Tag Archives: Bollywood

Movie Review: Extraction (2020)

3 Stars (out of 4)

Watch Extraction on Netflix

An Australian mercenary is hired to rescue the kidnapped son of an Indian drug lord in Extraction, a Netflix Original action movie that stars some well-known Hindi-film actors opposite Chris Hemsworth.

Hemsworth plays Tyler Rake, a former solider turned mercenary. The only reason Tyler is still alive is so that he can continue punishing himself for not being there for his wife and son when the little boy was terminally ill.

Tyler gets an opportunity for redemption when a fellow merc, Nik Khan (Golshifteh Farahani), hires him to execute the toughest part of a rescue mission: freeing 14-year-old Ovi Mahajan (Rudhraksh Jaiswal) from the goons holding him in Dhaka at the behest of Bangladeshi crime boss Amir Asif (Priyanshu Painyuli).

Ovi’s father is Ovi Mahajan Sr. (Pankaj Tripathi), a drug kingpin incarcerated in Mumbai. Young Ovi is a pawn in a long-standing feud between his father and Amir, and the boy’s kidnapping is meant to humiliate Mahajan Sr. Ovi says that his dad ignores him and dismisses his intellectual pursuits, so the boy’s kidnapping reinforces his feeling that he’s an object and not a real person to anyone involved in his dad’s line of work.

That changes when he meets Tyler, who makes it his mission to save Ovi even after it’s revealed that they’ve been double-crossed. The appearance of Mahajan Sr.’s right-hand man Saju Rav (Randeep Hooda) further complicates things. Tyler could just hand Ovi over to Saju, but what if he was part of the kidnapping plan? As far as Ovi is concerned, Saju is just the guy who scolds him when his dad’s not around, so maybe he is safer with this stranger.

This clash between Tyler and Saju sets up Extraction‘s selling point: a ten-minute long chase/fight sequence that is made to look like it was filmed in a single shot. It’s extraordinary. Seeing a Hindi-film veteran like Hooda turn in a phenomenal action performance against Thor himself is a huge thrill for Bollywood fans. Hooda’s long been one of my favorite actors, and his turn in the international spotlight is well-deserved.

It’s unfortunate that Tripathi (another of my favorites) is only in one scene. But Painyuli shows the same skill he did in Bhavesh Joshi Superhero to make Amir low-key menacing, ordering someone’s death as nonchalantly as he’d order lunch. Jaiswal’s Ovi is likeable and sympathetic.

Extraction‘s story is basic — Tyler has to get Ovi from Point A to Point B without the kid dying — but the film weaves a theme about fathers and sons throughout the story. Tyler wishes he’d been a better father to his little boy. Ovi wishes his dad saw him as a real person. Saju attempts to rescue Ovi not for Ovi’s sake but because Ovi Sr. threatens the safety of Saju’s own young son. Tyler’s former colleague, Gaspar (David Harbour), mentions how his perspective on being a killer has changed now that he has his own family.

Even Amir is a twisted version of a father figure to a group of homeless boys who work for him. As neglected as Ovi feels, being ignored while living in a cushy mansion is a world apart from the abuse suffered by the boys in Amir’s employ, whom he murders and maims at the slightest displeasure. Yet he’s the only hope for a better life for a street kid like Farhad (Suraj Rikame), who’s willing to do anything Amir asks to finally feel a sense of power for once in his life.

Concerns about a “white savior” narrative are unavoidable in a film where Chris Hemsworth goes to Bangladesh to rescue an Indian teen, and Extraction doesn’t do much to challenge such concerns. While Tyler kills his share of Amir’s henchmen, most of the dead are Bangladeshi police officers or soldiers who presumably don’t know their commanding officers take orders from a drug lord. If you’ve already seen one-too-many films where a white character kills a bunch of non-white characters like it’s no big deal, you may want to skip Extraction.

If you do watch it, the film does demonstrate that exciting action sequences need not be solely the province of theatrical releases. Getting to see Randeep Hooda punch Chris Hemsworth is novel enough to make Extraction worth watching. Just don’t expect anything groundbreaking from the narrative.

