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‘Rocky Aur Rani Kii Prem Kahaani’ Is the First Bonafide Bollywood Blockbuster in Years

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Twenty-five years ago, I — and millions of Hindi film fans around the world — saw our first Karan Johar movie. “Kuch Kuch Hota Hai” — which currently holds the top spot in IndieWire’s list of the best rom-coms on Netflix — was a superhit and instant classic, a story of love and friendship that stood the test of time and charms audiences to this day.

And it’s just a damn good time.

As much as it tracks the blooming romance of Rocky Randhawa (Ranveer Singh) and Rani Chatterjee (Alia Bhatt), “Rocky Aur Rani” starts with the pair reuniting Rocky’s grandfather Kanwal (Dharmendra) and Rani’s grandmother Jamini (Shabana Azmi), who spent a week together back in 1978. Both relationships intertwine the dichotomous Randhawa and Chatterjee families, who go together about as well as oil and water.

That’s not because the families are so drastically different — though the film feels the need to explicitly stress this repeatedly — but mainly because of the iron fist of Rocky’s grandmother Dhanlakshmi (Jaya Bachchan), who runs both the household and a business empire with steely authority. She doesn’t take kindly to her husband openly reigniting an old flame despite their loveless marriage, and even less kindly to Rocky’s idea that he and Rani switch homes and live with each other’s families for three months.

Apart from the tauted hero and heroine, “Rocky Aur Rani” is a knockout showing for Bachchan. A staple of Hindi cinema since the 1960s (her first film was Satyajit Ray’s “Mahanagar”), Bachchan rose to stardom in a time when women’s roles were still constricted, yet still managed to create indelible female characters along with her peers. Her mother figure is the anchor of Johar’s “Kabhi Khushi Kabhie Gham,” but still relegated mostly to warm smiles and lots of crying. “Rocky Aur Rani” gives her free reign with comedy and villainy, and she commands the screen with both. Her comedic timing rivals Singh’s, and Dhanlakshmi’s death glare belongs in the Hall of Fame right next to any role played by Amrish Puri.

Two things that make an immediate and wonderful impression are Eka Lakhani’s costuming and Ishita Moitra’s dialogue writing, both of which quickly piece together who these characters are in a film that doesn’t have much time to spend on their lives beyond family drama. Bhatt is draped in one gorgeous sari after another, and Singh appears in a range of designer tees and printed shirts, buttoned as low as public decency will allow.

Though it purports to be a tale of two houses, “Rocky Aur Rani” takes fairly obvious sides, painting heroes and villains and points of view as right or wrong. The Randhawas are portrayed as old-fashioned, conservative, and oppressive, while the Chatterjees, though somewhat snobbish, are liberal, open-minded, accepting. They warm to Rocky far earlier than any of the Randhawas to Rani. The film rarely attributes this to cultural differences between the Indian states of Bengal and Punjab (and why would it, when “Vicky Donor” centered the same conflict so delightfully in 2012?) — but still relies on those stereotypes — and as such becomes a matter of class and education. The themes are less heavy-handed than “Barbie,” even though they grow repetitive (and include a left field connection to cancel culture).

Pritam’s songs are serviceable as always, but no longer the groundbreaking hits he used to deliver; the catchiest track is “What Jhumka?” mainly because of its riff on the 1966 classic “Jhumka Gira Re,” and “Ve Kamleya” for its emotive function.

What remains to be seen is if “Rocky Aur Rani,” like so many modern Bollywood blockbusters, will have any longevity compared to the classics of the past. What makes Johar’s early work so indelible — what his imitators, and even his own later projects, have failed to emulate — is how they keep the audience coming back. I’m part of a generation that grew up watching, rewatching, quoting, and copying “Kuch Kuch Hota Hai” and “Kabhi Khushi Kabhie Gham.” Nostalgia is nostalgia for a reason, finding comfort in films from childhood, but I can’t imagine young children who see “Rocky Aur Rani” having the same relationship with this film, or with most recent commercial successes.

Then again, the themes skew older, targeting not only Rocky and Rani’s generation but their parents and grandparents stuck in time. For “Rocky Aur Rani,” the true measure of success will be outside of Rockyland (yes, I’m invoking Barbie Land) and out here in the real world.

