Thank You : Movie Review by Taran Adarsh

After the stupendous success of films like WELCOME and SINGH IS KINNG, the Akshay Kumar - Anees Bazmee jodi teams up for the third time, promising to complete a hat-trick of enjoyable laughathons. The expectations, therefore, are humungous.

First hour of THANK YOU is thoroughly enjoyable and you genuinely feel that Bazmee is in his element, the second hour - which should've been superior - is agonizing and intolerable. The writing goes topsy-turvy in this hour, so much so that when you exit the auditorium, it's not with a smile, but a smirk.

What compounds the problem is that while the on-screen characters try too hard to make you laugh, you just don't react. The jokes are bland and the situations the three husbands land up in are far from funny. By the time the story reaches its conclusion, the viewer is already exhausted.

Story:

Raj, Yogi and Vikram -- best friends, business partners, serial womanizers and happily married! Happy, because their lovely wives have no clue that their husbands cheat on them with every pretty young thing they can lay their eyes on. This picture perfect world is rocked when Raj's wife Sanjana begins to suspect her husband and hires the suave private detective, Kishan, to tail him.

Kishan has built his reputation as a man who saves marriages by getting erring husbands to mend their ways. In this particular case, however, his overwhelming attraction towards Sanjana means he may not be acting in her best interest. What follows is a crazy cat-n-mouse game, with Kishan trying to catch the husbands with their pants down literally and them attempting to just stay outside his grasp.

Direction, Screenplay, Music and Cinematography:

Bazmee loves to entertain, but this rom-com that lifts the lid on extra-marital affairs and philandering partners is not a patch on the immensely enjoyable NO ENTRY or even WELCOME and SINGH IS KINNG.

It's the screenplay in the second hour that fails him.

Pritam's musical score is strictly okay. 'Pyaar Do Pyaar Lo' and 'Razia' are fair compositions, but the songs in the second half are of fast-forward variety.

Ravi Yadav's cinematography captures the breath-taking locales of Canada very well. The film wears a glossy and grandiose look all through.

Sandeep Shirodkar's background score is appropriate at times, but jarring at places as well.

Performance:

Akshay Kumar is fantastic in the role of an extra-marital counselor. His comic timing, as always, is hard to match. His performance is sure to be loved by the masses.

Irrfan Khan is known for his superb comic timing and he leaves an indelible impression yet again, shining in the best moments of the enterprise. In fact, even when the going gets tough [second half], it is Irrfan who keeps you glued to the screen thanks to the art of delivering funny, corny and cheesy lines with a straight face.

Suniel Shetty contributes to some wonderful moments.

Bobby Deol looks out of place.

Sonam Kapoor seems ill at ease. Also, her makeup is just not right. She looks glamorous at times, but there are times when her pale looks are hard to ignore.

Celina Jaitley gets limited scope. Why does her character disappear in the second half?

Rimi Sen is the best of the lot. Her sequences with Irrfan are truly funny.

Mallika Sherawat sizzles in the 'Razia' track.

Vidya Balan is wasted in a cameo.

Mukesh Tiwari, Rakhi Vijan and Ranjeet get no scope.

Smita Jaykar is fair.

Conclusion:

THANK YOU has a thoroughly entertaining first hour, besides Akshay-Irrfan's funny acts as its aces, but the weak writing in its post-interval portions throws a spanner in the works. What could've been an honest take on dishonesty fails to leave a mark eventually. After WELCOME and SINGH IS KINNG, one expected Bazmee and Akshay to get it right for the third time, but THANK YOU foils the chances of a hat-trick. Thumbs Down!

Rating: 2/5

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F.A.L.T.U : Movie Reviews by Taran Adarsh

F.A.L.T.U. banks heavily on the formula that the youth loves. It's funny, energetic and has a big ace in its smash hit musical score. I would go to the extent of saying that the movie works because it doesn't pretend to be path-breaking. It offers what the audience desires: Entertainment!

Rating : 3.5/5

Young, lively and satirical. That, in short, summarizes F.A.L.T.U., helmed by director Remo D'Souza [his first Hindi film; he had directed a Bengali film before].

F.A.L.T.U. is a story of coming of age of today's youth. They don't choose a different path, but create one. It tells the story of a group of friends who are considered a total waste. Thanks to their terrible grades, Jackky, Angad and Pooja don't get admission in a college. That's when Jackky gets a brainwave: Why not start a University with the help of his friends? That's how Fakirchand And Lakirchand Trust University [F.A.L.T.U.] takes shape.

