Bollywood Movie Review: Jaane Kahan Se Aayi Hai'

A light-hearted entertainer targeted at the youth.

Love stories seem to be the favourite genre of dream merchants here. I've a hunch, if we ever do a count of romantic films made in Bollywood, it would easily score over other genres. But the question is, how innovative can a love story get in today's times? Milap Zaveri provides the answer: Man from Earth, woman from Venus.

Having penned some likable comic capers in the past, Milap's directorial debut 'Jaane Kahan Se Aayi Hai' has liberal doses of light moments dominating the first half of the film and heartache and reunion following soon after, in its post-interval portions.

'Jaane Kahan Se Aayi Hai' works for its light moments mainly. It's bizarre to think of a love story between a human and an alien, but Milap garnishes it well with assorted characters, sets the story in the film industry and has several laugh-inducing moments. Resultantly, the first half is paisa vasool in filmi lingo.

But the problem arises when the focus shifts to the prem kahani in its second half. For, the story follows the trodden path [it becomes a love triangle] and embarks on the same old route that all love stories usually embark upon. If Milap had the courage to think out of the box, he should've ensured that the film remained true to its essence. Why didn't he think of an equally wacky second hour?

Notwithstanding its predictable second half, 'Jaane Kahan Se Aayi Hai' is a decent watch that provides ample laughs.

'Jaane Kahan Se Aayi Hai' is the story of Rajesh [Riteish Deshmukh], a simple Gujarati boy who's been looking for love since he was a baby. Thoroughly unsuccessful in his endeavours, he nearly gives up till he meets Natasha [Sonal Sehgal].

Desh [Ruslaan Mumtaz] is the youngest superstar in the country. Mothers want to adopt him and their daughters want to marry him. But when will he find the girl of his dreams? Their worlds turn upside down when Tara [Jacqueline Fernandez], an alien from Venus, lands on Earth in the search of true love.

Milap tickles your funny bone at the very outset. The story of a loser, his search for true love, his 'naughty' father, his 'oversexed' friend and his experiences at his work place [on a film set] bring a constant smile on your face. In fact, one of the key factors why the first half works is because the casting is just right and the actors carry off the assigned roles so well.

But the second half fumbles because the story gets very old-fashioned. If the alien could travel all the way to earth to find love, why couldn't she profess love to the man she loves the most? Why develop human emotions all of a sudden?


This is Milap's directorial debut and he clearly shows a flair for comic entertainers. Sajid-Wajid's music is pleasant, with the title track standing out. Attar Singh Saini's cinematography is perfect.

Riteish enacts his part efficiently. That he's at home in comedy is well-known by now, but the actor is equally at ease in emotional moments and also romantic sequences. Jacqueline is easy on the eyes. In fact, she seems more comfortable this time. Vishal Malhotra is superb and contributes enormously in making the proceedings lively. Ruslaan carries the teen heart-throb look very well. Sonal Sehgal is competent.

Farah Khan is a complete natural. Satish Shah is excellent. Supriya Pilgaonkar does well too. Akshay Kumar, Priyanka Chopra, Sajid Khan and Amrita Rao make special appearances in the film.

On the whole, 'Jaane Kahan Se Aayi Hai' is a light-hearted entertainer targeted at the youth. It has a thoroughly entertaining first half, but a routine second half. A decent watch!

Source: Bollywood Hungama

Bollywood Movie Review: Prince

Strike a chord with the youth and lovers of masala movies.

Hollywood has come up with so many movies on memory loss, while Bollywood too has had its share of films which depicted the protagonist losing his memory, 'Ghajini' being the most recent example. But what if someone robs your memory? Quite an interesting thought, isn't it?

One of the advantages of having a GenNext director is, he's ready to take risks, ready to tread the untrodden path, ready to go where no one has been before. But there's a disadvantage too: Visuals and technique take precedence, while story takes a backseat. 'Prince' has a terrific first half, where technique and content go hand in hand, but technique overpowers the content in its post-interval portions.

What surprises you is that 'Prince' is penned by the writer of 'Race' [Shiraz Ahmed] and like 'Race', 'Prince' too has several twists and turns every 15 odd minutes. But the twists and turns are a mixed bag here - captivating at times, not captivating at some places. More on that later!

On the brighter side, 'Prince' has great stunts and chase sequences [Allan Amin], fantastic visuals [South Africa] and of course, a chartbuster musical score [Sachin Gupta]. And these three factors, coupled with Vivek Oberoi's convincing performance, should take the film to safety!

One of the savviest thieves in the world [Vivek Oberoi] commits the biggest heist of his life. He wakes up next the morning to realize he has a gunshot wound on his arm that he doesn't remember getting. In his quest to find answers, he discovers his name is Prince, he used to work for a man named Sarang and his girlfriend's name is Maya.

He is being hunted by the secret service of India, the CBI and the biggest white collared criminals in the world. He is the most wanted man in the country because only he knows the whereabouts of the heist, which contains a secret that is linked not only to his loss of memory, but threatens the future of the human race.

Every day he meets a new girl claiming to be Maya. He doesn't remember where he has hidden the Heist. He has just dive days of his life. Time is running out...

Although 'Prince' stands on a novel premise, flashes of the Dev Anand starrer 'Jewel Thief' do cross your mind. 'Prince' starts off with a heist and soon after, Vivek realises that his memory has been 'erased'. The mystery only deepens when he meets three different women, all posing as Maya and all having a new story to tell. So far, so good!

He is being hunted by the secret service of India, the CBI and the biggest white collared criminals in the world. He is the most wanted man in the country because only he knows the whereabouts of the heist, which contains a secret that is linked not only to his loss of memory, but threatens the future of the human race.

Every day he meets a new girl claiming to be Maya. He doesn't remember where he has hidden the Heist. He has just dive days of his life. Time is running out...

Director Kookie Gulati has an eye for visuals and that's evident from the very start of the film itself. The film looks magnificent and wears an international look as well. Shiraz Ahmed's screenplay is watertight in the first hour, but leaves a lot to be desired in the latter portions. Dialogues [Mayur Puri] are well worded. Cinematography [Vishnu Rao] is top notch and the eye-filling locations are a visual treat. Allan Amin's stunts and chases are mesmeric. Sachin Gupta's musical score is trendy and catchy.

Vivek is super in a rather difficult role. He is excellent in dramatic portions especially and carries off the stunts with remarkable ease. Nandana is effective. Neeru doesn't get much scope. Aruna is the best of the lot. Sanjay Kapoor enacts his part well. Dalip Tahil is alright. Isaiah has screen presence and looks ferocious on screen. Rajesh Khattar is hardly there.

On the whole, 'Prince' has great music, super stunts, Vivek Oberoi's bravura performance and terrific promotion as its trump card, but where it falters is in its writing [in its second half mianly]. Yet, all said and done, the film has the merits to strike a chord with the youth and lovers of masala movies.

Source: Bollywood Hungama

Bollywood Movie Review: The Japanese Wife.

A film for connoisseurs of art house cinema mainly!

An Aparna Sen film is always special. Like her previous endeavours, 'The Japanese Wife' [a film in Bengali with English sub-titles] also looks at relationships. Only thing, this time it's about two strangers, who start off as pen friends, exchange letters, get drawn towards each other, even get married through letters, but never meet each other. Despite staying apart and not meeting even once, the couple share an honest and chaste relationship, confiding the smallest of incident to one another, thru letters and phone calls.

