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| A scene from Zindigi Na Milegi Dobara |
Zindagi Na Milegi Dobara (U/A)
Cast: Hrithik Roshan, Farhan Akhtar, Katrina Kaif, Kalki Koechlin, Abhay Deol
Director: Zoya Akhtar
Rating: ****
"Seize the day, my friend," blurts the stunning deep-sea diving instructor Laila (Kaif), on a long walk with an uptight financial broker Arjun (Roshan). Arjun hasn't lived much, nor have his friends -- the apparently spineless Kabir (Deol) and jovial, closet poet Imran (Farhan). The adage pretty much sums up ZNMD.
It's a long, boring advertisement for Spain Tourism, warned a colleague whose "sources" had these precious words about ZNMD. I can safely say, it's a little more than that.
How do they land in Spain? Well, the boys had made a certain pact that each would suggest an adventure sport and the other two would have to follow. Screenplay writers Reema Kagti and Zoya Akhtar (also director) bring to the table a very beautifully captured Spain, by cinematographer Carlos Catalan. No no, that's not all. Along with Spain, they bring relationships of their protagonists with themselves and each other. Undercurrents unleashed by emotional turmoil, friendship, and finally the unloading of mental baggage, so as to emerge victorious in the truest sense.
For all this, the storywriters use heavy doses of symbolism. Deep-sea diving at Costa Brava, sky-diving in Sevilla and the San Fermin bull run in Pamplona, not to forget the Tomatina festival in Bunyol, where Arjun finally lets go. Fears are drowned, let open in the sky and finally at the mercy of raging bulls.
Performances are honest and telling across the board, yet Farhan stands out (Warning: Some bias may be at play here). Roshan, Deol and Farhan stick to their briefs by Zoya, often contained, and true to their characters, and never over-the-top. They let the characters' intrinsic qualities do the talking. Similarly with Koechlin, whose prim and proper Natasha is, admittedly, not much like her real life persona. They're all easy-going, playing their parts and enjoying while in the act. Kaif's "tumhari zindagi badalnewali hai" made me cringe, but overall her effort to make Laila believable cannot be undermined. You wish you could have a life like hers, jetting off to a part of the world for three months of daredevilry and loads of fun.
Witty dialogue (credited to Farhan himself), playful chitchat and the camaraderie between the friends personify ZNMD. However, the lack of chemistry among them in the first hour cannot be ignored. ZNMD has so many silent moments, it's likely to put you to sleep. The editing tools could have been sharper to give this coming-of-age romantic drama a facelift. Restlessness is the unwelcome guest on this road, much like Kabir's fiancée Natasha.
Sounds uncannily similar to Farhan's directorial debut Dil Chahta Hai, right? Now if you take DCH as the benchmark, it's up to you how slow/polished/boring/unnecessary/pretty you find ZNMD.
Your heart is likely to be set upon the beats of ZNMD, from the free-spirited Ik Junnon to the mellow Khwabon Ke Parindey, not to forget the unforgettable Senorita. And Farhan's poetry infused in the narrative needs special mention. True Akhtar blood must say!
The writers exploit luxury and frankly, ZNMD set anywhere else could be as true to character. They didn't really have to go to Spain.
For those (which, I assume, is a lot of us), who may not be able to afford a holiday in Spain for any time soon, go catch ZNMD for good performances, music, Spain and of course, Farhan Akhtar in his element.
Finally 'Chillar Party' turns out to be an outing which despite featuring children isn't quite a 'kiddo flick'. To put it simply, just around 20%-25% tweaking in the film's script could have easily allowed kids to be replaced by youngsters in their 20s and the impact would have still been the same. In that context, the script is flexible enough to cater to audience across all age groups, something which is its biggest strength.
So the moment audience is introduced to all kids in the story, you know that 'finally' this is going to be a different affair. There is a unique treatment indeed as there is a back story told about how each of the kids got their nicknames, something which is out and out hilarious and sets you in the right mood to watch what the rest of 'Chillar Party' has to offer.
At the core of 'Chillar Party' carries a simple agenda - save a stray dog which is the best friend of 'tapori' boy who works in the same society where all kids reside. Though there is a Minister who wants to boost his ego by trying to make this as a city wide issue, the kids go the whole hog to ensure that they have their way.
This is exactly makes the first half of the film absolutely terrific as quite a few scenes leave a solid impression and also make one pine to revisit them all over again. While introduction of all the kids is the pick of the lot, the scene where 'Jhangia' (the most memorable of them all) reaches out to the 'tapori' boy multiple times to induct him into their local cricket team is priceless. And then not to forget the part where all kids start acting like 'bhai logs'. In fact Panauti, Encyclopaedia, Akram, Silencer and of course Fatka are the kids who leave a very good impression even after the film is through.
Though time and again it does happen the second half of an interesting film goes for a toss, it doesn't quite happen in case of 'Chillar Party'. The story continues from where it has left and now the kids face a bigger challenge to retain the dog by getting a 'no objection certificate' from the society members. Just when one felt that all of this could turn into a preachy drama, the makers come to the rescue as they ensure that the humour quotient doesn't die down. Watch out for the interactions that kids have with their parents at this juncture or the entire 'breaking news' episode. Hilarious.
In fact the entire idea of stepping into a 'chaddi march' is done well too. However the moment kids hit the road in their 'white chaddis', the drama (unfortunately) starts going downhill. From this point on till hundreds of kids coming together at Flora Fountain to the evil plans of the Minister to the entire conversation between the parents to the TV show - last 20-25 minutes end up being a little haywire. Worse, Ranbir Kapoor's 'Tai Tai Phis' appears even after 'behind the scenes' feature during the end credit title rolls. Not fair because many leave the auditorium by this time.
Still, all said and done, hats off to the makers who actually took a brave decision to back this story as a full fledged feature film. 'Finally' - That's the sigh of relief that one gets during the very first 15 minutes of the playtime of 'Chillar Party'. A classy product makes it's presence felt from a distance and 'Chillar Party' pretty much succeeds on doing that from the word 'go'.
This is one of the major reasons why 'Chillar Party' deserves to be a success because only when this happens would others also start thinking on these lines.
Rating: ***1/2
In the past director Mohit Suri has told quite a few interesting stories. At such a young age, he is the only director to be enjoying one film of his release practically every year. However 'Murder 2' will certainly be one of his finest films till date as he takes further strides as a filmmaker. First and foremost he gets the story right and secondly, he injects enough moments in it that justify the franchise. Also, he lends a polished feel to the film technically as well by means of superb background score, striking cinematography and an overall dark look and feel.
The film's setting is Goa where women are either getting killed or disappearing for weeks. When ex-cop Emraan Hashmi investigates the cause behind this, he comes across a startling revelation about a psychopath (Prashant Narayanan) behind it all. While most films end at the culprit being caught and his confession closing the case, 'Murder 2' takes a different path altogether. The reason revealed behind all the killings is what makes 'Murder 2' different from other thrillers.
What strikes one's attention at the very beginning is the fact that 'Murder 2' doesn't take even a minute to get to the point. You know that there is a transsexual who is after young women, mostly prostitutes. You also know his modus operandi and the place of crime. Also, you get a fair idea about the gruesome killings that would continue for many more days to come. However what makes 'Murder 2' interesting is the fact that while audience is constantly with the killer, it is the lead protagonist on a chase that makes the proceedings engaging.
Also, the very setting of the scene of murder is haunting to the core. So when a petite girl enters Prashant's den, you know for sure that she would be tormented. Also, when Prashant continues to hum along 'Bheege Hoth Tere', you know for sure that there is terror lurking somewhere out there. Moreover his chameleon like act where he makes conflicting statements, whether in front of women, Emraan or the cops makes one totally engrossed in the proceedings.
On the other hand Emraan plays his part perfectly well for a man who doesn't believe in God, has a past of his own, isn't quite happy in life, doesn't like speaking too much and makes ferocious love to his woman. In fact at places one also finds traces of the character that he played in 'Awarapan', especially the part where he eventually makes peace with God. Jacqueline Fernandez provides quite eye candy moments as she is uninhibited in her body display. However since she isn't playing a happy character in the film, she doesn't really get those feel-good moments for herself that make for a quintessential Bollywood heroine.
Overall the film unfolds as a dramatic thriller and thankfully there are still quite a few individualistic scenes with various twists and turns that keep the thrilling element on right through the 2:10 hours duration. So whether it is Prashant tormenting women in his den, him and Emraan finally coming face to face, the scene at the police station, one of the girls in a hapless situation, Emraan's endeavour to collect clues, the scene at the temple and the psychological investigation - all of these are etched in one's memories way after the film is through.
This doesn't mean though that the film isn't without any blemishes whatsoever. The sob-story sequence between Emraan and Jacqueline is totally pass� and doesn't add anything to the film's plot. The scenes featuring the girl who is trying to make her escape eat up a little more footage than needed. Moreover the episode featuring a 'hijra' politician starts off well but doesn't cut much ice towards its culmination. This is the time when there is some repetition too that sets in around Prashant's murderous ways. Also, music - though good - isn't really the highlight here and just fills in as a part of the narrative.
Dark and haunting - This is what describes the mood of 'Murder 2' which is definitely not for the faint hearted. In fact it won't be wrong to say that despite not belonging to the horror genre, it turns out to be far more disturbing than many so-called horror movies that have released in the recent past and have claimed to have brought a new idiom to the genre. So while one did expect sex and violence to form a major part of 'Murder 2', more so due to the franchise that it belongs to, the film throws in a surprise by not just boasting of a strong and a fresh new storyline but also some very strong performances.
Watch it if you can digest blood and gore.
Rating: ***1/2
Frankly, if not for Amitabh Bachchan, the film would have been just an ordinary affair if at all the script was any consideration to begin with. And that's because not just is this an attempt to make it a wholesome masala affair, there are so many unnecessary ingredients that have been added which results in certain scenes not just getting repetitive but also unnecessary. This is where one wonders that if all the film would have been relatively more serious than comical in nature and the temptation to make it a wholesome masala affair by incorporating irrelevant/inconsequential sub-plots would have been resisted, 'Bbuddah....' would have truly turned out to be a film that was being promised.
So while for an audience such scenes only make one feel a little restless, it is the action, drama and dialogue-baazi featuring Bachchan in his 'subtly angry' mood that makes 'Bbuddah...' a worthy affair after all. His scenes with the underworld are a pleasure to watch and especially his interaction with Prakash Raj, the villain of the enterprise, are sheer powerhouse. Also, the points where he gets into a chin-to-chin drama with a fellow goon makes for an interesting watch that makes one stand up and clap.
