Alexander Zverev sealed a dramatic Laver Cup victory for Europe over Team World in Geneva on Sunday, as the German beat Milos Raonic in the deciding singles match.

The holders trailed 11-7 midway through the final day but Zverev, after Roger Federer had edged past John Isner, downed Raonic 6-4, 3-6, 10-4 to deny John McEnroe's visitors their maiden triumph in the third edition of the event.

Instead, Bjorn Borg's Europe made it three wins from three since the inaugural staging in 2017.

"Team World came once again very close but we won the right points and had maybe a little bit of luck," said captain Borg.

"I'm very proud of my team, they did a hell of a job. I'm a very happy captain."

After Rafael Nadal withdrew from Sunday's play with a hand injury, Isner and Jack Sock beat Federer and Stefanos Tsitsipas in the opening doubles encounter, before Taylor Fritz saw off Dominic Thiem to leave Team World one win from the trophy.

But Federer claimed a 6-4, 7-6 (7/3) victory over Isner to set up a winner-takes-all clash between Zverev and Raonic.

World number six Zverev took the first set courtesy of a break in game seven, with big-serving Canadian Raonic hitting back to force a super tie-break, saving four break points to serve out the second set.

But Zverev, selected by Borg ahead of Tsitsipas and Fabio Fognini for the first-ever Laver Cup decider, raced to victory as Raonic's serve deserted him.

The 22-year-old, who also clinched Europe's win last year by beating Kevin Anderson, fired a brilliant cross-court forehand past Raonic on his first match point.

"I've never played in something like that, it was unbelievable," said Zverev.

"It's very special, especially playing in front of those guys and them trusting me to play the last singles game. This event is something I hope to play in every single year of my career."

Europe will defend their title in 2020 at TD Garden in Boston from September 25-27.

- Federer keeps Europe alive -

Federer had to win a tense tie-break over world number 20 Isner to take three points in the penultimate match, smashing an ace on the final point to raise the roof in Geneva, after the American had somehow shot wide on the previous point with the court at his mercy.

"I'm thrilled that I was able to give something back to the team," said Federer.

"Obviously to see Rafa on the sidelines after having to pull out with an injury, it's great camaraderie I feel."

Team World had started the day 7-5 behind.

Fritz had earlier put Team World to within touching distance of a shock success with a 7-5, 6-7 (3/7), 10-5 win over Thiem.

The American, himself a replacement for the injured Nick Kyrgios, followed up Isner and Sock's 5-7, 6-4, 10-8 defeat of Federer and Tsitsipas with a surprise tie-break triumph over world number five Thiem.

"That was such a big match for Team World to win, we really needed that," said Fritz.

"This has to be one of the biggest wins of my career. It means so much more when you're playing for other people as well."

This year is the first time the tournament has been played since being added to the ATP Tour.

Europe won the 2018 edition 13-8 in Chicago.

eptember 26, 2019

Novak to play in Tokyo after injury

AFP

World number one Novak Djokovic, forced out of the US Open with a shoulder injury, is back in training and will play in Tokyo next week, a member of his press team told AFP.

The 32-year-old Serbian star has “started to train and the situation with his shoulder is a bit better,” the spokesperson said.

Earlier this month Djokovic was forced to pull out of his US Open fourth round clash with three-time Slam winner Stan Wawrinka due to a nagging injury in his left shoulder.

Serbia’s media quoted Djokovic as saying he had been “training without pain for two days already”.

His return means he could play out the season and hold off a challenge to his number one ranking from US Open winner Rafael Nadal.

As a tennis player, Andre Agassi defied comparison. And as a retiree, the eight-times Grand Slam champion would rather not try himself.

Reflecting on his career on Saturday, at the Longines Global Champions Tour in New York, Agassi said the game today had simply changed too much for him to find an analog among the sport's current top performers.

"The truth is, some of them do what I did – but they do other things too," said Agassi, pointing to reigning Wimbledon champ Novak Djokovic as someone "who can take the ball early and redirect pace or control points from the middle of the court," but also brings an added defensive edge.

