EXCLUSIVE: Dhurandhar completes its glorious run in IMAX as Avatar: Fire And Ash takes over; single screens, Gaiety-Galaxy SKIP Hollywood biggie; continue with Ranveer Singh-starrer

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Dhurandhar, which is all set to become the biggest hit of the year, enters the third week of its release today. The film overperformed in its second week and is now all set for another huge week from today. The Ranveer Singh-starrer also had a release in the IMAX version. However, its IMAX run ended yesterday, on December 18. This is because Avatar: Fire And Ash has now taken over all the IMAX screens across India and also the world. Directed by James Cameron, the fantasy drama is known for its spellbinding visuals. Hence, it makes for an ideal watch in IMAX theatres. It's no wonder that its shows in the IMAX cinemas got filled first. Nevertheless, Dhurandhar had a glorious run in the IMAX version. The film also had a big screen appeal which enticed people to check it out in IMAX. Interestingly, the film didn’t get a release in IMAX on the day of its release due to late delivery of prints. But once the issue settled, the film managed to score big time in the wide-screen cinemas. ...
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Frederic Forrest obituary

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Consummate character actor who came close to stardom in the 70s with roles in Apocalypse Now, The Conversation and The Rose

“He’d kill us if he got the chance.” Those words, spoken by a bespectacled, beige-suited young man (Frederic Forrest) as he wanders through Union Square in San Francisco with his lover (Cindy Williams), are secretly recorded by the surveillance expert Harry Caul (Gene Hackman) in The Conversation (1974). Their meaning, mulled over at length, becomes vital in unlocking the story’s mysteries. One of the key thrillers of its decade, Francis Ford Coppola’s film was also an eloquent expression of paranoia in a country reeling from Watergate.

Forrest, who has died aged 86, was the ideal actor to throw certainties into doubt. In The Conversation, he is bookish, furtive and opaque. The audience never becomes properly acquainted with him, though recordings of his voice and image are repeatedly offered up for our scrutiny so that the act of studying his expressions and intonations becomes central to experiencing the film. Without realising it, we channel a good deal of energy into deciphering his motives.

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