The biggest culprit of the enterprise though is the entire coffee house setting where one ends up seeing as many as half a dozen scenes with most of them being not quite relevant to the basic plot. Honestly, after a while one ends up saying 'Oh no, not again' once the camera zooms in to the coffee shop which appears to be a big sponsor of the enterprise as well. And then there is this rather extended sub plot of Sonu Sood (playing an ACP) in a not-so-certain relationship with Sonal Chauhan which doesn't even hold secondary importance to the film.
Thankfully the only sub plot that still holds some interest level amongst the audience is Raveena Tandon's crush for Big B that has arrived with a 20 years extended warrantee but still refuses to evaporate. She is indeed the 'mast' girl here and the lunch table scene
with her baby girl Charmee joining in is a riot. The same can't be said about Hema Malini's scenes with Big B which are not just predictable and clich�d but also boring.
Also, there are sequences where you wonder if there were scenes that were primarily written as 'fill in the blanks' affair. Him giving advice to a nubile girl about the guy who may not be right for her. Him standing next to a DJ and pumping up the jam. Him being the point of interest of women across three generations. Him 'setting up' a young man with his girlfriend. You end up asking - 'Why?' Not that any of this is harmful by any means or offensive. It's just that none of this has any remote connection to the promise being made of 'Bbuddah....' being a film that would make people remember Bachchan of the era gone by.
That's because remember Bachchan and you want to see Tiger running with a 'chaku' in his hand and hunting for Bakhtavar in the docks. Remember Bachchan and you want to see 'Shahenshah' destroying the entire 'tabela' on his own. Remember Bachchan and you want to see Vijay Deenanath Chauhan challenging the biggest dons to Mumbai to come and eliminate him. Remember Bachchan and you want to see him tell a 'cockroach tale' or talk to himself in the mirror. So even if the man at the hot seat is called 'Vijju' here, our very old 'Vijay' is definitely missed.
So what keeps this two hour long homage still manage a decent run at the least? Well, who else but Bachchan himself who actually ends up doing what he has done to countless films even in his prime - 'Rise over the script'. That's because eventually it is him only who lends a damage control to this loosely made film that doesn't quite have a solid plot to begin with. Despite the patchy treatment and an uneven narrative, it is Big B who demonstrates yet again that who is the 'baap' of the show as he ensures that whatever he does for the camera, at least the conviction shows.
Rating: ***
For Imran, Vir and Kunaal, it is a dirty life out there. The kind where people are not judged by their clothes, cockroaches feast on pizzas when the 'maalik' is away and men use orange juice to clean themselves up when there isn't any water around. Of course miracles do happen with Imran finding a hot girlfriend in Shenaz Treasury (cute and loveable) and another hot colleague in Poorna Jagannath (smart and desirable). So while the boy doesn't even get half a chance to decide between the two, a crazy day in his life makes it all upside down for him.
Result? A damaged car that had been gifted to him just hours ago by his future father-in-law, a face battered by a dozen odd blows, a damaged roof with a dancer's foot dangling from the top, a run in with gangsters indulging in 'heeron ki smuggling' with Russians, a broken engagement, few bottles of beer and last but not the least, a bag containing Rs. One crore. Well, almost!
In a crazy encounter that results in the aforementioned situations that are as unbelievable they get, Abhinay actually manages to make it all believable courtesy the fast paced narrative that doesn't allow a single moment to think. So while I am penning this review, there are questions that do come to my mind eventually. 'What was the significance of that 'laash' found on road?' 'What exactly did Kunaal's upset belly add on to the film's plot other than getting some humour on screen which actually became a put off when served in excess?' 'What really was the stress point in Imran-Shenaz relationship?' etc. etc.
However in the bigger scheme of things with all the fun on screen, what with Imran taking a straight faced approach, Kunaal being colourful all around and Vir unable to comprehend why is he actually being hung from the roof through a neck tie, there is a lot in 'Delhi Belly' that actually makes one laugh out loud in at least a dozen odd points in the film. And the one who actually provides maximum fun is the oldest of the lot, Vijay Raaz, who has now cemented his place in the industry as a villain who gets some of the best lines.
Of course this also means that there are expletives in abundance, both in English as well as Hindi. Also, when Poorana gets on Imran's top, rest assured the after effects are not just felt by the man but also seen by the audience. And then of course there are all the 'belly' moments which, frankly, turn out to be much to digest. Pun intended. Moreover, for all the talks of the film being in the same genre as 'Lock Stock....', smarter edit cuts on the same lines would have only made the film further engaging.
However leave aside this fact and 'Delhi Belly' turns out to be a 100 minutes joy ride which is also made special due to songs that play in the background at the right time and the right scene. So while 'Bhaag DK Bose' is the pick of the lot as it comes at the all important chase sequence, there is also a certain subtlety in the placement of 'Nakadwaale Khisko'. The end credit title sequence 'I Hate You, I Love You' is of course like the cherry on the cake but my personal favourite is 'Switty Switty' that captures the road rage flavour of the city of Delhi just right.
'Delhi Belly' actually mad me remember the masala films from the 70s/ There was one element that was almost common to most of them - 'heeron ki smuggling'. There was 'maal' which used to be unloaded on the 'docks', there was a currency note that was torn into half with both parties having a piece of it, there was police, there were bad boys and then there were not too good boys. Together it all came together to make one 'masala' affair that by and large kept the audience happy as long as there was some 'dhishoom dhishoom' and win-win situation for all.
Circa 2011 and there isn't much 'dhishoom dhishoom' in the comical drama here. But yes, there is a definitely a homage to the cinema which has gone by with a common element being, as you must have guessed it by now, ton loads of diamonds. And they are no mean diamonds. There are 30 of them, each of them worth 3 lakhs, though as it turns out later, they are worth 6 lakhs each. But then how, why and where does that indeed happen, one has to check out 'Delhi Belly' which is easily the most riotous of the flicks that have hit the screens this year.
Rating: ****1/2
Director Indra Kumar, who started off with films like 'Dil', 'Beta', 'Raja' and 'Ishq', had incorporated dramatic elements in them. However he changed path with 'Dhamaal' though still he couldn't resist the temptation of adding some drama in the climax of that film as well, something that hadn't been accepted whole heartedly. However with 'Double Dhamaal' he steers clear from even a single serious moment and just ensures that the film truly stays true to it's name.
Yes, it is abound with gags, rests on slapsticks, spoofs more than a dozen odd movies, scenes and actors, is filled with double entendres and is out and out goofy. But then let the fact be stated - this is exactly the kind of flavour that one would have expected from the film in the very first place. It wasn't meant to be a sophisticated take on comedy. Instead, it was supposed to be loud, riotous and absolutely nonsensical - in short the kind of genre that one associates with 'Double Dhamaal'.
For Riteish, Arshad, Ashish and Javed, the journey continues from where they left in 'Dhamaal'. Conned by Sanjay Dutt, they now want to get even with him. In company of Mallika and Kangna, he is enjoying the best of all worlds. So much so that the dumb and funny quartet plot revenge and try to turn tables on Dutt by taking him for a ride. It is this Tom & Jerry show that ensures that the fun continues till the very end.
So whether it is Riteish's constant 'dhamki' of unleashing Sanju's MMS, discovery of an oil field or introduction of a goon (Satish Kaushik) who is trying to take a religious route - all of this ensures that one is engaged in the first half. Okay, so it isn't overtly breezy but good dose of slapstick, songs and skin show keep your attention on the screen.
The second half though really picks up well and while there is a brief portion (for around 10-15 minutes) surrounding the 'Oye Oye' song where you feel that the pace is slackening, it is a mere aberration because from that point on till the very end, the graph just continues to build on. The pick of the lot in the entire second half (and in fact the film as a whole) is the 'Gorilla' sequence. Really, if you are willing to unleash the kid in you, chances are you would indeed roll up laughing.
This is not all as the entire impersonation act by Arshad Warsi (as a Sardar who is also 'asardar') is terrific and so is Riteish in his twin get up of an Afro-American and a Gujarati businessman. However Ashish Chaudhary's 'Barbara Mori' take off completely falls flat and is more of a put off than fun. Also, the entire 'Taare Zameen Par' and 'Guzaarish' dig doesn't work which (as stated earlier) results in a few not-so-engaging moments.
However leave these few minutes aside and the fun just doesn't subside. The entire 'Tukaram' sequence is a riot as well and so is the entire 'turning over the tables' episode which ensures that 'Dhamaal' would well be entering into it's third part and even more.
Dutt, who chooses to either completely enjoy himself or just sleepwalk in his films these days chooses to do the former here and shows why he is the 'baap' in his age group. Javed does well and enjoys a good screen time for himself. Satish Kaushik brings back his 'Pappu Pager' act from 'Deewana Mastana' and is terrific. Kangna (thankfully) allows herself to be carefree in this film while also coming up with generous skin show. Comparatively Mallika is restrained but shows that she can be the leading heroine material at least in movies of this genre. Music by Anand Raj Anand goes well with the film's mood and doesn't allow one single dull moment. Dialogues are wonderful at most places.
Off late there have been numerous examples when a so-called comedy has fallen flat. Thankfully and fortunately this isn't the case with 'Double Dhamaal'. It makes you laugh, and laugh really-really loud, right through it's two and a half hour duration. In fact there are several scenes that continue to play in your mind long after the film is through. No wonder, it doesn't just do well, it does very well and ends up exceeding expectations. So much so that one doesn't mind giving it a second dekko.
Rating: ***1/2
As Shah Rukh Khan starts gyrating to the tune of 'Antenna' during end credit title rolls, we end up wondering what exactly were the expectations to begin with from 'Always Kabhi Kabhi'. Well, a tale which is heart-warming, funny as well as entertaining. As for the preaching, one certainly wanted to stay away and was okay only if it was conveyed in a subtle manner. Unfortunately 'Always Kabhi Kabhi' tries to delve into these zones but only goes downhill once the last chapter of the film, the Romeo-Juliet saga, unfolds.
So while Ali tries to be 'Mr. Cool' with his sole cool line 'Undie the condie of the heart' being 'oh-so-uncool', Zoa is forever angry due to the reason - 'Busy parents' - that makes 90% filmy teenagers angry. Satyajeet is scarily studious, just like Madhavan and Chandan Roy were in '3 Idiots' and 'F.A.L.T.U.' respectively while Giselli is forever running away from being a model even though her mom believes that she is the next Miss India in the making.
Together they are in a blow hot-blow cold relationship but surprisingly there is not even a single scene that comes across as overtly entertaining to be remembered once the curtains come down. In fact leave aside the wait for the end credits to start rolling, even during the film's narrative one doesn't fall off laughing or at least have a smile on the face as the film proceeds.
