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: **
