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Americans admit to ignoring their “check engine” light for an average of four months before addressing it, according to new research.<br/><br/>A new survey of 2,000 American car owners revealed that one in five (20%) even admit to putting it off between six and 18 months.<br/><br/>This may be because almost one-third (32%) will wait “as long as possible” before bringing their car in to get serviced.<br/><br/>In fact, another 39% are likely to wait for an incident or for something to break before even considering bringing their car in for service.<br/><br/>The research also revealed that 35% regret putting their car care off — resulting in unexpected repair fees (39%), emotional stress (22%) and even a roadside emergency (21%).<br/><br/>And while the average American feels that preventative car care is important (93%), almost half (48%) said they push back getting their car serviced because of financial constraints.<br/><br/>Conducted by OnePoll on behalf of Pep Boys, the data showed that when it comes to car care, Americans are prioritizing some things over others with exterior light issues (11%), window and windshield cracks (9%) and the radio or sound system (3%) ranking at the bottom of the list.<br/><br/>Americans have had their current car for an average of seven years and 93% own their car, compared to leasing it (7%).<br/><br/>Each year, the average respondent spends more than $400 on car maintenance ($438) and estimates that they’ve spent an astounding $6,272 in total servicing their current car over the years.<br/><br/>To get their car serviced, Americans are most likely to go to a dealership (31%) or a local mechanic (27%) and the majority (62%) do so every three to six months.<br/><br/>In relation to their other responsibilities, 38% of respondents said caring for their car is a “very high” priority.<br/><br/>Despite this, 21% feel like their car is going to break down any day now.<br/><br/>When asked what would cause the most stress if repairs were needed, engine trouble (66%), bad brakes (33%) and fuel system issues (31%) ranked as the top three.<br/><br/>In fact, 26% even admit that their car stresses them out more than their finances or even personal relationships (14%).<br/><br/>Despite these worries, only 32% of respondents wished they lived somewhere a car wasn’t necessary, perhaps because the majority (65%) don’t believe that life would be easier without one — an indicator of just how important they are to our lives.<br/><br/>WHAT CAR REPAIRS STRESS OUT AMERICANS THE MOST?<br/>● Engine - 66%<br/>● Brakes - 33%<br/>● Fuel system - 31%<br/>● Exhaust system - 16%<br/>● Tires - 15%<br/>● AC/heat unit - 15%<br/> <br/>Survey methodology:<br/>This random double-opt-in survey of 2,000 American car owners aged 25+ was commissioned by Pep Boys between March 29 and April 8, 2024. It was conducted by market research company OnePoll, whose team members are members of the Market Research Society and have corporate membership to the American Association for Public Opinion Research (AAPOR) and the European Society for Opinion and Marketing Research (ESOMAR).
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‘Shaitaan’ movie review: R Madhavan makes the mean monster shine opposite Ajay Devgn in this horror show.<br/>Backed by a poignant premise and powerful performances, director Vikas Bahl generates some genuine moments in eerie situations but surprisingly shows a straight bat in the slog overs.<br/>The film is a remake of the Gujarati horror film Vash (2023). Janki Bodiwala reprises her role from the original here. Kabir (Ajay Devgn) and Jyoti (Jyotika), along with their teenage daughter Jahnvi (Janki Bodiwala), and son Dhruv (Anngad Raaj) drive away to their remote farmhouse to spend some quality time. Their tranquillity shatters when a stranger. Vanraj Kashyap (R Madhavan), enters their world. He somehow takes complete control of Jyoti’s will and makes her a slave of sorts. She harms herself, almost kills her brother, slaps her father and fights with her mother. All this is brought out in visceral detail. The viewer is spared nothing. Kabir and Jyoti try vainly to get Janhvi to listen to them but to no avail. Things keep escalating. Vanraj wants to take away Janhvi but he would only do so with their explicit permission. We learn that he’s an evil tantrik who wants to take over the world. And must sacrifice a bevy of girls to do so. He succeeds in luring Janhvi away and now it’s up to Kabir to save her and other girls from being killed.