In Theaters: February 3, 2017

After a very good opening weekend for Raees and a not so good opening weekend for Kaabil, both films stick around Chicago area theaters for a second week. Starting Friday, February 3, 2017, both movies carry over at the AMC River East 21 in Chicago, MovieMax Cinemas in Niles, Regal Round Lake Beach Stadium 18 in Round Lake Beach, AMC South Barrington 30 in South Barrington, Regal Cantera Stadium 17 in Warrenville, and AMC Loews Woodridge 18 in Woodridge.

Additionally, Raees gets a second weekend at Muvico Rosemont 18 in Rosemont, while Kaabil carries over at  Marcus Addison Cinema in Addison and Century Stratford Square in Bloomingdale. Dangal gets a seventh weekend at the South Barrington 30.

Growing Up Smith — a cute story about an Indian-American boy’s childhood in Oklahoma in 1979 — opens on Friday at the South Barrington 30. Stars Roni Akurati and Anjul Nigam will be at the South Barrington 30 for two special screenings of the film on Monday, February 6, at 4:30 p.m. and 7 p.m. The specific theater for the screenings only holds 36 people (including two spaces for wheelchairs), so buy your tickets in advance.

Other Indian movies showing in the Chicago area this weekend:

Movie Review: Growing Up Smith (2015)

growingupsmith3 Stars (out of 4)

Watch Growing Up Smith on Amazon Prime

Growing Up Smith is a funny, relatable coming-of-age story about an Indian boy’s attempt to adapt to American small-town life.

Smith Bhatnagar (Roni Akurati) is ten years old, living somewhere in Oklahoma with his family in 1979. Smith’s father, Bhaaskhar (Anjul Nigam, who co-wrote the screenplay), longed so much to come to the United States that he chose the most American name he could think of for his only son. Unfortunately, Bhaaskhar didn’t realize that “Smith” is a last name, not a first name.

The members of the family — father, son, mother Nalini (Delhi Belly‘s Poorna Jagannathan), and teenage sister Asha (Shoba Narayan) — enjoy life in their new country. Bhaaskhar loves his money-saving vegetable garden, and Asha likes the handsome boys, especially her classmate, Patrick (Paul Castro, Jr.).

Of all the things Smith likes about America — Star Wars, disco, John Travolta — his favorite is his pretty next-door-neighbor, Amy (Brighton Sharbino). Amy happens to be one of the few townsfolk interested in the Bhatnagar’s Indian heritage. She doesn’t flinch when the family offers her a vegetarian meal (flinching being the standard Midwestern response to vegetarianism until approximately 2008, as I can attest).

Amy’s friendship helps Smith navigate the usual pitfalls of adolescence like bullies, but also culture-specific problems, such as his parents’ inability to appreciate the importance of Halloween for kids in the States. Amy’s working-class dad, Butch (Jason Lee), takes it upon himself to teach Smith how to be an American man.

Growing Up Smith is humorous yet tender in the way it deals with Smith’s problems. A clever and occasionally bombastic score by Michael Lira guides the tone of the film, hearkening back to earlier Hollywood coming-of-age comedies like A Christmas Story.

The story poses interesting questions about raising children in a foreign country. Bhaaskhar regularly threatens to send his kids back to India when they act up, but how much of their misbehavior is due to their increasing Americanization, and how much is typical kid stuff they’d do no matter where they lived? Asha is skilled at getting away with mischief, simply shouting “Bye” on her way out the door to trick her folks into believing they already gave her permission to leave.

The time period in which the story is set also plays an important part. This is well before the age of cell phones and GPS, a time when parents had to hop in the car to track down their missing offspring. Not only are the Bhatnagars the only Indian family around, they aren’t even in regular contact with their own relatives. Smith describes a phone call to India as “an expensive and rare event.” Do Bhaaskhar and Nalini feel compelled to enforce a stricter set of culturally appropriate rules than if they had other Indian parents around to talk to? Smith and Asha are also deprived of peers who really understand their issues, such as their prearranged marriages.

These issues are only an undercurrent to a story that focuses on the antics of its charming junior protagonist. Akurati makes Smith impossible to dislike, barrelling down the street on his bicycle, wearing a helmet several sizes too big. The rest of the family is endearing, too, as is Sharbino as Amy. Lee’s performance is the only one that sometimes feels out of sync with the rest of the cast.

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Streaming Video News: February 1, 2017

I updated my list of Bollywood movies on Netflix with five new additions to the catalog. The global deal between Netflix and Shah Rukh Khan’s Red Chillies Entertainment has finally borne fruit: Dilwale and Happy New Year are now available for streaming in the United States. I liked Happy New Year and wasn’t crazy about Dilwale, but the more SRK films the merrier. Another exciting new addition to Netflix is the terrific drama Haraamkhor, which released in Indian theaters less than three weeks ago. The 2016 Hindi movie Maroon and the 2015 Punjabi film Chauthi Koot are also now available for streaming.

