Horror Story (2013) Movie Review

Horror Story  Movie Review- 

Vikram Bhatt's filmography reads a fascinating mix of thrillers and horror fares. As a matter of fact, the maverick film­maker has delivered several blood curdling, spine chilling horror films that have also worked with those who savor and relish this genre. This week, Vikram serves yet another spooky fare to the spectators ­­- HORROR STORY.

Unlike Vikram's previous endeavours, HORROR STORY doesn't have space for romance, skin show and songs. Consequently, and rightly so, the run time is limited to a sharp 1.30 hours, so that the viewer stays focussed. The motive is to create a hardcore scarefest, focusing on seven youngsters and a haunted hotel. Perfect recipe for a horror film, indeed. But does HORROR STORY live up to its title and offer sufficient chills and thrills, let's find out...

Paranormal phenomenon has a mix of believers and non­believers, as were these seven youngsters. They were friends from their school/college days and were meeting after many years to celebrate. One of them was leaving to pursue his goal and career abroad. The night of their reunion was supposed to be a farewell party, however it turned out to be something else.

A chance news announcement on the telly that was playing at the pub caught their attention which soon resulted in a drunken debate and before they knew it, they were gate­crashing into a hotel that was believed to be haunted. Their objective was to have some fun. Little did they know that this would turn out to be the most horrendous night of their life... rather, the last night of their life!

One fateful night. A haunted hotel. A ghost. Seven youngsters who don't believe in the paranormal... Director Ayush Raina chooses the desirable ingredients to create a ghostly environ, but the true test lies in frightening the spectator with spine chilling moments. Several Hollywood fares have redefined the genre and the bar for horror films has been upped for this reason. HORROR STORY follows the set pattern, promising to give the audience goosebumps and an edge of the seat experience. Besides, by doing away with the mandatory song and dance routine, Ayush remains firmly focused on the subject material.

The film abounds in scares, shocks and screams, with the viewer clenching his teeth and sticking to the seat at several sequences. There are moments when you are truly terrified thanks to the scary mood and lighting, while the sound plays an integral part in startling the spectator in certain sequences. But what ails most horror films troubles HORROR STORY as well. The ghost goes on a killing spree for no valid reason whatsoever. Also, the re-emergence of the hotel owner in the climax, who had committed suicide, seems abrupt. I mean, if he was so concerned about saving the lives of the innocent, why didn't he emerge earlier? The minor hiccups notwithstanding, you go with the flow because you get your share of chills and thrills right till the final act. Besides, like I pointed at the outset, the director and the team of writers stay true to the genre of providing a scarefest in those 1.30 hours, which needs to be appreciated.

The background music hits the high notes on varied occasions. Perhaps, it's premeditated since after an eerie silence, a high-pitched musical note would only startle the spectator, thus enhancing the scare quotient. Cinematography is just perfect. In fact, the lighting of a few sequences, especially the pitch dark ones, deserves mention. The visual effects are appropriate.

The director experiments with new faces in HORROR STORY, since the plot doesn't demand 'stars' or actors who carry the baggage of an image. Yet, there's not much scope for the new talent to display histrionics here. Karan Kundra [as Neil] is efficient. Ravish Desai [as Mangesh] gets limited scope. Hassan Zaidi [as Samrat] is confident. Nishant Malkani [as Achint] gets his role spot on. Nandini Vaid [as Soniya] is alright. Aparna Bajpai [as Maggie] is perfect. Radhika Menon [as Neena] gets the meatiest role of the lot and does a fine job.

On the whole, HORROR STORY should be liked by horror film buffs and those who relish this genre. Most importantly, it lives up to its promise of providing chills and thrills in those crisp 1.30 hours, which should work with its target audience. Additionally, the low costs should ensure decent profits at the end of the day and help create a franchise in times to come.

John Day (2013) Movie Review

John Day (2013) Movie Review-
 

There's a plethora of film releases week after week. To stand tall in the midst of it all is indeed a herculean task. 2013 has thrown a lot of surprises at the BO. While well-made masala entertainers still rule the roost, attracting the entertainment-seeking audience in hordes, the spectator has also warmly embraced several films that resist the temptation of taking the tried and tested route. JOHN DAY, directed by first-timer Ahishor Solomon, is yet another commendable attempt that should find a place in this illustrious list.

In retrospect, JOHN DAY first caught my attention courtesy the two actors who adorn the billboards [Naseeruddin Shah and Randeep Hooda]. The names are synonymous with qualitative films. They are known to green-light a project only if the script is entrancing enough. Fortunately, the viewer endorses their choice as the reels of JOHN DAY unfold. The cat and mouse game, the edge of the seat thrill, the exhilarating performances, the stunning finale... the film charters an individualistic route, yet remains firmly entrenched within the domain of mainstream cinema.

John Day [Naseeruddin Shah], a banker by profession, is shattered after the demise of his daughter. Post a heist at the bank in which he works as the manager, John stumbles upon documents that uncover a bitter truth. These documents are vital for Gautam [Randeep Hooda], a cop, who works for the mafia. The two men set off on a deadly mission...

The first thing that catches your eye is the manner in which the drama unfurls. The two plotlines -- involving Naseer and Randeep -- are kept separate right till the penultimate act, although they do cross each other's path several times in the narrative. The anxiety builds up magnificently -- the showdown between the two is imminent -- which leads to a blood-soaked, volatile finale. The relentless pacing [for most parts] only adds sheen to a plot that never tilts towards the standard format.

Ahishor Solomon creates a web of mystery, executing a number of sequences with flourish. The thin line that prompts a mild person [Naseer] to turn into an avenger is deftly illustrated by the first-time director. Conversely, the wicked and deceitful cop [Randeep], who loves to inflict pain on others, finds himself at crossroads when it comes to matters of the heart [Elena Kazan]. Although the screenplay does get into the predictable zone at times, I must credit the director and writer for maintaining intrigue, teasing the viewer with unpredictable twists. As a matter of fact, a number of moments stay with you much after the screening has concluded and that speaks of the director and writer's competency.

JOHN DAY is dark, sinister and edgy. You need to have a strong stomach to absorb the aggression and ghastly sequences that unfurl on screen. Also, the usage of expletives is another characteristic that might make you slightly uncomfortable, although it gels well with Randeep's character and the temper of the motion picture. Furthermore, the tempo, though swift-paced at most times, does tend to get sluggish intermittently. But these are minor quibbles...

There's no scope for music in the film, but the background score [Sandeep Chowta] garnishes this well-executed movie brilliantly. As a matter of fact, the background score augments the impact of several sequences, that effective it is. Dialogue are acidic and power-packed, in sync with the temperament of the film. The DoP captures the tones, especially the night shots, perfectly.

JOHN DAY is a forceful and intense film and the director gets it right by casting two intense actors, who add a lot of weight to the goings-on. Known for dramatics mainly, Naseer has seldom stepped into the action zone, at least in his recent outings. The veteran is authoritative as the hapless father who transforms into a brute to settle scores with the wrong-doers. Randeep stands up to an accomplished actor like Naseer and that's a tall statement indeed. You rarely witness such wicked acts and that's quite a compliment. The actor inculcates verve and dynamism into the depraved character. It's a class act!

The supporting cast packs a solid punch as well. Elena Kazan is efficient and has remarkable screen presence. Sharat Saxena is top notch, portraying his part with gusto. Vipin Sharma is incredible as Randeep's colleague. He's sure to catch your attention yet again. Shernaz Patel registers an impact. Makrand Deshpande, Ananth Mahadevan and Bharat Dabholkar are watchable in cameos.

On the whole, JOHN DAY is a razor-sharp thriller with an engaging screenplay, high-voltage drama and sterling performances as its aces. A film like JOHN DAY is a leap in the right direction. It reinforces your faith and trust in qualitative films and deserves to be supported. Strongly recommended!

Shuddh Desi Romance (2013) Movie Review

Shuddh Desi Romance Movie Review-
 

Live-in relationships are a commonality in the West, but it still raises eyebrows in India. It's often considered taboo and spoken about disapprovingly by the orthodox in towns and also by several people living in a metropolis. SHUDDH DESI ROMANCE is, perhaps, the first Hindi film that looks at live-in relationships and pre-marital sex in the heartland [Jaipur] of India. Sure, Yash Raj did have a look at live-in relationships in SALAAM | NAMASTE, but that film, if you recall, was set in Australia.

Maneesh Sharma, who helmed the immensely likeable BAND BAAJA BAARAAT and appealing-in-parts LADIES VS RICKY BEHL, is ready to undertake an uncharted trail in his third excursion SHUDDH DESI ROMANCE. This time, he talks of love, attraction and commitment in a real space. The question is, how open-minded are we today? With SHUDDH DESI ROMANCE, Maneesh makes a heartfelt attempt to decode and decipher several issues pertaining to intricate relationships.

True to its title, SHUDDH DESI ROMANCE is indeed a shuddh [pure] take at live-in relationships involving desi characters and looks at the highs and lows that come with it. Although the spectator has, over the decades, witnessed innumerable interpretations of love and romance, Maneesh and writer Jaideep Sahni make sure they don't take a leaf out of been-there-seen-that kind of situations. Instead, they ensure that the three characters in SHUDDH DESI ROMANCE follow their hearts and don't succumb to the diktats of the society. Also, they speak an uninhibited lingo, which hasn't been spoken in Hindi films earlier. They are not rebellious, but straightforward. And that, in all honesty, is the prime reason that gives this film an edge.

