DHOOM 3 - Movie Review
Movie starts at Chicago Great Indian Circus owned by Iqbal (Jackie Shroff) and Sahir (Aamir Khan) owed at Chicago Bank failed to woo the financiers with their magic tricks. Seeing the money issues Iqbal suicides infront of Sahir. Sahir plans to take a revenge on the bank and starts robbing the bank. Whenever he robs a bank he leaves a mark on the crime scene.
To slove this case Chicago police asks Indian department officers Jai (Abhishek Bachchan) and Ali (Uday Chopra).Will Jai and Ali solve the Sahir’s case who is very fond of taking revenge and destroying the bank forms the rest of the storyline.
Bollywood perfectionist Aamir Khan is the only saving grace when movie
running at a snail pace. Aamir carries the whole second half on his shoulders.
His histrionics are perfect to his characterization. Abhishek Bachchan and Uday
Chopra continued their repute characters forward.
Their characterization lack the depth that used to be there in the other two parts. Uday Chopra is funny in few episodes. Katrina Kaif adds glamour to every frame. She is sizzled with her curves in the songs. Even Katrina’s character lacks heart.Jackie Shroff’s extended cameo is fine. Rest of the characters supports the leads very well.
Too bad that the director spent so much time on the movie's looks and the
stars' looks that he did not find time to actually write a story. Director
Vijay Krishna could have taken some care on the story of the film, which is a
sort of inspires from The Prestige. Narration of the film is dragged and runs
at snail pace in the first half, but things looks promising in the second due
to Aamir Khan. The supposed twists are ultra meh and can be guessed quite
before the scene. Logic is something which is totally left behind.
One thing I have to say forthe movie the cinematography is excellent. The places are shot beautifully. The way they shot Malang song is fabulous. The stunt sequences are very casual. Director failed to capture stunts sequences in a chilling manner. The background music is ceaseless and it’s not very good either. Every two minutes after a dialogue is followed by graveling background music. The Editor could have easily cut short the film by twenty odd minutes. 172 minutes movie look very long and hauled. Visual effects in the film are very good. Production values of YRF are grand.
Krish 3 Movie Review
Shahid Movie Review
Source from http://timesofindia.indiatimes.com
Boss Movie Reviews
Film: Boss
Director: Anthony D'Souza
Cast: Akshay Kumar, Ronit Roy, Shiv Pandit, Mithun Chakraborty, Aditi Rao Hydari, Johnny Lever
Certification: U/A
Rating: **
There was a time when homicidal maniacs who killed for fun and games were referred to as the antihero. Now take the same chaps and give them a sense of humor, selective altruism, and they're heroes for the masses. As long as a flamboyant hero's intent is in place, whether he delivers or not and regardless of his past, he is who you are to root for.
This man is Boss (Akshay Kumar) in the film. To be fair, Kumar himself isn't seen doing anything too morally questionable except for beating up goons to the sound of beating drums (we're told he's a large-hearted gangster who takes 'contracts' for kills). Instead his bloody history is covered by a younger actor who you're not too emotionally invested in, a curious trope exclusive to Bollywood where the star's image is sacrosanct. His father is a Gandhian (not-so-subtly indicated by the Gandhi portrait hanging over his head in his house) played by Mithun Chakraborty who has disowned him for being a violent man. But it takes all of one single incident and being physically pushed to the ground (much like Gandhi was pushed out a first-class compartment) to get up, dust himself off and renounce a life of non-violence by baying for the enemy's blood. He takes this 'contract' to his son (who he must refer to as 'Boss' and not 'beta' because he had said 'ab tu mera beta nahi hai' after young Boss' shenanigans) but Boss already has a contract to kill his own brother. There is supposed to be a dilemma here, but screenplay crises are for wimps. Boss knows exactly what to do.
Director Anthony D'Souza does score marks for ushering in - finally - a villain with commendable character and who is not Prakash Raj. Ronit Roy is that man - and boy, is he menacing! His cop character Ayushman Thakur is strong enough to merit a one-on-one showdown in the climax, an increasingly rare affair considering the superhuman strengths of our heroes. Then again - when Boss wipes off his sweat, plants grow out of the ground instantaneously. If this sounds absurd, wait till you watch the film. Another norm that d'Souza breaks is that Boss has no girlfriend in the movie and remains undistracted by girls (just a minor blip in the Party All Night song with the 800 women). The romantic track is reduced to two scenes between his brother (Shiv Pandit) and Ayushman's sister Ankita Thakur (Aditi Rao Hydari).
Akshay Kumar plays his bad boy image with some good comic timing, but this puts his track on a different plane to the rest of the movie. It is not any "balance" when the scenes involving your lead character are all mostly comic while the rest are drowning in their own melodrama. Chakraborty is laborious in his heavyhanded role, Govind Namdeo has a cool new haircut, in a meta indication Shiv Pandit's character is called 'Shiv', and Rao Hydari is, well, she's in a bikini. Ronit Roy is easily the standout performer. Frankly, after watching him in his role here, his evil cop take in the upcoming 'Ugly', and the abusive father in Udaan, anyone would be terror-stricken at the sight of him in real life.
