Don 2 (2011) Movie Review | Storyline

9:46 AM in Movie Review

Don 2 (2011) Movie Review-



Remaking the Amitabh Bachchan classic DON was a risk in itself. Not only because it is one of Bachchan's most iconic characters, but also because films like SHOLAY, DON, AMAR AKBAR ANTHONY, DEEWAR, TRISHUL, MUQADDAR KA SIKANDER [and many, many more] redefined the cinema of 1970s and 1980s. Farhan Akhtar accepted the challenge and attempted a successful remake of DON with SRK.

Paanch saal baad, Farhan and his team of writers decide to carry the concept frontward with DON 2. I genuinely feel that sequels shouldn't be attempted if you don't have an enthralling story to narrate. This time, Farhan chooses an entirely new concept, garnishes it with classic action, stunning visuals, giving it an international look and feel… the intention is to make the second part superior and enhanced than the first. Also, the fascination for thrillers such as M.I., BOURNE and BOND series is pretty evident.

While one was abundantly aware of what the first part had to offer [since it was a remake], one is completely oblivious about what the sequel has in store. And it is this facet of the film that kindles colossal interest. You cannot tell what Don's next move would be. As the reels unfold, you realize that he's cold blooded. You can't mess with him. He's dangerous to deal with. He has an agenda. Ditto for Roma [Priyanka Chopra], who shares a tumultuous relationship with Don. It's a cat and mouse chase.

When viewed in isolation, DON 2 looks like the right package to woo the movie-going junta -- SRK in top form, a stylishly crafted story, pulsating and invigorating action and stunts. But it's not without its share of hiccups. In fact, the first hour and the post-interval portions of the film are akin to the two sides of the same coin. The first hour is bland, the second is energetic. The first hour is deficient in thrills, the second keeps you on the edge. The first hour disentangles at a languid pace, the second is feverish with several adrenaline rush moments.

DON 2 begins in Thailand and moves to Malaysia. Don [SRK] surrenders himself to the cops [Om Puri, Priyanka Chopra] and is sent to a Malaysian prison. There, he meets his old foe Vardhan [Boman Irani]. Don hatches a conspiracy to escape with Vardhan and they succeed as well. They reach Zurich, then Berlin. The motive is to rob the currency plates. It's an unfeasible task, but Don takes the help of a hacker [Kunal Kapoor] to accomplish his plans.

With DON 2, Farhan Akhtar reasserts himself as one of Hindi cinema's stylish storytellers. It wouldn't be erroneous to state that DON 2 redefines slick in Bollywood. But the film could've done with a tighter script. Besides, the writing is urban-centric and those with an appetite for international thrillers may take to the film instantly, especially the twists and turns in the second hour. Again, the conclusion to the story could've been simplified for the average viewer to decipher. Yet, all said and done, DON 2 mirrors the changing trends in Hindi cinema. Those with the conventional attitude or tilting towards the conservative form of cinema may find it difficult to absorb.

DON is also acknowledged for its vibrant and eminent dialogue. One can conjure up the lines from the original Bachchan starrer and in DON 2, the lines are in sync with the various guises and situations of the Don. The dialogue are masterly and the flamboyance with which SRK delivers the lines is what makes it exceptional. The lines are cooler, hip, zany, witty and at the same time, easy on the lips. They're sure to become the new catchphrases in times to come, like the one you recall even today: 'Don ko pakadna mushkil hi nahin, na-mumkin hain'.

Shankar-Ehsaan-Loy, the trusted and prominent names in Excel's movies, dishearten this time around. In fact, the music is the sole sore point of the film. Sure, it has vigor and spice, but the wow factor is amiss. The film deserved a much, much superior score to match up to the standards set by Farhan Akhtar. Jason West's cinematography is dazzling. Filmed in Germany, Switzerland, Malaysia and Thailand, the film is visually enchanting. The action and stunts are spectacular.

DON 2 marks SRK's return to anti-hero roles after enacting such roles with flourish so early in his career. Recall BAAZIGAR, DARR and ANJAAM. He plays a wicked, debonair anti-hero in DON 2. The character he portrays is iniquitous and sinful, but attractive at the same time and SRK lives it up with gusto. Besides, SRK has also experimented with varied looks in the film, from a debonair looking guy to a person with unkempt hair and stubble. Without doubt, DON 2 is SRK's best action movie to date.

Priyanka revisits her character of Roma in DON 2. Not only is the character more evolved, even her performance is of a high order. In fact, she enacts the role of an angry, tough lady who means business with a vengeance. Lara Dutta looks glamorous and alluring, but her character lacks meat.

Kunal Kapoor is decent, though he doesn't really get the scenes to prove his credentials. An actor of the caliber of Om Puri is wasted this time. Boman Irani lends the right texture to his character. He excels yet again. Nawab Shah should hit big league with DON 2. He plays one of the baddies with conviction. Alyy Khan is natural, enacting his part with ease. Sahil Shroff has screen presence and stands out in a brief role. Hrithik Roshan appears in a cameo.

On the whole, DON 2 rides on star power and brand value. The film has a bland first hour, but the second half takes the film to another level. There's no denying that a cohesive script would've made a world of a difference to the film, but the tremendous hype, star power and the lucrative period [Christmas and New Year celebrations] will make its investors reap a harvest.

By Taran Adarsh, bollywoodhungama.com

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Jo Hum Chahein (2011) Movie Review | Storyline

5:04 PM in Movie Review

Jo Hum Chahein (2011) Movie Review-



Love stories are the most tried and tested genre in Bollywood. Youthful stories in particular are eagerly lapped up if the romance quotient is just right, the lead pair is charming, the songs are tuneful and easy on the lips and the sweet and tender moments stay fresh in your memory even after you've made an exit from the cineplex. The process of falling in love changes in film after film, but what remains intact -- at least in Hindi movies -- is the joy and elation when the lovers unite in the finale.

First-time director Pawan Gill attempts to tell a love story that deals with the problems and struggles of a Gen X couple. Though it's easy to decipher what course the journey would take, you can't help but acknowledge the fact that Pawan at least makes a sincere attempt to tell a story that's breezy and pacy, with an interesting twist midway through the film. Well shot with several interesting moments, it's a film that the urban youth should identify with instantly.

But there's a flipside as well. And that pertains to its screenplay. More on that later!

JO HUM CHAHEIN is a coming of age story of Rohan [Sunny Gill] and Neha [Simran Mundi], two young, hip, effervescent individuals whose lives change forever once they meet and fall in love. Rohan is a brash, cocky, ambitious, 24-year-old MBA graduate who wants instant success and will do anything to make that come true.

Rohan moves to Mumbai to pursue a career as a stockbroker where he meets Neha, a no-nonsense, strong-headed girl, who's come to Mumbai to follow her dreams, the dream of becoming a film actor. Neha is someone who believes in love, but hasn't given any guy a chance because no one measures up to her standards of Mr. Right. That's until Rohan comes along and her life changes completely.

Both of them have different wants, desires and quests, but they manage to come together and go on a journey that intertwines their personal and professional lives.

Director Pawan Gill, who has also penned its script, chooses to narrate a story that not only focuses on romance, but also on the aspirations of the youth and how far can they go to accomplish their goals. In doing so, Pawan doesn't take the tried and tested route to narrate his tale. The love story isn't the type that would make you exclaim, 'Not again'. But the entire stock market perspective is what could've been lucidly elucidated for the average moviegoer to decipher. Sure, the character of Alyy Khan does make things clear at the outset, but during the course of the journey, there could've been more clarity on the issue. Case in point, what eventually goes wrong in Sunny's career, how Alyy uses him and how Alyy pays for it eventually could've been better explained.

However, despite the blemishes, there's no denying that Pawan has handled a couple of poignant moments well. The twist in the tale and the confrontation between the lead pair in the middle of the film is super. Also, the transformation in Sunny's character -- how he gradually realizes the importance of a relationship -- is prudently dealt with.