SHUDDH DESI ROMANCE is the journey of three restless young people who junk the society's syllabus for finding love and decide to follow their heart. Raghu [Sushant Singh Rajput], a tourist guide in Jaipur, wants a love in his life... Gayatri [Parineeti Chopra], a part-time instructor in an English-speaking institute, has been around the block a few times and knows the scene... Tara [Vaani Kapoor], who's dying to get out there and fly, knows what's right for her, but a little experimenting never hurt anybody, did it?... When their lives crisscross, their beliefs get challenged and their loves, tested.

Writer Jaideep Sahni, who has penned films like BUNTY AUR BABLI, CHAK DE! INDIA, AAJA NACHLE and ROCKET SINGH: SALESMAN OF THE YEAR for Yash Raj, opts for a plot that's borrowed from slice of life. The characters in SHUDDH DESI ROMANCE mirror the mindset of several youngsters in contemporary times and how the meaning of love and commitment has undergone a complete change in the present context. The obstacles in the form of caste, religion and culture seem passé, frankly. Dating, pre-marital sex and marriage are three diverse issues, unlike earlier times, when matrimony was a beautiful culmination in a relationship... Armed with an unsullied plot and creative situations, director Maneesh Sharma breaks away from the conventional thought process and paints a picture that challenges the mindset of the conformists.

Additionally, everything that Maneesh and Jaideep attempt to convey through their characters in SHUDDH DESI ROMANCE looks credible and relevant. The good thing is, there's no preaching or sermonizing vis-à-vis who's right or wrong; it's more of a dialogue with our peers. You need to change with the times and cinema needs to grow as well. This film does exactly that without belittling the traditional beliefs. More significantly, all of this is presented in an entertaining format.

The only glitch in the otherwise smooth narrative is that the pacing slows down considerably in the second hour. Also, Vaani's stance is a little difficult to absorb. In fact, her exit -- without offering any concrete reason -- looks a bit unreal. However, all said and done, the commitment-phobic attitude of the new generation comes across very well in the narrative.

Sachin-Jigar's soundtrack garnishes the goings-on wonderfully. The gifted composers, who have delivered musical hits in the past, live up to the faith reposed in them. 'Gulabi' and the title track are infectious compositions. The DoP captures the rustic flavor with meticulousness.

After leaving a tremendous impression in his first Hindi outing, Sushant Singh Rajput wows you with a remarkable portrayal yet again. He brings a lot of freshness with his unpretentious and spontaneous act. Parineeti Chopra gets into the bindaas zone yet again, a role that's become synonymous with her of late. She seems to be going from strength to strength with every film. Vaani Kapoor is self-assured and doesn't seem overwhelmed by her skilled co-stars. Rishi Kapoor is, like always, in terrific form. Rajesh Sharma is okay in a cameo.

On the whole, SHUDDH DESI ROMANCE caters to the youth and reflects the mindset of a chunk of the youth these days. The film, which speaks a different lingo, is a gutsy attempt that defies the stereotype. Told in an entertaining format, it is sure to strike a chord with not just the youngsters, but also with those who love shudh [unchartered, in this case] storylines. Refreshingly different, give this one a chance. Recommended!

Zanjeer (2013) Movie Review

Zanjeer Movie Review-
 

A version of 'Raghupati raghav...' plays in the background as Ram Charan lets us know without wasting time, that he means business.The pace from that hard-hitting moment is relentless. The momentum never slackens even when Vijay Khanna gets down to expressing tender thoughts for the fast-talking befuddled and disoriented NRI girl Mala. Playing Mala, Priyanka Chopra seems to have a whole lot of infectious fun. She spells joie de vivre and looks gorgeous. Priyanka is the comic relief in this fast-paced actioner where fists and the background point out an ominous warning.Lakhia paces the proceedings as a rush-hour traffic of bustling events. No one has the luxury to stop and think as the narration gathers up a storm of pulpy conflicts building up to an exceptionally staged climax filmed amidst the volatile proceedings of a crowded Moharram event.From the Ganpati Viasarjan to the Moharram, Lakhia's interpretation of 'Zanjeer' traverses a mammoth canvas of rapid-fire images. Gururaj Jois's camera moves dexterously, but never to divert our attention from the central conflict. And Chintan Gandhi's dialogues use one-liners judiciously, never over-doing the smart-alec retorts.

The film's action, by Javed-Ejaz, feels and looks right. The attention paid to getting the action sequences right is highly commendable. There is an elaborately staged multiple-explosion sequence in a huge Dharavi-like slum which belongs to a Vin Diesel-starrer.
Sanjay Dutt steps splendidly into Pran's part. His sequences, though limited by the actor's physical unavailability, show the sensitive side to his aggressive personality. The bonding between Ram Charan and Dutt comes across as effectively as the one between Ram Charan and Priyanka and Prakash Raj and Mahie Gill.

And the momentum never slackens.
Fast-paced, and forever furious, 'Zanjeer' also finds space to be excruciatingly funny. In fact, the whole villain-vamp equation between Teja (Prakash Raj) and Mona Darling (Mahie Gill) is here subverted to a kind of comic coitus interruptus where Prakash Raj repeatedly keeps talking about sex without getting down to it while 'Mona' Mahie Gill purrs and moans and pouts - not out of passion but for just the opposite reasons.

The most tongue-in-cheek homage I've seen in a remake occurs in this film when we see the new Teja-Mona pair watching actor Ajit and Bindu in the original 'Zanjeer' on a DVD. The sequence is irreverent without appearing to belittle the original. It reminds us of the renewed cycle of art and individual talent.Throughout the film, we sense the director's immense affection for the original 'Zanjeer', a reverence that never clouds his judgement.This is one remake that stands tall and lithe. It is manned by a manful supply of action and yet manages to keep the machismo understated. Breakneck-paced, adrenaline-pumping, pulse-pounding - Lakhia's deconstructed version of the Prakash Mehra film is a full-on pacy paisa-vasool entertainer with brio and balls.Ram Charan Teja makes an impressive Bollywood debut. We can safely say he is the man among the boys.

Madras Cafe 2013 Movie Review

Music: Shantanu Moitra
Lyrics: Ali Hayat Rizvi, Manoj Tapadia, Zeb
Singers: Papon and Zeb
With light-hearted melodies in films like Parineeta and the Munnabhai series, composer Shantanu Moitra has found his niche – a pleasant mix of original and inspired music. And for good reason or bad, his latest work comes from the same mould.
Directed by Shoojit Sircar, Madras Cafe showcases a RAW agent who’s been asked to be a part of a covert operation that has arisen from political unrest. Unlike his last outing – Shootout At Wadala – John Abraham will be a law-protector in a war-based film that also stars Nargis Fakhri and Rashi Khanna. Musically speaking, the film pairs Moitra with lyricist Ali Hayat Rizvi on a soundtrack comprising five originals, one remix and one theme tune.
Sun le re – the opening track establishes the seriousness of the album with a guitar-based arrangement that has a soothing effect. Rizvi’s thought-provoking lyrics capture the mood of the film effortlessly, as Angaraag Mahanta, popularly known in the music world as Papon (who sang Kyun na hum tum from Barfi!) is at his usual best, even though the song doesn’t have anything exceptional to offer. But the most interesting part comes in on the remix, with its pepped-up electronic arrangement.
With the second track Ajnabee, Moitra gets back to familiar territory, sounding comfortably close to his own classical-based composition Piyu bole (Parineeta). Zeb’s vocals in a soft romantic number blend perfectly with the strum of the guitar and make for good listening.
Moitra has been credited for bringing back the piano to Bollywood songs with his hit songs and in Khud se he does it again, adding a classical tadka. Papon’s effortless crooning justifies a man’s angst and the fight within himself.
There’s nothing to complain about with Madras Cafe, Conspiracy theme and Entry to Jaffna, but we need to see how these tracks are actually implemented onscreen into the story. Melody is Shantanu Moitra’s strong point, but Madras Cafe is not really his best work, even though he works hard to capture the ‘serious’ ambience of the film.
This one is worth a listen, but better in the context of the story as it unfolds onscreen!

