Arjun The Warrior Prince (2012) Movie Review | Storyline | Plot

Arjun The Warrior Prince (2012) Movie Review

I genuinely feel that Ramayana and Mahabharata are most fascinating and spellbinding stories. These epics are simply perfect, unique and beyond compare. Naturally, it doesn’t come as a surprise that Ramayana and Mahabharata have inspired film-makers in every decade. Though narrated inestimable times on celluloid, director Arnab Chaudhuri attempts an animated mythological that makes you sit back and relish the legend on screen — ARJUN THE WARRIOR PRINCE.


Told with elegance, ARJUN THE WARRIOR PRINCE catches your attention for varied reasons: The animation, which is vivacious and vibrant, the energetic combat scenes, but most importantly, it’s narrated in the most simplistic manner. For those who’re well aware, and even those who aren’t, it’s a faithful retelling of one of our favorite stories. Even the speech is not chaste Sanskrit and strikes a chord with the viewer.


The epic animated feature narrates the heroic journey of the legendary warrior prince, Arjun, from the days of his youthful innocence to his emergence as a valiant hero, who single-handedly took on an entire army. It explores his life with his brothers in Hastinapur, his training and education and his ultimate discovery of the warrior within himself.


While ARJUN THE WARRIOR PRINCE takes a step frontward as far as the animation is concerned — the conception artists have worked really hard to recreate the era, while the animators breathe life into them — the two issues that I have with the film is [i] The leisurely pacing, at times, destabilizes these efforts and [ii] The culmination seems abrupt. Ideally, one would’ve expected the storyteller to include the historic Kurukshetra war between Pandavas and Kauravas, but it concludes prior to that. Seems like the director was in a tearing rush to conclude the film.


Yet, despite the inadequacies, I’d like to make a special note of the animatronics here, which is more refined than the animation films made in India. The animation is not superlative, but much superior to most we’ve witnessed thus far. If you’ve braved the animation films made in India in the past, this one will come as a pleasant and welcome change.


On the whole, ARJUN THE WARRIOR PRINCE needs to be watched for its animation, for its storytelling and most importantly, it makes an earnest effort to relive the mythology.

Yeh Khula Aasmaan (2012) Movie Review - Storyline - Plot

Yeh Khula Aasmaan (2012) Movie Review

With the surfacing of quality logical cinema, the film industry is no longer about mainstream masala movies. YEH KHULA AASMAAN is yet another film that intends to stir the soul with a heartwarming tale.
YEH KHULA AASMAAN deals with imperative matters of our life, besides bringing back the spirit of kite flying, a great Indian tradition since many generations. The film also attempts to tell the viewer that there are no failures, only setbacks, and one needs to move forward. The message, told in the most subtle manner, does come across effectively in the closing stages.
YEH KHULA AASMAAN revolves around Avinash [Raj Tandon], a youngster going through an extremely challenging phase of life due to his academic failures. He feels an immense vacuum which, unfortunately, his busy parents are unable to fill. In desperation, he visits his grandfather [Raghuveer Yadav] after several years. The grandfather uses the ‘kite’ to subtly impart the lessons of life and prepares Avinash to face life. Under his company, Avinash discovers many unexplored yet invaluable facets of life.
YEH KHULA AASMAAN mirrors the pressures the youth faces today [peer, parental and academic pressures]. Director Gitanjali Sinha deserves accolades for thinking out of the box, for choosing a theme you can relate to, but the writing is erratic at times, especially in its second hour. Nonetheless, Gitanjali has handled the delicate moments between the grandfather and the kid well. Besides, the story of peer pressure to score in academics, the conflicting views between the new and old generations, the predicaments and bridging of the generation gap… the film seems like a chapter from our lives. The conclusion to the story — the kite flying competition — is appropriate, though, I wish to add, the feeling of euphoria is missing.
The film has been shot at some picturesque locales and the location and setting adjoin value to its insightful theme. As for the songs, the title track is soulfully rendered.
Raghuveer Yadav enacts the role of a senior citizen most efficiently. Yashpal Sharma does well, but his conversation in English is embarrassing. Raj Tandon and Anya Anand are natural. The supporting cast, all newcomers, is adequate.
On the whole, YEH KHULA AASMAAN isn’t perfect, but likeable nonetheless. A simple story that strikes a chord!

Department (2012) Movie Review | Storyline | Plot

Department (2012) Movie Review | Storyline | Plot

For a really long time, he has been attempting the kind of movies he aspires to make, with not much concern for the BO. The uneven response to his last few films at the ticket window hasn’t shaken the confidence that viewers have in his abilities. His past few films were nowhere close to SHIVA, RANGEELA, SATYA, COMPANY, BHOOT, SARKAR, SARKAR RAJ and RAKTA CHARITRA-I, but regardless of the BO outcome, Ramgopal Varma is one film-maker who continues to make movies that he believes in.


Earlier, in NOT A LOVE STORY and now, in DEPARTMENT, RGV has dared to re-invent the cinematic language by changing the visual imagery. While the visual style is worth applauding and catches your eye instantly — RGV has filmed in angles not witnessed before in Hindi films — it’s the erratic and inconsistent writing that bogs down DEPARTMENT.


No one illustrates the underbelly of crime on celluloid as persuasively as RGV. The issue with DEPARTMENT is *not* the beaten to death genre, but the screenplay that has nothing novel to offer. Encounter specialists, ruthless gangsters, inter-gang rivalry, corrupt politicians… haven’t we had our fill already? One could never lay blame on RGV for taking the tried and tested route, opting for easy shortcuts while narrating a story. But, in DEPARTMENT, all you remember is style, while the substance goes for a toss.


Alarmed at the hitherto unseen escalation in underworld criminal activities, the government officials hold a secret meeting in which they take a decision to create a new unit which is unofficially referred to as ‘Department’. This special task force is formed to clean up the muck caused by gangsters.


DEPARTMENT throws light on the power struggle that exists in the police department and one expects RGV to narrate a story we haven’t heard or witnessed before. Sadly, the already exhausted genre curtails the maverick film-maker to spring surprises. To put it bluntly, DEPARTMENT is old wine packaged in a brand new bottle. Right from the characters, which we have witnessed in soooo many films of this genre, to the twists and turns in the story, RGV borrows from the past endeavors, instead of moving frontward. Besides, in an attempt to make it more mass-friendly, more ‘commercial’, RGV forcibly injects a couple of songs in the narrative [barring 'Cheeni', filmed on an alluring Nathalia Kaur] that are completely unwelcome in an enterprise that’s out to depict realism.


DEPARTMENT is soaked in high-voltage drama and action, with a consistent undercurrent of tension. As a matter of fact, there’s an overdose of action in the film, though, I must admit, a few action pieces, especially the final showdown between Sanju and Rana, is deftly executed. But the absence of a riveting and absorbing screenplay looms large in the post-interval portions. Sure, some sequences do hit you hard, but the writing tilts heavily towards been-there-seen-that kind of situations persistently, promising little or no surprise as the plot unravels. RGV’s obsession with the camera is evident here as well. He does away with the usual visual language this time, which is sure to win him admirers. The background score [Dharam-Sandeep] enhances the impact, while the dialogue are power-packed at times, but plain mediocre at places.


The central characters get extensive scope and absolutely surrender to RGV’s vision. Amitabh Bachchan is remarkably credible. Sanjay Dutt stands out with a prominent performance. But it is Rana Dagubatti who surfaces as an accomplished actor. Rana has remarkable screen charisma and is convincing in his superior portrayal of a cop.


Vijay Raaz’s character lacks meat. Abhimanyu Singh enacts his part with gusto. Madhu Shalini [Abhimanyu's love interest] catches your eye. Laxmi Manchu [Sanju's wife] is proficient. Anjana Sukhani underplays her part wonderfully. Deepak Tijori doesn’t get much scope.


On the whole, DEPARTMENT is neither novel, nor experimental, but a return to the tried and tested formula. Disappointing!

Dangerous Ishq (2012) Movie Review | Storyline | Plot

Dangerous Ishq (2012) Movie Review | Storyline | Plot

After making a series of horror films, Vikram Bhatt enters a new zone with DANGEROUS ISHHQ. This one’s about Past Life Regression.

For those not conversant with it, Past Life Regression is one’s expedition, through meditation or hypnosis, into your previous birth. An unsolved past life experience could be distressing in one’s current life. Past Life Regression or Therapy can significantly aid the person in understanding these problems and help them reclaim the quality of life by understanding and altering the root causes of these symptoms. In DANGEROUS ISHHQ, Karisma Kapoor attempts to unravel, through Past Life Regression, the mystery adjoining her past lives.

But this isn’t the first Indian film on this topic. SONAR KELLA aka THE GOLDEN FORTRESS, helmed by the master storyteller Satyajit Ray, was, to my knowledge, the first film to tackle this issue on celluloid. It narrated the story of a small boy who remembered events of his past life. He even mentioned precious jewels in a golden fortress, drawing sketches of battles he had seen.

The strength of DANGEROUS ISHHQ lies is its attention-grabbing plot, which the Indian masses can relate to instantaneously. With Vikram Bhatt at the helm of affairs, who specializes in narrating taut thrillers, you can be assured of a riveting plot with several heart-in-the-mouth moments. But, alas, it’s the screenplay that throws a spanner, with the over-stretched second hour and a formulaic conclusion ruining what Vikram had meticulously put together in the first half.

