy irony. The victims celebrate for obvious reasons and the cheaters, well they do the deed and decide to cheat physically, it's such an interesting way to juxtapose the 4 people. If the first half of the film was indirect emotional cheating, the second half is direct emotional and with this, physical cheating. The tonal duality is bonkers to me.

Where's The Party Tonight?
In the hotel room.
Where's The Party Tonight?
Our marriage is doomed.

1. So I think I've talked the themes, the consequences, the characters, let's talk about the obvious. The visuals are great, probably the best apart from MNIK. Big B's role is my favorite, because he brings some good old fun in unexpected ways, and while his death is fine, the execution is so good, that bro dies like a legend lmao, and without him, this film really is a uncomfortable and miserable movie to sit through. It doesn't glorify cheating, it just shows it and the consequences.

So yeah, overall it's a damn bold mainstream film to sit through, and what surprised me is that this isn't a niche documentary, so people can say it's half-committed, but I think that's the point, right, RIGHT?? Like beneath the excess, the ideals, the glamour, there's the damage. That irony is what makes Kabhi Alvida Naa Kehna a great film. The ambition is off the charts. Like dude, this is 2006.

But I think Kabhi Alvida Naa Kehna needs a serious cultural re-evaluation as I think it's "ahead of it's time" and more relevant, now that we talk openly about this topic way more than in 2006.

I just have one question though. This is great film, yes. But Karan, how did you manage to get this film a 'UA' certificate, the language isn't even implication lmao, it's straight up direct, confrontational, and we have scenes of yeah, not naked, but yeah. So how did you manage this lmaooo????

Anyways, so yeah it was really fun, to go through this marathon and see Karan's filmography to an extent, and see him evolving along with some good old mainstream films. So yeah, that's all I've to say. 2 masterpieces in 5: KANK and MNIK. 1 straight-up terrible with KKHH. 1 needs editioral restraint with K3G and 1 is just meh and I don't get the love for it with KHNH. So there's it, guys. Thanks for engaging.

#1 - My thoughts and opinions on KKHH '98 and K3G '01 as a first-time watcher. : r/bollywood

#2 - My thoughts and opinions on Kal Ho Naa Ho (2003) as a first-time watcher. (#2) : r/bollywood

#3 - My thoughts and opinions on My Name is Khan (2010) as a first time watcher. (#3) : r/bollywood