What is it all about?
‘Pyaar Impossible’ is a fairy tale freshly retold. The movie is pleasant start to YRF innings this year. Scoring on the right choice of characters the movie manages to engage the viewers in emotions with an unabashed sincerity that manages to avoid the pitfalls of triteness.
Agreed the theme of a geek falling for a top hottie has been told from ages but Jugal Hansraj narrates it with freshness and exuberance which makes you watch the Geek Abhay’s (Uday) in fluctuations without minding Priyanka’s too hot to handle costumes.
‘Pyaar Impossible’ starts with a geek falling for a hottie thingie and later makes an attempt to squeeze the audience by a growing appreciation of inner beauty and sensitivity philosophy which lifts the movie from regulars.
Funny and charming situations especially in the second half, witty dialogues and well orchestrated music (the title number being the pick of the lot) are smoothly integrated into the plot making the movie a decent watch.
The Story ….Of course
In Ankert University, California, Alisha (Priyanka Chopra) is the name that every boy dreams. It is no surprise then that Abhay (Uday Chopra) loves her too. Uday is a software wizard but before computers he always thinks of Alisha.
Abhay is a nerdy, awkward, socially challenged, bespectacled geek of the college who is so far removed from her world that she doesn't even know that people like him actually exist.
Abhay and Alisha don’t meet and after seven years, Abhay who is still thinking of her meets her in Singapore and finds that she is divorcee with a cute small monster to take care of.
Abhay whose visit to Singapore was to catch a thief Sidhu/Varun(Dino Morea) who has ran stealing his software which Alisha’s company is about to buy from him lands up as a nanny at Alisha’s house washing utensils and serving Thai food at dinner.
The looser Abhay then first wins the heart of Alisha’s daughter and musters courage to go and express his true feelings to her before exposing Varun.
What to Look Out For?
This well shot glossy love story has some uplifting moments. Priyanka in a geek avatar trying to gain attentions from passer-by’s and the moments between the little bundle of talent and Abhay are fantastic.
The school drama sequence where Priyanka recollects her college days and comes to know about Abhay and her love is another major highlight.
Uday does a sincere job and this should be his best till date.
While Priyanka is drop dead gorgeous and spontaneous in a role that is tailor made for her, Anupam Kher (who plays Abhay’s Father) land valuable support and the little bundle of talent Saidah is outstanding.
Jugal does a commendable job in representing this love story from the usual Barbie Doll ones and makes sure that its touching, reflecting YRF’s trend of entertainment that's meant to be seen by all members of the family.
The above qualities makes ‘Pyaar Impossible’ score 3 out of 5.
What Not?
It has its moments but more detailing could have done wonders. For example some more sequences and scenes that strongly establish the obsession of Abhay could have been done. Abhay’s geek ness is somewhat taken for granted and more attention is paid to make Priyanka look more and more glamorous on the contrary, it should have been vice versa.
Recommended: Yes, if you search for some cuddling charming moments then ‘Pyaar Impossible’ is your ticket.
ACCIDENT ON HILL ROAD REVIEW
Inspired from a real incident or a Hollywood bizarre called ‘Stuck’, only Mahesh Nair can answer after asking Mr. Nari Hira.
Well the original was a comedy that indicated the downing level of humanity and insight the world has today, its weird bollywood inspiration is the downing level of creativity and insight our today film fakers ……..oops sorry makers have.
Ingeniously nasty which shockingly asks the question why a comedy was made into a thriller which increasingly worsens its chances of providing entertainment moment if it where there any.
After just losing his wife Prakash( Farooq Sheikh – why he signed this) ends up at the wrong place at the wrong time when a high on ecstasy Celina bumps in to him Still, the nashe mein dhoot half time nurse half time party animal Celina has sufficient presence of mind to drive home, stow her car in her garage - even as a semiconscious, sporadically moaning Prakash remains stuck in place - and, come morning, take a cab to work. She's really bummed out by what has happened, but she knows that spilling the beans about her hit-and-run accident might dampen her possible promotion.
So the Celina asks her drug-dealing boyfriend (Abhimanyu Singh) to dispose of the inconvenient body. But there's a complication: The body isn't quite dead. Indeed, the longer he remains trapped in the windshield, the more time Prakash has to gather strength for the slow and painful process of escape.