So even though the prologue scene is well set with Zoa cursing her growing up years and burning photographs of her near and dear ones and the opening song 'School Ke Din' bringing good energy into the proceedings, what follows from this point on is hardly exciting. Classroom setting is boring and pranks being played are hardly funny.
Of course there is the usual formulaic approach being taken with an old student (Zoa) getting jealous of the new entrant (Giselli) and then eventually realising her 'saccha pyaar'. Forget the iconic setting of 'Kuch Kuch Hota Hai', even the entire 'play' setting has been seen a few months back in Barjatya's 'Issi Life Mein'. Now that's hardly a comparison to be proud of since even that film was a huge yawn fest.
Well, the comparison goes beyond the campus setting here as just like in case of 'Issi Life Mein', there are auditions and then a full blown Shakespearean play in 'Always Kabhi Kabhi' as well. It was boring there and it is terrible here, what with the entire (in-film) audience applause coming for a scene which ironically is so poorly enacted that the actors at stage may well have been sent back to acting classes.
Performances by the lead actors at least try to enliven the proceedings. Ali is natural though one wonders whether he would be able to make a transition from being a school boy to a full blown hero soon. Ditto for Satyajeet who may just get typecast even though he is easy on eyes. Zoa acts well though her make up is very inconsistent. One looks forward to how she acts in a much more chilled out role. Giselli looks good but is surprisingly patchy in acting department. Also, her dubbed voice comes across as a deterrent.
'Par issue kya hai' - This is what one ends up exclaiming every 30 minutes in this two hour film that meanders aimlessly before arriving at an end that is hardly convincing. 'Always Kabhi Kabhi' turns out to be a 'whatever' experience that doesn't even decide whether it wants to be a campus entertainer, a teen sob story, a social drama, a love story or a sermonising saga. It just ventures into each of these territories and what one gets to see in the end is a tale which doesn't succeed on any counts.
Rating: **
As expected, 'Ready' turns out to be the kind of a film which is all about 'masala' ingredients that are packed in just the right proportions during those two and a half hours. A story that could have been stretched for 30 more minutes or wrapped up 20 minutes earlier, it gives what one was waiting for a long time when it came to movie watching for an entire family - 'Some real good entertainment'.
A case of mistaken identity brings Asin in the life of Salman who stays with his joint family made of millionaires. Asin too comes from a family of millionaires but there is trouble in paradise as her uncles want to usurp her wealth. Oblivious to them, Prem starts getting closer to their respective families with his own near and dear ones ensuring that Asin's uncles leave their 'mafia giri' aside and start living life like normal people. In this entire series of events, there is a CA (Paresh Rawal) and a stranger Romeo (Sudesh Lehri) who get involved as well.
As one expects from a storyline like this, all is well eventually. However there is a lot of comedy, drama, emotions and action involved, something that Salman truly justifies just before the interval when he tells Asin - 'What would we tell our kids if there are none of these 'masala' ingredients in our love story?'
So 'masala' one does get with everything from 'Hum Aapke Hain Kaun' to 'Dilwale Dulhaniya Le Jayenge' to even 'Hero No. 1' coming together in the right mix to pep up this affair. While the film's beginning portions are exactly like 'Hum Aapke Hain Kaun' and 'Dilwale Dulhaniya Le Jayenge', the second half of the film, where Salman takes it upon himself to unite the family and bring kids on the right path, is straight out of what Govinda did in 'Hero No. 1'.
The film takes a massy route throughout but that doesn't mean that there isn't anything for the class audience. I witnessed it myself while watching a packed show with family audience at a premium multiplex on Friday evening and the reactions said it all. This is not all as the complaints that some have around the first half aren't much justified either. Based on what I saw, audience were thoroughly enjoying both the halves with laughter coming in on a more or less continuous note.
Expectedly, Salman is what stays constant right through the film even as other characters surround him from all ends. One can sense the kind of renewed confidence that he has in himself and this is the reason why he can afford to commit a murder and get away with that. Asin is easy on eyes and comes up with a natural act. She looks million bucks in 'Dhinka Chika' though one doesn't see much of her in the second half. Paresh Rawal and Sudesh Lahiri are fantastic though one wishes there was more of Manoj Joshi.
Music is fantastic with 'Dhinka Chika' (in both the India as well as Bangkok version) as well as 'Character Dheela' are fun. Action is in small doses though one wouldn't have minded if it was longer, especially the climax sequence involving auto rickshaws which just ends abruptly.
It isn't always an easy task to remake a film, especially the one which has been a successful venture. You do it right and you end up getting no credit whatsoever as it is said to be 'way too easy'. You do it wrong and all the flak comes you way as you are accused of not being able to manage even a successful formula. Thankfully for the audience, Anees Bazmee doesn't forget any of these facts while also ensuring that he maintains his own identity. An out and out entertainer that doesn't let the audience engagement slip away for even five minutes, 'Ready' is fun and clean film that gives exactly what one expected out of it.
Go for it!
Rating: ***1/2
If a couple of kissing sequences coupled with a good looking girl strutting around in shorts excites the voyeur in you, then 'Ragini MMS' may just fit the bill. However if you are hunting for some 'real stuff' that a MMS is typically made of along with some shockingly scary moments then well, 'Ragini MMS' doesn't quite go the whole hog.
For a young couple, a run down bungalow in a Godforsaken place is a weekend hangout for an extended scene of 'action'. While for the girl (Kainaz Motivala) it is sheer love (with a dose of lust), for the boy (Raj Kumar Yadav), it is neither love nor lust but sheer business as he intends to cut a video of his act and sell it in the porn market. However weird things start happening to them with a spirit lurking in the background that results in terrifying times for the couple.
Viraan jungle, ek tooti haveli aur usme ek bhatakti aatma - the ingredients are the kind that are pretty much seeing an expiry date even on television. In such a scenario that one factor that works most for 'Ragini MMS' is technology. Not just it intrigues the audience due to its different texture; it also makes for an interesting movie watching experience as over 80% of the film is shot with static cameras. So instead, one gets to see standard shots that are taken by half a dozen cameras placed in different parts of the bungalow.
This innovation extends to the scenes, dialogues and acts as well since there isn't anything filmy about the entire affair. Both Kainaz as well as Raj Kumar are plain natural and completely uninhibited which makes one truly feel that they are not acting and merely happening to be in front of a camera that is capturing them in their moments. Moreover, due to this being a 'real affair', most of Raj Kumar's dialogues are expletives filled with no beeps whatsoever.
Yes, there are a few moments of genuine 'edge of the seat drama', especially the ones when the spirit starts attacking Raj Kumar and scares the daylight out of him. However the scare and the haunt factor doesn't quite go the whole hog. Also, it only starts becoming routine with entire chain of events leading to Kainaz's attempt at escaping becoming repetitive.
While one is still fine with letting go off the motive behind all the killings (since Ragini MMS was never meant to be a structured story and was always supposed to tell a tale as captured on camera), the climax seems abrupt and doesn't make any explanations either.
If one goes by what unfolds on screen, the film is very high on concept, technology as well as execution. However if only the written material would have been more convincing with the culmination being batter, 'Ragini MMS' may just have managed to become Bollywood's own 'Paranormal Activity'. As it turns out, the film is a reasonably engaging affair. However as the end credits start rolling, one does tend to exclaim that it could have been a lot better.
Rating: **1/2
Seriously, 'Luv Ka The End' could well have been relegated to MTV/Channel V short films segment as there is absolutely nothing that is a good enough reason for you to visit a theatre, spend helluva money on ticket/popcorn and then see a film which is small by all means, whether setting, idea or execution. One can sense that director Bumpy had to work in a restricted budget and that reflects in the overall narrative.
One can still live with a small setting if the film grips you enough. However this is something truly lacking in 'Luv Ka The End' as it doesn't even try to be imaginative and follows a route that is not just predictable but also unexciting.
Inspired by 'John Tucker Must Die', the film has a 18 year old girl (Shraddha Kapoor) taking revenge on her cheating boyfriend (Taaha Shah) by ganging up with her band of girls and a computer geek. The story is set in a night where the idea is to get even on Taaha by depriving him of four C's - Car, Cash, Charm and Chamchas.
Well, so far so very good as you do get an impression that there indeed would be some innovation in going through these chapters. You do empathise with Shraddha, the motive for revenge is well established as well, the song 'Tonight' continues to haunt you throughout and there is game set for 'love ka the end'!
However from this point on the key element - fun - starts fading away with every passing sequence. Girls spraying itching powder in Taaha's undergarments, ganging up to smash his car, depriving him of his credit card, spoiling his date with a hot friend, drugging him so that he loses his mind and lands in a downmarket bar and then hooking him up with a gay friend - it's all so conveniently done.
Worse, the song 'Mutton' which is seemingly placed as a last minute inclusion, is not just unnecessary but also repulsive. It's the climax though that takes the cake, a bitter one at that, with a live footage of Taaha trying to get even with Shraddha. Not just in bad taste, it is also incomprehensible and just not happening.
Eventually what still remains with you to some extent is the song 'Tonight', Shraddha's natural act and a perfect casting as a teenager, Taaha's charm that makes one believe that he has a lot better to offer and a few moments here and there that are reasonably enjoyable.
A film that wasn't too high on expectations please promised a lot more than what it actually delivers; this film directed by Bumpy is surprisingly low on entertainment quotient, something that is a basic requirement of a teen comedy. Juvenile and amateur - that's what 'Luv Ka The End' is for you.
Rating: **
Going by the promos, one would have expected that 'Thank You' is yet another Akshay Kumar dominated show where he gets the best scenes and dialogues for himself while hogging all the limelight. However what one sees is Akshay being one of the driving factors here instead of being the sole actor who is carrying the entire film's weight. Of course he is the key to the entire movement of the film's narrative but then Suniel Shetty, Bobby Deol and Irrfan Khan are not mere peripherals here; they traverse a much greater distance.
Cards are laid out at the very beginning of the film with Rimi Sen and Celina Jaitly realising that their flirtatious husbands (Irrfan Khan and Suniel Shetty respectively) could well have taken Bobby Deol in their wings. They warn Bobby's unsuspecting wife Sonam about this who reluctantly agrees to hire the services of private detective Akshay Kumar. While Akshay goes on to find ways to expose the erring husbands, they have their own plans. They instead reach out to Akshay and hire his services to find the identity of the man who is out to expose them.
There is ample scope for the other actors in the film as well which means that Suniel Shetty as well as Irrfan Khan get numerous moments to excel. In fact Suniel makes the most out of it and goes about enticing laughter in practically each of his scenes. Watch out for the scene where he is caught red handed by his wife. Or later when he plots revenge against Irrfan and Bobby. The trio is also brilliant in the best scene of the film which is set on a balcony and comes soon after the song 'Razia'.