Jackky seeks help from a friend, Arshad Warsi, who in turn gets Riteish Deshmukh, a school teacher, to play the part of the Principal. Jackky's plans go kaput when several academic rejects show up at the door, hoping for an education.

There have been several college comedies in the past and though times have changed, not much has changed when it comes to films set in college campus. And let me add, F.A.L.T.U. doesn't claim to be an innovator too. It's a full-on masala film, more of a fun ride, with the real drama setting in only towards its penultimate moments. Sure, one does feel that F.A.L.T.U. is mired in seen-it-all-before situations, but what saves the film is the masala quotient that doesn't let you take it seriously.

But the film falters at places. Though it thrives on jokes, some of the yarns fall flat and aren't as enjoyable. Besides, like I pointed out at the outset, the film abounds in cinematic liberties. How do the friends raise money to set up a University in a single day? Everything is taken care of in mere 24 hours - right from finding a huge mansion that can pass off as a University, to renovating it, to getting the required furniture, to funding for the accommodation of the students, food, booze et al. Now that seems too hard to digest!

Also, the character of Arshad Warsi comes across as unreal. I mean, how does he have a solution [and money] for every problem?

Director Remo D'Souza's fundas are clear: Let's entertain! In fact, the film is targeted at the youth and it is this segment that will identify with it more than any age-group. One of the aces of the film is, without doubt, its musical score. Generally, a film-maker considers himself lucky if even one track hits the top charts, but in this case, not one or two, but four songs have become hugely popular with the youth. 'Chaar Baj Gaye' [the anthem of the youth], 'Bhoot Aaya', 'Fully Faltu' and 'Le Ja Tu Mujhe' only prove how skilled and proficient young music composers Sachin-Jigar are. This one's a smash hit score. Besides, Remo's topnotch choreography enhances the impact of the songs. Vijay Arora's cinematography is up to the mark. I'd like to make a special note of the dialogue, which are very well worded at places.

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Yeh Saali Zindagi : Movie Review by Taran Adarsh

YEH SAALI ZINDAGI is a striking example of new age cinema. A daring film with a brand new approach, it's impulsive and engaging with skilful direction and power-packed performances as its strong points. This is one more solid attempt that takes the graph of Hindi cinema to a greater level.

Rating: 3.5/5

Overview:

When you saunter into a cineplex to watch a Sudhir Mishra film, it's given that this maverick film-maker will serve you non-formulaic stuff. As a viewer, I liked some of his efforts [IS RAAT KI SUBAH NAHIN, HAZAARON KHWAISHEIN AISI], but a few didn't live up to my expectations. His new film, YEH SAALI ZINDAGI, has already generated the buzz for a variety of reasons. It's 'controversial' or 'provocative' title being the key one.

Story:

Arun [Irrfan Khan] has to save Priti [Chitrangda Singh], the woman he loves, but for that he first has to save the man Priti loves, Shyam [Vipul Gupta], the future son-in-law of a powerful Minister. Meanwhile, time is running out for Kuldeep [Arunoday Singh], the young gangster who is on his last job as his wife [Aditi Rao Hydari] is threatening to walk out on him and he begins to suspect she is leaving him to go into the arms of another man.

The job has gone haywire for it is still unknown to Kuldeep that the Minister's daughter's engagement with Shyam is off and now she doesn't care whether Shyam lives or dies and more importantly, neither does the Minister who Kuldeep hoped would pay the ransom. Priti finds herself inextricably caught in this mess and Arun has to save her life. But for that he has to risk everything and put his own life at stake, he wonders why he should do it at all, if she still loves another man. He's torn, but love knows no reason.

Music:

The soundtrack of YEH SAALI ZINDAGI bears a different sound, especially the title track. Sachin Krishn's cinematography is perfect [the locales of Delhi and outskirts are well captured], but the only problem is that most of the shots have been dimly lit up, which may not be a problem at city plexes having good projection systems, but would pose a problem at smaller towns for sure. Something that even Vishal Bhardwaj had agreed with my viewpoint during KAMINEY.

Dialogue:

[Mishra and Manu Rishi], are straight out of everyday conversation. The hoi polloi in particular would relish the cuss words, which are generously interwoven in the narrative.

Background score is electrifying and the editing [most parts] makes the goings-on impactful.

Performance:

YEH SAALI ZINDAGI is embellished with gifted actors and as always, it's Irrfan who leads the pack with a superb performance, holding your attention from the very start. He's aggressive when required [with Saurabh Shukla], but docile when handling matters of heart [Chitrangda Singh]. Chitrangda looks stunning and matches up to Irrfan in most parts. In fact, her screen persona is so strong you can't take your eyes off this lady.