I've had my fill with these South Indian action-comedy remakes (Boss is based on the Malayalam Pokkiri Raja) and I suspect you have too. But it is said the customer is the boss and it is ultimately your decision to buy a ticket or not. If Akki slapping around a few people makes you feel any better, go for it.
Baat Bann Gayi Movie Review
War Chhod Na Yaar Movie Review
Story: The film is a light-hearted satire aimed at
those who do not believe or hope that peace can prevail between India and
Pakistan.
Besharam Movie Reviw
Babli (Ranbir), a baap-less boy, is a car mechanic-cum-thief, with braveheart. Along with his partner-in-crime, Titu (Amitosh Nagpal), they steal cars to support the orphanage that housed them. The smooth operators have a touch of class too, they dress like MIB ('Men In Black') call themselves T1 & T2 ('Terminator').
During one carnama, they encounter the comical cop-couple, Chulbul (Rishi) and Bulbul (Neetu) Chautala. Enter Tara (Pallavi), the 'beauttee' he falls for. He breaks her heart and spends the rest of the film fixing dils and dents.
This seems like Kashyap's test-drive with Ranbir, with average direction, un-moving music, and a screenplay that is unoriginal and so low on horsepower that it deflates before he revs the reel. He relies on the sheer 3K (read: Kapoors) power to entertain.
Ranbir's role may not be path-breaking, yet he's in full control. He plays a riotous rowdy with utter confidence; using gags padded (stuffing his crotch with socks - even men need 'enhancement', no?), with humour that's corny and horny. Ranbir is shamelessly, stylishly superb! If comic cracks weren't enough, watch out ladies - there's a real one, a flashed 'butt-crack' by RK!
Second in command is his baap, really - Rishi Kapoor. He steals one of the best moments of the film when he gyrates to 'Badtameez Dil'. He brilliantly plays the not-so-dabangg Chulbul, with a biwi (in adorable act) who fires (verbal) bullets and chides his mardangi. Newcomer Pallavi is confident but needs coaching. Amitosh Nagpal (Titu) adds fuel to the comic-fire.
While this is far from the best films of the year, if you shamelessly love Ranbir, go for it.
Source From http://timesofindia.indiatimes.com
Raqt Move Review
If you must know the story - Sonia (Sweta Bharadwaj) is an actress who adopts her niece Suhani ( Sheena Shahabadi), as her mother dies in an accident. Sonia adores Suhani but the latter fears if Sonia falls in love with anyone else, she might send her away to a boarding school. In no mood to share her mother's affection, she kills everyone who comes between them.
Strangely, the mother has no clue about the happenings and is not suspicious of her daughter's behaviour. Thus, many more get killed and the film goes on forever, leading to nowhere.
Almost everything about the film is annoying and appalling at the same time. The mother-daughter bond looks like a joke. Farida Jalal plays the role of a maid and because she happens to be 'Maria', she speaks in that cliched Bollywood Christianised-Hindi. "Tum karne ko mangta, bachcha baby, bada baby."
"You know how it works in Hollywood" tells a director to an actress, a woman shows off her cleavage and says, "Objects are bigger from inside than they appear outside", etc. There is also this cringeworthy 'lesbian' scene which grosses you out. Shakti Kapoor plays the role of a noble priest and that evokes laughter for obvious reasons. Performances are as lame.
Source From http://timesofindia.indiatimes.com
Movie starts at Chicago Great Indian Circus owned by Iqbal (Jackie Shroff) and Sahir (Aamir Khan) owed at Chicago Bank failed to woo the financiers with their magic tricks. Seeing the money issues Iqbal suicides infront of Sahir. Sahir plans to take a revenge on the bank and starts robbing the bank. Whenever he robs a bank he leaves a mark on the crime scene.
To slove this case Chicago police asks Indian department officers Jai (Abhishek Bachchan) and Ali (Uday Chopra).Will Jai and Ali solve the Sahir’s case who is very fond of taking revenge and destroying the bank forms the rest of the storyline.
Dhoom 3 - Star Performance
Their characterization lack the depth that used to be there in the other two parts. Uday Chopra is funny in few episodes. Katrina Kaif adds glamour to every frame. She is sizzled with her curves in the songs. Even Katrina’s character lacks heart.Jackie Shroff’s extended cameo is fine. Rest of the characters supports the leads very well.
Dhoom 3 - Techinical Team
One thing I have to say forthe movie the cinematography is excellent. The places are shot beautifully. The way they shot Malang song is fabulous. The stunt sequences are very casual. Director failed to capture stunts sequences in a chilling manner. The background music is ceaseless and it’s not very good either. Every two minutes after a dialogue is followed by graveling background music. The Editor could have easily cut short the film by twenty odd minutes. 172 minutes movie look very long and hauled. Visual effects in the film are very good. Production values of YRF are grand.