In the end he manages to escape and we take a deep breadth.
The pic was suppose to be thrillingly unsettling but turns into a irritating bore where the audience hardly generate any sympathy towards prakash which should have been. "Accident is a meaningless directionless drive which boldly underlines the difference between a film maker and a faker.
Celina is okay. Abhimanyu is passable. It was sad to watch the immensely talented Farooq Sheikh in such a pity situation.
Movies like this should come with a strict warning like those in cigarettes and alcohol
Verdict- Watch it at your own risk.
3IDIOTS REVIEW
Bravo! Bollywood smartys had done it again. The invincible Rajkumar Hirani goes more ‘hearty’ and less ‘arty’ this time to give us a witty and touching look at life and makes a befitting comment at the mad rat race we are in where the quotient of success is measured with a materialistic tape without giving the call of your heart any grape.
What happens when unrealistic pressures to achieve gets on you, unable to bear and handle you say it quits, people call it suicide but in ‘3 Idiots’ Rancho (Aamir best till date) asks, it can also be murder?
Amazingly that’s not the starting point of the film, it rather begins with Farhan Qureshi (R Madhavan – fantastic) narrating his journey with his friend Raju Rastogi (Sharman Joshi- brilliant) who embark on a quest for a lost buddy. The story progresses in Farhan’s point of view where we make our way through the breathtakingly shot (C.K. Muraleedharan) perilous landscapes of Shimla, Manali & Ladakh.
Another journey begins: their inner journey through memory lane and the story of their friend - the irrepressible free-thinker Rancho the character most probably inspired by Hollywood great Robbin Williams well Rajkumar Hirani’s fascination with this pleasant character never ends nor does the charm of this genius who thinks out of the box and captures heart in a unique way and changes their lives.
Perhaps the most-satisfying aspect of '3 Idiots’ is how it provides an insight into the pressure system prevalent in the society within the survival conflicts that ignores the true calibre and results in end of a deserving life.
As Rajkumar has done it previously, he does it again; he never goes preachy and makes sure the entertainment hungry souls of Bollywood get their soul stirring here and there.
He did it with tremendous success with the ‘Munnabhai’ series and here also he comes with flying colours.
As Farhan and Raju search for rancho, Hirani presents us with insights into the education system of this country through flashback sequences of brilliantly executed campus sequences, the Chamatkar Balatkar speech on Teacher’s day and the ragging with the pants down jahahpanah act becoming the major highlights which doesn’t halt the action and keeps us gulled to the world of this 3 best buddies 10 yrs before, Hirani narrates us in solid command and flow in travelling between current and flashbacks without breaking the link.
The friendship between the 3 makes some sensitive points like the class divide telling it in a light hearted manner like the melodramatic introduction of Sharman’s family in black and white which is just brilliant.
Raju(Sharman) is an average middle class who has to pass and get a job while Maddy is belongs to upper middle who has to pass the examination to satisfy his parents.
Hirani smartly etches such characters and narrates the story with some very fine moments that will go well with the younger lot demanding second viewing for sure.
The movie then looks into more border perspective from here and starts talking about the true definition of excellence and following your heart without worrying about success as it will come again and again on your path of excellence.
Hirani pulls the message keeping the interest alive by writing some excellent lines.
Like Sharman reacting after coming for an interview on a wheel chair and getting rejected for being honest and straightforward, “Aap naukri rakh lo mein attitude rakhta hoon’ or my best “ Yeh India hai, yahan Pizza 30 minutes mein milne ki gurantee hai magar ambulance nahin.”
You expect something different from an Aamir Khan starrer helmed by Rajkumar Hirani who has given Bollywood a new coming of age face with his Munnabhai series.
Here too, Rajkumar keeps his promise and gives you some really uplifting moments, for example the Sharman’s interview on a wheel chair, Aamir’s proposal to Kareena, the drinking sessions at the campus, the melodramatic climax, the chemistry between the three friends, Maddy’s disclosure to his parents that he wanna be something else and then the thanks giving to Aamir, all weaved together with the free spirit of Rancho who has a secret but who nevertheless humours and pushes the boys into becoming better people.