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Bollywood star/producer Salman Khan is a man called India ( literally ) in "Bharat," a corny drama about the title character's quest to support and do right by his family in post-partition India. Khan plays Bharat, a stolid, nearly unflappable man who was separated from his father and younger sister on August, 15, 1947, the day that India gained its independence from England and was separated from modern-day Pakistan. Bharat is basically Paul Bunyan, Captain America, and Forrest Gump all rolled into one—only more Indian. He has lived many lives—as a daredevil motorcyclist, a Navy mechanic, and an oil-drilling wildcat—and each one brings out the most flattering sides of benevolent muscleman Khan, who is very much playing to type.

Bharat is surreally charismatic: he subdues gun-toting pirates by dancing like super-star Amitabh Bachchan , woos the love of his life ( Katrina Kaif ) by reciting poetry, and generally earns better working/living conditions for himself and his peers by delivering impassioned speeches about India's greatness. One of the main pleasures of watching "Bharat" is seeing Khan coast on his considerable charms as he and Kaif—who frequently outshines Khan, as she previously did in the goofy but winsome 2017 spy thriller " Tiger Zinda Hai "—endure, by sheer force of conviction, through several key moments in India's nation-building history. Khan isn't always strong enough to stick several big, sappy emotional moments (ie: whenever he has to do more than just smolder boyishly). But he and his co-stars are sometimes attractive enough to make the otherwise ridiculous "Bharat" seem believable.

And boy, is "Bharat" incredible: Khan's character, now middle-aged, regales his extended family's members with wild (but true enough!) tales of astonishing humble-ness in the face of changing values. In his time, Bharat recalls coming, seeing, and conquering everything he desired. First he masters and then quits a fulfilling job as an Evel Knievel-style stunt driver, but only after he realizes that a thrilling gig and an attractive partner ( Disha Patani ) aren't as important as the example he's setting for India's impressionable youths. Next: Bharat travels to and then flees from "somewhere in the Middle East" to make his fortune, but only after he falls in love with sassy forewoman Kumud Raina (Kaif) and rescues some inept co-workers from a deadly mining incident. Then he travels to Malta as a ship's mechanic (despite having no mechanical skills), but leaves that position after he tames the aforementioned pirates and helps his friend and constant bromantic companion Vilayati ( Sunil Grover ) to romance the woman of his dreams. Each episode in Bharat's life only serves to confirm his affable nature and deathless loyalty. No matter how unsolvable a given problem may seem—only he can solve it.

Khan's broad, muscular shoulders are often capable of carrying such a wide load. He's most convincing when Bharat is primarily defined by Khan's hip-waggling strut, broad pout, and appraising stare. He makes a white, bedazzled jump-suit look good; hell, Khan makes a John-Waters-style pencil mustache look good. Khan's only really unconvincing when he has to cry, beg, or exhibit any other complex emotions, as he must in a crucial scene involving one of Bharat's long-lost relative.

But for the most part, Khan is perfect as the happy-go-lucky Bharat: he's light enough on his feet, as we see in dance numbers where he commands a battalion of back-up dancers, who dutifully lift him upon their shoulders. The man is as bulky and as proud of it as Macho Man Randy Savage during his heyday, but his collaborators usually know how to bring out the best in him. There just aren't enough scenes where Khan gets to flex, since "Bharat" director Ali Abbas Zafar and co-writer Varun V. Sharma inevitably spend way too much time re-establishing their happy-go-lucky protagonist's love for Mother India. Still: there are several scenes where Khan reminds viewers that he's not only very comfortable in his own skin, but knows how to look good for the camera. Sometimes, that's more than enough.

Then again, I often wondered why Kaif wasn't given more screentime. She steals almost every scene she's in with a couple of coy winks and knowing smiles, as in an irresistible musical number where Raina convinces Bharat to talk to his mother about the possibility of being a "live-in" (ie: unmarried) couple. Kaif's joyful, commanding performance brings Rita Hayworth's show-stopping dance in "Gilda" to mind, especially when Kaif's song returns to its chorus: "Baby, come hither." Anything Khan can do, Kaif can do better, like when Raina flirts with Bharat while pretending to be a mustachioed caterer: "The sweets are ready and so am I." Khan's brand of can-do heroism is fine enough, but I don't think I'm alone in wishing that there were a lot more where Kaif's light-hearted, but commanding performance came from.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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• Do Aur Do Pyaar Movie Review