A love story is 'incomplete' without melodious music and the songs in JO HUM CHAHEIN have the required vigor to entice the youth. Sachin Gupta delivers some lovely compositions, which includes tracks such as 'Ishq Hothon Se', 'Peepni' and 'Aaj Bhi Party'. The songs are well choreographed and the icing on the cake is the visual appeal in each track. Talking of visual appeal, the review would be incomplete without acknowledging the contribution by the DoP, Manush Nandan. The film has eye-catching visuals and even otherwise, it's an incredibly stylish looking film. The production design [Amrita Mahal Nakai and Sabrina Singh] is top notch.

Sunny Gill renders his character with tremendous sincerity. It's a character, like I pointed out earlier, that's bona fide and identifiable and Sunny's performance makes it all the more relatable. Simran Mundi is photogenic and has the potential to grow into a fine actor. She's a tad self-conscious initially, but illustrates potency in heartrending moments consequently. Alyy Khan is first-rate, while Achint Kaur carries her part with flourish. Yuri Suri, as Sunny's father, makes his presence felt. Samar Virmani, Sunny's friend, is self-assured and handles his part well, while Mansi Multani does a fine job. Rithvik Dhanjani is confident.

On the whole, JO HUM CHAHEIN is a decent watch that will require a strong word of mouth to leave a mark.

By Taran Adarsh, bollywoodhungama.com

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Pappu Cant Dance Saala (2011) Movie Review | Storyline

5:04 PM in Movie Review

Pappu Cant Dance Saala (2011) Movie Review-



Rom-coms with middle class setting instantly take you back to the days when Hrishikesh Mukherjee and Basu Chatterjee specialized in such themes. And Saurabh Shukla's new directorial venture PAPPU CAN'T DANCE SAALA walks the same path. It seems like an extension of what we witnessed in the 70s and 80s. But before you assume that the film is a musical or about a simpleton who *can't* dance, nope, it's not.

Saurabh Shukla has the track record of making films that have interesting concepts and the same can be said of PAPPU CAN'T DANCE SAALA. This time, the talented actor/director narrates the story of a small town guy adjusting to the lifestyle in a metropolis. Also, Shukla integrates the odd couple track in the plot to make it more authentic. Before you exclaim, haven't we seen it all in the past, haven't we watched the usual nit-picking between a bindaas girl and a shy small town boy, the transition from being mere acquaintances to caring for each other couple, the diametrically opposite couple pining to be soul mates, let me say, yes, it packs all of the above, but Shukla also packs the narrative with subtle humor and slice of life episodes to tell a story.

So does it work? In parts, yes. But, in the end, PAPPU CAN'T DANCE SAALA remains an ordinary watch!

PAPPU CAN'T DANCE SAALA is about two people from different worlds. Vidyadhar [Vinay Pathak] has just shifted from Banaras to Mumbai. A man with old world values who finds it difficult to adjust in the city... Mehak [Neha Dhupia] is a dancer in Bollywood. She has learned the tricks of surviving in this fast-paced city. She is loud and jazzy... They're neighbors who, due to certain circumstances, somehow get stuck in the same flat... and thus begins their story!

PAPPU CAN'T DANCE SAALA is unlike a Saurabh Shukla film. This time, to quote him, he's gone 'commercial', aiming for the mass audience. PAPPU CAN'T DANCE SAALA shows promise at the start; the character of Vinay Pathak specifically seems straight out of life. Though Vinay has been cast in a similar mould in the past, the actor brings that variation in his character that makes the goings-on watchable. Also, the sequences when Vinay and Neha clash -- first, when Neha organizes a party at her flat and next, when they meet the members of the Society to voice their grievances -- are truly enjoyable.

But PAPPU CAN'T DANCE SAALA slips in its post-interval portions. The promise that it showed initially dries up in this hour. The goings-on, to put it bluntly, aren't bland, but get into the been-there-seen-that pattern. And one isn't too excited to know how the lovers would unite in the end for this reason. More so because the romance is so subtle that you actually wonder if it's true love or just strong feelings for each other, which could also be construed as unadorned camaraderie or unembellished affection. To cut a long story short, the screenplay could've been more engrossing in this hour.

Like I pointed out earlier, Saurabh Shukla has filmed a couple of sequences proficiently, but he's saddled with a middling script. The music [Malhar] is functional, but the one filmed on Neha [the video track] is bouncy. Fuwad Khan's cinematography is fair.

Vinay Pathak breathes his character, conferring it the dignity it warrants. Neha Dhupia catches you with complete surprise. She's the scene stealer actually, who handles the dramatic moments as well as the livewire ones with flourish. Rajat Kapoor has not been used befitting his caliber. Brijendra Kala does well in a succinct part. Sanjay Mishra is serviceable. Naseeruddin Shah sparkles in a cameo.

On the whole, PAPPU CAN'T DANCE SAALA is, at best, a regular fare. It could've been far more appealing and engaging had it not fallen prey to mediocrity in its second hour.

By Taran Adarsh, bollywoodhungama.com

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Lanka (2011) Movie Review | Storyline

11:55 AM in Movie Review

Lanka (2011) Movie Review-



'Ramayana' has often been adapted on the small screen as well as the big screen. Perhaps, for the first time, a film-maker has attempted to make a present-day version of the epic focusing on the relationship between Raavan and Vibhishan. They aren't brothers in this particular case, but they share a brotherly bond. The relationship goes kaput when they get into a conflict involving a lady. Their lives, thereafter, are not the same. Quite an interesting concept for a film. And an attention-grabbing title too.

First-time director Maqbool Khan borrows the principal characters from the epic, places them in present-day North India, but modifies the plot [giving the characters different names as well], thereby giving a completely novel twist to the tale, which sheds light on the tumultuous relationship shared by Raavan and Vibhishan. On paper, yes, the concept does catch your attention, but the true test lies in making the moviegoer stay glued to the goings-on for the next two hours. LANKA has some spellbinding moments, but they are few and far between to leave an indelible impression.

LANKA is an emotional journey of man [Arjan Bajwa] torn between the loyalty for his mentor Jaswant [Manoj Bajpayee] and the empathy he feels for Anju [Tia Bajpai], who is trapped and held captive by Jaswant. It's a journey of a man who would be termed a traitor by some and righteous by others. LANKA is about love, loyalty, betrayal and justice.

It's apparent that Maqbool understands his characters thoroughly and gives us an insight into their past to understand them better. But the film's foremost lapse is its meandering script and the gaping holes cannot be ignored. We are told that Tia and her parents have been trapped by Manoj and Manoj seeks sexual favors from Tia time and again. The first question that crosses your mind is, what actually led Tia's family to submit to Manoj's unforgivable demands? The subsequent portions would've made a lot of sense if this issue was addressed, although Tia fleetingly mentions about it, but offers no back story about how it all started.

Another point that cannot be ignored pertains to Arjan. If he felt so strongly about Tia, why doesn't he escape with her, thus setting her free from Manoj's clutches and atrocities? They decide to do so in the very end. Why not earlier? Also, the finale is not convincing at all. The entire drama, which leads to a violent culmination, looks farcical and is difficult to absorb. Besides, the conflict is resolved in the most clichéd manner. Clearly, the writer chooses an unconventional premise, but doesn't squeeze it to the maximum. The slow pacing of the movie is another turn off.

Notwithstanding the shaky script, Maqbool Khan has handled a number of sequences with competency. A few dramatic moments, especially the tension-filled ones, have been handled skillfully. Note the sequence at the brothel. It's brilliant! Besides, Maqbool's well aware that given the genre of the film, there's not much scope for songs in the narrative and a couple of songs that are incorporated, have been done smartly. I'd like to make a mention of the camerawork, which captures the landscape as well as the edgy drama with dexterity.

LANKA belongs to Manoj Bajpayee, who delivers a commanding performance. He handles the toughest moments and carries the smart lines without any hiccups. Arjan doesn't get many lines to deliver, but he conveys through his eyes and expressions. He's earnest. Tia gets a few moments to shine. Yashpal Sharma is bankable. Yatin Karyekar leaves a mark. A capable actor like Manish Chaudhary is wasted this time. Shweta Salve sizzles in the item number.

On the whole, LANKA has some shining moments, but they are few and far between.