<br/><br/>The film starts with a disclaimer that the film isn’t propagating superstition and then proceeds to do so for the next two hours. Vanraj equates himself to God, claims he can control anyone if he deems fit and indulges in the sort of mumbo jumbo even street magicians will steer clear off. The climax scene, which showcases mass hypnotism, features young girls all eager to throw themselves in a pyre. There’s no backstory as to why he’s become this instrument of evil. He’s made to spout some nonsense about controlling the life of everyone in the world and we’re supposed to believe that.<br/><br/>Ajay Devgn played a laid-back man who uses his wits to save his family in the Drishyam franchise and kind of steps back into the Drishyam mould again in this film. He’s perfectly cast as the super caring dad who keeps a close watch on his children but gives them ample freedom at the same time. He brings out the helplessness and dedication of a loving father who would do it all to save his world from falling apart perfectly well and looks good in action scenes as well. Jyothika, seen in a Hindi film after aeons, is cast as a caring mother who fights like a wounded lioness when it comes to saving her daughter. Her reactions look totally genuine. She uses her body language and expressive eyes to convey a range of emotions. She shares a good rapport with Ajay Devgn. It’s good to see middle-aged stars being cast together and acting their age. It’s a step in the right direction indeed. Madhavan and Jyothikha have acted in romantic comedies like Dumm Dumm Dumm (2001) and Priyamaana Thozhi (2003) earlier and have a reunion of sorts in Shaitaan. But
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‘Amar Singh Chamkila’ review: An off-key biopic of the iconic Punjabi singer.<br/>Amar Singh Chamkila - Full Movie | Diljit Dosanjh, Imtiaz Ali, A. R. Rahman, Irshad Kamil, Parineeti<br/>Imtiaz Ali’s Amar Singh Chamkila attempts to bottle the essence of a legendary Punjabi singer who evades easy categorisation. Murdered in 1988 at the age of 27 when he was at the height of his powers, Chamkila is an exemplar of the supernova who lives and dies for art.<br/><br/>Biopics on Chamkila have been previously announced and abandoned; at least one of them, starring Diljit Dosanjh, was completed but stalled by a lawsuit. Chamkila’s unsolved assassination shaped key plot points in Rohit Jugraj’s web series Chamak (2023). The difficulty of drawing definitive conclusions about Chamkila’s multi-faceted legacy led to Kabir Singh Chowdhry’s fascinating experimental docu-fiction Mehsampur (2018).Ali’s version, which is out on Netflix and is also led by Dosanjh, reaches for low-hanging fruit: who – or what – killed Chamkila?<br/><br/>The screenplay, by Imtiaz Ali and Sajid Ali, unfolds like a police procedural. Chamkila (Dosanjh) is gunned down along with his singer-wife Amarjot (Parineeti Chopra) soon after they arrive in Mehsampur for a concert. A police officer who dismisses the icon as a vulgarian learns about Chamkila’s hardscrabble background, overnight success, and the unwelcome attention he attracted for his bawdy, taboo-busting songs.I discovered the man who was born Dhani Ram, one man says. I gave him his stage name, another asserts. Inspired by the goings-on around him, Chamkila wields his tumbi like a magic wand, bewitching local listeners as well as the Punjabi diaspora. Yet, his fame cannot shield from him from the ire of militants, religious leaders and the police.<br/><br/>Dosanjh, Chopra, and a few other singers perform Chamkila’s original songs in Punjabi, with the Hindi translations appearing on the screen. AR Rahman’s Punjabi pop-inflected Hindi soundtrack is woven into the musical-like saga. (Punjab is called Panjab throughout the movie.)The hot-blooded account of a cold case includes animation, split screens and footage of the real Chamkila and Amarjot. There is enough archival material included in the film to make the heart yearn for a straight-up documentary.<br/><br/>The music video-level aesthetic creates enough momentum to distract from how mundane the movie turns out to be. Chowdhry’s Mehsampur suggested that the aura around Chamkila was too thick to penetrate, especially by filmmakers who had not breathed the same air as him. Ali is untrammelled by such concerns. Having bagged the rights to Chamkila’s music catalogue, and having recruited big-name talent, Ali sets out to Bollywoodise the folk performer.The biopic is fixated on the explicit lyrics that put Chamkila on the top of charts and hit lists. Ali’s recent projects similarly focus on sexual matters, including the shows She, about a repressed police constable, and Dr Arora, about a sexologist.
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A teenage boy, believed to have been \
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