Supermodel Sanjana [Karisma Kapoor] and Rohan [Rajneish Duggal], son of a business tycoon, are one of the most popular couples on the social circuit. When Sanjana decides against flying to Paris at the last minute for a lucrative modeling assignment, she does so not just because she cannot bear to stay away from her boyfriend Rohan, but because her instincts push her against going. But what her instincts cannot do is stop Rohan from getting kidnapped.

The high-profile kidnapping creates chaos in Sanjana’s life. The kidnappers demand INR 50 crores. Time is of utmost essence. Death stares Rohan in the eye. It is in this extreme trauma that Sanjana discovers something extraordinary. She sees visions of them together — sometime in the past — in different eras.

She is confused initially, but in her visions lies definitive clues that could lead her to save the love of her life. As she follows clue after clue, she gets closer and sometimes further away from the love that has been eluding her through the ages. Would she be able to unravel the past to save her future? Would she be able to rescue her love and expose his true captors?

DANGEROUS ISHHQ has an intriguing plotline and writer Amin Hajee ensures that he keeps the viewer’s interest alive by incorporating episodes that keep you captivated. The sequence at the hospital — Karisma spots a badly injured Rajneish and the portions that follow subsequently — set the ball rolling. The shifts between the past and present, nightmare and actuality are well done. The plot becomes more and more stirring as the reels unfurl, with the portions in the first hour so perfectly executed that one buys into it each stride of the way.

But the movie plummets in the post-interval portions. It’s not the execution of the material that’s faulty, but the screenplay that gets taxing and boring after a point. The Rajasthani episode in this hour has brilliant moments, but at the same time the Meerabai track [portrayed by Gracy Singh] is least convincing. The graph actually goes downhill during the concluding portions, when Vikram Bhatt and writer Amin Hajee decide to unravel the mystery and zero in on the person responsible for the kidnapping. It’s at this point that the film falls like a pack of cards.

Since different eras are being explored, it is imperative that Vikram Bhatt captures the spirit of each period appropriately and though he makes a sincere effort, the writing gives away after a point. Besides, what baffles me is the usage of 3D here. Believe me, there’s not much justification for opting for 3D in DANGEROUS ISHHQ and barring a scene or two, the 3D enthusiasts are sure to be disappointed.

Himesh Reshammiya’s music in DANGEROUS ISHHQ is strictly okay. Barring ‘Tu Hi Rab Tu Hi Dua’, none of the songs have the lasting power to linger in your memory. Girish Dhamija’s dialogue are functional.

Karisma Kapoor puts forth her best efforts, getting to deliver lines in varied dialects. She gets the dialects right, especially Urdu and Rajasthani, but there’s not much scope for her to display her acting prowess. Rajniesh Duggal gets some scope initially, but is sidelined completely in the second hour. Jimmy Shergill impresses as the cop. Divya Dutta does very well, but, again, gets no scope after a point. Ruslaan Mumtaz, Aarya Babbar and Samir Kochhar have bit roles. Ravi Kishan leaves an impression, while Natasha Sinha is perfect. Gracy Singh appears incredibly phony as Meerabai.

On the whole, DANGEROUS ISHHQ is no patch on Vikram Bhatt’s earlier achievements. This fantasy-driven film is an epic disappointment!

Ishaqzaade (2012) Movie Review | Storyline | Plot

Ishaqzaade (2012) Movie Review | Storyline | Plot

Habib Faisal’s directorial debut DO DOONI CHAAR, starring Rishi Kapoor and Neetu Kapoor, depicted the aspirations of a middle-class family. It won immense critical acclaim, appreciation of the viewers and the Best Hindi Film National Award. Now his second film ISHAQZAADE has generated tremendous buzz thanks to its raw and edgy trailers, likable music and also for its setting — the Hindi belt where guns still reign supreme. And you aren’t disappointed either, for the film meets the lofty expectations, assuring you that the 2+ hours were well worth it!

Yash Raj Films returns to the era of action after a hiatus, but they have not done away with their core USP, romance, as ISHAQZAADE is a passionate love story, which is the emphasizing theme of the film. In fact, ISHAQZAADE is not only about aggression and romance, you also get a glimpse of the arrogance and conceit of people in small towns in India.

The story unfurls in the idealistic and intimidating scenario of North India. ISHAQZAADE depicts the love story of two defiant, rebellious individuals. A passionate love story ignited by extreme dislike. It revolves around two disputing political families, two fiery individuals and their battle for control and superiority. The two characters, Parma [Arjun Kapoor] and Zoya [Parineeti Chopra], who have been told since early days to detest each other, are almost equipped to eradicate each other and then something happens in their life post which they realize they are actually quite alike. They start wondering when we both are so similar in our personality and stance, why have we got this extreme dislike for each other?

In such a setting, when two people, who have been loathing each other all this while, fall in love, things go askew.

The chemistry between Arjun Kapoor and Parineeti Chopra on screen certainly follows the model of the chemistry that was created in DILWALE DULHANIA LE JAYENGE, BUNTY AUR BABLI and BAND BAAJA BAARAAT. It’s infectious and that, in my opinion, is the hallmark of the film, besides the script of course. In the initial portions, both Arjun and Parineeti are at loggerheads, bartering cusswords, flaunting guns and trying to be one-up on the other. Their love story towards the middle of the first part is equally electrifying and the portrayal by Arjun and Parineeti gives the film the required sheen.

The post-interval portions have several euphoric moments. The heated conversation involving Arjun’s mother and the aftermath is brilliantly penned and executed. Ditto for the sequence when Arjun apologises to Parineeti in this hour. It’s truly emotional! The only hitch is that the film slows down before it reaches the finale thanks to some unwanted sequences [the sequence in the laboratory] and some songs in this hour. The culmination to the film is a highpoint and mirrors a reality as well.

Habib Faisal belongs to a fresh class of writers and film-makers who does away with the beaten to death drama that one gets to watch in films of this genre. Filmed at actual locations of Uttar Pradesh, the story of ISHAQZAADE has universal appeal and could have been set in any of the big cities, but the small town milieu lends the plot a kind of passion missing in large metros. Perhaps, the magnetism towards love is that much stronger in a small town, also the conflict of the people opposing love is manifold stronger likewise.

Amit Trivedi, one of the most gifted and skilled musical talents, comes up with a harmonious and pleasant-sounding album. ‘Ishaqzaade’, ‘Pareshan’, ‘Aafton Ke Parinde and ‘Chokra Jawan’ — each of those tracks are popular already. The best part is, the songs of ISHAQZAADE have not been filmed on romantic landscapes, but at humdrum locations, which makes it so real and very much in sync with the mood of the film. I’d like to make a special mention of the cinematography [Hemant Chaturvedi], which captures the essence of North India and the rustic flavor so well. The background score [Ranjit Barot] adds a lot of pep, while the action and chase sequences [Sham Kaushal] are wonderful.

Arjun Kapoor makes a fantastic debut. He has a peerless body language and a ‘I-don’t-give-a-damn’ kind of an approach in the movie. The youngster, with his untidy look and impish smile, has already won female reverence prior to the release of the film and after having watched him emote, you can confidently say that he’s blessed to depict this rebellious character in his launch vehicle itself. He comes across as fiery and rustic and at the same time self-assured and assertive in this reckless and intrepid character.

To acquire a film of this scale and magnitude is a triumph by itself for a beginner, for a script and character like this happen once in a while. Parineeti Chopra is simply fantastic in this high-voltage drama. Playing the part of a spirited gun-toting girl, she is not the regular timid, decorous, withdrawn Hindi film heroine. She portrays the violent behavior coupled with the audacious and brash attitude with aplomb.

Gauhar Khan is lovely in a special role. Also, she dances very well in the two tracks. Anil Rastogi [as Arjun's grand-father], Natasha Rastogi [as Arjun's mother] and Ratan Rathore [as Parineeti's father] are natural to the core.

On the whole, ISHAQZAADE, a volatile and intense story with ample doses of fanatical romance, should appeal to a pan-India audience. This broadly engaging love story has a winsome pair who deliver dexterous performances, besides popular music and several poignant moments, which should appeal to fans of mainstream films. Go for it.

Fatso (2012) Movie Review | Storyline | Plot

Fatso (2012) Movie Review | Storyline | Plot

Rajat Kapoor’s body of work, as an actor and director, includes several significant films. Especially those directed by him. The talented raconteur has the ability to choose an out of the box story and make it work. But FATSO does not match up to the lofty standards that he has set. Actually, FATSO had the potential to reach the winning post, but the mediocre writing acts as a deterrent.

As a result of a celestial gaffe, a guy is killed earlier than his time on Earth has ended. In the heavens, the guy is bestowed with an additional opportunity to prolong his existence on earth, although in the body of someone else… Does the narrative echo familiarity? Yes, it’s been played around with in many movies. It started with the Hollywood film HERE COMES MR. JORDAN [1941], which was remade as HEAVEN CAN WAIT [1978] and DOWN TO EARTH [2001]. There was a Hindi adaptation as well called JHUK GAYA AASMAN [Rajendra Kumar, Saira Banu; 1967], which is amongst my personal favorites. FATSO is reminiscent of the oh-so-popular story. You could call this semblance a happenstance or an inspiration, whatever you fancy as accurate.