Once Upon A Time In Mumbai Dobaara! Movie Review

  Once Upon A Time In Mumbai Dobaara! Movie Review-
The Hindi film industry's fascination with gangster films dates back to the 1970s. Ironically, this year has witnessed a plethora of gangster films invading our cineplexes, while a few of them were inspired by real-life characters as well. Additionally, the year also marks a substantial rise in sequels, since the original films have tremendous recall value.
Milan Luthria's ONCE UPON AY TIME IN MUMBAI DOBAARA! takes off from where ONCE UPON A TIME IN MUMBAAI concluded -- the struggle for power. But unlike most gangster movies, ONCE UPON AY TIME IN MUMBAI DOBAARA! takes the precarious route of narrating a love story, with two criminals falling in love with the same woman, besides focusing on the game of one-upmanship between gangsters and the power struggle being played in the lanes and streets of Mumbai.
Does Milan Luthria's take on the underworld live up to the humungous expectations? Let's analyze...
ONCE UPON AY TIME IN MUMBAI DOBAARA! narrates the story of an underworld don, Shoaib [Akshay Kumar]. His only confidantes are his best friend Javed [Sarfaraz Khan] and former lover Mumtaz [Sonali Bendre]. He notices Aslam [Imran Khan] and takes him under his wings. Gradually, Aslam becomes one of his trusted confidantes.
Shoaib stumbles upon an aspiring actress Jasmine [Sonakshi Sinha]. Slowly, but surely, his attraction towards Jasmine goes on to becoming an obsession. This creates a rift between Shoaib and Aslam and results in the ultimate face-off between the mentor and protege.
First things first! Milan Luthria, who replicated the bygone era in his last two films [ONCE UPON A TIME IN MUMBAAI and THE DIRTY PICTURE] successfully, seems like a complete pro in recreating the long-gone decades with flourish. Right from the ambiance to the outfits to the dialogue the protagonists or the assorted characters deliver, everything mirrors the 1970s and 1980s with accuracy and aptitude.
Unfortunately, the first hour doesn't cut ice, focusing on the mandatory light moments, songs and dramatic moments that seldom seize your attention. However, Milan and writer Rajat Aroraa make sure they reserve the best for the second hour, packing the film with heavy-duty drama and conflict that makes it captivating and engaging. Also, Milan doesn't resort to action and bloodshed -- the key aspects that are inevitable for any gangster film -- to carry the story frontward. These elements, although part of the narrative, are used as garnishing wherever essential. In a way, Milan attempts a gangster film, but steers clear of factors that could eclipse the love story, drama and conflict in the narrative.
Like I pointed out earlier, while the prequel held the spectators by its ears and eyes, ONCE UPON AY TIME IN MUMBAI DOBAARA! suffers because the grip is absent from the very start itself [which was the highpoint of the prequel]. Also, the villain [Mahesh Manjrekar] is just not authoritative or commanding enough here. But the writer springs a surprise by making the don [Akshay] vicious and vindictive towards the latter half, which adds a lot of weight to the proceedings. The final moments, starting with the fiery confrontation involving Akshay and Sonakshi, when she mistakes his friendship for love, right till the closing stages of the film, the graph of the film only soars upwards.

Milan gets ample support from the DoP [Ayananka Bose; top notch] as well as the art department [well done, yet again!] to impart his vision on screen. The styling is unflawed, while the background score enlivens the ambiance at numerous junctures. The high point, of course, is the dialogue penned by Rajat Aroraa, which contributed enormously to the last two films and makes a significant contribution this time too. The conversations are compelling, forceful and power-packed. Pritam's music is in sync with the mood of the film. 'Yeh Tune Kya Kiya' and 'Tayyab Ali' [from AMAR AKBAR ANTHONY] are noteworthy compositions.
Milan is a connoisseur who extracts proficient performances from his actors and this is apparent in ONCE UPON AY TIME IN MUMBAI DOBAARA! as well. Akshay enacts the grey character with flourish. He adds a lot of novelty and uniqueness to his character, underplaying it magnificently and modulating his voice dexterously. After playing urban characters in his earlier films, Imran plays a desi character [his second this year!] this time, catching you by complete surprise yet again. It won't be erroneous to state that he's the dark horse. Sonakshi seems to be improving with every film. Besides exuding the right amount of innocence, she goes on to demonstrate that she can handle emotional outbursts really well, especially during the climax confrontation with Akshay.
Sonali Bendre Behl doesn't get much scope, but shines in the powerful sequence with Akshay. Sophie Choudhry sizzles in a cameo. Sarfaraz Khan does well. Mahesh Manjrekar is wasted. Ditto for Abhimanyu Singh, who doesn't get much scope. Pitobash, Hussain Shaikh, Mushtaq Khan and Chetan Hansraj are alright.
On the whole, ONCE UPON AY TIME IN MUMBAI DOBAARA! has a powerful second half and the drama/conflict helps the film regain ground, after a shaky first hour. However, the fact cannot be denied that ONCE UPON AY TIME IN MUMBAI DOBAARA! pales in comparison to its prequel.

Madras Cafe 2013 Movie Review

Music: Shantanu Moitra
Lyrics: Ali Hayat Rizvi, Manoj Tapadia, Zeb
Singers: Papon and Zeb
With light-hearted melodies in films like Parineeta and the Munnabhai series, composer Shantanu Moitra has found his niche – a pleasant mix of original and inspired music. And for good reason or bad, his latest work comes from the same mould.
Directed by Shoojit Sircar, Madras Cafe showcases a RAW agent who’s been asked to be a part of a covert operation that has arisen from political unrest. Unlike his last outing – Shootout At Wadala – John Abraham will be a law-protector in a war-based film that also stars Nargis Fakhri and Rashi Khanna. Musically speaking, the film pairs Moitra with lyricist Ali Hayat Rizvi on a soundtrack comprising five originals, one remix and one theme tune.
Sun le re – the opening track establishes the seriousness of the album with a guitar-based arrangement that has a soothing effect. Rizvi’s thought-provoking lyrics capture the mood of the film effortlessly, as Angaraag Mahanta, popularly known in the music world as Papon (who sang Kyun na hum tum from Barfi!) is at his usual best, even though the song doesn’t have anything exceptional to offer. But the most interesting part comes in on the remix, with its pepped-up electronic arrangement.
With the second track Ajnabee, Moitra gets back to familiar territory, sounding comfortably close to his own classical-based composition Piyu bole (Parineeta). Zeb’s vocals in a soft romantic number blend perfectly with the strum of the guitar and make for good listening.
Moitra has been credited for bringing back the piano to Bollywood songs with his hit songs and in Khud se he does it again, adding a classical tadka. Papon’s effortless crooning justifies a man’s angst and the fight within himself.
There’s nothing to complain about with Madras Cafe, Conspiracy theme and Entry to Jaffna, but we need to see how these tracks are actually implemented onscreen into the story. Melody is Shantanu Moitra’s strong point, but Madras Cafe is not really his best work, even though he works hard to capture the ‘serious’ ambience of the film.
This one is worth a listen, but better in the context of the story as it unfolds onscreen!

Once Upon A Time In Mumbai Dobaara! Movie Review

  Once Upon A Time In Mumbai Dobaara! Movie Review-
The Hindi film industry's fascination with gangster films dates back to the 1970s. Ironically, this year has witnessed a plethora of gangster films invading our cineplexes, while a few of them were inspired by real-life characters as well. Additionally, the year also marks a substantial rise in sequels, since the original films have tremendous recall value.
Milan Luthria's ONCE UPON AY TIME IN MUMBAI DOBAARA! takes off from where ONCE UPON A TIME IN MUMBAAI concluded -- the struggle for power. But unlike most gangster movies, ONCE UPON AY TIME IN MUMBAI DOBAARA! takes the precarious route of narrating a love story, with two criminals falling in love with the same woman, besides focusing on the game of one-upmanship between gangsters and the power struggle being played in the lanes and streets of Mumbai.
Does Milan Luthria's take on the underworld live up to the humungous expectations? Let's analyze...
ONCE UPON AY TIME IN MUMBAI DOBAARA! narrates the story of an underworld don, Shoaib [Akshay Kumar]. His only confidantes are his best friend Javed [Sarfaraz Khan] and former lover Mumtaz [Sonali Bendre]. He notices Aslam [Imran Khan] and takes him under his wings. Gradually, Aslam becomes one of his trusted confidantes.
Shoaib stumbles upon an aspiring actress Jasmine [Sonakshi Sinha]. Slowly, but surely, his attraction towards Jasmine goes on to becoming an obsession. This creates a rift between Shoaib and Aslam and results in the ultimate face-off between the mentor and protege.
First things first! Milan Luthria, who replicated the bygone era in his last two films [ONCE UPON A TIME IN MUMBAAI and THE DIRTY PICTURE] successfully, seems like a complete pro in recreating the long-gone decades with flourish. Right from the ambiance to the outfits to the dialogue the protagonists or the assorted characters deliver, everything mirrors the 1970s and 1980s with accuracy and aptitude.
Unfortunately, the first hour doesn't cut ice, focusing on the mandatory light moments, songs and dramatic moments that seldom seize your attention. However, Milan and writer Rajat Aroraa make sure they reserve the best for the second hour, packing the film with heavy-duty drama and conflict that makes it captivating and engaging. Also, Milan doesn't resort to action and bloodshed -- the key aspects that are inevitable for any gangster film -- to carry the story frontward. These elements, although part of the narrative, are used as garnishing wherever essential. In a way, Milan attempts a gangster film, but steers clear of factors that could eclipse the love story, drama and conflict in the narrative.
Like I pointed out earlier, while the prequel held the spectators by its ears and eyes, ONCE UPON AY TIME IN MUMBAI DOBAARA! suffers because the grip is absent from the very start itself [which was the highpoint of the prequel]. Also, the villain [Mahesh Manjrekar] is just not authoritative or commanding enough here. But the writer springs a surprise by making the don [Akshay] vicious and vindictive towards the latter half, which adds a lot of weight to the proceedings. The final moments, starting with the fiery confrontation involving Akshay and Sonakshi, when she mistakes his friendship for love, right till the closing stages of the film, the graph of the film only soars upwards.