The story swings between Rancho's romance with the spirited Pia (Kareena Kapoor – excellent) and his clash with and oppressive mentor, Viru Sahastrabudhhe (Boman Irani – outstanding).
The scenes between Aamir and Kareena are typical but well treated. The songs appear good while watching the flick. With other technical aspects turning out to be great performers the movie scores 4 out of 5.
Obviously, things like the magical ‘Jaddu ki Jhappi’ can only be created once in your life
Nevertheless the hangover of ‘Munnabhai’ is still there. Boman head of an institute and his daughter romancing a brat from the same institute and you don’t teach me attitude of Boman and the brat teaching important lessons to the teacher on his departure from college are quite similar to Munnabhai MBBS.
But all said and done, ‘3 Idiots’ is one of those cinematic joys that deliver most of its pleasure through a combination of rich character development and fantastic performances that comes with a message.
Recommended: Yes Certainly. ‘3 Idiots’ is a movie that every student should see with his parents before packing bags for any college.
ROCKET SINGH REVIEW
YRF last shot at the B.O. 2009 is uplifting and well performed by the ‘Chak De’ jodi of helmer, Shimit Amin and writer Jaideep Sahni.
Undoubtedly the odd flick out from the YRF stamp this inspiring film about today’s competitive times is enthralling story that should win over ‘thinking’ audiences.
Anyhow the absence of elements to please the fun loving audience who hate to think while watching a film will find it dry.
Surprising as the promo, teasers gives the feel of a comedy and shockingly the promo song is not there in the film.
Cinematically ‘Rocket Singh’ is a commendable work that delights, inspire, educate and enlighten.
Seriously, Bollywood’s current flavour of the season Ranbir does a studied and a serious role of a Sardar of values. Hmmmmmmm that’s innovative because Bollywood and people in general have never taken them that seriously.
Gals will be disappointed. Because the heartthrob is more about values and he hardly has time to romance.
The movie unfolds with Ranbir (confident & spontaneous) surfs the net for his graduation result; he is just an average student who anyhow manages to pass.
Shares his dream to be a salesman at a party, a job that others don’t take seriously and those who do are not taken seriously.
The movie then starts with series of chapters (finely written by Jaideep with dashes of reality) in Ranbir when he lands up as a trainee in an IT office and receives the welcome any sales guy would have experienced while working for a direct sales co.
Our Sardar is a man of principles so one day he lands up in trouble and the whole office makes fun of him. His one-way ticket to register his name in sales paradise gets snatched by his boss.
Then the rejected sales guy proves himself by correctly guessing the problems of the unsatisfied customers of his company and forms a company ‘Rocket Sales Corporation’ with partners from the same office which include Gauhar Khan in a new avatar. They use the office premise, number and operate from there.
The sequences are weaved with rich tapestry of human values that engages you to watch this absorbing drama.
Later the Boss comes to know about this and then the movie takes on a conflict between values and definition of success. Good for those who want to be reminded of their beliefs and values but for the normal cinegoer all this gives a boring dry feel.
Jaideep is successful in capturing the mind of the thinking auds but fails to win the heart in general the way he did in ‘Chak De’.
With nothing much of a comic relief. In this serious setting this tale of triumph over existing system and values fails to come at par with set commercial expectations.
Nevertheless, ‘Rocket Singh’ comes with a sweet, simple message in this no brainer era of Bollywood where the member of the buffoonery quotient of the world is shown as the man of principles & values.
Its this vibrant, modern allegory that attests to film's power to meld storytelling to its concern auds.
‘Rocket Singh – Sales Man of the Year’ might not be in the B.O. success list of the year but certainly it’s an inspiring chapter in the book of Bollywood and in the books of those who are associated with the film.
The movie gets 3 out of 5
One for the performance
One for the attempt to think away from set norms
One for delivering the message
Recommended: For the thinking audience who want to experience something different.
