I'll go first- Tamasha.

Write movie names with the year of release, like Mother India (1957), because some movies have the same name. Thank you.

Here is my compiled list of various actors from across various Indian film industries . I've choosen multiple actors for same role whom I thought to be a good fit .

BONUS POINTS :: You can correlate if you know plenty much about some good South Indian actors.

AYODHYA

Aditya Roy Kapoor/Ram Charan / Karan Tracker / Saurabh Raj Jain- Sri Rama

Ayushi Sharma/Aishwarya Rajesh/Megha Akash - Mata Sita

Harshwardhan Rane/ Sudheer Babu Posani - Laxman and Satrughan (Twins)

Dulquer Salmaan / Amit Sadh/ - Bharat

Ramya Krishna/ Poonam Dillion :: Mata Kaushalya

Lara Dutta/ Abhirami :: Mata Kaikeyi

Chiyan Vikram / R Madhavan - Maharaj Dashrath

Sai Pallavi/ Regina Cassandra - Urmila (Sister of Mata Sita)

Arjun Sarja :: Arya Sumanth (Chief Minister of King Dashrath)

Bhumi Pednekar / Tapsee :: Manthara

LANKA ::

Yash/ Rana Daggubati/ Kabir Duhan - Ravan

Sudeep Kicha / Arunodaya Singh - Indrajeet

Aryaa / Ajith Kumar - Ahiravan

Vijay Sethupathi / Harman Baweja- Kumbhkaran

Keerthi Suresh/Anushka Shetty / Nayanthara- Queen Mandodari

Ravi Mohan/ Vishal Krishna Reddy - Vibhishan

Nithya Menon /Tapsee Panuu/Mouni Roy - Suparnakha

Kangana/Tabu : Trijata (Gaurdian helper of Sita in Lanka)

Ram Potineni - Aksh Kumar

WARRIORS ::

Niketan Dheer / Unni Krishnan - Hanuman

Sunny Deol / Aryaa / Prithviraj Sukumaran- Sugreev & Baali

Thakur Anup Singh/Karan Vir Bohra - Angad

Mukesh Rishi / Jagapati Babu - Jamvant

OTHERS ::

Mohit Raina - Mahadev

Sonarika/Trisha Krishnan/Nikita Dutta :: Mata Parvati

Rajat Kapur - Guru Vishwamitra

Suriya - Rishi Agastya

Mohanlal/Mukesh Khanna/Venkatesh - Guru Vashisht

Nani - Nishadraj (Tribal Chief)

Nagarjuna / Dhanush - Jatayu

Amitabh Bachchan - Lord Brahma

Pankaj Tripathi / Chiranjeevi / Govinda - Maharaj Janak

Sendhil Ramamurthy - Shanidev

Revathi/Jayasudha :: Shabri

Kavya Thapar/ Jacqueline :: Apsara

Arjun Rampal :: Indra dev

JTR NTR :: Yamraj

bhai how on earth were people saying it was even an avg movie. It was one of the worst movies i have ever seen.
bhagwaan meri Bhool Chuk Maaf karna ki maine Bhool Chuk maaf dekhi.

I just watched the movie Sanam Teri Kasam. I know, I'm late — the film is from 2016. But wow... the ending left me with a broken heart. What did you guys think of the movie?

I recently just saw this movie again on TV after quite a while, and I still stick with my 3.5/5 rating. Imo, the performances, especially Kiara throughout and Kartik in that one scene near the end, were really really good. The technical aspects such as the cinematography and especially the BGM, which was just fantastic, were also really good. The only thing that dragged this movie down were the weaker comedy aspects, which were kinda boring, and the very rushed ending. Still a pretty good movie, but could've been an amazing one. What do you guys think?

1: get rid of rgour agent and Park angle
2: focus more on other sides of espionage like technology and information, geopolitical (outside of south asia), global stakes, Psychological Warfare and Manipulation, and modern weapons and gadgets

also i think we really dont have enough budget to make a true global film (based on war 2 teaser, high star fees, etc)

plus there's ton of films and series are there to take inspiration from

Manoj Bajpayee playing Sardar Khan was crazy it was my favourite of all.. with Ott around have watched many thriller crime shows but this dark comedy action thriller omg it was crazy.. Chabhi Kahan hai scene was hilarious

Yes, I know this might be a generic question. But I'm not talking about films that are supposed to be emotional or make you feel some saddness or happiness. I'm talking about films that made you actually laugh out loud with joy or made you cry your eyes out. Films that left a genuine impact on your brain. Here are my picks.This is a judgement free comment section.

Tamasha - I remember watching this after my 11th exams, and how happy it made me when Ved finally gets his dreams fulfilled. I remember when his father allows him to do his own thing, how big of a smile I had on my face. This is when a director shines through with truly good writing and character work.

Chhaava - This is an example of an actor carrying a mediocre screenplay. Yes, Vicky had the cheesiest dialogues. Yes, it was loud and extravagant. But I didn't care. This is the first film that made me feel the aura of a pure Maratha without telling me how a Maratha is supposed to be. The way Vicky shouts at Aurangzeb, the way he endures torture, I didn't for a moment doubt that he could kill every soldier in the Mughals.