Milan gets ample support from the DoP [Ayananka Bose; top notch] as well as the art department [well done, yet again!] to impart his vision on screen. The styling is unflawed, while the background score enlivens the ambiance at numerous junctures. The high point, of course, is the dialogue penned by Rajat Aroraa, which contributed enormously to the last two films and makes a significant contribution this time too. The conversations are compelling, forceful and power-packed. Pritam's music is in sync with the mood of the film. 'Yeh Tune Kya Kiya' and 'Tayyab Ali' [from AMAR AKBAR ANTHONY] are noteworthy compositions.
Milan is a connoisseur who extracts proficient performances from his actors and this is apparent in ONCE UPON AY TIME IN MUMBAI DOBAARA! as well. Akshay enacts the grey character with flourish. He adds a lot of novelty and uniqueness to his character, underplaying it magnificently and modulating his voice dexterously. After playing urban characters in his earlier films, Imran plays a desi character [his second this year!] this time, catching you by complete surprise yet again. It won't be erroneous to state that he's the dark horse. Sonakshi seems to be improving with every film. Besides exuding the right amount of innocence, she goes on to demonstrate that she can handle emotional outbursts really well, especially during the climax confrontation with Akshay.
Sonali Bendre Behl doesn't get much scope, but shines in the powerful sequence with Akshay. Sophie Choudhry sizzles in a cameo. Sarfaraz Khan does well. Mahesh Manjrekar is wasted. Ditto for Abhimanyu Singh, who doesn't get much scope. Pitobash, Hussain Shaikh, Mushtaq Khan and Chetan Hansraj are alright.
On the whole, ONCE UPON AY TIME IN MUMBAI DOBAARA! has a powerful second half and the drama/conflict helps the film regain ground, after a shaky first hour. However, the fact cannot be denied that ONCE UPON AY TIME IN MUMBAI DOBAARA! pales in comparison to its prequel.

Chennai Express (2013) Movie Review

Chennai Express Movie Review-

 The season of biggies commences from Eid onwards. And it sets in motion with the global release of CHENNAI EXPRESS. Shah Rukh Khan. Deepika Padukone. Rohit Shetty. UTV. Four formidable entities that translate into the ultimate, unbeatable combination. The timing couldn’t be better as well: Eid. The hype and buildup, obviously, is humungous. The question is, does CHENNAI EXPRESS live up to the gargantuan expectations? Does it deliver entertainment, entertainment and entertainment in colossal doses? After all, that’s what you expect when you embark on this journey called CHENNAI EXPRESS, right?
Rohit Shetty’s funda is simple: Entertain the spectator with larger-than-life heroism, amusing episodes, high-pitched drama, clap-trap and fiery dialogue, foot-tapping music, gravity-defying action, mass appealing humor… and of course, blow up as many cars as possible in trademark Rohit Shetty ishtyle. CHENNAI EXPRESS has all of that and much, much more. Rohit has regaled the spectators with his brand of cinema over the years, pioneering a path which many directors have tried to ape repeatedly. Rohit, of course, continues to stand tall, which is very evident as the reels of CHENNAI EXPRESS unspool.
CHENNAI EXPRESS is *not* path-breaking at all. Nor does it cater to those who scoff at potboilers. Rohit has always claimed that he’s still that common man watching movies at a singleplex, so his movies, consequently, cater to those with an appetite for masalathons. CHENNAI EXPRESS lives up to the Himalayan expectations that you have from the project. It’s an entertainer that proves that the SRK – Rohit Shetty combo is truly magical. In fact, it’s one of the best combos to hit the masala film space.
Final word? Just leave everything and board this Express called CHENNAI EXPRESS. Pronto. This one’s a feast for those who love, adore, relish and worship zany masala entertainers!
Rahul, a Mumbai-based person [Shah Rukh Khan], embarks on a journey to a town in Tamil Nadu to fulfill the last wish of his grandfather to have his ashes immersed in Rameshwaram. En route, he meets a South Indian girl, Meena [Deepika Padukone], who wants to flee from the clutches of her father [Sathyaraj], who wants her to get married to a person she doesn’t love [Nikitin Dheer].
CHENNAI EXPRESS is a smartly packaged entertainer, an unabashed masala fare that packs just about everything that the avid moviegoer expects from a film of this stature. Relying heavily on the age-old formula of love emerging triumphant against all odds, CHENNAI EXPRESS is vintage stuff no doubt, but makes you swoon under its impact. Designed to woo the masses, very much akin to the kind of cinema Manmohan Desai made in the 1970s and 1980s, CHENNAI EXPRESS leaves you beaming, breaking into applause on varied occasions, as the plot advances.
CHENNAI EXPRESS is Rohit Shetty’s version of DILWALE DULHANIA LE JAYENGE and he and his team of writers whip a tale that restores the spectator’s faith in this much-loved genre of cinema. But there is sense and sensibility behind what unfurls on the screen. And that’s what gives CHENNAI EXPRESS the required edge when you compare this film with his earlier works. The first half is laced with the usual banter between SRK and Deepika, but the film gets into the groove during the post-interval portions, more so when the love story takes off. Starting from the sequence at the temple, right till the power-packed finale, the graph of the film continues to soar upwards. SRK’s dialogue with Deepika’s father, the fight with Nikitin and of course, the ‘lungi’ dance towards the end credits… you exit the auditorium with a wide grin.
There are minor aberrations, of course. The placement of two songs, positioned one after the other in the second hour, could’ve been avoided. A few jokes in the first half do not create the desired impact. But, like I said, the love story and the ensuing drama in second hour more than compensates for the hiccups. In short, no matter how unconcerned, dismissive or cynical you may be of the combo’s [SRK - Rohit Shetty] first film together, you cannot turn a blind eye to the fact that CHENNAI EXPRESS wins you over with the entertainment on display.
Surprisingly, there’s not much action this time, but the one towards the climax wins hands down. The duel between SRK and Nikitin is what makes masala films work and work big time. Dudley’s cinematography captures the mood of the film as well as the stunning locales of South India with flourish. Vishal-Shekhar’s soundtrack is appropriate, especially ’1234′ and ‘Titli’. The tribute to Rajnikanth is the icing on the cake. Even though the film’s humor seems very tongue-in-cheek, the dialogue [Sajid-Farhad] make their presence felt, due to good play with nostalgia.
As Rahul, SRK is in top form. Rohit Shetty hands out a character to the actor which was lacking in some of his earlier works. And SRK does optimum justice to the character he’s offered, doing a swell job of it in the process. Deepika seems to be climbing the ladder with every film. With this one, she takes a giant leap. Aiming for the masses after portraying the urban gal in films like COCKTAIL, RACE-2 and YEH JAWAANI HAI DEEWANI, Deepika’s act [and her pronunciations] will steal your heart for sure.
Sathyaraj is super as Deepika’s authoritative father. The actor conveys so much through his eyes. Nikitin Dheer’s towering presence adds a lot of weight to his character. He could just become the new face of menace. Veterans Lekh Tandon and Kamini Kaushal, as SRK’s grand-parents, make their presence felt.
On the whole, CHENNAI EXPRESS has the trademark Rohit Shetty stamp all over. You seek entertainment, entertainment and entertainment in a film like CHENNAI EXPRESS and the movie lives up to the hype and hoopla surrounding it. The tremendous craze surrounding the film, the Rohit Shetty – SRK – Deepika combo, the Eid release, besides the extensive release strategy by UTV, should ensure a record-breaking start for this biggie. Right from the paid previews to the opening weekend to Week 1, CHENNAI EXPRESS should be on a glorious march in days to come, setting new records in India and also in the international markets. All you lovers of masala movies, board this Express pronto!

Rabba Main Kya Karoon (2013) Movie Review

Rabba Main Kya Karoon (2013) Movie Review

A rom-com with the backdrop of a big fat Punjabi wedding, RABBA MAIN KYA KAROON tells the story of two brothers [Arshad Warsi and Akash Chopra]. Akash is all set to tie the knot in Delhi, but before the wedding, Arshad and his three mamas [Paresh Rawal, Tinnu Anand and Shakti Kapoor] teach him the key formula for a happy married life — in order to live a happy married life, one must cheat on his wife.
When any film that touts itself as being a comedy features Arshad Warsi and Paresh Rawal, the audience, to a certain aspect, expects an out-and-out rib-tickling comic fare. RABBA MAIN KYA KAROON manages to tickle your funny bone, but tends to get monotonous given the single line of exploration, that of having to cheat in order to lead a happily married life.
The film starts off with a brief history that establishes a base for Akash and Tahira, thus aiding the evolution of their love story that finally culminates in Akash asking for Tahira’s hand in marriage. Cut to the wedding celebrations which, in true Punjabi style, are spread over a period of couple of days. It is here that you get a feel of the comedy, as slowly yet steadily, with each new character, a new tale is told.
RABBA MAIN KYA KAROON is basically a love story draped in the guise of a comic caper. The love story of Akash and Tahira relies heavily on the oft-repeated template of beginning on a sweet note and ending with a rather expected twist. As for the comic quotient, the antics manage to elicit a giggle initially, but you are left wanting more than what’s on display as the story moves forward. As for the music, barring ‘Khulla Saand’, not much works here.
First-timers Akash and Tahira do more than a good job; it is here that you feel that they have been limited by the script. Arshad Warsi is efficient yet again. Paresh Rawal, as always, is at his best playing the fornicating husband with a straight face, while Shakti Kapoor tries too hard with the comic timing. The remaining cast, which includes several notable names, is functional.
On the whole, RABBA MAIN KYA KAROON appeals in bits and spurts. It might appeal to a section of the audience in North thanks to the Punjabi flavour.