Bollywood Box Office: January 27-29, 2017

There was a decisive winner in the first Bollywood box office battle of 2017. Shah Rukh Khan’s Raees bested the collections of Hrithik Roshan’s Kaabil in North America by a factor of 3:1. During the weekend of January 27-29, 2017, Raees earned $1,742,565 from 289 theaters* ($6,030 average). Including collections from Wednesday and Thursday — both films opened on January 25 — Raees‘s total stands at $2,313,656.

Kaabil‘s total earnings since Wednesday are $781,064, with $631,923 of that coming from 253 theaters ($2,498 average) over the weekend.

The problem for Roshan isn’t that Kaabil failed to match Raees‘s earnings. It’s that this is the second consecutive box office showdown he’s lost. Last year, Roshan’s Mohenjo Daro finished second to Akshay Kumar’s Rustom despite opening in over 100 more theaters than Kumar’s film. In fact, Kaabil‘s opening weekend per-theater average of $2,498 is worse than Mohenjo Daro‘s $3,073 average. Even including earnings from Wednesday and Thursday, Kaabil‘s 5-day per-theater average is just $3,087. Given that Mohenjo Daro was widely derided as a flop, what does that make Kaabil?

Kaabil is going to earn more than $1 million here in the United States and Canada, which is good, but each battle lost diminishes Roshan’s perceived star-power. He’s not on the same level as the Three Khans, and last year’s battle shows him to be less popular here than Kumar at the moment. Even though Kaabil fared better in India relative to Raees, it still finished second. The scheduled Christmas, 2018 box office rematch between Roshan and Khan seems like another battle Roshan is destined to lose.

Other Hindi films still in North American theaters:

  • Dangal: Week 6; $77,817 from 30 theaters; $2,594 average; $12,255,617 total
  • OK Jaanu: Week 3; $131 from one theater; $351,054 total

*In the event that Bollywood Hungama’s North American theater figure actually counts Canadian theaters twice (as has happened in the past), the revised averages are $6,576 at 265 theaters for Raees and $2,772 at 228 theaters for Kaabil.

Sources: Box Office Mojo and Rentrak, via Bollywood Hungama

Movie Review: Kaabil (2017)

kaabil0.5 Stars (out of 4)

Buy the soundtrack at Amazon or iTunes

Kaabil (“Capable“) is stupid and gross. The movie’s biggest problem is that Yami Gautam’s character exists solely to be raped, an act which serves as a catalyst to transform Hrithik Roshan’s character into an avenging hero.

Roshan plays Rohan, a blind voice actor. One of his producers wonders how Rohan is able to deliver his dialogue in sync with the cartoon characters he voices when he can’t see the footage, but the question is offered as praise rather than a legitimate plot concern writer Vijay Kumar Mishra and director Sanjay Gupta simply ignore.

Gupta and Mishra also elect not to explain what preexisting relationship Rohan has with Amit (Rohit Roy) — a politician’s sleazy brother — and his toady, Wasim (Sahidur Rahaman). Events of the second half of the film make no sense unless Rohan has extensive background information about the two men and their families, which we’re not given any reason to believe he would have. It would also go a long way to explain why Amit and Wasim terrorize Rohan and his new wife, Supriya (Gautam), in the first place.

Most of the film’s first half is the establishment of Rohan’s romantic relationship with Supriya, with whom he’s setup by a mutual acquaintance based on the couple’s mutual blindness. They’re both kind people, but Supriya emphasizes how much she values her job and her independence, and says she is loath to sacrifice either for marriage. If only she’d stuck to her guns.

Instead, Supriya marries Rohan, with whom she enjoys a brief period of happiness before Amit and Wasim rape her because of some unexplained animosity toward Rohan. Throughout her ordeal, the movie gives no consideration to Supriya’s feelings, focusing instead on how her assault affects Rohan. She tells her husband, “Now I am not the same person for you.” Rohan doesn’t contradict her, his silence confirming her worst fears. He later claims he needed time to process what happened. You’d almost think he was the one who’d been raped.

Not long after Supriya’s assault, director Gupta inserts an item number into the film. The audience is supposed to pivot from being disgusted by a rape to now being titillated by closeups of Urvashi Rautela’s thighs and cleavage while Amit sings. It’s repulsive.

Rohan’s revenge is built on a number of conveniences, including his aforementioned intimate knowledge of Amit’s and Wasim’s families derived from who knows where. Rohan is also a master of hiding in the shadows, which is pretty amazing considering that he’s blind! He’s been blind since birth, so he’s never so much as seen a shadow, let alone learned how to use them to conceal his whereabouts.

