OMG 3 in early development as Akshay Kumar, Amit Rai discuss ideas: Report

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Amidst wrapping up the shoot for Bhooth Bangla, actor Akshay Kumar spent the weekend in Kerala engaging in creative discussions with OMG 2 director Amit Rai. The duo reportedly used the final leg of the horror-comedy shoot as an opportunity to flesh out early ideas for the third installment in the Oh My God franchise. According to a report by Pinkvilla, Amit Rai accompanied Akshay Kumar to Kerala during the three-day song shoot of Bhooth Bangla, where they extensively discussed potential narratives for OMG 3. The report quoted a source saying, “Amit Rai had multiple ideas for OMG 3, and he discussed all the plot points with Akshay Kumar throughout the stay. The duo brainstormed over various directions the story could take. The intent is to continue the most loved franchise, and take the third part on floors in 2026.” Both Akshay and Amit reportedly shared a strong creative rapport over the weekend. As of now, Amit Rai is working on developing a draft that could shape the third chapte...
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The G review – Dale Dickey is gamechanging gangster granny out for vengeance

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Dickey is a revelation as a harder-than-nails woman exploited by the US’s legal guardian system in an otherwise overcooked thriller

The “G” in this low budget revenge thriller is 72-year-old Ann Hunter. That’s “G” as in “Granny”, a nickname given to her by her granddaughter. The joke is that Ann does not fit anyone’s stereotype of a granny. To call her hard-as-nails would be an understatement: nails can bend, but the G is harder, cold, mean and sarcastic. When she reaches for a bottle, dirty washing stacked up around the sink, no clean glass to hand, she pours her vodka neat into an empty yoghurt pot.

The G is played by character actor Dale Dickey, whose TV credits include Breaking Bad and My Name Is Earl. On film, she’s best known for a supporting part in Winter’s Bone, but I have to confess I didn’t recognise her. Having seen her in action here, I’m a convert. The G is heartless and unlikable, her battered face set in a permanent scowl – and yet Dickey conveys a woman shaped by her experience; there’s a backstory eventually about her childhood in Texas explaining the rage and anger. Her performance is a much-needed plus in a film that would otherwise lack a bit of substance.

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