Horror Story (2013) Movie Review

Horror Story  Movie Review- 

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

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

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

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

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

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

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

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

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

Read more »

2013, Horror Story (2013), Movie Review,

{[['']]}

Horror Story (2013) Movie Review

Horror Story  Movie Review- 

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

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

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

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

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

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

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

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

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

Read more »

2013, Horror Story (2013), Movie Review,

{[['']]}

John Day (2013) Movie Review

John Day (2013) Movie Review-
 

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

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

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

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

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

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

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

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

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

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

Read more »

2013, John Day (2013), Movie Review,

{[['']]}

John Day (2013) Movie Review

John Day (2013) Movie Review-
 

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

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

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

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

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

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

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

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

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

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

Read more »

2013, John Day (2013), Movie Review,

{[['']]}

Shuddh Desi Romance (2013) Movie Review

Shuddh Desi Romance Movie Review-
 

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

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

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

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

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

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

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

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

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

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

Read more »

2013, Movie Review, Shuddh Desi Romance (2013),

{[['']]}

Shuddh Desi Romance (2013) Movie Review

Shuddh Desi Romance Movie Review-
 

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

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

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

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

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

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

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

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

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

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

Read more »

2013, Movie Review, Shuddh Desi Romance (2013),

{[['']]}

Zanjeer (2013) Movie Review

Zanjeer Movie Review-
 

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

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

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

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

Read more »

2013, 2014, Movie Review, Zanjeer (2013),

{[['']]}

Zanjeer (2013) Movie Review

Zanjeer Movie Review-
 

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

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

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

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

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2013, 2014, Movie Review, Zanjeer (2013),

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Madras Cafe 2013 Movie Review

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

Read more »

2013, Madras Cafe (2013), Movie Review,

{[['']]}

Once Upon A Time In Mumbai Dobaara! Movie Review

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

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

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2013, Movie Review, Once Upon A Time In Mumbaai Again (2013),

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Once Upon A Time In Mumbai Dobaara! Movie Review

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

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

Read more »

2013, Movie Review, Once Upon A Time In Mumbaai Again (2013),

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Madras Cafe 2013 Movie Review

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

Read more »

2013, Madras Cafe (2013), Movie Review,

{[['']]}

Madras Cafe 2013 Movie Review

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

Read more »

2013, Madras Cafe (2013), Movie Review,

{[['']]}

Once Upon A Time In Mumbai Dobaara! Movie Review

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

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

Read more »

2013, Movie Review, Once Upon A Time In Mumbaai Again (2013),

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Chennai Express (2013) Movie Review

Chennai Express Movie Review-

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

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2013, Chennai Express (2013), Movie Review,

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Chennai Express (2013) Movie Review

Chennai Express Movie Review-

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

Read more »

2013, Chennai Express (2013), Movie Review,

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Rabba Main Kya Karoon (2013) Movie Review

Rabba Main Kya Karoon (2013) Movie Review

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

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2013, Movie Review, Rabba Main Kya Karoon (2013),

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Rabba Main Kya Karoon (2013) Movie Review

Rabba Main Kya Karoon (2013) Movie Review

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

Read more »

2013, Movie Review, Rabba Main Kya Karoon (2013),

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B A Pass (2013) Movie Review

B.A. Pass Movie Review-

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

Read more »

2013, BA Pass (2013), Movie Review,

{[['']]}

B A Pass (2013) Movie Review

B.A. Pass Movie Review-

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

Read more »

2013, BA Pass (2013), Movie Review,

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