Bombay High Court dismisses PIL seeking change in Raja Shivaji’s title

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The Bombay High Court has dismissed a public interest litigation (PIL) that sought a stay on the theatrical release of the Marathi-Hindi bilingual film Raja Shivaji, clearing the way for the movie’s scheduled release on May 1, 2026. The petition had objected to the omission of the honorific “Chhatrapati” from the film’s title and claimed it was disrespectful to the legacy of Chhatrapati Shivaji Maharaj. The plea was filed by NGO Sree Chhatrapati Shivaji Maharaj Foundation, which argued that leaving out the title “Chhatrapati” hurt the sentiments of followers of the iconic Maratha ruler. The petitioner requested the court to direct the makers to rename the film Chhatrapati Raja Shivaji and also sought restrictions on the release, screening, and public exhibition of the movie until changes were made. A division bench led by Chief Justice Shree Chandrashekhar and Justice Gautam Ankhad rejected the petition, observing that the matter did not involve any real public cause. The court also n...
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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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