Nandini [Gul Panag] and Navin [Purab Kohli] are about to get married when disaster strikes. Navin and his friends, a hugely overweight Sudeep [Ranvir Shorey] and Yash [Neil Bhoopalam], go out to celebrate. An accident occurs on the highway and Navin is dead. Navin wakes up in heaven and discovers to his horror that it was a clerical error that had landed him in heaven. The man actually destined to be there was the fatso, Sudeep, with his cholesterol on overdrive! Navin makes a scene in the overcrowded waiting room of heaven and demands that he be returned to earth and to his loved ones.

FATSO is about how Navin returns to earth and has to woo Nandini all over again in another guise.

FATSO has a winning beginning, but it tapers as it moves towards the middle and concluding act. While the plot had the potential to develop into a captivating experience, it loses focus midway and more so towards the final moments. The impact it ought to create is simply missing. One of the reasons being, why doesn’t Ranvir tell Gul the truth about what actually transpired. In fact, the truth remains hidden till the very end; he never tells her. That, in my opinion, is the movie’s biggest undoing. Besides, the romance between Ranvir and Gul appears so synthetic. Nonetheless, regardless of the insufficiencies, you have to concur that the film is charismatic, but in petite proportions. The romantic scenes between Gul and Purab are wonderful, while the comic ones are, to some extent, pleasurable.

The film is well shot, while the music doesn’t work. The dialogue are real at places.

FATSO packs some notable performances by each and every member of the cast. Ranvir Shorey is endearing and believable in the title role. Gul Panag is first-rate, portraying the gamut of emotions effortlessly. Purab Kohli is effective in a brief, but significant role. Neil Bhoopalam is another actor to watch out for. He’s natural to the core. Gunjan Bakshi, as Neil’s girlfriend, catches your attention. Brijendra Kala shines in his part. He’s fantastic! Yusuf Hussain, as Purab’s father, is decent. Vinay Pathak and Saurabh Shukla appear in cameos.

On the whole, FATSO appeals in bits and spurts. It had the potential, but doesn’t quite reach there!

Jannat 2 (2012) Movie Review | Storyline | Plot

Jannat 2 (2012) Movie Review | Storyline | Plot

The Bhatts have the utmost number of films which have developed into a victorious franchise. MURDER 2 has hit the bull’s eye, JANNAT 2 opens this Friday, while RAAZ 3 and AASHIQUI 2 arrive later this year. So what does a film franchise precisely connote? It symbolizes a series of films wherein the title and certain constituents of a movie remain the same, but the story alters in every installment. JANNAT was about a man’s pursuit for heaven, the gluttony to attain the extravagance in life as hastily as possible. But there’s a disparity between the two motion pictures. JANNAT explored the dark side of the cricketing world, while JANNAT 2 underlines arms trafficking.

Arms trafficking, also known as gunrunning, is the unlawful trading or smuggling of contraband weapons or ammunition. We have witnessed a number of films on drug trafficking and human trafficking, but arms trafficking has a far more deadly effect on humankind. JANNAT 2 is an unsettling motion picture that exposes the arms trade in the capital. Illegal arms are sold and bought with effortless ease and this film throws light on how the ammunition reaches the hands of the common man. The unlawful weapon trade is a flourishing business that JANNAT 2 enlightens you about. For the first time, I guess, a Hindi movie explores the precarious issue, with a stimulating romance elegantly interlaced in the narrative.

Much like Bhatts’ past endeavors that borrow from factual life, JANNAT 2 is a well-explored theme. Thematically, there is a traceable semblance with the Nicolas Cage starrer LORD OF WAR, which was about international arms trading. Conversely, JANNAT 2 is very desi at heart and strives to shed light on the illicit weapons trade in North India. JANNAT 2 is a compelling account of a conflicted man who ultimately faces the effects of his deeds. The movie advocates that firearms and cartridges are the actual perpetrators accountable for the fatalities and killings of blameless people. JANNAT 2 is ingeniously fashioned and skillfully filmed, while the characters are pertinent and compelling.

Sonu [Emraan Hashmi] is a smooth-talking street-smart gunrunner, who has the gift of the gab and knows his trade inside out. ACP Pratap [Randeep Hooda] is a hardened maverick cop, who has a personal vendetta against the gun nexus. He will go to any lengths to crack down this nexus and he handpicks Sonu to do this job, as he is the perfect candidate to enter this racket undercover and expose everybody involved in the unlawful weapon trade.

Sonu falls in love with a young doctor Jhanvi [Esha Gupta] along his journey and that throws his life’s course into a tailspin with unforeseen and far-reaching consequences for all three of them.

Emraan is not merely the protagonist of JANNAT 2, in view of the fact that the entire film is told from his standpoint, he’s also the chronicler of the film, guiding the viewer through the events of the movie and in actual fact unraveling the story on screen. While the movie relies profoundly on Emraan’s amazing abilities, director Kunal Deshmukh and writer Shagufta Rafique deserve brownie points for the movie’s visual technique and taut writing. The duo justly enlighten us about the millions involved in the illegal trade and how many hands a single bullet passes through on its trip from its creation to its ultimate destructive use. JANNAT 2 is not a light-hearted movie or an action flick as the trailers may try to depict. Some of those elements are also part of it, but at the end of it all, the motion picture has a persuasive message to transport. An incredibly compelling film on a solemn issue!

While the first hour of the movie sets up the stage for a fascinating second hour, it’s actually the intermission point that literally sets the ball rolling. Kunal and Shagufta reserve the best for the post-interval portions. The drama is captivating and the graph of the film only scales uphill. The twists and turns in the plot [followed by a super suspense towards the end] and the vital chase sequence in the dargah form the major highlights of the film. In fact, getting the second hour right is nothing short of a challenge for film-makers and a majority of films stumble and stagger in this hour, but not JANNAT 2. The tempo is consistent throughout; maintaining the undercurrent of anxiety unswervingly. There’s no tedious moment, it keeps the spectator absolutely engrossed in the on-screen occurrences. The Northern flavor coupled with the acidic dialogue [Sanjay Masoom], lingo and abundant usage of expletives makes it appear so very bona fide. All things considered I must adjoin at this juncture that every part of the lavish praise and plentiful admiration for this spellbinding fare goes to its proficient director, Kunal Deshmukh.

JANNAT 2 is a tremendous album, with Pritam delivering a rich soundtrack. The placement of songs is most appropriate as well. I’d like to make a special mention of the background score [Raju Singh]. It’s electrifying! The DoP’s [Bobby Singh] contribution is commendable. His images are so significant to the attitude of the motion picture. Ditto for the action and chase sequences [Javed-Ejaz].

Emraan Hashmi plays Sonu Dilli, a street-smart brat who is a combination of fortitude and charisma, effortlessly. Trust me, you cannot envision anyone else doing what he does. Emraan, with his credible act, makes the devil seem charming and wickedness, charismatic. In fact, the actor is sure to astonish you with the mellowness of his performance. Randeep Hooda made you sit-up and notice his talent in ONCE UPON A TIME IN MUMBAAI and SAHEB BIWI AUR GANGSTER and now, once again in JANNAT 2, the actor delivers yet another knockout performance. He dominates in several sequences, making you realize that if given an opportunity, the guy can steal the thunder from the best of actors.

Debutante Esha Gupta enchants you with her captivating charm. She appears a tad unrefined at places, nonetheless she handles her part assertively. Manish Chaudhuri, who was wicked as hell in the recent BLOOD MONEY, outshines himself in JANNAT 2. He’s simply superb! Brijendra Kala is admirable as Randeep’s trusted colleague. Sumit Nijhawan, as Sarfaraz, is effective. Mohd. Zeeshan Ayyub, as Emraan’s friend Balli, is top notch. Arif Zakaria is excellent.

On the whole, JANNAT 2 is an engaging film with tremendous appeal for the masses. An absorbing story, a swift and coherent narrative, exemplary direction, fantastic action, soothing music and stellar performances summarize the highlights of this triumphant franchise.

Life Ki Toh Lag Gayi (2012) Movie Review | Storyline | Plot

Life Ki Toh Lag Gayi (2012) Movie Review

Films with the Mumbaiya flavor have, quite often, found acceptance and approval by viewers of Hindi movies. IS RAAT KI SUBAH NAHIN, PARINDA, SATYA, VAASTAV, RANGEELA, HERA PHERI, ONCE UPON A TIME IN MUMBAAI are some prominent paradigms that come to my mind instantly. Furthermore, each week, the spectators are greeting additional films that are exceedingly factual and significant, with content that is relatable. LIFE KI TOH LAG GAYI follows the footsteps of IS RAAT KI SUBAH NAHIN, but the problem is that it appeals in flashes. It holds your attention in bits and spurts. Yet, there’s no denying that debutant director Rakesh Mehta has filmed a number of sequences with expertise. Sadly, it’s the writing that lets him down. Had the writing been cohesive and editing sharper, LIFE KI TOH LAG GAYI would’ve been notches above what it is right now.

LIFE KI TOH LAG GAYI is a one-day journey of different people struggling in the city of Mumbai. They eventually end up at one place and find their ways… A tense Salman [Kay Kay Menon] is looking for the murderers of his parents, a humiliated cop ACP Chautala [Manu Rishi] is looking for four Nigerian drug peddlers with 24 hours deadline on his neck, a desperate lover Amol [Ranvir Shorey] comes to rescue his beloved girlfriend who has got married to some millionaire, a runaway girl from Chandigarh Dolly [Neha Bhasin] wants to go back home, but not before she recovers all the money she has lost in attempt to become a top heroine of Bollywood. Ajoy [Pradhuman Singh], the Bengali rockstar, advises his close friend Amol to commit suicide. All this happens in a single day in Mumbai.

