King leak controversy: Siddharth Anand issues strong warning after Shah Rukh Khan, Deepika Padukone set photos go viral

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Just a day after social media was flooded with leaked photos from the sets of the much-anticipated action-drama King, director Siddharth Anand has issued an official statement addressing the situation. The viral images, reportedly featuring Shah Rukh Khan and Deepika Padukone shooting in Cape Town, sparked massive excitement among fans, but have also left the film’s team concerned about preserving the cinematic experience. Taking to social media, Siddharth Anand shared a note requesting fans and online platforms to refrain from circulating unauthorized content from the shoot. Emphasizing the importance of maintaining the film’s intrigue, the filmmaker urged audiences to wait for official reveals. "Request to all the fans. Please do not post or circulate any leaked multimedia from the sets of King. The team is working round the clock to ensure the best cinematic experience for everyone. Let us wait for the surprise on the big screen and for the assets to be revealed as the team of...
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The Animal Kingdom review – Romain Duris leads post-Covid fantasy of virus-triggered mutants

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Duris stars as a father protecting his son, who may or may not be mutating, in Thomas Cailley’s well-crafted thriller

Thomas Cailley’s sci-fi fantasy has too much sensitivity and good taste to be the proper horror-thriller or creature feature that it almost resembles. It’s a drama of emotions and ideas about post-Covid society – which is welcome enough – but with a dash of prosthetics and CGI and some scares. I felt something very similar about Bong Joon-ho’s monster film The Host back in 2006: the worthiness operates against the excitement and I found myself wanting something more gleefully crass and shocking, something more ironic or thrillingly callous. The Animal Kingdom seems squeamish about going for the jugular in the way a proper genre movie would – or a Marvel movie.

The scene is a France of the near future in which there has been an outbreak of some disease which has caused humans to mutate into animals. The government is just about on top of the situation, having established high-security clinical holding units to confine the “bestioles” (“critters”) as local people heartlessly call them. François (Romain Duris) is a stressed guy keeping his emotions in check since his wife became a “bestiole” and now has to be a single-dad to his tricky teen son Émile, in which role Paul Kircher indicates that he might be succumbing to the disease with unnervingly subtle bovine and simian mannerisms, camouflaged within classic adolescent sulkiness. Adèle Exarchopoulos rather phones in the role of a uniformed female cop who appears to have a tendresse for François.

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