Arunoday continues to climb the ladder with every film. The youngster excels in his part and stands out not only because of his towering personality, but also because he's a complete natural. Aditi Rao Hydari is very good. Saurabh Shukla is an accomplished actor and he proves it yet again. Sushant Singh is first-rate, Vipin Sharma is utmost convincing, Yashpal Sharma is remarkable and Prashant Narayanan is superb, as always. Vipul Gupta is another talent to watch out for.

Conclusion:

Sudhir Mishra is back in form. You need a strong belly to stomach this one!

The climax would meet with mixed reactions, especially the 'bullet' sequence. It would've worked big time in a Manmohan Desai film, but in view of the fact that Sudhir Mishra walks the realistic path, it's a bit difficult to absorb. Nonetheless, it's a brilliant way to end the film!

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Dil Toh Baccha Hai Ji : Movie Review by Taran Adarsh

DIL TOH BACCHA HAI JI, with its bona fide characters and pertinent situations, promises to bring a smile to your face and cheer you up. I strongly recommended it! 

Rating: 3.5/5

Overview of Dil Toh Baccha Hai Ji:

So we associate Madhur with somber/serious cinema, tackling issues that concern us, right from CHANDNI BAR to JAIL. By now famous for his socially relevant, hard-hitting films that take potshots at the upper crust, Madhur changes tracks with this one. DIL TOH BACCHA HAI JI is a light entertainer at heart, but there's something about the landed gentry in this one as well. It exposes the dual lives they lead. 

Much like Madhur's earlier films, DIL TOH BACCHA HAI JI is about real people, situations and problems. Except that the emotion isn't sorrow and the theme isn't dark this time. Irrespective of how his films are received, the one thing Madhur is known for is the unconventional story he wants the viewers to absorb. DIL TOH BACCHA HAI JI isn't about three couples and how they discover love, it's about how these three guys who find love, but… let's leave it at that! Else, the twist in the tale will be in public domain. 

The camaraderie between Ajay, Emraan and Omi and the unpredictable storyline post intermission is the driving point of this motion picture. In fact, if the first half is laced with light moments, the second half is where the twists-n-turns crop up and each of those stories get nurtured in the process. But there's a flipside too and that's the choice of actors in the finale. Ideally, the makers could've done with known faces in the end. It would've only been an icing on the cake. Also, there are a few rough edges in the narrative, but not the type that would make a big dent. 

Story of Dil Toh Baccha Hai Ji:

DIL TOH BACCHA HAI JI is a slice of life film revolving around Naren [Ajay Devgn], Abhay [Emraan Hashmi] and Milind [Omi Vaidya] and their encounters with love.

A listless Naren, well in his thirties and going through a divorce [Rituparna Sengupta], falls in love with a vibrant and bubbly June [Shazahn Padamsee], who has just stepped out of her teens. Milind, a poet and an idealistic lover, is enamored by an ambitious and practical Gunjan [Shraddha Das], who is determined to follow her dreams. A charming casanova Abhay starts feeling an alien emotion called love when he feels increasingly drawn towards Nikki [Shruti Haasan], a modern girl who knows her needs and speaks her mind. 

With its real characters and relatable situations, the film takes a witty look at love and the extent people will go to evade it or attain it. 

Screenplay of Dil Toh Baccha Hai Ji:

The screenplay writing is absorbing at most times. Having said that, I'd like to add that the writing could've been tighter at places. Shraddha's sudden exit leaves you mystified. Also, the film could've done with better names [read, eye candy] in the finale, when the three guys set out for Goa. The climax was already a highpoint and one definitely expected a better culmination. Also, the film could've been tightened in the editing suite. 

Music of Dil Toh Baccha Hai Ji:

The expectations from its music are on the higher side, especially after the success of Pritam-Ajay-Emraan's last venture ONCE UPON A TIME IN MUMBAAI. But the problem is that it does not offer much variety, unlike OUATIM. 'Abhi Kuch Dino Se' and 'Tere Bin' are my picks. Cinematography [Ravi Walia] is up to the mark. Sanjay Chhel's dialogue are witty and just perfect for this genre. 

What to see in Dil Toh Baccha Hai Ji:

DIL TOH BACCHA HAI JI seizes your attention gradually. One of the reasons could be because Madhur narrates three stories concurrently. 