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Movie Review: Bhangra Paa Le (2020)

3 Stars (out of 4)

Watch Bhangra Paa Le on Netflix

Though bhangra features in plenty of Hindi movies, it’s rarely the only dance style performed. Not so in Bhangra Paa Le (“Let’s Do the Bhangra“), director Sneha Taurani’s debut film, which is all bhangra, all the time.

This is established early on. As college stud Jaggi (Sunny Kaushal) fills out his university’s dance team, he rejects any dancer whose performance is too influenced by hip-hop or other Western dance styles. If you’re going to win a bhangra competition where top prize is a trip to compete in London, you need bhangra specialists.

While at a wedding, Jaggi spots an ideal candidate to fill the female-lead role on his team. He and Simi (Rukshar Dhillon) hit it off, but before he can ask her to join his squad, she asks him to join her university team. Realizing that they are rivals, they part ways — not on bad terms, but each determined to take the top prize.

Each has their own reason for wanting to win. By performing in London, Simi hopes to prove to her father (who abandoned her for a new life in the UK) that she’s doing just fine without him. Jaggi wants to honor his grandfather, Kaptaan, a bhangra legend in his hometown. Kaushal plays Kaptaan in flashbacks to grandpa’s days romancing a beauty named Nimmo (Shriya Pilgaonkar) before leaving to fight in World War II.

It’s a stretch to equate the struggles of a combat veteran with those of a college dancer, the way that Jaggi does. Yet, given Jaggi’s young age and comparatively limited life experience, it makes sense that he might make that connection. The characters in Bhangra Paa Le behave in authentic, age-appropriate ways. It’s one of the strongest aspects of the film.

It’s also a treat to watch both of the main characters evolve, even if Jaggi gets more of the narrative focus. While they have their ups and downs, there’s nothing mean-spirited about either Jaggi or Simi, so the drama never feels overblown. They’re two nice young people who deserve to succeed, even if they can’t both be victorious.

The film’s supporting characters don’t get the same kind of development as the leads, appearing and disappearing as the story requires. The story itself feels a bit disjointed, not because of the World War II flashbacks, but because Jaggi returns home in the second half–abruptly shifting the tone of the film from a modern youth picture to a rural family drama.

Of course, the main reason for anyone to watch Bhangra Paa Le is the dancing, which is overall really good. The movie does a nice job showcasing the dance form’s ability to express a range of emotions, using songs with different tempos and sentiments as a base for a varied choreography palette. Viewers who are only interested in the dancing will not be disappointed.

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Movie Review: Baaghi 3 (2020)

0.5 Stars (out of 4)

Buy the soundtrack at iTunes

The trailer of Baaghi 3 promises “One Man Against the Whole Country.” Could we be in for a biting commentary on the Assad regime in Syria? Of course not. Baaghi 3 is a brainless film with no intention of challenging its audience — except in its willingness to stay until the end of the movie. At showing I attended, I was the only one who did.

Baaghi 3 is the latest in the Baaghi series of films, which have no connection to each other except that they star Tiger Shroff playing a character named Ronny (or in the case of this latest movie: “Ronnie”). The characters aren’t even the same guy, as Ronny/Ronnie’s backstory reboots with each new movie. Shraddha Kapoor played a character named Sia in the original Baaghi, and she returns to play a different character this time, now named “Siya.”

Ronnie 3.0 is the thuggish son of a cop (played by Tiger’s real-life dad, Jackie) who was fatally injured in the line of duty when Ronnie was young. On his deathbed, Dad tasked Ronnie with the care of his older brother Vikram, who is as close to an ambulatory potato as a person can be. Even as adults, whenever Vikram (Riteish Deshmukh) is in trouble, he yells “Ronnie!”, summoning his brother with a gale of wind to beat up the bad guys.

