Well, to start off with, Aditya Chopra spells yet another poignant dimension of pure love as in his previous ventures with SRK; DDLJ and Mohabattein. Yeah! These tales were retentive impressing everyone from 8-80yrs old men and women. Of course, we fell in love getting imbibed with those spellbinding personations in these flicks. So, guess what about Rab Ne Bana Di Jodi  a film that brings back sensational pair SRK-Aditya together after 8yrs? Does the film exceed everyone's expectations on 'Love' n 'Entertainment' factors? Or merely conks out dashing down our hopes? 
Hats off to Aditya Chopra! An awesome motif of delineating a touching story of romance...
Have you ever stopped to think if the most ordinary, uninteresting, unobtrusive man you might see on the road or around you might have a love story to tell?
Maybe not! How can an ordinary man have a breathtaking, goose flesh igniting, awe inspiring love story of all things to tell?
But guess what - love does not differentiate between the ordinary and exceptional, the uninteresting and interesting, the unattractive and attractive. Because love knows no distinction. It can happen to anyone and once it does it engulfs us into it completely and gives us those heaven-sent experiences that only love can yield.
Perhaps, everything in fine and good with the one-liner. But Aditya Chopra fails in crafting a gripping narration all throughout the show. A flimsy screenplay lacking finesse with bits and pieces of discontinuities and these attributes easily scatters audiences' attention. The best illustration goes with SRK's ducky actresses shaking legs with him for 'Phir Milenge Chalte Chalte' on theatre screen. It's completely odd for that situation and possibly, the sequences could've been switched over to latter half as a 'special round in Dance show'. Was it an attempt to deliver a replica of 'Om Shanthi Om' song of film stars dancing together? 
The film is about Surinder Sahni (Shahrukh Khan)- a simple, clean hearted, honest man working for Punjab Power, leading a humdrum life, when he meets his total opposite and finds love in the flamboyant, fun-loving, vivacious -Taani (Anushka Sharma)for whom the whole world is her canvas and she paints her own life with the colours of rainbow all until unforeseen circumstances changes it all and brings them together. Sooner, its biggest dance show in Amritsar and Surinder coiffes himself as Raj what he calls 'Macho Chap' He does it all to impress his girl Taani and what's next? 
It's a journey filled with laughter, tears, joy, pain, music, dance and a lot of love.A journey that makes us believe that there is an extraordinary love story in every ordinaryjodi.
The first half dawdles with sluggish narration until earlier minutes to pre-interval where SRK's soliloquy with statue takes on emotional quotients. Well, the latter half comprises of few enjoyable moments like Anushka racing on her bike with 'Dhoom Machale' on BCM and next ultimate shot of Vinay Pathak-SRK at garage.
It's a crme de la crme performance by Shah Rukh Khan as he emotes resplendently on all situations. Be it his make-over sequences adjusting his tight jeans in dance class or the performance in penultimate minutes, King Khan is awe-inspiring. A flawless performance by debutant Anushka Sharma and of course she eclipses Shah Rukh on many parts. What to say about Vinay Pathak? He's over-the-top and more emblazons to the screen. He strides sparkling smiles on our lips with his wiggeries and soaks our eyes as he gets emotional. Don't miss the great dance of SRK-Vinay for the original tune of 'Rab Ne Bana Di Jodi'. Its emotional outbursts from every characterization that turns entire spotlights on RNBDJ
Aditya's innovative thought is laudable on certain parts like Shah Rukh laying rose next to food and again placing it vase, pictorial of Anushka's face for the song 'Tuj Mei Rab Diktha Hai' and entire Amritsar being lit up, 'I Love You' deserves grand round of applause. Fine! Young lads and missies would hail with praise worthy comments for Adhi's ideation. Both SRK and Anushka swallowing Pani Purees followed by abrupt sequence where he has to finish of delicious Biriyani are evokes laughter. 
Nevertheless, the biggest flaw is that how come a woman fails to recognize her husband with a slight-make over腅. The characters of Surindar and Raj differ merely with thin moustache, hair style and costumes. Both the characters have same voice sans any modulations. 
What barricaded Aditya's cognizance while dropping these lines on his paper? Indeed, it's a billion dollar question. 
Ravi K Chandran's cinematography enhances visual quality and his placement of creative angles deserves special attention. The duo Salim-Sulaiman seems to have not percolated a lot for background scoring. It's again the pieces of existing numbers in album tuned and they sway on all songs. 
Possibly, 'Haule Haule' and 'Dance Pe' peaked with high-promos prior to release. For sure, both the versions of 'Tuj Mei Rab Dikta Hai' capture your senses with beauteous visualizing. 'Phir Milenge Chalte Chalte' fails to make it big despites grand set decorations, costumes and top-charting actresses with SRK. Ritesh Soni's editing especially on 'Dancing Jodi' at the climax is mind blowing... Choreography by Vaibhavi and Shiamak are sumptuously ne plus ultra 
On the whole, Rab Ne Bana Di Jodi is enjoyable on many parts with fun, frolic, lots of music and dance, pains and emotions. Well, Aditya Chopra gets stuck failing to pen an engrossing screenplay. It's too long, irksome and more predictability when it comes to narration and the auteur could've better avoided these vistas. 
Verdict: A Fair to middling Show 
Rating : ***
With the number of so called comedy flicks being made at a random pace , here comes yet another one starring Tusshar Kapoor after One Two Three. This time around debutant Sachin Yadri fuses in the entire bandwagon of Ekta Kapoors Balaji Telefilms and why not when the soap queen is the producer of this film.
Synopsis.
C KKOMPANY is about three individuals, all living in the 'C' Wing of a middle class housing society: Akshay [Tusshar] is a crime reporter, Mr. Joshi [Anupam Kher] is a retired accountant trying to deal with his ungrateful son and Lambodar [Rajpal Yadav] is at loggerheads with his wife over his job. These three friends share their respective plight with one another and find solace in each other's company. On one occasion, they play a harmless prank to tackle their problems. One thing leads to another and before they realize, the incident becomes big news. But things don't stop there. They put their new founded fame to good use and this in turn triggers off a series of incidents, which propel them to such heights that the three become the talk of the nation.
To begin with the film in an absolute zero on substance and originality. Neither is the humour in good taste nor are the flow of events logical enough. Imagine a bunch of geeks threatening the entire city over the phone. Also there is a huge resemblance to the Munnabhai series and this goody goody element doesnt work anymore. 
The screenplay of the film is such a bore. Looks like Hindi cinema just loves making a mockery of the comedy genre.
The music of the film too offers nothing with Sanjay Dutt and Celina Jiatley trying their best at the item numbers.
On the acting scenario, Tusshar Kapoor has a long way to go. His comic timing is poor and those sleazy dialogues of the film are plain annoying.
Anupam Kher too is just overdone. His lines just bore.
Rajapl Yadav seriously needs to look for better substance oriented characters. Encashing on his height factor isnt funny any longer.
Mithun Chakraborthy isnt convincing at all and is bad at comedy.
All the cameos of Balaji serial actors is just a drab.
An out and out insult to the comedy genre.
Rating : *
Indeed, if you know filmmaker Samir Karnik's work  early and later titles like 'Kyon Ho Gaya Na' and 'Nanhe Jaisalmer', you may find yourself watching his recent movie, 'HEROES' surmounting your expectations. Obviously, his earlier directorial were merely dashing down everyone's hopes and how about this one? It's a fantabulous piece of work churned by Samir Karnik and it's worthy to be ennobled as one of the year's best film. Well, for those who ever thought that 'Heroes' is a flick centering on Jawans of Country's borders breathing their last for saving Nation from clutches of rivalries, there's a surprise element awaited.
Naturally, possibilities are sure to have evoked your quotients of assumptions after watching the promos that it's a film of war genre. Hats off to the auteur for he doesn't beat the same bush as 'Border' or 'LoC Kargil' and you don't even see a sequence moving across these panoramas. Merely, it has the gripping substance, 'You needn't be a soldier to love your Country'. Indubitably, your chests are certainly to be filled with emotions and patriotisms even after the show is over.
The film seems to be carrying partial traces of Walter Salles's 'Motorcycle Diaries' (a film based on life of Argentina's Ernesto Che Guevara). Sometimes it takes only a moment to bring about a big change. One experience can transform you forever. One journey can set you on a path that you will follow all your life.Heroesis the story of one such journey.
Sammy (Sohail Khan) and Ali (Vatsal Seth) are childhood friends. They have taken joint decisions in life, right from choosing a school to taking up a career. Even though they are not like-minded, they are together because they rely heavily on each other - two bodies, one soul. Sammy is an eccentric boy, high-spirited and has an uncanny knack of finding humor in the weirdest of situations. He's generous, compassionate yet impulsive. He is like a kid who needs to fall to learn how to walk. Ali on the other hand is quieter and more mature.'Heroes'is the story of these two boys who travel a thousand miles to deliver three letters as a part of their film school assignment. But little do they know that the journey they have embarked upon will give a new meaning to their life. They discover the power within themselves to change lives and events that are of importance.Heroesemphasizes on the simple experiences that can awaken feelings of patriotism. A fun road trip for two boys and a series of experiences that finite emotions that have never been experienced before, this is the underlying crux of the film. 
The film goes inclusive of three different chapters as young lads meet three families pitiably bounced with demise of their beloved ones in war. First, they meet a widow (Preity Zinta) in deep village of Punjab, who lost her husband Balkar Singh (Salman Khan) during war. The flashback reveals a beautiful love story between both of them and the pain possessed by her.
Next person they meet is a disenabled ex-air force officer Vikram Shergill (Sunny Deol) in Himachal who is boozed up all the time. He narrates the life of his brother Dhananjay (Bobby Deol) and his death in war. An attribute that gets you more adhered is about brotherly bonding between them. Well, that's not an end; you have lots and lots that'll get you enthralled with this chapter. 
Finally, the letter is delivered to a despaired father (Mithun Chakraborty) who has lost his son Sahil Nagvi (Dino Morea) in the war. Over here, there's something a bit missing that lets us down. Nevertheless, the emotional quotients diminish those factors keeping the pace moderately gripped up.
Hats off to Director Samir Karnik! An awesome flick It enhances the emotional and patriotic feel amongst all the audiences. A smart way of storytelling precisely presents the film fantastically. How about negative traits? Fine! It doesn't carry much apart from lengthy flashbacks with bits 'n' pieces of flaws in third chapter (Mithun, Dino).
The actors meet the film's challenges every step of the way. Sohail Khan brims up with over-the-top performance on humor as well emotionally in the latter parts. Preity Zinta steals the show with her mind blowing gestures and trenchant style of uttering Punjabi Salman strides outstandingly and his looks of Singh is cool. Sunny Deol grabs your attentions with his profound on performance. Well Bobby carries off the same credits and it would have been nice if his portion was elongated. Dino Morea and Vatsal Seth don't exceed your expectations and their performance is simply mediocre. Amrita Arora and Ria Sen have nothing more to perform before the lens.
Nothing to blame on technical aspects: Different backdrops of exotic locations have been fabulously canned by Binod Pradhan and Gopal Shah. Be it songs (especially 'Mannata' and 'Makhana') and background score, Sajid-Wajid sway enhancing the top-notched quality of film.
'Heroes'  A film that'll get your senses brimmed up emotionally and sure to be liked by all Of course, the film reaches the tops the chart prior to other releases hitting screens for Diwali 
Verdict: Don't miss it Strongly Recommended 
Rating: **** 
Never-seen-before indeed! 'Shoot at Sight' strides with an enamoring motif with rigid characterizations. Obviously, it's about bomb blasts, violent attacks, racialism, Islamic individuals wedged in troublesome moments and clear-cut terrorism. Probably, you should have watched out these ready-made affairs a million times in Indian films. But the niftiest backdrops where these matters get blended surmounts to our surprisals. Yup! traumatizing incident of July 7 London bombings happened to be a global issue and Jag Mundhra strikes with this trenchant piece of work on celluloid. 
Reality really bites, isn't? It's more illustrious with the success of recent flicks based on similar issues topping the chart at box office: 'Mumbai Meri Jaan' and 'A Wednesday' The very motifs in these films centered about the shocking impacts of bomb blasts in individuals' lives. Of course, 'Shoot at Sight' falls under the same genre and it is sure to touch your feelings. 
UK Government doesn't tolerate the serial bomb blasts in London. Straightaway it orders Scotland Yard Department to bump off anybody, if they are suspected to be terrorists. Regrettably, An English Cop (Ralph Marber) triggers out bullets on an innocent Muslim bystander. A Pakistani by origin, senior officer Tariq Ali (Naseeruddin Shah) born and brought in England, married to a British woman (Greta Scacchi) is assigned to investigate this case on Marber. Investigating this case doesn't seem to be a big deal, but as Ali sees Marber as racist, he is victimized by media channels and his senior officers for being a Muslim.
Drenched in such a problematic situation Tariq is unaware that his close friend Junaid (Om Puri), an overzealous Islamic Priest is involved in persuading young souls of his community and one among them is Ali's nephew Zaheer (Mikaal Zulfikar). 
Distrusted by both his superiors and his fellow Muslims, Tariq finds his inquiry hampered from all sides. Eventually, evidence surfaces pointing to the slain man's innocence, as well as the existence of a terrorist cell operating in his own backyard is spotted Now, it's time for Tariq to face the realization that sometimes, the right decision is the hardest one to make.
Something that strikes your mind is the hard-hitting lines uttered by English Cop during the interrogation, "All Muslims are not terrorists, but all terrorists are Muslims". It leaves a great impact from characterization's perspective. On the pars, there goes one more line from Islamic Priest, "Whether he is a Muslim first who happens to be a police officer or a police officer first who happens to be Muslim". Nevertheless, you have got nothing to nail down on justification of both the sides. Moreover, it's just about revealing the blatant flaws and argumentations on both positions. Director Janmohan Mundhra leaps with laurels by just revolving about minority communities venturing through problems. Hats off to him for not blending this fiction with clichd lines of patriotism: where protagonist has to give tongue for long speeches and transforming the masses. 
Well, there are more rigid reasons that keep you singing appraisals for auteur. For many filmmakers, exotic locations of London have been dreamlands for canning entertainment flicks or at the least a song of dream sequence. But getting to spot the same place with different dimension is something fresh in flavor. You never notice, establishing shots of beautiful locations at any extents and it's a practical London here. 
'Marvelous', 'Wordless' and what else? Put the best words of appreciation for Naseeruddin Shah. So naturalistic in his performance, he looks apt with his gestures, enunciating dialogues with perfect accent, Naseeruddin excels with finesse. Not too far behind is Om Puri. Watch out for his mannerisms and again unique style of articulations, he simply scintillates. Gulshan Grover has been established with well-brought-up character, but gets lost somewhere in the mid and auteur should have bit worked on this. Ralph Ineson's knavish kind of character has been precisely depicted. Greta Scacchi, Laila Rouass and Mikaal Zulfikar deserve good credits for their decent performance. 
What makes the film so unique in its narration is that it just focuses straight into the issue. Director Mundra doesn't seem to have strained himself on unwanted surprises and it's really good to see a film under genre of Drama-Thriller (not many filmmakers of Bollywood opt for it). Indeed, certain aspects in the screenplay, especially the climax sequence are easily predictable. 
But the astounding performance by entire star-casts and perfect direction keeps you adhered to screens, arresting your senses. 
On the whole, 'Shoot at Sight' is a flick that shouldn't missed. A grand round of applause for entire team 
Verdict: Spellbinding film to watch
Rating: ****
Perhaps, DRONA had raised our expectations for its overhaul radical genre of fantasy. Well, not many auteurs in Bollywood did endeavor with such genres of fantasies and Goldie Behl deserves a pat and applause for his bold attempt. Those flicks that had hit the screen during previous months were off great surprises though they didn't carry the presence of A-rated star casts as well big budgets. Well, Drona stapled with heavy price tag made us hankered to catch up with it for its extensive spell of VFX and other computer generated graphics. But, it's completely dashing down our hopes when glimpsing through narrative aspects. Neither story nor the screenplay is really convincing and Goldie Behl seems to be more perplexed on setting his theme between the genres of Superheroes and Fantasies. 
The film right throughout from-alpha-till-omega, you can keep construing the flimsy conceptualization of script, clichd characterizations, and creepy-chaffing screenplay. In particular, it's the galling screenplay that keeps going on and on, until you would scream out of senses, 'Stop it please'. The film doesn't reach its apex so easily and this is sure to get you aggravated. Better, it would have been, if Goldie had sawed off the lengthy tangling story penned by Jaydeep Sarkar, Rohini Killough and Godlie himself. 