This unique story [penned by Kunal Basu] is translated beautifully on celluloid thanks to Aparna Sen's deft handling of the material. Of course, a story like this unwinds at a leisurely pace, but there's no denying that the proceedings keep you engrossed for most parts, mainly towards the penultimate moments.
Aparna Sen also gets it right because her choice of actors is perfect. And the characters they portray are real as well as unreal. Real, because there do exist people who look beyond physical relationships and who eventually become soul mates. It's unreal at the same time because, in today's times, when love, sex and dhokha have become a norm, characters like Snehamoy and Miyage appear straight out of dreams. Do they belong to this era, really?

You may watch 'The Japanese Wife' for varied reasons. But I recommend that you watch it with someone you love.

Snehamoy [Rahul Bose] and Miyage [Chigusa Takaku] are pen friends, who exchange wedding vows through letters. Yet, even after fifteen years of marriage, the two have not met. It is always a question of not having enough money or Miyage's sick mother or Snehamoy's mashi's [Moushumi Chatterjee] health. But their physical absence in each other's lives never comes in the way of their sense of belonging as a couple.

A young widow, Sandhya [Raima Sen], comes to stay with Snehmoy along with her eight-year-old son Paltu. Sandhya is Snehamoy's mashi's god-daughter. With Sandhya, Snehamoy discovers a bond of domesticity as they gradually start sharing household chores. With Paltu, Snehamoy discovers the joys of fatherhood.

When Miyage falls sick and has to leave her home to live with her brother, Snehamoy is frantic with worry. As days pass by and Miyage's health worsens, it becomes clear that Snehamoy will need to visit an oncologist in Kolkata to get a proper assessment of his wife's condition. A storm strikes as he makes his way to the city and he returns disheartened and severely drenched.

Far from his wife and desperately worried over her health, Snehamoy's life hangs by the thread as he is tended by Sandhya, just as any beloved husband would be by a loving wife.

A compelling story comes alive if the writing has meat and the actors are on the same page as the director. Aparna successfully creates a world that's so simple and relatable. In fact, that's one of the highpoints of the film. The purity and simplicity is what wins you over.

On the flip side, the bond between Rahul and Paltu comes across well, but the relationship between Rahul and Raima isn't too convincing. The writing isn't coherent during these portions. Also, the sub-titles get merged with the colours on screen and aren't decipherable at most times.

Talking of performances, Rahul Bose delivers a stellar performance. He portrays his character with panache. Chigusa Takaku is equally convincing, enacting her part with restraint. Raima doesn't get too many lines to deliver, but conveys a lot through her eyes. Moushumi Chatterjee is a revelation. She's exceptional.

On the whole, 'The Japanese Wife' is an emotional journey that keeps you hooked for its sheer novel story. A film for connoisseurs of art house cinema mainly!

Source: Bollywood Hungama

Bollywood Movie Review: 'Tum Milo To Sahi'

Love knows no language. Love knows no barriers. Love knows no age.

It's this thought that director Kabir Sadanand tries to encapsulate in his second directorial venture 'Tum Milo To Sahi'.

'Tum Milo To Sahi 'may not be the most amazing take on relationships, but it has several moments that make you experience myriad emotions in those two hours. Especially the portions involving Nana Patekar and Dimple Kapadia. Having said that, it must be pointed out that the Rehan-Anjana portions are just not captivating. They lack the power to keep you hooked. Yet, the outcome is much better than what's being churned out in the name of cinema and entertainment these days.

Final word? Watch it, especially for veterans like Nana and Dimple, whose stellar act proves that old is gold, indeed!

Set in modern-day Mumbai, with all the demands and pressures of city life, the film weaves together the lives of three couples who connect with each other.

It is about the meeting of souls [Nana Patekar and Dimple Kapadia], the meeting of minds [Suniel Shetty and Vidya Malavade] and the meeting of hearts [Rehan Khan and Anjana Sukhani], underlining that love is the driving force in people's lives, irrespective of age.

'Tum Milo To Sahi' has three different stories running concurrently, but get merged into one after intermission. The Nana-Dimple chapter is the pick of the lot, in terms of writing and execution, followed by Suniel-Vidya track and Rehan-Anjana story.

Nana's eccentric persona is a delight. Watch him in scenes in the super-market or when he encounters a eunuch on the street. His interaction with Dimple's grandson is fantastic too. Suniel and Vidya's story has been treated sensitively, but a few moments are plain ordinary, especially their initial portions. Rehan and Anjana's sub-plot is the weakest link in the enterprise, although the actors make up with earnest performances.

This is director Kabir Sadanand's second venture and I see a distinct evolution in him as a storyteller. Kabir has handled several sequences with flourish. Sameer Siddiqi and Rajen Makhijani's screenplay, as mentioned earlier, has its share of engaging and non-engaging moments. The climax, of course, is the highpoint of the film. However, the film is very Mumbai-centric, which would restrict its appeal at other places.

Sandesh Shandilya's musical score is decent, with the title track being the pick of the lot. Pushan Kripalani's cinematography is eye-catching.

It's a treat to watch Nana and Dimple on screen after a hiatus. Both deliver sterling performances. Nana is in terrific form, while Dimple is grace personified. Watch out for Dimple's courtroom sequence and you'd realize yet again that there's so much to be tapped. One is sure, after you exit from the auditorium, you'd carry Nana and Dimple in your heart.
Suniel too strikes a chord and plays his part with amazing maturity. Vidya Malavade is super, a dependable actor. Rehan springs a pleasant surprise. It's an honest performance. Anjana is a complete natural too, displaying the varied emotions with ease. Amongst the host of supporting actors, Mohnish Bahl and Amit Behl stand out. Raghav Sachar has a brief role; he looks photogenic. The child actor playing Dimple's grandson is very good.

On the whole, 'Tum Milo To Sahi' has decent merits that should find flavour with the multiplex junta of Mumbai mainly, thanks to its Mumbai-centric theme. Watch it for the wonderful performances by Nana and Dimple!

Source: Bollywood Hungama

Bollywood Movie Review: Sadiyaan

‘Sadiyaan’ is an emotional drama narrated in old-fashioned style.

We rarely make desi movies these days. Palatial mansions, swanky cars, designer outfits, the latest handsets and gizmos have replaced large kothis, traditional outfits, ghoda-gaadis and makke di roti aur sarson ka saag. True to its name, 'Sadiyaan' takes you to a different era, when the warmth of relations mattered the most, when blood was thicker than water, when promises were meant to be honoured.

'Sadiyaan' is set in the 1970s, but travels to the partition days. Raj Kanwar tackles a unique theme this time - of two mothers. The first is the biological mother, who gets separated from her child during the partition. The second raises the child like her own, when she crosses to India after partition. The basic premise is wonderful and you can draw parallels with Hindu mythology.

'Sadiyaan' is divided into two parts. The first part focuses on the love story, which falls on the predictable, mundane stuff, with the Hindu-Muslim angle thrown in. But Raj Kanwar reserves the best for the second part, when the two women meet and the story takes rapid turns. But, let's face it, 'Sadiyaan' is not everyone's idea of entertainment, since the 'multiplex junta' doesn't patronize desi cinema anymore, unlike the single screen audience that adores this kind of cinema.

So what's the final verdict? Watch it if you like desi melodrama of yore, which comes alive with 'Sadiyaan'.

'Sadiyaan' is a period drama based on an incident which happened during the partition. It's the story of two mothers, a Hindu played by Rekha and a Muslim mother played by Hema Malini.

In the chaos and confusion during partition in 1947, Benazir [Hema Malini] leaves behind her child in the mansion she lived in, before moving to Lahore. The child is rescued by Amrit [Rekha] and Rajveer [Rishi Kapoor], who try hard to locate the parents of the child, but in vain. They decide to raise the child themselves.