Jobless, ability-less Vikram is made a police officer because of nepotism, despite him being afraid of everything. Ronnie acts as his henchman, breaking up an international human trafficking ring while Vikram gets the credit publicly. The federal government notices and sends Vikram alone to Syria to facilitate the extradition of a terrorist — the most absurd thing to happen in a movie full of absurd stuff. Vikram is immediately kidnapped, forcing Ronnie to head to Syria to rescue him with the help of his girlfriend/sister-in-law Siya.

Siya fits into the story as part of a subplot to get Vikram married, off-loading his daily management from Ronnie onto an unsuspecting woman — in this case, Siya’s sister, Ruchi (Ankita Lokhande). Ruchi’s other purpose is to get pregnant in order to give more weight to Vikram’s predictably doomed trip to Syria. It’s a transparent emotional ploy that doesn’t work.

The “country” Ronnie takes on is actually a large terrorist outfit run by Abu Jalal Gaza (Jameel Khoury) that operates within Syria’s borders. Gaza’s agents in India and Pakistan kidnap families, forcing men to become suicide bombers by threatening their wives and children (yet another transparent emotional ploy). This seems like a risky and convoluted business model considering that Gaza only seems interested in blowing up targets within Syria. It’s painfully obvious that no one who worked on the story gave much thought to the whys or hows of the movie’s bad guys.

There’s nothing fun about Baaghi 3. It feels out-of-date, with goofball sound effects for the film’s dorky jokes. Poorly executed action choreography means Ronnie’s punches repeatedly fall short of his intended targets. Potentially novel battles in which Ronnie faces down helicopters and tanks are underwhelming. A ropes sequence set in a scrapyard feels like a macho knock-off of the song “Rewrite the Stars” from The Greatest Showman.

Shroff and Deshmukh have zero chemistry as siblings, although they both show themselves to be proficient at yelling. Vikram’s entry into the police force ushers in a subplot promoting extrajudicial police murder, which is not surprising given Baaghi 3‘s support of violence as character development. It’s not fatherhood that makes Vikram into a “real” man but rather when he finally kills people himself, instead of letting his little brother do it for him.

If there are any minor bright spots in Baaghi 3, it’s the true professionalism displayed by Jaideep Ahlawat as the kidnapper IPL and Vijay Varma as a helpful Pakistani expat in Syria in the face of utter absurdity. Shraddha Kapoor’s role is underdeveloped and superfluous, but she brings to it a weird charisma that I appreciated. Other than that, Baaghi 3 is a waste of time.

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Opening March 6: Baaghi 3

Tiger Shroff’s Baaghi 3 — the not-a-true-sequel next entry in the Baaghi action film series — gets a wide release in the Chicago area on March 6, 2020.

Baaghi 3 opens Friday at the AMC River East 21 in Chicago, AMC Village Crossing 18 in Skokie, MovieMax Cinemas in Niles, AMC Niles 12 in Niles, Regal Round Lake Beach in Round Lake Beach, Century 16 Deer Park in Deer Park, AMC South Barrington 24 in South Barrington, Marcus Elgin Cinema in Elgin, AMC Dine-In Rosemont 12 in Rosemont, Marcus Addison Cinema in Addison, Regal Cantera in Warrenville, AMC Naperville 16 in Naperville, and AMC Woodridge 18 in Woodridge. (Streaming partner: Hotstar) It has a listed runtime of 2 hrs. 25 min.

Thappad (streaming partner: Amazon Prime) gets a second week at the River East 21, MovieMax, South Barrington 24, and Cantera.

Shubh Mangal Zyada Saavdhan (streaming partner: Amazon Prime) carries over for a third week at the River East 21, MovieMax, Cantera, Woodridge 18, and South Barrington 24, which also holds over Bhoot: Part 1 – The Haunted Ship (streaming partner: Amazon Prime).

Other Indian movies showing in the Chicago area this weekend (all films have English subtitles):

Movie Review: Panipat (2019)

1.5 Stars (out of 4)

Watch Panipat on Netflix

Panipat: The Great Betrayal — director Ashutosh Gowariker’s attempt to cash in on Bollywood’s current historical action flick trend — is a slog.

