EXCLUSIVE: Sunny Deol-starrer Gabru postponed; won’t release on May 8

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Sunny Deol's stardom went on another level with the blockbuster success of Gadar 2 (2023). His next, Jaat (2025), also had a decent trend at the box office, proving that the success of Gadar 2 was not a fluke. The veteran star began 2026 on a rocking note with the Rs. 300 crore plus grosser, Border 2. As a result, expectations are tremendous for his next film, Gabru. The film was scheduled for release on May 8 and fans will have to wait a little more to experience the emotional drama as it has been pushed further ahead. A source told Bollywood Hungama, “Gabru has been postponed and won’t arrive in cinemas on May 8. The makers plan to lock the new release date in a few days, after which they’ll make an official announcement.” Earlier, Gabru was supposed to release on March 13 and was postponed to May 8, possibly because the holy month of Ramzan was going on and moreover, the much-awaited film, Dhurandhar The Revenge, was to arrive in cinemas 6 days later, on March 19. Gabru is di...
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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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