SCOOP: Love & War REAL budget revealed; Sanjay Leela Bhansali's epic costs Rs 350 cr, not Rs 425 cr.

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Sanjay Leela Bhansali is among the most celebrated directors of Indian Film industry, whose cinema has stood the test of time. His next, Love And War is a casting coup of the decade as the maverick filmmaker has brought Ranbir Kapoor, Alia Bhatt and Vicky Kaushal together for the first time. Earlier in the week, there were viral reports on how Love and War budget has shot up to Rs. 425 crores, and the production has gone into turmoil. However, our reliable sources close to the project confirm that Love And War is proceeding as planned. "Love And War budgets have shot up for sure, but it happens with all Sanjay Leela Bhansali films. Initially, it was planned as a Rs. 250 crore epic, and the costs through the shoot have now shot up to Rs. 350 crores. SLB doesn't compromise on his vision, and he is passionately filming this, which he believes could be his best work to date. The Rs. 425 crore figure of cost of production is trying to harm the project on purpose, and there is no t...
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The Black Demon review daft but fun giant-shark mayhem on Mexican oil rig

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Sincere performances and lively banter turn hokey into entertaining as Josh Lucas’s engineer and his family do battle with a megalodon

It would seem that megalodons are the menace of the moment. These ginormous sharks, thought to be extinct for millions of years, have been retro-spawned for entertainment purposes by the audiovisual-industrial complex – specifically in the Meg franchise but also on the Discovery Channel – because great white sharks, veterans of the Jaws movies, just don’t cut it any more. Still, in thematic terms there’s a throughline that connects most shark movies: one way or another, they’re all about the return of the repressed, with the sharks manifesting the oceanic subconsciousness’ raging, violent id that has been enraged by the human superego effort at mastery over nature. In the original Jaws, it’s not so much Bruce the shark that’s the big bad as it is the township’s greedy mayor, determined to declare the beach safe in the interests of capitalism.

Directed by American Adrian Grunberg, its screenplay written by Boise Esquerra working from a screenplay by Carlos Cisco, The Black Demon effectively sticks to this well-greased formula. Yes, there’s a ginormous shark pootling around the waters along the coast of Mexico, locally known as “el demonio negro”. But the real, nefarious behemoth of the deep is a leaky oil-drilling platform offshore that was installed by a fictional conglomerate known as Nixon Oil, the name itself redolent of right-wing gringo corruption. (Which is ironic because Richard Nixon, for all his sins, was the president who started the Environmental Protection Agency.) Paul (Josh Lucas) is an engineer who works for Nixon, and as the film starts he arrives in the town nearest to the rig he supervised building years ago, with his wife, Ines, (Fernanda Urrejola) and two kids, Audrey (Venus Ariel) and Tommy (Carlos Solórzano) in tow for a family vacation while he inspects the rig.

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