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Cinema needs #Akshaykumar Theatres doesn't bleed when #Zero, #Raees are disasters of Gargantuan proportion. But an #Akshaykumar film becoming below average hurts. #Akshay get more film offers than any other star on this planet. Blockbusters loading.

Nitesh

2,971 subscribers

33,429 Aufrufe • vor 1 Jahr •via X (Twitter)

Nachrichten & Politik #Akshaykumar #Zero #Raees #Akshaykumar #Akshay

Anya Rossi• Live Now

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10 Kommentare

Profilbild von Sachin_07

Sachin_07vor 1 Jahr

Raees collection >>> disaster sarfira,selfiee ,omg 2 , sky force collection

Profilbild von Skydance

Skydancevor 1 Jahr

Our lives are the sum of our choices. Mission: Impossible – The Final Reckoning. See you at the movies May 23, 2025.

Profilbild von Pratham

Prathamvor 1 Jahr

BMCM Budget - 350 cr Collection - 85-90 cr Worldwide Mission Raniganj Budget - 200 cr Collection - 70 cr WW Selfiee Budget - 250 cr Collection - 50 cr WW Even Skyforce budget - 250 cr Collection - 170 cr WW ( with Free tickets, offers ,etc) Cry more 🤣🤣

Profilbild von S.S ALI

S.S ALIvor 1 Jahr

Srk disasters films more collected money than Akshay kumar okey..

Profilbild von Nitesh Naveen

Nitesh Naveenvor 1 Jahr

More losses were made from 1 single film of #SRK. Hence, the disaster of Gargantuan proportion was used. Financial literacy is a must for all #SRK fans.

Profilbild von Mun Patel

Mun Patelvor 1 Jahr

If #Raees is a disaster, then #Selfie is a blockbuster.

Profilbild von Naan Thaan Da King-u

Naan Thaan Da King-uvor 1 Jahr

More movies = More disasters

Profilbild von MAYANK 🪖

MAYANK 🪖vor 1 Jahr

5 disasters in a row , wait

Profilbild von CineMaza

CineMazavor 1 Jahr

bhai jitne kama kar srk salman flop dete hai utne me akshay ki film blockbuster ho jaati hai 🤣

Profilbild von ı•m•săm

ı•m•sămvor 1 Jahr

Canadian kumar

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No Other Choice needs to be nominated for the Oscar for Best Picture. I love F1- it’s a great film. It’s not more deserving of a Best Picture nom than No Other Choice. If you haven’t see this film yet, I get it- it’s not showing everywhere. But find a way. This movie is that good

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I asked Creative Australia why Aboriginal orgnisations are receiving such an out-of-proportion share of arts funding. Their own annual report shows $32.1 million in First Nations investments out of a $285.8 million funding pool - over 10%, roughly three times the proportion of Aboriginal Australians. Promoting Aboriginal and Torres Strait Islander art is important and no one disputes that. But why is it treated as more important than promoting any other form of art? Proportion matters. If it doesn't - isn't that just more divisive?

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Malcolm Roberts 🇦🇺

13,711 Aufrufe • vor 20 Tagen

Akshay Kumar has been the biggest flop actor of the 90s; there are many reasons for this. He never truly became a star and is far behind in terms of stardom. Furthermore, #AkshayKumar has a reputation as a lecherous actor many actresses have mentioned this even Kareena Kapoor said so in an interview. For the record, he doesn't care; he only does four films a year, and they all flop. He's an actor whose 18-20 consecutive flops forced him to leave India and take Canadian citizenship. Throughout his career, he has never delivered a film that grossed 220 crore (net) in the Hindi market, nor has he ever achieved an opening of 30 crore. He has never delivered an All-Time Blockbuster or a film that has seen 30 million people (footfall). He hasn't delivered even 2 Blockbuster films in his entire career (because *Mohra* was actually a Sunil Shetty film. He hasn't achieved 3 record-breaking openings or 5 "bumper" openings. He doesn't have a single All-time highest-Grossing film to his name. He lacks a genuine fan base; he relies on PR stunts to create the illusion of a following, and most of his Twitter followers are bots. Akshay Kumar is a lesser star even than #ArjunKapoor Comparing him to Sunny Deol, Salman Khan, or Aamir Khan would be an insult to those three actors.

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Rahul Gupta

175,343 Aufrufe • vor 20 Tagen

Watch This Video to Know Why #AkshayKumar is the biggest flop actor of Bollywood right now.. Akshay Kumar could never become a super star, the reason behind this is releasing 4 films in a year and making all of them flop.. Even today he remakes 9 out of 10 films and does the same 1-2 films with worn out knowledge, when he saw that every one of his films started to flop, he clashed with #Gadar2 and made it overflow in Pankaj Tripathi's film in which he was doing a cameo, after that he named a big Bakwas film as Kesari 2 and kept giving Bogo offers every day, consider that the film is based on Bogo offer only..the biggest one It was surprising when they showed a film like Sky Force to everyone for free and the ticket offer was such that the public was watching it for Rs 20. The budget of a film like Welcome to the Jungle was 300 crores but its budget was reduced to 150 crores. A film like Selfie was taking an opening of 2 crores and a film like Bade Miya Chote Miya earned 50 crores instead of 350 crores. They wasted all the producer's money and now they are not even getting films. A film like Bhoot Bangla had full corporate booking. A film like Housefull 5 flopped even after taking corporate booking. Akshay Kumar could never give a 250 crore Hindi net in his life. An all time blockbuster in his life. He could not give it. He has given only solo blockbuster in his entire career, apart from this, the biggest record in his career is that 18-20 films flopped continuously after which he had to take Canadian citizenship. The film left by Sunny Deol saved his career and that film was also average. Today if we compare Akshay Kumar then it happens with actors like #ArjunKapoor , Tushar Kapoor, Vivek Oberoi...

