Kangana Ranaut, who stars in this Friday's Manikarnika: The Queen Of Jhansi, feels that there are people (in the film industry) who are "waiting for her to fail," reports news agency PTI. Speaking at an event to promote Manikarnika, in which she plays the role of Rani Laxmi Bai, Kangana told PTI: "I do feel there are people waiting for me to fail. That there are people who are waiting to prove to themselves that she's not a real deal, to make themselves feel better. My failure is important to them." The 31-year-old actress added that she can never be like that towards her colleagues. Kangana Ranaut has starred in critically-acclaimed films like Queen and the Tanu Weds Manu series. However, her last two films Rangoon and Simran tanked at the box office. "Even though I can realise or feel, I can never be like them or feel through them. I understand their cynicism but I can never be them. Personally, I've never waited for anyone to fail. That's why I think I could do what I did in my life... That inherent positivity that I have. I praise everyone regardless of who they are or what they think of me is actually something I live by. I'm not a double faced person. What others feel I'm not concerned about that," she added.

Vicky Kaushal, Yami Gautam and director Aditya Dhar are reveling in the success of their film Uri: The Surgical Strike. Crossing over Rs. 45 crore, Uri is the first hit of 2019. It has exceeded everyone's expectations at the box office and has been very well received by audiences. Celebrating the success of Uri, the team, Vicky, Yami and Aditya wore 'How's the josh' sweatshirts to Uri's success bash. Celebs Radhika Apte, Farah Khan, Raazi actor Shishir Sharma, Radhika Madan also made it to the bash. See pictures! Vicky and Yami's josh is definitely high due to the success of Uri. Both the actors have been praised for their performances. Vicky continues on his roll of dishing out amazing performances in every movie he opts. Yami was seen as an intelligence officer in the film, and she left everyone wishing she had had more screen time. Director Aditya Dhar points to how high Vicky's josh is as they pose for shutterbugs at the success bash. Aditya has been praised for his directorial skill in Uri. In an interview with Telegraph India, Aditya said about the success of Uri, "It feels really nice. When we were making the film, we knew the reactions would be decent, but we hadn't anticipated a magnitude of this kind. It's been three days since the film released and the reactions have been overwhelming, to say the least."

Cast: Radhika Apte, Siddhanth Kapoor, Adil Hussain, Ravi Kishan, Akshay Oberoi Director: Pia Sukanya Rating: 1 star (out of 5) For a movie that gallops at a fair clip, first-time director Pia Sukanya's Bombairiya is extraordinarily inert. It strives for deadpan humour but falls way short, leaving the audience at the receiving end of a tedious, scrappy, patience-trying guessing game. Bombairiya has bomb written all over it. One of its principal props, among other daft diversions, is indeed a parcel bomb. It's in the possession of an angadia (delivery boy), played by Siddhanth Kapoor with wide-eyed amazement (absolutely understandable!), who rides a pink scooter. He dons a helmet of the same hue. But he is no panther, pink or otherwise. He is a scalded cat trapped in a cul-de-sac. The guy is on the run from a bloodthirsty cop. Updated: January 18, 2019 08:52 IST Share EMAIL PRINT 0 COMMENTS Bombairiya Movie Review: This Tangled Mess Is More Errors Than Comedy Bombairiya Movie Review: Radhika Apte in a film still. (Image courtesy: YouTube) Cast: Radhika Apte, Siddhanth Kapoor, Adil Hussain, Ravi Kishan, Akshay Oberoi Director: Pia Sukanya Rating: 1 star (out of 5) For a movie that gallops at a fair clip, first-time director Pia Sukanya's Bombairiya is extraordinarily inert. It strives for deadpan humour but falls way short, leaving the audience at the receiving end of a tedious, scrappy, patience-trying guessing game. Bombairiya has bomb written all over it. One of its principal props, among other daft diversions, is indeed a parcel bomb. It's in the possession of an angadia (delivery boy), played by Siddhanth Kapoor with wide-eyed amazement (absolutely understandable!), who rides a pink scooter. He dons a helmet of the same hue. But he is no panther, pink or otherwise. He is a scalded cat trapped in a cul-de-sac. The guy is on the run from a bloodthirsty cop. 33s3cg3 Bombairiya Movie Review: A still from the film. (Image courtesy: Instagram) A bunch of many such oddballs and their mystifying escapades lie at the pulpy heart of Bombairiya. But the film also has a message to deliver about the urgent need for witness protection. We keep hearing of a star witness who's got to be kept out of harm's way, but there's no clarity on the nature of the criminal case that is about to come up for hearing in a court except for stray hints about a missing cop and his dead wife and daughter. Logic never shows up to throw more light on the goings-on and dispel the haze. The film opens in a dark, dank room where a morose, ageing bomb-maker is at work. The man scribbles a letter addressed to a person whose identity we have no way of knowing and then proceeds to put together an explosive device that we can, with a bit of effort, figure out is meant for a predetermined target. Soon enough, the old man ends up dead. The convoluted story flits from one thing to another so flightily that it is impossible to focus on any of its multiple characters and plot strands. It is only in the second half that feeble attempts are made to explain the inchoate flurry of scenes that kicks off the proceedings, but given the tangled mess it creates no amount of elucidation can help the film crawl out of its trough. The courier guy gets into a kerfuffle with a short-fused public relations girl (Radhika Apte). In the melee, he snatches the lady's mobile phone and scoots. The handset, as it transpires, has a video that could cast a shadow on the career of a hard-drinking movie superstar (Ravi Kishan) who is due to spend time with a fan who has won a lunchtime FM radio show prize. The sozzled actor flees a shoot in his van and resurfaces on a paddle boat in a serene pond sipping whisky. The harried PR woman, who, when we first see her, tries to send a standee up in flames only to be chased by a group of urchins, has another major irritant to deal with: a wannabe superhero (Akshay Oberoi) who is on the way to a bistro to meet the girl that his parents want him to marry and but gets held for reasons beyond his control. Before he eventually makes it to the family get-together, he buys himself a change of shirt and a fedora to make the right impression. It is a Tex-Mex joint, and he is offered a sombrero. But our Topi-man sticks to the hat of his choice. There is, however, no cap on the unbridled mayhem that unfolds on the screen. The film is trying to tell us how chaotic a city Mumbai is and how many idiots the teeming metropolis has per square foot. In the process, it actually goes well beyond its avowed ambition. It is as much of an unintelligible jumble as any that the onscreen characters can trigger. Bombairiya never lets you wrap your head around it and that is clearly wholly unintentional. The makers have no inkling what they are after. Neither does the audience. There are a whole lot of clueless characters here, each as incomprehensible as the other. A politician (Adil Hussain) cools his heels in a VIP prison cell but is constantly on a phone barking orders. At the other end of the line is an encounter specialist (Amit Sial). A police chief (Ajinkya Deo) steps in once in a while but never comes close to restoring order. There is also a lady (Shilpa Shukla), who is both a media entrepreneur and a politician intent on giving the incriminating video a quiet burial. With all of them working at cross-purposes in a hopelessly purposeless screenplay, the result is an absolute riot but not of the kind that comedies usually aim to be. Bombairiya strives to be a cross between Jaane Bhi Do Yaaron and the better Priyadarshan laugh riots, but possesses neither the inventiveness of the former nor the inspired lunacy of the latter. It crams into its 108 minutes every cliché under the Mumbai sky - bumbling cops, smarmy politicos, a womanizing superstar and his hangers-on, a terror suspect, a comic book-obsessed mamma's boy, shenanigans of the media industry, a sharpshooter at large and sundry members of the underworld, all pulling in different directions.