Directed by: Raj Mehta
Starring: Akshay Kumar, Kareena Kapoor, Kiara Advani, Diljit Dosanjh, Tisca Chopra, Anjana Sukhani, Karan Ashar
Genre: Comedy, Drama, Romance
Release date: 27 December 2019
Running Time: 134 Minutes
Good News is an upcoming 2019 Bollywood Indian Romantic Comedy drama film starring Akshay Kumar, Kiara Advani, Kareena Kapoor Khan and Diljit Dosanjh in lead roles. The film is directed by first-timer Raj Mehta and produced by Karan Johar, Akshay Kumar and Zee Studios.
This film’s name was announced on Twitter as – Good News. It is Diljit Dosanjh’s first movie under the banner of Dharma Productions.
Good News | Shoot Begins | Akshay Kumar | Kareena Kapoor Khan | Diljit Dosanjh | Kiara Ali Advani
Filming commenced in November 2018, with Dosanjh and Advani filming their scenes. Kumar and Kapoor joined filming in January and announced it by posting on Instagram. On recent interview and twitter post Akshay Kumar said about Kareena Kapoor Khan “We are extremely fond of each other. Bebo and Lolo tease me about the amount of money I’m making and I tease them about having a flat in every building in Bandra. That’s our fun banter” Anjana Sukhani of Golmaal fame has joined the cast of Good News to essay an important role. The filming was finished in the first week of April 2019.
The film was slated to release on 6 September but was pushed forward to 29 November, later it was again pushed forward to release on 27 December 2019. The official posters are released on 14 November 2019.
On 18 November official trailer of the film was launched by Dharma Productions.
The film’s music are composed by Tanishk Bagchi, Rochak Kohli, Lauv, Lijo George – DJ Chetas, Badshah, Manj Musik – Herbie Sahara, Sukhbir and Kshmr. The songs are written by Kumaar, Rashmi Virag, Tanishk Bagchi, Sukhbir, Gurpreet Saini, Ari Leff, Michael Pollock, Herbie Sahara and Vayu.
Good News Movie Trailer:
# Trailer 2
Good News Movie Review:
Akshay Kumar has had an interesting funny bone. Wicked, keeling towards the rude, the bawdy and the incorrect; and distinctly his own. His brand of humour has been harnessed well in the past in a Hera Pheri or Bhagam Bhaag and more recently in Jolly LLB2. However, over the last few years, it has largely fallen victim to Kumar’s own insistence on playing the self-righteous conscience keeper of the nation —be it Padman, Kesari or Mission Mangal — or opting to do the entirely brain dead Housefull series. The good thing about Good Newwz then is that it gives Kumar a much needed opportunity to shed the boring nobility, let his hair down and play a normal man next door, one who can be despicable and offensive but perhaps not irredeemably so.
Kumar is the Mumbai cityslicker Varun Batra who has it all in life but for a child. While he doesn’t have an ounce of paternal instinct, his wife Deepti aka Deepu (Kareena Kapoor Khan) and family, are bent on him tasting the joys of parenthood. When nothing works, in-vitro fertilisation is sought as the way out. All well; only a couple from Chandigarh — Honey and Monika (Diljit Dosanjh and Kiara Advani) — with the same surname, also decides to reach out to the same fertility clinic. All hell breaks loose when their sperms get interchanged.
Kumar goes about his role with a good mix of poker-faced zing and rakish bluster. Kapoor Khan is a perfect foil to him with her refinement, cussedness and a very defined sense of purpose. Dosanjh and Advani are all about the amplification of the boisterous, kitschy Punjabi stereotype but they play it with an infectious cheer. The disparate worlds collide but eventually come to co-exist. And then there is the third couple, the doctors, underplayed with great relish by Adil Hussain and Tisca Chopra. The sharp lines, clever wordplay and repartee (writers Jyoti Kapoor, Raj Mehta and Rishabh Sharma) and actors’ on point comic timing feed off each other, and keep things playful and rumbustious for the most part.
It’s the soppy sentimentality towards the end that becomes a bit of a wet blanket. Also, the film tries hard to balance itself between the progressive and the conservative and is not able to be either. On the one hand is the easy and unapologetic way of dealing with the unconventional fulcrum of the story — sperm — as Vicky Donor had done earlier. On the other is the inability to take a clear stand on issues — it almost walks into a minefield when it comes to ideas of motherhood, abortion and adoption. Are women incomplete if they have chosen not to become moms? Is the birth of a child always a joyous thing for a woman? What about the postpartum blues? You have Kapoor Khan giving an impassioned, powerful speech on what motherhood does to a woman — physically and psychologically but the overarching virtues and romanticisation of it stay, rather strongly underlined, ironically, by a gynecologist. Then there’s the “apna to apna hota hai (one’s own)” angle: the perpetuation of one’s genes, name and family above all else. A damper of morality and manipulation after an uninhibited and irrepressibly refreshing start.
Song Title: Chandigarh Mein
Lyrics: Tanishk Bagchi, Badshah
Music: Tanishk Bagchi
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Song Title: Sauda Khara Khara
Music: Lijo George – DJ Chetas, Sukhbir
Singers: Diljit Dosanjh, Sukhbir, Dhvani Bhanushali
Song Title: Maana Dil
Lyrics: Rashmi Virag
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Song Title: Laal Ghaghra
Lyrics: Tanishk Bagchi, Herbie Sahara
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