‘Singham Again’ review: Third instalment in cop franchise is fractured and overdone
SINGHAM AGAIN
By Anjali MehtaNov 07, 2024
THE Bollywood cop universe, comprising films about crusading law-enforcement officers, was kickstarted by 2011 film Singham.
The newly released third instalment of that potboiler brings together those various police officers and adds new ones to the mix. When a dreaded terrorist is arrested by Bajirao Singham (Ajay Devgn), a psychotic member of his team plots revenge by going on a murderous rampage and kidnapping the fearless cop’s wife (Kareena Kapoor Khan). Singham embarks on a rescue mission with the help of an all-action dream team that includes DCP Shakti Shetty (Deepika Padukone), Satya (Tiger Shroff), Simmba (Ranveer Singh) and Sooryavanshi (Akshay Kumar).
Apart from overblown action and eye-catching star casts, the one constant of filmmaker Rohit Shetty’s movies has been poor writing that is so overcooked the story is burned to a cinder. This mega-budget movie is no different, as he unsuccessfully tries to connect the Ramayana to a modern-day action movie with parallels in the characters and storyline. That seemingly cynical ploy to cash in on the right-wing religious fervour in India results in a fractured film which is not as clever as perhaps the filmmaker or writing team think.
What remains is a series of overdone scenes that have been poorly stitched together. There is also headache-inducing background music and overacting on an epic scale from the huge star cast. Those who like escapist masala entertainers or are fans of the various cast members will overlook the many flaws and go along for the ride. There are some nice locations, a few eye-catching stunts, and a little comic relief. But that isn’t enough to save this bloated film from sinking and being a huge wasted opportunity. It comes across like a self-indulgent movie where stars get to play dressup as cops and do action scenes, without really thinking about the audience.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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