Ajay Devgan,, who portrays the life of a harried bank manager going through a 'mid-life crisis', is very compelling. Watch him in sequences when he sets his eyes on his new office assistant [Shazahn]. 

Consider the character of Omi Vaidya, a true-blue romantic, working as a matchmaker, who has never been able to find a soul mate himself. One comes across such people in real life as well. 

And, of course, there's Emraan Hashmi, who uses affluent and well heeled women as a stepping stone to attain the resources and luxuries of life. His sequences with Tisca Chopra add spice to the proceedings. 

Ditto for the women in the film. Especially Shraddha and Tisca, who use men to their advantage. Very real characters. In fact, the variety of love and relationships that we get to watch here is so diverse from what we have been subjected to in Hindi movies since time immemorial. As a matter of fact, each of us must have experienced the varied emotions depicted in this film at some juncture in our lives. 

Performance in Dil Toh Baccha Hai Ji:

Ajay Devgan proves his adaptability and versatility yet again. Having impressed us adequately in the past, Ajay portrays a character that takes you back to a very popular actor of his times, Amol Palekar. Ajay underplays his part effortlessly. 

Emraan Hashmi, popular also for his skirt chaser image on screen, plays an obsessive philanderer here and he's electrifying. In fact, he spices up the proceedings every time he appears on screen. The role assigned to him is an extension of what he's attempted in the past, yet he interprets it so differently. 

Omi Vaidya's character gets subdued initially, but it must be said that the earnestness with which he portrays his part makes him endearing. He's remarkable in the sequence when he breaks down while reading the letter. 

Shazahn looks like a doll and gets the character right. In fact, she adds so much freshness to the proceedings. 

Shraddha gives the right shades to her character. She's most convincing when she takes Omi for a ride initially. 

Shruti appears late in the film, but she leaves an impact nonetheless. Her scenes with Emraan are amusing. 

Tisca Chopra is superb, especially in the sequence when Emraan confesses that he's in love with someone else. 

Mukesh Tiwari is first-rate in a brief role. Aditya Raj Kapoor is fair. Rituparna Sengupta does well. Harward Rosemeyer leaves a mark in the funeral sequence. 

Conclusion:

DIL TOH BACCHA HAI JI is a feel good, light-hearted rom-com, a slice of life film which the populace and the regular lay person would relate to. Madhur Bhandarkar changes tracks from his trademark women-oriented movies on contemporary issues to a rom-com, which has the unmistakable Bhandarkar signature to it, and emerges triumphant in his new fangled endeavor. The film carries a tagline that reads 'Love grows… Men don't', which seems most appropriate after one has watched it. DIL TOH BACCHA HAI JI, with its bona fide characters and pertinent situations, promises to bring a smile to your face and cheer you up. 

I strongly recommended it! 

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HOSTEL : Movie Review by TARAN ADARSH

HOSTEL is a solid idea gone awry.

Rating: 1.5 / 5

When you step out of school, you look forward to the life in college and of course, ‘freedom’. You are stepping into adulthood, learning to cope with life and enjoying the thought that you will be able to take your own decisions. With great difficulty you procure admission in a college and hope to nurture your dreams. But is it all that fun? Not really!

I was horrified when I read a news-report sometime back about a student being forced to bathe in his own urine by his seniors. I was aghast. I was disgusted. I was appalled. I genuinely felt that some socially responsible film-maker should make a hard-hitting film on ragging and create awareness on the evils of this form of abuse, which has caused several deaths in the last so many years. HOSTEL, directed by Manish Gupta, addresses the issue, although it’s not the first. MUNNABHAI M.B.B.S. and 3 IDIOTS also had a scene or two depicting the maltreatment. But the films should not be compared because this one is a full-fledged film on this subject.

The story of HOSTEL is inspired by true-life events, I am told. But the question is, does it serve as a wakeup call in the true sense? Does HOSTEL successfully bring to the fore the gravity of torture people experience in the name of ragging? Unfortunately, it doesn’t. Sure, it’s well thought of and well intentioned, but not well penned and well executed. The film starts off brilliantly, but loses focus midway.

Ideally, a film depicting an evil should stay close to reality. It should depict the atrocities committed in the name of ragging without deviating to alternative tracks [in this film, the romantic track is a big bore]. A film tackling this theme should open your eyes to what a victim goes through. After all, the motive of films like HOSTEL is to act as an eye opener, to evoke feelings like anger and disgust, but it doesn’t evoke those feelings, frankly.