By Taran Adarsh, bollywoodhungama.com

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Ladies VS Ricky Bahl (2011) Movie Review | Storyline

7:22 AM in Movie Review

Ladies VS Ricky Bahl (2011) Movie Review-




Released On: 9 Dec 2011

Directed By: Maneesh Sharma

Starring: Ranveer Singh, Anushka Sharma, Parineeti Chopra, Dipannita Sharma, Aditi Sharma

A Yash Raj film is interminably special for a movie enthusiast. Right from good looking stars styled most gorgeously, a fine plot, harmonious/foot tapping music, visually dazzling locales, loads of entertainment… it has it all, packaged well to cater to the desi sensibilities. The expectations, therefore, soar upwards when the triumphant team of BAND BAAJA BAARAAT bracket together for an altogether new motion picture -- LADIES VS RICKY BAHL. The query uppermost on everyone's minds is, will this prized team dish up a far superior and an enhanced entertainer for its patrons this time as well?

BAND BAAJA BAARAAT was an underdog with zilch expectations attached to it. It was the dark horse of 2010. But this time, there is hope, anticipation and of course, humungous expectations.

Okay, so before we begin to 'dissect' LADIES VS RICKY BAHL, let's clear a few misconceptions. The rumor goes that LADIES VS RICKY BAHL seeks inspiration from JOHN TUCKER MUST DIE [2006; Jesse Metcalfe]. Incidentally, the same was said about Yash Raj's youth-centric banner, Y-Films' first venture LUV KA THE END. There's talk that LADIES VS RICKY BAHL also borrows from another movie, SPREAD [2009; Ashton Kutcher] and also from Jeffrey Archer's novel 'Not A Penny More, Not A Penny Less'. In the existing circumstances, making a bare-faced rip off would be blasphemous [read copyright issues]. However, I'd like to add, LADIES VS RICKY BAHL takes the same route as Yash Raj's earlier success BUNTY AUR BABLI. Actually, there's no commonality between BUNTY AUR BABLI and LADIES VS RICKY BAHL, except that both have the con angle as the wallpaper. But comparisons apart, it's a novel, contemporary tale [story: Aditya Chopra].

Dimple [Parineeti Chopra], a brash Delhi girl falls in love with Sunny, a fitness trainer. Raina [Dipannita Sharma], an independent and successful corporate woman in Mumbai, does business with an art dealer Deven. Saira [Aditi Sharma], a hard working widow in Lucknow, makes a new friend, the shy Iqbal. Three different girls who get taken for a ride by three different men.

The problem is, it is actually one man -- Ricky Bahl [Ranveer Singh], a suave and charming con-man, who revels in the game and is only chasing money.

A chance encounter brings these three women together, who vow to track down Ricky Bahl and get their money back. The next step is the actual plan. Enter Ishika [Anushka Sharma], a young and ambitious girl. The game is set in Goa…

If the promos give an indication that it's just another con flick or an extension of BAND BAAJA BAARAAT, you're in for a bolt from the blue. It's not! What's common is that LADIES VS RICKY BAHL also has ingeniously written characters and some truly engaging moments. While the first story [involving Parineeti] stands out, the second story [Dipannita] is strictly okay, while the third [Aditi] is not as convincing.

LADIES VS RICKY BAHL is a film of today and the women here are not abla naaris who will sit back and weep, but seek vengeance or at least get even with the offender. However, the screenplay [Devika Bhagat] isn't able to tap the potential that the plot provides. That's because the ploys that Anushka and her gang of girls employ to get even with Ranveer come across as preposterous and outlandish at times. Because the tricks played by the girls are unreal than sensible, even the youngsters may not really enjoy the drama in its entirety. Also, the film dips in the post-interval portions and tends to get sluggish as well. Fortunately, the director ensures that the film gets back on track and rounds off with a pounding culmination.

Director Maneesh Sharma has handled a number of sequences expertly. The start [the Delhi episode] is most enjoyable and the concluding portions are equally captivating. It's the in between that vacillates between ordinary and absorbing. Coming from Maneesh Sharma, the director of one of the best films of 2010, one expected a lot more meat from the proceedings. Habib Faisal's dialogue are incredibly witty, with the humor delicately woven in the one-liners. Music composers Salim-Sulaiman and lyricist Amitabh Bhattacharya join hands to create high-octane, full-of-energy tracks. 'Aadat Se Majboor' and 'Jazba' are vibrant, while 'Thug Le', during the end credits, stands out for its choreography. Aseem Mishra's cinematography is top notch.

LADIES VS RICKY BAHL projects Anushka in immaculate light, bestowing her the opportunity to ascertain yet another facet of her persona, which was hitherto unidentified by spectators. Exuding solid screen presence, Anushka wows you with her natural elucidation of the character. Ranveer is the scene stealer here. He's charismatic, spontaneous and glides into his character with amazing ease. He, most definitely, has the aptitude to go places if he chooses the right films and makes the accurate career moves.

Parineeti Chopra springs a pleasant surprise. She has wonderful screen presence and acts freely. In fact, the viewers would take to her character instantly. Dipannita Sharma carries off her part with poise and grace, while Aditi Sharma is subdued, but natural to the core. The actor enacting the role of Parineeti's father is first-rate.

On the whole, LADIES VS RICKY BAHL is, at best, a decent fare, which appeals in parts. The film starts well, even ends well. It's the in between that's plain ordinary. One definitely expected more from the director of the immensely likeable BAND BAAJA BAARAAT. Ideally, the film merits a two-and-a-half star rating, but that extra half star is for Ranveer and Anushka, who steal your heart with truly striking performances.

By Taran Adarsh, bollywoodhungama.com

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The Dirty Picture (2011) Movie Review | Storyline

3:09 PM in Movie Review

The Dirty Picture (2011) Movie Review-




Intermittently, real life is far more appealing and compelling than fiction. And a biopic -- which attempts to recount a person's life story or at least the most historically momentous years of his/her life -- is most demanding for not just the storyteller/s, but also the actors who bracket together with those films. Occasionally, a dash of some imaginary anecdotes are incorporated in biopics, since the moviegoer seeks some diversion and entertainment in a movie, besides enlightenment.

Having said that I'd like to add that it's easier to take a recognizable route, to opt for the tried and tested, but it's frightfully difficult to be diverse. Producers Shobha Kapoor and Ekta Kapoor are known for accepting challenges and backing films like LOVE SEX AUR DHOKHA, RAGINI MMS and SHOR IN THE CITY and along with director Milan Luthria and writer Rajat Aroraa had successfully recreated the bygone era with flourish in ONCE UPON A TIME IN MUMBAAI. Now THE DIRTY PICTURE fires all powerful bullets to stir your mind's eye.

The general feeling is, THE DIRTY PICTURE is a biopic on the life and times of Silk Smitha, a sought-after actress of the 80s. I personally feel that THE DIRTY PICTURE draws inspiration from the struggling female actors in the 80s, whose insurmountable and indomitable spirit made them emerge triumphant and create a distinctive space for themselves in the male-dominated industry. It's a recreation of an era, with the makers seeking motivation from a lot of characters to create this one woman.

Let me clear this at the very outset. THE DIRTY PICTURE not only draws attention to the life of a sex goddess, but also makes us responsive of the catastrophe behind the facade. Silk -- the principal character in THE DIRTY PICTURE -- provides titillation to millions of viewers, but dies a forlorn and heartbreaking death. She battles fame, fortune and alcohol. Brave, daring and provocative, THE DIRTY PICTURE doesn't cross the line into impropriety and offensiveness.

Envisage a junior artist who became the most sought after female protagonist of the early 80s. Chronicling the meteoric rise and steep fall of a screen sensation, THE DIRTY PICTURE is set against the colorful and entertaining setting of the South film industry of the 80s.

The quintessential siren, Silk, knew her spectators and it didn't seem like anything would stop the intensely motivated starlet, till it did, in the shape of unrequited love. To the world, she was the queen of sensuality. But, at heart, Silk was just another woman craving for true love. An unfortunate encounter with deceit and infidelity led to dire consequences!