Ishaan [Luv Sinha] falls in love with Chandni [Ferena Wazeir], who lives in the same city [Amritsar]. However, Chandni's parents oppose the match, since Ishaan is a Hindu. Amrit and Rajveer decide to reveal the truth to Ishaan and also to Chandni's parents.
Two commonalities in Raj Kanwar movies; One, he has always stressed on drama in his movies and 'Sadiyaan' is no exception. Two, the maker has often worked with newcomers and now, it's Shatrughan Sinha's son Luv Sinha in 'Sadiyaan'.

'Sadiyaan' has two stories running concurrently - the love story [Luv, Ferena] and the story of two mothers [Rekha, Hema Malini]. While the love story is hardly exciting since it relies on the tried-and-tested stuff, the Indo-Pak angle in the mothers' story makes this part extremely watchable.

The best moments are reserved for the second hour, with the penultimate moments proving the mainstay of the enterprise. However, as mentioned earlier, desi themes aren't too popular these days, except in the hinterland. Hence, a film like 'Sadiyaan' has its limitations to cut across to a universal audience. Another drawback is that a love story should be embellished with lilting music and unfortunately, Adnan Sami's music is a letdown.

Directorially, Raj Kanwar handles the dramatic moments with flourish, but the writing, especially the love story, is archaic. Also, what was the need to force comedy in the narrative? Cinematography is alright, but the locations are eye-filling.

Rishi Kapoor, Rekha and Hema Malini are the lifeline of the film. Rishi is top notch. Rekha is amazing, while Hema is perfect. In fact, it's a treat to watch the two actresses share screen space after a really long gap. Luv Sinha needs to polish his acting skills. He's slightly awkward in the first part, but decent in the second half, when the goings-on get emotional. Ferena is a decent actor, but needs to work on her makeup and wardrobe.

Javed Sheikh is appropriate. Deep Dhillon is good. Vivek Shauq is getting typecast. Avtar Gill is perfect.

On the whole 'Sadiyaan' is an emotional drama narrated in old-fashioned style. If old world charm still excites you, there are chances you may like this one.

Source: Bollywood Hungama

Bollywood Movie Review: Pankh

‘Pankh’ has nothing to offer.

A lot of bizarre experiments are being made in the name of art house/experimental cinema. Precious raw stock, precious time and precious resources are being utilized to create movies which are so weird that only its creator would know what he's actually trying to say. 'Pankh' is one of those films, which, frankly, makes no sense.

Let's give the credit where it's due. The premise - of a young boy being cast in girl's roles in movies - is interesting, but the screenplay and direction [Sudipto Chattopadhyay] are so abstract that I was actually wondering, how could a reputed film-maker like Sanjay Gupta and celebrated actor Bipasha Basu green-light this project? Or, let me put it this way, what did they see in the script of this film?

Frankly, 'Pankh' made no sense to me and at the end of the screening, I only felt sorry for myself since I wasted two precious hours of my life on something that wasn't worth it.

Baby Kusum was a child star. But Kusum was actually a boy, working as a girl in movies. Born as Jerry. Christened Master Jai for the movies. Rechristened Baby Kusum to play a girl. Mary and Jerry, the mother and son, are caught in a turbulent relationship.

Nothing works in 'Pankh'. The protagonist is besotted by a stunning looking actress and even fantasizes about her, so why this hullabaloo about his sexual identity? And pray, what is Bipasha doing in so many avtaars? Did she walk on the set straight out of a fashion show?

Talking of performances, Maradona Rebello tries hard to look convincing. Bipasha suffers due to poor characterization. Mahesh Manjrekar hams to the hilt. Ronit Roy is lifeless. Lilette Dubey is hysterical. Daya Shanker Pandey is quite good. Amit Purohit needs to polish his acting skills. Sanjeeda Sheikh is convincing. Asha Sachdev gets the role right.

On the whole, 'Pankh' has nothing to offer!

Source: Bollywood Hungama

Bollywood Movie : Well Done Abba, Review

Corruption has made deep inroads in every sphere of life and Shyam Benegal focuses on it in his 'Well Done Abba'.

Like his previous film 'Welcome to Sajjanpur', 'Well Done Abba' is also set in rural India and has characters you either know or observed in the course of your journey.

Adapted from 'Narsaiyyan Ki Bavdi' by Jeelani Bano, 'Phulwa Ka Pul' by Sanjeev and 'Still Waters', a screenplay treatment by Jayant Kripalani, 'Well Done Abba' is a simple story about simple people and is told in the most simplistic manner, like all Benegal movies.

There's certain honesty about Benegal's movies and this one is no exception. It defies the stereotype and makes you smile without resorting to buffoonery. But there's a flip side too: Unwanted scenes, lethargic pace and the unending length for a waferthin storyline are three factors that go against it. In fact, it takes away from the film what was so beautifully created in its first hour. Bluntly put, the post-interval portions play a spoilsport.

When you weigh the pros and cons, 'Well Done Abba' is an average fare from a maker who has made much better films in the past.

Like most Benegal movies, 'Well Done Abba' has a story to tell with a message. Although the issue [corruption] isn't new and has been attempted in various movies before, the interesting characters and the way the story moves ahead make the effort watchable, in the first hour mainly.

But the writing goes haywire in its post-interval portions, when the 'missing' baudi becomes the topic of discussion, so much so that the government and the opposition party trade accusations and counter-accusations. These portions look farcical and are far from convincing.

Even otherwise, the story loses its sheen in this hour and the sluggish pace and unnecessary sequences only add to the woes. Just when you think that the film would conclude, a marriage song ensues, followed by a sequence in the police station. Not required, for sure!

The by-now-famous Benegal stamp is evident is several sequences. But the length and pace go against it. Shantanu Moitra's music is decent.

The casting is perfect and the performances, super. Boman Irani is the lifeline of 'Well Done Abba'. You can't imagine any other actor enacting the part. He is incredible, handling the two roles differently and of course, impeccably. Minissha takes you by complete surprise. She's fantastic in a role that you never thought she could carry off. This film should make people notice this talented actor.

Samir Dattani is another revelation. The role gives him ample opportunity to showcase his talent and he does it with great restraint, without going overboard. The film has a number of actors in key roles, but the ones who stand out are Ila Arun [fantastic], Ravi Kishan [excellent] and Rajendra Gupta [first-rate].

On the whole, 'Well Done Abba' has some wonderful moments, but they're few and far between. It holds appeal for a tiny sect of viewers, mainly Shyam Benegal fans.

Source: Bollywood Hungama

Latest Bollywood Action Movie Lahore Review

'Lahore' is about sports and politics and characters from both the spheres getting embroiled in a terrible fight to the finish.

Combining sports and politics is not an easy thing to do. But then it's not that difficult either, considering the two are inextricably intertwined specially in the Asian subcontinent. Debutant director Sanjay Puran Singh Chauhan dares to visit the forbidden territory.

The script accommodates a great deal of the sporting spirit as seen in the perspective of Indo-Pak politics. Within that ambitious framework, Chauhan weaves in the human relationships that make a leap for warmth and then stay stuck in semi-sterility. The film has too much to say on sports, politics and human nature. It isn't able to say all of it in a lucid language.

Chauhan has chosen a unique sport like kickboxing to spotlight the process of cultural assimilation that underscores all the perverse politicking that goes on at the surface level between the two countries.

The Indian and Pakistani coaches played by Farooque Shaikh and Sabyasachi Chakavarty are seen to be sportingly at loggerheads, but 'Lahore' takes the spirit of sportsmanship across the border with more seriousness of purpose.

