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Abhishek Bachchan quit Paltan as he doesn't want to do multi-starrer?

Abhishek Bachchan was last seen on the big screen in Housefull 3, which was a multi-starrer also starring Akshay Kumar and Riteish Deshmukh. His fans have been waiting to see their favourite star in any film again. Recently, the actor was in news for having almost half a dozen films in his kitty, one of them being JP Dutta’s Paltan.

However, Junior Bachchan opted out of the project at the last minute, which left makers totally shocked and confounded. While speculations around the reason for his exit have been innumerable, the truth is apparently something else.


According to a source, “Abhishek was quite kicked about Paltan. However, he realised after a while that Sonu Sood had more screen space than him. That bothered him considerably. When he discussed his apprehensions with J P Dutta, the director told him that while Sonu had more screen time, it was Abhishek who had a better character written for him. Dutta could not convince Abhishek and he backed out at the end minute.”

Abhishek Bachchan and Sonu Sood have shared screen space in Yuva and Happy New Year.

Paltan is based on the Indo-China war of 1962 and boasts an impressive cast including Sonu Sood, Jimmy Shergill, Arjun Rampal, Gurmeet Chaudhary and Harshvardhan Rane in important roles.

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The Mummy

Relies on body horror, sound design and shock value over spectacle

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How Lee Cronin’s 'The Mummy' turns a classic adventure into a domestic horror

Highlights

  • Moves away from the adventure tone of The Mummy (1999) into possession-led horror
  • Shifts the setting from desert tombs to a family home in Albuquerque
  • Focuses on parental fear and a “returned” child rather than treasure hunting
  • Relies on body horror, sound design and shock value over spectacle
  • Critics call it bold and unsettling, but uneven in storytelling

From desert spectacle to domestic dread

For decades, The Mummy has been tied to adventure, romance and spectacle, most famously in The Mummy (1999). That version thrived on sweeping desert landscapes, archaeological intrigue and a sense of escapism.

Lee Cronin takes a sharply different route. His reworking strips away the sense of adventure and relocates the horror into the home. The story still begins in Egypt, anchored by an ancient sarcophagus, but quickly shifts to the United States, where the real tension unfolds inside a family house.

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