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 Furious review – dial-shifting dadsploitation mayhem as father goes in search of kidnapped daughter

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There’s more than a whiff of Taken in Kenji Tanigaki’s exhilarating martial-arts movie, in which a handyman goes after some evil people traffickers

It keeps happening: every few years, usually during a run of lethargic Hollywood spectacles, the Overton window of screen violence gets recalibrated by a muscular wonder from the east. Thundering along in the bloody footsteps of the Raid films and the Hindi punch-’em-up Kill, this martial-arts showcase from Japanese-born, Hong Kong-based director Kenji Tanigaki opens in generic dadsploitation territory. “Somewhere in Southeast Asia”, as a caption has it, mute Chinese handyman Wang Wei (Miao Xie) tears off after the traffickers who have nabbed his daughter (Enyou Yang). Having Hulk-smashed its way out of the Taken box, though, The Furious starts to crank it up. Boy, does it crank it up; the closing half-hour achieves a pummelling intensity unlikely to be matched by any other release this year.

There are one or two plot developments. Cribbing from John Woo’s buddy movies, Tanigaki has his hero run into an undercover journo (Danny Dyer lookalike Joe Taslim) with his own reasons for chasing the traffickers; this route-one approach bears out the advantages of keeping things simple while turning the dial to 11. The complexities are reserved for the frame itself: jaw-droppingly limber, seemingly boneless performers pull off bruising manoeuvres on concrete floors, with Tanigaki’s well-placed cameras capturing unexpected delicacies and flourishes amid otherwise crunching dustups. It’s as if someone has brought a crossbow and a ballpeen hammer to the dance, and they’re intent on using them.

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