The kindest thing that can be said about Bhool Bhulaiyaa 3 is that it’s unpredictable. There is little in it to prepare you for a climactic twist which is, in equal measure, audacious and ridiculous. While well-intentioned, it’s staged so clumsily that it fails to evoke the required empathy. But I will say — I did not see it coming.

Otherwise, we are back in familiar territory. The Bhool Bhulaiyaa franchise started with the classic 1993 Malayalam film Manichitrathazhu, which was remade in Hindi in 2007. Both versions delivered a skillful cocktail of laughs and scares without true paranormal activity. In each, the real culprit causing the leading lady to turn into Manjulika, the unhinged spirit of a royal dancer, was eventually identified as dissociative identity disorder.

But when director Anees Bazmee took over the reins with the 2022 reboot, the horror became real. Black magic, spirits, jump scares, ominous backgrounds and, of course, Shreya Ghoshal’s magical rendition of the song “Ami Je Tomar” were all part of the mix, as well as a cheerful lowbrow humor. My favorite bit was Rajpal Yadav’s Chhote Pandit and Sanjay Mishra’s Bade Pandit mistaking Manjulika for the latter’s wife, Panditayeen, and asking her to make daal (lentils), only to get slapped hard by the ghost.

In the third installment, Bazmee retains the tropes of the first two Hindi films: a sprawling palatial mansion in which one room has been locked for years because it’s believed that a specter resides there; a royal family hiding secrets; the mysterious dancing Manjulika. The popular title track returns, along with “Ami Je Tomar.” And, of course, there are the atmospherics — long empty corridors, darkened skies, spooky sounds and enough CG crows to populate a sequel to Alfred Hitchcock’s The Birds. 

Once again, Kartik Aaryan plays Ruhaan (a.k.a. Rooh Baba), a fraudulent ghostbuster who makes money by exploiting people’s fear of the supernatural. He is summoned to a castle somewhere in West Bengal where, oddly, the locals seem to recognize him. And there begins a tale that includes punar janam (reincarnation); a poor raja desperate to sell his palace; several characters speaking in terrible Bengali accents; sibling rivalry; and the oversized shadow of Manjulika, no longer pining for her murdered lover.   

Among the picture’s highlights is the return of Vidya Balan, whose terrific performance as Avni, an archaeologist who believes that she is Manjulika, was key to the success of the 2007 movie. Her dance, with disheveled hair, frantic eyes and red vermillion spread across her forehead, was truly chilling. This time she plays Mallika, a restoration expert who may or may not be Manjulika, and her performance is pitched to match the overall hamminess of the film.

In fact, Bazmee has not one but two trump cards here. Madhuri Dixit also enters the franchise as Mandira, a potential buyer for the mansion who is clearly hiding something. At one point, Balan and Dixit have a face-off in which they are ready to strangle each other. At another, they have a dance-off in the palace. The clash of two of Hindi cinema’s finest actors should be riveting.

But the screenplay, written by Aakash Kaushik, is so disjointed that it’s difficult for characters to make an impact. Bhool Bhulaiyaa 3 does not follow any internal logic, playing as a slapdash assortment of jokes, scares, exposition, songs and set pieces strung together in the hope that it will add up to a coherent and compelling narrative. Mandira and Mallika trade barbs or giggle together maniacally, seemingly at random, or it’s all revealed to be a dream. Dixit is billed as a special appearance, which perhaps explains why the part is so underwritten that I started focusing on her expansive collection of saris and the size of her jewelry — Mandira loves dressing up.

I also wondered what the late Saroj Khan might have done with an opportunity like the dance duel. While Dixit and Balan are superb in the Chinni Prakash-choreographed sequence, there’s little about it as memorable as the dance-off between Dixit and Aishwarya Rai Bachchan in Devdas.

Mostly, Bhool Bhulaiyaa 3 lurches along. Two romantic songs are bunged in, perhaps to give Triptii Dimri something to do; otherwise, she is mostly tasked with looking lovely. Vijay Raaz and Rajesh Sharma, both actors with solid comic chops, are relegated to the ornate background — though I did smile when Raaz, as the poor raja, says he’s willing to take on the ghost in the palace but not live another day in poverty.  

Aaryan is front and center, and he does it all: being charming and funny, romancing and dancing, defeating the spooks. I like that the actor is willing to poke holes in the trend of hyper-masculine Bollywood heroes. Ruhaan scares easily and, just like in the second film, when things get too daunting, he tries to run away. But the copious energy he invests is sabotaged by the flat writing. The jokes just aren’t funny enough — though there is one killer line about Shehzada, which was one of Aaryan’s major flops — and the scares aren’t terrifying enough.

Perhaps it’s time to give Manjulika a rest. After all, there’s only so far you can take a vengeful ghost and two terrific songs.

An incredible roller coaster of a film, I can easily imagine Bill Hader’s Stefon character from Saturday Night Live describing Emilia Pérez: “It’s got drug kingpins, drag queens, courtroom drama, characters returning from the dead, a Bonnie and Clyde–level kidnapping, but it’s also a family drama, a story of female empowerment, an exploration of family dynamics, of violence and redemption. Oh, and did I also mention it’s mostly in Spanish and it’s also a musical adjacent piece of spoken-word poetry with some strong operatic vibes!”

I kid you not.

