Jeff Mason is a White House Correspondent for Reuters and the 2016-2017 president of the White House Correspondents’ Association. He was the lead Reuters correspondent for President Barack Obama's 2012 campaign and interviewed the president at the White House in 2015. Jeff has been based in Washington since 2008, when he covered the historic race between Obama, Hillary Clinton and John McCain. Jeff started his career in Frankfurt, Germany, where he covered the airline industry before moving to Brussels, Belgium, where he covered the European Union. He is a Colorado native, proud graduate of Northwestern University and former Fulbright scholar.
Twitter handle: @jeffmason1
India’s most successful movie star is almost unrecognisable in “Tubelight”. Salman Khan has come a long way from the days of bare-chested fight sequences and gyrating dance numbers – a combination that brought him some of his biggest hits and sent legions of his fans into rapture. In Kabir Khan’s drama, this one-time all-conquering hero has morphed into a bumbling dimwit who bursts into tears at the slightest provocation and can barely land a blow on the bad guys.
For someone who wanted to make documentaries about war, Kabir Khan finds himself in the unlikeliest of places – making mainstream potboilers for Bollywood. Two of his last three films (both with actor Salman Khan) were blockbusters, and expectations are high for “Tubelight”, his latest offering which releases this Eid weekend.
A night out at the movies could become costlier from July when India’s biggest tax reform since independence is rolled out, adding another blow to an industry already struggling to attract audiences to the cinemas.
The heist-gone-wrong genre is an enjoyable one, but Bumpy's action comedy is a shining example of what can go awry not just during a robbery but in making a film about one. A confused, over-stretched film that wrongly fancies itself as smart, "Bank Chor" wants to be "Dog Day Afternoon" but doesn't even measure up to "Dhoom 3".
Bollywood might be planning a big-budget film on the story of Arunachalam Muruganantham, but Abhishek Saxena’s indie, “Phullu”, is first to get past the finish line.
For the lovers in Dinesh Vijan’s “Raabta” (Connection), one lifetime is not enough. The appearance of a comet called “lovebug” sets into motion a series of events which brings them together again after a thousand years. The film is a rehash of the many reincarnation stories that have populated the Bollywood romance genre over the years and has nothing new to say.
Ajay Pannalal’s “Behen Hogi Teri” begins with the premise that the biggest threat to love in India is rakhi, the thread Hindu women tie around the wrists of their brothers. Every year on Raksha Bandhan festival, young men run scared, hoping they don’t get the sacred thread from the object of their admiration. One of the first scenes in the film has family members forcing their daughter to tie a rakhi on the man she loves, thus putting an end to any thoughts of marriage between the two.
Bollywood actor Sushant Singh Rajput devours books and always carries one to give him company in between interviews and promotions. He is reading “The Invisible Gorilla”, which is about two subjects he is fascinated with – behavioural economics and cognitive psychology.
Sunaina Bhatnagar’s coming-of-age drama doesn’t look too promising at first, but is one of those films that grow on you. Centered around two precocious teenagers in the picturesque town of Shimla, the film traces their lives and how they deal with the consequences of a seemingly harmless prank they played on the neighbourhood recluse.
If you have ever been to a small town for your summer holidays, listened in wide-eyed wonder as adults swapped stories around the dinner table and spent languid afternoons lying on the grass, then Konkona Sen Sharma’s “A Death in the Gunj” is just the film for you.