Chandni Chowk To China: Maar-Saala Arts

Starring Mithin Chakraborty, Akshay Kumar, Deepika Padukone, Ranvir Shorey Directed by Nikhil Advani Rating : * ½ This is a film about maar-saala arts, not to be confused with martial arts which Bruce Lee and Jackie Chan practice with such splendid and subtle skills on screen. Akshay Kumar cannot be accused of the sins of subtlety. Not at all. He goes from a sweaty cook in Chandni Chowk to a cheesy fighter in China with hammers tongs and indecipherable tongues. What lies between the extremities represented by the two Oriental cultures has to be seen to be believed….or, not seen to be not borne. But then we in country love to torture ourselves. And most of us do exactly what we are told not to. So go for this one. And find out why 'Bollywood' (that horribly inappropriate wannabe term used to describe Hindi mainstream cinema) cannot compete with its technically savvy upcountry cousins from the West, or even China and Hong Kong. When Jackie Chan kicks ass, man… he really kicks! No two ways about it. Akshay Kumar divides his time between being an action hero and a comic virtuoso, tripping over the line that divides the two genres with little or no scope to contain the fall as the screenplay plunges lower and lower into the depths of inanity. Writer Sridhar Raghavan, known for his smart slick cerebral takes on formulistic conventions spins a web of incidents chronicling the journey of Sidhu the protagonist from a cook in Chandni Chowk to the satirical samurai in Shanghai is littered with laughable incidents and episodes that appear more to be part of a clumsy sitcom lampooning the Chinese than purported large-screen spectacle bringing China to Bollywood. Director Nikhil Advani (who displayed pockets of sensitivity in his innovative but over-long Salaam-e-Ishq two years ago) takes the hero into what looks like a carryover of the Chambal ravines in China. Honestly, if this film had been shot anywhere in the world it would've been just as bland and fatuous. What compounds the woefully inadequate narration is the abject lack of connectivity between the protagonist and the audience. Not even for a second do we feel a rush of empathetic adrenaline for the culturally-displaced Sidhu who encounters all kinds of emaciated goons, terrorized by a suited, booted and largely-uprooted villain named Hojo (Gordon Lieu) who is no Gabbar Singh or Mogambo. Just an aging goon in a black suit who doesn't know it's bad manners to pee in public, specially in the hero's face. Brutality when done with grace can be extremely arresting. We saw that recently in Ghajini. Chandni Chowk To China does the cause of cinematic violence a great deal of disservice. The internationally-renowned action directors who pool in their might seem unsure of where to position the action. Perched on the Great Wall Of China, Akshay Kumar and his fellow fighters (and that includes the desi Lucy Lieu Deepika Padukone) slug it out like drunken revelers on a rowdy spree. Elegance is in short supply in the film, except when Deepika playing twin sisters (told apart mainly by their hair, one of them perpetually forgets to braid it properly) waltzes in with a light step and twinkling eye. She seems to have fun. We don't. And that's mainly because the scriptwriter forgot to include the audience in his circle of entertainment. Large chunks of this 'Adventures Of Sidhu in blunderland' saga leave us cold and unresponsive. And when the final climactic fight between the hero and the villain occurs, Akshay Kumar decides to turn it into a comic romp in the middle of the climac. We are more dazed than dazzled by the baffling mood swings in the plot. Yes, there are moments that hold your attention. Sidhu's martial arts training with twin Deepika Padukone's Chinese dad (who looks like he could do with a wash) are superbly orchestrated. That touch of unstrained comicality in stressful times that the narration apparently strives to achive, eludes the film by a wide margin. Most of the time you are looking at a film that does appalling things to Indo-Chinese relations. Not to mention our traditional perception of mainstream masala-maar ke entertainment. Martial arts are turned into maar-saala arts. And you leave the film wondering what it was meant to be. A bird, a plane or just a pathetic parody of Jackie Chan's comic vendetta sagas. Chandni Chowk To China isn't just no-brainer. Its lobotomized laughter can make you wish for anesthesia. At least you'd know where the numbness is coming from.

For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Jumbo - Movie Review

Rating: *** You need to look at an animation film differently. Let the kid in you come to the forefront when you watch one. At the same time, it's pertinent that every film, live or animation, should possess that grip to keep the viewer hooked to the proceedings for the next 2 hours. Percept's Jumbo may not be as entertaining as HANUMAN -- one film that opened the doors for animation films in India -- but it is shades better than most amateur attempts that followed the success of HANUMAN. Jumbo, based on 'Chao Praya Prah Hongsawadee', a story by Ariya Jintapanichkarn, tells the adventures of Jaiveer aka Jumbo, a baby elephant. He dreams of following Yudhveer, his absent father, and becoming the royal elephant. Jumbo decides to go in search of his father. During his search, Jumbo meets up with a kindly elephant trainer, a hyperactive messenger bird and a female elephant, who becomes his sweetheart later. Subsequently, Jumbo becomes a war elephant and defends his kingdom against the evil opponents. Jumbo bears an uncanny resemblance to THE LION KING. You don't take to the film instantly, but it picks up towards the latter part when Jumbo is chosen by the king to fight the opponents. The animation isn't at par with the best (SHREK, THE LION KING, FINDING NEMO, the recent hit MADAGASCAR: ESCAPE 2 AFRICA), but the quality is better than some of the stuff we've witnessed in India. Jumbo has the trappings of a typical Hindi film. There's revenge, romance, emotions, action... plus, the voiceovers by several top names, besides a song (well choreographed by Ahmed Khan) and scenes featuring Akshay Kumar. Also, the voiceovers are in sync with the lip moments. Akshay, Dimple Kapadia, Rajpal Yadav and Gulshan Grover infuse life in those characters. On the whole, Jumbo is a sweet, sincere and simple film that works. Who knows, it may spring a surprise this Christmas. Recommended for kids from 6 to 60.