Panipat is made for a Hindi-speaking audience well-versed in Indian history, and it poses several challenges for audiences outside that demographic. If Panipat were a book, it would come with several maps, some family trees, and an extensive glossary. Absent those supplementary materials — and with subtitles that leave many important Hindi words untranslated (at least in the Netflix version) — I’ll do my best to explain what happens using terms that I think are close, if not completely accurate.

The film opens in the mid-18th Century, with the Maratha Empire finally defeating the Nizam Sultanate after a two-year-long campaign, shoring up its hold on the midsection of what is now modern-day India. The Emperor’s wife, Gopika Bai (Padmini Kolhapure), worries that military commander Sadashiv (Arjun Kapoor) is so popular that the people will push for him to be made head of state over her son, Vishwas (Abhishek Nigam). She convinces the Emperor, Nana Saheb (Monish Bahl), to take Sadashiv off the battlefield and appoint him Finance Minister.

Being a soldier, Sadashiv only knows how to solve problems by force. He attempts to shore up the empire’s dwindling finances by sending threatening letters to all the ancillary kingdoms that are behind on their tax payments. This upsets a Mughal noble, Najib-Ud-Daulah (Mantra), who asks the Afghan ruler Ahmad Shah Abdali (Sanjay Dutt) for help.

With Afghan forces headed south, Sadashiv agrees to lead the undermanned, under-resourced Maratha army north to stop them, since no one else wants to. The Marathas and the Afghans make alliances with the neighboring kingdoms on their respective journeys, culminating with a decisive battle at the fort of Panipat.

Most of the film is a slow road trip punctuated by natural disasters. Before that are the film’s prettiest scenes, set at the beautiful Maratha palace. The decor is vibrant, the grounds are beautifully landscaped, and the architecture is grand. Designer Neeta Lulla’s costumes are stunning.

At the palace, Sadashiv marries his spunky childhood sweetheart Parvati (Kriti Sanon), who joins him on the excursion. Sanon gives the best performance in the film, but her character is a transparent attempt to appeal to a modern audience. Parvati is a commoner who marries a royal. She’s the empire’s first woman doctor! She fights with a sword! Sadashiv begs her not to kill herself if he dies in battle, just to make Panipat seem more progressive than Padmaavat.

Kapoor’s performance is not particularly charismatic, but neither is Sadashiv as a character. He’s inflexible to the point of causing many of the empire’s problems — first with his heavy-handed letters and later with his refusal to negotiate with Abdali. Sadashiv insists that he’s fighting to protect all of Hindustan from Muslim invaders, even though Hindustan at the time was not a unified nation but a collection of kingdoms, some of which were ruled by Muslims.

Sadashiv serves primarily to illustrate Panipat‘s pro-Hindu viewpoint. The contrast between Sadashiv and Abdali is almost comical. Sadishiv fights in the heart of the battle while Abdali stays safely at the back. The Maratha army follows Sadashiv and endures starvation because they believe in his cause, while Abdali’s soldiers flee and his throne is usurped in his absence. Even Kapoor’s acting is calm and resolute compared to Dutt’s over-the-top delivery.

Panipat portrays the Afghans as essentially cavemen. Unlike the light, bright Maratha palace, Abdali rules from a dimly-lit, windowless great hall. Servants wearing fur cloaks carry platters laden with hunks of roasted meat. When Maratha Prince Vishwas is caught in battle by an Afghan soldier, the soldier is shown in close-up snarling like an animal.

Besides being problematic, Panipat just isn’t that interesting. Perhaps in the name of historical accuracy, the plot favors comprehensiveness over economy. Seemingly every lesser kingdom and minor noble is given a shout out, no matter how insignificant their part in the events that are the focus of the film. The result is a sprawling cast of characters who blur together. By the time any of them does something that affects the plot, I’d already forgotten who they were.

Perhaps this cast sprawl is less of a problem for the Indian audience for whom Panipat is obviously intended. I also understand if the English subtitles used in the original theatrical release chose to leave some Hindi words intact, as those subs are as much for moviegoers across India as they are for viewers outside of the country. I’m not sure if Netflix kept the original subtitles for its streaming release or created new ones, as is the practice of some streaming services.