RADIO REVIEW
Oops! If ‘Monty’ was back with vengeance in ‘Karzz’, this time RJ Vivan is up with a curse. Sorry to say! ‘Radio’ makes you pesky with its swarming with unsubstantial elements. Incisively, the film has an interesting storyline, but the flimsy ideation of dividing the film into 15 chapters with ludicrous titles – ‘Paranjabi Lassi’, ‘Mutter mein keeda’ and so on puts it down badly.
In simple terms, ‘Radio’ establishes Himesh’s prominences over songs (nearly a dozen) and doesn’t strike spectacularly in narrative aspects. But on whole, the film offers a galling experience and never intends to impress audiences.
Vivan (Himesh Reshammiya) is a successful RJ on a popular radio channel in the city of Mumbai... He has acquired everything in life but his marriage is unsuccessful. Naturally he takes divorce from his wife Pooja (Sonal Sehgal), the reason cited are lack of compatibility between the two. In their hearts Vivan and Pooja don't want the divorce but the fast pace of life and busy schedules interfere with their emotional balance. Instead of suffering more, they choose to go their separate ways.
Enters Shanaya, who is like a ray of sunshine in Vivan's insipid life. But initially he doesn't realise that Shanaya (Shenaz Treasuryvala) brings a smile to his face. He blatantly discusses Shanaya with Pooja, but being a woman, she can see his love for Shanaya. She becomes the catalyst to bring this realisation that his true love is Shanaya. Why has he closed his eyes? His attitude and response towards Shanaya go through a sea of change. Vivan reciprocates and tries to get close to her family too. Although he still has a soft spot for Pooja and cares for her but he realises that he wants to spend his life with Shanaya.
Who will be eventually reigning on his heart? Will he take the step to make his vows with Shanaya?
On performance level, it’s really pathetic to witness none of the actors coming up with better show. Blame it on filmmaker Isshan: it looks like the auteur roped in actors by picking lots. Most of them are so amateurish and Himesh Reshammiya isn’t an elision. He’s so emotionless at the situations, where he’s supposed to be. Sorry to say, his close-up shots are sure to make you exasperated.
On pars, the female leads overshadow Himesh… Sonal Sehgal looks fantastic, but all the time is spotted lamenting. Her dialogue deliveries are again a big disappointment. Shenaz may look cute in initial phases. But when she persistently keeps smiling, there’s no doubt about getting chafed.
Some of the characterizations are seemingly creative, but the Isshan doesn’t establish intensities over it. Say for instance, ‘Boss’ played by Rajesh Khattar on wheel chair is quite commendable. Paresh Rawal’s role is so subtle.
The biggest plus is musical score by Himesh Reshammiya. Exactly, every song sounds to be fantastic and that keeps you intact over the times. Especially, ‘Teri Meri Dosti’ outstands with an appealing visualization.
But, you can’t afford to watch it patently for the songs. Well, producers can better launch the home videos shortly or at least video songs that would fetch them some profitable business.
Himesh Reshammiya has two options – Choose a better script and perform well. Or else drop ideas his onscreen ideas.
Verdict: Dashes down your expectations
Rating: **
PAA REVIEW
Sometimes, films like ‘Paa’ does make Bollywood stand upright with honour. Hats off to filmmaker Balakrishnan!! Amitabh owes a lot to this auteur for delineating his persona with new-fangled dimensions. An ad filmmaker would usually overflow with creative quotients and Balki seems to posses them in excess. The filmmaker surpasses his ‘Paa’ setting asunder with other Hindi films based on various disorders and emotional relationships.
You could run high-on with own presumptions about ‘Paa’. Will this carry certain traces of Aamir’s ‘TZP’? Sorry, you can’t merely categorize a flick patently with ‘abnormalcies factors’, since ‘Paa’ has more unparalleled attributes.
On the button, with accordance to film’s theme, you may perceive ‘Paa’ would drench you in lamentations extremum. There are few parts, where emotions must stand out with dominance and Balki makes sure the audiences will feel witty with his humoristic approach. Amitabh Bachchan leaves your speechless with his every act. Be his drollness over addressing his grandma or the wavelength he shares with ‘Paa’.
In simple terms, ‘Paa’ is filled with rudimentary elements of perfect entertainment…
There’s nothing much to mention about synopsis as it doesn’t involve more plot-points. It’s a simple drama, which encroaches straight into your hearts…
Auro (Amitabh Bachchan) is an intelligent, witty 13-yr old boy with an extremely rare genetic defect that causes accelerated ageing.