For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Ghajini - Movie Review

Rating: ****1/2 The wait is finally over! An Aamir Khan film is nothing short of an event. The supremely talented actor acts in one film a year and no two films are ever identical in terms of plotline. No wonder then that you await an Aamir starrer with bated breath. Ghajini, the Tamil version, has been a massive hit and so was its dubbed Telugu version. Will the Hindi adaptation live up to the humungous expectations? The hype is unmatched and you expect no less than a present-day masterpiece. Now the good news: Ghajini demonstrates how strong film-making can enhance and elevate an already solid concept. Ghajini is a revenge saga, one ingredient that has been the staple diet of Hindi films since time immemorial. It is a powerful film. It has the power to sweep you off your feet from the word 'go'. It has a riveting story, which has been told with flourish by director A.R. Murugadoss. And, of course, it has a knockout performance by Aamir Khan. If at all there's a shred of doubt whether Aamir is The Best in the business, all you've got to do is check out Ghajini. Flaws any? Running time (almost 3 hours)? Not at all! There's so much happening in every scene and the screenplay is so gripping that you don't feel the need to look at the auditorium ceiling or at your watch at brief intervals. You aren't restless. As moviegoers, we've watched countless good versus evil fares over the years and although Ghajini belongs to the same family, not once does it take the beaten track. The story has been told differently and most importantly, the story offers so many twists-n-turns that you just can't guess what would unfold next. Is it violent? It is, at times, but the violence here is justified. In fact, every time the protagonist bashes up the evil-doers, you clap and root for him. The climax is jaw-dropping -- dissimilar from the original, but it's an out of the world experience nonetheless. To sum up, Ghajini is commercial Hindi cinema at its best. The film has 'Hit' written all over it. Let me put it this way: Cancel whatever you're doing today and go watch Ghajini instead. Aamir Khan is suffering from acute short-term memory loss set off by the violent murder of his girlfriend Asin. He's got to work around this handicap, but with methodical and meticulous determination. Aamir etches a path of clues that lead him on his road. To aid him in his quest, he carries around a sheaf of Polaroids and when he is really sure of a piece of information, he has it tattooed on his body, which stands in for the damaged part of his mind. His indelibly marked torso is the repository of his grief, his rage and his reason to go on living. Any more revelation would do gross injustice to the film and to its viewer. First things first! Ghajini is not MEMENTO. There're minor similarities, but Ghajini takes a completely different route to tell its story. Director A.R. Murugadoss tells this one differently. It starts off with what happens in the past, comes to the present-day, goes back in time again and returns to the contemporary again. This is a breathless, exciting story, heart-breaking and exhilarating at the same time. Hindi movies have often depicted people suffering from amnesia/memory loss, but Ghajini is poles apart because the protagonist recalls events only for 15 minutes. The story is its USP, without a doubt. But what adds sheen and glory to the story is Aamir's portrayal of a man suffering from short-term memory loss. Aamir hardly speaks. In fact, the leading lady (Asin) speaks more than Aamir in the film. But Aamir speaks volumes with his eyes, he conveys whatever has to be conveyed through his body language, he says it all with his facial expressions and that only makes Ghajini a memorable, never-seen-before experience. Director A.R. Murugadoss deserves brownie points for not just coming up with an interesting story, but also presenting it (refreshingly) differently. The storyteller balances the light moments and the ones demanding intensity with expertise. There's dum in every sequence. Even if the director has to depict violence, he doesn't resort to blood-n-gore or knives-swords-pistols for effect. A.R. Rahman's music is top notch. At least three numbers have the unmistakable stamp of a genius -- 'Guzarish', 'Behka' and 'Kaise Mujhe'. Ravi Chandran's cinematography is stunning. The film bears a stylish look all through. The action sequences are brilliantly executed. The Hindi moviegoers haven't seen such scenes ever. Aamir delivers his career-best performance. In the first place, it requires courage and maturity to name the film after the villain. Knowing how egoistic our stars are, something like this is next to impossible in Hindi films. A lot has been said and written about the Ghajini look -- Aamir's hairstyle and his dream physique. It's awe-inspiring and if more and more people adopt the 'Aamir look' or hit the gym, it would be courtesy the actor. As far as his acting is concerned, he's natural as the tycoon, but like a wounded, ferocious tiger when he goes on an avenging spree. Without doubt, it's a concentrated, layered performance. He acts with his entire being. His body movement, the details of his performance, everything rings true. He is both vulnerable and hard. The pain in his face when he can't remember, is palpable. It's not only the plot that carries Ghajini. It's also the mood and the expression on Aamir's face that makes Ghajini a treat. Asin is fabulous. To share the screen space with an actor of the stature of Aamir Khan and yet remain in your memory even after the show has ended is no cakewalk. She looks fresh and photogenic and acts her part brilliantly. Pradeep Rawat, the villain, is first-rate. Jiah Khan impresses, especially in the sequence when Aamir follows her to a shopping mall. On the whole, Ghajini is a winner all the way. The film will set new records and has the merits to emerge one of the biggest Hits of all times. The weekend business should be historic, the Week 1 business should be unparalleled, the lifetime gross should be amongst the biggest of all times. In short, Ghajini has 'Blockbuster' written all over it.

For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Dostana - Movie Review

Starring: Abhishek Bachchan, John Abraham, Priyanka Chopra, Kirron Kher, Boman Irani
Written & Directed by Tarun Mansukhani
Rating: ***

Get this straight. Abhishek Bachchan and John Abraham are not gay. They are just happy pretending to be bed partners. In the endeavour they pull put all stops and get into the gay zone with a gusto that stumps all the moralists.

There are butt-and-bum jokes galore some even pointed at the leading lady. But hold that frown.

Auntyji, chill. It's all for fun. Wanna join in?

The theme of heterosexual characters pretending to be gay to get a precious abode in the bustle of the metropolis is pretty cool.

Bachchan and Abraham, both in full form, get into the gay groove without going over the top. They come out with flying colours through most of the material that's provided to them to sink their teeth into.

While John combines terrific body language with some great comic timing (he's come a long way from his thanda GaramMasala days) Abhishek's expressions are a scream in their pitch-perfection.

One of the most brilliantly-written sequences orchestrates all the characters of this gay-play in the same room.

There're the play-acting gay protagonists, a gay magazine editor (a flawlessly wimpy Boman Irani), a gay marriage-bureau official (who just decides to drop in for a quick –check) and of course Abhishek's homophobic mother (Kirron Kher) who screams and rants and then accepts her son's apparent sexual preference.

You could simply marvel at the two principal actors giving so much of heart and others parts to their parts.

After a point you're tempted to stop counting the number of times the word 'gay' gets in the way of the narrative. From 'Mera beta gay hai' (courtesy Abhishek's mom Kirron Kher) to a 'Han main gay hoon' …. Dostana wins the how-to-say-gay-in-every-which-way award of the year.

Sandwiched between the two brilliantly-poised heroes is Priyanka Chopra, glowing like a 1000-watt bulb in her immaculate wardrobe (and out of it…she too gets into beachwear, what did you think?).

So here's the bottom (oops!) line. Hindi cinema finally comes out of the closet. And going by how little John Abraham wears in most of the film. There's very little coming out of the closet.

But there you have it. Bollywood's first beach-bum-chum meri-dosti-mera-pyar dildo-dil-lo preparation done on that slow-burn state of leisurely cooking where the characters get an ample chance to extend the parameters of the conventional cinema without toppling into the abyss of overstatement.

First-time writer-director Tarun Mansukhani has the zing thing in his vision. Miami shot with fetching gusto by Aynanka Bose lifts the luscious locales to more than a touristic paradise. The desi characters seem to belong to this beachside paradise.

Well-toned bodies tanned to the extreme of selfglorification, sinewy movements on the beach and on the dancefloor, songs music and feverish fiesta of sexually- driven people who want it all.And fast. Dostana is the ultimate hedonists' dream.

The narrative pace slackens considerably in the second-half, what with the heroes expanding their homosexual hijinks into a triangle with Priyanka thrown in for good measure.

Then the triangle dilates into a quadrangle as Bobby Deol (looking dapper in his Armanis) makes a belated appearance as the boss who first intimidates and irritates the working girl into motion of anger and submission. And then sweeps her off her feet.

Is this to keep the heterosexuals happy ?

What keeps the narrative going is the sheer zest for life and the mood of wink-wink wackiness which Shilpa Shetty sets at the outset with her ooh-la-la item song.