In the boxing ring, the game gets deadly when the Indian kickboxing champion Sushant Singh is delivered a deadly blow by his Pakistani opponent. A churning point in the narrative is arrived at in restrained rhythms.

This is where Chauhan's narrative comes into its own. The dilemma of the deceased kickboxer's younger brother Veeru (newcomer Aanaahad) to preserve his sporting spirit in the midst of high-voltage mutually-destructive Indo-Pak politics is built into the plot with architectural astuteness.

Not all of the material outside the central conflict, where Veeru forsakes cricket to pursue his slain brother's dream in the kickboxing arena, works on the scripting level.

Does Veeru only want to use the boxing ring to avenge his brother's death?

Though the characters falter in quantitative excess, the opposition of sports and politics and politics in sports is put into a persuasive perspective. The rest of drama tends to get tedious mainly because there are too many characters swarming the Indo-Pak map.

Veeru's romantic attachment to the Pakistani girl (newcomer Shraddha Das) is skirted across in a few scenes where they exchange veiled pleasantries. Passion is seriously forfeited in the flurry of squeezing in a large canvas of characters.

It's in the kickboxing scenes that the film exudes blood, sweat and tears. Aanahaad and his opponent Mukesh Rishi reveal a skill in the ring that cannot leave the audience unaffected.

Aanahaad does well in the sports scenes, but needs to brush up his skills in the emotional moments.

Of the rest of the cast Nafisa Ali, Ashish Vidyarthi, the late Nirmal Pandey and several other talented actors are wasted in sketchy roles. The film's surface is over-populated. But its inner life suggests a sincerity of purpose.

Wayne Sharpe's background score and Neelabh Kaul's cinematography are first rate. They add to the feeling of a film that goes beyond sports, but stops short of making a statement on life lived on the border of hostility.

'Lahore' is not only about kick-boxing. At times you wish it was.

Source: IANS

Bollywood Movie "Love Sex Aur Dhokha" Review

'Love Sex Aur Dhokha' signifies the changing face of Hindi cinema. Ekta Kapoor's first foray into experimental cinema has all it takes to be a cult film that might just trigger off a new trend in Bollywood. It's courageous, disturbing and yet entertaining!

'Love Sex Aur Dhokha' talks of voyeurism [it has been divided into three stories, each focusing on different plots pertaining to voyeurism]. It is brave. It is scandalous. Most importantly, it is path-breaking. You will either love it or loathe it.

'Love Sex Aur Dhokha' is not an easy film to comprehend either. The constant shaking of camera [it's a digital film with a hidden camera playing a character by itself] may bother you initially, since this is the first time that a storyteller has used this technique in Bollywood to narrate three different stories in one film. But the material is so compelling [screenplay: Dibakar Banerjee and Kanu Behl] and the stories so captivating that you absorb this storytelling technique within a few minutes of its commencement.

Dibakar makes an attempt to tell you that there's no privacy in today's age, courtesy cell phones, spy cams, sting operations and MMS. Technology is not just a boon, but also a bane and the film reiterates this fact.

The first story starts off as a spoof on Bollywood, but you gradually realize that it bears an uncanny resemblance to at least two real-life love stories, which have had a heart-rending ending and which continue to remain in news to this date.

The second story - the MMS scandal - is scary. Just Google on MMS scandals and you will realize that so many girls have been victims of this technology. Unfortunately, in several reported cases, the MMS clips were distributed by the boyfriends themselves.

The third story - a sting operation - mirrors an actuality, yet again. You can't deny that the casting couch exists and people do resort to shortcuts to attain name, fame and money overnight. The sequence involving the Hip Hop pop star and the wannabe actress seems straight out of life. Also, we get a glimpse of how we consume news these days and journalists are forced to cover entertainment, instead of facts.

Director Dibakar Banerjee has a unique sensibility and a keen eye for the unconventional. His choice of subject and decision to shoot the film on a digital format needs to be lauded and also the intertwining of the three stories. 'Love Sex Aur Dhokha' is sure to shake you. It's provocative and steamy, but it's scandalous and startling as well.

There's just one song in the narrative - the title track - which is already popular thanks to its catchy tune and filming. The DoP [Nikos Andritsakis] does a splendid job. Seems like the film has been shot on a handycam, security cameras placed in shops, underwater cameras and spy cameras, which is, again, very innovative. Editing [Namrata Rao] is perfect.

There was a need for fresh faces in order to portray the realism and the performances of each and every member of the cast are superb. Anshuman Jha [as Rahul], Shruti [as Shruti], Raj Kumar Yadav [as Adarsh], Neha Chauhan [as Rashmi], Amit Sial [as Prabhat], Arya Devdutta [as Naina] and Herry Tangri [as Loki Local] are amazing actors all.

On the whole, 'Love Sex Aur Dhokha' is original, innovative and ground-breaking cinema, which will shock and provoke you. The film is definitely not for the faint-hearted or those who swear by stereotypical fares, but for those who yearn for a change.

Source: Bollywood Hungama

Bollywood Movie Review-'Right Yaaa Wrong'

'Right Yaaa Wrong' is a gripping thriller with a taut courtroom drama that catches you unaware and surprises you, especially towards its post-interval portions.

A plot like 'Right Yaaa Wrong' is not easy to pen and narrate. The conflict between two thick friends and how they find themselves on the opposite sides of the law ought to be handled with gloves. Most importantly, when the tension reaches its peak, the culmination has to be razor-sharp and concurrently, justify both the sides' point of view. Fortunately, 'Right Yaaa Wrong' hits the right note.

So what's the verdict? Is watching this fare right or wrong? It's right, I'd say!

Ajay [Sunny Deol] is a brave cop. An unexpected incident takes place and he wants his wife [Eesha Koppikhar] to kill him. Will a wife agree to kill her own husband? Why does Ajay want to kill himself?

Ajay and Vinay [Irrfan Khan] were the best of friends, but an intense rivalry leads to a battle for supremacy. A dramatic confrontation ensues, where Vidya [Konkona Sen Sharma], Vinay's sister, chooses to support Ajay in this chase of mind games and Vinay has to fight it out.

Let's face it, you don't take to 'Right Yaaa Wrong' at the outset. The initial portions give an impression of been-there-seen-that to the viewer. But, gradually, 'Right Yaaa Wrong' starts getting into the groove, when Sunny hatches a conspiracy of his death and asks his wife and brother to execute his plans. The interval point is indeed a shocker!

The film takes off in its second half, when Sunny sticks to his alibi, while Irrfan doesn't buy Sunny's statement and re-opens the case. The twists and turns in this hour, interspersed with courtroom sequences, which leads to an emotional finale, are simply spellbinding.Director Neeraj Pathak shows immense potential. He had proved his credentials as a writer earlier ['Ghaath', 'Pardes', 'Apne'], but with 'Right Yaaa Wrong', he proves he's an efficient storyteller as well. Monty's music is strictly functional and the few songs in the narrative don't contribute much.

Sunny seems to get it right this time. He underplays his part beautifully. But it is Irrfan who lights fire in water and emerges the scene-stealer. He's excellent all through the second hour. Konkona stages an entry in the post-interval portions and makes a stunning impact in the courtroom sequences. Eesha Koppikhar is first-rate. Arav Chowdharry [Sunny's brother] enacts his part with conviction.

Source: Bollywood Hungama

'Hide & Seek' - Movie Review

'Hide & Seek' is a gripping suspense drama that keeps you guessing till its end.

