Makers of Mahesh Manjrekar’s Punha Shivajiraje Bhosale SLAM Everest’s Public Notice – “False, misleading, and without basis”

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Bollywood Hungama was the first one to report on July 12 that Everest Entertainment published a public notice in Atul Mohan’s Complete Cinema magazine in the June 28 – July 5, 2025 issue, informing the public and industry that they have the rights to the 2009 cult Marathi film Mi Shivajiraje Bhosale Boltoy. The notice was published after the teaser of Mahesh Manjrekar’s Punha Shivajiraje Bhosale was dropped online. The film is all set to release on Diwali and is perceived as a spiritual sequel to Mi Shivajiraje Bhosale Boltoy. Bollywood Hungama has now learned that the makers of Punha Shivajiraje Bhosale, on July 7, have also published a public notice, in reply to the public notice of Everest Entertainment. The notice was published in Film Information Magazine by advocate Manjit Singh Jolly. It stated that “The public in general and the media and entertainment industry in particular are hereby informed that at or around 28-06-2025 and 05-07-2025, a p...
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The Strays review – Netflix’s baity social thriller fizzles out

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The shadow of Get Out looms over Nathaniel Martello-White’s chiller about a light-skinned woman whose past unravels her manicured suburban life

There’s a heavy-handed ominousness from the first frame of The Strays, Netflix’s new entry into the stuffed category of social horror. Dissonant music plays over a concrete block apartment building in London, in which Cheryl (Ashley Madekwe), a light-skinned Black woman, appears in distress. There are bank statements crumpled on the counter, a headline blaring “Black kids betrayed by schools”, a mention of credit card debt in a phone call to her sister, a voice-cracking lament of wanting more. It’s the mid-2000s, and someone keeps calling Cheryl on her old brick phone before she walks out the door with a duffel bag and note about popping to the hairdresser, presumably on the run.

It’s an unsettling, propulsive start that provokes several promising questions – where is she going, why is she leaving, who is the sinister voice on the answering machine, the baselines of a thriller. Some get answered, but most do not, in any satisfying or specific way. British actor/writer Nathaniel Martello-White’s directorial debut nudges at some uncomfortable fault lines of race and class, but tends to over-index unearned suspense for character development or insight.

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