"These guys, they can do everything I did on a return, except they have even a little more coverage.

"When I was really at my best, it was a risk to play aggressive ... (today) people play aggressive."

World number one Novak Djokovic displayed steady recovery of his left shoulder injury Tuesday by defeating an Australian challenger at the Japan Open, his first competition since pulling out of the US Open.

The experienced Serbian top-seed claimed a 6-4, 6-2 victory against 20-year-old Alexei Popyrin, who fought bravely at the Ariake Colosseum, a venue for the Tokyo 2020 Olympics.

Djokovic added his shoulder felt “good” and declared that he has set his eyes on an Olympic medal next year.

Popyrin mixed big serves with delicate drop shots to stage courageous offensives against 32-year-old Djokovic.

But Djokovic, taking part in a Japanese competition for the first time, kept his calm to always stay a step above the Aussie, never giving his opponent a break point, consistently playing at a “high-level” with “good intensity.”

An exhausted Andy Murray battled into a singles quarter-final for the first time in a year on Wednesday -- and then immediately grabbed a snooze.

He outlasted fellow Briton Cameron Norrie 7-6 (8/6), 6-7 (4/7), 6-1 over nearly three gruelling hours in hot and hazy Beijing.

On the mend after a career-saving hip operation in January, Murray looked all in afterwards, and walked gingerly in and out of the post-match press conference.

Blowing out his cheeks several times, the three-time Grand Slam champion said he had slept in the 90 minutes between his victory and talking to reporters.

“I’m tired, I just had a sleep before coming. I mean, I’m really tired,” he said

Opening batsman Mayank Agarwal completed a double century Thursday as India put South Africa's bowlers to the sword in the first Test.

Agarwal made 215 out of India's 502 for seven declared in Visakhapatnam.

South Africa then lost cheap wickets before the second day ended, reaching 39 for three at the close, with Ravichandran Ashwin leading a spin rout of the top order.

Ashwin bowled Aiden Markram for five and Theunis de Bruyn caught behind for four. Nightwatchman Dane Piedt was bowled middle stump by Ravindra without scoring.

Opener Dean Elgar, on 27, and Temba Bavuma, on two, were at the crease, with their side needing another 264 to avoid a follow-on.

The 28-year-old Agarwal put on a record 317-run opening stand with opening partner Rohit Sharma to set the tone for India's dominance.

"We are very happy with the way we have played in the first innings but there is no room for complacency," Agarwal told reporters.

"We are going to make sure that since we have the upper hand we will keep coming back keep putting the pressure on South Africa."

He added: "It was great batting alongside him (Sharma). It was good that we can get these big partnerships for India early on. It's nice obviously... getting a 300-run partnership feels great."

The right-hand batsman smashed six sixes and 23 fours in a 371-ball knock, using the reverse sweep to good effect as he made his mark in just his fifth Test.

Agarwal eventually fell to part-time spinner Elgar before leaving to handshakes from South African players.

He said that "long-distance running" and batting for long hours in the nets during practice was the reason behind his marathon knock.

Sharma fell for 176, stumped off Keshav Maharaj before lunch. Sharma, who resumed the day on 115, smashed the ball to all parts of the ground.

India then suffered two quick blows. Cheteshwar Pujara went for six and skipper Virat Kohli for 20.

Paceman Vernon Philander bowled Pujara on the first delivery of the second session. Debutant spinner Senuran Muthusamy had Kohli caught and bowled as his maiden Test wicket.

Jadeja, who made 30 not out, and wicketkeeper-batsman Wriddhiman Saha, who hit 21, gave useful support in building up the huge total.

Maharaj took three wickets from 55 overs of left-arm spin and said it was among the "toughest" conditions he had bowled in.

"I think it was probably one of the toughest surfaces I bowled on in terms of it being a lot slower and not biting as much," said Maharaj.

"Obviously you get slow turn, but I just felt the ball didn't really kick off the wicket.

"But the cracks have been opening up because of the heat around, so there is a little of bit of assistance now opposed to when we first started off."