Despites, producers churning out the flick so expensively for a lavish grand fiesta of visual treat, the unappealing tale work no wonder for the audiences. Of course, it's worth saying their wonders of visual effects get diminished with the insubstantial narratives. 
Fine! Glimpse through synopsis of DRONA and take on with positive attributes as well the blatant flaws blended to it. 
Being a fostered child, young charming lad Aditya (Abhishek Bachchan) hasn't experienced true affection and it's just the pain of chagrins rendered by his family. The pathetic scenario prolongs as Aditya grows up. There comes a diabolic necromancer Riz Raizada (Kay Kay Menon) whose predecessors are Asuras. Riz is deep on the pursuit of a valuable secret  Amrit. But, the mantra of unraveling it is about defeating Drona. Sounds pretty easy to find Drona, isn't? If you're there with those perceptions, it's a wrong guess for Riz doesn't know who Drona is. 
Well, situations accidentally urge Aditya and Riz come face to face. Within fraction of seconds, straight from his shoulders Riz glimpses through the Kada wore by Aditya and recognizes him as Drona. With attempts of killing Aditya, Riz has his men chasing him and here gets in Sonia (Priyanka Chopra) rescuing him. It's not just about saving his life, but Sonia gets Aditya to realize about his true identity and why is being targeted. Situations are clearer for Aditya, once he meets his biological mother, Queen Jayanthi Devi (Jaya Bachchan) at the palace of his birthplace. But, before he could take on stands and realize how harder the situations are, Riz and his men have trapped him. Here begins the roller-coaster thriller ride of DRONA on the venture of defeating the evil entities. 
Looks quite clichd, when it comes to tale of conflict between good and evil, for we have seen it a zillion times in Hollywood flicks. Merely, again there's lot of ambiguities in fixing DRONA with its genres. If it's a fantasy, the protagonist may not posses any superpowers to fight against baddies. And then, if screenwriters wanted DRONA to be a superhero flick, then characterizations should have been equivalently powerful, especially in physiques. Fine! Abhishek with his hefty physiques convinces to certain extent and it's more ridiculous with the looks of Kay Kay Menon as the antagonist. 
Abhishek Bachchan strides with trenchant piece of performance in all aspects. But, Priyanka doesn't deserve the same credits, for her performance goes insubstantial at certain points. Jaya Bachchan steals the show throughout her scenes and it would have been nice if more importance her characterization was still more significant. But, it's a great disappointment when it comes to Kay Kay Menon and Navneet Nishan. 
Getting on with technical aspects, it's just the cinematography and VFX that works wonders. Chasing and Train sequences have been brilliantly shot. Hats off to cinematographer Samir Arya for his scintillating works, but he could have worked well on certain shots filmed in darkness. Musical score by Dhruv Ghanekar is a great disaster for none of them really sounds good. VFX effects tread marvelously when it comes blended with cinematography in train and chasing sequences. Be it the scenes where Kay Kay Menon transforms Jaya Bachchan into statue or when he pulls in Priyanka Chopra into racing yacht; they are awesome. 
As a whole, Drona dashes down our hopes for it lacks solidity on all aspects. Probably, the pre-release promos would have got the theatres booked houseful for this longer weekend. But, it wouldn't cling into theatres for more days 
Verdict: An unimpressive show 
Rating : *1/2
Yeah! Years back we had censor boards so hard-and-fast on cuts for root word of 'profanity' and 'adult contents'. And now, the scenario hop-skips on different grounds where Indian audiences have to resist the shock with such bold themes hitting screens. Dil Kabaddi is off that sort where you'll have characterizations speaking about their on-bed issues so openly. It's not about theme, but the film in no way ingrains with flimsy 'n' sluggish screenplay that pushes us into pits of disappointments for complete 120mins. 
What could have been the intentions of filmmaker Anil Senior in making this film? Maybe, he should've overwhelmed with an idea of getting his name listed amongst filmmakers in era of Bollywood's changing phase. Of course, he deserves special mention but his best credits get diminished as his narration lacks finesse letting us yawn oftentimes.
Dil Kabbadiis a marital comedy and to quote Irrfan Khan "It is Kabbadi that one's heart plays". The film delves into the lives of two couples who are caught in the web of post marital boredom. How the couples deal with an irresistible temptation of lurking out of the relationship for some fun is what the film explores. All in allDil Kabaddiis a humorous take on a cosmopolitan Mumbai Jaisa Shahar where it's realms of west-toxication laying its impact on married couples. 
Samit (Irrfan Khan) and Mita (Soha Ali Khan) after couple of years of marriage, decide to split-up. Unable to withhold his sexual desires, Samit has no options other than getting into relationship with his yoga instructor Kaya (Payal Rohatgi). Well, it's his time for simmering down with his chintziest desires apart from sexual satisfactions.
On the pars, Rishi (Rahul Bose) and Simi (Konkona Sen Sharma) happen to be happily married couples. But again, its fantasies that urges them out to look for other affairs. Rishi, an instructor at film academy falls for his 21yrs Raga (Saba Azad) while Simi introduces Mita to her friend Veer (Rahul Khanna), but she gets attracted to him. 
Rest of the story is about their hearts playing Kabaddi resulting in more break-ups and patch-ups 
Fine! As mentioned earlier, it's not a question of audiences grasping bold 'n' surprisal theme for they're ready to welcome new themes. From alpha-till-omega, its complete formula of 'nothing is impressive and everything is ridiculous' prevailing throughout the show. Each characters looking at lens and narrating their tales is something innovative, but again they're inherited from some of yesteryear's Bollywood and Hollywood flicks. 
As usual, Irrfan Khan comes up with decent performance throughout all sequences. His characterization is so funny all throughout. It's more illustrious with opening shot where he encounters rib-tickling dialogues with Soha Ali Khan about wearing black goggles at night and driving car. Again, where he calls-up Soha with Payal on his side takes us for a ride-of-laughter. Soha Ali Khan is decent on her show and her part is more on emotions eclipsing comedies. Konkona Sen is cool and performs with an ease. Anil Senior has designed her characterization so precisely where she starts comparing about her marital relationship with Rahul Bose once their friends split-up. 
Ditto to Rahul Bose as he does justice to his role emoting to certain sequences is merely ne plus ultra. Be it his encounters with Konkona on discussing intimate issues or his 21yrs student obliging for a lip lock; they're amazing. 
Don't miss the show of Rahul Khanna while he is nonplussed in the climax sequence as he meets Irrfan and Payal with Soha Ali Khan is fantastic. Sabha Azad comes up with a moderate show while Payal is unbearable. 
If witticisms carry off the show delighting audiences, the torpid aspects especially with enormous flashbacks may get them perplexed. Anil Senior should've maintained the tempo in the latter half as in initial hours.
Musical score by Sachin Gupta isn't lavish except 'Uthale Ya Phenk De' on final rolling credits. It would have been nice if there were visuals screened as it had made high waves with promos. 
Cinematography is excellent especially on vistas of 'Fourth Wall' and 'Soliloquies' rendered by characters looking at lens. 
On the whole, Dil Kabbadi as bold theme-yet-lightly delivered stops it from striking gold. Anil Senior should've have preferably worked more to give a prolific show.
Verdict: Strictly for Adults 
Rating: *1/2 
Flamboyantly influenced by best Hollywood flicks Rob Reiner's The Bucket's List and Wayne Wang's The Last Holiday, Shashanth Shah pitches a spellbinding deliverance with 'Dasvidaniya'. Splendiferous jaunting of an individual of rediscovering himself on the course of accomplishing his list of 'To do 10 things before I die' Dasvidaniya merely dribbles with traces of these Hollywood flicks and auteur has lassoed something innovative in terms of narration. Yeah, Shashanth glues us together with the protagonist excogitating ourselves with his characterization. Of course, this USP draws not just multiplex audiences, but 'B' Centres and front-benchers.
Well, for film buffs and critics, Dasvidaniya must be congealing everyone high-spirited, since it's illustrious of Bollywood's changing phase. Gone are those days, where actors with their 'hero worships' savored to the tastes of audiences. Now, it's the other way around as audiences precisely distinguish an Actor and performer. On the buttons, Vinay Pathak is just over-the-top as a performer and Shashanth Shah, a crme de la crme filmmaker.
Dasvidaniyais bittersweet situational comedy about a man Amar Kaul (Vinay Pathak), whose existence is easily forgotten among the millions of people in the pool of Mumbai's ever-increasing population. Shy and quiet Amar lived a mundane run of the mill life. His existence was non-existent to people around him. His innocence and his obsession for making his daily TO-DO LIST every morning is what motivates him to look forward to the next day.Then one day a doctor told him that, he will die within 3 months. And then begins a journey of a lifetime for Amar, where he sets out to write his FINAL LIST. The List of 10 things to do before he dies, the List that would make his life worthy, before it actually ends. As the countdown begins, does Amar Kaul succeed in fulfilling the final tasks to do on his wish list ... and in the course of doing them, realized than he has been dead all along until now.Amar is symbolic of all those people who have always wanted to do things but kept them on hold.
To get on with plotline, it's merely wonderful that turns the entire spotlights and it's a fantastic-directorial by Shashanth Shah. Of course, he has imbibed few sequences from The Last Holiday; protagonist's encounters with boss, proposing to his ladylove at critical minutes, they're similar. Fine! It's as elating as these episodes makes your lips sparkle with smiles. 
Getting on with performance; Vinay Pathak steals the show with top-notching nonpareil performance. As mentioned above, he's an exemplification of extraordinary performer breathing life on his persona as in his previous flick as protagonist in 'Bheja Fry'. How about rest of the star-casts? 'Wordless', each one comes up with magnificent performance. Saurabh Shukla spells first-class action and Neha Dupia lives under the skin of her characterization. Rajat Kapoor, Sarita Joshi and Gaurav Gera do justice to their roles while it's just a middling act from Ranvir Shorey.
Shashanth works his magic making you smile at times, soaking your eyes with tears and moreover making everyone reflect with characters. Nevertheless, fine-cherishing moments slightly seem to be diminishing in latter half and you call it a sluggish screenplay. Well, Shashanth steps out from box-of-blame and it's Arshad Syed who should've headed off with flimsy parts. 
Musical score by Kailash Kher is pretty well on 'Alvida' and 'Mumma' swaying with different paradigms. Well, cinematography by Arun Varma and Aseem's editing leaps with ne plus ultra on all moments. 
As a whole, Dasvidaniya rivets for its simple tale and heart-binding emotions. Perhaps, if scriptwriter had avoided sulky parts, the film would have basked to all centers.
Verdict: Shashanth Shah  The Olympian in Bollywood 
Rating: ****
Most hunky-dory of his kind, Dibakar Banerjee shored up on grounds of Bollywood with enticing debut 'Khosla Ka Ghosla'. And now, we've the winner back with a flick with ostentatious theme partially inspired by real life incidents. Blending a rigid tale with exquisite quotients of entertainment turns entire spotlights on it course of show. Well, Khosla Ka Ghosla blatantly revolved around on the motif; sometimes the only way to stop a criminal is to become one. And over here, Oye Lucky, Lucky Oye is a scrumptious tale of a top-charting thief who is ill-famed yet a ducky lad for cops in town. Fine! It's gonna be sang-froid entertainer on the buttons while film buffs would be brimmed with pinch of annoyance for clichd plotlines of a normal innocent lad transubstantiating into a Chor. 
It's acceptable since we have blobbed many of leading Bachchans, Khans and Kumars on similar roles and Deol needn't be an elision. What to say about Abhay Deol? On the hooks of a nerveless thief, he strides spelling a matured performance with ne plus ultra. Despites Paresh Rawal getting on with plushy performance on triple roles, Abhay exserts with his fantabulous show with an ease not letting Paresh to eclipse him. 
Well, Dibakar has been keen on naming his flicks with unique titles that pulls everyone's interest. 'Oye Lucky, Lucky Oye', not exactly a nickname but everyone in Delhi calls someone whose name is Lucky so. And again director had jocularly uttered his words, 'It's a film that'll be loved by thieves and wanna be thieves'. Precisely as mentioned earlier, the film is a cool drive of 130mins slackening your tensed moods. 
Oye Lucky, Lucky Oyeis a story of Lucky Singh (Abhay Deol) who plays a loveable thief, someone who even the Delhi police are extremely fond of. His modus operandi is to outsmart the people, chowkidars and policemen with his sharp mind and wit. He is an aspiring individual who loves the good things in life and is generally enamored by the lifestyles of the rich and affluent Delhi families.Lucky's journey from a middle class boy to a popular thief turns him into a flamboyant playboy who now wants more than just the riches. Amidst of his jocund ambience, the story gets back to distressed Childhood days of Lucky Singh where he was constantly bruised by his dad (Paresh Rawal). Of course, what urged Lucky an innocent chap turning into a smart thief is unveiled. Later, a grown-up Lucky with luxurious props has a monger Gogi Bhai (Paresh Rawal again) who keeps buying them. With times advancing, now he needs the respect, the social standing of a city gentleman without sacrificing that reckless freedom he cherishes (the duality of having the freedom to steal). 
On narration, Dibakar Banerjee propels with good screenplay coalesced with lots of drolleries in the first hour while it's about experiencing a sluggish show in latter part. The auteur could've impinged with initial scenarios in the following hours too that wouldn't have scattered everyone's attention.
From his debut flick to Oye Lucky, Abhay has lots of convincing factors in his performance. Paresh Rawal sways splendidly on his characterizations and you'll love him on all 3 Avatars. It's a complete show by Abhay and Paresh while rest of the star-casts fails to make it big. Especially, Neetu Chandra appears with her good efforts but doesn't have enough scope. A commendable performance by Archana Puransingh while others don't hit spotlights as there is no importance drawn on them. Manjot Singh as young Lucky deserves good appreciations for his decent efforts. 
Getting with technical aspects, Music Director Sneha Khanwalkar doesn't deliver a laudable score and Dibakar should've focused on these vistas of music as well background scores. Karthik Vijay's cinematography is over the top; be it pragmatic Delhi or cool-exotic locales of Manali canned, they're praiseworthy. 
On the whole, Oye Lucky, Lucky Oye is a cute flick offered by Dibakar Banerjee. With Abhay Deol and Paresh Rawal dangling with trenchant performances and an interesting theme should pull in more audiences in coming weeks. Perhaps, Dibakar can earnestly thank the real life Cool-Chor of Delhi who inspired him penning this script. With previous week releases getting down from charts and no biggies in forthcoming weeks, producers can chill-out singing 'Lucky, Lucky -We're Lucky'. Hope, Sneha would score better tunes for it. 
Verdict: Be a part in getting robbed 
Rating :***  
It's so execrable to see one of the best producers in town churning a flick sans strong substance. On other terms, John Abraham and Abhishek Bachchan turn to be the hapless guys picking a flimsy script in hand. Uh-huh! We aren't pertained about the roles they perform, but Director Tarun Manshukhani conks out in spelling perfect personations. Merely, Karan Johar gears up as the lollapaloozas of big producer, who just merely pick out the scripts that have funny characters and nothing else. Was Karan scatterbrained while heeding to Tarun's script? Alas! Maybe for a young lad or missy of 16-25yrs, Dostana savors as grand fiestas of fun and frolic. While for others, it's a ridiculous flick to kill your time.
Wow! The promos just could have shot-your-adrenalines with sizzling missies Shilpa and Priyanka in bikinis and swimsuits. On the pars, John with his machismos walking on sun-kissing beaches of Miami and smart Abhishek should have enthralled filles and buckos. Patently, these tactics could've been the best mantras of filling producers' sacs for first weekend. 
It's all happening in the Beach Party Capitol of the world...Miami is the setting for Dharma Productions latest offeringDostana- serving a cocktail of all ingredient to do with Friendship, Fun, Frolic and that thing called Love... but with a slight twist - there is a small case of pretending to be Gays!!
When Sameer (Abhishek Bachchan) and Kunal (John Abraham) are turned down for an apartment because the landlady doesn't want two strapping young men to corrupt her young sexy niece Neha (Priyanka Chopra) they go to plan 'G' - they pretend to be 'Gay' to secure the apartment.All is well till they meet the sexy siren Neha and thus begins a journey of fun frolic and a test of friendship like never before. When Neha's boss Abhimanyu (Bobby Deol) enters the fray as the third contender for her affections, it gets even hotter under everyone's vests and bikinis and the boys get down and dirty in sunny Miami.