Dhoom 3 - Analysis
Dhoom was expected to deliver something fresh with this new film, if not
something out of the world. The film is nothing but an inspired sequences,
loaded with forced action and not to forget the ho-hum pace of narration in the
first half. Aamir totally makes every minus forgettable with his performance.
Watch Dhoom 3 leaving your brains at home for Aamir Khan.Krish 3 Movie Review
Movie: krrish 3;
Stars: Hrithik Roshan, Priyanka Chopra, Kangna Ranaut, Vivek Oberoi;
Directed by Rakesh Roshan;
Yup, the desi super-hero comes of age. Kicking, dragging, screaming and gamboling down the nearest suburban shopping area, or peering up an airborne flight which develops a wheel problem.
krrish, masked and magnificent in his missionary pose, is ready to take on the world... The big bad world of the dark power brokers who want to rob our earth of all its beauty.
There is something endearingly sincere about Hrithik Roshan's super-hero act. The character's innocence and his own delight at the double life that he leads as the working-class Krishna and his spectacular world-saver of a doppelganger Krrish come through in a series of dexterously executed action sequences that show the power of VFX to create a virtual reality on a par with the ones we have been watching with wide-eyed wonder in Superman, Iron Man, Spiderman...
Man, this super-hero knows his job. His timing as he poses spread-eagled for a take-off is quite awe-inspiring. Hrithik has great fun with all three parts. The scientist father (played with a vocal crutch that could have been avoided), the regular guy and the super-hero all seem real, even as the plot gets progressively mired in the incredible world of virus-infecting mutants who want to... yup you guessed it... destroy the world.
The first 15 minutes of this hurling and hefty homage to heroic hijinks is tame, almost limp. But once Krissh's cape and mask are in place, the narrative gathers pace. Encircling the emotional quotient, grabbing hold of it and placing it in the centre of the special-effects couldn't have been an easy job for the director.
Rakesh Roshan orchestrates the emotions in a flamboyant opera of opulence.
There are some effectively executed action sequences whose vivacity is compounded by the shock quotient provided by the villain Kaal, played by a steely-willed grim and menacing Vivek Oberoi.
That Kaal is evil goes without saying. Oberoi, in in his desperately dark den, wheel-chair bound and determined to be the consummate anti-God, doesn't quite strike the terror in our hearts that Xavier Bardem did the last James Bond film 'Skyfall'.
But Oberoi is adequately sinister with a touch of wry humour that comes to the surface in unexpected moments.
But after Hrithik it is Kangna Ranaut who plays the most interesting character, most interestingly. Gliding into skin-hugging leotards and leather outfits, she seems to bring an underlayer of pain to her evil part. It's a tough role, as it has no reference points to fall back on. Also because Kangna has to walk the tightrope between being an automaton and a full-blooded woman. Kangna pulls it off with aplomb.
But Priyanka Chopra is wasted. Wonder what has happened to her lately! She seems to be trying hard to make an impression in under-written parts.
Krrish 3 has its flabby moments and moments that go haywire in pursuit of entertainment. But the narrative holds together. Technical aspects are quite often remarkable, creating visuals that veer towards vitality with a gusto that earlier super-hero films in Hindi missed by a wide margin.
Ra.One, anyone?
S. Thirru's cinematography is sumptuous yet never over-saturated. The riot of colours and drama is minimised. Krissh's flight across the skyline and the ravishing rubble of orchestrated destruction are captured in an ethos of reined-in exuberance.
Chandan Arora edits most the kinetic material with an eye on austerity of expression. But some scenes, specially in the beginning, are lazily put together, as though the narrative was clearing its throat before the big on-stage audition.
The music (by Rajesh Roshan) and the songs add nothing to the film's very high entertainment value.
At last we have India's first truly global super-hero film. Hrithik Roshan slices through the sky skillfully weaving through the emotions and drama and adventure to create a complete entertainer. There are no concessions to vulgarity in this super-hero saga. Younger viewers would specially enjoy Krissh's ability to connect with kids.
Rakesh Roshan combines the breathtaking SFX with a high level of emotion and drama. The result is quite often exhilarating and spectacular.
The FINISHING Line: What a Diwali dhamaka this is!
Stars: Hrithik Roshan, Priyanka Chopra, Kangna Ranaut, Vivek Oberoi;
Directed by Rakesh Roshan;
Yup, the desi super-hero comes of age. Kicking, dragging, screaming and gamboling down the nearest suburban shopping area, or peering up an airborne flight which develops a wheel problem.
krrish, masked and magnificent in his missionary pose, is ready to take on the world... The big bad world of the dark power brokers who want to rob our earth of all its beauty.
