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.