Perhaps, for a fine-rigid-reason, many audiences may not have likeliness for this kind of flick. Of course, it hasn't got a fogeyish theme, but something running above-their-heads. We're sure cloggy concepts of homo-sexuality may cling to the top-of-charts in Hollywood or foreign films. Nay  it would take few years for these sensitive themes to be in simplistic perception. For everyone's attentions, this isn't a piece stockpiling from Hollywood's Brokeback Mountain. Yeah! The synopsis should've precisely got it clear-cut for you.
Narration goes crisp with fun-filled moments of alpha-till-omega, except few penultimate minutes. Watch out for performance of Abhishek's narration of 'Pyaar Ka Kahani with John Abraham' in Venice; just call it 'awesome'. Patently, scenarios are similar with encounters of John and Abhishek with Boman Irani and a guy getting in for inspection. Merriments spelled by these buddies, especially by John for 'Beedi' song of Omkara are just rib-trickling. Furthermore, laughter breaks out with our nerves loosened with Kirron Kher's juncture.
On the first half, things are just riveting on John Abraham, Abhishek Bachchan and their gimmicks of stealing shows. Yeah, alluring missy Priyanka Chopra with her gorgeous looks doesn't brim up top-notched performance. Somehow, as the story shifts to her on the latter half, she is pushed into limelight with Bobby Deol on her side.
Bobby with lippy clean-handed looks picks your attention with his minimal sequences. A small kid donning his son's role is there marking smiles on your lips. And again, best laughter kicks-up with John and Abhi screening the kid with 'Maa' song from Taare Zameen Par, imbuing him to separate his papa and Priyanka. Of course, kid turns to be main content of emotions for Bobby getting away from his ladylove. Hats off to Boman Hirani; his performance on cameo role is just great. Nevertheless, it would have been prissy if he hadn't nabbed this role.
Director Tarun Manshukhani coalesces jejunely- crafted script with far-fetched winning over vistas. Possibly, a perfect conceptualization of the existing tale and narrative would have made it appealing for overall audiences.
Spare Vishal-Shekar for their feet-tapping numbers 'Desi Girl' and 'Maa Da Laadla Bigad Gaya'. Rest of the songs isn't so beguiling, but Ayananka Bose rescues them with his enchanting cinematography. Exotic locations of Miami have been well-captured and extend your best merits for him. Salim-Sulaiman's background score is over-the-top, especially in humorous episodes. Costumes designed by Aki Narula and Manish Malhotra are staggeringly beauteous. Abhishek's shirt-with-collars-pinned-veils and Priyanka's apparels are mind blowing.
On the whole, Dostana hits bull's eyes with fun and frolic moments that are quite unsuitable for certain audience. Tenuous script and irksome narration stops your tongue in singing appraisals for Tarun Manshukhani and Karan Johar. On the button, John Abraham and Abhishek Bachchan as captains fail to rescue the ship from sinking. Yeah! It's pretty similar to clichd headlines on sports pages ' COLOR: black">Sachin's century in vain'.
 COLOR: black">Verdict: Not worth-watching 
Rating: *1/2
Brimming with new genre of 'Animation', Bollywood has been striding on with its best efforts in churning out a perfect of its style. Well, note this down. Possibly, even a diehard fan of animation flicks wouldn't appreciate 'Jumbo' for it isn't so appealing. Perhaps, an Akshay Kumar's fan would go through similar-experiences. 
Indeed, it's an animation flick sans 'out-of-box-thinking' and furthermore, the motif of plotline merely clichd of 'get lost-get found-seek revenge' pattern. Uh-huh, it does carry whole lot of traces from Disney's top-charting 'The Lion King' made more than a decade ago. 
Patently, Animation flicks made in India doesn't hap to be so enchanting in terms of narration as well the well-represented graphical characters. Nevertheless, 'Jumbo' is an elision as the pictorial characters are live-in-action. But regrettably, the sluggish narration fails to make 'Jumbo' as a tantalizing piece. 
As a young elephant, Jumbo is taunted by the other elephants because he is fatherless. Naturally, Jumbo is curious about his father, and he's told that his father is a war elephant for the king.So Jumbo wants to find his father. Still a young elephant, he wanders off in search of his father.He is soon captured by a raiding party. In trying to escape from the camp, the young elephant is befriended by a boy prince, who has been ransomed to his foes. The prince has the ability to calm Jumbo into thinking clearly, and Jumbo makes his escape.
Heading all the way to a village, the grown-up Jumbo (Akshay Kumar) happens to meet her girlfriend (Lara Dutta). And then, the call goes out from the king for elephants for his army. Jumbo is taken to the palace. There, he is seen by his mother (Dimple Kapadia), who calls out to him. Jumbo goes wild in trying to break free from his chains to meet his mother. The King notices this, and remembers Jumbo from his childhood. The king is able to calm Jumbo, and from then on Jumbo serves as the personal war elephant of the king.In battle, Jumbo meets a giant war elephant Bhaktavar (Gulshan Grover) with fiery eyes responsible for the death of Jumbo's father, and Jumbo gets a chance to acquit him in battle for the glory of the kingdom, and take revenge.
With attempt of savoring to the tastes of kids, 'Jumbo' runs short of humor quotients. Except, Rajpal Yadav's voiced character of Zazoo Kinda, there aren't any drollness on rest of the characters. Precisely, 'Jumbo' has mixed plotlines of 'The Lion King'  central character avenging for its father death and 'Finding Nemo' that's about searching for mother. Lekhin, we don't find such emotions or comedic attributes of both these flicks over here. 
Alas! None of the lip movements by elephants can be viewed as it takes place behind their trunks. You believe or not, their conversations look alike voiceovers. But you can't blame it, they're elephants and makers of this flick could've opted for some other creature. 
Akshay Kumar is just narrator in the first half while takes on the characterization of Jumbo in the latter part. Voices of Dimple Kapadia and Lara Dutta are off mediocre while Gulshan Grover's voice sans intonation doesn't suit for the characterization. Overall, none of the voices are so sharper on modulation and you can call it 'imperfection'閅 
As a whole, Jumbo isn't so impressive for any audiences while it has possibilities of occupying theatres for Christmas holidays. Kids looking out animation flick for the first time may enjoy watching it 
Verdict: Watch it once. 
Rating:** 
Well, it's changing phase of Bollywood where you've bold themes spelled with an ease on the screens. Perhaps, the sheer motif may not cater to all centres but it's worth deserving good appreciations with trendsetting endeavors. Precisely it's a great show of such films as they make high waves sans superstars or big teams on the crew-lists. If you need an illustration, it goes with this week's releases; Oye Lucky, Lucky Oye, The President is coming. Of course, Sorry Bhai isn't an elision that grabbed our senses right with its stunning promos. Aye! In-laws and bridegroom's brothers falling in love with girl were often spotted in World cinemas. Looks like Onir is vividly influenced by these flicks and of course realisms are blobbed here 'n' there. 
What speaks louder in Sorry Bhai? Not just a storming idea of Onir; it's a laudable performance by entire casts. Ennoble their performance with best words beyond 'Awesome' for they are merely naturalistic. Amongst all of Shabana and Boman, Chitrangada Singh steals the show with an enhanced performance than in her impressive debut 'Hazaron Khwashishen Aisi'. 
Siddharth Mathur (Sharman Joshi), a shy young scientist, travels to Mauritius for his elder brother (Sanjay Suri) Harsh's wedding. Accompanying him is his Ma, a reluctant traveler since she is angry at Harsh for deciding to get married without consulting them. Also travelling is Siddharth's cheery father, whose sole entertainment is pulling Ma's leg.Harsh, pre-occupied with work, can spend little time with his family and it is left to his fiance Aaliyah to show them around Mauritius before the wedding. However, Ma's anger at Harsh ensures that she takes an instant dislike for Aaliyah, and it is Aaliyah and Siddharth who end up spending loads of time together. This, added to the fact that Aaliyah feels neglected by the career-obsessed Harsh, leads to them being irresistibly drawn to each other. A horrified Siddharth battles this attraction desperately, but Aaliyah has fallen madly in love and pursues him with single-minded determination. When Siddharth's defenses start crumbling and Ma starts getting suspicious, all hell breaks loose in the Mathur family...The movie is a fun romantic comedy with lots of moments that will make you cry and smile at the same time.
An interesting drama inter-woven with good characterizations let's fall on lines above average. And then what makes its incomplete is the screenplay turning sluggish at certain levels. As mentioned earlier, the bold them may not be a ducky one for all audiences. It's quite hard to be consented, say in towns and villages. 
Onir spells certain sequences that are undoubtedly top-notched. Perhaps, the gradual attraction blossoming between Sharman and Chitrangada is grabby-to-your-attentions. On the pars, an ingoing tiff over Shabana and Chitrangada leaves an impact of latent hostility established on characterizations. Grand round of applause for Sharman Joshi! It's been a commendable show on his part. Call it as his best performance ever on screen. With her naturalistic approach and alluring looks, Chitrangada steals the show. Fine! The biggies Shabana Hasmi and Boman Hirani swing with perfect chemistry on the screen. It's something more laudable than their previous venture together in 'Honeymoon Travels'. Though posed on a powerful role, Sanjay Suri gets out from the competency with amongst star-casts. 
On technical aspects, Sachin Vijay's enchanting shots of Mauritius are visual treats while musical score by Gaurav Dayal and Vivek Philip are off mediocre. 
On the whole, Sorry Bhai picks good response amongst elite group audiences of multiplexes in cosmopolitan cities. Doubtless, it would be merely contrastive scenarios in other centres for they would feel something 'demoralized values' from their perspective酅 
Verdict: Watch it for Onir's bold attempt 
Rating:**  

Finally the big day has arrived. With four Hindi films at the box office this week , all eyes are on Rock-On for the obvious buzz it has created. The surprising fact is that the most awaited film of the year doesnt feature a Khan,Kapooror Kumar . All that hype with relatively new actors and a director whose previous film Aryan was a wash out.
The synopsis can well defined as the journey of Aditya(Farhan),Joe Mascarenhas (Arjun Rampal) , Rob(Luke Kenny) and K.D.(Purab Kohli) who want to see their band MAGIK and its music at the peak. The passionate bunch travel through various stages of life to keep their MAGIK alive and trust me , what a journey it is!
Director Abhishek Kapoor firstly brings in a story that really hooks you in especially when its the journey of the underdogs and when its got a lot to do with music. Abhishek Gattu Kapoor fuses in the right blend of actors to carry each role with a certain amount of conviction. The narrative transitions, the friendship, the emotions, the alleys, the instruments. You are jut drawn into all of it.
The narrative takes off very much like Farhans directorial debut Dil Chahta Hai and when you would like to believe its a repeat of it all, you are taken aback. You are left with the same feeling you had years back when Dil Chahta Hai was around. What surprises you here is that there is no Aamir , Saif or Akshaye.
If DCH was remembered for Farhans directorial skills, this one too is headed a long way for his acting credentials. And of course not to mention, for his share behind the music of the film. Farhan excels right through the film. To say that he was better than the rest will be absolutely unfair in a film that highlights teamwork. 
Farhan delivers with ease and with a great amount of conviction. The transition in character from one phase of life to another is not just brought about in his attire but very well with his body language. Farhans unconventional voice works in his favour and the myth that a hero should have a heavy baritone is done away with. The sequence where Farhan breaks out into an argument with his wife (Prachi Desai) and talks about the compromises of life brings forth brilliant dialogue delivery. Farhan often reminds you of Aamir Khan from DCH and is in no respect less competitive.
The next highlight of the film is Joe Mascarenhas/Arjun Rampal. This is no doubt Arjuns best film till date and wonder whether youll ever see Arjun in such a splendid role. Arjun carries the lead guitarist, rockstar look with ease. The complexity, the inner turmoil, the passion for music is brought out so well with the moustache embedded Arjun moving around from place to place with the guitar. Arjun delivers his lines really well especially in arguments with his wife(Shahana Goswami) and the scene where he reminds the band of its rules and gets into a spat. 
Luke Kenny as Rob is another revelation. Many often wondered whether Luke ever spoke Hindi and here he comes out with a fine convincing performance. Luke often acts as the backbone of the band and binds the characters well enough. His scenes with Anu Malik are funny but realistic enough. 
Purab Kohli as the Killer Drummer brings in all that humour and all that true masti associated with any band. He is so full of expressions and entertains you right through. He brings in those smiles even through the emotional sequences.
Shahana Goswami comes in as a revelation of talent. For her debut she does extremely well. The shades in her character from the Joes girlfriend to his wife plagued by problems of running a household are carried out real well. 
Prachi Desai does a very decent job as the soft spoken wife of Farhan. She speaks a lot through her smile.
Koel Purie is just apt.
One person who deserves much credit is cinematographer Jason West. His job has been splendid right through. The handheld camera movements make you feel as if you were present right through the performance. The lighting is just another treat. The practice sessions, the well light cobweb filled alleys, the emphasis on the instruments-simply brilliant.
The music by Shankar Ehsaan Loy was a rage much prior to the realease. The film just enhances it even more and dont be surprised if you are keep humming tracks like Tum Ho Toh( which hasnt featured in the promotion of the film ) once you are done with this flick. Great Job by Shankar Ehsaan and Loy! Kudos Javed Saab!
To sum it up Abhishek Kapoor strikes the right cord with the audiences and the character are so well defined and crafted. No character overshadows the other and the Magik is brought alive. Many believe this flick is just for the metros; well its for anyone who has experienced the warmth of friendship, love and got a passion for music.
Rating : ****
For the most part of this eerie diorama, what else wouldve got our audiences hackneyed? Aye! A disembodied arm chocking ones neck, ghosts fast-flying across the ceilings and nooks of the screen space, victim shuddering over worrying vexations and lastly, everything disappearing due to spiritual powers. Merely, these were so clichd that they fail to scare even children these days. They would term it silly铔.
But precipitously, 13B is rigorously horrendous sans these elements. Man Vs Gadgets  Preferably, man is so obsessed with his electronic mediums, say mobile phone or television and there are no questions denying this truth. A couple of famed quotes though not straightway to the motif has more relevance with this film. When Television is Good, Nothing is better; When TV is Bad, Nothing is worse. If Newton N Minow quotes this way, theres something quite daintier too  Art imitates Life while Life imitates Television. 
Trust us! 13B is all about a television set and nothing else that throws the most skittish things around. It can be compared to One Missed Calland 'Remote Control'but the connection ends right there.
The film opens with Manohars (Madhavan) felicitous family moving into a new apartment on 13th Floor. A lovable family indeed, for we happen to witness their elated life of brothers occupied in corporate companies gagging-around in, their wives (Maddys wife  Neetu Chandra) preparing delicious dishes and their mom (Poonam Dhillon) an ardent buff of Saas-Bahu serials not ready to miss even a minute of the episode.
If you ever thought it to be a sang-froid entertainer, youre terribly faulty. Why milk clabbers right from the first day in the new house? Why do the walls go impenetrable where Gods statues are to be hung? Why does Manohars neighbors dog refrain from entering this house? Moreover, what is the reason behind Manohars snapshot alone going miserably ill-shaped on his mobile? Why doesnt the lift work for him? And much before he could even get over these strange mishaps hes exposed to the most grueling arena where a TV serial is forecasting what is about to happen in Manohars life.
Furthermore, Manohar is dump stuck when he discovers that the TV Serial is telecasted only in his house.
Vikram has played his cards right in bring out the best of thrills with unexpected twists and turns. Yeah! If you think youre smart enough to predict whats gonna happen next, you would fail miserably. The story keeps shifting at the right momentum that keeps everyone edge-seated. The filmmaker blends the spine-tingling horror with equal proportions of romance, family and what not? Youve got a bit of humorous things too At no point, the screenplay goes dropping back. Characterizations have been brilliantly depicted right from the protagonist till the smart black dog that serves its best.
Impertinently, Madhavan is excellent in picking the right scripts and hes sure to make it big if he continues striding on the same path. Be it his romantic appeal or in the most of mixed-up situations, hes top-notching. Although, we dont see other characterizations limned so perfectly, they are up with their best efforts.
In exact terms, technical aspects eclipse the characters show. P.C. Srirams mind-boggling cinematography with unique sepia-bounded tones provides the film a different shade. Though songs arent more appealing, the background score is awesome. If the song Sab Khariyat Hai has a pleasant touch, theres something different you experience every time this song comes along the show. Editing by Sreekar Prasad is so elegant that it adds up building tension in every passing moment.
On the whole, 13B is one such unforeseen flick of horrendous genre that remains in your minds post-the show. Its the best made horror film of the decade. Along the lists of top-charting directors Ram Gopal Varma and Vikram Bhatt, who made the best horror films, heres Vikram Kumar striking jackpot with 13B.
Verdict: Unlimited Chills n Thrills.