The gags involve everyone from the caricatural and spinsterish landlady (Sushmita Mukherjee) to an incredibly clueless magazine editor (Bobby Deol) who agrees to behave like a moron on the our pseudo-gay heroes' say-so.

It's all in fun. Not to be taken seriously. Not even when Abhishek and John lip-lock in mock-ecstacy for a climatic farewell kiss that certainly leaves Priyanka breathless.

I'm still trying to figure out why Abhishek is inspired to act gay with John while holding a hotdog in his hand. Is there a hidden code there?

As for the audience, it's still counting the number of times the characters say 'gay'. Every which way.For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Quantum of Solace - Movie Review

Cast: Daniel Craig, Judi Dench, Gemma Arterton, Olga Kurylenko, Mathieu Amalric Director: Marc Forster Rating: *** If "Casino Royale" was set up as a template for the new Bond actor Daniel Craig, "Quantum Of Solace" merely re-establishes this new order. All the major ingredients that go into making the Bond movies special are featured here. "Quantum Of Solace' doesn't thrill or break new ground, but it is still a very good Bond movie. Director Marc Forster is an odd choice to helm a Bond movie since his previous hits - "Finding Neverland" and "Monster's Ball" - were not action movies. While Craig returns to give a solid performance and the gritty style with raw action maintained from the previous movie, this movie does lack a coherent plot that at times undermines the whole viewing experience. The movie continues with Bond seeking to find his lover's killers. This Bond is very angry and leaves too many people dead in his trail. Bond soon finds himself in the midst of a nefarious plan of villain Dominic Greene (Mathieu Amalric) who is posing as a crusader for the environment but secretly has a more sinister plan. Hunting the bad guys requires Bond to travel quite a bit and this gives the filmmakers a good excuse to stage some action sequences. There is a chase on foot through the streets, a chase on speed boats and even a battle in the sky with planes. Through it all, Bond maintains his cool but never cracks a smile. At times the movie takes itself too seriously. This Bond movie may be the least fun of them all. His desire to seek revenge casts a dark shadow of a mood through out the movie and some well timed humour might have been refreshing. Gone also are the gadgets, along with Q. The one liner innuendos are also missing and for the first time, Bond's signature "The name's Bond, James Bond" has been dropped. The action sequences are disappointing. This was the most expensive Bond movie made and the action does take place in some exciting locales. But the director makes a minor mistake. He choreographed the action from up close. We are placed right in the middle of the action, but we are not clear on what's happening exactly. Sadly, at times we don't want to seem to care. The actors do a commendable job. Craig clearly suffers from a script that could have exploited his range in talent more. His character comes of very one dimensional. The Bond girls Olga Kurylenko and Gemma Arerton are stunning but end up as props. They are not allowed to be fleshed out. There is a bit of a back story for Camille (Kurylenko) but even she is disposed off much like former Bond girls. Craig is set to return for more Bond movies. He had a good start with "Casino Royale". With "Quantum Of Solace" he cements the new more gritty Bond, but at the expense of fun. Here's hoping the Bond of the future will lighten up, have some fun, and not take himself too seriously. Not everything from the old Bond movies needs to be changed.

For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Fashion - Movie Review

Are you ready for an expose on the fashion industry? Where designers pass off 'Indira Market, Bangkok' stuff as their own creation. Where ad agency/fashion mag honchos call the shots. Wild lifestyles, backstage dramas, wardrobe malfunction, casting couch… ouch, ouch, ouch!

Madhur Bhandarkar, the undisputed king of realistic fares, comes up with yet another hard-hitting film that enlightens you, moves you, motivates and deflates you, even shocks and surprises you and of course, entertains you.

The solid reason why FASHION works is because Madhur brings alive everything you've read in newspapers or watched on TV as an outsider, to the big screen. And that works and how!

But let's not give the subject material all importance, for Madhur's handling of the subject is exemplary. Madhur dresses up his mannequins well, but most importantly, infuses life in those prime bodies. A number sequences leave you tongue-tied [more on that later].

But there's a hitch. And this problem tones down the impact considerably. The running tine of almost 2.40 hours makes you restless, especially the penultimate 25-odd minutes. Yet, all said and done, FASHION has all it takes to be the showstopper this Diwali!

FASHION tells the story of a small-town girl with a dream and the determination to make it a reality. Meghna [Priyanka Chopra] is ambitious, she wants to attain the status of a supermodel. She realises her dreams and rises to walk the ramps for leading designers across India.

But Meghna has to pay the price for her fame and her journey to the top. Her career starts sliding downwards. In this journey of Meghna, she encounters a number of people. Most importantly, Shonali [Kangna Ranaut] and Janet [Mugdha Godse]. Also, Abhijit Sareen [Arbaaz Khan], a tycoon who controls the fashion industry.

CHANDNI BAR, PAGE 3, SATTA, CORPORATE, TRAFFIC SIGNAL -- every Madhur Bhandarkar film has a new story to tell and he tells it most convincingly. In fact, Madhur strikes a fine balance between realism and entertainment in every film. Given the fact that FASHION is all about the fashion industry, the narrative is inevitably filled with lots of glam-n-glitz moments. The fashion shows, the stunning models, the superb styling, the vibrant colours and the behind the scenes drama is worth every penny spent on the ticket.

But it's not just ramp shows and style-n-fashion here. There's a story running concurrently -- of three models. One, the rise of an unknown into a supermodel. Two, the fall of a supermodel to dust. Three, the ambitious model not achieving success, but opting for a marriage of convenience.

While Madhur has handled the theme as if he were an insider, this review would be incomplete if you ignore two major sequences that are simply outstanding. One, Kangna's wardrobe malfunction and two, when Priyanka exposes Arbaaz to his wife [Suchitra Pillai].

Mahesh Limaye's cinematography captures every aspect of the fashion industry to the fullest. The screenplay [Madhur Bhandarkar, Anuradha Tiwari, Ajay Monga] is perfect, except for the penultimate portions. Niranjan Iyengar's dialogues are fantastic. Nitin Chandrakant Desai's production design is truly upmarket. The costumes and styling are top notch, a feast for the eyes. Salim-Sulaiman's music is well synchronised as well. 'Mar Jaava' and 'Jalwa' are lilting creations.

Madhur places immense trust on Priyanka and she is remarkable all through, more towards the second hour. Post AITRAAZ, FASHION is another medal that shines the brightest when you look at her body of work. But the real star is Kangna. Her role may not be as lengthy as that of Priyanka, but the actress pitches in an awesome performance. Her confidence at the very start is infectious and her overall performance deserves an ovation.

Mugdha Godse is, again, supremely confident. She has dum. Arbaaz Khan is first-rate. Arjan Bajwa does well. Harsh Chhaya, the gay designer, stands out with a realistic performance. Ashwin Mushran, Priyanka's confidante, is top notch. Samir Soni is good. Suchitra Pillai and Kittu Gidwani are effectual. Raj Babbar and Kiran Juneja are seasoned in such roles.

On the whole, FASHION has tremendous curiosity value and also shock value for the Indian audiences. Its subject -- the behind the scenes working and drama of the fashion industry -- is its USP. At the box-office, the pre-release hype and buzz will ensure a successful run for the film. Its business at multiplexes mainly should be bountiful. However, trimming the film will only help; not only will it enhance the film, but also its business. Must watch!