Generally speaking, a film starring relative newcomers and helmed by a first-time director comes with zilch expectations. And if the film in question happens to be a suspense-thriller, the debutante director has to walk a tight rope. One false step and chances are he'd fall on his face.

Debutante director Shawn Arranha surprises you in his very first outing. It may not be the most captivating thriller you've watched, but there are moments that keep you hooked to the proceedings. Also, a suspense saga works if you continue to play the guessing game till the end and in this case, you can't tell who the culprit is. That is nothing short of a victory for this film!

On the flip side, the making could've been better in terms of production values and at times, it does give an impression of being a rushed job as far as the writing is concerned.

Love slasher movies? Watch 'Hide & Seek'. It has ample adrenaline pumping moments!

They were kids - Om, Abhi, Jaideep, Imran, Gunita and Jyotika. And it all started as a game on a chilly Christmas night. But little did they expect that night that the game would change their lives forever. Twelve years later, while some still wrestled with memories of that fateful night and others left it buried deep within them, it was a past that came back to haunt them again.

Twelve years later, someone was bringing them all together. To play that game all over again. Six best friends turn into worst enemies when trapped in a shopping mall.

If you let logic take a backseat, chances are you'd enjoy this ride more. Just don't question how one person, single-handedly, kidnaps his friends the same night and assembles them at one location, without any help whatsoever. If you skip this gaffe, the journey ahead would be riveting in most parts.

It takes time to get used to the plot. It does get confusing when the film goes back and forth with regularity and you wonder, what is the director trying to say? But the jigsaw puzzle slowly gets solved in the post-interval portions, although the end sends out confusing signals.

In view of the fact that it is his first film, Shawn does a commendable job. Only thing, he should've simplified a few things, especially the end. The songs are okay, while the camerawork lacks finesse.

The performances by the lead actors are neat, with every member putting his/her best foot forward. Purab Kohli is super-efficient, as always. Arjan Bajwa gets the look and feel of the character right. Samir Kochhar leaves a strong impact. Ayaz Khan is decent. Mrinalini Sharma springs a pleasant surprise with a 'spirited' performance. Amruta Patki impresses as well.

Go for it, if a good suspense thriller is what you're looking at!

Source: Bollywood Hungama

'Atithi Tum Kab Jaoge?'- Bollywood Movie Review

'Atithi Tum Kab Jaoge?' is a hilarious movie, but unlike any slapstick comedy. It's a light-hearted film with sensibility, humour and a strong undercurrent of emotion.

One of my childhood memories is that of several relatives visiting us in Mumbai [presumably for a few days], but overstaying their welcome. Those days, the atithis were never looked upon as 'intruders'.

'Atithi Tum Kab Jaoge?' mirrors a reality, but the story has scope for not just humour and emotions, the staple diet of most Hindi movies, but there's a generous dose of devotional quotient that is well integrated in the storyline.

Do you miss movies of yore, helmed by masters like Hrishikesh Mukherjee and Basu Chatterjee? 'Atithi Tum Kab Jaoge?' may not be a 'Chupke Chupke', 'Golmaal', 'Chitchor' or 'Khatta Meetha', but it has a certain old-world charm that one misses in cinema of today.

It tells the story of Puneet [Ajay Devgn] and Munmun [Konkona], a married couple living in Mumbai. Their lives take an interesting turn when a distant relative, Chachaji [Paresh Rawal], turns up unannounced at their doorstep from a far-off village. The guest overstays his welcome, so much so that the exasperated couple comes up with various ploys to hasten his departure.

'Atithi Tum Kab Jaoge?' is a light-hearted entertainer that tickles your funny bone at several points. The best part is, you not only laugh at the funny one-liners, but also at situations, which are so life-like and which makes you connect with them instantly.

'Atithi Tum Kab Jaoge?' rests on three characters primarily - Ajay, Konkona and Paresh - and director Ashwni Dhir and his team of writers [Robin Bhatt, Tushar Hiranandani] have ensured that there are ample [enjoyable] scenes that you carry home. What really takes you by surprise is the devotional factor that has been smartly injected in the screenplay. The traditional Indian audiences would love the Mata ki aarti, the Ganesh Chaturthi festival and the sanskaar that the atithi instills in Ajay and Konkona's child.

But the writing wanders into unwanted areas, which could've been avoided in the first place. The raid at the hotel, where Ajay, Konkona and their son move into, seems unnecessary. Ditto for the subsequent scene at the cop station. Immediately thereafter, Ajay hires the services of a Bhai to get rid of Paresh, which looks far-fetched. These three incidents, which come back to back, only add to the length of the film. Also, Paresh breaking wind [gas/flatulence] looks funny in a scene or two, but why make it a recurring occurrence? An overdose is embarrassing!

However, the climax, which starts with the sthapna of Lord Ganesh's idol in Ajay's home, till the culmination of the story, makes the goings-on immensely watchable. Director Ashwni Dhir, best known for penning comic shows, proves that he's at ease handling dramatic [interval point] and emotional [climax] scenes with gusto. Pritam's music is ordinary, but the songs fit well in the narrative, especially the two devotional tracks. The title track [Amit Mishra] is quite catchy. Aseem Bajaj's camerawork is first-rate. Dialogues [Ashwni Dhir] are excellent.

Come to think of it, it requires a lot of courage to play a role that's devoid of star mannerisms and Ajay enacts this part most convincingly. Konkona is spontaneous and a complete natural. Paresh is superb as the atithi. He's definitely the scene-stealer! Satish Kaushik shines, especially in the sequence when he apologises to Ajay. Akhilendra Mishra, Mukesh Tiwari and Viju Khote are alright. Sanjay Mishra is first-rate.

On the whole, this atithi is sure to find a place in your heart!

Source: Bollywood Hungama

Teen Patti - Movie Review

When two legends of world cinema share screen space, one expects sparks to fly. However, after two hours and twenty minutes of 'Teen Patti', the only sparks that flew were from the audience. And most of them took the form of cuss words because everyone felt cheated.

Taking a cue from the Kevin Spacey thriller '21', the movie tells the story of a mathematics professor, who is shunned by his colleagues and dean. The man chances upon a probability formula that allows him to predict card games and soon enough finds him embroiled in a game of blackmailing and deceit alongside a colleague and a few students.

However, that's where the similarities stop. While the Hollywood thriller tracks a greedy professor and his students who learn card-counting and use it to make a fortune in Las Vegas, Leena Yadav's film meanders along at such a slow pace that at several points you feel like kicking the backsides of the characters to get them going.

Sample the scene where one of the protagonists commits suicide and the senior professor walks into the room. The camera lazily follows Bachchan till he kneels down beside the body. There are at least 10 editing cuts in the scene that ends up looking comic rather than poignant. No wonder Bachchan looks more lost than anguished that sequence! The sequences are lethargic which makes the story move at a slow pace. Sad, because there was potential for fast-paced action in the story.

None of the characters are well etched out with Ben Kingsley almost reduced to playing a "Guest Appearance" in the film. In fact, Indian cinema should collectively apologize to the Oscar winner for the manner they have treated him. I am sure Kingsley will not touch another Indian film offer with even a barge-pole!

Director Leena Yadav who seemed confused while handling another interesting theme in 'Shabd' (2005) has proved beyond doubt that she cannot tell a coherent story. The problem is not that the movie cuts back and forth between Bachchan's flashback to Kingsley and his travails as an unwilling gambler. Even while narrating the past, one has to really concentrate to figure what each of the characters is up to? Her clichéd use of random mathematical formulas to indicate a ticking mind is offensive to an actor of Bachchan's abilities.