B A Pass (2013) Movie Review

B.A. Pass Movie Review-

Converting a book into a film is a daunting task and director Ajay Bahl attempts just that with his film B.A. PASS. Based on a story ‘The Railway Aunty’ by Mohan Sikka from the book ‘Delhi Noir’, an anthology based mainly in and around Delhi, the film is the story of a young, small-town boy Mukesh [Shadab Kamal], who moves to Delhi to stay with his aunt and finish his college.
It is here that he is seduced by a mysterious married woman known to him as ‘Sarika Aunty’ [Shilpa Shukla]. Set amidst the neon-lit by lanes of Delhi’s Paharganj, the story unfolds an erotic drama between the two, forging a relationship based on lust, lies and deceit. As Mukesh gets entrenched into his surroundings, he discovers a city that thrives on corrupting even the most naive and innocent.
Despite the diverse stories being narrated on the Hindi screen, making a film that deals with the aspect of sex, prostitution or erotica can be and is an extremely sensitive topic. However, director Ajay Bahl excels with aesthetically shot love making scenes in B.A. PASS. Set in present-day Delhi, more specifically the Paharganj area, replete with the sights and sounds of the vicinity, B.A. PASS tells a gripping story of a young, financially challenged man who unknowingly gets forced into prostitution.
Staying true to the original story penned by Mohan Sikka, the tight screenplay [Ritesh Shah] leaves little room to wander, while the viewer is drawn into the world of Mukesh as he explores the pleasures of an older woman, feels the despair when tricked, lose the moral fibre of defining right from wrong.
Ajay Bahl does a stellar job of converting the story into a radiant gem, filled with the colours of a happy life to the harsh grim reality of a dying dream.
As for the performances, Shilpa Shukla leaves no stone unturned in playing the fornicating housewife. It’s a standout performance for sure. Shadab is supremely efficient, bestowing depth and emotion to the character he portrays. Dibyendu Bhattacharya, as the chess-playing grave keeper, plays his part perfectly.
On the whole, B.A. PASS is a stark and brutal saga of seduction and betrayal that explores the darkest recesses of the human conscious and morality. Though gripping, you need a strong stomach to absorb this gritty and thought-provoking fare!

Nasha (2013) Movie Review

Nasha Movie Review-

A number of movies have depicted a brewing ‘love story’ between a young boy and an older woman and vice versa. NASHA is no different. This one marks the debut of Poonam Pandey, who has been in the news for varied reasons. Besides exuding heat, Poonam tries her level best to spell seduction with the capital ‘S’.
NASHA has been made on a plot which has been the domain to many likeminded films like MERA NAM JOKER [1970], DOOSRA AADMI [1977], EK NAYI PAHELI [1984], MAYA MEMSAAB [1993], EK CHHOTISI LOVE STORY [2002], NISHABD [2007] and CHEENI KUM [2007], wherein a young boy/man falls for an older woman or vice versa. Even though the promotions of NASHA make the audience’s expectation meter soar really high, expecting more of skin show in the process, director Amit Saxena serves an emotional tale instead of padding the narrative with steamy sequences.
NASHA tells the story of an 18-year-old boy [Shivam Patil], who falls hopelessly in love with a 25-year-old woman [Poonam Pandey]. Life is pretty normal for the teenager with flashy clothes, a pretty girl friend, the summer vacations and his gang of friends, who are up to some trick or the other. The moment Shivam sees Poonam, he not only falls for her charms, but also starts dreaming and fantasizing about her day and night. All of this eventually leads to a roller coaster ride of love getting entangled with lust and sprinkled with doses of jealousy and possessiveness.
With a film that’s woven around such a plot, exploring myriad emotions, one expects more than a love story in films of this genre. While director Amit Saxena tries to explore every possible angle of growing up years in a teenager’s life, the film suffers in its first half itself, but manages to pace up in the post-interval portions. Even though it ends on a conventional note, there’s hardly any innovation that one can bring to this film considering the plot/theme of the film.
Come to think of it, the writing barely offers anything new to the spectator. One can’t really blame the writer/s for the lack of novelty in the story as there’s hardly anything that one can write in a film where the mainstay/focus is purely on skin show, which, incidentally, is limited too. However, the DoP captures not just the beauty of the scenic locales, but also human emotions justifiably. Besides, this one’s more of a treatment film, with the effective background score enhancing and elevating a number of sequences.
Poonam Pandey needs to work really hard on her expressions and dialogue delivery. The surprise packet of the film, however, is Shivam, who appears supremely confident and has the potential to grow as an actor. He seems to be completely at ease before the camera. Vishal Bhonsle, as Poonam’s boyfriend, is perfect. The seasoned actors who play Shivam’s father and uncle are also natural. The director has beautifully captured their awkwardness and hesitations when they go to Poonam to enquire about her relationship with their child. The young actors playing Shivam’s friends are self-assured.
On the whole, NASHA is more of an emotional love story than a film that rides on skin fest. An average fare!

Bajatey Raho (2013) Movie Review

Bajatey Raho Movie Review-

 A revenge comedy, or conning a con to be specific, is a rarity in Bollywood. Recall KHOSLA KA GHOSLA, which was amongst the first in this genre. Subsequently, a whole new segment that deviate from the tried-and-tested route, boast of an ensemble cast, are close to real life and belong to diverse genres have made it to cineplexes. The success of VICKY DONOR and FUKREY has given an impetus to this trend of low cost, high concept films. Shashant Shah, who attempted diverse genres in his first two outings, DASVIDANIYA [2008] and CHALO DILLI [2011], follows the trail with BAJATEY RAHO.
However, unlike the over-the-top humor that we are subjected to in most films, the humor is understated in BAJATEY RAHO. In addition, Shashant and writer Zafar A. Khan stay true to the ‘commercial format’ of amalgamating just about every ingredient to quench the appetite of the entertainment-seeking spectator. Although the narrative is not without its share of déjà vu moments, Shashant does manage to dole out a fairly absorbing tale, more towards the second half of the movie.
Sabharwal [Ravi Kishan] is on a roll, committing a series of frauds, all in the garb of a successful business entrepreneur. But little does he know that one of his misdoings has created a huge impact on the lives of four commoners, Mrs. Baweja [Dolly Ahluwalia], Sukhi [Tusshar Kapoor], Mintoo [Vinay Pathak] and Ballu [Ranvir Shorey], which has only resulted into an enormous wave of need for vengeance.
The death of Mr. Baweja [Yogendra Tikku] due to a cardiac arrest after being framed in a bank fraud and Saira, his assistant, being put behind bars, Mrs. Baweja takes the situation in her hands. The four decide to get even with Sabharwal…
While the story starts off on a rather haphazard note with a random sting operation and eventual blackmail, director Shashant Shah manages to weave the plot together without confusion. Gradually, as the story unfolds, the viewer is taken down memory lane which sets the premise while taking the story forward. Since much of the first half goes in establishing each of the characters, the pace appears sluggish, with the romantic track [featuring Tusshar and Vishakha Singh] standing out like a sore thumb. Agree, Vishakha had to fit into the scheme of things, but it could’ve been done in a more persuasive manner. Fortunately, the narrative gathers momentum post interval as the motley crew gear up for their biggest con yet. It is this episode that elevates the film a notch above the ordinary. Additionally, with a run time of 1.47 hours, the film manages to keep you in your seat for most parts.
But, having said that, let me add that the film is *not* laced with humor-laden situations/episodes in entirety. This one’s more about conning the con and settling scores, hence the focus is primarily on drama and taking the story forward. The humor, hence, is sparse and not in your face. Besides, Shashant could’ve avoided the mostly Punjabi dialect, for it may be difficult to comprehend for the uninitiated.
Shashant reserves the best for the post-interval portions and that includes the con act as well as the songs. ‘Tennu Main Love Karda’ [modeled on the lines on the popular track from DESI BOYZ], ‘Naagin’ and the RDB track [towards the end credits] are easy on the lips.
Dolly Ahluwalia, Ravi Kishan, Brijendra Kala and Rajender Sethi are the scene stealers here. Post VICKY DONOR, one sees Dolly in an entirely new avatar and the natural ease with which she glides into her part makes the goings-on worth it. Ravi Kishan enacts the evil man with flourish. Brijendra Kala, playing the sidekick to Ravi Kishan, proves his prowess yet again, while Rajender Sethi may be getting stereotyped in negative roles, but it’s a delight watching him as the greedy father of the groom.
Tusshar enacts his part with conviction, while Vinay Pathak, cast in a non-comic character, is restrained. Ranveer Shorey doesn’t get much to do here. Vishakha Singh is alright. Kamlesh Gill is wasted in an insignificant role. Husaan Saad is lovable. Yogendra Tikku [as Mr. Baweja], Rajinder Nanu [as Raman], Vikas Mohla [as Pawan], Anya Singh [as Gudiya] and Nikhil Pandey [as Aman Kapoor] fill the bill.
On the whole, BAJATEY RAHO is quite entertaining with an absorbing second half. Decent entertainer!