For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Golmaal Returns - Movie Review

Two years ago, Rohit Shetty came up with a breezy entertainer GOLMAAL, which, most people agree, is the capable director's finest work to date. The comic scenes hit the right notes and buttons. Perhaps, that must've prompted its producers [Shree Ashtavinayak] and Rohit to continue with the GOLMAAL series.

But GOLMAAL RETURNS treats the viewer like a nitwit, with zero brains. No-brainer laughathons have worked in the past and people have catapulted these films to 'must watch again and again' category. But GOLMAAL RETURNS is simply unbearable!

35 years ago, the Kiran Kumar - Radha Saluja comedy AAJ KI TAZAA KHABAR [1973] is the inspiration for GOLMAAL RETURNS. No issues with that, it's an interesting concept. But screenplay writer Yunus Sajawal makes a mincemeat of the material, so much so that your head starts aching after a point and you want to tear your hair in disgust.

Seriously, what was the writer thinking when he came up with a pathetic screenplay? And how did a talented director like Rohit Shetty agree to ride on it? And how could an accomplished actor like Ajay Devgan green signal this enterprise? Questions, questions, questions...

GOLMAAL RETURNS was never meant to be a thinking man's film, but the attitude is, no-brainer comedies have worked and this one will work too. To give the credit where it's due, a few jokes/sequences involving Tusshar and Shreyas do bring a smile on your face, but in the absence of a tight screenplay, the film falls like a pack of cards.

Final word? Golmaal hai bhai script golmaal hai!

Gopal [Ajay Devgan], who lives with his wife Ekta [Kareena Kapoor], sister Esha [Amrita Arora] and brother-in-law Lucky [Tusshar Kapoor], gets stuck in a yacht after saving an attractive woman Meera [Celina Jaitly] from some goons. Both end up spending the night on the yacht and when he comes home the next day, his painfully suspicious wife, who is also a hardcore fan of the saas-bahu serials, smell fish.

Gopal knows it's going to be hard to quell her suspicion, so he concocts a cock-and-bull story about having stayed the night with a fictitious friend called Anthony Gonsalves. Ekta refuses to buy his yarn and writes to Anthony [on a fictitious address given to her by Gopal], asking him to visit her.

Gopal convinces his junior at work, Laxman [Shreyas Talpade], to pretend to be Anthony. Everything goes according to plan till the real Anthony turns up.

If that isn't complication enough for Gopal, a dead body is discovered at the location where he had saved Meera. The Investigating Officer, Madhav [Arshad Warsi], who is Esha's boyfriend and also who cannot stand the sight of Gopal, learns that the latter had been missing from home that eventful night and begins checking on him.

A sequel carries the baggage of humungous expectations. And you definitely expect GOLMAAL RETURNS to be a step forward. The makers had thundered, "GOLMAAL RETURNS is bigger, it's better" and that raises the bar. But the film is such a put off.

Writer Yunus Sajawal takes an interesting premise, but instead of upgrading it, only downgrades it with lacklustre situations. The writing is so weak, so lifeless that after a point you sit motionless, looking at the goings-on mechanically, instead of being a participant.

A few sequences do entertain you, but they're few and far between. Not enough to camouflage the defects. In view of the fact that the writing is so weak, there's not much that director Rohit Shetty can do to save the ship from sinking. However, the dialogues are howlarious. Music is not as inspiring. 'Tha Karke' is the best track, while 'Tu Saala' [well promoted] isn't there in the film and 'Meow' comes during the end credits. And you're exasperated by then!

GOLMAAL RETURNS belongs to Tusshar Kapoor and Shreyas Talpade. Tusshar is terrific yet again, the real scene stealer, while Shreyas displays his comic side very well. Both, in fact, provide respite to the viewer. Ajay Devgan is likable. Kareena does the suspicious wife act well. Celina stays on your mind even after the show is over.

Arshad Warsi is relegated to the backseat. Amrita Arora is strictly okay. Anjana Sukhani gets no scope. Vrajesh Hirjee is alright. Sharat Saxena, Rakhi Vijan, Sanjay Mishra, Murli Sharma, Mukesh Tiwari and Ashwini Kalsekar fill in the blanks.

On the whole, there's tremendous curiosity to watch GOLMAAL RETURNS and the terrific promotion has only enhanced the excitement. But the film is a major letdown in terms of content. Barring a few jokes and gags, this GOLMAAL pales when compared to its first part. At the box-office, expect a terrific start for the film, but GOLMAAL RETURNS lacks the power to stand on its feet after the initial euphoria settles down.

For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Roadside Romeo - Movie Review

Rating: ** The premier production house (Yash Raj Films) teams up with one of the biggest studios of West (Walt Disney Pictures) for an animation film. You expect this collaboration to yield incredible results. Animation movies like THE LION KING and SHREK have appealed to every strata of movie-going audience the world over. Although 'Made in India' animation films are making their way into our plexes, the results, most of the times, are amateurish. But Roadside Romeo pulls it off. In terms of animation (Tata Elxsi/VCL), it's a step forward as compared to the other animation films. But there's a hitch: Hackneyed script (penned by debutante director Jugal Hansraj). Films like LION KING or SHREK, even FINDING NEMO, worked because they were innovative concepts. They had interesting stories to tell. Plus, most importantly, they were rich in emotions. You'd laugh when they laughed, you'd cry when they cried, the writing was so effectual. Roadside Romeo borrows from the masala films of 1980s. There's a hero, a heroine, the mandatory villain, plus love, problems, misunderstandings and conflict, but all's well that ends well. The story is predictable and worse, you don't feel for any of those characters you watch on screen. Another factor that goes against the film is the fact that it lacks good music. Though the title track and also 'Chule Na' have been publicized, the impact is missing. Ideally, the makers should've gone ahead and incorporated the evergreen songs from their rich repertoire in this animation film. The kids would've loved it! There's one more hiccup. Assuming that Roadside Romeo is mainly targeted at the kids, the dialogues by Charlie Anna, the villain who speaks in a South Indian accent, are difficult to decipher and comprehend (at times) even for adults. Imagine, how difficult it would be for the kids to grasp those lines. Yet, despite the shortcomings, Roadside Romeo works because the second hour keeps you fairly engrossed. A few portions like the cat pretending to be the pretty Laila on a date with Charlie Anna is amazing. Also, the culmination, a straight lift from the by-now-famous train ending from D.D.L.J., is equally enjoyable. The voice-overs are perfect. Saif (Romeo) and Kareena (Laila) were the right choices for the lead players. Tanaaz Currim (cat) and Sanjay Mishra (the villain's sidekick) stand out as well. On the whole, it's thumbs up for animation, but thumbs down for scripting in Roadside Romeo. It might glimmer during the festive week, but this Romeo is unlikely to rule the hearts of kids or kids at heart.

For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Hello Movie Review

Hello has a clumsy start and totters its way through only to find its momentum, before the interval. The second half is better but the packing up of Bakshi which was cleverly shown in the book, leaves a lot to be desired.