As a chauvinist, Irrfan Khan brings the house down with his one liners. His deadpan dialogue delivery and a body language which is still, yet so effective, works wonders. Watch out for the extreme transition he goes through from someone being over confident to a meek man in the later part of the film.
Bobby doesn't have many comic scenes to his credit and he primarily excels when entrusted with a few dramatic moments. He is decent, though not the kind of scene stealer that Suniel or Irrfan turn out to be. Sonam looks pretty and does a decent job in a role that requires her to be sad for most part of the film. Celina surprisingly disappears after a couple of scenes. In fact Rimi has a much meatier role and she displays her very good comic timing all over again, something that she had demonstrated quite well in her earlier films like 'Hungama' and 'Dhoom'.
As for Akshay Kumar, he truly is the soul of the film. He neither tries to be an over smart a la 'Tees Maar Khan', doesn't behave like 'Mr. Know it all' and definitely doesn't play a flirt. In fact he keeps it all under control while taking a balanced approach without being loud at all. The point where he excels though is the one in the climax where he delivers an emotional speech on infidelity and why women are far superior than men.
Any points where the film falters? A few moments in the first half and the beginning of the second half when comic moments tend to vanish. Also Akshay's back-story, though relevant, comes a little too late by which time one is rather expecting the film to end. The King (played by Mukesh Tiwari) angle seems forced and could have been more effective. The action sequences are just about okay as well when one would have rather expected them to be far more thrilling. Climax is predictable as well and makes one remember the last (wedding) scene of 'Break Ke Baad', which again wasn't the most original of all.
Nevertheless, 'Thank You' works as a package where it carries a message in addition to entertainment. Since the film is a clean family entertainer, it has the potential to expand its boundaries and find good audience for itself. Considering the fact that audience has been starved of any major film for weeks now and there is a fortnight ahead with minimal competition, 'Thank You' should find itself in the safety zone pretty soon and then also go on to make decent moolah for it's makers.
Rating: ****
You can remove an Indian out from Bollywood but you cannot remove Bollywood out from an Indian.
‘Yamla Pagla Deewana’ is a fulfilled tribute to the spirit of Bollywood which reconfirms that Indian cinema of yore can never be ‘lost’ and it should be ‘found’ periodically to give us a ‘feel good’ feeling in this troubled times.
Producer Director Samir Karnik pays a ‘Deolastic’ tribute to Manmohan Desai, Prakash Mehra - the papas of wholesome entertaining musicals who gave us ‘Amar Akbar Anthony’, ‘Parvarish’, ‘Hera Pheri’, ‘Dharam Veer’, ‘Yaadon Ki Baaraat’ etc.
YPD is a crazy fulfilled joyride where happily married Paramveer Singh (Sunny Deol) comes to India from Canada to look for his father, Dharam Singh (Dharmendra) and his brother Gajodhar Singh (Bobby Deol), who were separated from him during childhood.
Paramveer finds them earning their livelihood as con men in the ghats of Benaras. But before he can take them back with him he must resolve his kid brother's complicated love story by tackling the girl's (Kulraj Randhawa) tough brothers (Anupam Kher and co). This leads to joyful ride to sadda Punjab and the result is a total paisa vasool fun.
But how a cliché story makes it possible to provide the fireworks every now and then in the 2 hrs 30 minutes time span mostly during the second half.. Simple, Director Samir Karnik does a smart casting act which turns out to be just perfect to satisfy the appetite of entertainment hungry souls of Bollywood cinema.
He uses the qualities of the Deols and mixes with their superb chemistry which we did see in ‘Apne’ where everyone gives his best and the trio is thoroughly enjoyable.
Bobby in his mischievous roadside Romeo act is engaging. Big brother Sunny is highly entertaining in this ‘bhaiya’ act where in action he goes beyond his own set benchmark in his biggest hit ‘Gadar – Ek Prem Katha’, the climax where he blows everyone with his trademark yell is howlarious and in the scene when he gets drunk by drinking mugs of whiskey from a bucket can make any stone hearted laugh to the fullest. Having said this, however, the show stealer is undoubtedly the 75 year old Dharampaji who is still ‘garam’ on screen with his entertaining acts. The biggest compliment for Dharmendra is that he doesn’t look like a father on screen he looks like the elder brother of Sunny and Bobby and does an amazing job, his comic timings, dance moves are just fabulous.
The trio has a plenty for their fans over here. B-town new introduction Kulraj Randhawa is attractive, you can’t move your eyes when she is on screen and she has the potential to stay long as an actress.
The movie would not have been a joyride without the excellent support of its supporting cast especially Anupam Kher who is outstanding as the egoist NRI obsessed Sardar brother.
Johny Lever entertains, Nafisa Ali is up to mark, Sucheta Khanna is fabulous, Amit Mistry is fine, Mukul Dev is fantastic as the drunken jat. Himanshu Malik is fair,
Emma Brown Garrett as Sunny's wife was endearing, people will love the part when she says Hindi especially the line ‘Arre mein loot gayi’. The kids are a delight and Ajay Devgn's voiceover is appropriate.
The movie already has two, maybe three chartbusters – the title, “Tinku Jiya” and “Chamki” marking the comeback of Anu Malik.
The dialogues are nice and entertaining and the chemistry between the Deols is dazzling.
Lens work by Kabir Lal and Binod Pradhan is first rate, editing by Mukesh Thakur is crisp and production values are topnotch.
So what’s wrong… Well not much but still the writer should have concentrated more on the chemistry and Samir as the director should have followed the movie in the tone in which Ajay Devgn started his voiceover. First half is a bit laid back as the real action filled with all the masala happens during the second half.
All said and done, ‘Yamla Pagla Deewana’ is fun filled Bollywood road trip that’s shoots all the right targets on its way and will become a winner, the flawless casting, the high entertainment quotient designed for the masses and catchy score will push its prospects at the B.O. Later the emotional connect established with a feel good heart will make it reach to a broader audience. It’s a sure shot winner anywhere where ‘Bollywood is watched, seen or heard.
Rating: ***& ½
For a film like this which is based on reality but is told in a thrilling manner, it was always a thin rope to walk for the makers. After all the case went on for years in court and just like 'Black Friday' (which again tried to connect number of disjointed events), 'No One Killed Jessica' too is a terrific portrayal of what 'could' have actually happened.
There is tension in the air the moment Vidya Balan is informed about her sister been shot. From this point on there is no turning back as you look at the screen wide eyed for the next 15-20 minutes as a graphical representation of minute by minute series of events that led to Jessica's (played effectively by first timer Myra Karn) death are depicted on screen. You know that it would be one dramatic journey from here on and as an audience, you aren't disappointed.
While the film takes a thrilling route, it isn't without its fair share of emotional moments that never fail to result in moist eyes. Vidya's realisation that her sister is dead, the hopelessness of seeing witnesses turning hostile and then the brilliant interval point where Rani Mukherjee, a firebrand journalist, wakes up to a newsprint in bold - 'No One Killed Jessica' - you are bound to get your tissues out.
Meanwhile the film never leaves its dramatic pitch. The killing followed by Neil Bhoopalam (playing Jessica's friend) call of desperation, interrogation by the cop (Rajesh Sharma), the confession that follows, demands made by the witnesses, high society witnesses failing to turn up, cop's frustration, other witnesses turning hostile and then finally the prime witness' (Neil) shocking declaration in the court of law - there is a lot to pick in the first half of the film.
The second half too proceeds on a good note with Rani picking up the mantle of going neck deep down into a 'story' which had now turned into a national headline. The sting operation that follows is very well done which does changes the course of the film and also ensures that for that wide segment of audience which wanted the film to be high on entertainment quotient, there is a lot to be offered.
One does feel though that while the build up to the silent protest is good and the sequence by itself is picturised well, there are portions where NOKJ starts slackening a little. The finale (Rani meeting Vidya at Jessica's grave), though justified, is a tad too filmy and even as Myra's montage tries to bring her back alive in audience's memory, one would have rather wanted a realistic route to be followed right till the end.
Leaving aside such minor blemishes, the fact remains that NOKJ has started 2011 on a very good note. From a small budgeted 'Aamir', Gupta has graduated to a medium budgeted NOKJ. However how one wishes that he sticks on to this route rather than getting tempted by big bucks and bigger budgeted projects. Reason being that 'No One Killed Jessica' acts as a slap on those 50-75-100 crores budgeted films that just loot audience on the name of entertainment.
As performers though both Vidya and Rani are equals. While Vidya's almost silent act turns out to be impressive as less is more here for her, whether it is by means of few dialogues or a subtle body language, Rani gets her fiery act right too while ensuring that there is no dull moment whenever she is around. Rajesh Sharma is a find and after playing a lighter part in 'Ishqiya', he acts tremendously well as a toughie who deserves to be seen in more films. The man who plays the main accused, Mohammed Zeeshan Ayyub, is convincing while Neil is quite good as well. Myra Karn is not just a pretty face but acts well too. As for the biggest highpoint of the film, it is undoubtedly Amit Trivedi's music which is tremendous, whether via songs or the background score.
There are three things that remain constant while you are watching 'No One Killed Jessica'. 1) You don't blink your eye, 2) Your heart continues to pound hard and 3) There is a lump in your throat. That's the power of this Rajkumar Gupta directed film that stays with you for hours after you are through watching it.
Rating: ****
'Toonpur Ka Superrhero' is a visual experience that needs to applauded for the sheer attempt that has gone into it's making. As for the story of 'Toonpur Ka Superrhero', it is the kind that can be instantly grasped by children, its target audience. There is a world somewhere far far away and it is called 'Toonpur'. There are good toons and bad toons. And then there is Ajay Devgn, a screen-hero, whom the good toons rope in to defeat the evil ones.
The film is just ordinary when it comes to the scenes involving real characters. The opening action sequence with a motorboat chase belongs to 90s and is hardly thrilling. Also, the sequences involving Ajay, his secretary, his family etc. have a ‘seen it done all’ feel. Frankly, if there was an attempt at bringing on some emotions here, it doesn't quite work. Also, there is no spark that one sees on screen despite Ajay and Kajol coming together.
The world of toons though is better laid out though none of them - whether it is the Gujarati woman, the Sikh kid, the Marathi 'hawaldar', the Bengali performer, an Einstein kinda scientist or the Christian hottie - have much character depth to them. Of course no one expected a full-on detailing around their past, present or future but still there could have been something about these characters that would have made audience emotionally connect to them.