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In 1977, Rainer Werner Fassbinder was a member of the jury at the Berlin Film Festival. He threatened to walk out with British critic Derek Malcolm unless their support for Bresson’s 'The Devil, Probably' (1977) for the top prize was made public. The movie ended up sharing the second prize, the Silver Bear, with two other films. Fassbinder's thoughts on the film: "Fassbinder: Robert Bresson's 'The Devil, Probably' (1977), which is the most shattering film I've seen in this Berlin Festival. I think it's a major film; but then people say - but what if you show a film like this to the man in the street and he doesn't understand it? First of all, I think that's wrong. But even if it's true, doesn't it mean that in the future - and this world will probably last for another few thousand years - this film will be more important than all the rubbish which is now considered important but which never really goes deep enough? The questions Bresson asks will never be unimportant. Interviewer: What about the problems raised in Bresson's film - are they rejecting all existing political forms? Fassbinder: Yes, rejecting every commitment. Because commitment for the film's young characters - whom he seems to understand so well - is mainly an escape into an 'occupation' which keeps that commitment alive. An escape from the awareness that everything goes on regardless of you and your commitment." ("Robert Bresson", Edited by James Quandt, 1998) P.S: On this day, 49 years ago, 'The Devil, Probably' (1977) was released in France.

In 1977, Rainer Werner Fassbinder was a member of the jury at the Berlin Film Festival. He threatened to walk out with British critic Derek Malcolm unless their support for Bresson’s 'The Devil, Probably' (1977) for the top prize was made public. The movie ended up sharing the second prize, the Silver Bear, with two other films. Fassbinder's thoughts on the film: "Fassbinder: Robert Bresson's 'The Devil, Probably' (1977), which is the most shattering film I've seen in this Berlin Festival. I think it's a major film; but then people say - but what if you show a film like this to the man in the street and he doesn't understand it? First of all, I think that's wrong. But even if it's true, doesn't it mean that in the future - and this world will probably last for another few thousand years - this film will be more important than all the rubbish which is now considered important but which never really goes deep enough? The questions Bresson asks will never be unimportant. Interviewer: What about the problems raised in Bresson's film - are they rejecting all existing political forms? Fassbinder: Yes, rejecting every commitment. Because commitment for the film's young characters - whom he seems to understand so well - is mainly an escape into an 'occupation' which keeps that commitment alive. An escape from the awareness that everything goes on regardless of you and your commitment." ("Robert Bresson", Edited by James Quandt, 1998) P.S: On this day, 49 years ago, 'The Devil, Probably' (1977) was released in France.

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L ♊️

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I think #SupriyaYarlagadda garu wasn’t happy that no questions about #Dacoit were asked in this interview with RVS. Most of the audience know that RVS’s interviews usually focus more on technical aspects and the interviewee’s thoughts on cinema, rather than the film being promoted. While we as an audience enjoy this approach, some members of the film team who come expecting questions about their movie might feel disappointed. She asked RVS a few questions toward the end. I felt a bit bad when she asked him if he even goes to the theatre at least once a week. Full Interview:

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#DISCLOSUREDAY is Steven Spielberg’s 4th centered film and the first Spielberg film I’ve seen in theaters since Indiana Jones and The Kingdom of the Crystal Skull. (I might never see a truly Great Spielberg picture in theaters) The Cast on paper is perfect, John Williams orchestrating the score while Spielberg directs the shit out of this film. David Koepp wrote the screenplay here and he is definitely the weakest part of this creation but it’s also on Spielberg because he should be able to see the faults here. The film leaves you wanting more and more and eventually it gives you what you want but takes it away just like that, it results in an underwhelming ending. The film is really well made, the framing and camera choices from Spielberg adds so much to what would be just simple scenes. Blunt, O’Connor, Domingo and Firth are all solid, at times the script lets them down but they do their best to salvage it. The Train sequence was great, but not a whole lot happens in the film other than that. I enjoyed the film for its intriguing storyline, the directing and especially Blunt’s performance but the ending was a big bummer. Definitely a good intriguing watch but I don’t think the film will have much rewatch value. Wanted to love it but just ended up liking it for about 90% of it. Did you see or plan on seeing Disclosure Day ? 👽🛸

MoviesThatMaher

15,188 Aufrufe • vor 2 Monaten

Star Destroyers have honestly never been more intimidating than they were on Exegol at the end of The Rise Of Skywalker. The emphasis on their firepower with the close up shots just go to show how powerful these particular Destroyers really are, and the wide shots of the entire fleet make them truly feel like Palpatine’s ultimate plan to seize control of the galaxy. Say what you will about this film, but this sequence was seriously one of the best space battles in all of Star Wars.

Star Destroyers have honestly never been more intimidating than they were on Exegol at the end of The Rise Of Skywalker. The emphasis on their firepower with the close up shots just go to show how powerful these particular Destroyers really are, and the wide shots of the entire fleet make them truly feel like Palpatine’s ultimate plan to seize control of the galaxy. Say what you will about this film, but this sequence was seriously one of the best space battles in all of Star Wars.

jacob

41,829 Aufrufe • vor 4 Monaten