The basic flaw in the movie is that the first hour of the Hello is wasted in establishing the characters, there is hardly any story being told. But the movie does find its groove after the first hour and goes steady, before dwindling again in the climax. Hello , seems to have low production values(the only time the movie looks really awe-inspiring is when the credits are displayed at the start).

Story of Hello: Shyam(Sharman Joshi) is the team leader whose career is stagnant and he is well on his way losing his girlfriend Priyanka(Gul Panag) who is working with him to an NRI. Radhika(Amrita Arora) has to take a lot of taunts from her mother-in-law and has to bear with the long distant relationship of her husband(Arbaaz Khan) whom she realizes later, has cheated on her. Esha (Isha Koppikar) has high hopes of being a model and even succumbs to casting couch for her goal). Vroom(Sohail Khan) loves Esha but is pained by the fact that the call center is going nowhere and Esha is eluding her. Military Uncle(Sharat Saxena) has his own story, he does email support while the rest take calls. He dotes on his grandchild, whom he has been barred by his family to communicate with.

Plus points of Hello: The cute special effect of the devil in Shyam’s mind is well shot. The conflict where every character meets with his/her own problems is presented well. Gul Panag and Sharman Joshi have good chemistry. The song picturizations especially of Karle Baby Dance Dance is well executed.

Minus points of Hello: The dismal screenplay and tacky first half are unbearable. The humor element which were well splashed in the book is missing in Hello. Some key points in the book like Have More Restaurant(which was cutely shown in the book) is missing. But yes, it is tough to scrap and include parts of the book to incorporate in a film. But better justice could have been done. Suresh Menon is pathetic and is an embarrassment to Hello, torture to viewers. Salman Khan looks haggard, drunk and disinterested. The eye bags and the double chin: yuck the stud never looks so pathetic.

Performances in Hello: Sohail Khan stands out in his portrayal of Vroom, you can’t imagine anyone else in his place. Sharman Joshi is apt and does a good job. Sadly, Salman Khan is boring and Dalip Tahil with his over the top hamming, makes you throw a cell phone at him. The girls are wonderful, look good and act well. The pick of the lot, is an understated performance by Amrita Arora. Gul Panag looks gorgeous and performs well. Esha Kopikkar is okay.
What one does not understand is why the ‘condom’ dialogue was edited in the love making scene of Hello between Sharman Joshi and Gul Panag. Overall, Hello is a onetime watch.
Ratings : 2/5
For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Drona Movie Review

Big wind, loud thunder, no rain! This in short describes Goldie Behl's DRONA the best. The film drags, over two continents, and how! It can be best described as a costume drama. The producers might have spent huge monies to get the costumes and sets in place, not to forget the special effects, which are very, very good. But what is the use of special effects and good costumes if there is no script? DRONA lost the battle at the writing table itself.

To quote the makers, ''DRONA is rooted in the vibrant tapestry of Indian mythology. DRONA is the compelling modern tale of one man's spectacular voyage through the labyrinths of mystic myths and legendary legacies. It is a journey that will force him to face his fears and make him the hero he was born to become.''

DRONA is Abhishek Bachchan. For the first half of the movie the director is getting him to realise who he is; during the latter part of the second half, he realises who he is. And towards the end, he accomplishes what he is supposed to be by eliminating big bad Riz Raizada (Kay Kay Menon).





DRONA also has Priyanka Copra as Sonia, his bodyguard. One look at Priyanka and you want to give a hug to make-up artist Mickey Contractor who has done a fabulous job. Priyanka looks gorgeous. Will Madhur Bhandarkar be able to go one up on DRONA as far as her look is concerned in FASHION? That is for another review!

The huge hype will pull in the crowds, but it will be another task to keep them in during the course of the movie.

You go back with just one thought after watching DRONA, a colossal waste!

Rating - 1/5
For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Hari Puttar

Rating: *

Kiddie films, aimed at kids between 6 and 60, are slowly making inroads in Bollywood. Hari Puttar - A Comedy of Terrors is the newest entrant in this family.

Now let's set the record straight. Hari Puttar - A Comedy of Terrors is not remotely inspired by HARRY POTTER, but it actually borrows from HOME ALONE. Unfortunately, directors Rajesh Bajaj and Lucky Kohli make a complete mess of what could've been a great kiddie fare.

Seriously, what were the directors thinking when they okayed this apology of a script? The directors seem completely clueless about how smart today's kids are. And the kind of stuff they have an access to (television, cinema, games). They've witnessed far better stuff than what's dished out in this misadventure.

Hari Prasad (Zain Khan) or Hari Puttar, as he is fondly called, is a bright 10-year-old who has recently moved from India to U.K. with his parents.

His father, Prof. Dhoonda, is assigned to work on a secret project with the Defence Forces at a remote location in U.K. He has access to confidential information that is stored on a chip and safely kept at his house.

Within days of their arrival in London, Hari's aunt (Lilette Dubey) and uncle DK (Jackie Shroff) visit the Dhoonda residence with their own as well DK's boss' children. Suddenly, the house is filled with the effervescence of no less than ten kids.

At this point, everything goes for a spin for Hari Puttar. Not only is he thrown out of his room to accommodate the girls, he is also ragged and ridiculed by all the other kids for being too naïve. Hari Puttar suddenly feels unwanted, undermined and unappreciated.

The family takes off for a holiday, leaving Hari Puttar and Tuk Tuk (Swini Khara), his cousin, behind, who confront the two goons (Saurabh Shukla, Vijay Raaz) out to rob the chip.

Even if you're inspired by a hugely popular English film, the challenge lies in Indianising it well enough. But HARI PUTTAR - A COMEDY OF TERRORS is an amateurish attempt all the way.

Here, the goons exchange the choicest of expletives (beeped obviously). Here, the villain (Mr. Blue Contact Lenses with an Ajit hangover; zero expressions) and his cronies (Saurabh Shukla in a hideous wig and Vijay Raaz in outlandish outfits) are more of buffoons. Here, in a kiddie film, you get to watch a sexy Shamita Shetty gyrating to a promotional track.

The scripting is amateurish and hence, whatever unfolds on screen makes no impact whatsoever. Any redeeming aspect? The penultimate 15 odd minutes when the kids try their best to keep the villains at bay. Also, the animation is quite good.

Zain Khan does a decent job. Swini Khara, seen in CHEENI KUM, gets no scope. Sarika looks disinterested. Also, she looks ill at ease delivering Punjabi lines. Lilette Dubey is miscast. As for Jackie Shroff, the less said the better. It's also sad to see actors like Saurabh Shukla and Vijay Raaz being reduced to such roles. They ham!

On the whole, Hari Puttar - A Comedy of Terrors is a poor show all the way

read more...

Hari Puttar - A Comedy of Terrors Movie Review

What do you say of a film that's a first for a newly-launched production house which is a very, very bad remake of a successful Hollywood flick? Just one word. Terrible. What were the makers thinking when they went ahead with the shooting of this film? I mean just a smart title to cash in on the success of Harry Potter is not enough! There is absolutely no mind, matter, nor any sense. It's just plain boring. Y A W N!
What might be a consolation for the makers is that the new generation of kids who might not have seen the very famous HOME ALONE flick might just dig into this. But then, 'word of mouth' is a very powerful tool these days. Look at what positive reviews and 'word of mouth' publicity did to MUMBAI MERI JAAN, and A WEDNESDAY!