Rating : ***1/2 
Perhaps, the title 'Raaz' should've got everyone's adrenalines shot-up, anticipating it to be a stupefying ride of roller-coaster. Well, the 'Bhatt' factor seems to spell tremendous magic when it comes to 'Horror'. Of course, who can refuse it or forget the most scintillating horror flicks released by the 'Bhatts'. Years back it was 'Raaz' and then '1920' had us tied to our seats and now 'Raaz  The Mystery continues' isn't an elision.
Mohit Suri brims with a commendable directorial and precisely, he strikes with a decent effort on all quotients. Not only does this flick include a gripping screenplay; his top-notch designing of the technical aspects of cinematography and background score too has us raising our hands for a grand applause.
Does 'Raaz 閖 The Mystery Continues' offer a never-seen-before show of an exceptional storyline? Nah! You've the clichd plotline of a ghost's unaccomplished desire for seeking revenge. But, the difference comes in the form of the unique intentions of a thirsty soul. Don't get surprised to experience certain replicas of 'The Exorcist', or the Recent Hollywood releases 'Mirrors' or 'Stigmata'. With all these properties Mohit Suri doesn't get you disappointed at any moment of the show.
Precisely, at particular points we've him getting through the lines of the 'classic-horror touch' that'll let your nerves frizzled and move you to the edge of your seats. Looking for an illustration; Uh-huh! Kangana's bathtub sequences, Adhyayan Suman dropping cash from an ATM Machine, they are sure to horripilate your senses.
A successful model Nandita (played by Kangana Ranaut) is in love with a creative director of a television program, Yash (played by Adhyayan Suman). Everything is fine and cool until Nandita's life takes a dramatic turn when she meets an artist, Prithvi (played by Emraan Hashmi). He tells Nandita that all the paintings he has made on her are getting disfigured which spells impending danger for her. Initially, she does not believe him but then she starts facing horrifying situations herself. After this, hell breaks loose and an unstoppable storm begins. Thus unfolds some of the most thrilling horror sequences of Bollywood with 'Raaz  The Mystery Continues閅'
Kudos to Kangana, Emraan and Adhyayan; they are 'wordlessly stupendous,' showcasing their brilliant performances. Kangana engrosses with her fantabulous actions as a scary girl on the pursuit of detangling the dark-hidden mysteries. Watch her scream while on her anesthesia, they're tremendous getting you awestruck. Obviously, it's a million-dollar expression. On the pars, we have a flabbergasting performance by Emraan Hasmi in a silent-stubborn guy bounded with inscrutable looks. Possibly, Mohit Suri seems to have been vividly influenced by Ed Norton's looks in 'The Illusionist'. Thus getting similar makeovers for Emraan... Doesn't look like a debut show, but a decorous act by Adhyayan. Emoting to different situations of joy, horror and pain, he's patently colossal. Jackie Shroff does justice in his minimal role.
When it's a horror flick, everyone's gotta follow Hitchcock's traits of coalescing the factors of 'foreshadowing', 'pre-planting' and what else? Shuddery twists and turns with shocks 'n' surprisals. Mohit Suri doesn't tread away from the master's theory. If he had penned an impaling screenplay sans unwanted songs and presenting a fine-ending, things would've been far better than the present scenarios.
In fact, a 'horror' doesn't strike richer without perfect musical scores and a spellbinding cinematography. Of course, it's the most innovative angle-moves that fling such a feel Ravi Waliah's cinematography is top-notch, particularly in the exotic locales.
A short-break from horror is offered through the songs 'Soniyo' [Raju Singh] and 'Maahi' [Sharib-Toshi]. The background scoring is stunningly prodigious enhancing the visuals, especially on scary sequences.
On the whole, 'Raaz  The Mystery Continues' is a superb horror flick with few middling attributes. Although it doesn't happen to be as powerful as '1920', it's worth watching for the enchanting directorial of Mohit Suri.
Verdict: Scary on many parts
Rating : ***
Appositely mirthful, surprisingly sweet, Welcome to Sajjanpur is one more trenchant piece of work from ace auteur Shyam Benegal. This flick isn't as appealing as worthy to be entitled 'The most dramatic comedy milieu'. It's not just about penning script inclusive of drollery aspects, but has something to a greater extent. Shyam Benegal depicts the present scenario of certain places of coetaneous rural Indian. Stiffly, Shyam spells out the satirical scenario of rural areas like Sajjanpur, where light of resurgence has been thrown people dwelling there. Still the same old superstitious beliefs, class ideologies, pathetic situations of widows, power blackouts and more havoc are prevalent. 
Candidly, this film instigates us of far-famed television series Malgudi Days that doesn't fade away from our memories. Much likewise in its motif, Welcome to Sajjanpur has congruous characters of its own sort: a young lad dreaming to be a novelist but posing as letter writer, an intriguing eunuch, a despaired housewife missing her husband, a frustrated army man, a stupid entity seeking for power and that isn't the end. The long queue of unique characters is more and most makes you reflect them with real life hoi pollois. 
Not so complicated in its theme, the film is so dewy-eyed with more enjoyable parts narrated with a blend of drama and humor. Shyam Benegal churning out the best exceptional flicks with substantial themes proves of his ability on commercial aspects on the pars. The film has nothing indeed to do with unique ideas, but what makes the film so especial are the personations contrived by auteur. With Bollywood films drenched with bloodbath and profane storylines, Sajjanpur welcomes you for a different tour of a great alleviation as it doesn't carry any of these attributes. 
Mahadev (Shreyas Talpade) happens to be the lonesome educated person in the village of Sajjanpur. Dreams about turning into a novelist, but fate let him to pose as letter-writer for all the villagers. Well, you have his perfect ethics of professionalism revealed where he doesn't use ball pens, but only ink pens. But Mahadev doesn't get himself ceased with it, for he pens the most commendable street plays. But, he doesn't want to get stuck up with unwanted hurdles and so remains assertive to a local political ruffian Ram Singh (Yaspal Sharma). Indeed, Ram Singh keeps seeking his help in penning letters of sulfurous words. Sooner, Mahadev realizes of his scrupulous potential of villagers dependent on him. It's now, he starts making use of his talent for something big that leads to bits of unexpected twists in the latter part.
Rigid characters and perfect casting of actors makes the film so energetic. Shreyas Talpade steals the show with his scintillating performance while Amrita Rao doesn't strain herself a lot. Yashpal Sharma, Ravi Kissen, Divya Dutta and others add more colors to the humor part. But, not at all time you feel trickling your ribs with comedy tracks. 
Musical score by Shantanu Moitra blended with lyrical lines of Ashok Mishra and Swanand Kirkire is felicitous for your ears. But, are the songs really necessary for this film is a million dollar question and without them, the duration would have been bit reduced. Cinematography grips up your attention, particularly with the colossal shots of scenic ambiance. Nevertheless, Aseem's editing work look fallible at certain points, but it doesn't go so blatant. Dialogues penned by Ashok Mishra is sure to win accolades, but he could sparkled with screenplay, for its drops off with the pace here and there. 
On the whole, Welcome to Sajjanpur entertains you with fun and frolic, but not so groovier. It's a chill-pill piece of work that makes you feel, the film is worth watching. 
Verdict: A Village-Journey worth it
Rating : ***
EMI is a raucous, digressive comedy, offering some laughs and for real life loan defaulters, it mocks and celebrates. On its course, there are some bittersweet experiences of personal lives on individuals caricatured. 
EMI (Easy Monthly Installments), the innovative title, perhaps you would've foreboded quite a little of substance. Well, it's a flick that doesn't stride much on its theme of bank, loans and defaulters. But has lots of resemblance on panoramas of Munnabhai  a good-hearted gawk; performed by Sanjay Dutt. 
Express your appraisals for a great show of concept; but it's just a flattery ennobling same credits for story and screenplay. It's just hop-skipping from realistic theme to clichd ho-hum masala where a 'Bhai' not just recovers pending loans from deadbeats, but transforming their personal lives too. 
Precisely, if you're there dropping cognizance outside theatres, there are possibilities of enjoying kill-time experience. 
Sattar (Sanjay Dutt) owner of Good Luck Recovery Agency is the savior and the solution for all those ever caught in the debt trap. From bhaigiri to business to politics to social work - that's how Sattar wants to progress in life. He has already graduated from bhaigiri to business and is now eager to hump into politics. Most sought after by banks, telecom companies and various multinationals, today his Good Luck Recovery Agency is Number 1 in India. Sattar follows a simple rule when it comes to his business - Loan liya hai to chukao, shaadi kiya hai to nibhao.Along his way of great principles, he counters some less interesting, equally stock characters of defaulters; young married couple Anil-Shilpa [Aashish Chowdhary-Neha Uberoi], Father-Son Chandrakant-Arjun [Kulbhushan, Kharbanda], Dj Ryan and his ladylove Prerna [Arjun Rampal-Malaika Arora Khan] and widowed Prerna [Urmila Matondkar]
Will Sattar succeed in using this simple principle when dealing with these disparate characters and cases forms crux of the story?
EMI - A film that'll have 酾 of audiences reflecting themselves on those individualistic characters in frame. Brimming up with an extraordinary theme of 'loan mania' haunting down cosmopolitan cities-to-remote villages, Saurabh Kadra draws special attention. Nevertheless, it's a terrific letdown as he doesn't tread with same efforts on scripting. 
Fine! The first hour goes on establishing characters and their individualistic cases of loans, bank representatives with their tactics magnetizing clients, recovery agents knocking defaulters' doors. But unexpected twist in latter half where auteur departs from the central theme is a mere disappointment. Perhaps, Sanjay Dutt remains as solacing factor turning spotlights on him and it's a great comeback after wretched results of KIDNAP. Arjun Rampal deserves a pat for his brilliant performance; especially his encounters with Sanjay Dutt are fiestas of laughter. Malaika Arora appears just for glamour quotients and she is gorgeous. In the early minutes, while establishing characters, Urmila's tale pulls your attention. But again, mishandled script doesn't let more scopes on Urmila to perform. Her emotional vistas are completely diminished in the following sequences. Ditto to Kulbhushan Kharbanda; father-son bonding goes unimpressive, but his performance deserves appreciations. Aashish Chowdary and Neha Uberoi; they're ridiculous. Manoj Joshi, Snehal Dabhi and Dayashankar Pandey as Bhai's henchmen add more colors to humor ratios. 
Getting on with technical aspects, musical scores by Chirantan Bhatt are plainly mediocre. 'Chori Chori' tuned on Arabic style haps to be complete show of alluring Malaika and macho Arjun. Style of filming is quite commendable. 'Roshan Har Dil' offers chest-filled delightedness as everyone's lives transcending while 'Aankhon Hi Ankhon Mein' tops-the-chart. 
Valuating EMI on whole; the film carries good values on terms of theme, but lacks solidity in many portions. Perhaps, Sanjay Dutt is the real savior just not on the screens, but for the producers too.
Verdict: Middling piece of work 
Rating:** 
Alas! Her directorial debut 'Chupke Se' was a slipshod piece of work. Well, Sona Urvashi demarcates with Saas Bahu Aur Sensex that perfectly lets her stride, winning laurels for a unique theme. In reality, what's so topping the chart in television channels of India? Saas-bahu show with its high TRPs and marking everyday's sensex graphs. One's passions for either of these two are insatiable.
Fine, it's time for grand fiestas in Bollywood. New themes, bold attempts and great surprises: flicks sans A-rated star-casts and big budgets spelled with top-notched quality have been engrossing us. Rock On, Wednesday and here comes one more colligating along this queue. Not as appealing as the previous releases, But Saas Bahu Aur Sensex has something prodigious for the audiences.
Don't let yourselves with disheveled imaginations that flick centers on just two panoramas: Saas-Bahu shows and Sensex manias. Shona Urvashi has something more indeed of fun, frolic, emotions and congruous characters.
So, everything is fine with Saas Bahu Aur Sensex and where does it get a bit decelerated. A lengthy screenplay taking a very long time to reach its idyllic climax gets you bit dragged. Shona Urvashi moves us along with cool ambience and you are sure to relish it.
With her mother Binita (Kirron Kher) divorcing her husband in Kolkata and heading to Navi Mumbai, Nitya (Tanushree Dutta) seems to be more alienated in the new ambience. Tangled with knots and snarls, the cherubic missy finds relief in one of her neighbors, Ritesh [Ankur Khanna). It's resurgence of new life for her mother Binita too as she is befriended by women in the colony and enjoys her time in kitty parties. Her elatedness continues once she meets Firoz (Farouque Shaikh), a flakey stock broker, who assists her in investing shares left by her husband Meanwhile, colony ladies envisage about Binita and Firoz. Merely, they realize as she acquaints them all to Firoz and mania of sensex haunts them now.
Here begins the cool-icy ride of rise-fall in sensex, triangular love stories, lives of different families in the colony, one sided love of stock broker and much more.
Phenomenal flick in terms of theme, but certain ascribes lets us feel it's clichd. The best illustrations would be with the characters of Nitya and Masumeh; stereotypical missies, one with true love and other on the pursuit of wealth. Eloping from the marriage hall, Nitya's love at hidden sight makes your guess right.
Housewives budging from Saas-Bahu shows to sensex are refreshing, but it's so ridiculous to see sensex with 30,000 points in the climax and Shona should have precisely avoided this.
Kirron Kher steals the show with her enchanting performance. Be it her motherly affection or her reactions to various situations; she top-notches with it. Hats off to Farouqe Shaikh for his decent performance and he adds more to the humor part. Tanushree Dutta on her deglamorised role grabs your attentions and so is her naturalistic performance. On the pars, Ankur Khanna does justice to his role.
Getting on with technical aspects, it's the best work from entire team. Be it Rodriguez's cinematography or musical score by Blaaze, Bipin and Randolph, they are most adept. For a great convincing part, you don't have dream sequences or duets and none of the songs last for longer minutes. Rodriguez with his scintillating cinematography delivers the apartment Colony in Mumbai with its best scenic. 
On the whole, Saas Bahu Aur Sensex is a great delight with its new genre. Well, it's a exulting fete for miniscule audiences.
Verdict: Bold and the beautiful 
Rating : ***1/2
Yeh Sab Kya Hai? Patha Nahi. Govinda, once a stupendous actor who carried off his audiences with colossal performances has jumped on ill-sorted grounds. Alas! What makes him do that? Lack of offers and you've got to shoot this out on Govinda. Often, we boast with prideful spirits 'Yeah! It's changing phase of Bollywood' and at many times our elatedness are shattered watching such pieces of works.
To start off with Chal Chala Chal, you would get perplexed about an auteur can coming up with such brainless script. Well; it's been so illustrious in the past where films with no such thing called 'A perfect script' have topped-the-charts. Reason - a stupefying screenplay when blended with commercial attributes makes it appealing. It's all about 'Garnishing', 'embellishing' or whatever you say? 
Chal Chala Chal  At the maximal point is a film better to avoid 
Deepak (Govinda) is a simpleton. He has been switching jobs as he does not want to succumb to the corrupt system. Since years, with unwavering efforts, financial hardships and an unshaken faith in the judicial systems, he has bee helping his father, Omkarnathji, in a legal matter.Omkarnathji, the ex-principal of a private school, is fighting a court case against the school to get his due provident fund and pension. He later wins the case and the school is ordered to give a part of its property as compensation, if there is no money in its funds.And thus Deepak's life gets an addition: a bus.Instead of selling it off, acting on his father's advice, he decides to run the bus. While the rest of the family members - two sisters: Chhaya and Aprana (Upasana Singh and Amita Nangia) and their Ghar-Jamaaee husbands Vinayak Agrawal, a Lawyer (Mr. Asrani) and U.U. Upadhyay (Manoj Joshi) are against it. They feel it's a low profile job. Their primary interest is in selling off the huge bus and devouring their share of property.But Deepak has immense trust in his father's judgment. Sundar (Rajpal Yadav) a jolly good sweetheart, who is desperately trying for an American Visa, is also an age old friend. He comes in handy with initial investments and they establish a company, Chal Chala Chal transport.And so begins the ride of their lives.The bus is in a dilapidated condition and much of money is gone for the repairs.It's a roller-coaster ride where mishaps are more than the commuters. The bus driver, Basantilal (Razak Khan) wears thick glasses and the conductor Harilal (Asif Basra) has a sugar factory in his mouth and an eye for cash... adding to it like a cherry on the triple-decker pastry- Sunder's enmity with a rat which has eaten his passport.Corruption chases Deepak in transport business as well U.U. Upadhyay is a chief vehicle inspector. He tried his level best to harass Deepak and extort money, raising troubles.These workers are messing up Deepak's life and business, but he can't raise a finger against them, for they are under the cushioned wings of the Union Leader Mr. Singh (Murali Sharma).They only relief should have been the lovely lady on the bus Payal (Reema Sen), but the bus hits her fracturing her leg. Now she is also in the vengeance mode, extorting money from Deepak.What saves Deepak from these mad house characters, is his faith in his principals and his father's love-acting as the strong backbone in bitter sweet times.