There is something endearingly sincere about Hrithik Roshan's super-hero act. The character's innocence and his own delight at the double life that he leads as the working-class Krishna and his spectacular world-saver of a doppelganger Krrish come through in a series of dexterously executed action sequences that show the power of VFX to create a virtual reality on a par with the ones we have been watching with wide-eyed wonder in Superman, Iron Man, Spiderman...
Man, this super-hero knows his job. His timing as he poses spread-eagled for a take-off is quite awe-inspiring. Hrithik has great fun with all three parts. The scientist father (played with a vocal crutch that could have been avoided), the regular guy and the super-hero all seem real, even as the plot gets progressively mired in the incredible world of virus-infecting mutants who want to... yup you guessed it... destroy the world.
The first 15 minutes of this hurling and hefty homage to heroic hijinks is tame, almost limp. But once Krissh's cape and mask are in place, the narrative gathers pace. Encircling the emotional quotient, grabbing hold of it and placing it in the centre of the special-effects couldn't have been an easy job for the director.
Rakesh Roshan orchestrates the emotions in a flamboyant opera of opulence.
There are some effectively executed action sequences whose vivacity is compounded by the shock quotient provided by the villain Kaal, played by a steely-willed grim and menacing Vivek Oberoi.
That Kaal is evil goes without saying. Oberoi, in in his desperately dark den, wheel-chair bound and determined to be the consummate anti-God, doesn't quite strike the terror in our hearts that Xavier Bardem did the last James Bond film 'Skyfall'.
But Oberoi is adequately sinister with a touch of wry humour that comes to the surface in unexpected moments.
But after Hrithik it is Kangna Ranaut who plays the most interesting character, most interestingly. Gliding into skin-hugging leotards and leather outfits, she seems to bring an underlayer of pain to her evil part. It's a tough role, as it has no reference points to fall back on. Also because Kangna has to walk the tightrope between being an automaton and a full-blooded woman. Kangna pulls it off with aplomb.
But Priyanka Chopra is wasted. Wonder what has happened to her lately! She seems to be trying hard to make an impression in under-written parts.
Krrish 3 has its flabby moments and moments that go haywire in pursuit of entertainment. But the narrative holds together. Technical aspects are quite often remarkable, creating visuals that veer towards vitality with a gusto that earlier super-hero films in Hindi missed by a wide margin.
Ra.One, anyone?
S. Thirru's cinematography is sumptuous yet never over-saturated. The riot of colours and drama is minimised. Krissh's flight across the skyline and the ravishing rubble of orchestrated destruction are captured in an ethos of reined-in exuberance.
Chandan Arora edits most the kinetic material with an eye on austerity of expression. But some scenes, specially in the beginning, are lazily put together, as though the narrative was clearing its throat before the big on-stage audition.
The music (by Rajesh Roshan) and the songs add nothing to the film's very high entertainment value.
At last we have India's first truly global super-hero film. Hrithik Roshan slices through the sky skillfully weaving through the emotions and drama and adventure to create a complete entertainer. There are no concessions to vulgarity in this super-hero saga. Younger viewers would specially enjoy Krissh's ability to connect with kids.
Rakesh Roshan combines the breathtaking SFX with a high level of emotion and drama. The result is quite often exhilarating and spectacular.
The FINISHING Line: What a Diwali dhamaka this is!
Shahid Movie Review
Shahid
By Taran Adarsh, 18 Oct 2013, 09:20 hrs IST
Released On: 18
Oct 2013
Directed By: Hansal
Mehta
Starring: Raj
Kumar Yadav, Prabhleen Sandhu, Mohd. Zeeshan Ayyub, Baljinder Kaur, Vipin
Sharma, Shalini Vatsa, Paritosh Sand, Mukesh Chhabra, Pawan Kumar, Vivek
Ghamande, Tigmanshu Dhulia, Kay Kay Menon, Prabal Punjabi, Yusuf Hussain,
Mushtaq Kak, Vinod Rawat
The spectators' gradual
acceptance of alternate/indie films has shown a noticeable upswing in recent
years. As a matter of fact, borrowing stories from newspaper/television
headlines and making realistic fares is fast becoming a norm this side of the
Atlantic. The line between mainstream and alternate cinema is slowly getting
blurred, since the spectator is getting a choice to relish varied genres. With
celebrities backing these projects, a strong word of mouth on social networking
sites and smart distribution strategy, these films reach out to a larger
audience today.
Some stories ought to be told. They shouldn't be confined to newspaper cuttings or news-reports on news channels merely, forgotten/ignored soon after a new story [or controversy] takes over. And Hansal Mehta takes the brave step of tracing the journey of noted lawyer Shahid Azmi. Hansal, an accomplished storyteller who lost his way in between [read forgettable films], seems back on track as he documents the tale of the deceased lawyer. SHAHID, a mix of fact and fiction, enlightens the spectators of Shahid's journey after being arrested during the riots, right till his assassination in 2010.