First things first! Milan Luthria is brave and intelligent. Brave, because Milan steps out of the comfort zone to narrate the tragic story of an actress. Intelligent, because THE DIRTY PICTURE does not develop into a dry and depressing fare at any juncture. This one stresses on -- as Vidya puts it -- entertainment, entertainment and entertainment. Well narrated and wonderfully executed, THE DIRTY PICTURE is sure to strike a chord with the avid moviegoer. I'd like to give brownie points to Rajat Aroraa's dynamic script and razor-sharp dialogue. The riveting screenplay and power-packed dialogue will remain etched in our memory for a long, long time, eliciting a similar response like ONCE UPON A TIME IN MUMBAAI. The writing holds the spectators' interest and doesn't let you digress from the screen, except for a few minutes in the post-interval portions. The portions between Emraan and Vidya slows the narrative, though, I'd like to add, it picks up dramatically when Vidya gets conned by a maker of porn movies. The sequences thereafter, right till the finale, take the film to the crescendo again.

THE DIRTY PICTURE is embellished with several powerful sequences. Note the sequence when Vidya convinces/seduces Naseeruddin Shah, after he refuses to work with her. It's remarkable. Also, the first encounter with Emraan Hashmi. Noteworthy! Much later, the volatile sequence at the awards ceremony [the intermission point] is amongst the highpoints of the enterprise. The second hour has its share of super moments as well. The one featuring Vidya outside Anju Mahendroo's mansion is super. Vidya's interaction with the two women [individual sequences, both] -- with Naseer's wife first and Shakila, the dancer, next -- packs a solid punch. Vidya's interaction with the maker of porn movies is another shocking twist. The finale, of course, moves you no end.

Vishal-Shekhar deliver a good soundtrack. 'Ooo La La' is easily the song of the year [rendered brilliantly by Bappi Lahiri and Shreya Ghoshal], while 'Ishq Sufiyana' has long legs too. Another striking track is 'Honeymoon Ki Raat'. The choreography of these tracks [Pony Prakash Raj], especially 'Ooh La La', is straight out of the 80s. Bobby Singh's cinematography is magnificent.

Vidya's sizzling show and dare-bare act is sure to seize the viewers by complete astonishment. It's a novel casting because it is nothing like what Vidya has done before and is completely diverse to her image. But let's give Vidya the due: She delivers an astounding performance, pushing the envelope yet again. It wouldn't be erroneous to state that Vidya will walk away with the awards for the sterling act in this film. Besides, she carries off the hot attire without making her character look vulgar or tasteless. In fact, Milan and costume designer Niharika Bhasin Khan have ensured that the sexy-looking persona is aesthetically depicted. Vidya had put on oodles of weight to get the look of the character right and the flabby body only adds a lot of authenticity to the character she depicts on the big screen.

Naseeruddin Shah, who has been cast as an ageing South Indian superstar, sports wigs, dark glasses and painted moustache, reminding people of the stars of that era. He plays to the gallery, provoking claps, laughs and whistles, thus pulling off the role with élan. One has to credit Emraan Hashmi for willing to take on bold, aggressive characters. I actually wondered what prompted the actor to share screen space with Vidya, who has a meatier role and enacts the central character, but he walks his own path throughout the film. He plays the headstrong, hot-blooded, rebellious director to the hilt. Tusshar is wonderfully restrained in a significant role. His sequences with Naseer and Vidya, both are truly fantastic.

Anju Mahendru is first-rate, reminding people of a real-life lady journo, who was hugely popular for her writings in the 80s. Rajesh Sharma, the film-maker who 'discovers' Silk, is outstanding. An actor to watch out for! Shivani Tanskale, enacting the role of Naseeruddin Shah's wife, is perfect. Mangal Kenkre [as Ratnamma] and Imran Hasnee are adequate.

On the whole, THE DIRTY PICTURE banks heavily on shock-value, sex-value and most importantly, script-value. It's an exceptional portrayal of an ordinary person's rise from scratch to extraordinary heights and her subsequent fall. Without doubt, it is one of the most comprehensive scripts to come out of the Hindi film industry in 2011. A film with a universal theme and terrific mass connect, it has remarkable potential to set the cash registers ringing for one more valid reason -- entertainment, entertainment and entertainment.

By Taran Adarsh, bollywoodhungama.com

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Desi Boyz (2011) Movie Review | Storyline

8:21 AM in Movie Review

Desi Boyz (2011) Movie Review-



Director: Rohit Dhawan
Cast: Akshay Kumar, John Abraham, Deepika Padukone, Chitrangda Singh

The Desi Boys are here and contrary to their purported indecent acts, the film turns out to be a decent entertainer. Regardless of Akshay Kumar and daddy David Dhawan's legacy of farcical comedies, director Rohit Dhawan chooses story over slapstick in his debut venture. And though it has its share of inconsistencies, the desi duo is entertaining enough in the larger picture.

In a recession-hit UK, it doesn't take too long for the jobless duo of Jerry (Akshay Kumar) and Nick (John Abraham) to rename themselves as Rocco and Hunter and turn towards the morally-low but highly-paying profession of male escorts. They strip at hen parties though never cross the preset (Bollywood hero) limits of sleeping around. Things go wrong when Nick's girlfriend Radhika (Deepika Padukone) discovers of their clandestine career.

Jerry and Nick fall apart and the narrative divides into their individual episodes with Sajid Khan's Heyy Babyy being a strong influence for both tracks. Nick tries every trick in the trade to seek forgiveness from Radhika. Anupam Kher, as her dad, reprises Boman Irani's part from Heyy Babyy supporting the repentant boyfriend. On the other hand, the flippant Jerry turns serious in life to win the custody of his orphan nephew. For that he walks that extra mile - to the university, bringing back memories of Farah Khan's Main Hoon Na also.

Rohit Dhawan's storytelling is simple and swift and the comedy never takes the no-brainer route with adequate conviction in the writing. He smoothly establishes the comic chemistry between Akshay and John and never lets anyone overshadow the other, thanks to their reasonably written roles. Renuka Kunzru's dialogues, ranging from the witty to the wacky variety, are a major highlight and pack the requisite comic punches with some much-needed freshness over the customary synchronized lines in most recent comedies.

Certainly Desi Boyz isn't unblemished and has its set of flaws and formula. The basic conflict of Akshay Kumar going back to college to acquire a clean-chit image that could help him legally win back his nephew sounds too silly. If that was not enough, he graduates in less than half a year, thanks to private tuitions by his super-hot teacher (Chitrangda Singh) who gives economics lessons through salsa and striptease sessions. Then the film treads in absolute unnecessary territory, taking its desi title a little too seriously, giving sermons on the intelligence of Indians amidst firangs who demean our country. Sadly the Namastey London gimmick seems completely out of place in this film.

After an interesting graph to the narrative, the film is marred by a weak end, which lacks the high point that a climax demands. A courtroom drama, which drastically changes the scene tone from being comedy to contemplative, isn't a befitting culmination for the otherwise engaging flick. Nevertheless, on second thoughts, you find it as a much better end as compared to the commotional climax that most slapsticks resort to in present times. And like its climax, the film underplays in its humour and romance. The decibel levels don't go deafening in an attempt to make you laugh and you prefer the half-baked Akshay-Chitrangda track rather than the plot straying into an extended love story.

Thankfully the film balances the Desi Boyz' acts and smartly summarizes their striptease stunts in a couple of songs. The strip-shows never go crass and are classily captured with the requisite gloss and glamour. Akshay and John's sculpted bodies save the show and the average audience is never grossed out. With striking cinematography, crisp editing and vibrant costume design, the film's a technically superior product. Pritam's music is catchy and peps up the mood of the film.

Akshay Kumar is in good form and after long a film does justice to his impeccable comic timing. He often steals the scene even where his presence is not primary. John Abraham is cool, convincing and glides effortlessly through his part. Their casual chemistry makes the film work big time. Deepika Padukone is charming and makes her presence felt in the male-dominated flick. Chitrangda Singh might not have as much extensive role but brings a refreshing appeal and immense screen presence to her character. Anupam Kher is funny. Omi Vaidya is hilarious in his short role. Sanjay Dutt, in a cameo, perhaps gets the best lines in the film.

So make some way for the Desi Boyz. And be sure, they won't disappoint you!