The pitch had started turning as India sent in Ashwin and Jadeja to make quickfire strikes on the South African batsmen.

Real Madrid’s stuttering form has seen them slammed by the Spanish media and that trend continued after the 13-time European champions salvaged a 2-2 draw at home to Club Brugge on Tuesday night after trailing 2-0 at half-time.

Despite earning a point, the result was ultimately disappointing for Zidane Zidane’s side.

‘A strain again’ read the front page of Madrid-based daily Marca on Wednesday, who said that the draw complicated the club’s ability to remain in the competition with their next match at Galatasaray on October 22 coming four days before they travel to eternal rivals Barcelona in La Liga.

Meanwhile AS’s headline simply reads: ‘Alarm’. They noted Zidane’s post-match quotes where he admits Los Blancos have “never had a first half like that”.

Casemiro spared Real Madrid’s blushes as they escaped with a point after Emmanuel Dennis’s double had threatened to give Brugge a famous Champions League victory at the Santiago Bernabeu.

Lionel Messi insisted on Wednesday there are no problems between him and Antoine Griezmann or between the players and Barcelona's board.

Messi returned from injury to make his second start of the season against Inter Milan in the Champions League as Barca came from behind to win 2-1.

Speaking after the match, Messi was asked about his relationship with Griezmann, who had said on Tuesday it was "difficult" to establish a connection with the Argentine while he had been injured.

"Obviously we have no problem," Messi said. "There is a good relationship with everyone, the dressing room is united. We needed this victory and hopefully now we can kick on and continue in this way."

Luis Suarez scored a sensational double at Camp Nou and it was Messi that supplied the Uruguayan's 85th-minute winner, with a pass at the end of a weaving run down the right.

 

Rohit completed his fourth Test hundred and was unbeaten on 115 with Agarwal 84 not out - his best test score - when bad light forced an early tea break.

The only player in the world with three double hundreds in one-day internationals, Rohit has built a formidable reputation as a limited-overs opener but batted in the middle order in his stop-start Test career.

The 32-year-old could not have hoped for a more benign pitch to begin his journey as a Test opener with both the fast bowlers and spinners from South Africa failing to make any impact.

Visiting pace duo of Kagiso Rabada and Vernon Philander beat the bat on a few occasions with the new ball and those were the only moments of discomfort that the right-handed batting pair encountered.

South Africa captain Faf du Plessis introduced spin in the ninth over in the form of Keshav Maharaj but it only allowed the Indian batsmen to score more freely.

Rohit frequently danced down the pitch to the spinners, hitting five giant sixes to go with 12 fours.

A top-edged lap-swept four off debutant Senuran Muthusamy, which narrowly missed the fine leg fielder, brought up his fifty, and a slashed boundary that just eluded the gully fielder were among the rare moments when Rohit did not look in control.

Agarwal did not compete with his partner in shot-making but managed to put away the bad balls, hitting 11 fours and two sixes in his burgeoning knock to remain on course for his maiden hundred. 

The new year brings new Netflix originals, and the streaming platform has started 2019 with a bang. Several Netflix originals are already getting some serious buzz: if you've been glued to your laptop watching the addictive series You or couldn't tear your eyes away from the scandals exposed in the documentary Fyre: The Greatest Party That Never Happened, you know Netflix is bringing their A-game this year.

But the platform has also released plenty of other offerings that have flown under the radar so far. It's the perfect time of year to hunker down inside for a movie night or dedicate a snowy weekend to binge-watching a new series. There's no need to bundle up and head out to the theater — here are a few underrated Netflix originals you've probably missed so far. From comedy to drama to horror, they've got everything covered. Don't worry, you've still got all year to catch up

Read More: https://www.looper.com/144707/the-best-netflix-originals-youve-missed-in-2019-so-far/?utm_campaign=clip

Ever since Spider-Man: Homecoming‘s post-credits scene teased Scorpion and his pals getting revenge on the wall-crawler, fans have been wondering when Tom Holland’s Peter Parker will face the Sinister Six. Surprisingly, we’ve had 7 solo Spidey movies so far and the supervillain team has yet to appear. Though not for lack of trying on Sony’s part. It’s possible the web-slinger could finally meet his match, however, in Spider-Man 4.