This is the reason why the second half of the film works because while emotions just didn't work in the first hour of the film, action dominating the second half more than makes up for it. A massive first step in this direction is taken with the song 'Rubdoot'. This is when you actually clinch your fist and exclaim - 'Yes, we have arrived when it comes to world class animation'. In fact portions in and around this scene leave a major impact as well. The villain's den, his bunch of 'goondas', the fight that takes place soon after and then the announcement of battle lines being drawn between Ajay Devgn and Toonasurs - there is a promise of some superb action ahead.
In fact there is much more delivered with the entire climax made of three stage gaming. Watch out for the manner in which Ajay Devgn (who is later joined by Kajol) wins his first two rounds. However the final combat (set in an arena) could have been better. It turns out to relatively easy, hence leading to a climax that also seems like a little abrupt.
Nevertheless, in the times when all that one gets to see in the world of animation films are one mythological tale after another, it is wonderful to see someone (Ajay Devgn here) backing a project like 'Toonpur Ka Superherro'. Now if only the film would have been as exciting from start to finish, it may just have been the perfect outing that a family may have been looking for.
Rating: ***
For conman Tabrez Mirza Khan (Akshay Kumar) aka Tees Maar Khan, it's a challenge to escape with treasure worth 500 crores and weighing around 10000 kgs from a moving train. He has to make the impossible happen and for that he makes a plan which involves running the biggest con job ever. He wears the hat of a movie director, hires the services of a top actor (Akshaye Khanna) and ropes in an unsuspecting set of 200 odd villagers who support him in his game-plan. How he manages to execute his plan takes 'Tees Maar Khan' to its conclusion.
First hour of the film passes away in a jiffy with numerous scenes remaining etched in your memory once the show is over. The opening credits with 'Tees Maar Khan' showing it's true colours inside the womb, Sachin Khedekar's introduction of three top conmen in the country, the con job played by Akshay to make his escape from an airplane, the song 'Sheila Ki Jawani' that follows soon after - all of this manages to hook audience's attention.
What takes the film to a different level though is the introduction of Oscar-obsessed Akshaye Khanna. A long scene where Akshay convinces Akshaye that he is a top director from Hollywood and the latter's 'dance of joy' on being told that he was the chosen one for playing a 'gareeb hindustani' is bound to get the house down. The interval point is well set and one looks forward to the momentum continuing in the second half as well.
The second half continues from where the first half had left with Akshay and his team continuing to shoot a mock film in the village. Yes, not all scenes are funny here and there is also an element of predictability that comes in when Akshay unknowingly ends up helping the villagers. This is when all eyes are set on the moment of reckoning, the train robbery sequence, to take the film to an all time high.
However, the impact isn't as 'zordaar' as one would have expected here as the entire con job passes off way too simply. The courtroom sequence immediately after that is also on predictable lines and one does get a feeling about something being amiss. Thankfully, there is an epilogue soon after that makes one shrug away those 10-15 minutes prior to that. The premier sequence is done well, hence bringing on laughs all over again.
Amongst actors, Akshay Kumar is (obviously) the focal point of the film and he does well while also bringing in a different shade to his own style of comedy. On his part Akshaye too has thoroughly enjoyed the show by letting his hair down (well literally) and he comes with such an excellent job here that one wonders why he hasn't done a full-on comedy along side Akshay yet. Katrina has a minimal part to play in the actual context of the film but is fabulous in 'Sheila Ki Jawani'. Salman's dance number though is forced in the narrative and could have been done away with.
There was one basic expectation from 'Tees Maar Khan' and that was to get entertained in those two hours with worries of the world being left outside the auditorium. You don't want to check your phone calls once the opening credits start rolling, you don't want those emotional moments to make you shed a tear or two and you basically want to have a good time by laughing out loud at places.
Does 'Tees Maar Khan' ensure such an experience? The answer is right. If you want to let go off your stress for those two hours, watch 'Tees Maar Khan'.
Rating: ***1/2
If the only thing that actually stays with you (unfortunately) is a climax which is actually one of the biggest letdowns ever in last few years of movie making at the least, you know that something is really wrong with a film. Really, even in 'Welcome' and 'Singh Is Kinng', one had complained of a shaky climax sequences. However, the one in 'No Problem' takes the cake.
It isn't as if climax is the only issue here. The entire second half of the film is jerky where one gets the feeling that the narrative is just going on and on. But first let's talk about the beginning of the film. First 20 odd minutes are spent into character introduction which belongs to the world of 80s and just about manages to hold your interest. However, things start picking up after it is established that Sanjay Dutt & Akshaye Khanna are small time crooks, Paresh Rawal is an harassed banker and Anil Kapoor is a 'zero' cop. In between all of them is Suniel Shetty who crosses everyone's path in search of diamonds.
With a film which is more about characters and less about stories, one doesn't mind taking a journey as per the wish of the director. However, what you want in this journey are ton loads of laughs that can keep the interest level alive. Though the film is not a laugh riot by any means, there are still a few scenes that bring on some smiles. In fact most of these scenes are the ones where Paresh Rawal leads the show though to credit of Anil Kapoor, he too manages to catch audience's attention.
There are intermittent problems though. Sushmita Sen's split personality sounds good to begin with but becomes repetitive at one stage while Kangna's love story with Akshaye is so 90s. Unfortunately, there is not much movement in the second half with the entire race for diamonds just turning out to be never ending. In the middle of all of this, there is Vijay Raaz who hams to the hilt, hence only ending up annoying rather than impressing. Also, his entire track appears to be totally forced into the narrative.
And then there is this unpardonable climax which perhaps was so embarrassing even for producer Anil Kapoor himself. He is hardly seen for a few shots in this extended sequence where each and every character in the film comes under one roof. Well, literally! As for what happens to the diamonds, then well you have to see it to believe, what with all the gorillas and a bunch of fishes around.
While the background score of the film is just about okay and trapped in early 90s, the song that manages to impress most is 'Mast Punjabi' which has been picturised well too. Amongst the actors, Paresh Rawal and Anil Kapoor come tops with Sanjay Dutt and Suniel Shetty being just about okay. Akshaye Khanna may well want to forget that he was a part of the film and so would Kangna Ranaut. Sushmita Sen doesn't quite go the full steam while Neetu Chandra (in a special appearance) has limited screen presence. However, she exudes oomph whenever she appears on screen.
'No Problem' is not a terrible movie. It does have moments that act as stress reliever as well. However, it isn't the kind that makes one add it to the 'go for it' list and recommend to friends either. Reason being that it is a film that fails to stay with you even for a couple of hours after it has ended.
Rating: **
When you venture into 'Khelein Hum Jee Jaan Sey', you expect a wide canvas, spectacular visuals, sense of euphoria, high octane drama, some thrilling moments and of course apt amount of detailing. Reason being that the film comes from Ashutosh Gowariker who has to be the only contemporary film maker to have made three period/historical flicks (Lagaan, Jodhaa Akbar and now KHJJS) in one single decade.
Thankfully, most of these expectations are met as you get to understand the 'sur' of the film within first 20 minutes itself. A bunch of kids trying to get hold of their playing ground from the British, a bunch of revolutionaries choosing aggressive rather than suppressive measures to gain independence and the entire small town setting where this revolution is taking a quiet but definite shape. All of this makes you confident that there is something big definitely on the anvil.
But wait, this 'something big' doesn't happen overnight. Instead of the film taking a fast forward thrilling route, it moves ahead on a more understated dramatic path as months of strategic drive go into the entire exercise. Some of the highlight scenes in this part of the film are the entire recruitment drive with the teenagers, drawing down of plans, fund collection, procurement of artifacts - all of this takes close to one hour of the film which is totally justified as KHJJS takes a realistic, yet entertaining route.
However, there is a minor hiccup here. The romantic layer seems unnecessary in the bigger scheme of things. Abhishek-Deepika getting closer to each other and Sikandar-Vishakha love story along with a couple of songs could have been avoided.
Nevertheless, one still continues to be held on to the narrative due to the anticipation of plans to be materializing into action. A word of caution here though. Expectations around a 'Border' kind of a saga where narrative turns all-action with cries of 'Bharat Maata Ki Jai' and 'Vande Mataram' won't be fair in case of KHJJS. That's because the film goes beyond one single act of revolution (which lasts 30 odd minutes) with rest of the movie actually telling a story post this act.
Escape from the spots of attack, further confrontation with the British, revolutionaries finding themselves in a helpless state, their emotional turmoil, their subsequent arrest followed by torture - all of this makes sure that Gowariker has a lot more to tell in KHJJS than just an action tale.
The film wouldn't have been what it is if not for some very good selection of actors. Abhishek is quite good in a part which is understated and doesn't even attempt to hog the limelight. He is well supported by Sikandar Kher who could have got a lengthier role but leaves an impression especially in his scenes towards the second half.
Maninder has a meaty part and is a complete natural. So is Samrat Sen who looks convincing as well along with Feroz Wahid Khan and the man who plays the accountant. Vishakha gets good enough screen time to make her presence felt. On the other hand Deepika Padukone, just like Abhishek, underplays her character part though her character almost disappears in the second half of the film.
As for the teenagers, they are perfectly cast of the film, something which is apparent in the way their faces and characterization remains with you even as the end credits start rolling. This is also made possible as actual photographs of close to two dozen odd revolutionaries are displayed on screen once the film comes to an end, hence adding further authenticity to the entire tale.
In nutshell, 'Khelein Hum Jeen Jaan Sey' turns out to be one of those rare outings where patriotism has been brought alive on screen without a jingoistic route being taken. A film that deserves to be seen to know the tale of unsung heroes, it entertains while also conveying loud and clear that there is a lot more that went into achieving freedom of the country than what one gets to see in traditional and age old history books.
Rating: ***1/2
Ram Gopal Varma deserves credit to make 'Rakht Charitra 2' a definite watch as he ensures that despite a violent theme to this blood curdling saga, there are strong emotions that go with the flow of the narrative. One has spent enough time analysing his 'Aag'. He redeemed himself to a good extent with 'Rann', showed his worth all over again with 'Rakht Charitra' and has now totally bounced back with full fervour with 'Rakht Charitra 2'. It is indeed high time that one looks at this being a new chapter in his film making innings as he promises far more in the second decade of the millennium.
It is the stylish manner in which a quick 30 minutes edit of Part 1 is narrated at the beginning of Part 2 which sets the stage right there for the drama to proceed. For the uninitiated who may have not seen Part 1, this 30 minutes edit acts as a quick groundwork to bring them up to speed. On the other hand for those who did check out the film a few weeks back, this edit is a recap to make one even more excited about what would follow next.
