EXCLUSIVE: Dhurandhar completes its glorious run in IMAX as Avatar: Fire And Ash takes over; single screens, Gaiety-Galaxy SKIP Hollywood biggie; continue with Ranveer Singh-starrer

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Dhurandhar, which is all set to become the biggest hit of the year, enters the third week of its release today. The film overperformed in its second week and is now all set for another huge week from today. The Ranveer Singh-starrer also had a release in the IMAX version. However, its IMAX run ended yesterday, on December 18. This is because Avatar: Fire And Ash has now taken over all the IMAX screens across India and also the world. Directed by James Cameron, the fantasy drama is known for its spellbinding visuals. Hence, it makes for an ideal watch in IMAX theatres. It's no wonder that its shows in the IMAX cinemas got filled first. Nevertheless, Dhurandhar had a glorious run in the IMAX version. The film also had a big screen appeal which enticed people to check it out in IMAX. Interestingly, the film didn’t get a release in IMAX on the day of its release due to late delivery of prints. But once the issue settled, the film managed to score big time in the wide-screen cinemas. ...
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Donald Sutherland was an irreplaceable aristocrat of cinema

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The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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