As for the support cast, the less said the better as none of them could even match a dodo with their facial expressions! R. Madhavan hams his way and in some instances so does the Bachchan, who has of late started using high decibels (read loud) in lieu of intensity. Remember the way he screams in some scenes of 'Black' and 'The Last Lear'?

The movie thrusts a bunch of guest appearances with the likes of Ajay Devgn, Jackie Shroff, Mahesh Manjrekar, Ranjit, Shakti Kapoor and Tinnu Anand making fleeting appearances during card games that Bachchan and his band plays out.

However, the crowning piece of stupidity comes towards the fag end of the film. Kingsley and Bachchan, who converse in English throughout the movie suddenly change track and start talking in Hindi. Now, if you are wondering how Kingsley got to speak the language, it came with a little help from Boman Irani who has dubbed those lines. My question though is why give Kingsley Hindi lines in the last five minutes of the film where he has spoken English throughout the previous two hours? Does Yadav think that her audience is stupid not to understand the final twist? That is, if one could describe that as a twist in the first place!

The movie has so many flaws, that one could create a laundry list right here. For a die-hard fan who grew up on Amitabh Bachchan's films, the only reason that I have to thank the director is that after 50 years in the film industry, this is probably the first time that Bachchan plays a south Indian! He is Venkat Subramaniam and not Vijay Pal Singh or Vijay Dinanath Chauhan or Vijay Verma!

In the final analysis, I would borrow the words of Chatur Ramalingam (3 Idiots) and say it was absolute "Balatkar" that was committed. Not just on the audience but on two legendary actors and a pulsating story that had the potential of providing edge-of-the-seat entertainment.

Karthik Calling Karthik - Movie Review

Schizophrenia has been a hot topic with movie makers and watchers for ages. From the 1948 movie 'Snake Pit' to the more recent 'A Beautiful Mind' starting Russell Crowe and the Jim Carrey special 'Me, Myself and Irene', the mind has mattered to cinema in a big way. So, when a loser called Karthik Narayan begins to get calls urging him to stand up and take control of his life, it didn't require supernatural intelligence to guess that the protagonist was one round the bend.

Director Vijay Lalwani, who has also written the story, seems to display a certain naiveté about the knowledge levels of his audience as he attempts to build up suspense about the mystery caller who sounds like Karthik and knows everything from the color of his socks to his internet banking PIN number. That he failed became obvious to me when mid-way through the first half, my teenaged daughter guessed corrected that the protagonist suffered from a split personality.

Having said so, the film co-produced by Farhan Akhtar and old pal Ritesh Sidhwani, has its moments. And one must give credit to some crisp editing by Aarti Bajaj and a robust background score by Midival Punditz and Karsh Kale. Of course, one expects Farhan Akhtar to come out with a performance that matches the character and he doesn't disappoint.

The sudden transformation in persona from a meek Karthik who is cowed down by his boss (Ram Kapoor) to the assertive but not flamboyant person who walks into the same boss's room and convinces him to get back his job has been well captured by Farhan, who is proving that he is as good before the camera as he is behind it. And true to nature, he comes up gems that I tend to believe are a result of his directorial genius. An involuntary yelp when a phone rings inside a shop and a tongue in cheek remark about being "straight" bring out that sharp scripting mind.

Deepika Padukone has put in a restrained performance as Shonali Mukherjee, a Gen Next career woman who believes wine is for women and carries around her own whisky and soda, much to the chagrin of her teetotaler fiancé. Even when she learns about Karthik's anonymous caller and convinces him to meet a shrink, there is no melodrama, something that one has come to expect even from the so-called "mulitiplex" directors.

The movie begins well and breezes through the first half as Karthik metamorphes from a shy introvert to a smart manipulator who knows what he wants and also figures out how to get it. It is the second half that meanders a bit, especially a few scenes involving Karthik and Shonali that take the movie nowhere in particular. And when things start to crumble after our hero decides to confide about his phone friend to his fiancé, things perk up again.

However, despite a promising premise that was quite obvious from the early stages of the movie, the director somehow fails to deliver a knock-out punch at any stage of the narrative with the movie ending rather tamely on expected lines. There is a contemporary feel to the movie, though the camera seems to be largely lazy, which worked for me because it served to heighten the suspense.

The end result was that the movie kept me intrigued throughout its length though when I emerged from the auditorium, there is a feeling of emptiness. It is almost as if I wanted to turn and ask the writer: "Why did you have to fool me? I have heard of schizophrenics, you know"?

Striker: Hindi Movie Review

Some stories seem very interesting on paper. You get hooked, perhaps captivated. But there are times when these stories lose sheen when translated on celluloid.

As a storyteller, you need to have the convincing power to keep the viewer hooked. Also, you ought to know when and how to conclude the story. Like they say, never stretch a story beyond a point...

'Striker', directed by Chandan Arora, falters because the story doesn't arrest your attention in entirety and also, it seems like a never-ending ride, even though the running time is approx. 2 hours. Frankly, the story overstays its welcome.

Cinema is all about narrating stories and Chandan Arora makes a sincere attempt to narrate one in 'Striker', but the multiple tracks and layers in the film act as a spoilsport. The screenplay is patchy and the focus shifts from one episode to another constantly. It's not sacrilegious to have multiple tracks in a film, but you need to conclude each track before the actual story reaches its culmination. Clearly, the screenplay writing lets 'Striker' down.

Also, the subject material is very Mumbai-centric and therefore, will appeal to a miniscule audience. Final word? The striker doesn't strike!

Set in a Mumbai ghetto in the mid 80s, Surya [Siddharth] grows up with few luxuries. Poor health keeps him away from school often and that is when his elder brother, Chandrakant [Anoop Soni], introduces him to carrom.

Hopes for a job in Dubai replaces the passion for carrom as Surya grows into a young man. Duped by a bogus overseas employment agency, Surya loses his hard earned money he had saved for going to Dubai. Surya is forced to cross paths with Jaleel [Aditya Pancholi].

Reintroduced to carrom by his childhood friend Zaid [Ankur Vikal], Surya starts playing again. Being robbed of his hard earned money by the same man who had caused misery for many families, Surya decides to take on Jaleel on his turf.

First things first. Even though 'Striker' attempts to narrate the story of a carrom player, depicting the highs and lows in his life, the question is, does it have recall value after the show has concluded? The game of carrom being used for gambling may sound interesting and Chandan Arora should've stuck to the core issue, instead of drifting into multi-tracks.

Like, for instance, the romance - between Siddharth and his neighbour - is concluded abruptly. The girl disappears suddenly after her father spots Siddharth and her in the train. But pray why? Naah, no explanations are offered.

Ditto for Anupam Kher's character. He seems hell-bent on putting an end to Aditya Pancholi's reign of terror, but when Kher comes face to face with Pancholi, all he does is play an intermediary between Pancholi and his arch rival, whom Pancholi assumes had betrayed him.

The track between Siddharth and Padma Priya, a fisher woman, seems forced in the screenplay. Even the finale - the death of his sister [Vidya Malvade] and brother-in-law during communal riots and the subsequent fight-to-finish with Pancholi looks unreal, when the film seems to be following a realistic pattern.

Chandan Arora's choice of the story is right, but the erratic screenplay writing will cost him dear. However, there's no denying that he has handled a number of individualistic scenes well. The music [multiple music composers] is soothing. P.S. Vinod's cinematography is perfect.

Siddharth is as natural as natural can be. He is superb. Aditya Pancholi looks noxious and enacts his part just too wonderfully. Anupam Kher does an okay job, partly because his character is not well-defined. Padma Priya looks confident. Ankur Vikal does very well. Seema Biswas gets into the skin of the character. Vidya Malvade doesn't get much scope. Anoop Soni is perfect. The actress playing Noorie is passable.