He suffers from a progeria like syndrome. Mentally he is 13, very normal, but physically he looks 5 times older. In spite of his condition, Auro is a very happy boy. He lives with his mother Vidya (Vidya Balan), who is a gynecologist.
Amol Arte (Abhishek Bachchan), is young, progressive and a full of ideals, politician. He is out to prove to the world that 'politics' is not a bad word. He is a man with a mission. Auro is Amol's son.
As mentioned previously, Balki is best to be acclaimed as ‘Man of Honour’ for his outstanding creativity of conceptualizing a stylistically innovatory idea. Well, it doesn’t end there. His nitty-gritty screenplay implies his proficiencies that keep audiences intact over the show. Naturally, one might precisely expect a threadbare narration, but Balki starts off the film right away with encounter of two protagonists. Within few minutes, you’re introduced into the world of ‘Auro’ with some moments that let’s you adhere strongly with the film.
Much alike his previous film ‘Cheeni Kum’, Balki establishes prominence for children’s role. Be the little girl fond of ‘Auro’ or the smart lad ‘Vishnu’, (played by Pratik), they make you laugh and laud.
Needless to say that Amitabh Bachchan once again proves of his adeptness. The legend far-famed for his fantabulous performances, outperforms his very own previous acts as ‘Auro’… After a long time, we happen to watch Vidya Balan performing a commendable show. As a loving mother, she emotes with her virtuosities on all situations. Abhishek Bachchan top-notches on many parts, particularly over his arenas as a politician is praiseworthy. Paresh Rawal doesn’t get more scope while Arundhathi Naag is over-the-top.
On the technical vistas, the film scores brownie points. Musical score by Ilayaraja is astounding and adds more enhancements to the eye-catching visuals of P.C. Sriram.
So, ‘Paa’ proves to be an excellent film and you’ll surely enjoy watching it.
Verdict: Highly recommended
Rating: *** ½
KURBAAN MOVIE REVIEW
Can you call it a pudden-head idea of Karan Johar? Maybe! The film doesn’t boast off anything exceptional in terms of narrative aspects. For better results, filmmakers can just give a break on making films based on Islam and fundamentalisms. It’s really sickening to watch it over the screens with a disconsolate backdrop and an inevitable tragedy.
So, what’s ‘Kurbaan’ all about? A strong replication of Manirathnam’s ‘Dil Se’ with a blend of Kabir Khan’s ‘New York’ and ‘Shoot on Sight’??? There’s no doubt for it. How could Karan just gear down with a neither flimsy script, which spells out emotions nor at least shoot-up our adrenaline rush.
Kurbaan lacks everything in terms of script, screenplay and dialogues. In simple terms, one cannot afford to watch this flick merely for the backless shot of Kareena and her lovemaking scenes with Saif.
Avantika (Kareena Kapoor) is a teacher in a university in Delhi. She has come back from New York where she teaches, because her father has suffered a heart attack. During this period, she meets a temporary Professor called Ehsaan Khan (Saif Ali Khan). Soon they begin seeing each other and love blossoms. A few months later, Avantika receives a call from her university in New York, asking her to come back for the Fall Semester. Avantika breaks the news to Ehsaan. He in turn, tells her he doesn't mind coming to the States with her, to find a job. But first they need to get married.
Soon after the marriage, they leave to start a new life in New York. They buy a house in an Indian neighborhood and move in. Just as they are setting up home, their conservative Muslim neighbors, Hamid and Anjum, invite them over for dinner. The next morning, Salma, one of the women Avantika met the night before at the dinner, visits her under the pretext of gifting her sweets. When Avantika invites her in, Salma tells her that she is in grave danger.
What unfolds next is a series of unexpected twists and turns where Avantika is left despaired and has no one for rescue except a journalist (Vivek Oberoi). Well, for the journalist it’s not about saving Avantika, but something more.
Rensil has ardently pulled over the exact traits of a Manirathnam film – darkish backdrops and low-volume dialogues. The complete film shot in dark tones just doesn’t work any wonders for the film. At least Rensil could’ve delivered variation over the first 35mins of romantic sequences.