It’s tough to have a start, a middle and an end for a single story, but the storyteller attempts to narrate as many as four stories in a single film. Now that’s an achievement. But, like I mentioned earlier, the stories take a long time to reach the conclusion. Also, the lethargic unfolding of the narrative is a deterrent, besides a few sequences that tend to get repetitive.

LIFE KI TOH LAG GAYI has an ensemble cast, with every actor trying to put his/her best foot forward. Ranvir Shorey is competent, while Pradhuman Singh goes over the top. Neha Bhasin catches your eye and wins your confidence. Manu Rishi is excellent, as always. He adds so much value to the film. Kay Kay Menon sparkles in his role, mainly in the final sequence when he settles the scores with the antagonist. Sharat Saxena doesn’t get much scope.

The film has a host of known actors in supporting roles, including Jackie Shroff, Shakti Kapoor, Asrani, Razzaq Khan, Neeraj Vora, Rukhsaar and Tom Alter.
On the whole, LIFE KI TOH LAG GAYI has a fascinating concept, but the writing plays the spoilsport.

Tezz (2012) Movie Review | Storyline | Plot

Tezz (2012) Movie Review

The story of TEZZ is uncomplicated… A team of Asians place a bomb on a high-speed train. The authorities receive an anonymous threat that a triggered bomb has been planted on a bullet train operating between London and Glasgow. If the train decelerates or loses speed below a certain tempo, it will be destroyed along with its many passengers, unless a ransom is paid. The police want to stop the bombs from exploding, while the railway authorities want to save the lives of the passengers and they soon find themselves in a disagreement under the frantic pace set by these dramatic circumstances.

Does the plot sound familiar? Yes, I am sure, it sounds recognizable. But a vital clarification, before I proceed further. It’s widely discussed that TEZZ is generously inspired or a replica of the 1994 Keanu Reeves starrer SPEED. It’s also said that SPEED was a recreation of the Japanese thriller SHIKANSEN DAIBAKUHA [1975], which was also known as THE BULLET TRAIN. Reportedly, even the Thai film industry got inspired by the Japanese movie in 1977 and made a movie called 1 2 3 MONSTER EXPRESS. While the Japanese movie had the plot set on a high-speed train, SPEED was on board a bus. Without giving the plot away, I’d like to say that TEZZ does seek inspiration from the above-mentioned films, but is no replica or a duplication of the above-mentioned movies.

TEZZ is a good looking thriller filmed with expertise. Loaded with an ingenious premise, thrilling moments and action, Priyadarshan has curved it into a tremendously well-executed motion picture. The film’s sole objective is to keep moving at a feverish pace, keeping the spectator completely immersed and entertained with the on-screen occurrences. Sure, there are some unwarranted moments [more on that later!], but the pacing is so breakneck and the cinematography so superior that it’s easy to overlook the few unreasonable moments.

Shot across England with action sequences like none other, one scarcely pauses to take a breath. If you’ve ever travelled on the lightning fast bullet train, you know how terrifying the thought of an accident is. If you enjoy panic movies with ultimate action and edgy thriller suspense, then TEZZ should do the trick for you.

On the flip side, the back story of Zayed and Sameera vis-à-vis their camaraderie and solidarity with Ajay could have been more persuasive and better elucidated for a stronger impact. Only then would the episodes involving Zayed and Sameera and what prompts them to risk their lives to support Ajay in implementing his plans appear compelling. Similarly, the portions involving Ajay and Kangna, towards the latter half, appear synthetic. The eagerness and zest of a couple uniting after five years is evidently amiss. Ditto for the final moments. The hand to hand combat scenes between Anil and Ajay adds value, but appear unwarranted and only stretch the narrative inanely. Besides, the visual effects could have been a wee bit superior.

But these are trifling discolorations. The plus points effortlessly prevail over and outnumber the deficiencies here. Though there are ample thrilling moments in the enterprise, I’d like to single out two chase sequences that are simply outstanding — the first involving Sameera and the second featuring Zayed. Besides, the film lives up to its title, with the plot unraveling at a feverish pace. Last but not the least, the performances by the principal cast is a big plus.

Action choreographers Gareth Milne and Peter Pedrero, who previously worked on several international films, pool resources with Priyadarshan for high-quality action on screen. They do a remarkable job. Tirru’s cinematography deserves special mention. This must’ve been an intricate film to shoot, but the outcome is at par with any international film. The car stunts, the chase sequences and of course, the sequences in a moving train are filmed with precision. Sajid-Wajid’s musical score is satisfactory. The Mallika Sherawat track at the very outset sets the ball rolling, while the romantic track between Ajay and Kangna is smartly interwoven in the narrative.

It’s a treat watching Anil Kapoor on screen. Though the actor has been an integral part of so many movies in the past, you can never accuse him of repeating himself. Besides, he may be in his early 50s, but that hasn’t deterred Anil from performing the high-octane action stunts with flourish. Ajay Devgn excels yet again. The actor has the perfect demeanor, attitude and physical appearance for the character he portrays. Also, those who felt that Ajay had cut down on action roles of late are in for a treat. Ajay’s character has an emotional side, but it’s the action portions, which he handles like a complete pro, that makes his character even more appealing.

Kangna is an integral part of the film, but the screen time is limited. Nonetheless, her sequence with Anil towards the final moments catches your attention. Zayed doesn’t get ample scope, but he’s fantastic in the chase sequence towards the second hour. Sameera gets to do some daredevil stunts and also gets a couple of interesting sequences to leave a mark and she clutches the opportunity with both the hands. Mohanlal, an actor par excellence, gets minimal scope. Boman Irani is fantastic. One can easily rate it amongst his best works. Mallika Sherawat sizzles in the ‘Laila’ track.

Vicky Donor (2012) Movie Review | Storyline | Plot

Vicky Donor (2012) Movie Review

A wise man once remarked, “If we can donate blood to save a life, why can’t we donate sperms to grant a life?” Couples are ready to pay big bucks for the sperm of well placed males. The amount varies depending on the looks, personality, academic ability of the donor. Despite this, we’re too shy to discuss issues relating to artificial means of fertilization. Couples suffer years of infertile living, but are in two minds when told to opt for the scientific and legal techniques of external fertilization. Despite a contemporary outlook, some of us still consider it taboo to address sex-related matters candidly, which explains why the concept of a sperm donor on celluloid is unthinkable. A film like VICKY DONOR shuns the conventional plot and narrates the story of a sperm donor, thus bringing the issue out in the open determinedly.

John Abraham turns producer with a forward-thinking, avant-garde movie that holds worldwide appeal. In fact, a lot of actors’ foremost production centres around themselves, capitalizing on their star power, but John’s initiative of opting for an offbeat theme and choosing a newcomer to enact the principal lead needs to be lauded. Above and beyond, the endeavor to transport the issue of artificial insemination out of the closet and presenting it in a light tone in the backdrop is an added move that merits acknowledgement.

In an environment where the job pressures are high and couples lead an erratic and unhealthy lifestyle, Dr. Baldev Chaddha [Annu Kapoor], a well-qualified fertility expert, runs a fertility clinic and a sperm bank in Daryaganj, New Delhi. Unfortunately, he has more failed cases to his credit than successes. A healthy, high-performing donor is the need of the hour.

Vicky Arora [Ayushymann Khurrana], a young, good looking Punjabi guy from Lajpat Nagar, is the only son and of no financial support to his mother Dolly [Dolly Ahluwalia], a widow, who runs a small beauty parlor from home. As luck would have it, a small brawl in the colony brings Dr. Chaddha and Vicky face to face, where Chaddha concludes that Vicky could be that donor he has been looking for. From here on, Dr. Chaddha’s days and nights are spent in convincing Vicky to become a donor till he finally gives in.

Vicky finds his love interest in Ashima Roy [Yami Gautam], a pretty Bengali girl, who works in a bank. But soon their hunky dory world comes crashing down because of Vicky’s past as a donor.

A youth-centric movie with a humorous theme, VICKY DONOR is fundamentally a romantic comedy between a Punjabi boy and a Bengali girl set against the backdrop of sperm donation. Nonetheless, director Shoojit Sircar takes a light-hearted, optimistic look at the issue, coming up with a film that entertains and enlightens the viewer vis-à-vis infertility and artificial insemination. VICKY DONOR may be a diminutive film in terms of budget and costing, but when you see the issue it tackles, it does not give the impression of being an undersized film.

Director Shoojit Sircar takes giant strides as a raconteur, balancing the two halves adroitly. While the first hour tilts towards light moments, the drama, or the twist in the tale, comes up in the post-interval portions. I’d like to make a special mention of the screenplay [Juhi Chaturvedi]. Not once does it deviate to the tried and tested track. It’s engaging content from commencement to conclusion and along with a set of impeccably cast actors, it’s one joy ride you can’t afford to miss. Having said that I’d like to add that the movie loses some steam [for a few minutes] in the post-interval portions, but, thankfully, VICKY DONOR doesn’t get unbalanced. The movie accomplishes what it sets out to do — it enlightens and entertains and that, in my opinion, is no puny achievement.