Spotting Govinda in such a bungling role is merely dashing down your hopes. And again, there rises whole lot of questions, is he the same Govinda who just entertained brimming with over-the-top attributes? His aged looks and a performance below the line of mediocre is nettlesome. How come Rajpal Yadav accepted such role? Was he scatter-brained while heeding to TK Rajeev Kumar narrating script. Ditto to Om Puri. Such a legend has been wasted with a middling character. How about the other actors? Well, when you've the best ones themselves stumbling, it's up to your imagination. Asrani, Manoj Joshi, Razzak Khan, Asif Basra, Murli Sharma, Upasana Singh, Amita Nangia and Reema Sen have just appeared in front of lens and nothing else special about them. 
Don't ever ask us about technicians. Were the cinematographer and editor gone butterfingered? An unforeseen worst show of their hand works. Rajeev Kumar lacks the skill of an outstanding filmmaker. Better, he can opt for a break, join the best institutions of Film Making and then try his best 
On the whole, the film maybe titled as 'Chal Chala Chal', but those who expect for a fun-filled ride would face a terrible accident. 
Verdict: Go GoRun Away
Rating : *
Bollywood's once-heralded auteur jolted with his previous flops 'Yaadein', 'Kisna' and 'Black 
On the grounds of reality, Yuvvraaj isn't the best as his classics Karz, Vidhaata and more. But, one fine rigid reason that lets everyone sing appraisals is the fact that your eyes doesn't take off from the screens for complete 180mins. As Subash himself utters, the film merely carries off with traces on his yesteryear classic 'Ram Lakhan' (theme of brotherly love). Not alone on emotions, the flick has moral on greed leads to wreck and precisely, something we got to learn at our Kinder Garden levels. On this screen, greediness eclipses all over and latter half it's all about reveling emotional relationships that diminishes the vicious elements. 
Placed at the exotic backdrops of Austria, Deven Yuvvraaj (Salman Khan) and Anushka (Katrina Kaif) are in love and as clichd; her father Dr. Banton (Boman Irani) obstructs their relationship. On the initial stages, it's between Deven-Banton and scenario shifts onto different vistas as Deven's father lasts his breath in London. Not for affection and paying homage, Deven gets back to his hometown seeking for shares in father's wealth. Over there, he encounters his unloved brothers Gyanesh Yuvvraaj (Anil Kapoor) and Danny Yuvvraaj (Zayed Khan). 
Gyanesh Yuvvraaj possessing autism from his childhood goes the apple-of-eye for everyone in the family, once attorney-close friend of his father (Mithun Chakraborthy) reveals that entire property is favored on him. Not alone Deven and Danny, but other relatives sham themselves to be good with their opprobrious inner evil intentions. 
What makes the film so colossally spectacular? Undoubtedly, it's melodious tunes of Rahman and Kabir Lal's visualizing of emblazoned locations. Moreover, on-screen actors performing a different show with their distinct roles surmount your prospects. It's a complete show by Anil Kapoor and this man transfixes your with his simpatico-kind-of-role. Be it his mirthful encounters with Salman or the emotional outbreak in the penultimate, he overshadows everyone and each prop in the frame. Don't miss his fabulous gestures after watching handycam in the climax. Hats off to Subash Ghai! His genuineness of inserting symbolic representation where Anil Kapoor breaks the masks on table after viewing handycam is superb. Of course, the song 'Dil Ka Rishta' following this sequence as broken mask at backdrops of stage. It's something you call 'Director's cut'. A new dawn and a great break for Zayed Khan and let him thank Subash for it. Hope, directors watch out for his performance offering him best roles in future. With her cherubic looks and decent performance, Katrina Kaif steals the show and watching her play cello, it looks realistic. No wonder in appreciating her looks alike of Princess Diana at certain parts. Boman Irani pulls your attention with his laudable performance in all contexts, especially in the climax. Aushima Sawhney sways with finesse and ditto to Anjan Srivastava as antagonist. Salman Khan establishes a perfect room with his pleasing act on all scenarios till the final credits (similar to Om Shanthi Om).
On narration, Yuvvraaj doesn't start off with a gripping screenplay and perhaps, it's merely bits-n-pieces of lad and missy in love and father opposing their relations. Well, things shift on paradigms once Mithun Chakraborthy appears on the screen and unravels a great surprise amongst other characters. Few flaws of uninteresting parts may be spotted in the first half and everything goes diminished in the penultimate of 20-25mins binding your hearts, soaking eyes with tears and sparkling your lips with smiles. It's very rare amongst auteurs blending different emotions within short durations and Subash Ghai deserves grand appreciations for it. 
Rahman's musical score is refreshing with 'Tu Hi Meri Dost' and 'Dil Ka Rishta'. Merely, visualizations could have been better for 'Tu Hi Meri Dost' as he could've avoided Computer Generated works. Background score works well, especially where Salman reveals his inner intentions to Anil Kapoor after sipping drinks and penultimate sequences are top-notching. Kabir Lal's cinematography mesmerizes everyone and his enchanting shots of European locales goes in-hand with Rahman's musical. It's a billion dollar question why Subash Ghai had to pass-scenes while characters drive car on such beautiful locales. As a whole, Yuvvraaj is splendiferous in all parts with exceptional performance by all and it's a perfect family entertainer. With previous week's releases gradually getting down on charts and no big releases awaited couple of weeks ahead, Subash Ghai can host a lavish party for the entire team as collections are sure to brim over producers' sacs. Of course, A.R. Rahman should be ready tuning rock-blast party songs for his successful venture with Subash Ghai and so would be performers. 
Verdict: Relishing best emotions on screen 
Rating:***  
India  A land of enormous lingos, customs and religions fall invariably become united for 'Cricket'. Perhaps, some could wonder why cricket isn't picked as National Game since passion for this sport goes insatiable amongst millions here. Be a top-charting tycoon or a hapless chap, there are on with more enthuses when there's India in stadium. 
Of course, here our Meera of that same sort for who cricket is larger than her life itself. She is so adhered with the sport that she cannot afford to miss the game on her day of engagement. Don't mistake by these vistas, it's a film dedicated to bats 'n' balls. It's a genre of romance all throughout and lacks solidity from-alpha-till-omega. 
Well, these days we happen to spot filmmakers brimmed on with new innovative motifs. But appearing on the screen, they're disappointing with ill-timed narration. Naturally, Meera Bhai Not Out is off that sort where a novelty of filmmaker Chandrakanth Kulkarni gets spoilt by Soumik Sen's screenplay. 
Meera Achrekar (Meera Bhai), a mathematics teacher at Vishwaprem Vidyalaya, has been a happy single for quite a while now. The great love of her life has been, and will always remain, cricket and Anil Kumble. The meticulous number cruncher is, despite not being the classic eye-candy-teenage-fantasy-fodder, a huge hit in class. And that's because Meera, unlike most teachers of her school, is more fanatical about her religion, cricket than even the school cricket captain!Living with her family in their small home in a Mumbai chawl, Meera was initiated into her temple of Wankhede Stadium by her brother, Manoj (Mahesh Manjrekar). Manoj Anant Achrekar played cricket at the Ranji Trophy level. Sadly, middle class making-ends-meet economics got the better of the impressive Maharastrian leggie, and passion had to make way for responsibility. Mahesh is today a cricket cynic. While Meera bunks classes and fights for season tickets to every cricket match that is played at Wankhede Stadium, Mahesh even steers clear off cricket scores!While the folk at Bhaktiyog Society have cast aspersions on her craze towards the game, the bigger problem that worries the Achrekar family is Meera's still-single status. Love suddenly blossoms with heart-specialist, Dr Arjun Sachdeva (Eijaz Khan) and Meera realizes that perhaps there is more to life than praying for Team India and Anil Kumble! However, in between this fabulous exchange of text messages, Valentine's Day outings and walks along Chowpatty, she confesses to Arjun that she is already married to cricket!So, while the maiden's heart beats for Anil Kumble and India's fortunes, the more important question is: will Meera be able to commit to her non-striker beau and keep her prospective father-in-law at bay?
Meera Bhai is enjoyable in certain parts, but at many intervals there's flimsiness in narration showing up. As mentioned earlier, it's not a flick dedicated to game of cricket but a romance film. Be it the factor of 'Cricket' or 'Romance', everything is unappealing. 
What saves Meera Bhai from not getting out duck are the last few minutes of show. Imagine if one can spend couple of hours for experiencing the penultimate sequences. Yup! it's so ridiculous to see that Mandira Bedi on her day of engagement fleets to stadium for cricket match. Even if she's so passionate about it, the better option could've been glimpsing it on TV Box. It's out of the question in reality for a woman would urge herself to watch a match for Indian team, especially Anil Kumble sacrificing her most important occasions. 
Don't miss the cricket match between in-laws (Mahesh and Eijaz). It's the only area where auteur is worth winning grand round of applause. Perhaps, it would have been nice if they were spelled still more entertaining. 
Mandira does justice to her role and maybe director has tried presenting her with kind of image that many of our Indian women are so. Possibly, not adhered to cricket matches but Saas-Bahu manias. There is nothing such flaw painted on Mandira's character. Mahesh Manjrekar fails to make it big while Eijaz Khan deserves best credits. Anupam Kher with clichd performance steals the show and it's merely disappointment from Pratiksha Lonkar. Anil Kumble is fair to middling with his minimal part. 
It's dashing down with our hopes with technical aspects. Neither music nor cinematography is so striking. Music Director Sandesh Sandilya seems to have put forth his best efforts on just one number for promos. 
On the whole, Meera Bhai Not Out isn't a delightful watch and 'Not Out' on the title maybe a faulty conclusion. Watching this film is alike Sunil Gavaskar scoring 50runs in 50 overs...
Verdict: Not an entertaining flick 
Rating : *1/2 
Unluckily, Srinivasan and Director Mohanan  makers of the poignant tale of 'Katha Parayumpol' should be topsy-turvily entangled in their sense about selling remake rights. Yeah! Absurd remakes in two different versions as 'Kuselan' and 'Kathanayakudu' had really balled up the duo's best efforts and now Priyadarshan in no way is different from them. Of course, a film director criticizing the best film 'Slumdog Millionaire' made us perceive him as the one of the best filmmaker who would churn a film thousand times better. 
We still can't zero down on the exact reason as to why certain film makers, cannot remake a film perfectly? We aren't expecting a Satyajit Ray but when a film is remade why mess up with beautiful motifs rendered with a master touch.
Priyadarshan may have boasted that he hasn't copycatted from the Tamil remake on any aspect, but not even the location has been changed Even the blunder committed by P. Vasu has been replicated by Priyadarshan. In Malayalam version, Meena was portrayed perfectly for the role of a lower class family which was completely different in the Tamil as well as Telugu version. Of course, watching Lara Dutta as a housewife from a hapless family background is somewhat absurd. She's embellished with best facial make-overs and that doesn't fit her with finesse.
Bilas Rao Pardesi (Irrfan Khan) is a poor barber in town leading a wretched life with his wife Bindiya (Lara Dutta) and a couple of kids. Their life is studded with bittersweet experiences and they are much stricken by poverty. Bilas isn't able to meet his daily demands, not even making up for his children's school fee. But things aren't the same once a film unit reaches the town and actor is none other than Superstar Sahir Khan (Shah Rukh Khan).
Bilas Rao Pardesi's acquaintance during his childhood days with Sahir Khan is known to the entire village Now things are completely different as the villagers treat him graciously. Be it the school's head or the ones who lend loans, everyone is ready to favor him. But all that they expect from Bilas is an introduction to the superstar Sahir Khan.
The crucial moment for Bilas comes when he wonders with conflicting emotions doubting whether Sahir would remember him, since Sahir is a top-charting superstar now.
Well, as you all know The climax is just the same as in the original.
Kudos to Irrfan Khan for a splendid spell from this star of course, he has been doing it in all his previous films. Looks like Priyadarshan hasn't laid his hands on any of the star-casts as everyone seems to have watched the DVDs of all three versions and finally presented it with their own innovative touch. However, as mentioned earlier Lara Dutta's looks could've been much well carried though. She's so rich in her appearance and doesn't look like one stricken by poverty.
Shah Rukh Khan is up with his own style and as usual his charisma grabs your attention. He scores the best during the climax part with an unforeseen show. But why does this film carry so much of commercial factors, say 3 item numbers? That remains a question in your mind when you walk out after watching the film. It spoils the emotional panorama that was more instant in the original version. Rajpal Yadav does a laudable task on his comedy tracks, especially in the penultimate sequences.
Accidentally, the spellbinding climax penned by Srinivasan (Writer of original version) holds you tight, soaking your eyes So now you must know who the man to be honored is. 
Pritam's musical score is mediocre while a couple of tunes 'Kudhaya Kair' and 'Love Mera Hit' goes for a big round of applause. The background musical score does not deserve a special mention. Manikandan's cinematography is top-notching and precisely, the man has canned the best shots of Pollachi.
At no point, Priyadarshan favors us uniquely stepping out from already existing factors crafted. Manish Korde's dialogues are spellbinding and dwells in your heart even-after the show is over. Arun Kumar's editing is a bit amateurish with lots of unwanted cuts especially in the song 'Marjaani'...
On the whole, 'Billu' is a film that could be enjoyed by those if they hadn't watched the original version. Though filled with bits and pieces of absurdities, the final 20 minutes of the film deserves appreciation getting you to applaud for Shah Rukh's performance.
Verdict: Watch it once!
Rating : **
Well, 'Rang De Basanthi' was about embellishing the young rebels with spirit-of-patriotism that had a very colorful appeal. Yippee!! Rakeysh Mehra is back with a bang emblazoning Delhi fantastically. Trust us; it's an unforeseen 'Wall of Old Dilli' where nothing rules, but everyone is surmounted with humanity. Of course, the auteur unravels the beauty of not just the street corners, jelabi shops, but heart-binding relationships An appealing relationship between various communities has been decorously depicted that draws us straight into streets of Chandni Chowk. Perhaps, it's not 'too-sweet-for-the-heart' moments as there are peculiarities of caste-communalism differences that get us through a chain of unexpected sequences.
Precisely, the film possesses the best attributes of getting ennobled as 'World Cinema'. Maybe, the plot is a bit clichd to 'Swadesh' where an NRI makes his way to India getting adhered to scenario bounded with happiness and tribulations.
So if you are guessing what could be the common traits between 'Rang De Basanthi' and 'Delhi-6' here we have it for you in a platter. An enriching characterization with the finest narration is what you will witness. Rakeysh brings in a couple of metaphors that goes more relevant across the characters; 'Kaala Bandhar' and Stage Play of 'Ramayana'. Indeed, Rakeysh deserves special applause for these exceptional motifs
When his Naani (Waheeda Rehman) loves to breathe her last not in New York, but in her hometown Chandni Chowk of Delhi, her grandson Roshan (Abhishek Bachchan) fulfills the wish. But sooner, he gets more glued to the new land of fun, frolic and happiness where everyone is blessed with a good heart and his friend. He finds elated amidst the kites, pigeons, sporting snookers with Uncle Ali (Rishi Kapoor) and tasting jelabis. On the pars, he is stuck with puzzling thoughts about witnessing untouchables, an arrogant police officer (Vijay Raaz), and his uncles (Om Puri, Pawan Malhotra) who've risen within their house. And finally, the sweet Bittu (Sonam Kapoor) caged in a circle of ancient-culture.
If you're a good analyst of films, there's something uniquely trenchant with Rakeysh. Unlike other flicks that have carried on with the First-Second half, the director has inherited the narration with 3-Act formulas. Something that isn't common, right? Yeah, 'Delhi-6' is yet another example to suggest the changing face of Bollywood. Getting on with the metaphors of 'Kaala Bandhar' and 'Ramayana' stage plays, he tries pulling the realistic pictorials. When the throngs are bounded devotionally watching the mythological drama, politicians interrupt it. And again, watch the special performance of Lord Shiva's 'Rudra Thandava' for the politician.
It's all about 酖 Even Gods get down for the sake of politicians in the present world. Years back, one incident had really shaken not just the Dilliwalas, but the entire Nation and it was the 'Monkey Man' terrorizing the streets. Blending it to the script, the idea has worked out well. The director's portrayal of the Hindu-Muslim communal conflict and the solution drawn out it is quite appealing.