Lots and lots of loopholes in Karan’s script… How come a single man bump off security forces during midnight and just elopes back to his home? And the next thing to pick apart is the weird characterization of Vivek Oberoi. Though the actor sweeps on with a fantastic performance, Rensil has made his intentions so unjustifiable. He has a clear-cut picture about his girlfriend’s death as Kareena reveals the secret lying beneath it. Vivek isn’t really a brave guy and is it necessary to take on a one-man mission. Naturally, he should’ve followed the ‘cloak-and-dagger’ method with the aid of FBI.
Saif Ali Khan and Kareena Kapoor have done their best job over their performance. Om Puri marks an awe-inspiring show while Kiron Kher is marvelous (though you feel irritated as she persistently keeps blabbering about the death statistics of Musalmans being massacred). But its Vivek Oberoi scoring 5/5 delivering intense emotions over every sequence. Especially, watch his remarkable adeptness in penultimate sequences.
Of course, Karan Johar deserves a special pat for engrossing everyone with next-to-last 25 mins of the sequence as everyone is sure to get over to edge-of-their seats. Oops! But again, there’s a spoiler with the background score. Had the duo Salim-Sulaiman just closed their eyes during the rerecording sessions? None of the sequences has a synchronous score. It’s a sequence of matter of death and life in climax and you’ll hear a romantic guitar music played. Cinematography is top-notching with eye-catching visuals and editing could’ve been yet sleeker.
On whole, ‘Kurbaan’ doesn’t deserve a watch as it’s brimmed with lots of ambiguities and absurdities. If you’ve still decided to watch, just enter the theatres, 30mins prior to climax.
Verdict: Fails to hold your attention
Rating: **
DE-DANA-DAN MOVIE REVIEW
Priyadarshan can barely spell flicks patently based on couple of things – either a raw offbeat drama or silliest comedies. Exactly, the auteur goes shilly-shallied over ‘De Dana Dan’ and there’s nothing special you can look out for.
Indeed, it’s really appalling to witness the biggies – Akki, Sunil, Katrina, Paresh delineated with flimsy roles. Being candid to oneself is all about avoiding this film and opt for something else.
And of course, if you’re genuinely planning to kill your time by watching this flick, we’re sorry – the film doesn’t meddle around on with such aspects. How long Priyan will engage himself churning out such irksome flicks? Perhaps, you’ll walk out of theatres with such questions arisen.
Well for Akshay Kumar, the actor really has a bad year with all his film failing to be brimmed with Midas-touch. And indeed, his mantra of pair-up with Katrina Kaif doesn’t work out this time.
Nitin Bankar (Akshay Kumar) is a personal butler, cook, driver, watchman, gardener to a wealthy female industrialist (Archana Puran Singh) in Singapore. Like any young man, Nitin too, dreams of a better life, but misfortune is his constant companion and his reality is his job under Archana. He desperately wants to become rich and marry the love of his life, Anjali Kakkad (Katrina Kaif), who supports him financially.
Ram Mishra (Suneil Shetty), Nitin's best friend also came to Singapore with the dream of striking it rich, but ended up a courier delivery man. He falls for Manpreet Oberoi (Sameera Reddy), but her high society parents will never approve of marriage, not unless Ram has lots and lots of money.
In the midst of all this, is Harbans Chadda (Paresh Rawal), a shrewd businessman, is looking for ways to multiply his income and avoid his debtors. He decides the best way would be to marry his son off to a girl whose parents can give him a large dowry. He is introduced to Manpreet's parents at a Diwali function and is impressed by their social status. He introduces himself as a well-established businessman, impresses them and they decide to get Manpreet and Harbans' son (Chunky Pandey) married.
What unfolds next is series of comedic bizarre regrettably spoiled with establishment of more characters.
Unfortunately, none of the actors get a proper footage and much specifically in the latter part, every actors are found disembodied to their roles. Akshay Kumar gears on with his prototyped performance much like Hera Pheri series and fails terribly to impress us. Sparring not more than 3 sequences, the actor has nothing to showcase. Ditto to Sunil Shetty: the actor stumbles down half the way in latter part with lots of actors being introduced in second half. Its over-the-top performance by Paresh Rawal and he strives to work back the magic with Akki-Sunil combo. Katrina Kaif and Sameera Reddy have no prominence and maybe their glam-factors engrains to certain extent.