By Taran Adarsh, bollywoodhungama.com

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Shakal Pe Mat Jaa (2011) Movie Review | Storyline

8:58 AM in Movie Review

SHAKAL PE MAT JA (2011) Movie Review-

There are times when fatigue sets in while watching the usual masala films that have precious little to offer in terms of content. The customary item songs, the much explored panoramic locales of Europe, the familiar dialogue and drama catering to the NRIs… how one longs for something fresh to come out in cineplexes that would pep you up again.

2011 has been a landmark year for Bollywood. Besides the success ratio which has shot upwards, the material churned out by dream merchants has been much better when compared to previous years. Irrespective of how these films fare, you cannot turn a blind eye to the fact that there has been a genuine effort to give the audience something fresh.

SHAKAL PE MAT JA doesn't have a Khan, Kumar, Roshan or Kapoor starring in it, but it attempts to tell a story that's refreshingly different. However, it's the screenplay that plays a complete spoilsport. What could've been an interesting movie turns out to be part attention-grabbing, part drab, part prolonged. Wish this could've been another high-wit, low cost comedy that's fun to watch, like TERE BIN LADEN.

SHAKAL PE MAT JA is a story of four young boys who get caught up as suspects at the Delhi International Airport. They get caught while capturing an aircraft landing on their camera, which they claim to have shot for a documentary that they are making. With their explanation and situation not being fruitful, they are brought into the interrogation room of the International Airport.

SHAKAL PE MAT JA is based on a true incident that occurred at Delhi Airport, according to first-time director Shubh. Though terrorism is a serious issue and the film tells the story of four youngsters, who are mistaken as terrorists, the director has interspersed light moments all through the narrative. But it's the screenplay that doesn't hold your interest after a point. A few moments are truly wonderful, but the writing goes awry towards the second hour.

There are too many jokes on flatulence, which, after a point of time, appear in poor taste. Besides, the finale with too many characters is amateurish and long-drawn-out and the film, for some reason, is devoid of excitement as it reaches its culmination. Of course, there are some zany moments, especially the sequence when the terrorist [Zakir Hussain] calls up from out of India, enquiring about the plan. Besides, the dialogue are truly bright and witty at places.

First-time director Shubh shows a flair for comic moments and like I pointed out earlier, a few sequences do make you smile/laugh. But the writing is devoid of fun and far from watertight. The title track is catchy and energetic. Cinematography is alright.

Shubh sports the right expressions and his body language adds power and effectiveness to the character he plays. Chitrak is okay in a few sequences, but his dialogue, at times, are incomprehensible. Pratik comes in his element towards the second hour. The kid is quite confident. Amongst veterans, Saurabh Shukla is top notch. In fact, he steals the show with a truly wonderful performance. Raghuvir Yadav is equally fantastic. Aamna Sharif does well, though her role could've been better developed. Zakir Hussain is first-rate. Aditya Lakhia succeeds in making you laugh. Mushtaq Khan, Joy Sengupta, Umang Jain and Rajkumar Kanojia appear in brief roles.

On the whole, SHAKAL PE MAT JA is one of those whacked-out satires that sounds far funnier on paper than on screen.

By Taran Adarsh, bollywoodhungama.com

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Rockstar (2011) Movie Review | Storyline

3:10 PM in Movie Review

Rockstar (2011) Movie Review-



Rock based movies are revered and admired in Hollywood, but Bollywood hasn't been too kind to this genre. Vipul Shah's LONDON DREAMS failed to cut ice, despite the presence of top notch names, but ROCK ON! was a moderate success, with the urban audiences giving the film a second and third dekho. The film couldn't penetrate into the heartland, though.

Imtiaz Ali has always managed to strike the right balance between the hoi polloi and the gentry. Movies like JAB WE MET and LOVE AAJKAL are proof that the enormously talented raconteur won't attempt a film if he's not fully convinced about it. Known for his imaginative and inventive take on love stories, Imtiaz takes up yet another challenge with ROCKSTAR. The story of a rebellious singer/musician, it traces his journey of love, anguish, ego, trouble, sorrow and devastation. A difficult path to tread, no doubt, but Imtiaz could be a game changer, if the film strikes a chord. Alas! ROCKSTAR is a sumptuously shot movie that is disjointed on script level.

Let's get to the root of the problem. We are used to watching films that have a beginning, middle and end. The problem with ROCKSTAR is that it starts off most impressively, has some terrific moments in between, but the writing gets so erratic and incoherent as it heads towards the conclusion that you wonder, am I really watching an Imtiaz Ali film? I mean, even the naysayers would agree that Imtiaz Ali is a super storyteller and his movies have been talked about [and also remain etched in our memory] due to varied factors, the written material being one of the paramount reasons.

What you take back from ROCKSTAR are some terrific moments, a bravura performance [Ranbir Kapoor is a class apart!] and of course, A.R. Rahman's musical score. Wish one could carry the entire film back in our hearts!

Janardan [Ranbir Kapoor], born and brought up in the very middle class locality of Delhi, has a larger than life dream -- of being a rockstar like Jim Morrison! But all he gets from his reluctant audience is ridicule and humiliation. He's at his wit's end, when he realizes that all musical stars, all artists in fact, have one thing in common. And that is tragedy. They all have tragic lives. They have all suffered painful heartbreaks to become what they are. Alas, there is no pain in Janardan's life. Unless he does something drastic, he will never become a rockstar.

Heer [Nargis Fakhri] is the undisputed diva of the college campus -- beautiful, talented, arrogant, rich and unavailable. She has broken many hearts. Janardan hopes she will break his heart too. He sets out to woo Heer with the sole object of getting his heart broken.

ROCKSTAR traces the journey of a boy who leaves behind Janardan to become Jordan, who traverses the highs and lows of life -- from simple naiveté to tortured soul, from the campus in Delhi to the international stage… He ultimately gets all that his heart has ever desired, but in the process shatters/loses his heart forever.

It's evident that ROCKSTAR seeks inspiration for the story from the iconic, charismatic and popular Jim Morrison. With a capable director like Imtiaz Ali at the helm, one expects ROCKSTAR to be a cult movie in this genre. But the film falters after an impressive start, after you are introduced to the four pivotal characters in the story -- Ranbir, Nargis, Kumud Mishra [Ranbir's confidante] and Piyush Mishra [owner of a music company].

Narrated in flashback, the writing gets erratic as you delve deeper and deeper. The film begins with a few people bashing up Ranbir and one expects the reasons for this fight to come to the fore as the reels unfold. But the sequence remains unexplained even after the movie concludes. Sequences that depict Ranbir's unpredictable and inconsistent behavior are inexplicable as well. The major mood swings -- he's cool as a cucumber at times, but turns irritable and furious immediately -- is also baffling. His relationship with Heer is inconsistent as well. He comes across as an extremely mystified individual. Ranbir's portions in Prague [including meeting Nargis on arrival there] look unreal. The end to the tale is most worrisome. It's an open end, with the audience not really knowing what actually happened to one of the central characters. In fact, the second hour is stretched without valid reason and that makes it a tedious watch.

One expects Imtiaz Ali to outshine his previous works, but he doesn't. Sure, he explores the emotional depths with immense compassion and also draws bravura performances from the central characters, especially Ranbir Kapoor. But let's not disregard the fact that every film depends on a watertight screenplay and ROCKSTAR stumbles and fumbles in this department. At the same time, there are moments that are spectacular and brilliantly executed. The sequence between Shammi Kapoor and Ranbir [when introduced in the music company office] is super. Ditto for a particular sequence featuring Piyush Mishra; he's taking a massage and talking to Ranbir concurrently. Even the sequence when Ranbir tears apart the agreement and throws it at Piyush Mishra is fantastic. A few more individualistic scenes reiterate the fact that Imtiaz Ali is a genius!

Music maestro A.R. Rahman's music is scintillating. ROCKSTAR is about the progression of a musician from India and the songs not only tell his story, but also track his journey from a nobody to a somebody. It must've been a challenge for Rahman to depict the emotional catharsis a rockstar undergoes and the tracks, I wish to add, aren't the typical Rahman numbers either. While some of the songs ['Sadda Haq'] will be loved instantly, a few others will take time to grow on you.