Ragging is a sadistic practice that has become a ritual wherein students are beaten up, stripped, paraded naked, starved, tortured, molested and even raped by their seniors. Since victims of ragging find it humiliating to report sexual abuse to their parents or others, most ragging-related crimes go unreported. Sadly, these very students — who suffer silently at the hands of their seniors — in turn vent their frustrations by ragging their juniors in the following years. Thus, this cruel practice continues year after year and has claimed [and is still claiming] the lives and careers of innumerable students.

HOSTEL comes to the point at the very start. The sequence at the outset – of Mukesh Tiwari physically abusing the young students – is hair-raising. A few minutes later, he repeats the act with the protagonist, Vatsal Sheth. To give the credit where it’s due, the sequences are disturbing and you only hope that the goings-on succeed in maintaining your interest.

HOSTEL crumbles the moment the love story begins. Plus, an interesting twist in the film – of Vatsal confronting a gangster – looks plain ridiculous. At this point, Mukesh Tiwari, who should’ve turned more ferocious, goes on back foot when it comes to dealing with Vatsal. Why? The post-interval portions, again, don’t measure up to the expectations. The finale is too clichéd and formulaic.

Director Manish Gupta, who went into an investigative mode in THE STONEMAN MURDERS, which was an engrossing fare, lacks the promise he showed in that film. And he’s to be held responsible for it, since he’s penned the script of this one. He should’ve stuck to realism, instead of trying to balance between real and hackneyed and corny sequences. Also, this one should’ve been a song less film, but the few songs throw a spanner in the narrative. Cinematography is functional.

One of the reasons why HOSTEL doesn’t work is because the casting is not right. Barring Mukesh Tiwari, who looks convincing and does well and Nagesh Bhosle [warden], who is equally effective, the actors don’t look their parts. Vatsal Sheth relies on a set of expressions all through the film, while Tulip Joshi is wasted. The students don’t look like students, frankly. They actually appear more like street thugs or rowdies and less like students of engineering to me.

On the whole, HOSTEL is a solid idea gone awry.

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Dhobi Ghat : Movie Review By Taran Adarsh

DHOBI GHAT is an imposing and vibrant cinematic portrait, appending itself to the new wave of independent Indian cinema which I am extremely pleased to applaud. It is art house cinema with European sensibilities, embellished with a well thought out story that's devoid of cliches. This ingenious motion picture caters more to the intelligentsia and connoisseurs of world cinema and will therefore garner more patronage and benefaction from the metropolitan audience in India chiefly and global spectators predominantly. 

Rating: 4/5 (Must watch movie)

What catches one's attention is the fact that DHOBI GHAT tells four different stories in those 95 minutes in the most pragmatic manner. The characters are real and so are their stories, their emotions, their relationships, their smiles, their tears, their dreams, their desires, their fears and their tragedies. It comes across as factual and authentic as your eyes would observe and witness in real life. Sure, we got a flash of the assorted people of this city in SLUMDOG MILLIONAIRE, but DHOBI GHAT doesn't follow the conventional route. It is far more subtle and restrained. 

DHOBI GHAT [Mumbai Diaries] is the story of four people from very different backgrounds, whose worlds intersect and leave them forever altered. As they find themselves drawn into compelling relationships, the city finds its way into the crevices of their lives, separating them even as it brings them closer... 

Fragments of their experience -- seen through a naive video diary, black and white photographic images and painting -- form a portrait of Mumbai and its people bound together as they journey through longing, loneliness, loss and love. 

Like I pointed out earlier, Kiran Rao encompasses emotions, dreams and aspirations most convincingly. In fact, every sequence of DHOBI GHAT tells a story, every image matters and that, in my opinion, makes this first attempt by Kiran nothing short of an achievement. Filmed in guerrilla style, with hand-held cameras and moving shots, DHOBI GHAT captures the real flavor of this populous city. Generally, film-makers try to stick to the right frames and procure permissions for the most eye-catching location, but not here. From opulent and classy apartments to the slums, DHOBI GHAT is an authentic piece of work. 

DHOBI GHAT catapults Kiran Rao alongside the likes of accomplished storytellers like Mira Nair and Deepa Mehta with her intensely intelligent script. Besides throwing light on the daily routine of these characters, DHOBI GHAT juggles a recent past and the present time skillfully. Also, this one's a love story inherently; not a triangle, but a square. In fact, each of the characters is vividly sketched and each of them long or aspire for that someone special. Thanks to a watertight screenplay and eye for detail, Kiran's characters feel, look and sound genuine. 