Do Aur Do Pyaar Devesh Sharma, April 22, 2024

• Times Of India

critic's rating:  3.5/5 Do Aur Do Pyaar is a remake of the Hollywood film The Lovers (2017). Kavya Ganeshan (Vidya Balan) and Aniruddh Banerjee (Pratik Gandhi) have shared a tumultuous marriage spanning 12 years. Their union began with a three-year courtship that culminated in a daring elopement. However, over time, they drifted apart, their once-vibrant connection dwindling into silence. Kavya finds solace in the company of Vikram (Sendhil Ramamurthy), an Indian-American photographer. Meanwhile, Aniruddh seeks companionship with Nora (Ileana D’Cruz), an aspiring actress. As both couples contemplate divorce, Kavya receives news of her grandfather's passing, prompting her return to Ooty, her parental home. Aniruddh goes with her, adding an additional layer of tension to the already strained dynamics within the Ganeshan family, particularly with Kavya's unforgiving father, Venkat (Thalaivasal Vijay), still harbouring resentment over their elopement. Amidst the sombre atmosphere, Kavya and Aniruddh find themselves afforded the opportunity to confront their emotions and rediscover the spark that initially drew them together. The unfolding events during their time in Ooty set the stage for a compelling narrative that delves into the complexities of love, forgiveness, and second chances. Do Aur Do Pyaar offers a candid portrayal of the complexities within marriage, as the protagonists navigate the highs and lows of extramarital affairs. What sets this film apart is its non-judgmental stance, allowing viewers to interpret the proceedings for themselves. Vidya Balan and Pratik Gandhi shine as a married couple rediscovering passion outside their relationship. Their chemistry breathes life into the narrative. Through their journey, the film provides a refreshing take on relationships both within and outside the confines of marriage, making it a compelling watch for those seeking a nuanced exploration of love and commitment. Casting Vidya Balan and Pratik Gandhi together is a masterstroke as both actors are good at reacting to their co-stars. They feed off each other, balancing each other out like trained trapeze artistes, trusting the other to reach out and grab in time to break the fall. They look like a much-married and harried couple alright. Vidya Balan is grace personified throughout. Her smiles, her aches, all seem real. She’s her character and ceases to be an actor. The same can be said of Pratik Gandhi. In Madgaon Express (2024), he demonstrated his ability for comedic acting and here too, his coming timing is spot on. His interactions with Vidya form the soul of the film. Sendhil Ramamurthy and Ileana D'Cruz both play the ‘other’ factor in a marriage but aren’t homebreakers. Their love is shown to be genuine and they’re portrayed as people who met the right person at the wrong time. Both Senthil and Illeana have done full justice to the parameters of their respective roles. All-in-all, watch Do Aur Do Pyaar for a fresh take on modern relationships. And for Vidya Balan’s and Pratik Gandhi’s performances, making acting look easy.

Trailer : Do Aur Do Pyaar

Dhaval roy, april 19, 2024, 1:59 pm ist.

Story: A couple is having secret affairs to overcome the boredom in their marriage. A trip out of town rekindles their chemistry, and the tables turn. Torn between their lovers and spouses, will they resolve their issues or separate as they have quietly planned? Review: Based on the film The Lovers , the romantic comedy introduces us to two couples: Kavya (Vidya Balan) and Vikram (Sendhil Ramamurthy) and Aniruddh (Pratik Gandhi) and Nora (Ileana D’Cruz). But the scene segues into Kavya and Aniruddh trapped in mundane domesticity as a married couple. The film explores their journey as they navigate separation plans and a trip to Ooty for Kavya's grandfather's funeral. This unexpected turn rekindles their own marital spark, forcing them to confront a difficult choice. While the premise of rediscovering love or choosing between spouses and lovers isn't groundbreaking, director Shirsha Guha Thakurta injects a refreshing perspective. The film avoids moralising or melodrama, opting for a lighthearted approach even when dealing with adultery. Debutante director Thakurta and the writing team, Suprotim Sengupta and Eisha A Chopra, weave a light narrative peppered with humour, even during tense moments. Aniruddh's nervous slip-up, calling his father-in-law “Appam” mixing Appa and Uncle is one of the many examples. While the first half breezes by, the film stumbles slightly in the second half. Kavya and Aniruddh's attempts to juggle their rekindled romance and their existing relationships become repetitive. The narrative also loses momentum in the second act, with the initial flashes of brilliance fading. The film boasts of skillful treatment, the credit for which goes to cinematographer Kartik Vijay, ISC. A slick soundtrack by performers and non-film artistes like Lost Stories, The Local Train ( Tu Hai Kahan sung by Lucky Ali), When Chai Met Toast, Abhishek-Ananya, and Subhajit Mukherjee adds loftiness to the narrative. The film's true strength lies in its lead cast. Vidya Balan and Pratik Gandhi share undeniable chemistry, captivating viewers with their passionate reunion, the portrayal of a failing marriage, or the brewing tension. Ileana D’Cruz, as a “whiny,” at times ditzy but easily pleased girlfriend, stands out. Sendhil Ramamurthy as the hotshot and artistic photographer is convincing. Do Aur Do Pyaar falters with its uneven pacing, especially in the latter half. Despite this, the stellar performances, humour-infused script, and beautiful visuals make it a watchable romantic comedy.