Anil Mehta's cinematography is top notch. Every frame is picture perfect, a painting on celluloid. Dialogue deserve special mention. They are straight out of life.

The secret behind Ranbir's triumph is that he puts his heart and mind into every project he chooses to perform in. Love, resentment, pain, hurt... Ranbir brings a multitude of feelings to his character. It's a role of a lifetime and Ranbir is sure to be immortalized in this story of a rockstar. He glides into the character effortlessly, so much so that you see very little of Ranbir, the actor and more of Janardan/Jordan, the character he represents. His performance is beyond extraordinary.

Nargis is a stunner as far as looks are concerned, but isn't persuasive in poignant moments. However, the chemistry between Ranbir and Nargis is exhilarating. Shammi Kapoor is superb in a small but significant role. Aditi Rao Hydari suffers due to an undeveloped characterization. Kumud Mishra is splendid. What a fine actor! Piyush Mishra is, as always, exceptional. Shernaz Patel enacts her part well.

On the whole, ROCKSTAR does not live up to the confidence and expectations from the otherwise very skilled and accomplished film-maker Imtiaz Ali. The film suffers immensely due to a disorderly screenplay, especially in its post-interval portions. However, the silver lining or the comforting prospect is the virtuoso performance by Ranbir Kapoor and the captivating score by A.R. Rahman, which justify that one extra star.

By Taran Adarsh, bollywoodhungama.com

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Miley Naa Miley Hum (2011) Movie Review | Storyline

7:47 AM in Movie Review

Miley Naa Miley Hum (2011) Movie Review-



Generally, a film designed as the launch vehicle for a new face always happens to be a love story. But romance is merely one chapter in MILEY NAA MILEY HUM. It's all about a son's tryst to bring his estranged parents together, in this case. Besides, writer-director Tanveer Khan integrates a sport [tennis] in the plotline, which, frankly, sets the film apart from the customary prem kahanis.

MILEY NAA MILEY HUM may not be the most engaging movie, but it has moments that tick. And it is these moments that elevate it to the watchable movie-going experience. The portions between the estranged parents [Kabir Bedi, Poonam Dhillon] hold your attention, while the under-nourished romantic track and a predictable climax [why do all films depicting a sport -- PATIALA HOUSE, SPEEDY SINGHS and now this -- have a happy reunion on the pitch/field?] are a compromise, from the writing point of view.

Chirag [Chirag Paswan] comes from a broken family. His father, Siddharth [Kabir Bedi], a vineyard owner and mother Shalini [Poonam Dhillon], a business magnate, had parted ways when he was a kid. Chirag's heartfelt desire is to bring his parents together. Now an adult, Chirag continues to live one month with his father and one month with his mother just to make them realize the pain he goes through.

Shalini wants Chirag to get married to Kamiah [Sagarika Ghatge], while Siddharth wants Chirag to settle down with Manjeet [Neeru Bajwa], his friend's [Dalip Tahil] daughter. To get out of this sticky situation, Chirag tells his parents that he loves somebody and randomly points out at a model on an advertising hoarding. The model happens to be Anishka [Kangna Ranaut], who has no clue who Chirag is.

Both Siddharth and Shalini trace Anishka and convince her, in their own way, to let go off Chirag. In the meanwhile, Chirag offers Anishka a deal she can't refuse.

The plot may not be novel or inventive, but the film unfolds briskly and has a consistent tone. The film works because the director doesn't manipulate us with unnecessary rona-dhona [a norm in movies that focus on warring parents] and even the sub-plots with Sagarika and Neeru get over before the viewer feels exhausted.

Like I pointed out earlier, the romance between Chirag and Kangna could've been handled with a lot more care. The climax too could've made an impact, although the scene when the parents wave out to their son is indeed touching. Sajid-Wajid's music is easy on the ears. Baba Azmi's cinematography captures the vineyard beautifully.

Of the cast, Chirag grabs your attention with his piercing eyes. He has screen presence and can do with that extra polish in acting. However, in view of the fact that this is his maiden attempt at movies, he does a fine job. Kangna is, as always, dependable, but why is she wearing minimal or no makeup in films these days? Earlier RASCALS and now MILEY NAA MILEY HUM… the 'natural' look doesn't work with moviegoers in India, who like to see their fav actors at their glamorous best. Especially in this case, when she's enacting the role of a model.

Both Kabir Bedi and Poonam Dhillon fill the spaces well. In fact, their sequences are well penned and well enacted too. Sagarika looks alluring, while Neeru is noticeable in a brief role. Kunal Kumar is proficient. Dalip Tahil and Suresh Menon are as usual. Shweta Tiwari dances well in the item song.

On the whole, MILEY NAA MILEY HUM is an absorbing fare with decent merits. A light-hearted entertainer that's an easy watch.

By Taran Adarsh, bollywoodhungama.com

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Loot (2011) Movie Review | Storyline

1:04 PM in Movie Review

Loot (2011) Movie Review-



Some films take a long time to hit the screens. Resultantly, the story appears obsolete, the gags fall flat and the outcome, therefore, lacks fizz. LOOT, directed by Rajnish Raj Thakur, is a been-there-seen-that kind of a ride that had everything going in its favor had it arrived a few years ago, but the time lapse seems to have played spoilsport here.

As the reels of LOOT unfold, you realize the film doesn't stand on its feet after you are introduced to the four protagonists. Reason: The perennial problem that ails most films -- slapdash screenplay. In reality, it's not merely a screenplay of convenience, but the writing is so disjointed at times that even the fine acting and some witty lines get overlooked in the route.

LOOT tells the story of Pandit [Govinda], Builder [Suniel Shetty], Akbar [Jaaved Jaaferi] and Wilson [Mahakshay Chakraborty], who are entrusted with the responsibility of carrying out a robbery in Pattaya, Thailand. But, as luck would have it, they rob a wrong address and find themselves in a mess, with a dreaded don [Mahesh Manjrekar] thirsting for their blood.

On paper, the concept of LOOT may have evoked super reactions by those reading it, but on celluloid, the film abounds in cinematic liberties, which gets hard to absorb after a point. Of course, LOOT is a hardcore masala film and one doesn't question the logic behind such plots. But the screenplay is so messy and with too many characters in the fray, the deficiencies loom large at every step.

The main culprit is the sloppy script and hence, there's not much director Rajnish Raj Thakur can do to salvage the show. There's no scope for songs in the movie, hence the track in the dance club in Pattaya and also towards the end credits [Rakhi Sawant number] doesn't add to the goings-on.

Govinda's comic timing is impeccable and he carries off some witty lines with amazing ease. Suniel Shetty is the best of the lot. He stays true to his character and handles his part like a pro. Like Govinda, Jaaved Jaaferi too has a flair for comic roles and he does a fine job. Mahakshay doesn't cut ice. Mika does well, given the fact that it's his debut film as an actor. Shweta Bhardwaj and Kim Sharma only add to the glam quotient.

Prem Chopra is passable. Mahesh Manjrekar doesn't evoke fear, though he's supposed to be a dreaded don. Ravi Kishen is getting typecast. Dalip Tahil and Deepraj Rana are just about okay. Shehzad Khan and Razzaq Khan are as usual.

On the whole, LOOT is an 80s style masala fare that lacks smart writing and slick direction. At best, it may find some patronage from spectators who relish typical masala fares.

By Taran Adarsh, bollywoodhungama.com

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Tell Me O Khuda (2011) Movie Review | Storyline

9:24 AM in Movie Review

Tell Me O Khuda (2011) Movie Review-



Hema Malini returns to direction after a sabbatical, almost twenty years after she made DIL AASHNA HAI [1992], and so does her daughter Esha, whose last release hit the screens three years ago. But the veteran actress/film-maker takes an emotional trip yet again. In DIL AASHNA HAI, it was all about a girl wanting to know who her mother was. In TELL ME O KKHUDA, the gender is changed; the protagonist goes in search of her biological father. It's her passionate quest for her roots, the search for her father that makes her travel to different destinations -- Rajasthan, Turkey and Goa.