But Panipat is a particular case where Netflix should have used the opportunity to make the film’s English subtitles as accessible as possible to its global audience. By not translating words like Peshwa, Gadir, and Wazir, it’s hard to understand the hierarchy of the region at that time. Even the geography is unclear, as Sadashiv seems to use Hindustan and the Maratha Empire interchangeably.

Again, maybe Indian audiences with the prerequisite cultural and historical knowledge found Panipat easier to understand than I did. As it is, it’s as uncompelling as it is inaccessible.

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Opening February 21: Shubh Mangal Zyada Saavdhan and Bhoot – Part 1

Two new Hindi films open in the Chicago area on February 21, 2020. The romantic comedy Shubh Mangal Zyada Saavdhan — a spin-off of 2017’s Shubh Mangal Saavdhan — features Ayushmann Khurrana and Jitendra Kumar as a gay couple struggling with their families’ objections.

Shubh Mangal Zyada Saavdhan opens Friday at the AMC River East 21 in Chicago, MovieMax Cinemas in Niles, AMC South Barrington 24 in South Barrington, Marcus Addison in Addison, Regal Cantera in Warrenville, and AMC Woodridge 18 in Woodridge. (Streaming Partner: Amazon Prime) It has a listed runtime of 2 hrs.

Also new this weekend is the horror movie Bhoot: Part 1 – The Haunted Ship, starring Vicky Kaushal.

Bhoot: Part 1 opens Friday at MovieMax and the South Barrington 24. (Streaming Partner: Amazon Prime) It has a listed runtime of 2 hrs. 5 min.

Love Aaj Kal carries over for a second week at the River East 21, MovieMax, South Barrington 24, Cantera, and AMC Niles 12 in Niles.

Malang gets a third week at MovieMax and South Barrington 24, which also holds over Tanhaji: The Unsung Warrior.

MovieMax also carries over Jawaani Jaaneman and Panga.

Other Indian movies showing in the Chicago area this weekend (all films have English subtitles):

Movie Review: Shimla Mirchi (2020)

2 Stars (out of 4)

Watch Shimla Mirchi on Netflix

Sholay director Ramesh Sippy’s Shimla Mirchi spent five years on the shelf before it found a buyer, but the content feels even more dated than that.

The romantic comedy stars Rajkummar Rao as Avi, a grumpy single guy who’s been dragged along on his family’s annual vacation to Shimla. His mood changes when Naina (Rakul Preet Singh) sprints by him, fresh from a photo shoot at her friend’s bridal boutique. One look at Naina’s heaving bosom and toned abs, and Avi is in love.

It is important to note that, in Shimla Mirchi, “love” happens the instant a man sees a beautiful woman. It is also important to note that a woman’s most lovable attribute is her torso, hence why Naina wears crop tops almost exclusively throughout the film. Avi is frequently shown ogling her bare waist, because he’s in love.

Avi’s problem is that he gets tongue-tied whenever he tries to tell a woman that he loves her. (Could the problem be that his instinct is to introduce himself to women he’s never met with “I love you” before “Hi, I’m Avi”?) He takes job at Naina’s cafe in the hopes of getting to know her better. When he still can’t muster the courage to speak up, he writes her an anonymous love letter.

Naina’s not interested in her own beau, but she sees the letter as an opportunity to cheer up her mom, Rukmini (Hema Malini), who’s lonely after her husband Tilak (Kanwaljit Singh) left her for a younger woman. Naina readdresses the love letter to her mom and has Avi deliver it — leading Rukmini to believe that Avi is her secret admirer.

The high-concept story by writers Kausar Munir, Vipul Binjola, and Rishi Virmani yields a number of cute moments, as when Rukmini stops her dance practice to sneak after Avi, bells around her ankles jingling whenever she moves. When Naina realizes that Avi is way overqualified to work as her handyman, she jumps to the wild and funny conclusion that he’s involved in a nefarious international plot that inexplicably begins with the takeover of a small cafe in Shimla.