The music of VICKY DONOR is better than expected. ‘Rum Whiskey’ [appears twice in the movie] is addictive, while ‘Pani Da Rang’ [both male and female rendition] adds a lot of weight to the soundtrack. The dialogue, penned by Juhi Chaturvedi, are in sync with the mood of the film. The North Indian dialogue-baazi, especially the conversation between Ayushmann’s mother and grand-mom, stands out in the film.

It’s a performance-oriented role and Shoojit Sircar has, very aptly, chosen a deserving candidate for the assignment. Ayushmann is a complete natural, has all the trappings of a fine actor and delivers a super confident performance. I’d like to single out two sequences that make you appreciate that he’s an artiste of caliber and aptitude. One, when he reaches Kolkata to fetch his wife and two, the finale, when he visits an orphanage. Annu Kapoor is an exceptional actor, no two opinions on that, and he’s outstanding here. The gifted actor adjoins enormous humor to his character and his mode of selecting a sperm donor on the basis of personality, race, academic ability and other factors evoke immense mirth. Popular television actress Yami Gautam makes an imposing debut. She adds enormous value to the movie by her act, screen presence and striking looks. She’s truly admirable towards the latter part of the film.

Dolly Ahluwalia is exceptional and so is Kamlesh Gill, who enacts the part of Ayushmann’s progressive grand-mom. In fact, the grand-mom is quite a scene-stealer! Jayanta Das, enacting the role of Yami’s father, is proficient. John Abraham manages to pack a punch in a song.

On the whole, VICKY DONOR is a small film with a big heart. The makers have had the courage to bring a diverse issue out in the open, narrating a daringly different story without getting preachy. Witty, funny and also emotional, VICKY DONOR is forward-thinking, progressive commercial cinema which vastly enlightens and hugely entertains!

Hate Story (2012) Movie Review | Storyline | Plot

Hate Story (2012) Movie Review

HATE STORY. Its very first promo became the topic of discussion, went viral, managed to scandalize one and all with its audacious and explicit essence. Outrageous and shocking, the promo hit you like a ton of bricks, generating heat and hullabaloo due to its unconcealed sexuality, making it the most discussed promo on social networking sites that day of the week. In fact, the distribution rights of the film were picked up instantly thanks to the remarkable influence of this promo.

Vikram Bhatt [he's penned the story] falls back on the formula of the 1970s and 1980s, when vendetta fares ruled the roost. In HATE STORY, the protagonist seeks vengeance and uses her sexuality as a weapon to settle scores with the wrong-doers. A compelling plot that has the potential to keep the viewer captivated, the film tantalizes and teases the spectator thanks to the intrepid dare bare scenes by Paoli Dam, but is quite unpersuasive at certain junctures as well.

The story revolves around Kaavya [Paoli Dam] and her transformation from a simple middle class journalist to a sex worker to seek revenge. Kaavya, who doesn’t have anything to lose anymore, uses her sexuality as a lethal weapon to rip Siddharth [Gulshan Devaiah] apart by using everyone connected to him one way or another. Thus begins the journey of hatred and brutal vengeance.

This affects everyone around Kaavya, including her family and her best friend Vicky [Nikhil Dwivedi], who secretly loves her.

Movies with such an audacious theme generally ignite debates and HATE STORY is sure to meet with severe reactions. The makers ought to be prepared for some bouquets and brickbats. What makes the movie watchable is the vengeance aspect. But the ease with which she makes her way to the people she sets her sights on is hard to digest. First, the CEO [Joy Sengupta] followed by the influential politician [Mohan Kapur]… the woman barters her body for getting closer to her prey. But the manner in which she executes her plan seems so unworkable and unrealistic.

Fiery dialogues and explicit visuals had prepared the viewer as to what to anticipate from HATE STORY, so that the moviegoer isn’t in a state of astonishment at the daring on-screen happenings. The movie has an assortment of sexually explicit scenes and also extensive use of tainted language, which may appeal to those who relish steamy thrillers.

Director Vivek Agnihotri has filmed HATE STORY most stylishly. In fact, his approach to the narrative flabbergasts you and at times also renders you speechless, but a cohesive script would’ve worked wonders. The reason that compels Paoli to seek vengeance is completely justified, but the wars fought in the board rooms and the corporate jargon at places doesn’t leave the desired impact. The twist in the tale in the final sequence, though shocking, seems unwarranted. A better thought culmination would’ve only been more impactful.

There’s not much scope for music [Harshit Saxena] here, yet the songs fit the situations well. I’d like to make a special mention of the background score. It’s electrifying. Another aspect that deserves to be highlighted are the dialogue. A number of dramatic scenes get enhanced due to some blazing lines. Attar Singh Saini’s cinematography catches your eye.

Cast in a multi-dimensional character, Paoli, who won acclaim for her performances in Bengali films, makes a confident debut in Hindi films with HATE STORY. She facilitates in keeping the anxiety escalating with her authoritative act as her character stoops to frantic measures to make life hell for the man who disdained her. Gulshan, earlier seen in films like DUM MAARO DUM and SHAITAN, is a talent to watch out for. He plays the anti-hero with gusto. In fact, the film is about the conflict between Paoli and Gulshan’s characters and the impact is heightened as they indulge in the game of cat and mouse. Nikhil is the sole character who’s positive, while the other characters are either negative or have shades of grey. He’s decent!

Mohan Kapur is efficient, Joy Sengupta leaves a mark, Saurabh Dubey is excellent, Iravati is wasted and Bhairavi Goswami appears in a cameo.

On the whole, HATE STORY banks on the age-old vendetta theme, but what takes it beyond the mediocre mark is the cat and mouse game played by the protagonist and antagonist, besides, of course, the bold and provocative scenes that add spice to the proceedings. Though engaging in parts, there’s no denying that the second hour seizes your attention, making it a watchable experience.

Bittoo Boss (2012) Movie Review | Storyline | Plot

Bittoo Boss (2012) Movie Review

We love to celebrate weddings. In real life. In reel life. It’s that time when the family and friends get together. The fun, enjoyment and celebrations continue for several days. A wedding is an all-important occasion in our lives. No wonder, weddings play an integral role in our movies – either it’s a vital sequence or the milieu.

After regaling us with the very likeable PYAAR KA PUNCHNAMA, which gave an insight into urban relationships, the makers’ new outing, BITTOO BOSS, narrates the love story of a videographer. There’s no denying that the look and feel of BITTOO BOSS reminds us of Yash Raj’s pleasant outing BAND BAAJA BAARAAT towards the first half only. The backdrop is similar [weddings], so is the setting [North India]. The similarities don’t end there. The lead man in BITTOO BOSS [Pulkit Samrat] may pass off as a far-flung relative of Bittoo, the character Ranveer Singh portrayed in BAND BAAJA BAARAAT. But when viewed in entirety, BITTOO BOSS is not a replica of BAND BAAJA BAARAAT or TANU WEDS MANU, as a section of the media would like us to believe.

BITTOO BOSS has a fascinating premise, it appears bona fide as well, but not all concepts expand into entrancing fares. One anticipates a skillfully textured rom-com with flesh-and-blood characters, but what one gets to watch are caricatures. The slipup lies in its incoherent and erratic screenplay: the conflict doesn’t work, the love story lacks fizz and the drama lacks the power to influence you.

Bittoo Boss [Pulkit Samrat] is a young, charming, ingenious wedding cameraman who takes pride in calling himself a ‘Sesky Video Shooter’. He is the star of all wedding celebrations of a town in Punjab. Bittoo believes in spreading cheerfulness through the beautiful moments he captures, moments which you can rewind and keep watching for years and smile looking at them, thus making them heartfelt experiences which last forever.

Bittoo falls in love with an educated and strong-headed girl [Amita Pathak], who makes him realize the significance of financial stability and fiscal gains in order to achieve admiration and acknowledgment. The smart and righteous cameraman is lured to take a shortcut in order to earn a quick buck and get his life back on track.

BITTOO BOSS is a clear case of unfulfilled promises. In the recent past, most debutant directors have had the courage to charter an innovative pathway. One expects the story and the execution of the written material to leave an indelible impression, but director Supavitra Babul doesn’t get it right. Sure, the plot has potential, but the writing is lopsided and tedious and what makes it worse is the indolent tempo at which the plot unfurls. There’s a flicker of optimism when the narrative shifts to Shimla, after an acidic altercation between the lead pair. One expects the story to hurl surprises, but the episodes are so juvenile and monotonous that it tests your endurance after a point. The few charming moments are the ones between Pulkit Samrat and his assistant in Shimla, but, sadly, the film meanders in its concluding stages yet again. Supavitra Babul grounds his characters in realism, but he’s handicapped by a listless screenplay.

The soundtrack [Raghav Sachar] is mediocre. The most striking attribute of the enterprise is its cinematography, with the DoP doing a superior job.

After enjoying prominence on TV, Pulkit Samrat makes his big screen debut with BITTOO BOSS. He acts competently and gets ample scenes to prove his prowess. In fact, he injects a huge dollop of zing in the enterprise. Amita Pathak is decent, but is relegated to the backseat in the post-interval portions. The actor who enacts the part of the cabbie turned Pulkit’s manager in the second hour is really amusing. Mohan Kapur is okay, while Rajinder Sethi doesn’t get much to do.

On the whole, BITTOO BOSS is a good opportunity lost.