This is a classic case of intellectual bankruptcy.

Sorry Puttar. This is no way to make a children's film
For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Hulla Movie Review

Director - Jaideep Varma
Producer - Sunil Doshi

Cast - Sushant Singh, Rajat Kapoor, Kartikadevi Rane, Mandeep, Vrajesh Hirjee, Dibyendu Bhattacharya and others.

Hulla, the film by debutant director Jaideep Varma, is an attempt to capture the travails of those living in an increasingly congested Mumbai and sometimes how something as insignificant as a whistle can cause turmoil in one's life. A share market broker Raj, played by Sushant Singh, shifts into a middle-class building in suburban Mumbai.

He finds he is unable to sleep due to the long-shrill whistle blown by the watchman every now and then, whereas his wife is absolutely unperturbed. Raj futilely turns to Janardan, the building secretary played by Rajat Kapoor, with his complaint. Soon they create a mountain out of a mole hill and the matter reaches the police station and unhinges two families.

This two-hour flick, in a very punny sort of way, gives a quick peek into the lives of the Mumbaikers full of eccentricities and peculiar tensions. People are show doing their bit to scale up the economic-social ladder by buying a better car, bigger house and shifting closer south Mumbai.

The neighbors of Raj - Janardan's wife who is as obsessed with yoga as she is about looking out for a two-bedroom flat and his next-door neighbor's daughter who is constantly breaking things - are really peculiar characters in Hulla. There sure is wit in this film, which Varma has himself penned, but the protagonists lack the energy to keep viewers' interest from wavering during the two-hour long span. On the whole, one can say that the film was a fair attempt.

For Gossips And Mirch Masala Log On To Bollywood Paradize

read more...

Movie Review : Saas Bahu Aur Sensex

There's a little bit of saas bahu bickering and a little bit of sensex understanding, but more of a love triangle. In short, the movie has nothing to do with Saas, Bahu or Sensex. That out of the way, you focus on director Shona Urvashi's sister Masumeh, giving shot's in 'one take' with that of Tanushree Duttas '20'. That's what the media reports said prior to the films release, but what one sees is Tanushree, looking slim and sexy, walking with the best shots, probably given in max 5 takes! While Tanushree's character 'Nitya' is well carved out, Masumeh's 'Kirti' is sketchy at best.

And the script too is way beyond tight for the director to have any freedom to experiment with his cast. The location is a residential colony in Navi Mumbai. A mother (Kirron Kher) has come with her daughter (Tanushree Duta) to make Mumbai her home after divorcing her husband in Kolkatta. The film is about their bonding with the residents of the building. There's also a Call Centre thrown in for good measure. This particular Call Centre has a direct bearing with the way the stocks will fluctuate later in the movie.
The star of the film is undoubtedly Farooq Sheikh. As the eccentric Parsi stock broker who later guides the ladies in their investment, he is awesome. One gets the feeling that he has closely observed the mannerisms of his Parsi friends to come up with such a convincing performance. I dare say even Boman Irani would have fallen short! As Firoz Setna, he walks, talks and breathes the part with the ease of a pro. Ankur Khanna, is the other, apart from Tanushree, who hogs the limelight. This boy here has potential, which was seen in SIRF, too.

This movie is all about Farooq, Ankur and Tanushree.
Bollywood Paradize

read more...

1920 - Movie Review

Review: ***

Vikram Bhatt visits the horror genre again, after Raaz. Also, like Raaz, 1920 talks of love, lust and paranormal forces. But unlike Raaz, 1920 is set in the bygone era and that makes Raaz and 1920 as diverse as chalk and cheese.

After a series of watchable and avoidable fares, Vikram Bhatt is back with a vengeance in his latest endeavour.

It may not be the most eerie experience, but it has its share of terrifying moments that one expects from a film that talks of supernatural forces. The best thing about 1920 is that the culmination to the story is most compelling, which is so vital for a horror-mystery.

Any hiccups? The narrative slows down at regular intervals and that robs the film of its shine. Besides, the flashback -- the reason why the spirit seeks revenge -- could've been more impactful.

All said and done, the pros easily outweigh the cons here. Most importantly, 1920 delivers what it promises: Eerie and scary moments aplenty!

The year is 1920 and the house isolated in the wilderness has a secret. It is waiting for the curse to come true. For years, everyone who has tried to pull it down has died of mysterious circumstances.

Arjun (Rajneesh Duggal) and his wife (Adah Sharma) move into the house. He has been given the task of pulling it down and making a hotel there. The house has been waiting for them. Strange and inexplicable events start taking place…

The period look and the castle (located in Yorkshire in actuality), which is an integral part of the story, give the film a distinctive texture. From the writing point of view (story: Vikram Bhatt; screenplay: Vikram Bhatt, Dhiraj Ratan), the love story is well structured and the obstacles the couple face are well depicted.

But the film actually gallops when the spirit takes over the girl's body. Thereafter, incident after incident catches you unaware.

Note the sequence at the nursing home, when the spirit talks to the doctor. Or recall the spirit's warning to the priest. The finale -- when Rajneesh chants Hanuman Chalisa -- is another highpoint.

Without doubt, 1920 is amongst Vikram Bhatt's finest works. In fact, it's after a really long gap that Bhatt seems to be in complete command. Pravin Bhatt's camera captures the mood splendidly.

The beauty of the castle has been captured very well by the DOP. Adnan Sami's music strikes a chord. 'Bichua' (singer: Shubha Mudgal; filmed on Rakhi Sawant) caters to the masses, while 'Tujhe Main Pyaar Karu' (Kailash Kher) and 'Vaada' (Pt. Jasraj) are aimed at the heart.

Both Rajneesh Duggal and Adah Sharma go through their roles confidently. Adah gets the meatier part and she takes to it like a fish takes to water.

She's excellent! Rajneesh has the trappings of a fine actor and though there's slight awkwardness at places, it can be overcome with the passage of time. He has the potential.

Anjori Alagh looks beautiful and leaves an impression in the second hour. Indraneel does well. Raj Zutshi (as the priest) is top notch. Vallabh Vyas (doctor) is as usual.

On the whole, 1920 is an engrossing fare that meets the expectations. It has the potential to work at plexes and single screens, metros and mini-metros, catering to all audiences.

read more...

Movie Review: Ru-Ba-Ru

Cast: Randeep Hooda, Shahana Goswami, Rati Agnihotri and Jayant Kripalani; Director: Arjun Bali; Rating: 2 out of 5

Ru-Ba-Ru is a Hindi version of Hollywood’s ‘If Only’ (2004; Jennifer Love Hewitt and Paul Nicholls).

Being made as a modern urban love story, Randeep Hooda and Shahana Goswami are the lead characters who are madly in love with each other yet find each other’s attitudes and ways of leading life clashing and creating a rift which they never expected.

Shahana, who is a professional theater actress, plays Tara and Randeep plays the character of Nikhil. The love birds get the feeling of being made for each other till the individual needs and priorities take over casting doubts and sadness between them. This happens as Nikhil is a workaholic and is always pre-occupied with his clients.