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मूवी रिव्यू

मूवी रिव्यू: काम चालू है

मूवी रिव्यू : दो और दो प्यार

मूवी रिव्यू: लव सेक्स और धोखा 2

मूवी रिव्यू : साइलेंस 2

मूवी रिव्यू: अमर सिंह चमकीला

मूवी रिव्यू: बड़े मियां छोटे मियां

मूवी रिव्यू: मैदान

मूवी रिव्यू: द फर्स्ट ओमेन

मूवी रिव्यू: दुकान

मूवी रिव्यू: द गोट लाइफ

मूवी रिव्यू: पटना शुक्ला

मूवी रिव्यू: क्रू

सिनेमा, एक ऐसी दुनिया जहां हर शुक्रवार को 'भगवान' बदल जाते हैं। अपने फेवरेट एक्‍टर, एक्‍ट्रेस और डायरेक्‍टर्स की फिल्‍मों रेटिंग पर रखें नजर। किसी फिल्‍म में क्‍या अच्‍छा है और क्‍या बुरा, 'मूवी रिव्‍यू' में जानिए बिना किसी पक्ष-विपक्ष के सटीक एनालिस‍िस, हमारे सबसे बेहतरीन फिल्‍म समीक्षकों की नजर से।

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‘Silence 2’ Review: Climax, dialogues make Manoj Bajpayee film a missed opportunity

Silence 2 review: manoj bajpayee and prachi desai-starrer 'silence 2: the night owl bar shootout' released on april 16. the film fails to impress as a crime thriller despite its potential, says our review..

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• Manoj Bajpayee returns as ACP Avinash Verma with 'Silence 2'
• Aban Bharucha Deohans is the writer and director
• The film suffers from an unsteady pace and a disappointing climax

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Manoj Bajpayee

Release Date: 16 Apr, 2024

Manoj Bajpayee and Prachi Desai-starrer ‘Silence 2: The Night Owl Bar Shootout’ isn’t a film with just a long title. With close to 2 hours and 40 minute run-time, the film also veers towards being a dud show with very melodramatic treatment. At the centre of it is ACP Avinash Verma (played by Bajpayee), who reiterates how Amitabh Bachchan says ‘No means no’ in Pink before beating up goons and can play out murder scenes with his vivid imagination.

He is a poet at heart who simply delivers philosophical lines in the middle of an investigation, ponders often and quotes Ghalib. This man, along with his team, is out to catch a killer, who has murdered 10 people in a bar. However, thanks to the hunch that ACP Verma has, he finds out that there is a deeper racket involved.

(SPOILERS AHEAD)

The racket that we are speaking about is a human trafficking racket. With a slow start, the story slowly progresses towards finding the culprit, not just behind the shootout but also the one operating the racket.

At the centre of it is a mad artist, Arjun Chauhan. He is shown as an elusive character who only a few have met. The mystery unfolds, little by little, over the next 160 minutes. While the film picks up pace, it is very sporadic. The pace keeps being unsteady, and the melodramatic treatment does not help the case.

(SPOILERS END)

What is worse is the climax and the revelation of the criminal. What follows is the motive provided. Thanks to the final sequence, it looks like the audience has very successfully wasted their time.

Aban Bharucha Deohans has written and directed ‘Silence 2: The Night Owl Bar Shootout’. The writing could have been much crisper, especially at times when very craftily-made crime thrillers are aplenty. Even as a director, he loses his reign over the film quite a few times. The execution does not help.

Manoj Bajpayee’s ACP Verma feels like Srikanth Tiwari with less quirk. The actor tries to incorporate the swag that he has in the Raj and DK show, but keeps stuck in philosophy. The lines given just make the character farcical at times. He tries to play ACP Verma with sincerity, but the script does not do justice.

Prachi Desai is a wasted opportunity here. The actor, who has spark and talent, doesn’t have much to showcase in the film. It also makes us wonder why makers are not doing justice to her.