Housefull 2 (2012) Movie Review - Storyline - Plot

Housefull 2 (2012) Movie Review

By and large, what kind of anticipation does one have from the new installment of a successful franchise? Also, the query that crosses one’s mind is, will the new installment offer better-quality entertainment, will it promise guffaws and belly laughs [in this case] and in turn, prove to be a money spinner at the ticket window?

HOUSEFULL 2 has a massive cast — it retains a few names from the first part [Akshay, Riteish, Boman Irani], but has a number of entrants as well [John, Shreyas, Asin, Jacqueline, Shazahn, Zarine, Rishi, Randhir, Mithun] — and it’s, obviously, bigger in scale. Besides, like the first part, the new installment has most of the drama happening inside a mansion. The only aspect that doesn’t change is Sajid Khan’s objective of providing entertainment. Get amused, have ample laughs and exit the auditorium grinning from ear to ear, that’s his funda.

HOUSEFULL 2 belongs to the same school of zany comedies that gave us NO ENTRY, WELCOME, the GOLMAAL series and READY. Conversely, to some intellectuals and scholars of cinema, this genre of cinema may appear nonsensical and outrageous thanks to haphazard incidents and farcical characters, no definite storyline or characterization. These films are often written off as low-IQ comedies. But do the commoners really care? As long as you are assured of sufficient tummy laughs and the magical words that define masala movies [entertainment, entertainment, entertainment], that’s all that actually matters. Let’s not overlook the fact that a large chunk of the movie-going audience admire and relish these entertainers and are passionate about cinema of this variety. So if a handful of assessors plan to disgrace wacky comedies, it barely matters!

HOUSEFULL 2 tells the story of four fathers [Randhir Kapoor, Rishi Kapoor, Mithun Chakraborty, Boman Irani], four daughters [Asin, Jacqueline Fernandez, Shazahn Padamsee, Zarine Khan] and four prospective sons-in-law [Akshay Kumar, John Abraham, Riteish Deshmukh, Shreyas Talpade]. Each father wants his daughter to marry the richest son-in-law. Each daughter thinks she is marrying the richest son-in-law. Each son-in-law is pretending to be the richest son-in-law. However, none of these people can stand each other and all of them are under one roof, in one house.

As they enter the house, a catchy title ‘Jolly’ gets attached to their name and thanks to a confusion, the four fathers begin to think all four sons-in-law are named Jolly. The confusion only gets bigger…

HOUSEFULL 2 gives a new description to crazy and bizarre and Sajid Khan makes no bones of the fact that his motive is to make a movie that appeals to the masses, the aam aadmi who relishes hardcore masala movies. In fact, HOUSEFULL 2 has all the constituents of an archetypal Hindi movie with hilarity and madcap absurdity in abundance. Moreover, with songs, dances and feel-good moments, it delivers what it promises. The mantra is simple: Keep the fun quotient coming. If you are one of those who cares less about logic and rationale, but looks at movies that not only entertain, but also act as stress busters, HOUSEFULL 2 should slake your craving in those two hours.

The first hour is breezy and fun [just don't miss the crocodile and python episodes in this hour], besides the introduction of Akshay, but the fun quotient takes a backseat in the post-interval portions. The track involving Vindoo seems unwarranted and the fight sequence looks forced. Ditto for some sequences in the middle of the second hour [the Mithun-Boman tiff], which stagnates the movie. Besides, a few jokes appear contrived, while a few fall flat and are not too effectual. The climax, much like most of the movie, is ludicrous, but it works because it keeps you glued to the proceedings.

Sajid Khan comes up with a film full of joviality, frolic and merriment. While the screenplay is watertight in the first hour, the writers could’ve added more zany stuff in the second half. Yet, there’s no denying that the motive is to make you laugh and this movie makes you break into guffaws on several occasions. Also, I’d like to make a special mention of the dialogue, which are witty, funny and amusing. The music [Sajid-Wajid] has been created keeping in mind the theme of the movie. ‘Papa To Band Bajaye’ is already popular and so are ‘Right Now’ and ‘Anarkali’. The cinematography is conventionally appealing.

Akshay is in form this time. I have often said that you can put in writing the most hilarious dialogue in the world, but at the end of the day, humor is all about delivery on screen and Akshay delivers and how! He fits the character like a glove and delivers a scintillating act, illuminating every scene that he appears in. John and Akshay first teamed up years ago in GARAM MASALA and again in DESI BOYZ. This time around, John has emerged a lot better in his comic timing and gets your funny bone tickling with his worthy act.

Riteish continues to be in the middle of an exciting phase. Proving his credentials in several comic films, the actor displays his comic time yet again. The precision with which he executes his part is commendable. Shreyas is almost a veteran as far as comic entertainers are concerned. If truth be told, it is fairly tricky to make people cackle with gusto and Shreyas makes an earnest effort to come up with an endearing act.

Amongst the female leads, Asin has the meatiest role and gives a decent account of herself. Jacqueline, Shazahn and Zarine act more as eye candy. They are the typical sultry and enticing selves; each one is befitting in her own space.

It’s a treat watching veterans like Randhir, Rishi and Mithun portraying wacky characters with panache. In fact, each one of them is wonderful in their respective parts. Boman Irani is efficient yet again, although the length of his character isn’t much. Chunky Pandey is simply superb. Johny Lever’s comedy is flawless. Ranjeet shines in a cameo. He’s hilarious! Malaika Arora Khan radiates oomph in the ‘Anarkali’ track.

On the whole, HOUSEFULL 2 is a madcap entertainer that gets the viewer giggling, yelling, whistling and applauding

Blood Money (2012) Movie Review | Storyline

The foremost inkling you get on watching the promos of BLOOD MONEY is that it is reminiscent of Vishesh Films’ former endeavors. An aspiring middle class guy who dreams of attaining the luxuries and extravagance that life has to tender, but abruptly locates himself in the midst of notorious people indulging in nefarious deeds — a formula the Bhatts have lucratively mastered over the years. Conversely, a minuscule fragment of the media is of the opinion that it’s a rehash of the Hollywood biggie BLOOD DIAMOND. Is it? Let’s explore…

In actuality, BLOOD MONEY is reminiscent of one of Mahesh Bhatt’s premium endeavors, NAAM, which brought a turnaround in Sanjay Dutt’s career. A non-U entity dreams of a ritzy abode, a bountiful life, but treads the erroneous path in his pursuit to get affluent. But the resemblance between NAAM and BLOOD MONEY concludes there. As a matter of fact, BLOOD MONEY and NAAM are as different as chalk and cheese. In terms of plot, the narrative and the sequence of events.

Debutant director Vishal Mahadkar had a gripping premise on hand, but what comes across on screen is a potpourri. A few absorbing, attention grabbing moments… a few hackneyed, tried and tested formulaic material. Resultantly, BLOOD MONEY is neither riveting, nor absolutely undistinguished. It floats somewhere in between!

BLOOD MONEY narrates the story of Kunal [Kunal Kemmu] and his wife Arzoo [Amrita Puri], who move to Cape Town after Kunal procures a job with a leading diamond export firm run by Zaveri [Manish Chaudhuri] and his brother [Sandiip Sikcand]. The perks of the job includes a plush mansion, a swanky car and of course, all the opulence that money can procure. Gradually, Kunal finds himself trapped in the midst of a structured white collar crime conglomerate. How he struggles to get out of it forms the remainder of this story.

The protagonist and his emotions in BLOOD MONEY are very relevant and relatable. He imagines life like every other man. In fact, anyone who aspires to make his/her life superior would be able to relate to the passion of this guy. However, after an extremely absorbing initiation, after establishing the plot so well in the first hour, the film falters towards its post-interval portions. The typical middle class guy, all of a sudden, starts punching the villain’s brawny henchmen, after giving them a good chase. Despite being viciously stabbed. Unexpectedly, from a credible, plausible zone, the film deviates into a hard-to-absorb masala-ridden fare that relies on heroism and intrepidness to prove a point. A persuasive culmination, in keeping with the quintessence of the film, would’ve only enhanced the impact of the second hour. Wish the writer was consistent in keeping the viewer absorbed in the subsequent hour as well.

Having said that, I’d like to add that Vishal Mahadkar has executed a number of sequences dexterously. The manner in which the relationship between Kunal and Amrita builds and steadily goes through turbulent phases is remarkably depicted, while the anxiety-filled moments between Kunal and Sandiip in particular and also the one filmed in Angola [in the midst of terrorists] are significant. But how one wishes the film in entirety had recall value, instead of a few scattered moments. The writing [Upendra Sidhaye] is evidently not satisfactorily cohesive.

Like all Bhatt movies, the music of BLOOD MONEY is easy on the lips and has staying power. ‘Chahat’ is harmonious, but its inapt placement raises a query, while ‘Jo Tere Sang’ is an exceptional track [both composed by Jeet Gannguli]. Nigam Bomzan’s cinematography is top notch. The stunning locales of Cape Town are filmed exquisitely.

Kunal Kemmu is super-confident and believable. The actor carries the movie on his shoulders, notwithstanding the discrepancies in the narrative. This should be a fresh beginning for this talented young man. Amrita Puri, who stood out with a fine performance in AISHA, is natural to the core. She delivers a power-packed performance and elevates even an ordinary scene with her splendid act. Manish Chaudhuri proves his abilities yet again with a luminous performance. This actor deserves to be seen more on the big screen. Sandiip Sikcand sinks his teeth into the character and delivers yet another first-rate act. Mia Uyeda doesn’t get the scope or the opportunity to prove her acting skills, but sizzles in the portions she appears in. Karan Mehra is wasted in an insignificant role. Teeshay, who plays Kunal’s colleague Sean, makes his presence felt.

