Ayushmann Khurrana brings back the golden era of comedy with Pati Patni Aur Woh Do; says, “It’s a throwback to a time when storytelling was simple, clean, and genuinely funny”

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Actor Ayushmann Khurrana is gearing up for the release of his upcoming family entertainer, Pati Patni Aur Woh Do. The film promises to bring back the charm of classic situational comedy, drawing inspiration from the golden era of Hindi cinema. The film taps into a storytelling tradition that audiences have cherished for decades, a space where misunderstandings spiral into hilarious situations, every character adds a new layer to the narrative, and the humour feels organic, clean and timeless. Speaking about the film, Ayushmann said, “Pati Patni Aur Woh Do is a situational comedy in its purest, most classic form. The idea traces its roots back to the legacy of Sanjeev Kumar. I have been a big fan of his work. Humour from films of that era emerged from misunderstandings, timing, and character dynamics. I’ve always admired that style of storytelling, seen in timeless films like Padosan, Chupke Chupke, Angoor and Gol Maal. They are a laugh riot and I’m hoping Pati Patni Aur Woh Do will al...
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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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