The characterizations have been brilliantly designed. Rightly as Sonam suggested 'it is Delhi who's the protagonist', it's true and we feel it too. There aren't too many locations, but patently the streets of Chandni Chowk have been decorously portrayed. Hats off to cinematographer Binod Pradhan for a spellbinding piece of work. You don't see Abhishek and Sonam alone presented with prominence, but everyone seems to have had a vital role to play. Be it Rishi Kapoor with his hidden love or the so-called untouchable Divya Dutta; they're top-notching with their performance. Abhishek Bachchan is up with his usual resplendence while Sonam seems to have matured up from her 'Saawariya' days.
The musical score by A.R. Rahman is 'wordlessly colossal', especially the number 'Masakali' is a rich fiesta offered to the audience. Don't miss his background score in the penultimate sequence where there's hunt for the 'Kaala Bandhar'.
Precisely, the screenplay is intricately beautiful that you don't feel like watching the film but taking a walk down 'Delhi-6'.
On the whole, 'Delhi-6' is an incredible flick in terms of all panoramas. The film is simply prodigious with flawlessness and a piece of work that takes Indian Cinema to the next level.
Verdict: The real taste of Delhi.
Rating : ***1/2
Its precisely a willy-nilly scenario for UTV Productions has it persistently churning out flicks with good motifs. Well, thats a good spell but one finical doubt does keep ringing in our minds. Do the producers heed to full-fledged script and screenplay or else sign-up for directors merely with one-liners. Previous year has been the most fantastic era for UTV as they had best scripts on the screens. But gradually, the dioramas are shifting now and it goes illustrious with this weeks release Dhoondte Reh Jaoge. Fine! Couple of years back we had a super-comedy Hollywood flick  Mr. Beans Holiday where protagonists candid-amateurish sequences of his own journey to Cannes Film Festival bags the best laurels. Likewise, much closer to this motif, heres Umesh Shukla with his Dhoondte Reh Jaoge a film about couple of individuals planning to make a worst film in the history. But things arent as expected.
Anand Pawar (Kunal Khemu) and Raj Chopra (Paresh Rawal) are perhaps the two most extreme individuals that have walked the city of Mumbai. While Anand is an idealist chartered accountant, Raj is an idle film producer.
They hatch a plan to raise a lot of money to produce a feature film and then actually make it at a pittance amount. In fact they decide to make it so badly that audiences would reject it on the first day of its release. Anand and Raj believe this would give them a foolproof chance to decamp with the remaining huge amount they raise to invest in the making of this venture. But oblivious to this common plan, Raj has a hidden one. Things go haywire, so Raj makes Anand the fall guy and the latter ends up in jail. 
As tables turn against Anand, he suddenly loses his job and his girlfriend Neha, who refuses to marry a loser. Anand's squeaky clean image goes for a toss and he decides to take revenge on Raj. Anand goes back to Raj, and asks him to join forces again. He insists that their master plan could still work out, only if they think much bigger. Anand explains to Raj how they can generate a whopping 110 crores from the stock market and then make their film only in 10 crores. 
They begin working on their plan, and sign up Bollywood superstar Aryan Kapoor (Sonu Sood) at a token payment of 3 crores. Aryan is offered to act opposite his girlfriend Riya, but surprisingly, the actor refuses. 
That's when Raj suggests Anand to cast his girlfriend Neha, who also has acting ambitions. Since they plan to make a flop film, Raj tells Anand that Neha will not only come back in his life, but also become dependent on him since her acting career will end after their film's disastrous fate. Anand agrees. Neha (Soha Ali Khan) is thrilled to know that Anand is producing a film and that she is being cast opposite a big star like Aryan Kapoor. 
After some hiccups, Anand and Raj manage to make the film and release it deliberately alongside other big films that could overshadow their film. Their devious plan seems to be right in track. But as the adage goes... 'Man proposes; God disposes', the film turns out to be a huge hit. Now the financers and distributors are after Anand and Raj for their chunk of shares from the huge profit. Anand and Raj's problems multiply by the second. 
Maybe, the outline plot sounds quite commendable, but its exposed to an awful screenplay with boredoms. It really keeps us wondering how come the best actors who had made decent performances in their previous films accepted this offer.
Getting on with the director, the spoofs he has tried dallying on Bollywoods various flicks reminds us off Hollywoods Scary Movie (2000) that made straight-out fun on best films like I Know What did you last summer, The Sixth Sense, The Usual Suspects, The Matrix and more.
But the similarities end here and the results are completely dissimilar. Yeah! Not all the spoofs are really entertaining for that case.
Delivering tremendous performances with Jodha Akbar, Singh is King and Ek Vivah Aisi Bhi, its really puzzling watching him over here. Was it an experimental venture? Weve got to ask Sonu about this. Well, ditto to Soha Ali Khan, who won the best critical acclaims for her top-notching show in Rang De Basanthi and Mumbai Meri Jaan? Alas! Her previous film Dil Kabaddi and this one really disgusts and diminishes her best performances in the previous ones.
Every actor deserves the same questions and both Versatile Actor Paresh Rawal and Kunal Khemu arent elision? In all his films, especially Zakhm and Dhol, the lad had his decorous acting. 
There isnt much commendable about the technical aspects. Director Umesh Shukla couldve fine-tuned the screenplay blending them with interesting parts.
Finally, Dhoondte Reh Jaoge is a film that can be watched, if you drop your cognizance outside theatres. Even then, youve to remain stubborn for certain flimsy substances prevailing almost throughout the show.
Verdict: Watch it if you can
Rating : **  
When solutions aren't made in reality, cinematic approach gratifies it. Well, it's more patent with Manish Gupta's 'The Stoneman Murders'. With the most expected biggie 'Billu' hitting screens this weekend, this film excels on all vistas beating it. When realities are made fictitious in celluloid, it strikes our senses grabbing our attention, especially for the ones film buffs and wanna-be filmmakers. Yup! 'The Stoneman Murders' is much closer to this genre. It's based on the series of real life footpath stoning incident that gripped the entire city of Mumbai in terror during early 80s. When the case still remains unresolved in the records of Police diaries, Manish Gupta strides offering'Omega' in reels that's more shocking blended with surprises.
When sub-inspector Sanjay Shelar (Kay Kay Menon) is temporarily debarred for his violent nature, it's his senior officer Satam (Vikram Gokhale) assigning him to investigate an unresolved case personally. Sanjay has to carry on the riskiest task of pinning down the culprit brutally slaughtering innocent people across the platforms of Mumbai. Everyone's face is found to be mercilessly smashed with stone. To win back his lost credits, Sanjay has to break through various hurdles hassling his investigation and of course he has his rival officer Kedar Phadke (Arbaaz Khan) obstructing his each move
Manish Gupta deserves special applause for penning a stupendous script, but what makes his stop from striking gold is a screenplay bounded with clichd elements. Perhaps, getting inspired from the 80s incident would have made him work on the traits of those auteurs during that period. Need an illustration? The protagonist, mistaken to be a culprit as he holds the stabbed dagger, the heroine removing bullets from the hero is more ready-made. Moreover, there are certain psychoneurotic aspects grabbed from yesteryear horror-thriller flicks. Again, getting on with negative attributes, the film has lots and lots of loopholes that can be spotted by a kid Indeed, everything gets diminished with a stunning climax, at the point of the culprit getting revealed.
Kay Kay Menon with his puzzling-n-aggressive nature resembles more from his characterization of 'Mumbai Meri Jaan'. But similarities end as he treads on with uniqueness. Vikram Gokhale as senior officer does justice to his role while Arbaaz is middling throughout the show. Rushkar brims with hunky-dory spell and she could've pitched something more commendable.
On technical aspects, background scoring offers you chills-n-thrills at many points. Art director Satish does a brilliant job by getting us to the scenario of Mumbai in early 80s酅 Editing, though amateurish to certain levels goes well during the gripping narration at latter part.
On the whole, 'The Stoneman Murders' has lots of convincing factors for the audiences, particularly for those diehard buffs of suspense-thriller. But don't expect a much like the Alfred Hitchcock style.
Verdict: Worth Watching for the decent efforts.
Perhaps, 'Golmaal Returns' is worthy to be ennobled  'impaling speculation' for producers of the film. 'Golmaal' made headway with critical clat for its top-notched drolleries; Rohit Shetty brimmed up with an ebullient show for the family audiences. The prequel had the best show-ups of perfect comedy timings, reasonably good jokes and moreover, the emotional quotients picked everyone's interest. Merely, 'GR' a falderal show with good star-casts and clichd plotline and what else? Rohit Shetty doesn't touch on any lines of its prequel. 
What should have really instigated Rohit and producers to churn out this flick? You wouldn't be able to zero down the precise reasons even after the show is over. To a greater extent, the film is so cranky and again what could be the traits making it look so? Clumsy jokes unapt for universal audiences. Totting up to the annoyance is nit-witted screenplay penned by Yunus Sajawal. It's a billion-dollar question how Rohit Shetty could elatedly turn the superfluous pages of Yunus into pictures. 
And if you're there guessing could there be any solacements for audiences. Yup! Mind blowing performance by Tushaar Kapoor and Shreyas Talpade offers best fiestas of humor. Doubtlessly, you are sure to break down with laughter as these character jape simultaneously on each other. 
Gopal (Ajay Devgan), who lives with his wife Ekta (Kareena Kapoor), sister Esha (Amrita Arora) and a dumb brother-in-law Lucky (Tusshar Kapoor), grinds to a halt in a yacht after saving an attractive woman Meera (Celina Jaitley) from some goons.Both end up spending the nighttime on the yacht and when he comes home the next day, his distressing leery wife who is also a hardcore fan of thesaas-bahuserials, smell fish.Gopal knows it's going to be hard to quell her suspiciousness, so he concocts a cock-and-bull story about having stayed the night with a fabricated friend called Anthony Gonsalves. Ekta refuses to buy his yarn and writes to Anthony (on a fictitious address given to her by Gopal) asking him to visit her.Gopal convinces his junior at work, Laxman (Shreyas Talpade) to pretend to be Anthony. Everything goes according to plan till the address to which Ekta had written to Anthony turns out to be real!If that isn't complication enough for Gopal, a dead body is discovered at the location where he had saved Meera. The Investigating Officer, Madhav (Arshad Warsi), who is Esha's boyfriend and also who cannot stand the sight of Gopal, learns that the latter had been missing from home that eventful night and begins checking on him.
Promotions prior to release often sounded 'Biggest Comedy Title of 2008' and it's about dashing down your hopes after watching the show. It's a mediocre in terms of presentation. Bits and pieces of surprisals move you along with it, but not to a greater extent. Blemished screenplay lacking substance diminishes the crme de la crme efforts rendered by few best ones.
Rohit Shetty with his 'Sunday' won the credits as the best lollapaloozas, of blending murder-mystery with comedy (Call it 'Black Comedy'). The flick savored to everyone's tastes offering best entertainment. The scenario is quite bleak and contrastive here; nothing impressive that pulls you in.
Lots of actors and does everyone best deserve best credits? Must be quite straining for you all, going through so many questions. Comparatively, you would shoot out many more after the show. Ajay Devagan kindles  his 'Simpatico' catching breath of a struggling husband.Arshad Warsi lags behind with his goofy role. Kareena Kapoor deserves pat of appreciations as a leery wife. Despites, appearing on with a short role, Celina scores best. Amrita Arora and Anjana Sukhani, merely keep middling薅 
You'll have entire spotlights turning on Tushaar Kapoor as he eclipses everyone. Ditto to Shreyas Talpade; he treads highly-electrified rendering his laudable performance. Don't miss the rib-tricking takes between these lads; they're over-the-top. Ashwini Kalsekar, replica of Saawariya's Rani Mukherji and Arshad Warsi imitating Big B of Black hastens best of all laughter. Kya Hai Rohit Aur Sanjay Leela Bansali Ke Beech? (Ashwini Kalsekar planning to design her interiors with blue color is again a big gag).
Again, fallible technical aspects are a big letdown; neither music nor cinematography is up to the mark. Except, Neeraj Sridhar's 'Tha Karke' and 'Meow' by Suzy Q, nothing offers best scores.
As a whole, 'Golmaal Returns' is a light-headed entertainer, on the buttons plainly for pie-eyed individuals, while for others, enjoy if you want to
Verdict: Watch it Kill your time 
Rating :** 
An audacious auteur indeed! Director Vikram Bhatt who won rave reviews across the far-flung corners of globe for his debut directorial Raaz, is back again with a scintillating spine-chilling horror flick. Perhaps, looks like Vikram Bhatt is vividly influenced by the World's ever best flicks The Exorcist and The Others. Precisely, 1920 doesn't carry anything unique in terms of its storyline, but the exotic attributes of Horror-genre are top-notched 
1920 has spooky atmosphere, a wicked twist and turns and an ice-cold grabber of a performance by Adah Sharma. 
Set at the backdrops of 1920, a young couple recently entered into nuptials despites life-threatening opposition from the boy's father. Arjun Singh Rathod (Rajneesh Duggal), a religious entity turns into an atheist when his family is urged to kill his wife Lisa (Adah Sharma). Arjun, an architect wizard and Lisa have to now move to exotic location of Palanpur where he is assigned to shatter down an old palace for constructing a new hotel. An excellent picturesque of new place that makes the couple feel like paradise, but there is something abnormal sensed by Lisa in this Old Haveli. These mysterious signs start haunting Lisa and much before Arjun could believe her, Lisa is already obsessed by a spirit. Here starts, the rolling waves of horrific scenario where Arjun starts assaying of settling-scores with evil spirit that his wife possesses. Indeed, Arjun has to bear the jeopardizing stunts of his possessed wife performing gymnastics. Remember, it's not just about casting away an evil spell, but there is whole lot of mysteries to be unraveled between past life of Lisa and her colligation with Old Haveli. 
Don't miss out the horrific thrills; you are sure to frozen with bewitching elements that is sure to get your spines frozen. Peculiarly, the first of transfiguration of Lisa not just takes Arjun into topsy-turvy, but scares us a lot. Merely, the best part is where Lisa is pulled into a Dark black hole of a room just before interval. But makes the film so clichd, is the bright white-bluish eyes of ghost-haunted entity. These aspects crawls down pace of screenplay and indeed getting us loose our interest. On the pars, 1920 holds several clichd aspects of horror flicks. It's always a woman who is possessed and of course, the ghost too is a female. Thanks to Vikram Bhatt, he has a male spirit haunting the missy and perhaps, it doesn't show any mercy to the victim as in other flicks (Bhooth). Again, Arjun spots himself under the category of husbands who devotedly work on rescuing their wives. Finally, the big conversation that goes on between a religious person and a Doctor on Science Vs Supernatural issues. But, these features are locked up within short time and you have something more to watch. 
Dialogues are so penchant: be it Arjun's rigid conversation with his father in the opening sequence or the conversation held between priests, but again, it would be great if the term 'Multiple Personality Disorder' is fended off. 
On the technical traits, Cinematography and background score are merely enthralling. Cinematographer Pravin Bhatt spells his enchanting piece of work right throughout the film. The painted backdrops of beautiful locations of Allerton Castle in London are chilling for eyes while on the other end; he brings you the horrifying feel with unique lighting and camera angles. Adnan Sami isn't so impressive with the songs, but his background score enhances the visual quality 
Getting on with performance, Adah Sharma playing the victimized role steals the show with her over-the-top performance. If one does get resisted with the horrific thrills, obviously it's Adah Sharma who maintains the racy tempo all throughout the film. Anjori Alagh on her role of holding the mysterious secret exceeds our expectations. Rajneesh Duggal performs his best in the first half, but his characterization goes diminished in the latter part with Adhah Sharma and Anjori Alagh who overshadowing him. 
Well, if you are on the urge of deciding the best between this film and Ram Gopal Varma's Phoonk, we are sure 1920 is over-the-top. Hats off to Vikram Bhatt, for he hasn't just penned a horror story, but has delivered the smartest work on designing powerful characterizations and best technical quality. 
Verdict: Gets your adrenaline shot 
Rating : ***
Latterly, debutant filmmakers are spelling their flicks completely breaking the clichs. Kunal Shivdasani, an ad filmmaker hops down into filmmaking, not with a peculiar story. Hijack is something an already seen panoramas and to be particular with terrorists, there more and more. What does Kunal Shivadsani spell unique in this flick? Perhaps, your expectations prior to release would have been the same of gonna watch a flick on terrorists hijacking flight and a hero polishing them down, as it is more pertinent withYeh Dil Aashiqana [Kuku Kohli] and Zameen [Rohit Shetty]. But, there is something glossier here about an emotional bonding between a father and his daughter.
