Pawan Kalyan’s Ustaad Bhagat Singh to clash with Dhurandhar: The Revenge on March 19

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While Yash has played it safe with his Toxic, relocating it as far away from Dhurandhar: The Revenge as possible, another braveheart has decided to take on Aditya Dhar’s sequel head-on. Pawan Kalyan ambitious project Ustaad Bhagat Singh has been preponed from March 22 to March 19, thereby precipitating a direct clash with Dhurandhar 2. Pawan took this flash decision following the postponement of Yash’s Toxic from March 19 to June 4. A source very close to Dhurandhar told this writer that Pawan Kalyan’s airdrop means nothing to the Dhurandhar team. They were not perturbed by the release of Toxic on March 19, they are not taking the competition from Ustaad Bhagat Singh seriously. However, Pawan Kalyan is taking the clash to the highest level. A source close to Pawan revealed, “He firmly feels the March 19 slot and its Eid and Rama Navami holidays offer enough room for more than one blockbuster. He will be vigorously promoting...
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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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