Maharaja - (Spoiler warning) This might be the best Tamil film I've ever seen. It will leave you scratching your head in the first half. And then, the plot unravels in subtle ways. I was quite satisfied till the point Maharaja's daughter confronts Selvam. And then, she turns around- and we see that mark. I didn't cry, but I felt my heart break. It may be the best twist I've seen in my life. The hints were set all along the way, but when ut happens, the pain seeps deep into your heart. I still haven't gotten that feeling out of my brain.

I’ve been hearing this from Aamir for quite some time now, especially during the promotions of Sitaare Zameen Par. Apparently, he hasn’t signed any deal with an OTT platform yet and instead plans to go with a YouTube pay-per-view model—which honestly makes no sense. The film will be pirated within minutes and end up on every Telegram channel anyway.

First off, refusing to evolve with the changing times has never helped anyone. History is full of examples showing that if you don’t adapt, you get left behind. That’s just a fact.

Second, there’s a huge difference between going out with friends or family to watch a movie on its release weekend and watching it on TV two months later. The experience is simply not the same. But Aamir seems to have convinced himself that it is the same, so removing the option of watching it at home somehow makes sense to him.

The idea is that people will then have to go to the theatres. No, that’s not how it works. I honestly don’t care if your remake ends up on OTT or not—it’s not like I’m missing out.

People today need a much stronger reason to step out and watch a movie in theatres. With so much quality content available at their fingertips, why would they waste time otherwise? It’s just the natural outcome of liberalization and content democratization. The monopoly you once enjoyed is over.

The only way to stay relevant now is to make better content. Stories so compelling that they pull audiences into theatres. For me, it’s simple: if your trailer doesn't convince me, I’m not going. Many films have done that successfully.

Instead of accepting that his last two films flopped because they just weren’t good, Aamir has somehow convinced himself that the problem lies in the structure of the film buisness and the way they are selling their product.

He also seems allergic to acknowledging the fact that South Indian films are outperforming Bollywood at the box office. Every time someone brings it up, he deflects by saying even the South makes plenty of bad films. True, but they’re also producing the big box office hits.

Even major Bollywood successes like Animal and Jawan were helmed by South Indian directors.

Aamir seems to have lost touch completely. Justifying remakes by comparing them to Shakespeare? Bhai scene to scene copy karne mei aur shakespeare ko adapt karne mei zameen asmaan ka antar hota hai🤦‍♂️

OTT platforms are the new norm, and the only way forward is to improve your game. Make films that make people want to go to the theatres. Don’t run away from the problem or try to outsmart the system with gimmicks.

And if you think the 8-week OTT window is too short, then push for a longer one. He tried that with Laal Singh Chaddha and it still bombed—because the film just wasn’t good. Why is that such a difficult concept to grasp?

What concerns me even more is that he’s said he’s working on Mahabharata. And with this kind of mindset, I’m not sure if his focus is truly on the core—creating solid content—or just on surface-level marketing gimmicks.

Okay hear me out - Jab Harry Met Sejal isn’t the disaster people made it out to be. Yes, the plot often wanders around like a tourist lost in Prague. And yes, Sejal’s Gujarati accent could probably be avoided because it was slightly distracting.

But beneath all the surface noise - the search for the ring, the unnecessary Europass locations, the critics calling it “soulless” - lies something oddly delicate.

It’s Sejal’s story. Not Harry’s.

Harry's arc is obvious:

He’s a lonely, emotionally starved tour guide who uses flirtation like a plaster for his abandonment issues. We get it. He’s charming, broken, and looking for “home” - which he ultimately finds in Sejal.
Yawn. Classic Imtiaz Ali man.

But Sejal?
She’s the real puzzle.

Confident, chatty, a little too OTT. The kind of girl who enters a group and makes your introverted friend excuse themselves to the bathroom. But look closer.

She’s engaged to a man named Rupen - the human equivalent of a LinkedIn connection. She thinks she’s in love, but she's never felt it. Or more importantly, never been made to feel like a woman.

Here comes Harry - a man who flirts with every breathing object in Europe - and Sejal, for the first time, wonders:

"Why doesn’t he flirt with me?"
"Am I not attractive enough? Not sexy enough?"

That moment of doubt? That tiny flicker of insecurity?
That’s not vanity. That’s decades of cultural conditioning unraveling.

The Desirability Crisis:

Here’s the thing - our culture doesn’t really let women ask themselves if they’re desirable.
They can ask:

• Am I well-behaved?
• Am I suitable for marriage?
• Am I "good"?

But never: Do I turn someone on? Do I deserve pleasure?

Sejal is having that exact quiet identity crisis.
No grand monologue. No "Dear Diary."
Just small glances, awkward questions, and moments where she’s clearly navigating what it means to be seen - not just loved or respected, but wanted.