We Got This Covered has heard from our sources – the same ones who told us Marvel was developing a She-Hulk show back in April – that Holland’s fourth standalone film in the role will feature the hero taking on the Six. Apparently, Spider-Man 4 will be a “big event movie” where the half a dozen antagonists go toe to toe with Spidey. But this won’t be the first pic where the group comes together, as we’re told there will be a Sinister Six solo film before SM4 to set up their conflict with Peter.

The Joker is unquestionably one of the greatest villains in the history of comic books. As Batman's arch-nemesis, he's been terrorizing Gotham City since his debut in 1940, with crimes ranging from bank robberies to an attempt to be the first man to commit murder on the moon, and all the way to widespread destruction that's left an entire city turned into grinning zombies hell-bent on destruction—and befitting a character that great, his popularity hasn't just been confined to comics.

Unfortunately, while the Joker's greatness has resulted in some genuinely great performances, the character's track record outside the comics hasn't exactly been spotless. With over a dozen major appearances in TV, movies, and video games, the the varied interpretations of the Clown Prince of Crime have cast a pretty wide net from amazing to terrible, and we've taken the time to rank them all from worst to best.

Want to see which one reigns supreme and which ones just can't cut it? Read on!

 

The book, which is not yet titled, is tentatively scheduled for 2023.

Celadon Books announced Wednesday that million-selling chef Ina Garten is working on a memoir, not yet titled. It's tentatively scheduled for 2023.

Garten, longtime host of the Food Network's Barefoot Contessa, has written such best-sellers as Barefoot Contessa Parties! and Barefoot in Paris. A self-taught cook inspired in part by Julia Child, Garten said in a statement that she hoped her book would "inspire readers to find their own unique story."

Garten, 71, was a budget analyst for the federal government before leaving in the late 1970s and purchasing a specialty food store called The Barefoot Contessa. Her first book, The Barefoot Contessa Cookbook, came out in 1999. All of her cookbooks have been released by Clarkson Potter, which has Garten cookbooks scheduled for 2020 and 2023.

The studio behind cable hit Yellowstone is developing a series about the family behind Budweiser beer.

Under the Influence, from 101 Studios, will chronicle the dramatic rise and fall of the Busch family, German immigrants whose entrepreneurial spirit and business acumen brought them untold wealth thanks to a signature product: Budweiser. The project is based on the book Under the Influence: The Unauthorized Story of the Anheuser-Busch Dynasty by Peter Hernon and Terry Ganey. 

"To have the opportunity to tell the story of one of America’s most fascinating and influential families is a thrill,” said David Glasser, CEO of 101 Studios. “Peter Hernon and Terry Ganey’s riveting account of every aspect of Anheuser-Busch and its reigning family will be honored and refined in our overall vision of this phenomenal saga."

Published in 1991, Under the Influence covers five generations of the family's triumphs and tragedies, power struggles and unscrupulous dealings. The book delves into both the rise of the business and the family battles for control of the brewery — until a hostile takeover threatens to bring an end to the empire.

The studio is searching for a writer on the project; no outlet is attached yet. Travis Knox and Drew Smith will serve as non-writing executive producers; Glasser and Bob Yari will also executive produce.

Sinful and sorrowful." Those affecting words from a young priest's prayer are loaded with contemplative weight when repeated by Robert De Niro as Frank Sheeran, living out his days in the solitude of a Catholic retirement home. He's a dinosaur whose mob cohorts have been killed or died out and what's left of his family has detached themselves from him, his sadness matched by their bitterness. A melancholy sense of looking back also pervades the best parts of The Irishman, in which the elder statesman of organized crime in American movies, Martin Scorsese, reunites with his most totemic screen actor to tell a sprawling gangland saga that's by turns flinty, amusing, richly nostalgic and rueful.