On the whole, 'Striker' lacks a solid script to strike a chord.

Source: Bollywood Hungama

Hindi Movie Review: 'Toh Baat Pakki'

A lot of present-day directors seem inspired by Hrishikesh Mukherjee and Basu Chatterjee's movies. The veterans told simple stories in the most simplistic manner. Director Kedarh Shinde, one presumes, also seems inspired by their master works and attempts to narrate a story that's identifiable and at the same time, dipped in humour.

The film has some wonderful moments, some old-world charm, but the humour, at several points, falls flat. Especially towards the penultimate portions.

Rajeshwari [Tabu], married to Vinay [Ayub Khan], dreams of getting her sister Nisha [Yuvika Choudhary] married to the most suitable boy within their Saxena community. Also, Rajeshwari is against the dowry system.

Rajeshwari finds a good Saxena boy studying engineering and has prospects of a promising future. Rahul [Sharman Joshi] is a good proposition for her sister and she even gets him to move into her house as a paying guest.

However, when Rajeshwari learns that Rahul is not interested in marriage, she smartly devices a plan to bring her sister and make them get to know each other. She's confident that once he meets Nisha, there is no turning away. They fall in love. Rajeshwari is happy. Marriage is fixed.

Things take a turn when Yuvraaj [Vatsal Sheth] lands up at Rajeshwari's house. Yuvraaj is also a Saxena. He has a good job and is waiting to move into his house. Rajeshwari can't believe her luck. This is a better prospect. The story takes a turn when Rajeshwari tries to set up Nisha with Yuvraaj.

The problem with most storytellers is, the story they choose may sound convincing at narration level, but what eventually unfolds on screen is half as convincing. On paper, the 4-para synopsis of 'Toh Baat Pakki' holds promise, but the screenplay, spread over two hours, has its share of hiccups.

For instance, the portions depicting Sharman helping Tabu during the marriage celebrations are far from convincing. In fact, the screenplay starts losing its grip from here on. Even Sharman's attempts to poison Himani Shivpuri and Vatsal Sheth's mind appears childish. Ditto for the abduction drama towards the end. The Sharat Saxena track also looks forced.

Kedarh Shinde's direction holds your attention at a few places only. Especially during Tabu and Sharman's portions towards the first half. But the patchy writing lets him down. Pritam's music doesn't work, except 'Jis Din Mera Byaah'. Dialogues are too flowery at times.

Tabu is a pleasure to watch. She's natural and it must be said that it gets difficult to move your eyes when she's on screen. Sharman, again, is likable and gets it right. Vatsal does fairly well. Yuvika doesn't get much scope. Ayub Khan is passable. Himani Shivpuri and Suhasini Mulay are as usual. Upasna Singh is loud.

On the whole, 'Toh Baat Pakki' has a few interesting moments, but not enough to keep you hooked. It will have to rely on a strong word of mouth, especially from family audiences, to stay afloat.

Source: Bollywood Hungama

Movie Review: My Name Is Khan

Questions of religious and national identity, of the sense of right and wrong, of combating a certain isolation that comes with a behavioural disorder; but what triumphs over all the complexities unfolding in a tumultuous post 9/11 America is Rizwan Khan and his essential goodness that tells you unwaveringly - his name is Khan and he is not a terrorist.

Director Karan Johar is in unfamiliar territory here. No candyfloss romance, no sweet nothings, nobody breaking into song. Just the super intelligent Rizwan, who has Asperger's Syndrome, a form of autism, his halting voice with his inability to communicate, and his many relationships - with his mother, his brother, and yes, Mandira, and her son Sam.

Move over Rahul, Rizwan is here. Shah Rukh makes the transition from the eternal romantic to the intense Rizwan, who finds love and loses it some years later when his Khan identity becomes all important in a tense, suspicious America. You sit through three hours waiting to get a glimpse of Shah Rukh through Rizwan Khan, but it doesn't happen.

If Shah Rukh lives and breathes Rizwan in what is one of his finest roles, Kajol as Mandira, the vivacious single mother, is also good - as always. The chemistry between them if not always crackling, then heart-warming.

It's an unlikely romance, not very easy to portray. But it's dealt with a light touch. There they are sitting on either side of the bed after their wedding, with Mandira telling Rizwan, who doesn't like to be hugged, that this is something they can't do without touching. It's a scene that could quite easily have gone wrong, but it doesn't.

All credit to Karan Johar for that.

Like a piece of music that gradually rises to grand crescendo, 'My Name Is Khan' begins with Rizwan as a child with his mother - so good to see Zarina Wahab after such a long time - in a tenement in Mumbai and ends with cheers from the US' first African American president in a crowded rally.

It's from his mother that Rizwan learns his first lessons of humanity; as the 1983 Mumbai riots rage outside; she tells the young boy that the world is divided into good people and bad people.
It is this essential humanism that carries Rizwan through, from Mumbai to San Francisco where his brother stays, then to the suburb of Banville, where he moves in with Mandira and Sam, and even when he is taken to be a terror suspect.

Sam, his "only best friend", is subjected to a vicious race attack because he takes on Rizwan's surname. Mandira hits back, saying that the worst thing she could have done was marry a Khan and Rizwan is out on the roads - unable to articulate his feelings, but backpacking his way across the US to meet "president sahib" so he can tell him: "My name is Khan and I am not a terrorist."

It is a road journey through a troubled post 9/11 America towards humanism, and the essential goodness of the human spirit.

This is a US where chanting the name of Allah gets you into trouble, where the word terrorist and Khan in conjunction can put you behind bars. Rizwan moves from being a terror suspect to a nationwide hero, who exposes a terror mastermind. And then, the man with the mission who travels to Wilhelmina that is literally drowning in a hurricane to supervise a heroic rescue mission.

There's Afghanistan and Iraq, Bush and Obama too. The US' first African American president is voted in and, in that final feel good moment, Rizwan meets him in front of thousands of people and his goodness is validated.

Plenty of great one-liners, like when he is refused entry into a presidential fundraiser for the poor in Africa that is only for Christians, he leaves behind $500 saying: "This if for those who are not Christians in Africa."

The music by Shankar-Ehsaan-Loy is superb. This is not a film without flaws, it is at least 20 minutes too long for one and flags in the pre-interval period, but here is one straight from the heart. It has a message, in these days of tensions over language and religion, one which needs to be heard.

Go watch.

Source: IANS

Ishqiya - The Movie Review

Get ready for tangy, pungent, sizzling and spicy stuff. Be forewarned, 'Ishqiya' isn't the fluffy, candyfloss, saccharine sweet story of lovers breaking into songs in mustard fields. In 'Ishqiya', you just don't know what turn the story may take next. Not just the story, even the characters here are so impulsive and unpredictable.

You need to have a strong stomach to absorb 'Ishqiya'. It's high on drama, it's wild, it's real. But it's not dark, it's not sleazy, it's not crass. Frankly, you don't expect debutante director Abhishek Chaubey to make a stereotypical fare thanks to the tutelage by his guru Vishal Bhardwaj, who loves to swim against the tide and undertake risks in film after film.

You could call 'Ishqiya' a distant cousin of 'Omkara'. Set in Gorakhpur in North India, the film has a rustic feel, depicts characters that may make you uncomfortable and is laced with saucy lingo. Yet, it's different than 'Omkara'.

