EXCLUSIVE: Trailer of Kapil Sharma-starrer Kis Kisko Pyaar Karoon 2 to be launched in a GRAND event on November 26

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10 years ago, Kapil Sharma made a rocking debut in Hindi films with Kis Kisko Pyaar Karoon (2015). It surprised the trade and industry as it opened in double digits, at Rs. 10.15 crores. As a result, expectations are tremendous for its second part, titled Kis Kisko Pyaar Karoon 2. Bollywood Hungama has learned that the trailer will be launched in 2 days from now. A source told Bollywood Hungama, “The theatrical trailer of Kis Kisko Pyaar Karoon 2 will be unveiled on Wednesday, November 26, at a grand event in Mumbai. It will be graced by lead actor Kapil Sharma, Manjot Singh and his four heroines, namely, Warina Hussain, Ayesha Khan, Tridha Choudhury and Parul Gulati. Director Anukalp Goswami and producers Ratan Jain, Ganesh Jain and Abbas-Mustan are also expected to be present.” The source further said, “The makers are happy with the way Kis Kisko Pyaar Karoon 2 has shaped up and are excited to launch the trailer in a big way. Hence, they have decided to go all out for the event. Mo...
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Pigeons! Superheroes! Farts! The best movie moments of 2023

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From angry confrontations to romantic reunions, Guardian writers pick the big-screen moments that have stayed with them the most

Martin Scorsese’s Killers of the Flower Moon is frequently enthralling over the course of its three-and-a-half-hour runtime, sinking into the depths of American shame as it follows William Hale (Robert De Niro) and his unofficial lieutenant Ernest Burkhart (Leonardo DiCaprio) as they grasp for the money and land controlled by the Osage tribe in 1920s Oklahoma, which involves slowly poisoning Ernest’s wife Mollie (Lily Gladstone) as they kill off members of her family and community. But just when it seems like the story’s final dominoes are tumbling over with inevitability, Scorsese jumps ahead for his final scene – maybe the most audacious in American movies this year. Rather than a series of solemn title cards explaining what happened to the people whose lives we’ve seen dramatized, the movie cuts to a true-crime radio show in the 1940s, with major figures from the film reduced to cartoonish voiceovers and sound effects. And then, to detail Mollie’s post-narrative life, Scorsese himself appears. It’s not a Hitchcockian wink of a cameo, but a show of respect, as he steps from behind the camera to essentially read Mollie’s obituary; the mood changes from playful to stark in an instant. Seeing this master film-maker visibly grapple with the limits of artistic expression took my breath away. Jesse Hassenger

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