On the whole, BLOOD MONEY is old wine with a brand new label. A decent and absorbing first hour coupled with soulful music are its aces, although the mediocre, outmoded writing in the post-interval portions leave you a little miffed. At best, a fair attempt!

Will You Marry Me? (2012) Movie Review | Storyline

No strings attached fun. Yes, that’s the key word amongst most adolescents in the current day-and-age. So here’s a movie on two youngsters who are commitment phobics and who do not believe in any kind of tabs, bonds, commitments and binders. An interesting concept and director Aditya V. Datt nearly gets it right, except for the concluding moments of the film. It gets a bit too chaotic thanks to the tried and tested diversions in the plot. Yet, if the motive is to have a couple of good laughs and seek entertainment, well, WILL YOU MARRY ME? assures laughs quite a few times.

There’s talk that WILL YOU MARRY ME? takes its inspiration from NO STRINGS ATTACHED [Natalie Portman, Ashton Kutcher], but it’s not remotely similar to that film. The film, actually, follows the DEEWANA MASTANA [Anil Kapoor, Govinda] formula of two guys trying to outdo the other to woo the girl. Of course, post DEEWANA MASTANA, a number of storytellers have attempted similar movies, but the Tom and Jerry kind of situations, if integrated well in the plot, do keep you hooked. And WILL YOU MARRY ME? does have its moments, except when the mandatory songs and the foreseeable scenes on friendship take over.

WILL YOU MARRY ME? narrates the story of three friends, Aarav [Shreyas Talpade], Rajveer [Rajeev Khandelwal] and Nikhil [Muzammil Ibrahim]. All three have one thing in common: their love for their bachelorhood. So much so they place a bet amongst themselves, whoever decides to marry first will lose a huge amount invested in shares by the trio. A few years later, Nikhil decides to marry the love of his life, Anjali [Tripta Parashar].

Rajveer and Aarav cannot believe their best friend Nikhil is getting married, but put on a smile to attend his beach wedding in Dubai. During the wedding festivities, Rajveer and Aarav fall for the bride’s best friend Sneha [Mugdha Godse]. To make matters worse, Nikhil gets kidnapped by a powerful business tycoon [Paresh Rawal]. Everything turns upside down at Nikhil and Anjali’s wedding celebrations. Will Nikhil make it for his wedding? Who will Sneha choose eventually — Rajveer or Aarav?

WILL YOU MARRY ME? starts on a lighter vein and maintains the tempo as the reels unfold. It only gets serious when Paresh Rawal arrives on the scene to demand his money back. Those scenes are equally absorbing, also because Paresh portrays his part so differently. But the writer seems so heavily inspired by similar plot movies that he refuses to come out of the comfort zone and think of ground-breaking ideas. The humor, at times, is pedestrian, while the romantic moments between Shreyas and Mugdha as well as Muzammil and Tripta lack fizz.

Director Aditya V. Datt has handled numerous moments well and one does notice his growth as a storyteller. But he could’ve done with a better script that steers clear of standard cliches. With Aditya teaming up with multiple composers, who have several popular tracks to their credit, one expects the soundtrack of WILL YOU MARRY ME? to be equally lilting, but barring a song or two, which offer sporadic relief, the remaining songs are a mere distraction. The cinematography [R. Dvaaraghanath] deserves special mention. You can feast your eyes on the stunning locales of Dubai in the movie.

Shreyas Talpade puts up a natural act and is simply brilliant in the bathroom sequence. Rajeev Khandelwal handles his part with gusto. Muzammil is decent. Mugdha doesn’t get much scope in this all boyz film, yet she gets her scenes right. Celina Jaitly is hardly there, while Tripta Parashar is strictly okay. Paresh Rawal gets some meaty scenes to sink his teeth into. He excels. Manoj Joshi is perfect.

On the whole, WILL YOU MARRY ME? is better than what you expect it to be, but the film arrives with minimal awareness and promotion and that might curtail its prospects to a large extent.

Kahaani (2012) Movie Review | Storyline

The rules of entertainment are altering rapidly. Moviegoers, in the present day, are diffident about a film wholly centered on grim societal subject matters. Nor are they enthused about a conventional mainstream motion picture. What works for the discerning spectator in the current scenario is an evenhanded permutation. So does KAHAANI encompass the all-important blend? Let’s explore…

This is indeed a favorable moment for a Hindi movie heroine, unlike in times of yore. She is being looked up to as an actor with strengths, limitations, failures and accomplishments. She is geared up to conduct experiments, equipped to explore uncharted territories. This also goes for one of the most proficient actresses of our times, Vidya Balan. The famed actress has persistently ambled the untrodden path vis-a-vis her choice of movies, PAA, ISHQIYA, NO ONE KILLED JESSICA, THE DIRTY PICTURE and now KAHAANI…

Come to think of it, the Hindi film industry is branded for creating movies from a male perspective. The women’s stories are not really exemplified conscientiously. But, out of the blue, the souk of women-centric flicks is fast turning out to be a bankable genre. KAHAANI is a commanding story, has an authoritative central character, has several dominant and thought-provoking moments, which makes it an all-persuasive film.

Vidya Bagchi [Vidya Balan] arrives in Kolkata from London to find her missing husband. Seven month pregnant and alone in a festive city, she begins a relentless search for her husband. With nothing to rely on, except fragments from her memories about him, all clues seem to reach a dead end when everyone tries to convince Vidya that her husband does not exist. She slowly realizes that nothing is what it seems. In a city soaked in lies, Vidya is determined to unravel the truth about her husband — for herself and her unborn child, even at the cost her own life.

A woman on her way to be a mother… it’s the biggest changeover in the life of a lady. And when her spouse vanishes at this crucial juncture, how do you come to terms with the fact that he has gone missing? People you approach to seek help assert that there exists no such entity. But you are certain that this individual exists and that you are carrying the proof of his existence: his child. The concept is truly striking and attention-grabbing.

Sujoy, with the skills of a master storyteller, amalgamates a human story in a thriller format. There is a certain uninhibited genuineness in Sujoy’s direction. Besides, the writing is outstanding [story: Sujoy Ghosh, Advaita Kala; additional screenplay: Suresh Nair, Nikhil Vyas]; one seldom witnesses such aptitude and deliberation to specifications. Without doubt, Sujoy gives it his best shot with gleaming sincerity. Positioned alongside an intimidating environment of Kolkata’s tapered side streets and constricted alleyways, the setting is ahead of credence in its realism.

KAHAANI is a captivating recount from its commencement to conclusion. Sujoy has fashioned enough scenes around the plot that keep the viewer on the edge. Besides, fragments of tongue in cheek humor pop up when you least anticipate to liven up the solemn plot. Yet, the storyteller never deviates from the fundamental somber remise. His attempt in infusing drama and pace in the narrative makes the movie accessible to the mainstream spectators. Just one itsy bitsy snag: Had the culmination been lucidly elucidated in a more simplistic fashion for the common man to decipher, the film would have created an even stronger impact.

Vishal-Shekhar’s music is addictive. The title track is akin to an excursion of the City of Joy, while Amitabh Bachchan’s rendition of ‘Ekla Cholo Re’ is mesmeric. The cinematography is arresting. The DoP [Setu] captures the essence of Kolkata magnificently on celluloid.

Post THE DIRTY PICTURE, the admiration for the National Award winning actress Vidya has scaled woozy altitudes and let me affirm, the supremely talented actress delivers a performance that’s at par with her former accomplishments. She, very nonchalantly, re-evaluates screen acting in KAHAANI. She arrives with yet another enlivening, commanding character in this film and her portrayal of an expecting, frantic lady on a mission to trace her husband’s inexplicable vanishing in an unfamiliar land is sure to win laurels by assessors and cinegoers uniformly. This is indeed Vidya’s most eye-catching act. Her body language, her confidence, her vulnerability, her fury, her grief, all fall upon wonderfully.

Parambrata Chattopadhyay, as Rana, is a revelation. What a tremendous actor. His sequences with Vidya are truly wonderful. Nawazuddin Siddiqui, as Khan, proves yet again that he’s an exceptional performer. He makes a stunning impact. Dhritiman Chatterjee is, as always, efficient, Saswata Chatterjee is effective and Darshan Jariwala is perfect. Indraneil Sengupta is splendid in a challenging role. The two child actors [the boy at the lodge and the boy at the tea stall] are a complete natural.

On the whole, KAHAANI works big time because Vidya Balan makes it come alive. It is several notches above the stuff we’ve been subjected to in the past. The movie triumphs in evoking emotions. You experience compassion, resentment, defenselessness and triumph at a variety of stages. A wonderful movie-going experience, you come out feeling a sense of pride, pleasure and fulfillment after having watched KAHAANI. Just do not miss it. Hugely recommended!

Paan Singh Tomar (2012) Movie Review | Storyline

In a defining sequence in the film, Paan Singh Tomar tells his superior that his mama [uncle] isn’t a dacoit, but a baaghi [rebel]. In another sequence, during the course of an interview to a news-reporter, he makes a scathing remark, ‘Bihad mein baaghi hote hain… Dacait milte hain Parliament mein’. That, in a nutshell, sums up the persona of the long-forgotten steeplechase runner, who felt miffed by the government’s betrayal and became a dacoit of Chambal. PAAN SINGH TOMAR, a film helmed by Tigmanshu Dhulia, has taken a really lonooooong time to hit the screens, but despite the holdup, the film remains as pertinent and relevant in today’s times as it was when Dhulia envisioned it.