With a reported budget of $160 million, this is a big swing for Netflix, and the movie's self-indulgent running time of three-and-a-half hours will pose challenges for home-screen viewing. Having dipped his toes in longform TV storytelling with Boardwalk Empire — and less successfully with Vinyl — Scorsese's choice to make this a stand-alone feature and not a limited series seems mildly perplexing. Anyone hoping for the propulsive dynamism of, say, Goodfellas or Casino may be disappointed.

But The Irishman is also on many levels a beautifully crafted piece of deluxe cinema. It's full of sinuous tracking shots from cinematographer Rodrigo Prieto that induce swoons; sumptuous period production and costume design that evoke not just a vanished America but a near-extinct American movie realm; and fluid cutting from indispensable Scorsese collaborator Thelma Schoonmaker, who maintains the flow even in patches when Steven Zaillian's dense screenplay grows protracted. The movie is never less than engaging and its milieu at all times vivid and alive.

Anchoring the drama are three tremendously effective contrapuntal performances. De Niro may be playing the title figure but Frank is also the least flashy role, constrained to some degree by the inherent limitations in any middleman character. It's when his hardened, get-the-job-done grimace dissolves to hint at the conflicts within the WWII veteran turned mob heavy that Frank's calloused humanity is revealed. As his mentor in the criminal underworld, Russell Bufalino, Joe Pesci emerges from retirement to give a superbly measured performance as a don whose quiet thoughtfulness and composure don't soften his ruthlessness; he's the polar opposite of the lit-fuse firecrackers Pesci famously portrayed for Scorsese. And teaming here for the first time with the director, Al Pacino is in invigoratingly fine form as pugnacious labor union leader Jimmy Hoffa, the actor's tendency toward grandstanding bluster deftly channeled into a hilariously colorful hothead, unable to control his irascibility and power-trip ego even as they dig his grave.

As autumn fully kicks into gear, Netflix will be saying goodbye to a number of movies and TV titles throughout the month of October.

Movies including Julie & Julia, Charlie and the Chocolate Factory, The Sisterhood of the Traveling Pants, Empire Records, Obsessed, Pineapple Express and The Dukes of Hazzard will all be departing the streaming service throughout the month.

Halloween-appropriate films including Casper, Scream 4 and Gremlins will also be taken off of the streamer.

On the TV front, multiple seasons of The Carrie Diaries, Midsomer Murders and El Internado will be removed. Additionally, the first season of Impractical Jokers will disappear on Tuesday.

Martial arts movies haven't traditionally been known for their acting, but that's changed in recent years. Whether you're into well-choreographed action or you just like watching impossibly chiseled warriors throw endless haymakers at waves of faceless goons, your viewing choices are better than ever—and to help you stock up your kung fu queue, we've put together a list of some lesser-known martial arts movie stars from around the world you may want to check out. For each actor, we've included some basic information as well as provided links to some of their best or most impressive fight scenes on YouTube, many of which we've been assured by medical experts are so badass they double as the visual equivalent of shark Viagra.

Read More: https://www.looper.com/49004/martial-arts-actors-dont-know/?utm_campaign=clip

Netflix's college comedy Dear White People is on track to graduate in four years.

The streaming giant has renewed the series, based on Justin Simien's feature film of the same title, for a fourth and final season. Like the previous three, it will run for 10 episodes; a premiere date has yet to be determined.

"I'm so grateful my little indie-that-could has made it to four seasons at Netflix," said Simien. "This show, along with the many talented storytellers it has brought into my orbit, has changed my life, and I can't wait to create a celebratory final volume befitting such a transformative experience."

The pickup and announcement of the show's ending comes two months after the premiere of season three, which introduced a number of changes to the show, from making the previously unseen narrator voiced by Giancarlo Esposito an onscreen character to Sam (Logan Browning) turning over her campus radio show to Joelle (Ashley Blaine Featherson).

A mistaken delivery in Mumbai's famously efficient lunchbox delivery system connects a young housewife to an older man in the dusk of his life as they build a fantasy world together through notes in the lunchboxThe first glimpse of the movie , promises you that it is't a 'just another regular bollywood movie', its refreshingly Fresh and New.