There’s a nice relationship between Naina, Rukmini, and Tilak’s mother (Kamlesh Gill), who lives with them. Naina has cut off contact with her father, and even his own mother thinks he’s a jerk. They want Rukmini to rediscover her sense of self-worth, and the film doesn’t even hint at trying to reunite the family.

Yet even the best elements of the film are good, but not great. The acting is fine, if uninspired. The story is cute but forgettable. Shakti Kapoor plays the quirkily-named Captain Uncle, who exists to move the plot along when the writers couldn’t think of a better way to do so.

Then there are the elements that make Shimla Mirchi seem like it came out of a time capsule. The mistaking of lust for love and the objectification of Naina’s body are the worst examples. Captain Uncle makes some racist jokes about East Asian languages. Avi has a friend, Jude (Tarun Wadhwa), who rotates through a series of indistinguishable white girlfriends who don’t speak but are always wrapping themselves around him. He ditches the last one when he spots a pretty Indian girl in Desi attire and immediately falls in love with her (naturally).

Shimla Mirchi feels like the product of a filmmaker who started his career back when times were different. When objectifying women was the norm. When you could crack racist jokes because there was no internet and few people outside your intended audience would watch your movies. There’s nothing outrageously offensive in Shimla Mirchi. It just doesn’t feel current.

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Movie Review: Street Dancer 3D (2020)

1.5 Stars (out of 4)

While trying to piece together my thoughts for this review of Street Dancer 3D, I looked back at my reviews of the two films that precede it in director Remo D’Souza’s dance battle series: ABCD and ABCD 2. (Disney produced the first two films in the series and held onto the rights to the title ABCD 3 even after they stopped making movies in India.) Most of the things I want to write about Street Dancer 3D I’ve already said about the previous two movies. Great dancing? Check. Sexy performers? Check. Only Street Dancer 3D is more of a mess than either of the films preceding it.

D’Souza’s series features many of the same actors in all three films, and some in just two. None of them play the same characters, even if the actors play characters with the same name. The cast stays intact while D’Souza hits the reset button on the story.

This time around, two rival dance crews face off on the streets of London. The Indian-British crew “Street Dancer” is led by Sahej (Varun Dhawan), and the Pakistani-British crew “Rule Breakers” is led by Inayat (Shraddha Kapoor).

The endless bickering between the crews culminates in a food fight between the groups while they watch an India vs. Pakistan cricket match in a sports bar run by Ram Prasad (Prabhu Deva). The single stupidest thing in this whole movie may be that the main food used in the fight is that famous staple served as a main entrée at all sports bars… The one dish no Buffalo Wild Wings or Irish football pub should be without… Doughnuts? I’m talking regular yeast-raised, frosted, mass-produced, buy-’em-at-Dunkin’-by-the-dozen doughnuts like the one pictured to the right. I’m guessing the only reason the characters throw doughnuts is because they are cheap to buy, simple to procure in large quantities, and easier to clean up than burgers, pasta, or biryani — all of which Ram Prasad’s sports bar also serves.

Both crews want to compete in an underground dance competition with a £100,000 cash prize, but their odds aren’t good against the formidable, mostly-white London dance crew The Royals. Ram Prasad thinks the Desi crews would stand a chance if they worked together, but there are complicating factors beyond the groups’ nationalistic antipathy. Inayat wants to use the prize money to help homeless illegal immigrants from the Subcontinent living in London — which is a problem because Sahej is a human trafficker.

The film doesn’t fully acknowledge how awful Varun Dhawan’s character is. This was a problem with his character in ABCD 2 as well. Sahej is entitled and compassionless. He brings a quartet of Indian drummers to England, but refuses to help them in even a small way when he learns that they are now destitute. It takes him forever to admit that he played a part in their current condition, let alone that he is obligated to set things right.

This is but one example of Sahej’s disloyalty. As soon as he gets the chance to join The Royals, he jumps at it — abandoning Street Dancer and the members that aren’t invited into the colonizers’ crew. The whole reason Sahej participated in human trafficking was to earn the money to buy a studio for Street Dancer, the crew founded by his older brother Inder (Punit Pathak, who gives the film’s best dramatic performance) who is injured and can no longer dance. The film doesn’t acknowledge what a betrayal this is because Sahej’s vindication and victory are predetermined.