Come to think of it, there is a very thin line between a baaghi [rebel] and a dacoit. Tigmanshu tries to define the thin line between a rebel and a dacoit, but the question is, is this borrowed-from-real-life saga as bona fide and stimulating as Shekhar Kapur’s BANDIT QUEEN, which was also a biopic [Phoolan Devi]?

The Hindi film industry’s ‘dacoit fixation’ dates back to the era when dacoit films were massively admired [and accepted as well, since most of them were huge hits]. Films like JIS DESH MEN GANGA BEHTI HAI, MERA GAON MERA DESH, MUJHE JEENE DO, SAMADHI, BINDIYA AUR BANDOOK, PUTLIBAI, DACAIT and of course, SHOLAY are relished to this date. Much later, the dacoits got replaced by rebels in the 1990s. The focus shifted to cities [from Chambal and Ramgarh], the protagonist drove cars and bikes [a transition from horses]… In PAAN SINGH TOMAR, there’s Chambal, but no horses. Nor does the protagonist with bloodshot eyes breaks into a fiery dialogue that would instantaneously draw whistles.

As a cinematic experience, Tigmanshu takes us into the world of Paan Singh Tomar and enlightens us the reasons that impelled a sportsman to take law in his hands. That itself is its USP, for this is no typical vendetta fare. It is a factual account of a sportsman who brought honor to the country, but felt betrayed when he needed the country the most. In fact, Tigmanshu calls this cinematic endeavor a tribute to the sportsmen who won medals for the nation, but never got their due during the sunset of their lives. An incredible film, no doubt, but falls short of being memorable as the plot becomes another vendetta fare at some stage in the concluding reels.

Paan Singh [Irrfan Khan] was a small-town lad who went on to win the steeplechase at the national games. A series of life changing events, however, forced Paan Singh to give up athletics, pick up the gun and become a dacoit of the infamous Chambal valley.

With films like HAASIL, SHAGIRD and the recent SAHEB BIWI AUR GANGSTER, Dhulia has developed a niche spectator base. In PAAN SINGH TOMAR, Tigmanshu makes the biopic attention-grabbing by being focused on the motive that provoked Paan Singh to revolt and pick up the gun. The uphill task of making a biopic is palpable as Tigmanshu attempts to recapture the life and times of the athlete on celluloid. Given that Paan Singh’s bio-data was multihued, Tigmanshu has depicted the character’s life, from the time he joined the armed forces, became an athlete, to the spat with his relatives and picking up the gun. The graph from a young man to middle age, till about 50 years, Tigmanshu has encompassed it well in those two hours, picking up fundamental occurrences from his life, thus making an entrancing motion picture. In fact, the reason that pressed Paan Singh to pick up the gun comes across emotively and sensitively.

The lone aspect that weighs the film downward is the fact that the narrative totters in the middle of the second hour, when the story doesn’t really move frontward. Of course, one also comprehends that when you attempt a biopic, you have to stay true to the incidents that transpired in that person’s life, but a cinematic adaptation can exclude a few episodes that aren’t too imperative. Tigmanshu could’ve done that. Having said that, I’d like to add that PAAN SINGH TOMAR is yet another masterstroke from a consummate raconteur. The film seizes your attention for most parts and as you exit the screening, it’s with a heavy heart, with a tinge of melancholy, which only indicates that the storyteller has succeeded in engaging your interest to something he wished to emphasize on.

The cinematography [Aseem Mishra] is truly attention-grabbing, while the editing [Aarti Bajaj] is razor-sharp. The background score [Sandeep Chowta] is most appropriate. It augments the impact of numerous sequences.

Taking on a biopic is akin to a challenge of sorts for the actor since he/she has to visit a part they may be unaware of, yet have to portray it with tremendous passion. Irrfan, an actor of standing, essays the character with aplomb. Very evidently, the actor has trained rigorously with steeplechase coaches, since the role requires him to partake in this sport. At the same time, the role must have been physically and psychologically demanding and I yearn to affirm that Irrfan appears remarkably forceful in this complex part.

Mahie Gill is an incredible talent and it comes to the fore yet again in this film. Two more actors who leave a solid impression are Vipin Sharma and Rajendra Gupta. Both excel in their respective characters. Nawazuddin Siddiqui sparkles in a brief role. Imran Hasnee is first-rate. The actor enacting the role of Paan Singh Tomar’s son is effective. Brijendra Kala is fantastic as the news-reporter.

On the whole, PAAN SINGH TOMAR shatters the standard rules of this genre. Besides, the film makes you cognizant that serious cinema can be uniformly delightful, like any other enthralling entertainer. If this variety of cinema allures you then chances are that you will take pleasure in watching PAAN SINGH TOMAR. Recommended!

Ekk Deewana Tha (2012) Movie Review | Storyline

After a month of heavy-duty action [PLAYERS, AGNEEPATH], the spotlight is on romance [EK MAIN AUR EKK TU, EKK DEEWANA THA] in the month of St. Valentine. Besides, films like READY, BODYGUARD and SINGHAM have revitalized the trend of South remakes. Gautham Menon returns to the Bollywood centre stage after a gap [REHNAA HAI TERRE DIL MEIN] with a remake of his films, made in Tamil first and Telugu later.

Both, the Tamil version [VINNAITHAANDI VARUVAAYAA] and also its Telugu adaptation [YE MAAYA CHESAVE] were considered path-breaking motion pictures. Though essentially a remake, EKK DEEWANA THA conjures memories of K. Balachander’s roaring hit EK DUUJE KE LIYE. Menon is a master storyteller, no two opinions on that, but EKK DEEWANA THA fails to leave an impact for a valid reason: A beaten to death plot tends to stagnate after a point. Also, Menon overstays the hospitality by dragging the film in its second hour. Just when you think the story would conclude, Menon does a time travel and starts a new chapter in this never-ending love story. That, honestly, only makes this snail-paced movie a taxing and cumbersome experience.

Sachin [Prateik] is an engineering graduate from a middle class family in Mumbai, who is in love with the world of cinema. One day, he sees Jessie [Amy Jackson] and it is love at first sight for him. Jessie is beautiful, elegant, smart and classy. But Jessie belongs to an orthodox Malayali Christian family where watching movies or falling in love are completely taboo.

Sachin finds himself increasingly drawn to her. Jessie, on her part, tries to forge a friendship between them, believing that cloaking their feelings under the umbrella of friendship would save them heartache, tears and a full-blown family drama. But these two different characters go through the pangs and pleasure of first love, while battling with the situations that life has placed them in.

Opting for a tried and tested story is not sacrilegious, but the challenge lies in giving a new spin to the age-old tale, which, regrettably, EKK DEEWANA THA doesn’t. Like all love stories, EKK DEEWANA THA doesn’t lack drama and emotions, but barring a few episodes, the viewer doesn’t get absorbed into the world of Sachin and Jessie, which is the chief inadequacy of the film and which, concurrently, reflects on the sketchy written material.

What baffles the viewer is the character of Jessie. While the guy is crazily in love with her, the girl, in contrast, seems downright confused about her feelings for the guy. She appears indecisive about what she really yearns for and this aspect, to put it bluntly, sends out puzzling signals not only to the lover boy, but to the by-now-exasperated viewer as well.

The screenplay totters and flounders the moment Jessie decides to part ways. The justification offered is least persuasive. Since the reason for separation is not forceful enough, it leaves the viewer feeling unsympathetic, detached and disconnected from the goings-on subsequently. The sequence at the Taj Mahal and the portions thereafter don’t work either.

Menon does handle certain dramatic and emotional moments with aplomb, but the written material lets him down. Barring a few moments that stand out, the twists and turns in the plot are repetitive and devoid of exhilaration. Also, the film is agonizingly prolonged and should’ve been spruced up by judiciously trimming at least 20-25 minutes. Rahman’s musical score has the unambiguous stamp of a genius. The best track is of course ‘Hosanna’. But the film could’ve done without a song or two in the latter half. The film boasts of some stunning visuals and the credit for it goes to DoP M.S. Prabhu, who captures the scenic beauty of Kerala with dexterity. Manu Rishi’s dialogue are real at times, but tend to get flowery at places.

Prateik is natural to the core. In fact, after DHOBI GHAT, wherein Prateik’s efforts were appreciated, now EKK DEEWANA THA makes you wake up to the potential the talented youngster possesses. It requires tremendous self-assurance and acting prowess to enact this intricate and demanding character in an authoritative style. His dialogue delivery is near-perfect and body language, precise.

Amy Jackson is charming. She carries off her part — and also the Indian attire — splendidly. Though the character is not very compelling — since she appears confused about her emotions for the madly-in-love Prateik — it must be said that you don’t detect slip-ups in her presentation of the character. In fact, it isn’t a straight-forward role for a tenderfoot, but Amy handles it like a pro. However, her makeup is inconsistent. Manu Rishi excels and so does Sachin Khedekar. Babu Antony [as Jessie's father] does a fine job. Ashwin Kakumanu and Samantha get no scope. Ramesh Sippy is likeable in a cameo.

On the whole, EKK DEEWANA THA has a few sparkling moments, that’s about it. However, it lacks the fizz for the spectator to go deewana!