Excited one is indeed when Suriya makes his entry into the proceedings at this moment. Bomb blasting Vivek's convoy, he looks at the scene of crime helplessly as his target ends up remaining alive. The opening credits start rolling and you know that the focus would be on revenge between two super-strong characters this time around.
Suriya, instead of being hot blooded and getting into a killing spree, instead takes a calculative approach and schemes quietly, hence leading to a tense build up. His option of keeping his acts on hold before things settle down in his favour, his surrender, his interaction with prison mates, his entire back story (detailing convincingly the reason behind his vengeful acts) and an ultimate act of revenge - all of this pretty much makes audience go along with his character, hence making 'Rakht Charitra 2' a human drama which is not just about killings, chopping away of limbs and glorified violence.
Suriya leaves a terrific impression in his first ever Hindi outing. Flawless in his act and displaying a varied range of emotions, Suriya gets it bang on. It isn't as if the focus is entirely on Suriya this time around. Yes, the story is from his point if view but Vivek has no lesser importance (though a lesser screen time for sure). His character too is multi layered, something that the actor powerfully depicts, hence proving once again that he is one of the best in business when entrusted with dramatic outings.
The film wouldn't have been for what it is if not for some background score by Dharam-Sandeep which is abound with chants, hence resulting in a high octane drama that grips you from beginning till the end. Also, the camerawork is innovative (as is the hallmark of Ramu's cinema). Suriya's entry, the entire eight minute long court sequence (entirely shot in slow motion and turning out to be one of the most thrilling sequences of 2010), a couple of scenes where camera moves in a circular motion and then the confrontation scene between Suriya and Vivek inside the prison - the team deserves brownie points for making 'Rakht Charitra 2' a gripping affair.
Suriya and Vivek - It is this face-off, which has its presence more mentally, consciously and sub-consciously rather than physically, which forms the core of 'Rakht Charitra 2'. A gritty dramatic fare which, unlike 'Rakht Charitra 1', is more about the sense of revenge looming large rather than killing-a-minute violence that prevailed there, 'Rakht Charitra 2' is an even better watch that doesn't allow one to blink an eyelid.
Go watch it if you in mood of watching a revenge-filled tale coming alive on screen.
Rating: ****
'It's complicated' - sighed Himesh Reshammiya when he turned lover boy for 'Radio'. A film about relationships between urban couples, the film went unnoticed. The film's cast as well as its overall set up was blamed for that. Hence, one did have good expectations from 'Break Ke Baad', which again deals with complexities in relationships between urban couples, since the film boasted of a good set up [Kunal Kohli as a producer] and has a far more happening cast in the form of Imran Khan and Deepika Padukone.
Does it work? Partially and that too mainly due to a very good first half and career best performances of it's lead pair.
While Deepika proposes a 'break', Imran sticks on her side, well literally as he stays put at her place with bag and baggage intact till she 'gets back to normalcy'. At this point, one expects some funny incidents to follow that would reunite the lovers. However, this is where 'Break Ke Baad' falters as instead of turning funny, the story turns out to be a huge drag. For 30 odd minutes after the interval point, there is one boring scene after another that actually makes you sink down your seat inch by inch.
Frankly, the movement of storyline here, despite a story being told with a passage of one full year, is hardly interesting and only leads to restlessness and impatience. In addition to that, a subtle side track of Shahana Goswami and Yudi, friends of Deepika and Imran, only turns out to be a distraction. In fact during this entire duration, the lovers do turn into friends but the way their chemistry returns almost to normalcy only makes one kick the floor harder and wonder that why aren't the two reuniting yet.
Thankfully, things perk up towards the last 15 odd minutes from pre-climax onwards. Realisation of true love takes a done-to-death approach with clichés written all over. Add to that some good dialogues mouthed by Deepika and you know what you were missing all this while.
Really, if not for Deepika's terrific act as a young 20 something girl who loves taking risks in life and wants to try out everything before crying that it is all too late, 'Break Ke Baad' by debutant director Danish Aslam wouldn't have been half as enjoyable as it ultimately turns out to be. She gets the best dialogues, the best scenes and the best moments that bring an altogether different facet of her acting capabilities.
While Deepika gets brownie points for her performance, Imran isn't much far behind either. His role required him to stay far more subtle and patient than his beloved and in this regard, he is happy to take a back step without being overtly greedy about trying to get the best lines. As for the others, Sharmila Tagore is just about okay, Lilette Dubey is as usual, Shahana natural but overconfident at places and Yudi irritating to begin with but settling down eventually.
The film has a rich look throughout and one has to compliment the art direction, cinematography and costumes team for that. Background score is good while music by Vishal-Shekhar, though good on ears, brings down the pace of the film at a few junctures, especially in the second half when the going is anyways not as interesting.
This is why one is led to believe that 'Break Ke Baad' could have been a much better film if there would have been some more energy in the second half. No wonder, 'Break Ke Baad' would go down as a film which was a good entertaining watch till the 'break', its very USP, actually happened.
Rating: **1/2
 Guzarish Movie Review | |
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This film is special for more reasons than one. After DHOOM 2 and JODHAA AKBAR, it sees the re-union of two of the finest actors in the film industry- Hrithik Roshan and Aishwarya Rai Bachchan. Director Sanjay Leela Bansali is donning the director's hat after almost three years. It also deals with a very sensitive issue of Euthanasia (mercy killing).
He was the best magician in town. But a fatal accident left Ethan Mascarenhas (Hrithik Roshan) paralysed and bedridden for life. Presently hosting a Radio show 'Hello Zindagi' Ethan spreads hope to listeners through his inimitable wit and humour. For twelve years, he's being aided by nurse Sofia D'Souza (Aishwarya Rai Bachchan), who's much more than a nurse.
On the fourteenth anniversary of his accident, Ethan decides to make a petition to the court for Euthanasia (He prefers calling it Ethanasia). This leaves his best friend and lawyer Devyani (Shernaz Patel) and Sofia in complete disarray. Meanwhile, a young man named Omar Siddiqui (Aditya Roy Kapoor) enters Ethan's world with a steadfast desire to learn magic from him.
First things first. GUZAARISH is not an abstract and ambiguous film. It's a simply narrated film made with a lot of heart. Although it's sensitive, it never gets dukhi. Sanjay Leela Bhansali has treated the grave issue of mercy killing with maturity. Although it's about a suffering person who wants to end his life, its message is about celebrating life. The best part about the film is that it involves you as a viewer. You surely feel for Ethan's plight. He leaves you smiling in many scenes and moist-eyed in some.
The first half is so breezy that you don't realise when it gets over. The second half is a bit of a drag. Like KAL HO NAA HO and the more recent PAA, GUZAARISH's narrative is very light-hearted laden with humorous moments. Ethan says, 'God pe bharosa hai, isiliye I am dying to meet him.' Also, the scene in which Sofia gives Ethan a leg massage is uproarious.
There are some really poignant moments that leave a lasting impression. Ethan watches a scarecrow on a field, which is symbolic to his own condition. The court-room scenes are just too good. While you expect Ethan to give a long monologue, he conveys everything through his 60-seconds magic trick.
Like most Sanjay Leela Bhansali's films (HUM DIL DE CHUKE SANAM DEVDAS, BLACK, SAAWARIYA), GUZAARISH is visually stunning. Each and every frame is meticulously shot. Cinematographer Sudeep K. Chatterjee captures some awe-inspiring magic scenes through his lens. Bhavani Iyer and Vibhu Puri's dialogues are excellent. Sanjay's music goes very well with the film.
Hrithik Roshan is outstanding. He spreads his magic and how! This can easily be termed as one of the finest performances of his career. Aishwarya Rai Bachchan delivers a good performance. She's completely dazzling in the Udi song. Shernaz Patel performs her role brilliantly. Watch out for the argument scene between Aishwarya Rai Bachchan and Shernaz Patel. Aditya Roy Kapoor plays his part well. Monikangana Dutta doesn't have any scope. Makrand Deshpande was not required. Suhel Seth is very good and so is Rajit Kapoor.
GUZAARISH is poignant, amazing and simply 'magical'. A sincere 'guzaarish', please go watch it.
Rating: 4.5/5
One can safely say that Rohit Shetty has cracked the formula. Whether it is Priyadarshan, David Dhawan or Anees Bazmee - each of the film makers is known for the brand of cinema that they generate year after year. Now join Rohit Shetty to the list. After watching 'Golmaal 3', one can declare that Rohit too knows what is expected from him. And he delivers. Each time around.
Though the film has been sold as the story of six prime protagonists divided by two rival teams [one comprising of Ajay Devgn, Kareena Kapoor & Shreyas Talpade and another made of Arshad Warsi, Tusshar Kapoor and Kunal Khemu], 'Golmaal 3' is actually the story of Ratna Pathak Shah and Mithun Chakravorty who are the head of the two families. Separated in youth, now the two veteran lovers find themselves face to face again. Would the families get united with the duo coming back again?
A storyline like this could have become a family drama. However, Rohit and his writers come together to make a fun film which has gags and plenty humours moments to keep the wheels rolling right from start to finish. To pep up the fun quotient further, they also introduce a Johnny Lever track with his 'Ghajini' like syndrome [short term memory loss] which fits into the narrative perfectly well.
What doesn't work though is the extended love track of Mithun and Ratna. Really, after a point, it seems quite stretched. Yes, the flashback sequence is done well but the hurdles towards their marriage and an eventual coming together could have been crisper. Also, a few jokes in this half of the film fall flat. However, the second half flies by like a bullet and doesn't let audience think about what has gone past by. The pranks played by the boys of the house and re-emergence of Johnny Lever towards the last 30 minutes of the film ensure that 'Golmaal 3' lives up to the expectations that one had from the film.
In fact it won't be wrong to say that three characters which actually have maximum screen time in the film are Kareena Kapoor, Mithun Chakravorty and Johnny Lever. Ajay Devgn becomes a part of the gang and while he is part of the film throughout, he doesn't try to overshadow anyone. Arshad Warsi, who was said to be short changed in 'Golmaal Returns', won't have any reason to complain this time around as amongst the men, he leaves maximum impact as he gets the best lines for himself.
From the younger lot, Tusshar Kapoor comes up with a performance which is expected of him and the recall value of his 'goonga' act means that he gets into the fifth gear from the word go. However, he takes a brilliant back gear in the scene where he comes with an emotional outburst as he reveals the truth to the entire gang of boys.
New entrant Kunal Khemu leaves a mark and actually gets a good enough screen time for himself. Sadly, Shreyas Talpade is relegated to the backseat here. On the other hand Johnny Lever is a riot all through the film and brings down the house every-time he appears. Mithun brings back the memories of yore when he re-enacts the 'Pyaar Jhukta Nahin' sequence with Prem Chopra as the father of the bride. Ratna Pathak Shah is okay.