Well, this isn't an innovative concept, frankly. Of course, DIL AASHNA HAI had a similar theme, but prior to that, Yash Chopra incorporated a similar sub-plot in KABHI KABHIE. But, if one were to be specific, TELL ME O KKHUDA inadvertently bears a striking resemblance to the Meryl Streep starrer MAMMA MIA!. Generally, in subjects such as these, the focus is on, you guessed it right, the drama and also the emotional quotient. It boils down to how one connects with the plot and how proficiently can the protagonist get into the shoes.

Hema Malini gets it right as far as the plot is concerned and there's no denying that Esha pitches in a sincere, heartwarming performance, but TELL ME O KKHUDA suffers for that vital reason that's the lifeline of every film -- the screenplay isn't convincing enough. The three stories, not connected with each other, hold your interest intermittently, in bits and spurts. But it's the culmination to the tale that spoils the effort. Things go awry at this stage. What was the need for a formulaic and filmy end?

Tanya [Esha Deol] is brought up in the secure and content environment of a loving family [Farooque Shaikh, Deepti Naval], but decides to chart an unpredictable course with the intention of tracing her biological parents. The intense search for her roots, which Tanya takes up passionately and with headstrong determination, takes her around the globe. She meets the three men one by one -- Abhay [Vinod Khanna], a royal by birth who is revered for integrity; Altaf [Rishi Kapoor], a sophisticated Indian settled in Turkey; Anthony [Dharmendra], a gangster. Tanya has to find the answers she's looking for.

Of the three stories, the one featuring Rishi Kapoor manages to hold your interest. That's because it comes across as real. The story featuring Vinod Khanna gets into an altogether different track and even the camel race that's featured in this episode, which should've been a highpoint, fails to excite you. And the one featuring Dharmendra is the weakest of the lot. Frankly, the sequences that feature the real-life father and daughter, Dharmendra and Esha, are electrifying, but the episode featuring the father's past [Hema Malini] is so so disappointing. The emotional connect is missing here. Like I pointed out earlier, even the finale is an absolute letdown.

Hema Malini has handled a few emotional moments well, but the screenplay is far from convincing, disjointed and least engaging, which takes the film down. There's not much hope for music here, yet Pritam comes up with two decent tracks -- 'Mera Mann' and 'Esha'. The latter comes too late in the narrative, though. The cinematography is consistent. The portions in Turkey are luminously filmed.

Esha Deol delivers a mature performance. Dharmendra, Vinod Khanna and Rishi Kapoor are accomplished actors all and they stand out in their respective parts. Farooque Shaikh is equally good. Deepti Naval is effective. Arjan Bajwa doesn't get scope, though Chandan Roy Sanyal is a complete livewire, a spontaneous actor. Sudhanshu Pandey is strictly okay, while Madhoo does well. The actress playing the part of Rishi Kapoor's wife does a fine job. Johny Lever provides some genuine laughs. Hema Malini appears towards the end of the film. She doesn't impress this time!

On the whole, TELL ME O KKHUDA has an erratic script, which works in bits and spurts. That, honestly, isn't enough!

By Taran Adarsh, bollywoodhungama.com

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Ra One (2011) Movie Review | Storyline

8:31 AM in Movie Review

Ra One (2011) Movie Review-



I've often heard people say, film-making is nothing short of a gamble. And as any gambler will tell you, you've got to gamble huge to triumph huge. Going by this logic, Shah Rukh Khan is The Supreme Gambler of the year.

What's at stake, beside the big money invested in RA.ONE of course, is a dream, a vision, an aspiration to make a film which appeals to kids and kids at heart. In short, attempt a film that appeals to the universal audience. At the same time, it ought to raise the bar for Hindi films. Also at stake is SRK's once-unchallenged supremacy as the reigning idol of Bollywood and that elusive thing called reputation. When you invest your repute in your dream project and stick your neck out, you expect nothing short of a mega-success.

Movies like KRRISH and ROBOT initiated the trend of superhero films in India, with fantasy making deep inroads into mainstream Hindi cinema. Now RA.ONE raises the bar, takes not a step or two, but a giant leap and adheres to international standards, in terms of execution. But the soul, I wish to add, is very desi. That's precisely the reason why RA.ONE emerges trumps. RA.ONE is beauty [read good looking film] with brains [read content].

What characterizes a stunning superhero movie? I have narrowed it down to three precise constituents that I deem are absolutely necessary for an alluring superhero flick. The first is that the motion picture must encompass spectacular action and edge-of-the-seat thrills. Secondly, a magnificent superhero movie must also boast of luminous performances from the protagonists, which in turn should make these characters appear credible and relatable. Thirdly and most importantly, superhero films must have a narrative that keeps us yearning for more. All of these are indispensable factors in making a superhero movie that will be both acclaimed and adored by fans. Fortunately, RA.ONE emerges triumphant in all the three departments.

RA.ONE is the most ambitious, most expensive and the most technologically complex Hindi film ever made. It pushes the envelope further. It's not merely a film, but an experience, an event. It's a film that will rewrite the textbook of computer graphics in Hindi cinema. At the same time, it is very Indian at heart. The relationship between SRK and the kid is the highpoint of the enterprise. But, at the same time, there are ample clap-trap moments that will send the viewers in frenzy. The chase sequence, when Ra.One finally zeroes on Lucifer, and the subsequent 'entry' of the superhero is awe-inspiring. The train sequence in the second hour is exceptional and a cinematic feat. The presence of Rajnikanth in a crucial sequence will be greeted with deafening claps and whistles. And, of course, the climax of the film; it's simply jaw-dropping.

Besides these factors, the 'Chammak Chhallo' number is already a rage and so are the sequences involving visual effects. In a nutshell, it's an entertainer that works big time. You haven't experienced something like this ever before, on the Hindi screen!

A father tries hard to fit into his son's world. While Shekhar [Shah Rukh Khan] tries every trick in the book to woo his son, his son had given up on him. Just when the father-son duo hit a deadlock, Shekhar strikes gold when he designs one hell of a game. Finally, it all starts falling in place. But the happiness is short-lived. All hell breaks loose when the game that was meant to be played with, starts playing them.

We are spoilt by cinema's ability to create on celluloid anything that can be imagined, therefore we have raconteurs making endeavors to bestow us with movies that you wouldn't have ever envisioned even in your mind's eye. You realize this as you watch RA.ONE, which is a visual spectacle from start to end.

Director Anubhav Sinha along with co-writers David Benullo, Kanika Dhillon and Mushtaq Shiekh may be inspired by international flicks as far as the concept is concerned, but they ensure that they serve the right masala to moviegoers in those 2.30 hours. What actually takes you by complete surprise is not just the money spent on visual effects or the stunning chase and action scenes, but the twists and turns in the screenplay that unravel at a feverish pace.

Besides, the moviegoers have certain expectations and notions about superhero flicks and they expect such characters to perform audacious aerobatics to save someone's life or a nation. But this one's different. Visually arresting and dramatically just what the doctor ordered, the film boasts of relatable characters, which makes this superhero movie for kids as well as grown-ups. In fact, I'd like to add, RA.ONE is not only skillfully directed, but also visually dynamic and entertains from commencement to conclusion.

The album of the film lives up to the grand expectations. Vishal-Shekhar deliver a striking score with 'Chammak Chhallo', 'Dildaara' and 'Raftarein' being the pick of the lot. The background score, also recorded by them, is equally electrifying. V. Manikandan and Nicola Pecorini's cinematography is top notch. Same goes for the stunts and chases [Andy Gill and Spiro Razatos]. Dialogue [Kanika Dhillon and Niranjan Iyengar] are hardly ever commonplace. What I found most interesting is that, whether humorous or thoughtful, the channel of communication appears very credible. The Ra.One and G.One suits, designed by Robert Kurtzman, are super.

RA.ONE is a perfect vehicle that does justice to the talent of Shah Rukh Khan. He seems to have found a story and character that work in perfect sync and tandem with manic energy. SRK steers this physically challenging lead role with high-spirited self-belief. He's endearing as the father and magnificent as the superhero with a heart. Kareena Kapoor is a delight to watch. She effortlessly glides into the character. Besides, she looks ethereal in the 'Chammak Chhallo' song and her wit is infectious. Arjun Rampal pulls his act with effortlessness and style. Also, Arjun's well-designed look is admirable.

