Jackky Bhagnani returns to acting after six years with Independence Day anthem 'Tere Rang Mein': "I wanted the street credibility and respect of Gen Z"

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Jackky Bhagnani has returned to acting after a six-year gap with the Independence Day anthem 'Tere Rang Mein,' released under his music label Jjust Music. The actor-producer said the song offered him an opportunity to return to the screen with a project that was personally meaningful to him. Bhagnani described himself as a patriot and said the nature of the song played an important role in his decision to face the camera again. “I am a patriot by heart. It’s been quite some time since I faced the camera. So, I thought the best way to come back is with the right cause,” Bhagnani said. The actor's return comes after several years of focusing primarily on film production. According to Bhagnani, stepping away from acting was a conscious decision as he worked behind the scenes and became more involved in producing films. Jackky Bhagnani on focusing on film production Bhagnani said his experience as a producer made him rethink the way he wanted to approach his acting career. He ...
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The Parenting review – supernatural caper is a so-so comedy and a lousy horror

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A gay couple are trapped in a haunted Airbnb with their parents in an initially amusing but progressively exasperating genre mishmash

Writer-director Craig Johnson broke out with 2014’s spiky comedy drama The Skeleton Twins, a film that hit familiar Sundance indie beats but hit them better than most. He has struggled a little since, from annoying Woody Harrelson-led comedy Wilson to ho-hum gay high school romance Alex Strangelove, and so one can understand why Johnson might feel like a big swing in a different direction might make most sense.

It has led him to a script by Saturday Night Live writer Kent Sublette called The Parenting, a throwback supernatural comedy horror that tries to remind us of a time when these rambunctious concoctions were far more common. Think Beetlejuice in the 80s or The Frighteners in the 90s or the deeply underrated Housebound more recently, a high-energy rush of scares and laughs that should feel effortless but too often doesn’t, the difficulty of such a balance perhaps serving to explain why so few are made these days. It might also explain why backers New Line didn’t quite know what to do with this one, the film gathering dust on the shelf for almost three years and now landing on Max with a suitably concerning trailer released less than two weeks prior.

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