The sparks of trouble starts off when Nikhil starts to continuously forget small things that goes a long way in showing the affection towards his lady love and makes a relationship stronger.

Tara wants to get married and settle down as soon as possible but her lover is in no hurry and as the time passes by his tendency to take his girlfriend, her family and friends for granted, increase creating tension. Finally the day comes when Tara’s mind, inflated with the thoughts of being not cared for, burst out and she takes some decisions to put her love saga behind and move on.

Then a magically mystical force intervenes and a whole new drama unfolds.

As per the needs of the script, the lead couple had to share more than ten intimate kisses as their relationship is shown as a very passionate and deep-rooted one.

Shahana Goswami thinks that a kiss is an eternal sign of romance and love and to portray the intensity of the chemistry and intimacy on screen it was part of her job as an actress to do what the director says. Randeep Hooda, being the more experienced actor and true professional, made sure that Shahana gets very comfortable before each scene was shot.

On the flip side, RU-BA-RU unfolds in a slow pace. Also, the second hour of the movie could have been shorter. The song in the pre-climax should’ve been deleted. Even otherwise, music (Satyadev Burman, Sameeruddin) is somehow effective though proving visually better. Andre Menezes’ cinematography captures the beauty of Bangkok in a mesmerizing way.

Randeep Hooda is a fine actor is confirmed yet again as he plays his part without overdoing it one bit. It’s a complete departure from his violence-laden roles (D, RISK) and he must build his bridge in romantic roles as well. Shahana Goswami is decent enough. RU-BA-RU should only cement her status after giving a great performance in ‘Rock On’. Rati Agnihotri and Jayant Kripalani are perfect for their parts.

All in all, Ru-Ba-Ru is a decent film and a one time watch.

read more...

Movie Review: Last Lear

Cast: Amitabh Bachchan, Arjun Rampal, Preity Zinta, Divya Dutta, Shefali Shah, Prosenjit and Jishu; Director: Rituparno Ghosh; Rating: 2 out of 5

The film, ‘The Last Lear’ has a good performance of Amitabh Bachchan who tries to play a man who worked long in Shakespearian Theater and he starts living in the Shakespearian stories only. His skills in theatre is exploited by a movie director as he is called to perform a role in modern cinema. The actor is left with fatal injuries after the shoot. The film tries to say that cinema as a medium is less powerful and unrealistic, when compared to stage.

The film script has been taken from a play by Bengali actor and playwright, Utpal Dutt and the realistic performance of Amitabh Bachchan makes the audience to stay glued to the screens from the very outset. Indian cinema generally has less of Shakespearian stuffs but in Hollywood you have many actors who did Shakespearian roles. Bachchan looks very powerful in the movie, as if everything has been made for him to perform that way; in a way establishing how he is also capable of surviving in Hollywood, too. It’s amazing to watch him perfect confident in the film.

The story of the film is about an actor, Harish, who is bedridden and Shabnam, his co-star comes to meet him. Movie director Siddarth refuses to give interviews and Vandana and a nurse named Ivy, is taking care of Harish. Vandana does not want anybody to meet Harish because she thinks that people are responsible for Harish’s troubles.

The story is about a theatre artist who dreams of performing the “King Lear” and he is made to meet a director by a journalist Gautam. The director convinces Harish to work in his film and Harish agrees to play a joker in his film.

Harish teaches his co-star Shabnam about acting and helps her improve her professional and personal life. In the last shoot of the film, Harish gets hurt. There are many ambiguities in the script because it’s unclear why Harish does the stunt himself and gets hurt, when it was not compulsory.

Amitabh Bachchan is the life of ‘The Last Lear’. It’s definitely his best performance so far. The actor has been delivering strong performances in the past also. Arjun Rampal is evolving into a fine actor; which is very clear in this film. This is another performance that would fetch Arjun great applause. Preity is ok enough. Shefali Shah is superb. Divya Dutta is wasted. Prosenjit is alright. Jishu is impressive.

The good part of the film is that the cinematography is beautifully done. The locations are superb. Most of the shooting has been done in Himalayan location of Uttaranchal.

The problem with ‘The Last Lear’ is that there’s too much of Shakespeare in the movie, which, to put it bluntly, isn’t everyone’s cup of tea for a simple reason that Indian audience are not much into Shakespeare. Besides, certain themes may hold some appeal for those into theatre, but don’t work on cinematic level.

Also, Rituparno Ghosh’s choice of the subject has its limitations. It’s good to think different, but only when you know you can appeal to the crowd.

On the whole, ‘The Last Lear’ has something for the Festival circuit, but nothing for the cinema-going general audience in India. At the box-office it can attract people mostly from the urban sectors of the society.

read more...

Tahaan Movie Review

Purav Bhandare, the central character in Santosh Sivan's TAHAAN, has elbowed Darsheel Safary, the child star of TAARE ZAMEEN PAR out of his top slot. There was no written confirmation about the fact that Darsheel was on top of the heap, but the fact that he now endorses so many products and is seen so often on television is a fair enough barometer. Bhandare goes one up. He has tremendous screen presence, is a fabulous actor and has brought alive the character of TAHAAN to endear himself to the viewer, just like Safary did in TZP. To put it in a nutshell, Bhandare is pure genius. Full marks to Sivan for entrusting this lad with the load of the film. But I suspect, like his character, Tahaan, where he is unknowingly being used by terrorists, Bhandare had no clue that he was the main protagonist of this film!

Before venturing into direction, Santosh Sivan was an acclaimed cinematographer and this time he blends the experience from both fields to come up with a visually appealing and a little disturbing, though thought-provoking film.
Visually appealing because he has captured the purity of the Kashmir Valley, in the way only he can. The beautifully snowcapped valleys and open roads, coupled with the dilapidated houses and fields of snow are visually brought alive on screen. Disturbing because, you feel for the child who is trying in vain to get back his pet donkey, Birbal, with who he shares a bond that no adult will understand. Disturbing also because in his desire to get back Birbal, he is lured into handling grenades with a promise of getting back his Birbal. Thought provoking because Sivan makes you leave the theatre asking questions about what really is happening in the Kashmir Valley and how the locals are living their lives there.
However, Sivan could have been clearer in his thought process as to what he wanted the viewer to go home with. According to me, there is a thin veil over the storyline, which, if lifted, would have given the viewer a clearer picture. I agree that not all movies need to be easy on the mind; you have to get the viewer involved. But something, somewhere in the script does not allow me to rationalise the move behind the plot. Having said that, I must admit, it's a good experience but not for the aam junta. It's for those who love their cinema in art form.

Apart from Bhandare, the lad who plays Idris (Ankush Dubey) is another bright spark in the film. I dare say that Anupam Kher, Sarika and Rahul Bose are just supporting cast.

Move over Safary, here comes Bhandare. On second thoughts, there's room for more talented children like these two.

Ratings: 3 / 5

read more...

A Wednesday movie review

Now this is a complete surprise. And an extremely pleasant surprise, must add. Newer stories are slowly finding their way into plexes of India.

Two Fridays ago, Phoonk spoke about the power of Black Magic and last Friday, ROCK ON!! encouraged you to chase your dreams. Both Phoonk and ROCK ON!! didn't boast of A-list actors to lure the audiences in hordes, but the films let the powerful content do the talking.