'Golmaal 3' is not a great piece of cinema. It's purpose of existence is simple, give audience those two and a half hours of non-stop fun, come what may, and ensure that there is no dull moment that goes past by. This is what one gets to see in this non-stop laugh riot that begins well, has a good middle portion and a convincing end as well, all of it making sure that the time that audience spends watching the film flies by in a jiffy.
Go~go~go watch it this Diwali!
Rating: ****
'Action Replayy' is one film which is arriving as an underdog this Diwali. The film doesn't scream and excites audience by proclaiming - 'Hey, look I am cool' or 'See, Akshay Kumar would be seen as a Mr. Smart Know All' once again' or 'The gags are such that you would fall off your seats'. Instead it does it all in a subtle manner when it comes to treatment though the look of the film does gain audience attention, courtesy the 70s setting that had a psychedelic flavour to it.
No wonder, when the curtains go up, the film begins and a few minutes later, Akshay is introduced as a nerd from the 70s, everyone collectively goes 'eeks' along with his son (Aditya Roy Kapoor) who has made a visit to the past. Forget the flamboyance or the energy that one expects from Akshay Kumar, he actually gets into a garb as never worn before. Donning an ill fitting 'kurta-pyajama', a pair of TV screen style glasses, a 'champu' haircut, an awkward walk and last but the most visible aspect of his personality - two protruding teeth, Akshay is as unlike a hero as one can expect from him or any other supporting actor filling a frame.
Vipul Shah gets the retro flavour bang on right from the time opening credits start rolling. The anthem music, background score, colours, costumes, sets, props - everything blends in truly well to actually traverse audience to the era gone by.
This is not all as the characters too turn into the kind that one expects from the 70s. Aishwarya Rai as a talkative mini skirted young tomboyish girl could well have taken a cue from Neetu Singh, Rannvijay Singh as a harmless villain is a diluted version of Ranjeet & Prem Chopra while Rajpal Yadav is a mini version of the boisterous Rajendra Nath. However, Akshay does something that has never been done by an actor either from the 70s or the current times and this is where the win of the character lies.
So while Aditya tries to develop love between next door neighbours Akshay and Aishwarya, everything that is possibly goes wrong between the duo. A street-smart Ash makes life miserable for Akshay and though he has a soft corner for her, he manages to let go off his feelings when he sees her get out of a mini skirt and don a saree. His heart goes 'dhak dhak' and he is all set to propose to her, but not before he goes through some real transformation. It is time for some 'awaaz neeche' and the game of one-upmanship as he is the one to take the upper seat now with Ash eventually falling in love with her.
A storyline as simple as that has to be sustained by peppering the screen with some interesting ingredients. This is something that is made possible through some fantastic tunes that have been put in place by Pritam. 'Zor Ka Jhatka', 'Chann Ke Mohalla' and 'Ae Bekhabar' arrive one after another and are a treat for the audience. There is a medley of four songs (set in a dance competition) in the second half of the film which is immediately followed by a love song (Tera Mera Pyaar); something that will have mixed reactions from audience as there are too many songs that come in one go.
This is immediately followed by a chase sequence, hence leading to a climax which seems to be set in a Priyadarshan/Anees Bazmee mode. For those who had liked the subtle yet engaging narrative of the film so far, this part of the film has a different flavour to it, something that may entice different reactions from different segments (mass v/s class) of the audience.
Coming back to the film in totality, to its credit there is no dull moment. While some of the fun sequences (Akshay proposing to Ash for the first time in a garden, the series of 'awaaz neeche' episodes, the one where Ash brings a cake for Akshay) do bring on the laughs, there are a few lump in the throat moments as well (Akshay touching Aditya's feet, his sob story on the reason behind his personality). What makes 'Action Replayy' further endearing is the chemistry between Akshay and Ash, something which is unconventional and yet makes one wonder that why the two had never been paired together.
Amongst other actors, Aditya turns out to be a surprise package as he does justice to his lengthy role in the film. He has a pleasant screen presence, is confident and quite natural. Om Puri and Kirron Kher are as usual, Rajpal Yadav is controlled, Rannvijay Singh decent while Randhir Kapoor and Sudeepa Singh are hardly there. Neha Dhupia has a miniscule screen time in a friendly appearance though she makes her presence felt in 'Zor Ka Jhatka'.
Overall, 'Action Replayy' turns out to be a clean musical entertainer that has a young feel to it without turning loud and brings with it an appeal that would cater to audience across all age groups. If in look out for some clean entertainment this Diwali, step into 'Action Replayy'; you would enjoy some harmless fun that would follow in those two hours.
Rating: ****
'Jhootha Hi Sahi' is the kind of film where a constant smile on one's face is guaranteed for those two and a half hours. Credit for that goes to two men - Abbas Tyrewala and John Abraham. One did have certain expectations from Abbas, especially after 'Jaane Tu Ya Jaane Naa'. Here too he doesn't disappoint as he embellishes the proceedings with enough sweet and smile inducing moments that never fail to entertain.
Even otherwise, there is always a feel good factor that one can sense with every 10 minutes bringing on something to attract a viewer's attention. This is where John Abraham comes into picture as he delivers yet another career enhancing performance after 'New York' and 'Dostana'. It is amazing to see how he has transformed his entire body language, mannerisms and dialogue delivery for this film.
Though it seemed like a publicity gimmick to begin with, the fact is that one indeed forgets the star John Abraham while watching the film but instead falls in love with Sid who is forced to mouth some innocent lies due to the circumstances. Watch out for the scene in the book shop where John meets Pakhi for the first time, majority of scenes where John interacts with his bunch of friends (headed by Raghu), the one where John ends up picking up porn DVDs from Pakhi's shop and especially that riotous scene where John's ex-girlfriend (Mansi Scott) is termed as Raghu's girlfriend.
Meanwhile, in addition to the John & Pakhi story where the former is required to hold on a twin persona - one who is a geek working in a book store and another who is a stranger on a friendship helpline - there are quite a few other supporting stories in play as well. While some work (Raghu-Mansi), a few just pass muster. Love story between Raghu's sister and her Japanese suitor becomes repetitive after a point which results in audience loosing his attention. Also, an episode involving John's gay friend isn't fully explored. A tangential story about Pakhi and Madhavan (he too is there in a special appearance) is fine even though it does carry a strong sense of deja vu while reminding of a similar sub plot involving Genelia D'Souza and her fiance in 'Jaane Tu Ya Jaane Naa'.
Still, what works in favour of 'Jhootha Hi Sahi' is that at the core of it, it stays on to be a young film with no space for over sentimentality or drama. Everything remains constant and stable right through the film's narrative though there are brief portions at the beginning of the film's second half where you do wish that the proceedings could have been faster. Also, the pre-climax and climax are pretty long drawn that adds on to impatience. Music by A.R. Rahman is an interruption here though and while a couple of songs do sound good audio wise, the effect is not accentuated when seen with visuals.
All of this means that 'Jhootha Hi Sahi' has a select audience base for itself that it is required to explore. While youth can be expected to lap it up with glee, the older generation won't really be enthused to know more about orgasms that last for 30 minutes, phone sex, a girl looking at a best friend relationship with her ex, gay relationships and man sleeping with his best friend's ex-girlfriend.
The good though part about 'Jhootha Hi Sahi' is that you get exactly what you had expected from it in the first place. The film never looked like a breezy entertainer in the offing that moved ahead at break neck speed. Instead, it appeared to be a light hearted entertainer which would have a stable 'sur' to it without many ups and downs. The talkie promos had pretty much established the mood and the flavour of the film and one knew that instead of stepping into a ha-ha land or something which is overtly mushy, a walk into 'Jhootha Hi Sahi' would stay on to be something which is realistic and accessible.
Rating: ***
Its okay for a film to have a simple plot. However, when something that can be told in a 45-60 minutes short story is stretched to two hours, there are all the right reasons for boredom to set in. This is what happens in case of 'Dus Tola' where audience gets restless within first 20 minutes of the film's duration itself.
Manoj Bajpai, a goldsmith, is in love with his next door neighbour (Aarti Chabria). She pokes him into making a necklace worth 'dus tola' for her so that together they could convince her parents that Manoj is worthy enough to take care of her after marriage. However, a turn of events means that Manoj looses both the necklace as well as the girl. Whether he manages to get any of them later in the day forms the crux of 'Dus Tola'.
Since one does get an inkling of what would happen when Manoj would be ready with the necklace, there is no surprise element that sets in once Aarti goes through a turnaround. In fact while one waits for the interval point to arrive, the scenes continue to arrive, hence making one look at the watch time and again. Thankfully, when it actually arrives, the interval point is reasonably okay that sets ground for an engaging second half.
To give due credit to the film, the second half is better as well though it is mainly from comparison perspective. The love story between Manoj Bajpai and a dance teacher is forced into the narrative and belongs to fast forward variety. The struggles faced by Aarti at her household also tend to become repetitive. However, once the twist in the tale is revealed around the pre-climax, 'Dus Tola' does manage to fetch audience attention.
Whatever redemption that the film had gained by this time is lost once a silly fight emerges amongst the villagers. Really, what was the director thinking here? And was the editor sleeping? Couldn't he have taken a call to just chop off this portion entirely from the film?
Amongst the actors, Manoj Bajpai is just okay and makes one believe all over again that he is best suited for intense roles like 'Raajneeti'. Aarti Chabria is just about decent though she is capable of much better. Also, her characterisation becomes patchy in the second half. Amongst the supporting actors, it is Ninad Kamat who does something worthwhile though Asrani and Govind Namdeo are hardly integral to the film's plot.
In any case, 'Dus Tola' by itself is such a below average fare that you don't have much expectation even before the finale. The film starts and ends on a lazy note, hence ensuring that there won't be much audience base waiting to catch this film.
Rating: *1/2
At the core of it, 'Rakta Charitra' is a revenge saga which has been smartly woven around politics, caste difference, opportunism, 'goondaraj' and personal vendetta. To think of it, there have been countless stories like these heard in the past. However, while most stories pick an element or two from this saga, 'Rakta Charitra' successfully manages to integrate them all together despite the complexity in various layers.
One such layer is built by Prakash [Vivek Oberoi] whose father and brother have been massacred by the politicians and cops. He gets his revenge by forming his own team and wiping off the killers. However, the story doesn't end here as he shakes hand with a politician [Shatrughan Sinha] and gets into the power himself. While he marches ahead in his journey which is filled with corpses at every juncture, there is also a past [Suriya] which is all set to haunt him on its return. It is the story of this past which would be revealed in the second part of 'Rakta Charitra'.