Cinematographer Tushar Kanti Ray shoots the film as if one were watching the story unspool live in front of one's own eyes. Academy Award winning Argentine composer Gustavo Santaolalla's [BROKEBACK MOUTAIN, BABEL] background score is captivating, also non-Indian, yet fits the varied moods, from melancholy to elation, admirably. The sole area where the film fumbles is its pacing at places. The results would've been even more impactful if the film was tightened a bit on the editing table. 

The film marks the debut of Monica Dogra and Kriti Malhotra, who are exceptional and deliver natural performances. As for Prateik, the ease with which he speaks the slum lingo or converses with his pal or the gentle tone while speaking to the woman he loves [the urbane and classy Shai] proves what a dependable actor he is. The most memorable sequence for me is the concluding one when Prateik chases Shai's car. There's no doubt that he's a complete scene-stealer and a star in the making. His unconventional looks and captivating personality only adds to this performance. 

Very much like his performance in TAARE ZAMEEN PAR, Aamir Khan very willingly lets his co-actors eclipse him. Sure, he's super as a cloistered artist, but this film is not about Aamir Khan, the superstar. It's primarily about four stories, with Aamir merely enacting one of the four pivotal characters. In fact, he underplays his part magnificently and munificently allows his fellow cast to be conspicuous in their respective parts. In actuality, not many actors in moviedom would dare to even think that way! 

Kittu Gidwani is alright. The actor enacting the role of Prateik's friend does a fine job. 

On the whole, DHOBI GHAT is an imposing and vibrant cinematic portrait, appending itself to the new wave of independent Indian cinema which I am extremely pleased to applaud. It is art house cinema with European sensibilities, embellished with a well thought out story that's devoid of cliches. This ingenious motion picture caters more to the intelligentsia and connoisseurs of world cinema and will therefore garner more patronage and benefaction from the metropolitan audience in India chiefly and global spectators predominantly. 

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Movie Review : Turning 30

GUL PANAG IN TURNING 30 30 is an age when you are perhaps well settled in your personal and professional life. And if you are not, God save you from hounding family members!

We haven't seen many desi chick flicks in India. RULES, PYAAR KA SUPERHIT FORMULA and AISHA are the few ones that come to mind. And now it's TURNING 30!!!.

Coming from a production house (Prakash Jha Productions) that has produced hard-hitting films like GANGAJAL, APHARAN, DIL DOSTI ETC and RAAJNEETI, TURNING 30!!! is a step in new direction. Directed by Prakash Jha's long time assistant, debutante Alankrita Shrivastava, this chick flick comprises of young actors.

With a steady boyfriend Rishabh (Siddharth Makkar) and a good job in advertising, Naina's (Gul Panag) life is just about perfect as she is about to turn 30. She feels that she's already married to Rishabh. But life takes a tumultuous turn as Rishabh breaks up with her and is about to get married to a high profile girl, Ritu. At the same time, a failed advertising campaign puts her job in danger. With her 30th birthday approaching, she's 'jobless' and 'manless' and unable to come to terms with it.

She bumps into Jai (Purab Kohli), her ex-boyfriend from college. She is involved in a physical relationship with him, but her heart still longs for Rishab. Whom she eventually chooses and what happens to her on the job front is what ensues.

The main flaw of the film is that it appears as if you are reading a book. Naina's copious and tripe narrations throughout the film are uninspiring. And you somehow don't feel for her plight. The numerous songs don't add any merit to the film. The climax, with a twist, is reminiscent of Amitabh Bachchan's BAGHBAN. It's dreary to see her whining and crying all the time. It had the scope to be much more humorous.

One wonders why Rishabh breaks up with Naina in the first place if he loves her so much. And mind you, almost the entire film is in English.

Having said that, it's not an unbearable film. The first half of the film is pretty okay, with some engaging moments. But the narrative plummets post interval and drags. Apart from the decent climax, there is no movement in the story, just as Naina's torpid condition.

Composer duo Siddharth-Suhas' music is theek thak. Akshay Singh's cinematography is fine. Editing by Santosh Mandal could have been better.

Gul Panag delivers a good performance. She fits the bill perfectly. Purab Kohli is decent. Siddharth Makkar is average. Ira Dubey (AISHA fame) is fine in her special appearance. Tillotama Shome is excellent. Jeneva Talwar acts brilliantly.

Turning 30!!! doesn't 'turn' out all right and ends up being a passable fare.