The film looks sleek and stylish in terms of execution; merely you have to bear the annoyance in the first 30mins. Well, pace picks up to the higher tone, but absurdities right there in get us spirits down. Nothing is realistic, especially the caricatured delineation of Shiney of possessing super-hero attributes. Hopping into the running flight, swaggering down the strong gun-holding terrorists is ridiculous. Shiney doesn't carry a bedazing physique and doesn't go apt with certain stunts sequences. On the traits of father-daughter emotional adherences, Kunal Shivadsani surpasses our expectations.
The tale of Hijack, a partial mix of reel and real life incidents goes this way
Vikram (Shiney Ahuja) is a ground maintenance officer at Chandigarh Airport. A lonely person by nature, he has no concerned friendship other than his one friend, Rajeev, the security chief of same airport. It's a life threatening situation for Vikram when the Delhi-Amritsar flight in which his daughter travelling is hijacked. Terrorists who have hijacked the airplane demand for the release of their leader Maqsood [K.K.Raina]. The flight is urged to land on Chandigarh Airport for refueling and it's turn of Vikram to prove his heroism.
Vikram creeps into the airplane with tactics of thwarting down the plans of terrorists and bringing situation under control. Here, you have Saira (Esha Deol) availing him out to bump off hijackers one by one. It's more deplorable for some of the innocents who become victims to gunshots in the process. Last and final, Vikram triumphs for the day, saving the lives innocent passengers and his lovable daughter. Well, getting on with Shivadsani's narration, he could have better avoided pulling in songs. They are simply inapt for the film. But the latter part, especially the last 25mins, you are there on the edge of seats. Shiney Ahuja emotes well to the situations while Esha Deol has nothing to do more. Fine! A moderate performance from her looks good. K.K.Raina and Mushtaq Kak on their roles have done justice.
Getting on with technical aspects, Justin-Udhay's background score top-notches with a great impact while Jehangir Chowdary's cinematography draws us in. His splendorous style of canning certain shots is commendable. What makes this flick perfect as an action-thriller are the stunts choreographed by Allan Amin. Often you find the screens filled with blood-sheds, but isn't done butcherly.Set decorator Bijon Dasgupta does a splendid presentation of interiors of the aircraft.
Valuating Hijack on the whole, it's a moderate start by Kunal Shivadsani and if he had fended off with certain absurdities, the film would have been far convincing.
Verdict:Watch it to just kill your time酅
Rating : **1/2
For all who ever intended 'World of Fashion' is something about fun, glamour and ramp shows, Madhur Bhandarkar enlightens them. Rendering the best realistic themes in each of flicks, Madhur Bhandarkar had conquered the hearts of world-wide audiences. Of course, his top-notching directorial 'Fashion' surmounts our expectations and to define the film, it's 'Wordless'. Lots and lots of ramp walks, backstage happenings, photo shoots of alluring missies, kingpins of Fashion World and more than all, you have drearier slope of it unveiled. Uh-Huh! Blended with these aspects, Bhandarkar crafts a melodrama of three supermodels and their transcending lives. Indeed, the very tagline 'In the World of Fashion, You will have to give more than your morals' wins the applause. Famous philosopher Stella Blum quoted "Fashion is so close in revealing a person's inner feelings. It's really too close to the quick of the soul." These phrasings have a deep relevance with this film and obviously it is so close to everyone's heart. 
In this trenchantly spelled piece of work, Bhandarkar has his galaxy inclusive of best star-casts who are so realistic in their performance. Despites filled with 'Glitz' n 'Glam', the film offers more on other quotients Where does the film lag behind? Not at many points, but Bhandarkar could have penned his screenplay bit precisely in the latter half. 
The journey of the rise and fall and phoenix like re-birth of India's number one Supermodel. Set against the glittering backdrop of the glamorous but ruthless world of haute couture.Fashion, this tells the story of one small town girl with a dream and the determination to make it a reality. Meghna Mathur (Priyanka Chopra) knew that she was meant to be famous. Ever ambitious and bright with stars in her eyes, even as a girl with a conservative background, she dared to dream of bright lights and the big city. The world of fashion - the clothes, the colors, the make-up, all of these form a part of the fascinating world that Meghna has longed to be a part of. She reaches the peak of her success and rises to walk the ramps for leading designers across India. The fashion world lies at her feet - the parties, the brand endorsements, the photographers, the models, the romance and of course - the shows, the shows, the shows!However, karma catches up with Meghna as she slowly starts to pay the price for her fame and her journey to the top. Her attempt at a comeback was going to be a near impossibility but she was never a woman to turn away from a challenge. On the pars, the film focuses on other two models: A top-charting model Shonali (Kangana Ranaut), so hard-pressed in her life. Jannet (Mugdha Godse), an aspirational model who has to compromise certain things in her life and settling down with her marriage. 
"Fashion" explores the world of style through the emotional personal journey of the key people that make the industry, the dream-weavers of that elaborate world of glamour: the models, designers, photographers, businessmen, agencies etc.
'Smart as a whip' - A perfect metaphor to fix the earnest work of Madhur Bhandarkar and grand round applause for hitting bull's eyes with a reality theme. It's so realistic and to make it so precise, watch out the sequence where Madhur himself appears on the screen where models says, "He's gonna make a film on Fashion". (Aae Logh Fashion World Ko Bhi Nahi Chod Sakthe). 
Even the most minute factual has been picturized with crystal-clear modality. The egoistic nature of models, their frustrated attitudes (Kangana Ranaut), fashion choreographers as gays are so shocking for Indian audiences to accept. Reality really bites, isn't? 
Priyanka Chopra spellbinds on her part without any flaws. A girl from small town and her varying colors of life: success and failures, innocence and arrogance; she strides rendering over-the-top performance on her characterization. It's not a long-drawn-out role that Kangana Ranaut dons, but her actions are mindblowing, especially in the latter part. Ditto to Mugha Godse; she does a decent job throughout the show. 
Arbaaz Khan excels on the overall show while Arjan Bajwa does justice to his role. No words to describe the tremendous performance of Harsh Chhaya as gay designer. He carries off the show so perfectly on his part. Ashwin Mushran, Samir Soni and Kittu Gidwani tread with naturalistic approach breathing lives on their characterizations. 
The auteur has picked in some of the most shocking facts; pathetic scenario of Kangna Ranaut and her wardrobe on the ramp. Was it a replica of what happened to Vikram Rathore's show before 3 months? You've got to ask Madhur about this. 
The last few minutes of the flick may get you ungratified for the dragging screenplay, but everything is diminished in climax. Despites, prone to shocking news, the way how Priyanka acts to the situation once the lights are on are so prodigious. 
Maybe, Madhur Bhandarkar hadn't focused so precisely on emotional quotients in his previous flicks of Page 3, Corporates and Traffic Signal. Over here, there are lots of those heart-melting sequences that'll let your eyes soaked with tears. Priyanka Chopra's care and affection for despaired Kangana Ranaut, parents' encouragement for forlorn Priyanka and friends extending their support; they are amazing. 
Musical score by Salim-Sulaiman are magnificent and two numbers 'Jalwa' and 'Mar Jaava' grabs your attention. Signature theme of Fashion is played throughout the show in varying tempos and tones, but still they are electrifying your senses. Mahesh Limaye's cinematography is so detailed in each shot and if you are a great analyst of camera works, it's gonna be interesting for you. Niranjan Iyengar throws more life on each character with his dialogues. Of course, costumes and styling are grand fiestas for all 
Valuating 'Fashion' on the whole, it's strongly recommended for all the audiences. Madhur Bhandarkar has limned the real life drama of Fashion World that offer more surprises as well shocks. Not just in multiplexes, the film is sure to make high waves across other centres too. Hats off to entire team for a flawless and brainy show catering to all audiences Bhandarkar not just presents the drama, but there is something more educative over here. 
Verdict: Madhur Bhandarkar  The Real Fashion Maker of Bollywood 
Rating : ****
Not many auteurs in Bollywood adapt spellbinding stage plays for it happens to be an empaling speculation. Perhaps, there were few amongst many who spelled adaptations on screens getting ennobled as 'no-hopers'. Well, if you're seeking for an illustration, Rituparno Ghosh's 'The Last Lear' adapted from Utpal Dutt's 'Aajker Shehanshah' would be the best one to glimpse upon. And not too longer, you've Maharathi  an adaptation of Uttam Gada's Gujarati play with same title. Aren't there are any filmmakers who can metamorphose best plays into best ones, not as blemishing piece of work? 
Alas! You'll call Shivam Nair into question about this and Maharathi disappoints to uttermost. Precisely, there's lot of perplexed approach among filmmakers in distinguishing between play and film. 
Not just about discerning film 'n' play, watch 'Maharathi' without comparisons and even then there's no room for singing praises for this flick. If Maharathi is so-called suspense-thriller, there's nothing off that substance we retrieve to our senses. Couple of reasons do make us feel so; lots of loopholes and absurdity in plotlines. 
Subhash (Paresh Rawal)has spent the last 10 years unsuccessfully trying to get acting parts in films. He makes ends meet by his uncanny ability to think on his feet committing small time cons on unsuspecting victims.
One night he saves a man's life, to do so he puts his own at risk. He accompanies the injured man back home. Subhash is awe struck at the grandeur and affluence of Mr. Adenwalla. (Nasserudin Shah) Subhash realizes this may lead to a generous tip.
Soon enough Subhash is hired by the grateful Adenwalla as his driver. The wife Mallika Adenwalla (Neha Dhupia) resents Subhash for his proximity to her husband and senses this man taking advantage of her husband.
Subhash now firmly ensconced in Adenwallas house and heart discovers his wife's evil designs. On the other hand, Adenwalla, driven to the point of insanity by his money hungry wife decides to take the ultimate revenge. He puts his wife in a catch 22 situation by throwing down a challenge.
Subhash recognizes this as an opportunity to rid him-self of a life time of middle class mediocrity and poverty. He collaborates with Mallika to acquire all the money and property.
Working hand in glove, they get a caretaker (Tara Sharma) with the help of their family lawyer (Boman Irani) to be a witness to an ailing Mr. Adenwallas presence in the house which they concoct their plans.
Several thrilling situations arise in their plan, ranging from false alibis, double-crossing, phony kidnappings to hidden agendas which wreck havoc all around.
But even the best laid plans can go awry and this brings ACP Gokhale (Om Puri)and Inspector Borkar (Vivek Shaw) into the picture.
How the scheming Subhash gets trapped in his own lies and how he finally manages to save his skin, forms the crux of the story.
Flimsy in substance, Maharathi is in-circled with nettlesome attributes of ambiguities on every plot. Naseeruddin Shah leaving his will for Paresh Rawal could've been justified if both of them were so close. Well, Director Shivam Nair fails to establish proximity between these characterizations and suddenly exposing a surprise is something we call 'inconceivable'. By and large, we have our auteur conking out with whacky factors like unconvincing death of Neha. Boman Hirani's character carries off with grandeur but it's diminished during next-to-last minutes of flick. Of course, there's whole lot of commendable vistas in Maharathi but these discrepant elements eclipse over them. 
Nothing to blame on star-casts for everyone on cards are brimmed with stunning performance. What else can you say when we have biggies Naseeruddin, Paresh and Om Puri are there on show. 'Awesome', 'Marvelous' and put forth your best appraisals for them and Boman Hirani is no exception. Neha Dupia spells a matured performance and it's an unforeseen piece of work on her part. Nevertheless, Tara Sharma and Vivek Shaug don't exceed our expectations. 
Venu's cinematography is laudable while background score enhances the visual quality of thriller genre. 
As a whole, Maharathi turns entire spotlights on its side with colossal performance of star-casts. Nevertheless, a perfect script is overshadowed by an insubstantial screenplay turning down the show. 
Verdict: Watch it for biggies' performance 
Rating : **  
Perhaps, Chandni Chowk to China has nothing phenomenal, but a timeworn script of a coward transcending into a hero, and an estranged family getting unified. Producers promoted CC2C as 'First Ever Bollywood Kung Fu comedy' and for your kind information, the flick doesn't possess top-notching humorous elements or the splendid Kung-Fu you would expect. Well, you've them in bits 'n' pieces amidst of a very long show, running for 160 minutes. Sluggish screenplay blended with lots of ridiculous factors does get you annoyed and Nikil could have cut the duration short thereby favoring him.
Despite Akki, Ramesh Sippy, Warner Bros and biggies together on the lead, the flick doesn't surmount your expectations. Above all, the most disappointing attribute is that we don't get to see spell-binding stunts choreographed by Huen Chiu-Ku. Naturally, everyone expected there to be ones like "Crouching Tiger, Hidden Dragon", "Kill Bill Volmes. 1 and 2 and "The Mummy: Tomb of the Dragon Emperor". Again, it's all about dashing down our hopes.
Our protagonist Sidhu (Akshay Kumar) is the lowest on the totem pole, cutting vegetables at a roadside food stall in Chandni Chowk in Delhi. He longs to escape his dreary existence and looks for shortcuts- with astrologers, tarot readers and fake fakirs - believing anything except himself, despite his father figure Dada's (Mithun Chakraborty) best efforts. His redeeming moment arrives when two strangers from China claim him as a reincarnation of a war hero in the past and take him to China. Sidhu now dreams of wine, women, and a princely existence in foreign lands. Thanks to the devious translator, a conman by the name Chopstick (Ranvir Shorey), little does he know that he is being taken to the Promised Land to rid the Chinese village of the vicious smuggler Hojo (Gordon Liu)! Therefore, Sidhu blissfully sets forth to China with Chopstick who instigates dreams of a delicious future and forgets to reveal the perils, which await him. Along the way, he meets Sakhi (Deepika Padukone), Ms. Tele Shoppers Media (Ms. TSM) who has embarked on a journey to pay homage to the land of her birth and her dead father and twin. Initially, Sidhu through a series of lucky coincidences manages to sidestep being beaten by Hojo's men but finally Hojo catches up with him and exposes him as the country buffoon that he really is. Sidhu has the fire of revenge in his belly and finds the one man who will make him a Kung Fu expert and set the village free. Armed with his Sifu (master), faith in himself and the love of the fair Sakhi, Sidhu sets forth to conquer all!
Nothing to blame on star-casts for they stride with their best spells. Akshay Kumar getting back to pavilion with action-hero is over the top and comedy sense is a splendid show. But, he gets stripped out with an inadequate script. A newfangled Deepika Padukone on dual role steals the show, especially on the characterization of 'Meow-Meow'. Alas! There's nothing such as romance so-touching between Akki and Deepika, blame Nikil Advani for that.
Gordon Liu strikes with a mind-boggling performance. Be it his gestures or his scaring stare, they're awesome. Mithun Chakraborthy with his minimal role makes a good impression (As in his previous flick 'Yuvvraaj'.) Ranvir Shorey with his clichd acting wins appreciations emoting stupendously on all situations).
The narration is really perplexing. Wonder how Warner Bros picked up a flimsy script with absurdities. It is ok to miss out fine logics when you're penning a script on fantasy-action, but Nikil Advani comes up with quite galling attributes. How come strangers from China assume Akshay as their reincarnated war-lord? Even a dim-witted or 5-sense individual wouldn't fleet to a strange land ignoring his relations with a blind plan. In fact, how does Mithun permit Akki for this meaningless venture? All these are questions to which we cant find answers. And Deepika's trip to China is well expected and a formula already tried and exhausted in many films.
Perhaps, this is the first ever film to be extensively shot at the Great Wall of China, but again cinematography isn't worth mentioning. Songs are catchy on the screen especially 'Sidhu' is fantastic with hilarious elements blended. The whistling of 'Twinkle Twinkle Little Star' as signature tune is a good pick. Thanks to Mozart for an enchanting tune. 'Chak Le' is where you to get to watch Akki preparing for retaliation. Rather than depicting him seriously frustrated, it's weird to watch the protagonist with goofy gestures. These sequences fail to make an impact on the audiences. The latter half of the film lacks solidity with a dragging screenplay that offers 'boredom' till the penultimate sequences. Signature style of voice uttering 'From Chandni Chowk to Africa' during the climax is sure to delight Akki fans because we can expect a sequel.
On the whole, Chandni Chowk to China would have been better if Nikil had penned a substantial screenplay that could've got our attentions from getting scattered. Apart from a few hilarious scenes and Kung Fu (Especially Roti-rolling style), the flick lacks finesse.
Verdict: Middling on all quotients.