The first hour passes in a jiffy, but the story actually gets dramatic and volatile in its second hour. It's at this stage that things start getting more and more unpredictable. The story does a somersault every 10 minutes and by the time it reaches its finale, you're curious to know how the debutante director would conclude this saga. The end, of course, will have its share of advocates and adversaries, but the fact remains that it's offbeat.

Abhishek Chaubey is a welcome addition to the ranks of avid storytellers. His choice of the subject and also handling of the material is what makes this film so eminently watchable. Not once do you feel that 'Ishqiya' has been helmed by a first-timer. Note the change of events in the song 'Dil To Bachcha Hain Ji' or the kidnap drama and the heated argument that follows thereafter. Even the passionate lovemaking sequence between Arshad and Vidya has been dexterously canned.

However, Chaubey and his team of writers could've kept the writing simplistic towards the finale. It's complex and also lacks clarity. Yet, all said and done, screenplay writers Vishal Bhardwaj, Sabrina Dhawan and Abhishek Chaubey deserve kudos for coming up with a film that keeps you hooked for most parts.

Vishal Bhardwaj's musical score has his unmistakable stamp all over. The film is embellished with two lilting gems - 'Ibne Batuta' and 'Dil To Bachcha Hain Ji' - which are a rage with listeners already and have been juxtaposed beautifully in the plot. Mohana Krishna's cinematography is first-rate. Dialogues [Vishal Bhardwaj] are acidic and a few lines are indeed startling.

Every actor in 'Ishqiya' delivers a sparkling performance! Naseeruddin Shah is superb as a romantic. He is matchless in the sequence when he learns the truth about Vidya and Arshad. Arshad packs in a bravura performance yet again. Post Munnabhai films, Arshad should be liked in this one the maximum. Vidya continues to surprise. It's a dynamic performance undoubtedly. 'Paa' and 'Ishqiya' are two landmarks in her career.

The actors enacting the role of Jijaji, the kidnapped victim and Vidya's husband are all perfect. The child, who interacts with Arshad, is natural. In fact, every performance in 'Ishqiya' is worthy of mention.

On the whole, 'Ishqiya' is definitely worth a watch. The film has a riveting plot, great performances, soulful music, an absorbing story and skilful direction to make the viewer fall in ishq with it.

Source: Bollywood Hungama

Rann- Hindi Movie Review

Ramgopal Varma is itching to tell a new story in his movies. You may garland him for his efforts or loathe him if you feel letdown, but you need to hand it to him for picking up stories that defy stereotype.

This time, in 'Rann', the maverick film-maker does an expose on the games the heavyweights in the media play to further their interests. RGV goes into the newsrooms and also behind it and throws light on the politician-industrialist-media nexus. Also, it's an insider's account of how news channels that are greedy for ratings sensationalize stories to grab eyeballs.

On surface, you don't want to know what goes behind the scenes and how, at times, news are 'created' by vested interests. But 'Rann' scratches the surface and opens a can of worms. 'Rann' also mirrors the fact that just like there are good and bad people in every field, there're some rotten ones in the media too who succumb to temptations and create news to climb the ladder of success.

'Rann' is a serious film and RGV knows what he's talking this time. It wouldn't be erroneous to state that you recall RGV's 'Sarkar' while watching 'Rann', even though the two films are as diverse as chalk and cheese. You recall' Sarkar' because 'Rann' is an equally powerful film that shows a world we've only seen from the exterior.

A film like 'Rann' would fall into the pit if [i] its writing wouldn't be razor-sharp and [ii] the choice of actors would be incompetent. RGV's movies, generally, are embellished with competent actors who deliver super performances. In this film, every member of the cast shines in his/her role.

The writing is watertight and convincing. Besides, the subject matter has been presented in the most simplistic manner, which makes it easy to decipher. However, the episode showing Riteish's investigation tends to get confusing at one point, but the climax compensates for the minor hiccups here and there.

Amit Roy's cinematography is eye-catching. Dialogues are power-packed. In fact, one can identify with the well-penned dialogues. The background score plays a crucial role. It heightens the impact of various scenes.

Amitabh Bachchan is spectacular yet again, especially towards the finale. His speech and the way he delivers it are remarkable. Sudeep is terrific. To stand up to giants like Bachchan and Paresh Rawal is no mean achievement. Riteish is only getting better and better with every film. In fact, he surprises you constantly.

Paresh Rawal, seen in an RGV film after a long, long time, is at his vicious best. Rajat Kapoor is incredible. Mohnish Bahl gets the role of a lifetime and he sinks his teeth into it. This film should open new vistas for him. Gul Panag is natural and so easy on the eyes. Neetu Chandra does her part well. Suchitra Krishnamoorthy is too good. Rajpal Yadav contributes to some funny moments. Neena Kulkarni and Simone Singh are perfect for their parts.

On the whole, 'Rann' is truly a well-made film.

Source: Bollywood Hungama

Veer- Movie Review

Salman Khan [who has been credited as the story writer of 'Veer'] takes 'Taras Bulba', adds 'Gladiator', 'Conan The Barbarian', 'Troy', 'Titanic' and even 'Kranti' [the end is a straight lift of Manoj Kumar's Dilip Kumar starrer] and comes up with this khichdi which gets unpalatable after a point.

'Veer' is about a warrior and at the same time, it's a love story too. Sadly, neither does it evoke any patriotism, nor does the love story make your heart go dhak-dhak.

The writing [screenplay: Shaktimaan Talwar, Shailesh Verma] is so fragile that one is mentally exhausted by the time this marathon movie finally reaches its finale. Of course, Salman's star power tries hard to salvage the situation, but window dressing doesn't help if the store has nothing to offer.

'Veer' has it all - great stars, opulent and majestic sets, adrenaline pumping action scenes, but no soul [read script]. The movie begins with a bang, but the moment the story shifts to London, it crashes!

Frankly, it's a screenplay of convenience. Salman meets the woman of his dreams within minutes of reaching London and that looks so unreal. You try to digest it and move on to the next scene and lo! The damsel studies in the same college that our hero has enrolled in. Now that looks fake!

The sequence at the interval is interesting, although it remains a mystery how Puru Raaj Kumar gets to know of Salman's identity. At this point, Salman becomes a killing machine, slaughters more than a dozen people in the hostel campus [including a few gora soldiers] and conveniently escapes from London with a badly injured brother [played by Sohail]. Now that is taking it too far.

The second hour goes on and on and on, emphasising on unfulfilled promises, seething anger and revenge, love and freedom and frankly, you are least bothered by now. In fact, you lose interest in the proceedings. Period. The climax is so long drawn and more of an anti-climax, while the ending is bizarre and unintentionally funny.

Director Anil Sharma fails to deliver. That's the bitter truth. The project had everything going in its favour, but alas, Sharma and his writers make a complete mess of the story. Sajid-Wajid's music is melodious, but why repeat one song ['Surili Ankhiyon Wali'] again and again? The background score [Monty] is top notch. Gopal Shah's cinematography is splendid. Tinu Verma's action scenes are dynamic and in fact, the saving grace of 'Veer'. The production design [art: Sanjay Dhabade] give an authentic feel of the bygone era.

'Veer' rides on Salman's star power, but even his hardcore fans will be disappointed by this movie. Zarine Khan resembles Katrina Kaif, but wears one expression all through. Mithun is okay, while Jackie does his bit well. Sohail Khan irritates. Puru Raaj Kumar and Aryan Vaid get no scope. Neena Gupta is as usual. The English actors are stereotype.

On the whole, 'Veer' proves the age-old adage true: All that glitters is not gold. This one's a monumental disappointment!

Source: Bollywood Hungama