A stunning documentation on the life and times of Shahid Azmi, SHAHID is brave, courageous and often disturbing and that's one of the prime reasons why it makes for a fascinating cinematic experience.
SHAHID is based on the story of slain lawyer Shahid Azmi. Accused of terrorist links, he was imprisoned before he went on to become a fearless lawyer.
While the story of Shahid Azmi makes for an interesting read/conversation, Hansal Mehta makes sure he packages the film with abundant drama [the courtroom sequences are spellbinding] in this less-than-2-hour film. But, at heart, SHAHID remains a disturbing film, with Hansal preparing the viewer at the very outset as Shahid witnesses a gruesome act. The events thereafter -- Shahid's training in a terrorist camp and on return, getting picked up by cops and imprisoned amidst hardened criminals -- are chapters that are enlightening.
Hansal tries to be close to reality, filming SHAHID at actual locales -- overcrowded neighbourhoods, congested bylanes and cafes -- which adds a lot of credibility to the goings-on. The subtle romance between Shahid and Maryam, one of his clients, deviates your attention from the heavy drama that dominates the film. But the highpoint of the film are the courtroom sequences, without doubt.
With SHAHID, Hansal takes a giant leap as a storyteller, bringing his creativity out to the fore. By casting the most appropriate names for the parts, Hansal only cements the fact that it's the material that can sweep you off your feet. The only time the film falters is when Hansal doesn't provide details of how Shahid escaped from the terrorist camp and returned to Mumbai safely. The editing [Apurva Asrani] is sharp, with not a dull moment in the narrative.
SHAHID is embellished with superior performances. Raj Kumar portrays the lawyer with brilliance. The sense of vulnerability and helplessness, the uncertain future, the aspirations and just about every emotion that the character encompasses is brought to the fore with ferocious enthusiasm by the actor. Mohd Zeeshan Ayyub, last seen in RAANJHANAA, is incredible as Shahid's brother. Prabhleen Sandhu is exceptional as Shahid's wife. Also, she has a pleasant screen presence. Kay Kay Menon and Tigmanshu Dhulia, cast in brief but significant characters, are wonderful. Vipin Sharma proves yet again that he's a remarkable actor. Prabal Panjabi is effective in a cameo. Ditto for Mukesh Chhabra, who enacts the part of a witness. He's very good. Baljinder Kaur as Shahid's mother is natural. Shalini Vatsa is first-rate.
On the whole, SHAHID is a brave film. Its gripping story, exceptional execution and bravura performances continue to reverberate much after the screening is over. Strongly recommended!
Some stories ought to be told. They shouldn't be confined to newspaper cuttings or news-reports on news channels merely, forgotten/ignored soon after a new story [or controversy] takes over. And Hansal Mehta takes the brave step of tracing the journey of noted lawyer Shahid Azmi. Hansal, an accomplished storyteller who lost his way in between [read forgettable films], seems back on track as he documents the tale of the deceased lawyer. SHAHID, a mix of fact and fiction, enlightens the spectators of Shahid's journey after being arrested during the riots, right till his assassination in 2010.
A stunning documentation on the life and times of Shahid Azmi, SHAHID is brave, courageous and often disturbing and that's one of the prime reasons why it makes for a fascinating cinematic experience.
SHAHID is based on the story of slain lawyer Shahid Azmi. Accused of terrorist links, he was imprisoned before he went on to become a fearless lawyer.
While the story of Shahid Azmi makes for an interesting read/conversation, Hansal Mehta makes sure he packages the film with abundant drama [the courtroom sequences are spellbinding] in this less-than-2-hour film. But, at heart, SHAHID remains a disturbing film, with Hansal preparing the viewer at the very outset as Shahid witnesses a gruesome act. The events thereafter -- Shahid's training in a terrorist camp and on return, getting picked up by cops and imprisoned amidst hardened criminals -- are chapters that are enlightening.
Hansal tries to be close to reality, filming SHAHID at actual locales -- overcrowded neighbourhoods, congested bylanes and cafes -- which adds a lot of credibility to the goings-on. The subtle romance between Shahid and Maryam, one of his clients, deviates your attention from the heavy drama that dominates the film. But the highpoint of the film are the courtroom sequences, without doubt.
With SHAHID, Hansal takes a giant leap as a storyteller, bringing his creativity out to the fore. By casting the most appropriate names for the parts, Hansal only cements the fact that it's the material that can sweep you off your feet. The only time the film falters is when Hansal doesn't provide details of how Shahid escaped from the terrorist camp and returned to Mumbai safely. The editing [Apurva Asrani] is sharp, with not a dull moment in the narrative.