There seems to be a poor parody running throughout with dialogues like ‘ kuch toh gadbad hai ’ (something is wrong), reminiscent of ACP Pradyuman from CID or ‘ iss khel ka nirdeshak Arjun Chauhan hai par iss drame ka antim scene hum likhenge ’ (Arjun Chauhan might be the director of the game, but I will write the last scene). There’s also, ‘her life was interrupted by death’ at a very serious point. So, you get the drift of how the film gets unintentionally funny.

Ajay Devgn on Bollywood Period Soccer Drama ‘Maidaan’: ‘One of the Best Films I Have Done’ (EXCLUSIVE)

By Naman Ramachandran

Naman Ramachandran

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Bollywood A-lister Ajay Devgn ‘s latest release is “ Maidaan ,” where he plays an inspirational soccer coach.

Directed by Amit Ravindernath Sharma (“Badhaai Ho”), the film is produced by Zee Studios , Boney Kapoor’s Bayview Projects and Fresh Lime Films. Devgn stars as Syed Abdul Rahim, whose revolutionary coaching and strategy methods led the Indian national soccer team to gold medals in the 1951 and 1962 Asian Games and a semi-final berth at the 1956 Olympics. The cast also includes Priyamani (“The Family Man”) and Gajraj Rao (“Badhaai Ho”).

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“When the camera rolls, I start thinking about the character, I start feeling what he is going through and when the camera says ‘cut’ I become normal. But there were a lot of scenes that were very physically and mentally taxing,” Devgn added.

On his single biggest takeaway from the film, Devgn said, “Apart from a fantastic film, you take home, ‘You want, you can achieve anything you want whatever the difficulties are’ and that’s what the film says.”

The Indian box office roared back post-pandemic in 2023, but mainly with a focus on spectacle films, rather than those with strong storylines. 2024 is proving to be different with eight of the top 10 being “content films,” as films with strong storylines are referred to in India. Devgn’s supernatural thriller “Shaitaan” is in fourth place.

“Definitely more audiences are coming to the theaters now. I think if you have a content-backed project and have a trailer which is true to the film, it will engage with more audiences,” Devgn said.

“Maidaan” is currently on release.

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Home » Movies » Bollywood Movie Reviews

Silence 2: The Night Owl Bar Shootout Movie Review: Good Performances Mark Average Thriller

A detective and his team investigate a shootout in a pub and a complex web of crime is unravelled.

Star Cast: Manoj Bajpayee , Prachi Desai, Parul Gulati, Sahil Vaid, Vaquar Shaikh, Ankit Bhardwaj, Dinker Sharma, Shruti Bapna, Surbhi Rohra

Director: Aban Bharucha Deohans

What’s Good: The procedural part of a crime investigation is deftly shown. This includes how the police correlate observation and thought with evidence and forensic angles. The performances are more than competent and there is a tangible atmosphere in most of the film. I also liked the unexpected turns that come at periodic intervals and the way the villain’s unrepentant character is presented.

What’s Bad: The script not only meanders in places but, more importantly, incorporates silly gaffes and flaws that could have been completely eliminated by some basic thinking. The post-climactic sequence where the cops are discussing the case jars as everyone in the team are in a cheerful mode, which is insensitive and totally at variance with the seriousness of the case they have just solved.

Loo Break: Not really.

Watch or Not?: If you are a Silence fan (yes, there was a previous film with the same investigative officers) or a hardcore whodunit or investigative thriller fan, yes.

Language: Hindi (with more than a smattering of English!)

Available On: ZEE5

Runtime: 142 Minutes

Silence 2: The Night Owl Bar Shootout Movie Review: Script Analysis

ACP Avinash Verma heads a Special Crime Unit (SCU), which is under the scanner as the powers above are wondering if it is useful or superfluous. Fresh from their last case, his unit is now sent to investigate a shootout in a Mumbai pub where multiple random people have been shot dead, including a politician’s PA.

There is pressure on the police commissioner (Manuj Bhaskar) by the politician, but a preliminary investigation with some forensic angles confirm that the arbitrary firing was to distract the cops from the main victim, a girl named Aazma Khan (Surbhi Rohra), who was an escort. The PA has nothing to do with the shootout.

As the investigation proceeds, Avinash and his team get some lucky breaks as well. Avinash’s colleague from Jaipur, Jaya Rawal (Shruti Bapna) calls him up for advice on a case in her town, and soon, by one of those coincidences that can only happen in Hindi films, a photograph of a dead woman that she sends to Avinash also surfaces in the Mumbai investigation!