The beauty of the entire film lies in the subtlety, whether be it the story, the the actors, characters their mannerisms(when their lips quiver on getting excited, their long and deep searching eyes, the half smiles on the edges, when Ila first time presumes her husband to have an extra-marital affair). Again all of these things are very much there without they saying it explicitly so.

Very rarely you come across a movie that moves at a comfortable pace, not trying to either rush or stagnate itself at any point. The TG for this movie is definitely not people across all age groups as the producers claim, but it's specially for those who are happy or contented without searching for that something extra in their everyday lives. It doesn't talk about any extra ordinary accomplishments of individuals, nor does it talk about destiny, life or happiness. It just talks about very simple human behavior, when it comes to falling in love.

The end may or may not disappoint you...its very subjective(personally I was a lil), but yea you can tailor your apt end based on whether you are a optimist or a pessimist.

Lonely housewife Ila (Nimrat Kaur) decides to try adding some spice to her stale marriage by preparing a special lunch for her neglectful husband. Unfortunately, the delivery goes astray and winds up in the hands of Saajan (Irrfan Khan), an irritable widower. Curious about her husband's lack of response, Ila adds a note to the next day's lunchbox, and thus begins an unusual friendship in which Saajan and Ila can talk about their joys and sorrows without ever meeting in person.

Culture > Film > Features

The real-life torment that haunted Judy Garland’s London years

Renée Zellweger plays the alcoholic former child star in Rupert Goold’s ‘Judy’. Paul Taylor compares the film with the singer’s desperate, drunken time in the Swinging Sixties at the Talk of the Town

8 hours ago 

Garland waves to her fans in Paris in 1960, while the new biopic, starring Zellweger in the titular role, hits UK cinemas today ( Getty/Pathe )

Judy Garland’s final decade was bookended by professional engagements in London. As the Sixties got into gear, she was in town to shoot the movie I Could Go On Singing (1963), for English director Ronald Neame. It proved to be her final big-screen role. Garland plays Jenny Bowman, star of the concert stage, who is here to pack out the London Palladium during one of her international tours. As drama with a semi-autobiographical dimension, it is a fitfully fascinating film and boasts one or two electrifying sequences. Chief of these is the one where Garland is seen in the wings of the Palladium, psyching herself up for a big entrance. Her face positively looms with expectant delight. She jiggles in an agitated dance of anticipation. Her palms thwack together to the beat of the magnificent orchestra as it builds and builds. She spurs it on with a roar of “Go!”. It leaves the viewer with a matchless sense of what it must be like to be a hugely talented performer swaying on the brink of delivering herself to an adoring public

There is a special reason why the Jenny character bursts out to give even more than her all at that particular performance. Out in the stalls, clutching his programme and agog with excitement is her 10-year-old son from an affair with a distinguished English surgeon, who is played (with an astute instinct for how best to support Garland) by Dirk Bogarde. The son has been brought up by the surgeon to believe he was adopted from another family. His actual mother now longs to see him – the great star having to infiltrate her boy’s life under the guise of a shy, painfully eager and exotic tourist who can offer him fun treats like these tickets to her show. Garland is brilliant at conveying the anguished jauntiness, laced with genuine joy, that this involves

Computer animation is the process used for digitally generating animated images. The more general term computer-generated imagery (CGI) encompasses both static scenes and dynamic images, while computer animation only refers to moving images. Modern computer animation usually uses 3D computer graphics, although 2D computer graphics are still used for stylistic, low bandwidth, and faster real-time renderings. Sometimes, the target of the animation is the computer itself, but sometimes film as well.