Issaq (2013) Movie Review

Issaq Movie Review-

They say a ‘rose by any other name remains a rose’. Likewise, William Shakespeare’s timeless classic ‘Romeo and Juliet’ by any other name will always arouse tremendous curiosity. The tragedy of two young, star-crossed lovers has always provided fodder to many films [Bollywood/Hollywood]. As a matter of fact, there have been many adaptations and inspirations of this eternal love story. Director Manish Tiwary’s ISSAQ is no different. He has tried to illustrate the innocence of romance against the backdrop of violence and hatred.
Shakespeare or no Shakespeare, films like QAYAMAT SE QAYAMAT TAK and the much recent ISHAQZAADE are examples of love blooming between the offspring of two warring families. On his own admission, Manish claims his ISSAQ to be an adaptation of ‘Romeo & Juliet’. He does succeed in bringing out the essence of the love story that is set against the backdrop of the sand mafia and the dreaded Naxalites, but the film appeals in bits and spurts, not in entirety!
The story is set in Banaras and its neigbouring areas that are witness to violence unleashed by sand mafia controlled by two warring factions — Mishras and Kashyaps. Kashyap has an 18-year old, pretty daughter Bachchi [Amyra Dastur] from his first wife, while Mishra’s son Rahul [Prateik] is a good-looking teenager with predictable interests for a boy of his background — girls and guns. Things change when Rahul and Bachchi fall in love. Disregarding the consequences, the young lovers choose to go ahead with the diktats of their hearts…
ISSAQ banks heavily on guns and violence, as is the demand of the script. Even though the screenplay tilts towards the blooming romance of the lovebirds, it’s actually the gun-yielding men and the scheming woman [aptly played by Rajeshwari Sachdeva], who tend to leave an everlasting impact.
What is good about not just the film but also Bollywood is the fact that rather than investing heavily on foreign locales, it has now started discovering the stunning locales within India itself. Besides Delhi, Wai and other locales, Banaras seems to have caught the fancy of our storytellers, with films like RAANJHANAA, YAMLA PAGLA DEEWANA-2 [partly], besides several others, being filmed in this vibrant city. Even in ISSAQ, the locations and the camerawork is something that stays with you much after the film has concluded.
Even though the territory of the script is known to all, it’s the screenplay that keeps the film moving frame by frame. The narrative does get lengthy and stretched at times, courtesy the loose editing at places. Had the editing been crisper, it would have left an indelible impression for sure. While the first half of the film is slow moving and uneven, the post-interval portions are a bit stretched. In fact, the film gathers momentum only after the attacks on Amit Sial and Ravi Kishan. The soundtrack is commonplace, with the title track leaving an impression.
Of the cast, Prateik isn’t entirely persuasive. A bit more conviction would’ve only made a vast difference to his performance. Although this is Amyra’s debut film, she shows immense promise. A few right films and she could just be the face/name to watch out for. The director has truly succeeded to extract the maximum out of her facial innocence. Amongst the rest of the cast, while Neena Gupta is just about okay, it is Ravi Kishan [terrific], Prashant Narayan [convincing], Makrand Deshpande [super], Sudhir Pandey [competent], Vineet Kumar Singh [perfect], Prashant Kumar [proficient] and Amit Sial [first-rate] who stand out. Rajeshwari Sachdeva is top notch.
On the whole, ISSAQ is absorbing and convincing in parts, not in entirety. The final outcome could’ve been even more impactful had it not been stretched.

Luv U Soniyo (2013) Movie Review

Luv U Soniyo Movie Review- 

Bollywood continues to borrow from films of yore. We rehash love stories tirelessly, refurbishing the age-old premise to suit the present-day spectators. LUV U SONIYO, directed by Joe Rajan, too follows the same routine we are so accustomed to witnessing.
LUV U SONIYO is about Mark [Tanuj Virmani] and Soniyo [Neha Hinge], who, since their childhood, have been brought together by fate, time after time, only to be drawn apart each time. But destiny has its own plans for these two, who belong to two completely different worlds.
LUV U SONIYO is an amalgamation of loosely knitted episodes with the usual monotony of mush that is broken by the few light moments, which come as a welcome respite. There’s not much of drama here. Nor does it have moments that make you pine for the lovers. The culmination, therefore, doesn’t give you the feeling of euphoria. Besides, the overtone of Goan culture seems a bit over the top here.
Director Joe Rajan knows the technicalities right, but he is saddled with an unenergetic script. A couple of songs are tuneful though.
Tanuj is strictly okay. Neha seems like just any other plain Jane. The supporting cast comprising of Puneet Issar, Avtar Gill, Joy Fernandes, Bunty Grewal, Himani Shivpuri and Viveck Vaswani are functional. Howard Rosemeyer irritates after a point.
On the whole, LUV U SONIYO is yet another addition to the old-school romantic film!

Ramaiya Vastavaiya (2013) Hindi Movie Review

Ramaiya Vastavaiya (2013) Movie Review-

Boy meets girl. Falls in love. But family doesn’t endorse their relationship. Determined, the lovers resolve to win over the displeased relatives through hard slog, willpower and integrity… Aah, haven’t we visited similar themes numerous times in the past? But storytellers the world over tend to replicate stories — with modifications and alterations, of course — interpreting the yarn in their individualistic way.
After regaling spectators with masala entertainers like WANTED and ROWDY RATHORE, Prabhu Dheva unleashes his new outing RAMAIYA VASTAVAIYA. Clearly, the promos give an inkling that Prabhu dwells on the age-old formula in his third Hindi outing, a genre that’s oft-repeated post MAINE PYAR KIYA [1989]. Come to think of it, not only does RAMAIYA VASTAVAIYA bring back memories of MAINE PYAR KIYA, but also ANARI [1993; Venkatesh - Karisma Kapoor, with Suresh Oberoi playing the strict older brother], DILWALE DULHANIA LE JAYENGE [1995; SRK - Kajol, with Amrish Puri as the stern father] and PYAAR KIYA TO DARNA KYA [1998; Salman - Kajol, with Arbaaz enacting Kajol's authoritarian brother].
In reality, RAMAIYA VASTAVAIYA is the remake of Prabhu Dheva’s directorial debut NUVVOSTANANTE NENODDANTANA [Telugu; 2005], which was subsequently remade in other languages. The query is, why tag on the oft-repeated premise for a present-day film? But let me also add that romance is eternal and if one looks at the success ratio of this genre, the results have been fantastic, with almost every top name today having commenced his career with a love saga.
RAMAIYA VASTAVAIYA may bear similarities with above named movies, but the drama unfurls way too differently here. Sure, there are deja  vu moments, despite the germ of thought being analogous, but Prabhu and screenplay writer Shiraz Ahmed ensure that they pack several novel and mass-friendly punches, introduce new characters, besides packaging it well enough for the entertainment-seeking spectator to lap it up.
Ram [Girish Kumar], the Australia-returned youngster, meets Sona [Shruti Haasan] at his cousin’s wedding and falls in love with her. He follows her to her farm, run by her brother [Sonu Sood], who is against this match, since Ram is too affluent for them. He throws a challenge at Ram if he has to win Sona’s hand in marriage…
The emphasis is solely and absolutely on providing entertainment in movies such as RAMAIYA VASTAVAIYA and Prabhu Dheva has mastered the art since the time he donned the director’s hat. The aiming-at-masses director struck the pot of gold in his first two Hindi movies and in RAMAIYA VASTAVAIYA too, he ensures he ups the entertainment quotient in every frame. Of course, unlike WANTED and ROWDY RATHORE, where romance was the second-most important ingredient, the love story is the focal point of RAMAIYA VASTAVAIYA, but Prabhu is not at sea tackling the genre. Furthermore, this may be atypical love story, with the spectator knowing beforehand what the wrap up would be, but the journey in the second hour specifically is pleasurable, with Prabhu and writer Shiraz Ahmed blending episodes to cater to every strata of the movie-going audience.
RAMAIYA VASTAVAIYA is not without its share of blemishes. To start with, the sequences between the lovers don’t work in entirety. Note the sequence at the bath tub; it only adds to the length of the film. Besides, the narrative tends to stagnate in a few sequences, while a few episodes have been stretched for no particular reason. Cinematography [splendid work by Kiran Deohans] and the action [invigorating fights by Kaushal-Moses] are in tandem with the content of the film.
With Kumar Taurani [Tips] in the producer’s chair, obviously, the soundtrack has to be rich. It’s a given, right? And Sachin-Jigar, the talented jodi, doesn’t disappoint either. ‘Jeene Laga Hoon’ is lilting and has already attained tremendous popularity, while ‘Jadoo Ki Jhappi’ and ‘Rang Jo Lagyo’ are wonderful compositions as well. Priya Panchal’s lyrics compliment the melodies, while the choreography is eye-catching as well.
Obviously, RAMAIYA VASTAVAIYA is the launch vehicle for Girish Kumar and the actor gets the opportunity to sing, dance, fight, emote, display varied emotions… in short, the film is meant to be a showreel that shows off his acting credentials. Of course, Girish being a first-timer, there are some rough edges, but the fact is, he’s photogenic and goes through the rigmarole with confidence. Whether it his introductory sequence [surfing in the sea] or breaking into a dance, whether he’s exposing his chiseled physique or wearing desi outfits, whether he’s asked to look innocent or flirtatious, Girish gets it right.
Shruti Haasan looks gorgeous and is akin to a breath of fresh breeze. She radiates innocence, but can be naughty the next minute and conveys a lot through her eyes. It would be great to see her in varied roles in times to come. The film has a gigantic supporting cast comprising of Vinod Khanna, Randhir Kapoor, Poonam Dhillon, Govind Namdev, Satish Shah, Zakir Hussain, Nasser, Sarfaraz Khan, Mushtaq Khan and Paresh Ganatra and each of them enact their respective parts with proficiency. Jacqueline Fernandez and Prabhu Dheva’s song is high on energy.
On the whole, RAMAIYA VASTAVAIYA is a simplistic love story narrated competently. Besides, the chemistry between the lead actors, the gripping second hour and of course, the Hit musical score should contribute to its triumph. Recommended