It's a hat-trick now. The third Friday in succession witnesses the release of A Wednesday. And marks my words, it's the most powerful film to come out of Bollywood in 2008.

Most promos mislead the viewer no end. They promise the moon, the viewer is hooked and very often, they fail to meet the expectations. In this case, the promos are just the tip of the iceberg. This movie has so much to offer than a few vital glimpses highlighted in the promos.

Here's another point that needs to be clarified. A Wednesday is not about the train blasts, nor is it similar to MUMBAI MERI JAAN. Sure, terrorism is the wallpaper here, but A Wednesday talks about the plight and power of the common man, the aam aadmi.

The year has witnessed some supremely talented storytellers make their debut, like Rajkumar Gupta (AAMIR), Kunal Deshmukh (JANNAT) and Abbas Tyrewala (JAANE TU… YA JAANE NA). Now Neeraj Pandey joins the ranks of directors who, one is confident, will be one of those calling the shots in the future.

A Wednesday works like magic because of its gripping plotline. The journey, right from start to end on a fateful Wednesday, keeps you on tenterhooks. And the culmination to this complex tale is what takes this film to dizzy heights.

In short, A Wednesday is amongst the finest -- and bravest -- films to come out in 2008. Just one word to describe it: Remarkable!

A Wednesday tells the story of certain events that unfold between 2 and 6 p.m. on A Wednesday in Mumbai. Events that do not exist in any record.

Flashback: Prakash Rathod (Anupam Kher), Commissioner of Police, Mumbai gets a call demanding the release of four militants in lieu of information on bombs that the man has planted in various parts of Mumbai.

At first, Prakash suspects it to be a crank call, but his doubts are dispelled once he actually finds a bomb planted in the police station right opposite his Police Headquarters.

Prakash Rathod is not the type to give up easily. He gets a team of his best men together and taps all his resources. He even hires a young hacker to help his team trace the calls and also the location of the anonymous caller.

Time passes by, but no concrete results are evident. Eventually, Prakash Rathod decides to hand over the militants to the anonymous caller. It is then that events take a bizarre turn.

Expect the unexpected in A Wednesday. From the writing point of view to the execution of the written material, writer-director Neeraj Pandey never takes the been-there-seen-that route even once.

It does take time to settle down (the multiple stories at the start are not too interesting), but once you do get the hang of things, A Wednesday offers you twist after twist, throws challenge after challenge in those 1.30 hours (yes, it's a short film).

No sub-plots, no songs, no unwanted masala, no unnecessary tracks -- A Wednesday has a story to tell and it tells most effectively.

On the execution front, the camera movement (Jimmy Jib), during Naseer's portions specifically, demands your attention. Cinematographer Fuwad Khan's output is top class even when he captures a chase (Jimmy Sheirgill) on a busy Mumbai street.

The editor (Shree Narayan Singh) deserves lavish praises for giving shape to this thriller. During the finale specifically -- Anupam is driving towards the location, while Naseer is packing his stuff -- the parallel scenes are juxtaposed brilliantly. The background score (Sanjay Chowdhury) is stirring.

When your film has two of the finest talents sharing screen space, it only heightens the curiosity.

Naseeruddin Shah has delivered several remarkable performances over the decades and the one in A Wednesday easily makes its way into his Top 5 works when you recall his body of work.

His outburst in the end -- when he talks about the plight of the common man -- is astounding. The entire audi, one is confident, would break into a deafening applause at this master sequence.

Anupam Kher is equally dynamic. Watch the cold look or catch him face-to-face with Naseer in the finale, if there's one actor who could stand up to a giant of an actor, it's Kher. An outstanding performance indeed!

Every performance in A Wednesday is charged. Jimmy Sheirgill is first-rate as a volatile cop. Of late, the actor has been wasted in insipid roles and it's about time film-makers take a note of this talented actor.

Aamir Bashir is superb. Again, this actor has never got his due in feature films. It's our loss, not his! Deepal Shaw plays her part confidently.

Chetan Pandit, as the Chief Minister, is effective. Ditto for the actor who plays the main terrorist - Kali Prasad Mukherjee.

On the whole, A Wednesday is cinema at its best. It may not be a Kinng-sized entertainer to lure the audiences in hordes and set the box-office afire, but A Wednesday does pack in king-sized punch. Do yourself a favour: Watch A Wednesday.

read more...

C Kkompany Movie review

MUNNABHAI M.B.B.S. started a trend of sorts. Gangsters with a heart of gold acting as modern-day Robinhoods. Robbing the notorious rich and helping the oppressed poor.

Writer turned debutante director Sachin Yardi borrows a leaf from MUNNABHAI M.B.B.S. and presents a tale that not only talks of Robinhoods, but also makes a scathing attack at news reporting hitting an all-time low (anything for TRPs), makes digs at Ekta Kapoor and her serials, also looks at the underworld-builder-cops nexus.

The story of three losers attaining power overnight makes for interesting viewing.

But the problem is, C Kkompany lacks consistency. The comedy is truly hilarious at places, but there're times when you sit motionless, not reacting to the on-screen antics. If the first hour is a joyous ride, the second hour is akin to driving on a road full of potholes. T

he climax is also a letdown (in the mela), although the end sequence -- C Kkompany is now a movement -- was the right way to conclude the film.

All said, C Kkompany had the germs of being a cool entertainer, but it ends up being a one-time average watch.

C Kkompany is about three individuals, all living in the 'C' Wing of a middle class housing society: Akshay (Tusshar) is a crime reporter, Mr. Joshi (Anupam Kher) is a retired accountant trying to deal with his ungrateful son and Lambodar (Rajpal Yadav) is at loggerheads with his wife over his job. These three friends share their respective plight with one another and find solace in each other's company.

On one occasion, they play a harmless prank to tackle their problems.

One thing leads to another and before they realize, the incident becomes big news. But things don't stop there. They put their new founded fame to good use and this in turn triggers off a series of incidents, which propel them to such heights that the three become the talk of the nation.

That Sachin Yardi has a flair for comedy was more than evident when he penned the thoroughly entertaining KYAA KOOL HAI HUM. C Kkompany also boasts of humour-laden sequences that keep you in splits at several points.

But keeping the humour alive from start to end is not everyone's cup of tea. Yardi's humour works till the beginning of the second hour, but things stagnate thereafter. Things get repetitive. There's not much movement in the story and the comic scenes also range from enjoyable to avoidable.

Music is quite okay, but the songs -- barring the Sanjay Dutt track at the outset -- show up without valid situations. The Tusshar-Celina track, although well shot, comes up from nowhere. Cinematography is alright.

C Kkompany gets its glory because of its three protagonists. Tusshar is only climbing the ladder with every film. He's excellent. Anupam Kher proves yet again that he's amongst the best in the business. Rajpla Yadav is efficient too.

Mithun Chakraborty is in command after a long time. The veteran is superb. Vinay Apte and Dilip Prabhavalkar do complete justice to their respective roles. Raima Sen is pleasant. Karan Johar, Mahesh Bhatt and Ekta Kapoor's appearances give the film that extra sheen.

On the whole, C Kkompany is funny in parts, not in totality. An ordinary fare!

read more...