Valentine's Day 2026: Dilwale Dulhania Le Jayenge, Veer-Zaara, and Saiyaara among 12 films in PVR INOX Valentine’s special showcase

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PVR INOX, one of India’s leading multiplex chains, has announced its ‘Valentine’s Special Showcase’, a curated re-release of 12 popular romantic films across Hindi, Tamil, Telugu, and Malayalam. The initiative aims to bring timeless love stories back to the big screen, offering both nostalgia for long-time viewers and discovery for younger audiences. The line-up features a mix of Hindi blockbusters and regional classics, including Dilwale Dulhania Le Jayenge, Veer-Zaara, Mohabbatein, Saiyaara, Devdas, Sanam Teri Kasam and Yeh Dil Aashiqanaa. The Tamil titles include Minnale, Mounam Pesiyadhe, Kadhalar Dhinam and Uyirullavarai Usha, while the Telugu romantic drama Love Story and the Malayalam hit Premam complete the pan-Indian selection. Shah Rukh Khan’s romance returns to theatres Several films in the showcase prominently feature Shah Rukh Khan, whose performances in Dilwale Dulhania Le Jayenge, Veer-Zaara, Mohabbatein, and Devdas have played a defining role in shaping mainstream Hin...
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Golda review – lifeless Meir biopic hides Helen Mirren’s talent in a cloud of cigarette smoke

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As a drama about the Yom Kippur war, this film is bafflingly dull. As a portrait of Golda Meir, Israel’s prime minister at the time, it’s even worse

Helen Mirren’s latexed and enhanced portrayal of Golda Meir, Israel’s “Iron Lady” prime minister during the 1973 Yom Kippur war, has been overtaken by a debate about “Jewface” casting because Mirren is not Jewish – addressing why Jews are casually excluded from the otherwise fiercely policed sensibilities about authenticity and identity on screen. (Would they get a white actor, for example, to black up as President Anwar Sadat?) It’s a valid and important question, but not exactly the problem in this stately, stuffy and at times almost comatose TV-movie-type drama about tension in Israel’s corridors of power as the Yom Kippur war exploded and the country faced off against Egypt, Syria and Jordan in a battle for its very existence.

Mirren, normally such a sparkling performer, is lumbered with a grey wig, false nose and jowls, with occasional headscarf and handbag, making her look as if she is playing the Queen doing an impression of Richard Nixon. This Golda Meir impassively chainsmokes her way through wooden potted-history dialogue scenes with her military top brass, while everyone blows cigarette smoke at each other; occasionally she takes a break to lie prostrate on a hospital bed, stoically smoking and dying of cancer. Is she going to die? Why not? The film is flatlining.

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