Kaabil is so dumb that it would be tempting to laugh it off, were it not guilty of creating a confident female character just for the purposes of turning her into a plot device. It’s a textbook example of the offensive “Women in Refrigerators” trope, explained brilliantly in the video below:

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Movie Review: Raees (2017)

raees2.5 Stars (out of 4)

Buy the movie at Amazon or iTunes
Buy the soundtrack at Amazon or iTunes

Raees (“Wealthy“) stars one of Bollywood’s most charismatic actors, a fact that the screenplay takes for granted. The story of a gangster’s rise to power lacks emotional depth, relying on the audience’s familiarity with Shah Rukh Khan’s dashing heroes of the past to fill in the blanks.

Raees (Khan) spent his childhood running liquor for Jairaj (Atul Kulkarni), a dangerous job given that Gujarat is officially an alcohol-free state. As a young man, Raees wants to branch out into his own boozy enterprise with his best friend, Sadiq (Mohammed Zeeshan Ayyub), much to Jairaj’s resentment. A Mumbai don named Musa (Narendra Jha) helps Raees start his business after witnessing the Gujarati beat up a warehouse full of men while using a severed goat’s head as a weapon, all because someone dared to call the bespectacled Raees “four-eyes.”

As Raees’s illegal empire expands, he draws the attention of a straitlaced cop, Inspector Majmudar (Nawazuddin Siddiqui), who makes it his mission to put Raees out of business. This sets up a cat-and-mouse game that is never quite as clever as one hopes.

The nature of the criminal operations in Gujarat and Mumbai makes it difficult for Raees to keep his promise to his mother that no one should ever be harmed for the sake of business. Granted, most of the people Raees kills tried to kill him first, but he willingly puts his employees in danger during one fiery political protest. There’s some retroactive rephrasing to imply that what Mom really meant was that no innocents should be harmed, but that’s not what she said (at least according to the English subtitles).

This distinction is important, because Raees goes from emphatically rejecting violence to shooting up a room full of crooks without batting an eye. Raees himself doesn’t seem bothered by the morality of his actions, and no one holds him to task. It’s as though writer-director Rahul Dholakia expects Khan’s ardent fans to see him in the role of Raees and thus assume that his character’s actions are justified, no matter what they are.

In many gangster dramas, the role of the protagonist’s conscience often goes to his love interest, but Raees’s wife Aasiya (Mahira Khan) is a willing bootlegger. Mahira Khan is something special, teasing Raees with an irresistible smirk. She’s one of the film’s highlights, and she does a fine job in her musical numbers.

The movie’s showpiece song sequence to the tune of “Laila Main Laila” is eye-catching, juxtaposing Raees’s brutality against Sunny Leone’s shimmying. The best dancing in Raees, however, is Siddiqui’s Michael Jackson impersonation, a scene that is far, far too brief.

Khan, Siddiqui, and Ayyub are all good in Raees, but they could have been even better with a script that did more to develop their characters.

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Opening January 25: Kaabil and Raees

The first big Bollywood clash of 2017 takes place on January 25 with the release of Kaabil and Raees. Kaabil — starring Hrithik Roshan and Yami Gautam — gets the wider release of the two films in the Chicago area.

Kaabil opens on Wednesday at MovieMax Cinemas in Niles, Muvico Rosemont 18 in Rosemont, AMC South Barrington 30 in South Barrington, Marcus Addison Cinema in Addison, Century Stratford Square in Bloomingdale, Regal Cantera Stadium 17 in Warrenville, and AMC Loews Woodridge 18 in Woodridge. It has a listed runtime of 2 hrs. 20 min.

Opposite Kaabil is Raees, a gangster drama starring Shah Rukh Khan. Even though it’s opening in fewer local theaters (and presumably fewer theaters nationally), I expect Raees to emerge the winner at the North American box office based on SRK’s star power alone.

Raees opens on Wednesday at MovieMax, Rosemont 18, South Barrington 30, Cantera 17, Woodridge 18, and AMC River East 21 in Chicago. It has a listed runtime of 2 hrs. 30 min.

Bollywood Box Office: January 20-22, 2017

Dangal turned in another stellar performance at the North American box office over the weekend. From January 20-22, 2017, it earned $193,045 from 62 theaters ($3,114 average), bringing its total earnings to $12,126,860.

Dangal looks nothing like a typical Bollywood movie in its fifth weekend in theaters in North America. Heck, the median opening weekend gross for Bollywood movies released here last year was less than $165,000! In 2016, twenty of the fifty Hindi films released here stuck around theaters for at least five weeks. The median number of theaters for a movie in its fifth weekend was six, the median gross earnings were $4,963, and the median per-theater average was $796. Dangal isn’t just crushing those median numbers, it’s leaps and bounds ahead of the movie with the second best fifth-weekend performance of 2016: Kapoor & Sons, which earned $28,377 from 36 theaters.

