EXCLUSIVE: Kumar Mangat Pathak CONFIRMS Jaideep Ahlawat's entry in Drishyam 3: "We have got a BETTER actor than Akshaye Khanna and most importantly, we have got a better person than Akshaye"

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Sometime back, Bollywood Hungama broke the internet as it exclusively spoke to Kumar Mangat Pathak over Drishyam 3’s casting. The reputed producer complained of Akshaye’s unprofessionalism and also revealed that he plans to sue the Dhurandhar actor. He also confirmed that Jaideep Ahlawat has replaced Akshaye. Kumar Mangat Pathak told Bollywood Hungama, “Drishyam is a very big brand. It doesn’t matter whether he is in the film or not. Now, Jaideep Ahlawat has replaced him. By the grace of God, we have got a better actor than Akshaye and most importantly, we have got a better person than Akshaye as well. I had produced one of the first films of Jaideep's career, Aakrosh (2010).” The producer then said, “I have suffered losses because of Akshaye Khanna’s behaviour. I am going to take legal action. I have already sent him a legal notice; he’s yet to reply to it.” Kumar Mangat Pathak revealed, “When Akshaye heard the script in his Alibaug farmhouse, he liked it so much that he told u...
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After 10 years, I'm stepping down as the Observer's film critic. Here are my top films from the decade | Mark Kermode

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As I leave the post, I look back on how cinema has changed since 2013 and, below, pick a favourite movie from each year of my tenure – as well as a turkey

This week, I filed my final column as chief film critic for the Observer. I’m stepping down after exactly 10 years in the role, making way for the brilliant Wendy Ide to take over the reins and put her own inimitable stamp on the paper. A longstanding colleague and friend, Wendy is an exceptional critic and I look forward to reading her insightful and elegant reviews in these pages for years to come. In the meantime, looking back at my own experiences over the past decade, I’m struck by how much the moviegoing landscape has changed.

When I took over from the great Philip French in September 2013, Kathryn Bigelow was still the only woman to have won the Oscar for best director, having made history when she triumphed with her tense war drama The Hurt Locker in 2010. The Academy Awards have, of course, always been inherently ridiculous (remember: Citizen Kane didn’t win best picture, but Driving Miss Daisy did). For better or worse, however, this very American shindig tells us something about the way the mainstream film industry views itself. And since the first Oscars ceremony back in 1929, the Academy has overwhelmingly celebrated and prioritised white male film-makers. Yet in the past 10 years, things have at least begun to shift in encouraging ways.

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