The silly dialogues, mediocre slapstick comedy tracks and ludicrous aspects will send you annoyed. Technically, the film lacks finesses. None of the songs except Paisa are worthy heeding to… Cinematography is okay.
On the whole, ‘De Dana Dan’ isn’t actually a comedy entertainer. Rather, it can be entitled as a below average slapstick show that has nothing substantial over script, screenplay or dialogues.
Verdict: Falls short of expectations
Rating: **
Vishesh Films-Emraan Hashmi-Kunal Deshmukh: On the face of this trio combo, it was all evoking our expectations with ‘Tum Mile’. But unluckily, the film disappoints us badly on every quotient. Well, with a soggy script and jerry-built screenplay, the film throws you into lots of discombobulations on what’s really happening over there.
Perhaps, setting a flimsy script in backdrops of Mumbai’s rampaged flood of July 26, 2005 might sound to be a good idea. But setting everything about a flood merely within a studio is a zany conceptualization. Fine! If at all you were yearning to watch the regular ‘Emraan Hashmi’ factors about persistent liplocks-love making scenes with his ladylove irrespective of any problems, some heedful tunes of Pritham… You can go ahead and take a glimpse over it.
‘A touching tale of love’ and ‘natural calamity’ – If these were the mere motifs of Kunal, he should’ve got it done with finesses, but rather he frizzles down with lots-n-lots of fatuities. First of all, the mere disbelief about – ‘Deliver anything and audiences will appreciate it’ must be fervently dropped down if Kunal wants to win the applause. In simple terms, ‘Tum Mile’ lacks substantiality from alpha-till-omega and there isn’t anything convincing except few stock shots of flood-drenched Mumbai…
26th July 2005 rang an ominous bell-for most... but amidst all the chaos and the tragedy, it reunites two star crossed ex-lovers Sanjana (Soha Ali Khan) and Akshay (Emraan Hashmi). The two people, who meet after a hiatus of 6 years-now occupying different worlds and evidently, they had moved on...
What starts off as a seemingly innocuous encounter on the same flight back to Mumbai-ends up as a rollercoaster ride through some of the darkest hours of Mumbai-as they see the city get swamped with disaster and loss...and are forced to stick together in this time of crisis.
The story shifts perspective between the past and the present - a glorious but crazy past of 2 starkly different people falling in love - the differences at first being exciting. Gradually with time, they journey through the emotional pitfalls attached, the constant bickering, the frantic and urgent making up, and irreconcilable differences - that give way to a final break up. And then we see those very people struggling their way through a stormy night in Mumbai that threatens to take over the city, their fears and insecurities lying bare as their guard drops.
Kunal Deshmukh should’ve watched a list of top-charting ‘natural disaster’ movies (though the inspiration is drawn out from his real life experience of Mumbai- 26 July, 2005). Of course, it’s almost like beating the same bush where, we ought to watch the tribulations of victims wedged in waters. Amidst of it, the unscrupulous screenplay of fast-cuts between present and flashbacks is a real constraint that stops us out from appreciating Kunal.
Emraan attempts to behold his delineation, but he’s over the same patterned role of a serial kisser. Nothing unique about it… Soha Ali Khan scores brownie points with her performance, but her characterization falls tenuous on more parts. Blame KD for it - for his inconsistent portrayal on her. Indeed, most of her dialogues are so ludicrous with blatant flaws.
On technical aspects, cinematography has been done patently on blue filters (flood sequence) with extreme grading. That turns to be more artificial and it could’ve been better if the filmmaker had let his focus on placing innovative takes with lens. Ditto to visual effects, as it fails to engross us. If there’s one thing to sing praises about, that’s naturally the awe-inspiring melodic tunes by Pritham.
Well on marking verdict, ‘Tum Mile’ doesn’t deserve a watch for it’s not-so interesting theme and threadbare narration.
Verdict: Not worth watching
Rating: **