A tangled tale emerges that includes a kinky foreigner, the flesh trade and human trafficking, a close friend of the late Aazma, Rizwan (Chetan Sharma), who is not all he claims to be, and her rich client, Rajeev (Padam Bhola) who is scared of his art collector wife (Parul Gulati).

En route, the script makes several gaffes, like the absurd question “Yeh kaam kiska hai (Whose work is this?)”, a line said by a character that is totally senseless in the context, but I will not give a spoiler here, cops searching for evidence without wearing gloves, and minor girls who have been rescued from the flesh trade crowding around a woman who is narrating not-so-palatable facts to the police that should have been revealed in the girls’ absence.

A very glaring flaw is the commissioner keeping on giving Avinash deadlines like “You have two days” and “You have three days” to prevent the disbanding of the SCU. Later, he tells Avinash that he can only afford to send two police officers (including Avinash) to investigate in Jaipur and they have “to manage their accommodation”(!!). But Avinash lands there with two colleagues, Sanjana ( Prachi Desai ) and Raj (Vaqaur Shaikh)!

As said before, all these were entirely preventable flaws and just mitigate the impact of a tight police procedural thriller.

Last but not the least, the title Silence 2 is eminently unsuitable and irrelevant to the story, while The Night Own Bar Shootout would have been an ideal one instead, even if the name could have been simplified and made more relatable to the Indian audience.

Silence 2: The Night Owl Bar Shootout Movie Review: Star Performance

Manoj Bajpayee has now mastered the art of underplaying roles and etches a sober yet ingenious detective well. His fans will love his performance, though to be strictly objective, there is nothing really distinguished or distinctive in his acting, apart from it being a reprise of a similar turn in the first Silence.

His team is well-enacted, with Prachi Desai giving a likeable impression as Sanjana, Sahil Vaid scoring as Amit, Vaquar Shaikh as Raj and Nimesh Balaji Shinde as Javed. Manuj Bhaskar has an erratic character but Shruti Bapna as Jaya is impactful.

The actors who actually score high are Dinker Sharma, who puts in a scene-stealing turn as Arjun Chauhan, Chetan Sharma as Rizwan, Surbhi Rohra as Aazma, Parul Gulati as the weird Aarti Singh, Padam Bhola as her husband Rajeev Singh and Neena Kulkarni in a sweet cameo as Amisha (Ishika Mandeep Gagneja)’s helpless grandmother. Amisha is a small but key character in the plot and Ishika makes a great impact in a role less than five minutes long.

Silence 2: The Night Owl Bar Shootout Movie Review: Direction, Music

Aban Bharucha Deohans directs this sequel too (like Silence: Can You Hear It?) and needs to whet her script nuances better to score high. Her craftsmanship is generally good as the plot explores multiple aspects of crime and her predilection for the unexpected is quite novel. However, all I want to ask here is whether a gay angle was really necessary yet (any number of ‘yets’!) again on an OTT product?

The score by Gaurava Godkhindi remains unobtrusive (as background music must be) but there is a needless song that comes in precisely for a few seconds, which was so unnecessary, all told.

Silence 2: The Night Owl Bar Shootout Movie Review: The Last Word

As things stand, this is average fare, very likeable in parts, not very tight in other sections as thrillers should be, but a one-time visit would do no harm, as one does not have to leave home for this! Besides, if I have watched far better thrillers, I have also experienced many worse ones!

Silence 2: The Night Owl Bar Shootout Trailer

Silence 2: The Night Owl Bar Shootout released on 16th April, 2024.

Share with us your experience of watching Silence 2: The Night Owl Bar Shootout.

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Not Another Church Movie

It follows Taylor Pherry, who is given a mission from God Himself: to tell his family's stories and inspire his community. What he doesn't know is that the Devil has plans of his own. It follows Taylor Pherry, who is given a mission from God Himself: to tell his family's stories and inspire his community. What he doesn't know is that the Devil has plans of his own. It follows Taylor Pherry, who is given a mission from God Himself: to tell his family's stories and inspire his community. What he doesn't know is that the Devil has plans of his own.

• James Michael Cummings
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• Lamorne Morris
• Mickey Rourke

• Monte Carlo

• Flora Black

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• Bus Driver Tyrone

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• Trivia This is Mickey Rourke's second film in which the Devil is a character. The first film was Angel Heart (1987), in which his co-star Robert De Niro portrayed the Devil.
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• May 10, 2024 (United States)
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