SHAHID is embellished with superior performances. Raj Kumar portrays the lawyer with brilliance. The sense of vulnerability and helplessness, the uncertain future, the aspirations and just about every emotion that the character encompasses is brought to the fore with ferocious enthusiasm by the actor. Mohd Zeeshan Ayyub, last seen in RAANJHANAA, is incredible as Shahid's brother. Prabhleen Sandhu is exceptional as Shahid's wife. Also, she has a pleasant screen presence. Kay Kay Menon and Tigmanshu Dhulia, cast in brief but significant characters, are wonderful. Vipin Sharma proves yet again that he's a remarkable actor. Prabal Panjabi is effective in a cameo. Ditto for Mukesh Chhabra, who enacts the part of a witness. He's very good. Baljinder Kaur as Shahid's mother is natural. Shalini Vatsa is first-rate.
On the whole, SHAHID is a brave film. Its gripping story, exceptional execution and bravura performances continue to reverberate much after the screening is over. Strongly recommended!
Source from http://timesofindia.indiatimes.com
Boss Movie Reviews
Film: Boss
Director: Anthony D'Souza
Cast: Akshay Kumar, Ronit Roy, Shiv Pandit, Mithun Chakraborty, Aditi Rao Hydari, Johnny Lever
Certification: U/A
Rating: **
There was a time when homicidal maniacs who killed for fun and games were referred to as the antihero. Now take the same chaps and give them a sense of humor, selective altruism, and they're heroes for the masses. As long as a flamboyant hero's intent is in place, whether he delivers or not and regardless of his past, he is who you are to root for.
This man is Boss (Akshay Kumar) in the film. To be fair, Kumar himself isn't seen doing anything too morally questionable except for beating up goons to the sound of beating drums (we're told he's a large-hearted gangster who takes 'contracts' for kills). Instead his bloody history is covered by a younger actor who you're not too emotionally invested in, a curious trope exclusive to Bollywood where the star's image is sacrosanct. His father is a Gandhian (not-so-subtly indicated by the Gandhi portrait hanging over his head in his house) played by Mithun Chakraborty who has disowned him for being a violent man. But it takes all of one single incident and being physically pushed to the ground (much like Gandhi was pushed out a first-class compartment) to get up, dust himself off and renounce a life of non-violence by baying for the enemy's blood. He takes this 'contract' to his son (who he must refer to as 'Boss' and not 'beta' because he had said 'ab tu mera beta nahi hai' after young Boss' shenanigans) but Boss already has a contract to kill his own brother. There is supposed to be a dilemma here, but screenplay crises are for wimps. Boss knows exactly what to do.
Director Anthony D'Souza does score marks for ushering in - finally - a villain with commendable character and who is not Prakash Raj. Ronit Roy is that man - and boy, is he menacing! His cop character Ayushman Thakur is strong enough to merit a one-on-one showdown in the climax, an increasingly rare affair considering the superhuman strengths of our heroes. Then again - when Boss wipes off his sweat, plants grow out of the ground instantaneously. If this sounds absurd, wait till you watch the film. Another norm that d'Souza breaks is that Boss has no girlfriend in the movie and remains undistracted by girls (just a minor blip in the Party All Night song with the 800 women). The romantic track is reduced to two scenes between his brother (Shiv Pandit) and Ayushman's sister Ankita Thakur (Aditi Rao Hydari).
Akshay Kumar plays his bad boy image with some good comic timing, but this puts his track on a different plane to the rest of the movie. It is not any "balance" when the scenes involving your lead character are all mostly comic while the rest are drowning in their own melodrama. Chakraborty is laborious in his heavyhanded role, Govind Namdeo has a cool new haircut, in a meta indication Shiv Pandit's character is called 'Shiv', and Rao Hydari is, well, she's in a bikini. Ronit Roy is easily the standout performer. Frankly, after watching him in his role here, his evil cop take in the upcoming 'Ugly', and the abusive father in Udaan, anyone would be terror-stricken at the sight of him in real life.
I've had my fill with these South Indian action-comedy remakes (Boss is based on the Malayalam Pokkiri Raja) and I suspect you have too. But it is said the customer is the boss and it is ultimately your decision to buy a ticket or not. If Akki slapping around a few people makes you feel any better, go for it.
Source from http://timesofindia.indiatimes.com
Baat Bann Gayi Movie Review
Cast:
Ali Fazal, Gulshan Grover, Razzak Khan, Anisa
Direction:
Shuja Ali
Genre:
Comedy
Duration:
2 hours
Story: A novelist must pose as a geeky student to impress his girlfriend's
brother. While he's at it, his lookalike enters the scene, adding to the
confusion.
Review: Baat Bann Gayi is a clean family film as there are no double-meaning jokes or tacky skin shows that make you cringe. Sadly, there is no comedy or entertainment either, and for a film that intends to be funny, this one ends up being tardy and way too predictable for your liking.
A successful author (Ali Fazal) pretends to be a geek in order to impress his girlfriend's (Alisa) brother (Gulshan Grover), because he expects his brother-in-law to be intelligent. That somehow implies that writers are not intelligent. Anyway, while the hero's almost on the verge of winning over his girl's bhaiya, his rowdie lookalike shows up, adding to the drama. That's not all. Even the bhaiya has a lookalike! Will things fall into place?