D-Day (2013) Hindi Movie Review

D-Day (2013) Movie Review-

The Hindi film industry is indeed going through an exhilarating phase. A variety of movies and assorted stories are being attempted week after week. With a novel tale unfolding every week, a Hindi movie buff has a lot to look forward to.
Who would’ve ever anticipated that the maker of poignant and stirring films like KAL HO NAA HO, SALAAM-E-ISHQ and PATIALA HOUSE — underlining a strong emotional undercurrent in each of those films — would attempt a film about India’s Most Wanted Man? Not me, for sure! But Nikhil Advani ventures into an alien terrain with D-DAY, which, on surface, may seem like yet another gangster film, but it’s not. There have been a lot of debates about gangsters who have sought a secure haven on foreign soil and a lot is being said about getting them back to India for trial and justice. But D-DAY is the first Hindi film to explore this pertinent aspect [read burning issue].
The plotline of D-DAY conjures up memories of the 2012 film ZERO DARK THIRTY, which was about the manhunt for the world’s most wanted terrorist, Osama bin Laden. However, the similarities between the two films end there.
What makes D-DAY relevant and relatable is the fact that Nikhil borrows from real-life headlines/occurrences and gives it a new spin altogether, interpreting the story his way. The basic premise of the film — RAW agents being assigned the task of bringing back the fugitive crime lord back to India — evokes tremendous curiosity, but at the same time, Nikhil knows that since the subject matter is sensitive and volatile, it ought to be tackled with extreme concern and caution. Thankfully, Nikhil treats this explosive theme with extreme care.
Nine years ago, Wali Khan [Irrfan] was sent to Karachi, Pakistan by the Chief of RAW Ashwini Rao [Nasser] to report the activities of the Most Wanted Man in India. Nine days ago, Rudra Pratap Singh [Arjun Rampal], Indian Armed Forces, Zoya Rehman [Huma Qureshi], RAW Explosives Expert and Aslam [Aakash Daahiya], a petty thief from the streets of Mumbai, recruited by RAW, join Wali in Pakistan to carry out the mission to bring back the Most Wanted Man in India. The man who was going to break all ISI protocol and security and attend his own son’s wedding. The man who could, on that day, be abducted and brought back to India to face justice.
The team sent in to bring the Most Wanted Man in India did the unthinkable — they carried out the most daring operation and almost got away with it. Almost, because something went horribly wrong!
There have been umpteen debates and discussions to extradite gangsters and criminals operating from foreign land and Nikhil, together with writers Ritesh Shah and Suresh Nair, weaves a yarn that’s part bona fide, part fiction. D-DAY is gritty and hard-hitting, but most importantly, it’s an earnest attempt. The setting appears authentic [D-DAY gives the impression of being filmed in Pakistan], the sequence of events is well connected and the implementation of the written material is compelling. Not once do you feel that Nikhil bites off more than he can chew.
D-DAY tackles a knotty issue and it’s imperative that Nikhil stays close to authenticity. The demanding plot and the edgy, gritty and raw situations, besides the ambience [recreating Karachi], makes this espionage thriller so different from the gangster films we have witnessed on the Hindi screen thus far. The four patriots, each with a back story, joining hands for a common mission, their expedition and how the hunters become the hunted in the neighbouring country gives the film that edge and power that’s hard to expunge from memory.
Nikhil reserves the best for the finale. The fight at the border and what ensues blows your mind and can easily be termed as the icing on the cake. Sure, Nikhil and his writers run their imagination wild here, but let me tell you, this finale is sure to meet with wild cheers. The sole hiccup is that the film appears elongated and could’ve been short and snappy by 10/15 odd minutes. A succinctly narrated theme only aids in augmenting the overall impact, as we know by now.
Nikhil keeps the action [Tom Struthers] as real as possible. Besides, the action in D-DAY is not the type that is dominating the Hindi screen of late. It’s raw, but believable, keeping in mind the characters the protagonists illustrate. The soundtrack [Shankar-Ehsaan-Loy] is absolutely in sync with the mood of the film. The best track of the film is, without doubt, ‘Alvida’. The visuals in the song are mind-blowing. Tushar Kanti Ray’s cinematography captures the gritty ambience to perfection. Dialogue [Ritesh Shah and Niranjan Iyengar] are strong and compelling.
D-DAY has an ensemble cast, but the scene stealer is, without doubt, Rishi Kapoor. The veteran continues to push boundaries, challenging himself and astonishing the spectators. Recall the man coping with inflation in DO DOONI CHAAR, the stern family patriarch in PATIALA HOUSE, the villainous character in AGNEEPATH, the college dean in STUDENT OF THE YEAR and the ageing romantic in CHASHME BADDOOR. D-DAY proves his versatility yet again as he gets to portray the much-feared don. He’s tremendous!
Irrfan has always proved himself, irrespective of how good/bad the film may be, and it’s no different this time. Of course, the accomplished actor gets a power-packed character and he leaves a stunning impact yet again. The film proves, yet again, his brilliance as an artiste of calibre in several sequences, especially the ones towards the closing stages of the film. Arjun Rampal continues to surprise and evolve as an actor. It seems, he is on an experimenting mood and the character he portrays in D-DAY gives him the opportunity to step forward as an actor. He’s top notch!
Huma Qureshi too gets ample opportunity to get into a diverse zone with this film and she seizes the prospect instantaneously. She stands on her own, despite the presence of formidable and much-experienced actors in the frame. Shruti Haasan gets a complicated, layered character and she handles it with gusto. The chemistry with Arjun is electrifying as well. Sriswara, portraying the character of Irrfan’s wife, is a revelation. She will make heads turn with her talent. Aakash Daahiya is competent. Although the film stars far more experienced names, he grabs you attention every time he appears on screen.
Nasser [as RAW chief], K.K. Raina [as Gen. Raza], Chandan Roy Sanyal [as Bhanja], Imran Hasnee [as Saleem Pathan], Nissar Khan [as Niyaaz Ahmed] and Sandeep Kulkarni [as Atul Mishra] — each of them contribute so much to every sequence. Divij Handa, as Irrfan’s kid Kabir, is super. Rajpal Yadav’s presence enlivens the song at the very start.
On the whole, D-DAY is what a well-made thriller ought to be — taut, transfixing and spellbinding, with an astounding finale. Don’t miss this high-octane thriller!

Sixteen (2013) hindi Movie Review

Sixteen (2013) Movie Review-

Well, who can forget the days in school? The age when you’re stepping into teens, when you are discovering life and relationships, when you’re making new friends, when you are learning the difference between love, lust and infatuation, when you’re discussing/exploring forbidden things with pals… Director Raj Purohit encapsulates all this and more in SIXTEEN.
The difference between a 16-year-old, almost 30 years ago, and a 16-year-old today is radical. In this era of internet and technological advancements, in this era of Facebook, Twitter and chat rooms, the teen is exposed to stuff that seemed beyond belief till a few years ago. Do kids of today lose purity and innocence faster these days?
SIXTEEN captures the life of teens as they go through their loves and heartaches, dreams and destructions in their school, home and the outside world. It narrates the story of friendship and the turbulent route of some kids during their growing up years. It’s also about the adults around them who make, unmake and remake their world…
While the premise may seem basic or one-dimensional, director Raj Purohit ensures that he packs in quite a bit in those 2+ hours. Actually, Purohit makes a genuine attempt to narrate not one, but varied stories in the film and each of them, in some way, mirrors the lives of youngsters who stand on the threshold of adulthood. There are moments that startle you, not because the director presents it in the exaggerated form, but because the Gen X thinks and converses so differently in the present day.
Purohit brings back memories of the growing up years and extracts spontaneous performances from the principal cast. Additionally, he tries to scrutinize the mindset of the youngsters, borrowing from slice of life situations and juxtaposing episodes with sweet and sour occurrences. A few moments are sparkling indeed! Conversely, the film staggers and hits rough patches towards the penultimate moments, when the assorted stories — on their individual path by now — head towards culmination. Additionally, the languid pacing is another bothersome aspect.
SIXTEEN could’ve done with lesser songs. A couple of tracks are harmonious ['Chad Gayi' is foot-tapping], but a spate of songs in the post-interval portions specifically deviate your attention from the story. Dialogue are amusing and naughty and do win you over at times.
After UDAAN, BUBBLE GUM and GIPPI, SIXTEEN is yet another film with child protagonists, which is a welcome change indeed. And the good news is, the actors, all of them, show promise. Izabelle Leite, Mehak Manwani, Wamiqa Gabbi, Rohan Mehra, Highphill Mathews and Varun Jhamb are self-assured. Zakir Hussain is, as always, wonderful. Prabhleen is hugely competent. Keith Sequeira is natural.
On the whole, SIXTEEN is well-intentioned and tackles relevant issues, although the second half could’ve been sharper. Good watch!