I'd like to make a special mention of Armaan Verma, the kid who has a pivotal part to portray. He stands shoulder to shoulder with SRK and Kareena all through the film and delivers a super-confident performance. The film has a number of actors in key roles [Shahana Goswami, Dalip Tahil, Satish Shah, Suresh Menon, Mushtaq Shiekh and Tom Wu] and each of them fit well in their respective parts. Sanjay Dutt and Priyanka Chopra add to the glam quotient, while Rajnikanth proves yet again that he's a scene stealer.

But the man who warrants the actual round of applause is director Anubhav Sinha himself. For bringing out the best of SRK, Kareena and Arjun. For the amazing screenplay. For the speedy yet smooth stream of the narrative. And for the fantastic unfolding of the written material. He merits top admiration for every act of his.

On the whole, RA.ONE is a solid entertainer, no two opinions on that. It's not merely a great looking film, but also has soul, which is so essential to strike a chord with the avid moviegoer. As for the business prospects, RA.ONE is sure to shatter all previous records and set new ones, in India as well as internationally. The film will be the new yardstick for measuring success. It has Blockbuster written all over it!

By Taran Adarsh, bollywoodhungama.com

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Mod (2011) Movie Review | Storyline

10:13 AM in Movie Review

Mod (2011) Movie Review-

While Bollywood is fanatical about mega-budgets, top stars and international locales, Nagesh Kukunoor, by and large, looks the other way. Low costs, absence of big stars, sleepy and secluded locations [except 8 x 10 TASVEER and BOMBAY TO BANGKOK]… Kukunoor has made movies that may not really boast of gargantuan budgets, but have stories that linger in your memory. You expect MOD, his new outing, to live up to the expectations as well. MOD sprints energetically initially, but runs out of breath as it reaches the finale.

In one of my earlier interviews, Kukunoor had stated very categorically that he would never attempt a love story. He contradicts himself this time, for MOD is a love story and if that's not enough, it's an official remake of a Taiwanese film CHEN SHUI DE QING CHUN aka KEEPING WATCH. A love story is no safe bet. Bollywood is known for churning out prem kahanis or teeny bopper romances with amazing regularity, but the challenge lies in breaking the clutter and telling a tale that's dew-fresh and heart-warming.

MOD is an emotional love story of two completely mismatched people -- a genre Kukunoor has never tackled earlier. In fact, in his earlier movies, love was a part of the main plot, but it's the central theme this time. MOD boasts of an interesting idea and even Kukunoor's mature handling of the material needs to be lauded, but the film suffers for two reasons -- it unfolds at a sluggish/lethargic pace and is prolonged.

Let's get specific. The concept of the film is interesting, but once the cat is out of the bag vis-a-vis the identity of Rannvijay, you expect Kukunoor to take the story to its destination pronto. The journey to the culmination is erratic in this case. The track of Rannvijay's parents and also the sequences that lead to the final moments seem elongated for no compelling reason. These portions don't involve you and that is MOD's biggest undoing!

Aranya [Ayesha Takia Azmi] lives in the sleepy and idyllic hill station, Ganga. One day, a stranger, Andy [Rannvijay], lands up at her watch repair store to have his watch fixed. He is painfully shy, but keeps returning day after day to have his water-logged watch repaired. As payment, he leaves a 100 rupee note in the form of a swan. Aranya slowly warms up to this quirky stranger and through a series of meetings, they fall in love. But who is Andy? And what is his past?

Kukunoor has mastered the art of telling a story adroitly and his choice of the subject is also appropriate. For an average viewer, the identity of Rannvijay does come as a surprise, but MOD leaves you with mixed feelings. Certain sequences are delightful, but awfully extended. Some parts could have just been left out on the editing table. Some sequences don't add much value to the goings on and end up disrupting the flow of this movie.

Cinematography [Chirantas Das] is truly eye-filling. The locations are mesmeric. The songs [Tapas Relia] are a deterrent and the fact that the music hasn't caught on makes it worse.

Ayesha Takia Azmi sparkles yet again in MOD. A truly wonderful performance! Contrary to his image, Rannvijay is cast as a sweet, quirky, sensitive, geeky guy here. And not just the character, but also his performance takes you by surprise. He nails it right this time. Raghubir Yadav is, as always, dependable. Tanvi Azmi shines as well. Anant Mahadevan is first-rate. Rushad Rana does well. Nikhil Ratnaparkhi excels. Prateeksha Lonkar appears in a cameo.

On the whole, MOD appeals in bits and spurts. That's about it!

By Taran Adarsh, bollywoodhungama.com

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Azaan (2011) Movie Review | Storyline

6:18 PM in Movie Review

Azaan (2011) Movie Review-

Bioterrorism is amongst the most burning and disconcerting issues today. The perils of biological warfare -- also known as germ warfare -- just cannot be disregarded and what makes it even more hazardous is the fact that a lot of countries remain vulnerable to it.

AAZAAN undertakes a grave issue, a theme that has never been depicted on the Hindi screen earlier. Besides, director Prashant Chadha attempts to narrate the story in a style that's reminiscent of the BOURNE series. An espionage thriller that travels various continents. But AAZAAN, despite the right intent, doesn't come across as a compelling, assertive experience. What should've been fear-provoking and also emotionally enveloping, since Aazaan Khan shares poignant moments with the people he loves [brother Aman and sweetheart Afreen], doesn't register the desired impact.

Let's get to the root. Chadha had solid material to play with [story: Shubhra Swarup, Heeraz Marfatia, Prashant Chadha], which, perhaps, can trigger off debates and discussions, but a patchy screenplay [Shubhra Swarup] acts as a dampener. Bioterrorism is a new-fangled topic for Indian moviegoers and therefore, the team should've undertaken an additional effort to coherently explain the issue to the spectator. The narrative is complicated and difficult to decipher. Also, since the story moves from one location to another, it leads to puzzlement after a point. Furthermore, when you play on a realistic fear, you cannot afford to have too many cinematic liberties in the narrative.

On the brighter side, AAZAAN is embellished with a harmonious musical score [Salim-Sulaiman]. The background score, also composed by the maestros, is electrifying. In addition, the stunts, chases and combat sequences are spectacular. Also, since the film has been filmed across continents, it boasts of some stunning and dazzling visuals [DoP: Axel Fischere]. To cut a long story short, AAZAAN comes across as an assemblage of several well executed sequences, but the sheen and shimmer cannot surrogate for a spellbinding screenplay.

Aazaan [Sachiin Joshi], half Afghan, half Indian gets drawn into the murky world of espionage, only to find his younger brother, Aman [Neet Mohan], a suspected terrorist. As Aazaan infiltrates deeper, he has no clue of the price he might have to pay for it. Aazaan stands in the way of Doctor's [Sajid Hassan] plans to destroy India. All he has on his side is the love of a brother and the love for his country.

A thriller works only if it's got that nail-biting edge-of-the-seat quality. That's where AAZAAN stumbles. What you carry home are a few moments, which aren't enough. The piece de resistence is undoubtedly that car chase and the subsequent crash in the pre-climax. The conclusion, though well filmed, appears like a rushed job and also seems implausible.

Sachiin Joshi has screen presence, excels in action sequences, but would help him a lot if he works on his dialogue delivery. Ravi Kissen is competent. Dalip Tahil is wasted and so is well-known Pakistani actor Sajid Hassan. Alyy Khan manages to keep your interest alive. Vijayendra Ghatge is serviceable. Aarya Babbar suffers due to a half-baked character. Candice Boucher looks gorgeous, but gets no scope to act. Samy Gharbi and Neet Mohan fit their parts well. Sarita Choudhury gets it right. Sachin Khedekar appears in a cameo.

On the whole, AAZAAN boasts of a novel theme [Bioterrorism] and superb action scenes/stunts/chases is its biggest USP. But the film could've done with a taut script. Nonetheless, AAZAAN should find some flavor with lovers of action movies.

By Taran Adarsh, bollywoodhungama.com

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