Rating: 2/5

Movie Review : Toonpur Ka Superrhero

TOONPUR KA SUPERRHERO is a delightful and endearing kiddie movie. It has an engaging narrative [second half mainly], neat performances and adorable animated characters. The real stars are the technicians [who created the animated characters], the director [Kireet Khurana] and of course, its lead man [Ajay Devgn] who pulled off a technically remarkable achievement of having humans and animated film characters interact with each other. Revisit your childhood while watching this one!

Rating : 2/5

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Movie Review : Tees Maar Khan

There is a difference between Entertainment and Mental Torture. Tawaif Ki Loothi Izzat Bachana Aur Tees Maar Khan dekhna, dono hi bekaar hain.Okay, here is why Tees Maar Khan can make you cry this December. 

Plus points about Tees Maar Khan: Sheela Ki Jawani (but sadly even that has been exposed way too much, looks like Looks like Sheela ki menopause now).. and Akshay Kumar’s valiant attempt to do whatever he can of this tomfoolery.

Minus point of Tees Maar khan: Apart from a couple of things, in Tees Maar Khan, there is nothing worth applauding The movie is made very casually, (this is the vibe one gets, considering comedy is a ‘serious’ business); the characters and the story do not have any base. There are so many niggles like no background of Katrina Kaif, no clarity on those two twin brothers of Akshay and a forced gay track. 

There were so many areas where thrills could have been injected, but the director skips all those 'unimportant' parts. Akshay Kumar is Tees Maar Khan, but there is nothing to prove that he is what he claims to be. You don’t see ‘how’ he escapes from the prison, the treasure of Rs. 500 crore seems like a figment of an uninspired imagination. 

TMK is an institution for overacting; Farah Khan manages to make even Katrina Kaif boring. Akshaye Khanna has lost it; an actor of his caliber is languishing in such inconsequential roles. There have been other movies which were a ‘big joke’ in the name of entertainment like No Problem and Housefull , Tees Maar Khan is really a Tees Maar Khan in this department.

Performance in Tees Maar Khan:

Akshay Kumar ends the year with an embarrassment, his fault lies with bad scripts rather than acting. Enough of slap-stick comedy, dude..it makes you look like a joker(though you are fantastic). A sincere advice to Katrina Kaif, who has actually acted well in movies like New York: please try the Neha Dhupia/ Kareena Kapoor formula of doing quality-script rich films; you will get a lot of respect m’am. The lesser said about the others, the better.

Conclusion: Farah Khan did a good thing by not considering SRK for this film. Some movies are made for you to lose money, this ones make you lose your mind too, even if you had left it behind at home!

Rating: 3/5 (Can watch if nothing else to do in weekends)

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Rakta Charitra(Telugu) - 2010 - Review

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Film: Rakta Charitra
Rating: 3.5/5
Banner: Cinergy productions

Cast: Vivek Oberoi, Abhimanyu Singh, Shatrughan Sinha, Kota, Radhika Apte, Zareena Wahab, Sushant Singh, Tanikella, Subhalekha Sudhakar, Vishwajeet Pradhan, Rajendra Gupta, Ashish Vidyarthi, Kitty and others
Dialogues: Nageswara Rao
Music: Dharam- Sandeep
DOP: Amol Rathod
Editing: Bhanodaya, Nipun Ashok Gupta
Story, screenplay, direction: Ram Gopal Varma
Producers: Madhu Mantena, Sheetal Vinod Talwar, Chinna Vasudeva Reddy, Rajkumar
Release Date: 22nd Oct 2010

Ram Gopal Varma is back after a long hiatus into the Telugu circuit and he chose his favorite genre of violence, intensity and bloodshed. Let us see how far RGV is successful in convincing audiences. Let us peep into good and bad in the movie:

Story
Noted MLA Narasimha Reddy (Kitty) has got a trusted aide in the form of Veerabhadriah (Rajendra Gupta) in Anandapuram area.

However, Narasimha’s relative Nagamani Reddy (Kota) is unable to take this for reasons of caste and losing his presence. He plants a seed of friction and in no time, Narasimha Reddy gets Veerabhadriah killed. This enrages Veerabhadriah’s elder son Shankar Ravi (Sushant) and he gets into a killing spree and operates from forests.

Veerabhadriah’s younger son Pratap Ravi (Vivek) who is away from all this gets to know of this and before he realizes, Shankar Ravi also gets killed. He vows revenge on his father and brother’s killers and in this process, Narasimha Reddy, Nagamani Reddy and others are brutally killed. Nagamani Reddy’s son Bukka Reddy (Abhimanyu) who is insane to the core is unable to take this and he becomes Pratap’s main enemy.