The major issue with this movie is the fact that it borrows heavily from films like Chupke Chupke, Golmaal and Seeta Aur Geeta. Even if we ignore the lack of originality, the formula that worked in the 1970's looks way too outdated for today. Besides, those films had a solid script and some great comic timing. Here, barring Gulshan Grover, everyone else looks like they are trying too hard to make you laugh. Not their mistake. Blame it on the poor writing.
What disturbed us the most were the terrible sound effects (e.g., toilet flush sounds) which hound you throughout the film. That's another reason why the film puts you off. In a desperate bid to entertain the audience, we are bombarded with these fake and supposedly funny noises throughout.
Razzak Khan looks disinterested in the film while the heroine and her sister-in-law are made to look plain silly. Ali Fazal rises above the writing but eventually, the film lets him down. Gulshan Grover underplays his homosexual character well....
Review: Baat Bann Gayi is a clean family film as there are no double-meaning jokes or tacky skin shows that make you cringe. Sadly, there is no comedy or entertainment either, and for a film that intends to be funny, this one ends up being tardy and way too predictable for your liking.
A successful author (Ali Fazal) pretends to be a geek in order to impress his girlfriend's (Alisa) brother (Gulshan Grover), because he expects his brother-in-law to be intelligent. That somehow implies that writers are not intelligent. Anyway, while the hero's almost on the verge of winning over his girl's bhaiya, his rowdie lookalike shows up, adding to the drama. That's not all. Even the bhaiya has a lookalike! Will things fall into place?
The major issue with this movie is the fact that it borrows heavily from films like Chupke Chupke, Golmaal and Seeta Aur Geeta. Even if we ignore the lack of originality, the formula that worked in the 1970's looks way too outdated for today. Besides, those films had a solid script and some great comic timing. Here, barring Gulshan Grover, everyone else looks like they are trying too hard to make you laugh. Not their mistake. Blame it on the poor writing.
What disturbed us the most were the terrible sound effects (e.g., toilet flush sounds) which hound you throughout the film. That's another reason why the film puts you off. In a desperate bid to entertain the audience, we are bombarded with these fake and supposedly funny noises throughout.
Razzak Khan looks disinterested in the film while the heroine and her sister-in-law are made to look plain silly. Ali Fazal rises above the writing but eventually, the film lets him down. Gulshan Grover underplays his homosexual character well....
Source from http://timesofindia.indiatimes.com
War Chhod Na Yaar Movie Review
Cast:
Sharman Joshi, Javed Jaffery, Soha Ali Khan, Sanjay Mishra
Direction:
Faraz Haider
Genre:
Comedy
Duration:
2 hours
Story: The film is a light-hearted satire aimed at
those who do not believe or hope that peace can prevail between India and
Pakistan.
Review: Picture
this - India and Pakistan are headed for war. TV reporter Rut Dutta ( Soha Ali Khan)
promptly reaches the LOC to cover the notified attack LIVE! Raj ( Sharman Joshi),
captain of the Indian army, happily shows her around, unlike a brooding Shah
Rukh Khan of Jab Tak Hai Jaan. When the two are not busy ogling each
other, they play antakshari with Qureshi (Javed Jafferi), captain of
the Pakistan army and his soldiers! Rut soon discovers that rival soldiers are
caught in banter with each other instead of crossfire. Does this camaraderie
help in sustaining peace between the two countries? Will it expose the hidden
agendas of the US and China?
Promoted as India's first war comedy, one must acknowledge filmmaker Faraz Haider
for deviating from 'formula films' and offering something new. His concept is
unique. After all, how many films have revolved around the cross-border
equation between Indian and Pakistani soldiers till date?
Black comedy is a rare genre in Bollywood and hats off to Haider for bringing
it to the forefront. His subject is relevant, given the many unpleasant
cross-border incidents that have occurred of late.
Unfortunately, a poor script and juvenile execution let the promising premise
down. After a while, the characters start looking caricaturish, especially the
'forever meat-hungry' Pakistani army. A few genuine one-liners do evoke
laughter. (e.g., US selling guns to India on EMI). However, repeating the same
jokes over and over again spoils the fun.
Also, the events seem way too convenient, implausible and far-fetched for one's
liking, given the sensitivity of the situation. We understand it's a comedy and
so the wishful thinking, but a little authenticity would have helped. Also, why
the cliches? Making media and politicians the butt of all jokes has been done
to death.
There's an underlying tragedy that lies at the heart of this film but it gets
overshadowed by too many childish gags. While Sharman, Soha and Javed are
perfectly understated, Dalip Tahil goes overboard with his various
impersonations..