Computer animation is essentially a digital successor to stop motion techniques, but using 3D models, and traditional animation techniques using frame-by-frame animation of 2D illustrations. Computer-generated animations are more controllable than other, more physically based processes, like constructing miniatures for effects shots, or hiring extras for crowd scenes, because it allows the creation of images that would not be feasible using any other technology. It can also allow a single graphic artist to produce such content without the use of actors, expensive set pieces, or props. To create the illusion of movement, an image is displayed on the computer monitor and repeatedly replaced by a new image that is similar to it but advanced slightly in time (usually at a rate of 24, 25, or 30 frames/second). This technique is identical to how the illusion of movement is achieved with television and motion pictures.

For 3D animations, objects (models) are built on the computer monitor (modeled) and 3D figures are rigged with a virtual skeleton. For 2D figure animations, separate objects (illustrations) and separate transparent layers are used with or without that virtual skeleton. Then the limbs, eyes, mouth, clothes, etc. of the figure are moved by the animator on key frames. The differences in appearance between key frames are automatically calculated by the computer in a process known as tweening or morphing. Finally, the animation is rendered.[1]

For 3D animations, all frames must be rendered after the modeling is complete. For 2D vector animations, the rendering process is the key frame illustration process, while tweened frames are rendered as needed. For pre-recorded presentations, the rendered frames are transferred to a different format or medium, like digital video. The frames may also be rendered in real time as they are presented to the end-user audience. Low bandwidth animations transmitted via the internet (e.g. Adobe Flash, X3D) often use software on the end-users computer to render in real time as an alternative to streaming or pre-loaded high bandwidth animations.

Movie Name:War

Cast:Hrithik Roshan, Tiger Shroff

Director:Siddharth Anand

If we told you that the Hrithik Roshan-Tiger Shroff starrer War was actually directed by Abbas-Mustan, and not Siddharth Anand, you’d believe us by the end of the 2-hour-34-minute action thriller. Such are the twists and turns. A particular scene where Hrithik Roshan aka Kabir literally drives off an about-to-crash Army plane in a Jeep quite like Saif Ali Khan and John Abraham’s Race 2 makes it extra believable.

But then, it is no Abbas-Mustan film; it's Aditya Chopra all the way. And quite frankly, the result of all the pent-up Dhoom 4 energy. We feel ya, Adi. We’re not complaining.

Kabir is the best agent India has, because when has Bollywood ever made a film about the second best? He reports to a rather paunchy Ashutosh Rana aka Colonel Luthra, who in turn reports to a Nirmala Sitharaman-looking Defence Minister. We meet Kabir at a point when he’s supposedly gone rogue killing highly placed India administrators, against orders, of course. Like in every other spy thriller Bollywood gives us.

The very next scene introduces us to Tiger aka Khalid, a promising young fellow, with dreams of making the nation and his Ammi proud in his squinty eyes. But with zero preparedness, he jumps into a room where, we’re told, a weapons’ deal is being hatched, in his white linen pants, a blue tee, no guns and the ugliest cell phone we’ve ever seen since Siemens C35. He, of course, beats them to a pulp, singlehandedly. And you know that, if nothing else, War is going to be paisa wasool.

 

Compelling movies come in many forms, but there's something uniquely satisfying about watching a stranger-than-fiction tale unfold. Whether you're looking for a tale of underdogs overcoming the odds, a peek behind the royal curtain, or a new perspective on some of history's darkest moments, these films take all of the facts and spin them into stories that will inspire, astound, and haunt long after you've finished watching. From The Wolf of Wall Street to Schindler's List, here are some of the greatest films of all time based on true stories.

This past summer, Quentin Tarantino delivered his ninth film (and, if he sticks to his plan, the penultimate too, since the Kill Bill duology counts as one) to the masses, Once Upon a Time in Hollywood, which mixed fact with fiction in its depiction of 1969 Los Angeles.

The director has had a good track record when it comes to critical reaction to his movies, and Once Upon a Time in Hollywood is no exception, but it’s also been questioned if it could become Tarantino’s biggest commercial success.

It’s been a little over two months since Once Upon a Time in Hollywood hit theaters, and as of this writing, the movie has collected $356.9 million worldwide, per Box Office Mojo. $138.4 million of that haul comes from domestic screenings, with the remaining $218.4 million showing that the flick has performed solidly in international territories.