Meanwhile, the rise of Pratap as opposite force to Bukka Reddy is noticed by Shivaji Rao (Shatrughan) who sets a new party and he decides to lift Pratap to put an end to Bukka Reddy. What happens after that forms the rest of the story.

Performances:
Vivek Oberoi is an apt choice, his eyes deliver the sufficient emotion of revenge and his body language is intense. He has done full justice to his role.

Abhimanyu Singh is a complete show stealer. His menacing looks and his cold blooded performance will give some spine chilling moments.

Shatrughan Sinha was contained and it must be said that traces of real life N T Rama Rao are quite prominent in his gestures and dialogue delivery.

Kota was perfect, Radhika was naturally appealing, Zarina was neat, Tanikella was impressive and he made his presence felt, Rajendra Gupta was adequate, Sushant was brief, Ashish Vidyarthi was alright, Subhalekha Sudhakar was standard, Subrat Dutta was good, the others did their bit as required and added value.

Highlights:
Symbolism shots with respect to showing a cycle in Shivaji Rao (Shatrugan Sinha)’s place (recalling TDP and NTR), usage of left had, addressing as ‘brother' are impressive.

Showing a dog barking after the death of Naga Mani Reddy (Kota) depicts ‘kukka chaavu'..That’s impressive.

Ram Moorthy (Tanikella) saying to Pratap Ravi ‘to shave beard as a politician should look clean at face although dirty at heart'

Bukka Reddy’s introduction scene

Disappointments:
RGV’s voice over is overflowing. It’s not a radio drama to explain everything with a voice over. Whatever RGV is saying in voice, is being conveyed visually! It disturbed the mood to some extent.

Pratap Ravi stays in forest as per the dialogue. But he stays in a dusty hill area that hardly looks like a forest. It may sound trivial, but when such observations linger in mind, some audience gets distracted from the mood.

Why Dabbunnoda song? The context is not convincing.

Challenges:
The subject chosen is quite hard hitting so one needs to have some background information before actually connecting to the film.

Facing criticism with respect to Shivai Rao’s (a replica of NTR) characterization and converting it into publicity element.

Facing criticism and questions with respect to ‘pedda sir' (implying YSR) and again converting it into a publicity element

Mood is suddenly dropping down at the conclusion point of the movie. Waiting till Part-2 to get completeness in feeling is a challenge for audience and it’s challenge for maker to sustain interest for 1 month till Part-2 release.

Analysis:
“Goodness or badness can never be anyone’s property. They are situational.
If a man is hunger free, he showers only goodness. But if any sort of hunger (be it lust, power craving or greed or vengeance) hits him, he spells badness'.

Rakta Charitra is a fiction based on historical facts.
It’s rather powerful to say that it’s a true depiction of human emotions.
It’s a tour to extreme human beings.

Ramayan or Mahabharat or any chronicled history in dramatic form depicts the extremities of emotions in every character. For example if Karna is known for generosity, its shown with eccentricity of chopping off his own armored skin to offer for a beggar. If Bheeshma is known for sacrifice, its shown in extreme point of choosing life time celibacy to keep himself and his legacy far from kingship. Any drama holds grip only when the characterizations are strong. This fact was known for dramatists right from Veda Vyasa and Valmiki. Similar path is now chosen by Ram Gopal Varma is depicting a historical fact in dramatic form.

He has shown Bukka Reddy as a determined rapist (!) and dedicated murderer (!).The incidents canned around this characterization are extreme in imagination. Pratap Ravi is shown as a bad guy, but for a true reason (since he is chosen to be the hero of the plot).

Ram Gopal Varma is a master of movie making and an expert storyteller. This is seen here yet again. As such, the storyline can be understood in few words and there is nothing unpredictable about it but then it is the way Ramu takes off with each scene and how he gets the viewer into the film which counts.

His screenplay techniques and shot compositions are one of those dexterities he possesses. Perhaps a layman might find the visual appeal to be dim but then there are few flashes of his brilliance which are seen on and off. The focus was more on the emotion of the protagonist and the villain so that is a challenge to handle for more than two hours.

On the other hand, it is not a typical Varma characterization where most of the actors give hard expressions, talk less and convey more. Here the characters speak sufficient and sometimes little verbose!! But still there is a rhythm in their performance and it connects to the regular audience.

On a whole it’s a movie about the raise of a leader.

Bottom-line: For the lovers of realistic violence