In other words, Emilia Pérez is fabulously unlike any film you’ve ever seen. It’s a LOT. And it’s definitely not for everybody. But for me, it’s one of the most compelling, refreshing, and original pieces of cinema I’ve seen.

At a Santa Barbara International Film Festival Cinema Society screening on October 26, French Writer/Director Jacques Audiard — yes, he’s French and the film is in Spanish because, as he explained, the story demanded it — the original idea for the film came from a book called Écoute [Listen], with a character who is a drug kingpin who wants to transition to become a woman. But the development of the character into one of three key women in the film — played by Karla Sofía Gascón (Manitas Del Monte and Emilia Pérez), Zoe Saldaña (Rita Mora Castro, Manitas’s lawyer), and Selena Gomez (Jessi Del Monte, Manitas’s wife) — ultimately evolved into the creation of a telenovela-style fantasy version of Mexico with an over-the-top dose of operatic drama to contrast with the intimate emotions the three main characters experience. The stars collectively (with co-star Adriana Paz, who has a pivotal but much smaller role) and deservedly won Best Actress at the 2024 Cannes Film Festival.

The deceptively campy style of the plot doesn’t diminish the seriousness of what these women go through, but the film definitely walks a tightrope in terms of tone, which is what makes their performances so impressive.

Without giving too much of this delicious and outrageous fever dream away, let me say that through song, dance and bold visuals, Emilia Pérez tells the story of some remarkable women trying to pursue happiness in their own ways, in some pretty wild circumstances. And Emilia Pérez is absolutely one of the most original pieces of film you’ll see this year. Don’t miss it.

Zoe Saldaña, who will be honored at SBIFF with the American Riviera Award on February 7, gives a particularly fabulous performance as the most grounded character in the film. I’m looking forward to hearing what she has to say about working on this groundbreaking film, currently playing at the Riviera Theatre and coming to Netflix on November 13. View the trailer here and see the SBIFF interview with writer/director Jacques Audiard and composers Camille and Clément Ducol here.

Although it hasn’t always been pop-u-lar with the public, Ariana Grande’s relationship with her “Wicked” co-star Ethan Slater is now Instagram-official.

The “Eternal Sunshine” singer on Monday celebrated the Jon M. Chu-directed movie musical’s upcoming release with a carousel of photos from its Australian premiere. Among them is a candid shot of Slater — who plays Boq, of Munchkinland — carrying the train of Grande’s Glinda-inspired Vivienne Westwood gown as she makes her way down the stairs at Sydney’s State Theatre. (Slater shared the same photo on his account.)

Slater’s appearance on the Sunday premiere’s red (yellow) carpet also swept across social media after a fan filmed the Tony Award nominee accepting a friendship bracelet on Grande’s behalf.

“Is it possible for you to give this to Ari for me?” the fan asks in the video, to which Slater replies, “I’m pretty sure she’s coming if you want [to give it to her], but I can do that.” He also reassured the fan, saying, “I’m sure she’ll love it.”

Footage of the interaction went viral shortly after it was re-shared by a “Wicked” fan account, whose owner wrote, “Ethan Slater seems like the kindest and most genuine person. The world owes him an apology.”

Slater and Grande, who met on the “Wicked” set, came under scrutiny when they first sparked dating rumors in 2023 — after their respective (and highly publicized) splits from previous partners. At the time of the coinciding divorce filings, Slater’s ex-wife, singer Lilly Jay, with whom he shares a 2-year-old son, told Page Six, “My family is collateral damage.”

The pair has since kept mum about their romance. But that changed in September, when Grande addressed the media stir surrounding her relationship with Slater in a Vanity Fair cover story.

While declining to delve into “certain details,” the Grammy-winning songstress said, “It definitely doesn’t get any easier, seeing some of the negativity that was birthed by disreputable tabloids.”

She continued to say that, like many other “Wicked” cast members, she “went through a lot of life changes during the filming of this movie.”

“The most disappointing part,” Grande said, “was to see so many people believe the worst version of it. … There couldn’t be a less accurate depiction of a human being than the one that the tabloids spread about [Slater]. No one on this earth tries harder or spreads themselves thinner to be there for the people that he loves and cares about.”

Slater echoed Grande’s comments in his October GQ cover story, saying the blowback was difficult to manage.

“There were a lot of big changes in private lives that were really happening,” he said, “so it’s really hard to see people who don’t know anything about what’s happening commenting on it and speculating, and then getting things wrong about the people you love.”

“But, of course,” he conceded, “it was an amazing year and a really beautiful thing, and I’m just really excited.”

Slater added that he’s “really, really proud of Ari and the work she’s done” on “Wicked.”

“She’s poured herself into it,” he said, “and I’m really excited to be there for this next step of it when the world gets to see the amazing thing that she did.”

The Journey Through Oz press tour will continue across four more cities around the world, with stops scheduled in Los Angeles, Mexico City, New York and London before “Wicked” opens in U.S. theaters Nov. 22.

And when the credits roll, Grande will be listed with her full name, Ariana Grande-Butera — which incorporates the last names of her mother, Joan Grande, and her father, Edward Butera.

“Technically, it’s little Ari’s name,” she said, explaining the decision in a recent interview with Australian radio station Hit 104.7 Canberra. “I feel like I came home to myself in a lot of ways through what I learned from Glinda, from Elphaba, and you know, that was my name when I went to see the show when I was 10 years old — and it felt like a really lovely way of honoring that.”