Films are often sold based on the popularity of their star cast, but I wish we could go back to the days of the original ABCD, which starred professional dancers who can act, not professional actors who can dance. To be fair, Kapoor holds her own on the dance floor and makes Inayat as sympathetic as the script allows. But casting Dhawan required compromises that hurt the movie. Because of Dhawan’s likeable persona, his character pays a very small price for causing a lot of harm.

Worse still is that Dhawan is the weakest dancer in the film. He’s one of the better dancers among Bollywood’s current leading men, but he’s a step slower and less crisp in his movements than the professionals around him. I found myself ignoring him and focusing instead on series veterans like Dharmesh Yelande, Sushant Pujari, Raghav Juyal, and Salman Yusuff Khan. Nora Fatehi — who plays The Royals’ ace, Mia — is riveting when she dances.

As expected, the dance numbers are the stars of the show. All of the performances during the underground competition are technically impressive and large in scale. I don’t blame anyone watching the film for tuning out during the plot bits and just watching the choreography. Yet it’s kind of a shame, since Street Dancer 3D really wants to be about something meaningful. It’s just not willing to put in the work to do so.

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Opening February 7: Malang

The new Hindi thriller Malang opens in Chicago area theaters February 7, 2020. It stars Aditya Roy Kapur, Disha Patani, and Anil Kapoor.

Malang opens Friday at the AMC River East 21 in Chicago, MovieMax Cinemas in Niles, AMC Dine-In Rosemont 12 in Rosemont, AMC South Barrington 24 in South Barrington, Regal Cantera in Warrenville, and AMC Naperville 16 in Naperville. It has a listed runtime of 2 hrs. 40 min. Its streaming partner is Netflix.

Jawaani Jaaneman carries over for a second week at the River East 21, MovieMax, South Barrington 24, and Cantera. (Streaming partner: Amazon Prime)

Street Dancer 3 (Streaming partner: Amazon Prime) and Panga (Streaming partner: Hotstar) get a third week at MovieMax, South Barrington 24, and Cantera.

Tanhaji: The Unsung Warrior holds on for a fifth week at MovieMax, South Barrington 24, and AMC Woodridge 18 in Woodridge. (Streaming partner: Hotstar)

Other Indian movies showing in the Chicago area this weekend (all films have English subtitles):

Opening January 31: Jawaani Jaaneman and Gul Makai

Two new Hindi films open in Chicago area theaters on January 31, 2020. The comedy-drama Jawaani Jaaneman stars Saif Ali Khan as an overgrown man-child who learns he has an adult daughter.

Jawaani Jaaneman opens Friday at the AMC River East 21 in Chicago, MovieMax Cinemas in Niles, AMC South Barrington 24 in South Barrington, and Regal Cantera in Warrenville. It has a listed runtime of 1 hr. 59 min. Its streaming partner is Amazon Prime.

Also new this weekend is Gul Makai, a biopic about activist Malala Yousafzai. TV actress Reem Shaikh plays the lead role opposite film stars Divya Dutta, Atul Kulkarni, and the late Om Puri.

Gul Makai opens Friday at MovieMax and the South Barrington 24. It has a listed runtime of 2 hrs. 12 min.

Street Dancer 3 carries over for a second week at the River East 21, MovieMax, South Barrington 24, Cantera, AMC Niles 12 in Niles, and AMC Dine-In Rosemont 12 in Rosemont. (Streaming partner: Amazon Prime)

The sweet family film Panga also holds on for a second week at MovieMax, South Barrington, Cantera, and AMC Naperville 16 in Naperville. (Streaming partner: Hotstar)

Tanhaji: The Unsung Warrior gets a fourth week at MovieMax, Niles 12, South Barrington 24, Naperville, and and AMC Woodridge 18 in Woodridge. (Streaming partner: Hotstar)

Other Indian movies showing in the Chicago area this weekend (all films have English subtitles):