On the flip side, OK Jaanu just can’t find an audience here. In its second weekend, it earned $32,773 from 49 theaters ($669 average), bringing its total to $345,725. Raees and Kaabil will knock OK Jaanu out of most of those theaters come Wednesday. Too bad, ’cause it’s an okay film.

Source: Rentrak, via Bollywood Hungama

Best Bollywood Movies of 2016

2016 was a darned good year for Hindi films, with positive reviews outnumbering negative reviews 26-22 at this site. Here’s my list of the Best Bollywood Movies of 2016. (Click on the title of each movie to read my original review.)

I should start by noting that Dhanak — which released theatrically in the United States and India in June, 2016 — would have made the list had it not already appeared on my Best of 2015 list. I watched it as part of the 2015 Chicago South Asian Film Festival.

As for the ten films that did make the 2016 list, two stood out for employing narrative structures that reflect their subject matter. Pink begins with the aftermath of a sexual assault, and not until the ending credits do we see the events as they really happened, echoing the “he said, she said” nature of many sexual assault cases. Waiting isn’t afraid to show its characters being bored, a feeling anyone who’s spent time in a hospital can relate to.

Neerja and Aligarh were emotional true stories featuring riveting performances by their lead actors: Sonam Kapoor and Manoj Bajpayee, respectively. Parched also earned a nod for the stellar performances by its four female co-leads.

Two films mastered genres with spotty track records in Bollywood: superhero movies and sex comedies. A Flying Jatt was a welcome nod to the colorful, optimistic type of superhero flick that has fallen out of favor in Hollywood in recent years, featuring an ordinary protagonist who discovers his inner hero (with a little divine assistance, providing a compelling subplot about religious identity). Unlike the two worst Bollywood movies of 2016 — the mean-spirited sex comedies Mastizaade and Kyaa Kool Hain Hum 3Brahman Naman is raunchy and hilarious, aiming most of its jokes at its hapless leading man.

South Korean films have inspired a number of Hindi thrillers in recent years (Rocky Handsome and Jazbaa, for instance), but the chilling Raman Raghav 2.0 is totally Indian, especially in regard to the way director Anurag Kashyap uses music to guide the audience through emotional moments.

The two films at the top of this year’s list earn their spots by tackling tough subjects in otherwise very commercial fare. Udta Punjab harnessed the star-power of Kareena Kapoor Khan, Alia Bhatt, Shahid Kapoor, and Diljit Dosanjh to deftly address Punjab’s drug crisis and make it relevant to people not directly affected by it.

My favorite film of the year also featured a top-notch cast, including Alia Bhatt (again), Rishi Kapoor, Sidharth Malhotra, Fawad Khan, Rajat Kapoor, and Ratna Pathak. Kapoor & Sons bravely examines the secrets that family members keep from one another and the resentment that builds because of it, addressing issues like infidelity, parental favoritism, and homosexuality with sensitivity and compassion. That Kapoor & Sons also manages to be lots of fun just further cements it as my Best Bollywood Movie of 2016.

Check my Netflix list to see which of these films are available for streaming in the United States.

Kathy’s Best Bollywood Movies of 2016

  1. Kapoor & Sons — Buy/rent at Amazon or iTunes
  2. Udta Punjab — Buy at Amazon
  3. Aligarh — Buy at Amazon
  4. Parched — Buy/rent at Amazon or iTunes
  5. Brahman Naman
  6. Raman Raghav 2.0 — Buy at Amazon
  7. A Flying Jatt
  8. Neerja — Buy at Amazon
  9. Waiting — Buy at Amazon
  10. Pink — Buy at Amazon

Previous Best Movies Lists

Streaming Video News: January 20, 2017

I updated my list of Bollywood movies on Netflix with an exciting new addition to the catalog. The 2016 courtroom thriller Pink is now available for streaming. I liked it a lot. Other new additions this week include director Mira Nair’s 1996 film Kama Sutra: A Tale of Love and the 2015 Marathi movie Twisted Trunk, Big Fat Body, starring Bollywood’s go-to child actor, Naman Jain. For everything else new on Netflix, check Instant Watcher.

I also made a couple of additions to my list of Bollywood movies on Amazon Prime. While I don’t think these titles are new, I just found two more movies available for free with Prime (thanks for the frustrating catalog organization and limited search capabilities, Amazon!): the 2007 English film Partition — starring Smallville‘s Kristen Kreuk, of all people — and the documentary Despite the Gods, a terrific chronicling of the drama behind the making of Hisss.