Dhurandhar The Revenge faces copyright suit over alleged unauthorised use of ‘Rang De Lal’

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Production banner Trimurti Films has filed a lawsuit against filmmaker Aditya Dhar’s company B62 Studios, alleging unauthorised use of the song ‘Rang De Lal’ in the film Dhurandhar The Revenge. The dispute relates to the rights to the track, which originally appeared in the 1989 film Tridev. The song was co-composed by Anand–Milind, written by Sameer Anjaan, and sung by Amit Kumar and Sapna Mukherjee. What the lawsuit alleges According to sources familiar with the matter, Trimurti Films has claimed ownership or control over the relevant rights connected to the musical work and sound recording of ‘Rang De Lal’. The company has alleged that the song, or a version substantially similar to it, was used in the film without obtaining the necessary permissions. The suit states that such use amounts to copyright infringement, including unauthorised reproduction and communication of the work to the public. Trimurti Films has sought an injunction to restrain further use of the song, along wit...
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Madame Web review – Marvel’s junky spin-off is a tangled mess

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Dakota Johnson lazily leads an incompetent attempt to set up a new character, made almost incoherent by last-minute changes

It was an inevitable collapse after a reign of such unwarranted length and unparalleled indulgence, superhero movies totalling eight a year during the 2010s, a lucrative yet tiresome stronghold. There were brief highlights within the flurry but such lazy overreliance left little room for other blockbuster genres to flourish and led studios to scrape barrels, giving us more and more of something we’d ultimately had enough of. Last year saw an overwhelming rejection (The Flash, Shazam 2, The Marvels, Ant-Man 3, Aquaman 2 all underperforming) and now the fallout, the first of the year doubling up as a Powerpoint presentation on what went wrong and how not to fix it.

Developed back in 2019, given a green light in 2020, filmed during 2022 and then allegedly undergoing reshoots last year, Madame Web was envisioned as a way to extend Marvel and Sony’s Spider-Man universe: a business, if not creative, sense decision after the surprise success of both Venom and Into the Spider-Verse in 2018. An elderly clairvoyant known in the comics for assisting Spider-Man is now turned into a young paramedic, played by Dakota Johnson, who doesn’t even know that Spider-Man exists, in a film desperate to pretend that it’s something it isn’t. Such confusion was on display in the launch of last year’s trailer, immediately going viral for its laughably unsure tone, convoluted plot and checked-out leading lady. Grimly aware of the sea shift, it’s now being referred to as a gritty suspense thriller in press materials with Johnson insisting during press that it’s a standalone movie in its own standalone universe.

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