Source From http://timesofindia.indiatimes.com
Besharam Movie Reviw
Cast: Ranbir Kapoor, Pallavi Sharda, Rishi Kapoor, Neetu Kapoor
Direction:
Abhinav Singh Kashyap
Genre:
Comedy
Duration:
2 hours 18 minutes
Story: Babli steals cars, fears nothing and romances
like a rowdy Romeo. But gets away with benevolence and besharmi.
Review: Remote control Ranbir is here. He can change your mood with a flick of an emotion. Laughter, tears, joy and palang tod romeo-giri. Bedazzling the eyes with baubles, goggles and padded crotches. Yes, he packs in this 'bulge' with besharmi and fearlessness.
At the outset, let me tell you that Kashyap's ('Dabangg'
fame) 'Besharam' lacks a kadak story. It has thoda
herogiri, clap-trap dialogues, freestyle rowdy dancing and stylish stunts
(borrowed from recent action films). Bas! But RK drives this one
(taking fuel and pee breaks) through fast freeways and rocky roads.Review: Remote control Ranbir is here. He can change your mood with a flick of an emotion. Laughter, tears, joy and palang tod romeo-giri. Bedazzling the eyes with baubles, goggles and padded crotches. Yes, he packs in this 'bulge' with besharmi and fearlessness.
Babli (Ranbir), a baap-less boy, is a car mechanic-cum-thief, with braveheart. Along with his partner-in-crime, Titu (Amitosh Nagpal), they steal cars to support the orphanage that housed them. The smooth operators have a touch of class too, they dress like MIB ('Men In Black') call themselves T1 & T2 ('Terminator').
During one carnama, they encounter the comical cop-couple, Chulbul (Rishi) and Bulbul (Neetu) Chautala. Enter Tara (Pallavi), the 'beauttee' he falls for. He breaks her heart and spends the rest of the film fixing dils and dents.
This seems like Kashyap's test-drive with Ranbir, with average direction, un-moving music, and a screenplay that is unoriginal and so low on horsepower that it deflates before he revs the reel. He relies on the sheer 3K (read: Kapoors) power to entertain.
Ranbir's role may not be path-breaking, yet he's in full control. He plays a riotous rowdy with utter confidence; using gags padded (stuffing his crotch with socks - even men need 'enhancement', no?), with humour that's corny and horny. Ranbir is shamelessly, stylishly superb! If comic cracks weren't enough, watch out ladies - there's a real one, a flashed 'butt-crack' by RK!
Second in command is his baap, really - Rishi Kapoor. He steals one of the best moments of the film when he gyrates to 'Badtameez Dil'. He brilliantly plays the not-so-dabangg Chulbul, with a biwi (in adorable act) who fires (verbal) bullets and chides his mardangi. Newcomer Pallavi is confident but needs coaching. Amitosh Nagpal (Titu) adds fuel to the comic-fire.
While this is far from the best films of the year, if you shamelessly love Ranbir, go for it.
Source From http://timesofindia.indiatimes.com
Raqt Move Review
Cast: Shweta Bhardwaj, Sheena Shahabadi, Gulshan Grover,
Farida Jalal, Shakti Kapoor
Direction: Adi Irani & Shiva Rindan
Genre: Thriller
Duration: 2 hours 30 minutes
Story: An adopted daughter craves for undivided
attention and love from her mother. Turns out she has a psychological disorder.
Review: Raqt is a disaster. If it doesn't give you a throbbing headache, you deserve a medal for putting up with utter crap in the name of cinema. The film is loaded with terrible dubbing, out of focus scenes, sleazy songs, tacky dialogues, horrible outfits, a dumb story and pathetic direction.
Review: Raqt is a disaster. If it doesn't give you a throbbing headache, you deserve a medal for putting up with utter crap in the name of cinema. The film is loaded with terrible dubbing, out of focus scenes, sleazy songs, tacky dialogues, horrible outfits, a dumb story and pathetic direction.
If you must know the story - Sonia (Sweta Bharadwaj) is an actress who adopts her niece Suhani ( Sheena Shahabadi), as her mother dies in an accident. Sonia adores Suhani but the latter fears if Sonia falls in love with anyone else, she might send her away to a boarding school. In no mood to share her mother's affection, she kills everyone who comes between them.
Strangely, the mother has no clue about the happenings and is not suspicious of her daughter's behaviour. Thus, many more get killed and the film goes on forever, leading to nowhere.
Almost everything about the film is annoying and appalling at the same time. The mother-daughter bond looks like a joke. Farida Jalal plays the role of a maid and because she happens to be 'Maria', she speaks in that cliched Bollywood Christianised-Hindi. "Tum karne ko mangta, bachcha baby, bada baby."
"You know how it works in Hollywood" tells a director to an actress, a woman shows off her cleavage and says, "Objects are bigger from inside than they appear outside", etc. There is also this cringeworthy 'lesbian' scene which grosses you out. Shakti Kapoor plays the role of a noble priest and that evokes laughter for obvious reasons. Performances are as lame.
Source From http://timesofindia.indiatimes.com