Bhaag Milkha Bhaag (2013) Movie Review

Bhaag Milkha Bhaag (2013) Movie Review-

BHAAG MILKHA BHAAG chronicles the life of Indian sprinter Milkha Singh from his childhood to achieving the iconic standing. The film takes you back in time when Milkha lost his family members during the partition and his rise to the celebrated status without any prescribed guidance or monetary backing. The film also encapsulates his attachment to his sister [Divya Dutta] and the woman he gave his heart to [Sonam Kapoor]. Also depicted in this 3-hour+ film are the conquests, the lows, the rise to splendor and distinction, the skilful attainment…
The supremely talented director Rakeysh Omprakash Mehra and the proficient writer Prasoon Joshi amass the varied occurrences from the phenomenon’s life, although the focus is clearly on the documentation of Milkha’s illustrious career, his uphill struggle, impediments, apprehensions and eventual triumph. Besides staying true to Milkha’s life and conquests, Mehra and Joshi interweave a spellbinding screenplay that doesn’t limit it to being a mere sports-based film. In fact, the writer comes up with an incredible script that keeps you hooked from commencement to conclusion. There are a number of sequences that make you moist eyed, besides leaving an indelible impression. The sharp edit [P.S. Bharathi] and the electrifying background score further elevate the film to an exceptional level.
There’s no denying that Mehra has a ear for superior melody and the soundtrack of RANG DE BASANTI and DELHI 6 bear testimony to the fact. However, this time, Mehra opts for Shankar-Ehsaan-Loy. This one’s a plot-motivated movie; consequently, the songs cater more to the situations than creating a sound-rich album. Binod Pradhan’s cinematography is of international grade. He captures every beat, every tone, every nuance with mastery.
Hindi movies offer infrequent opportunities to actors to depict iconic and inspirational characters and Farhan gets the opportunity of portraying the most demanding role of his career so early in his acting vocation. Over the past few years, Farhan has progressively evolved into a superior actor, but he outshines himself — and also the spectator’s expectations — with BHAAG MILKHA BHAAG. Farhan delivers an enchanting performance as the Flying Sikh, leaving the spectator awe-stuck in several sequences. His brilliant portrayal and meticulous interpretation of the character is sure to win him colossal admiration, approbation and respect from all quarters.
What’s noteworthy is the effort the actor has invested in looking the part. Right from his chiseled, athletic physique, the hair, the body language et al, Farhan has pushed himself beyond limits to illustrate the eminent and renowned character of Milkha Singh with precision. He leaves you astonished at varied stages and you can’t help but admire the hard slog, passion, commitment and earnestness of the actor. This is an unblemished, memorable performance that should find a strong nomination in the year’s best performances.
Milkha learnt some of life’s most crucial and critical tutorials from his senior, portrayed luminously by Pawan Malhotra. He inculcated valor and determination in Milkha to encounter the uphill struggles in life and I genuinely believe that any amount of admiration will not do adequate justice to the extraordinary depiction of this character by Pawan Malhotra. Cricketer Yuvraj Singh’s actor-father Yograj Singh, who has been an integral part of several films in the past, excels as Farhan’s coach. He is simply incredible here. Prakash Raj, cast in a positive role, is in fine form too.
Sonam puts her best foot forward as well. Although the character is brief, she shines in those pertinent moments nonetheless. Australian actress Rebecca Breeds has a pivotal part and the chemistry she shares with Farhan is super. Divya Dutta is simply outstanding as Farhan’s sister. An extraordinary actor, she handles the demanding part with flourish.
British actor Art Malik seems most appropriate in the role of Farhan’s father. Dalip Tahil [as Pandit Nehru], K.K. Raina [as Mr Wadhwa], Nawab Shah [as Coach Javed], Meesha Shafi [as Perizaad], Dev Gill [as Abdul Khaliq] and Shanta Kumar [as Gen. Ayub Khan] are wonderful in their respective parts. Jabtej Singh, as the young Milkha, is superb.
On the whole, BHAAG MILKHA BHAAG is sure to win accolades, admiration, respect and esteem, besides emerging as a champ. Reserve the applause for Milkha Singh and the team behind BHAAG MILKHA BHAAG. Give it a standing ovation!

Bhaag Milkha Bhaag (2013) Movie Review

Bhaag Milkha Bhaag (2013) Movie Review-

BHAAG MILKHA BHAAG chronicles the life of Indian sprinter Milkha Singh from his childhood to achieving the iconic standing. The film takes you back in time when Milkha lost his family members during the partition and his rise to the celebrated status without any prescribed guidance or monetary backing. The film also encapsulates his attachment to his sister [Divya Dutta] and the woman he gave his heart to [Sonam Kapoor]. Also depicted in this 3-hour+ film are the conquests, the lows, the rise to splendor and distinction, the skilful attainment…
The supremely talented director Rakeysh Omprakash Mehra and the proficient writer Prasoon Joshi amass the varied occurrences from the phenomenon’s life, although the focus is clearly on the documentation of Milkha’s illustrious career, his uphill struggle, impediments, apprehensions and eventual triumph. Besides staying true to Milkha’s life and conquests, Mehra and Joshi interweave a spellbinding screenplay that doesn’t limit it to being a mere sports-based film. In fact, the writer comes up with an incredible script that keeps you hooked from commencement to conclusion. There are a number of sequences that make you moist eyed, besides leaving an indelible impression. The sharp edit [P.S. Bharathi] and the electrifying background score further elevate the film to an exceptional level.
There’s no denying that Mehra has a ear for superior melody and the soundtrack of RANG DE BASANTI and DELHI 6 bear testimony to the fact. However, this time, Mehra opts for Shankar-Ehsaan-Loy. This one’s a plot-motivated movie; consequently, the songs cater more to the situations than creating a sound-rich album. Binod Pradhan’s cinematography is of international grade. He captures every beat, every tone, every nuance with mastery.
Hindi movies offer infrequent opportunities to actors to depict iconic and inspirational characters and Farhan gets the opportunity of portraying the most demanding role of his career so early in his acting vocation. Over the past few years, Farhan has progressively evolved into a superior actor, but he outshines himself — and also the spectator’s expectations — with BHAAG MILKHA BHAAG. Farhan delivers an enchanting performance as the Flying Sikh, leaving the spectator awe-stuck in several sequences. His brilliant portrayal and meticulous interpretation of the character is sure to win him colossal admiration, approbation and respect from all quarters.
What’s noteworthy is the effort the actor has invested in looking the part. Right from his chiseled, athletic physique, the hair, the body language et al, Farhan has pushed himself beyond limits to illustrate the eminent and renowned character of Milkha Singh with precision. He leaves you astonished at varied stages and you can’t help but admire the hard slog, passion, commitment and earnestness of the actor. This is an unblemished, memorable performance that should find a strong nomination in the year’s best performances.
Milkha learnt some of life’s most crucial and critical tutorials from his senior, portrayed luminously by Pawan Malhotra. He inculcated valor and determination in Milkha to encounter the uphill struggles in life and I genuinely believe that any amount of admiration will not do adequate justice to the extraordinary depiction of this character by Pawan Malhotra. Cricketer Yuvraj Singh’s actor-father Yograj Singh, who has been an integral part of several films in the past, excels as Farhan’s coach. He is simply incredible here. Prakash Raj, cast in a positive role, is in fine form too.
Sonam puts her best foot forward as well. Although the character is brief, she shines in those pertinent moments nonetheless. Australian actress Rebecca Breeds has a pivotal part and the chemistry she shares with Farhan is super. Divya Dutta is simply outstanding as Farhan’s sister. An extraordinary actor, she handles the demanding part with flourish.
British actor Art Malik seems most appropriate in the role of Farhan’s father. Dalip Tahil [as Pandit Nehru], K.K. Raina [as Mr Wadhwa], Nawab Shah [as Coach Javed], Meesha Shafi [as Perizaad], Dev Gill [as Abdul Khaliq] and Shanta Kumar [as Gen. Ayub Khan] are wonderful in their respective parts. Jabtej Singh, as the young Milkha, is superb.
On the whole, BHAAG MILKHA BHAAG is sure to win accolades, admiration, respect and esteem, besides emerging as a champ. Reserve the applause for Milkha Singh and the team behind BHAAG MILKHA BHAAG. Give it a standing ovation!