Meanwhile on Part I of the film, this is Vivek's best and most mature act ever. He makes one believe that finally there is one actor who could rise towards the top and do something far more worthwhile with his career. His entry on a modest scooter, his planning of the first three killings, the way he takes away his beloved right under her parents' nose, his interaction with Shatrughan Sinha, his rise to power and finally the scene where he assembles all goons at his own house are powerful sequences that stay on with you.
He is not the only one who leaves an impression though. Abhimanyu Singh as the chief baddy entices all around hatred and one alternatively fears as well as detests him. Shatrughan Sinha is at his characteristic best and though he has only a few scenes in the film, one expects him to play a bigger role in the second part of the film. Sushant Singh and Ashish Vidyarthi have brief roles that do not come with much scope for them to perform.
Something that has a constant (and engaging) presence right through the film is it's background score though. Really, after 'Saam Daam Dand Bhed' [Sarkar], if there is a background sound that will be remembered for a Ramu film, it will be the title track 'Rakta Charitra' that plays right through the film's duration. It is haunting, disturbing and leaves a big impact. What doesn't leave an impact though is the celebration track 'Paisewaala' which tries to bring back the memories of 'Kallu Mama' [Satya] but doesn't quite succeed. Also, it hampers the flow of the movie and needs to be chopped away pronto.
Though the film starts with a bang, the later portions in the first half are just about okay. Even in the second half, there are brief moments of monotony that come in. However, the last 30 odd minutes enhance the pace of the film with the preview of 'Rakta Charitra - 2' [with Suriya coming into play] turning out to be an icing on the cake.
If one goes into the past, when released, 'Sholay' was criticised for its excessive violence, whether visible or suggestive. Critics had panned it while audience too weren't much enticed in the initial days. However, history beckons that a new chapter was written with 'Sholay' when it came to violence in Indian cinema.
Circa 2010 and the same can be said for 'Rakta Charitra' as well. As a film it carries an entirely different storyline and is also not quite comparable with 'Sholay' as a cinemative experience. However, if on-screen depiction of violence would be any benchmark, it would now be termed as pre and post 'Rakta Charitra'.
Rating: ***1/2
Honestly, I have seldom hated a film or felt disgusted by its content. After all no film maker in his right intention wants to attempt something that is a complete waste of time, effort and money. However, in case of 'Hisss', it seems that there is only time which has been spent for its (As evident by the fact that the film took quite some time to reach the finish mark). Otherwise the effort spent is conspicuous by its absence while the lack of funds only end up making 'Hisss' turn into a Z grade affair.
The story, if at all one can actually call it that way, goes like this. An American wants to get hold of a 'naagmani' and for that he catches hold of a 'naag' so that its 'naagin' would come searching by. In exchange of the 'naag', he would bargain for the 'naagmani' and in turn become immortal.
To depict this simple storyline, the film meanders into territories which includes an unnecessary episode set 5000 years back, a cop's [Irrfan Khan] wife [Divya Dutta] who is unable to conceive a child, her annoying mother and half a dozen goons who are destined to get killed one after another.
In between all of this, there is of course the film's central protagonist, Mallika Sherawat, thrown in as well who is the 'ichchadhaari naagin'. Now this is one naagin who doesn't understand the ways of the world and is also clueless about the human language. No wonder, there is not a single word spoken by Mallika in the entire film here.
Even otherwise, there is not much to talk about as Irrfan has some strangely disjointed scenes in the first half of the film. Later he seems to be totally clueless about the killings happening in the locality (courtesy Madame Sherawat) and it requires a bizarre plot description by his mother-in-law for him to reach the root of the issue.
If this wasn't enough to make one tear hair in frustration, there is this foreigner who plays the part of the American. Each of his scenes make you just look away from screen and the dubbing out here is also so poor that it makes one believe that there are better dubbed films which come on TV.
As for the so-called nudity, there is some of it in the first half of the film but neither is it titillating nor does it add any value to the plot. This means that whatever little segment of audience that 'Hisss' could have aimed for is lost as well. Also, the so called USP of the film - the special effects - are done in such a tacky manner that horror TV serials appear to be far more convincing. From the acting perspective, while Mallika doesn't get much scope to perform despite her being the central protagonist, Irrfan appears to be totally clueless about all which is happening around him.
Well, one can't blame him for that. After all we as audience are totally clueless as well!
In one sentence - 'There have been bad movies and there are bad movies. But there won't ever be anything as bad as 'Hisss'.
Rating: 0 stars
| Knock Out Movie Review |
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| Knock Out - A decent thrilling entertainer |
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 The title of the film is a complete misnomer as it doesn't give out any idea whatsoever around the theme of 'Knock Out' which is that of black money being accumulated by politicians across the country. Director Mani Shankar keeps it all simple though without getting into the finest details around the entire network. One can't blame it for that because he did try to do that in his last release 'Mukhbiir' which was a dismal failure. There is still blame game to play though and it is directed at the below average promos that resulted in near to nil expectations. Poor dialogues that came close to being cheesy and shots in the promos that seemed to have been purposely designed to scream - 'Hey look at me, I am 'Phone Booth' - made one feel that there won't be much interesting in the offing here. In fact the promos did everything which is not required to be done before the release of the film. Seems like the team that designed it wanted the film to fail, rather than succeed. However, in a way it turned out to be a blessing in disguise as well with 'Knock Out' actually ending up being a reasonably entertaining affair that hooks you to your seat for most part of it. In fact the first one hour of the film is so tout that you can't even momentary check SMSs on your cell phone. Right from the moment a deal takes place between a businessman and a corrupt politician (Gulshan Grover) to the point where Irrfan Khan is taken hostage in a phone booth by a gun wielding mystery man (Sanjay Dutt), 'Knock Out' demands your attention and gets that.  From this point on, it's the curiosity of 'what would happen next' that ends up getting you totally involved in the film. The screenplay is well done here while the dialogues have a mix of humour (Irrfan) and authority (Sanjay) that make you go through those exciting mood swings. Of course there are filmy elements that come in as well, especially with Kangna appearing all dolled up as a journalist who is asked to rotate twice amidst a crowd of a few thousands so that Irrfan can have a 'better view' of her. Or the character of a cop played by Sushant Singh who is defeated at every juncture whenever he tries to come close to Sanjay. Though unbelievable, they only ensure that 'Knock Out' stays true to commercial elements as well without turning into something too realistic a la 'A Wednesday'. Its the second half though where the film looses the kind of grip it had showed for the first one hour. A couple of emotional speeches by Sanjay don't quite augur well with the otherwise thrilling mood of the film, hence making 'Knock Out' come across as an average film that is still trapped in the Bollywood way of story telling. However, performances by the two lead protagonists make the film a worthy trip as well. Despite the fact that Sanjay Dutt comes with the star power, it is Irrfan Khan who gets the best lines and the best moments. He goes through various emotions like turning aggressive to submissive to irritated to confused to guilty to someone whose self respect has gone for a complete toss. He is an absolute riot in his 'Touch Me Touch Me' act where he attempts to sway like Katrina. Kangna is okay in a role that actually didn't much from her while Sushant is effective in the screen time that he gets for himself. Now if only the film would have ended with as hammer strong an impact as its start, 'Knock Out' would have made for a much more engaging affair. Still, you can enjoy a one time casual watch at least on a lazy evening with friends. Rating: *** |
'Aakrosh' turns out to be an out and out dramatic affair that almost unfolds like a mystery being sold. There are thrills galore and the narrative is also sprinkled with enough action packed moments to keep the masses happy. Really, for a film that had an 'issue' at the core of it, this has to be the one of the most 'masala' filled entertainers in the offing. And this is where 'Aakrosh' actually scores.
For a CBI officer (Akshaye Khanna) and his Major subordinate (Ajay Devgn), it is a challenging assignment to visit a sleeping small town and investigate the disappearance of three medical students. While the stay was never meant to be easy, further trouble entails when they encounter a hostile cop. As it turns out, everyone in the town - whether cops, politicians, local goons, businessmen or commissioner - is hands-in-glove with each other which only turns out to be a speed breaker at every corner. However, Akshaye uses his legal powers and Ajay his army background (and hence fair degree of muscle power) to go deeper down into the issue.
A nexus as detailed above isn't something new in the world of fact as well as fiction. However, it's the way Priyadarshan brings it to fore that makes all the difference, hence making 'Aakrosh' an engaging drama. Notice the scene where Ajay and Akshaye meet Paresh Rawal and his senior for the first time in their police station. The way they are ridiculed leaves them in a hapless situation. Later, the scene where they meet Paresh and his partners-in-crime at his private party is done well too.
The immediate scene that follows after the interval point (a revolution beginning in the town) though is not just abrupt but hardly justifiable. In fact one is led to believe that there were some serious Censor chops that happened around this point as well as in the scene where a local politician is delivering a fiery speech. Moreover, the entire 'Shool Sena' angle is carefully treaded as well and is seen more in the background than forefront.
However, Priyadarshan pulls back strings soon enough as 'Aakrosh' brings in enough thrilling and action packed moments that ensure that audience doesn't loose interest. Moreover, the action too unfolds at a relentless pace. There are four to five major action sequences, most of them being centreed on a chase and really, they are indeed well shot, edited and presented. Watch out for the one where Ajay runs behind a contract killer atop the houses. Or the one where he stands atop a SUV being driven by Akshaye. Or the one in the pre-climax where he comes face to face with Paresh.
Of course there are quite a few violent moments as well, some shown and a few implied, and while they go with the mood of the film, they can be expected to turn a segment of women audience away. In fact the entire track surrounding Reema Sen and her family does make you feel disgusted and while it works for the film, it is not for the faint hearted. Also, though the action scenes make an impact, they could have been edited to make the film a little crisper. Ditto for the two songs in the first half which deserve to be chopped off immediately.
Amongst actors, the film may have been sold as an Ajay Devgn and Akshaye Khanna starrer but Paresh Rawal has an equal presence in the drama as well. He comes up with yet another bravura performance in his eventful career so far. This is one of his best and most flawless performances till date. Ajay continues the top form that he is in while Akshaye makes you wonder yet again that why don't we see more of this talented actor. Bipasha Basu and Amita Pathak are okay in a patchy role though all the actors who play the part of criminals fit into their character pretty well. Reema Sen leaves an impression too.
All said and done, 'Aakrosh' is a film which is a winner by all means. There are thrills galore and the narrative is also sprinkled with enough action packed moments to keep the masses happy. Really, for a film that had an 'issue' at the core of it, this has to be the one of the most 'masala' filled entertainers in the offing. And this is where 'Aakrosh' actually scores.
Rating: ***1/2
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