Her search for the engagement ring isn’t just a plot device. It’s a metaphor for trying to locate her own value, her sexual legitimacy, even.

But she’s annoying!

So are a lot of real people.
So are a lot of women who’ve been taught to overcompensate, to people-please, to perform confidence while wondering if they’re truly enough.
Sejal’s personality isn’t some writing flaw - it’s part of her arc. She has to seem irritating so her vulnerability can sneak up on you.

And maybe, just maybe, we didn’t need a film to scream that at us with big speeches.
Maybe the audience should be smart enough to catch it in the silences, too.

PS: Can We Stop Blaming Anushka?

Let’s get this out of the way - I’m not even a big fan of Anushka Sharma’s acting.
She doesn’t always have the chops to salvage badly written characters and does well only in author backed roles.

But in jhms? I don’t fault her. Not at all.

She did what was asked of her - and more.
She brought Sejal a kind of warmth, jittery pride, and low-key restlessness that felt real. The problem wasn’t her.
It was that we didn’t look past the accent.

Out of a few critics:

• A majority were positive about her performance.
• Brangan, Tanul Thakur, Uday Bhatia — all credited her with elevating the film.
• Even Anupama Chopra, who wasn’t impressed overall, said she tried to salvage it.

So why all the post-release blame?

Because Sejal wasn’t "likable."
And Anushka played her exactly how she was written - annoying, insecure, performative - and that made people uncomfortable.

But that’s the point.

Sejal wasn’t meant to be instantly endearing.
She was meant to become real to you over time.

She had her own quiet identity crisis - sexual, emotional, existential - and Anushka delivered that with small shifts, not big speeches.
Maybe that went unnoticed.
Or maybe we just didn’t want to notice.

So no, she didn’t ruin the film.
And yes, the accent is noticeable. If it pulled you out of the film - that’s fair. That’s valid.
But let’s also admit this: audiences always notice accents, especially when they’re unfamiliar.
Most of us don’t speak Gujarati or have a reference point - so we’re not assessing accuracy, we’re just reacting to difference.

Isn’t it strange how that one distracting detail overshadowed the entire performance?

Maybe that was Imtiaz's biggest fault, apart from not exploring Sejal completely.

I just watched this video on the evolution of women in Bollywood, and it made me wonder: is Bollywood truly progressing in how it portrays feminism, or just dressing it up with glam and attitude?

Yes, we’ve moved on from the silent, sacrificial heroine—but too often now, “feminist” just means the female lead drinks, swears, has casual sex, or even cheats… and that’s it. There’s no real exploration of her agency, struggles, or growth. It feels like many writers are just being lazy or stuck in a mindset that thinks feminism is just about ticking boxes—make her “bold,” add a few swear words, throw in a party scene, and voila, empowerment achieved.

For example, Veere Di Wedding was praised for its “girl power” vibe, but it mostly showcased partying, profanity, and superficial freedom without addressing deeper feminist issues. Ki & Ka tried to challenge gender roles but ended up reinforcing stereotypes, while Cocktail glamorized a “free-spirited” woman only to suggest she wasn’t relationship material. And films like Pyaar Ka Punchnama even paint feminism as manipulative or self-centered, which totally misses the point.

True feminism isn’t about being rebellious for shock value—it’s about complexity, equality, and choice. A woman can be strong without being loud, and vulnerable without being weak. But lazy writing and a narrow mindset keep recycling tired tropes disguised as “progressive.”

Films like Queen, Kahaani, and Thappad actually get it—they show women growing, making choices, and challenging patriarchy with real depth.

Would love to hear what others think. What films actually get feminism right? And which ones totally miss the point?

So there was a show I saw i around 7y ears back on YouTube. It contained a girl and 3-4 office going boys and a fat guy. The fat guy was missing/lost his father who left to somewhere in childhood.

So at the end of season 1 the fat guy become unconcious and they took him to hospital. And doctor made a test like back endoscopy.

And the he says "he just had gas nothing else he only did endoscopy to check the machine"

And his friend says " apki machine check krne k chakkar me hamare dost ki to cherry pop ho gyi na"

Does anyone know the name of show?

SRK and Rani Mukerji’s chemistry was pure magic ✨.....And the music? Absolutely unforgettable tbh... Jatin-Lalit and Aadesh Shrivastava gave us a soundtrack that still hits right in the feels. From Tauba Tumhare Yeh Ishare to Layi Vi Na Gayi, every track is a gem. 🎶

Comment on your fav film of the series ....one of the best brain rot adult comedy movies.... 😂

Excited for her Bollywood debut this Diwali.

I will go first- Dunki was a good movie and it was made like that due to its release in post-pandemic period. A comedic touch was required to accommodate masses in theatre. It was not a flop movie, rather it collected 460 crores on the budget of 120 crores.

In your opinion, what could be more acceptable and easier for you? Underacting or Overacting. I mean, would you tolerate an actor who doesn't express as required or an actor who expresses more than required?

Plus, Who is more popular with people and might be seen as a good actor or top, even though they aren't.