Rating: **钽 
Obviously, lots of multiplexes launched should have urged Yash Raj Films to stride successfully on new genre of Animation. Indeed, the biggest production house in India joining hands with the ever best studios of Hollywood Walt Disney Pictures is a cock-a-hoop for all. With animation flicks of several foreign countries bringing home the bacon across the World, India lags far behind. Many of our Indian professionals have presented their top-notched outputs in Hollywood animation films. When it comes to Indian Animation film, none of them shored with grandeur. If you had ever thought, budget was our only constraint? Might be, but not for a greater extent. Despites, the same talented animators and greatest producers involved, many of the films are just mediocre. 
Of course, 'Roadside Romeo' falls on the same lines of being an average based film. Unlike previous week's release 'Cheenti Cheenti Bang Bang', this one offers a fabulous piece of work in technical terms. Nevertheless, the film lets our hopes with middling screenplay. 
Precisely, a perfect difference between animation flicks of India and Hollywood lies on this aspect. Leave out the top-charting films Lion King, Shrek, Ice Age; even the average ones like 'Meet the Robinsons' were extraordinary. You know why? A powerful narrative structure, skillfully drawn characterizations and emotional aspects got us adhered to the film. 
Does 'Roadside Romeo' tread following the same formulas? Does it capture everyone's interests' or just kids? Why ask so many questions, just drive yourselves for this film and you'll merely utter 'the fantastical deliverance of animation is sure to attract kids, but nothing well to appreciate on narrative aspects'. 
Glimpse through the storyline and get on with more analysis 
Romeo, a rich dog leads a life of complete style. He was a complete dude. He had the works - a mansion to live in, chicks to party with and the cars to be driven around in, until one day, the family he was the favourite pet of, decided to move and left him back, abandoned on the mean streets of Mumbai.Romeo is now faced with situations he has never been in before. He encounters four stray dogs, which scare the living daylights out of him. Soon, he smooth talks his way into their hearts and becomes friends with them.Then, Romeo finds love! He encounters the beautiful, ravishing Laila, the most beautiful female dog he has ever seen... and he loses his heart to her at first sight!And finally, he encounters a villain! The dreaded Don of the area - Charlie Anna! The Don who everyone is scared of.So hop on to this adventure as Romeo wins friendship, love and a new life - in spite of Charlie Anna and his gang!
Cute and beauteous story, isn't? Yup! But looks like it has been vividly inspired from yesteryear commercial films of hero falling in love, fighting with baddies and exposing his heroisms Screenplay drops down the pace right from beginning, but greatness of Director Jugal Hansraj is revealed in latter part as it has some entertaining elements. 
Don't miss the Pakka- DDLJ ending sequence of train; you'll be elated to extremity Innovativeness of great direction has been showcased and it would have been nice if he had carried on rest of the film with same wavelength. 
In-depth, voices rendered are absolutely top-notched. Be it Saif (Romeo), Kareena (Laila) or any other characters' voice, everyone have excelled remarkably. 
On the technical areas, a perfect animation as mentioned earlier intensifies the film. But musical score by Salim-Sulaiman doesn't stand out for good credits. Perhaps, the musicians could have just worked for ne plus ultra and it's a mere disappointment from this duo. 
Roadside Romeo is enjoyable at certain part for Kids, but they wouldn't be relishing all throughout with it. Flaws are blatant on screenplay and dialogues uttered by characterizations (Charlie Anna speaking in South Indian language slang) and not many vistas do really attract adults. 
On the whole, 'Roadside Romeo' can be watched for exquisite animation presentations, celebrated voices and nothing else. The screenplay doesn't tread on same tempo and that stops our Romeo hitting bull's eyes. 
Verdict: Can watch it once 
Rating :** 
Vijayta Films Pvt Ltd celebrates its 25 years in the Indian Film Industry a Silver Jubilee by presenting CHAMKU which is scheduled for release on August 29, 2008. The banner proudly owned by the Deol family brings forth director Kabeer Kaushik of the Sehar fame.
The film Stars Bobby Deol, Priyanka Chopra, Danny Denzongpa, Irrfan Khan, Ritesh Deshmukh, Rajpal Yadav, Arya Babbar and has apparently been inspired by a true story. The film depicts the journey of a male Naxalite from the southern interiors of Bihar, tutored under a covert governmental program 
For starters, the film takes off real well with a great amount of intensity. Director Kabeer Kaushik does well in capturing the interiors of U.P. and other naxal bound places. The intense action sequences , the gun shots , the bloodshed etc keep you really hooked on to the proceedings. 
As we move on and the character of Chamku starts revealing more of himself and things get a little weary. The usual love angle accompanied with hindi cinema creeps in and undue importance is given to developing the Priyanka Chopra-Bobby love angle.
Director Kabeer Kaushik who has been so tight with the screenplay of Sehar suddenly makes you wonder whether its the same Kabeer behind this flick. Chamku might know where he is headed but the poor audience is absolutely lost trying to figure out what the likes of Reiteish Deshmuk , Rajpal Yadav, Irrfan Khan are doing The journey moves from a childhood revenge to the naxal backdrop to the underworld and the world of bookies etc. To top it all theres Priyanka who drops in with the most predictable line-Main Teri Bachey Ki Maa Bane Wali Hoon.
As for the positives, its the cinematography by Gopal and Bobbys performance that keeps you hooked on. Keeping aside the number of Fade Outs, the camera draws you in.
Bobby Deol excels like never before. You might have seen traits of his Chamku performance in Badal. The film truly belongs to Bobby who with his straight face says quite a bit. If elder brother Sunny was the synonym for anger watch out for Bobby. He excels real well with his bit and his look is just so apt. Hell surprise even more if you watched his lame act in Jhoom Barabar..
Piggy Chops/ Priyanka Chopra is just wasted. Her bit in the film comes more as a hindrance to the flow. Her part brings in some lame songs and she just moves around flaunting colours of her sari.
Irrfan Khan has a more confused bit in the film nevertheless does pretty ok. Ritesh is wasted and so is Rajpal. Deepal Shaw does a tiny bit. Danny Denzongpa is there for a glance. Arya Babbar gets his two minutes of action and his character is killed.
The music by Monty Sharma has nothing to offer. Not a single track to take back.
On the whole, Kabeer Kaushik who was so tight with Sehar, disappoints and gives way to the clichs of Hindi cinema to seep in. A let down from Kabeer Sehar鑒 Kaushik.
Rating : **
And at the end of this year, there's a bedazing blockbuster in Indian Box office. Here comes our maestro of perfection swaying on with a different genre from his previous ventures. Merely, producers wouldn't have considered Ghajini as an 'Empaling Speculation' for enormous reasons. Well, when you've South India's top-charting Director, Bollywood's superstar, Musical Maestro and versatile technicians teaming up, undoubtedly results are off grandeur. On the buttons, 'Ghajini' is so tremendous on all panoramas of narration and technical aspects. The film had raised everyone's expectations across far-flung corners as Tamil and its Telugu dubbed version had walloping critical acclaims.
So, what's special about Aamir's Ghajini? Thank God! It isn't a copycat of Christopher Nolan's 'Memento' and carries more divergence from Tamil version in latter half. Well, even for those who had soundly watched Tamil version, they're gonna experience an enhanced spirit on emotions. Of course, tho' it's an action-packed thriller, emotions are boundless. 
Perhaps, Murugadoss's gripping motif, script and polished screenplay shores on corking grounds with Aamir's more have-to doe with on all vistas. Fine! Let's pretermit Direction and Music, just pick out editing Mr. Perfectionist's touch is more revealing on Antony's editing. It's more illustrious with each and every cut in 'Bekha'. 
Tales centering on amnesias aren't something new in Bollywood, but a unique of its type 'Short Term Memory Loss  An individual losing out his memory for every 15mins' surmounted everyone's expectations. And what else? Aamir's eight-packs had its turn of grabbing everyone's outlooks prior to film's release. 
The film isn't as complicated as Memento. Ghajini is a head-spinning venture of Sanjay Sanghania (Aamir Khan) who has determined to avenge for his girlfriend Kalpana's (Asin) death. Protagonist seeking revenge for his ladylove's death; its so clichd, isn't? Nevertheless, his greatest stumbling block is that his memory loses every bit of details for every 15mins. And what doesn't get bleached from his deep memory is death of Kalpana and the name 'Ghajini' (Pradeep Rawat) who murdered her. Again, the biggest obstruction is that Sanjay doesn't remember antagonist's identity. 
With a Polaroid camera, a cell phone in his hands and alarms beeping on every 15th minute, Sanjay has to tread settling his scores. 
Screenplay is narrated on two separate chronicles; present life and flashback sequences of Sanjay. It's so gripping that you would ne'er feel restless or look at your watches throughout the complete show of 180mins. Except, 45mins of next-to-last sequences, there isn't any slight changes from original version and characterizations have been marvelously depicted. 
'Wordlessly stupendous'  Aamir Khan or Mr. Perfectionist, whatever you like to call him, he is simply brilliant. Just note this down, unlike his previous flicks 'Rang De Basanthi', 'Fanaa' and 'Taare Zameen Par'; he has nothing do with dialogues. Perhaps, it's Asin, Jiah Khan and Pradeep Rawat who jump on uttering more words. For everyone, who were fond of this line 'Actions Speaks More than Words', you'll witness it with Aamir Khan. He emotes spectacularly with his facial expressions and gestures. For instances, watch him out in 'Bekha' where he spells the most minute expressions with brightness. While taking revenge, it's not the furiousness that's disclosed on his face, but the outburst of emotions for his lost love. 
Of course, Asin deliver an over-the-top performance on every scene. She doesn't strain a lot but creates a deep impact on everyone with her role. She's got a great time here in Bollywood and she will rock with her well-brought-up show. 
Don't expect a lot from Jiah Khan, if you were spellbound with her performance in 'Nishabd'. It's about doing justice to her role and her well-enhanced show is evident in penultimate scenes. She has to thank Murugadoss for depicting her so exquisitely. 
Pradeep Rawat takes on with a decent role and his portrayal is as powerful as his characterization is so powerful than Aamir. 
A.R. Murugadoss 閖 He crowns each of his films with 'Success' and his debut directorial in Bollywood isn't an elision. With a trenchant script and screenplay, he reveals of a detailed work on every frame and shot. Working with Aamir Khan, should've made him fine-tuning his before-now version that yields his laurels from universal audiences. A hunky-dory of its kind, you'll witness a vivid groundwork put forth by the auteur, especially a fine-ending unlike Tamil version. As you step out of theatres, it's all about good shades of protagonist arresting your senses and not about hero's act of vengeance filled with bloodsheds. 
A.R. Rahman with his tranfixing tunes steals the show. In particular, as everyone starts heeding to Mandolin's interlude on 'Guzarish', its claps, hails and whistles. Scenarios persist with 'Bekha' and getting to watch Aamir's acts and 6 get-ups, it's an appreciably innovative. 'Kaisa Mujhe' is sure to remain along with these two numbers on the charts of evergreen tunes. 
Ravi K Chandran's cinematography requires special mention. Don't miss his stylish shots on exotic locations of 'Guzarish'. A grand round of applause for Location Manager for zeroing down an unforeseen never-never land. Costumes are so convincing and it's so nice to see Asin on finest looks in 'Aye Bachu'. 
A matured touch of 'cuts' by Antony brightens up visual quality. Be it exposing Aamir's physiques or catching up for the mood of 'fast running notes in Bekha', he deserves best credits. 
The film has whole lot 'A-FACTORS' of Aamir, A.R. Murugadoss, A.R. Rahman and Allu Aravind. Naturally, it's A-ONE quality rendered on their roles. 
On the whole, Ghajini ends this year with a great Dhamaka for all universal audiences. For those who watched this year's releases with tentative thoughts, can head for Ghajini to witness 'The best film of this year'. For sure, all Khans, Chopras and Kumars should be eyeing on Murugadoss now while rest of the cast-crew would witness a great new dawn in Bollywood for this New Year. 
Verdict: Remember this  It's a blockbuster 
Rating : ****
It happens to be a welcome First Friday for a couple of debutant filmmakers in Bollywood. Yup! If Zoya Akhtar does it with 'Luck By Chance', Ajithpal Mangal takes on with 'Victory'. Perhaps, film 'n' cricket buffs were elated picking on 'Lagaan' and 'Iqbal'. These flicks had much more about the emotional side touching the poignant theme of unity and integrity. Well, real biggies on cricket field teaming up for 'Victory' got our adrenalines shot up expecting a much greater show. Unfortunately, the film doesn't gratify to audiences' interest in many vistas.
In fact, a film made on 'Cricket' has the clichd formula of protagonist peaking with triumph as there aren't any other options. 'A Hero Must-Win' factor always persists in any sports-based films and 'Victory' isn't elision. No fault in the script penned; but the lengthy duration of 155 minutes of 'Rise of the Phoenix' story does get everyone annoyed with more fidgetiness.
Ok! In India, cricket is much more than just a game; it is a passion, an obsession, a religion! Millions of youngsters, in all the corners of the country dream of playing for India! A dream which incredibly only one in every 100 million realizes.
'Victory' is the story of a father, Ram Shekhawat (Anupam Kher), who saw such an impossible dream for his son! This is also the heroic story of his son Vijay Shekhawat (Harman Baweja). Hailing from the small town of Jaisalmer, Vijay Shekhawat becomes India's latest world-class batting sensation and is catapulted to superstardom!
But it is the glamour and the glitter of this very demigod status that makes the young, vulnerable small-town boy Vijay stray from his true vocation of cricket. Unfortunately this leads to a loss of focus and to a miserable drop in his performance. But by the time Vijay realizes the error of his ways, it is too late and he finds himself thrown out of the Indian cricket team because of disciplinary reasons. Suddenly the hero of the cricket crazy India becomes a villain in everyone's eyes. His father Ram Shekhawat's dreams are shattered and suffer a paralytic stroke. 
This tragedy awakens Vijay's conscience and sense of honor. He wants to redeem himself in the eyes of his father and every Indian. Against great odds, he once again makes it back to the Indian team and gets to play in the finals of the Champion's trophy against Australia where he plays a stellar role in enabling India to win the Trophy. In the emotionally moving final, in spite of being hospitalized mid-innings because of an injury, Vijay returns to bat, risking permanent injury, when India are nine down, to pull off an impossible victory against the world champion, Ricky Ponting's Australia.
In this match Vijay Shekhawat fulfils his father's dreams and enters the pantheon of Indian cricket. 
Harman Baweja looks amateurish performing as a cricketer on the grounds. It doesn't matter about his batting skills, but on many parts he fails to emote as an aggressive guy or an elated one. Sweating in liters and rolling eyes-all over doesn't offer a tensed look. Perhaps, watching at least couple of real matches could've got him the psychological feel of emotions displayed on the grounds. Of course, even in most of the sequences outside the field, he isn't up with finesse. Amrita Rao has nothing big to spell apart from supporting the hero and appearing in songs. Gulshan Grover does justice to his role, with this one the farthest distance away from his previous one 'Karzzz'. A flawless performance by Anupam Kher.
Getting on with Debutant Ajithpal Mangal; dealing with a complicated theme with real life characters makes his deserve a grand round of applause. But, the director doesn't accomplish his directorial task so effectively. Especially, his sluggish screenplay in the latter half offers nothing more than boredom to the audiences. Sometimes you yawn and are restless and the scenario seems to be quite different during penultimate scenes as he makes a good comeback with the climax. But every best effort gets weakened due to the irksome screenplay. Not alone Ajithpal, Kannan Iyer too needs to be blamed for it.
Anu Malik doesn't come up with an extraordinary musical on both the songs as well as the background score. Apart from a couple of songs, 'Balla Utha' and 'Money Money', nothing is quite worthy heeding. Cinematography and editing, to a certain extent is commendable, but only a few computer generated works are quite laudable.
On the whole, 'Victory' could have made it bigger on the screens if the entire team had worked on an effective preproduction. Apart from this, it's a film worth watching for the different attempt by this debut filmmaker. Though loaded with more favorite cricketers on the screen, the film lacks solidity on many quotients.
Verdict: Merely a mediocre. 
Rating : **
From the debutant Director Neeraj Pandey: Two men more challenging: an unrecorded event, spine-chilling thriller ride for 100 minutes with unexpected twists and turns. Cinematic purgatory, right?
Yippee! This is something unexpected, indeed a great surprise and a resurgence of pure cinema in the pages of Bollywood. It's off been awestricken gesture of tasting something unique amidst of feculent flicks that should have really annoyed us. Perhaps, A Wednesday entitles Neeraj Pandey as the finest gifted auteur of Indian Cinema. Truculent characterizations designed on stupendous actors and a rattling screenplay opening with a silent ambience and then an edge-seated thriller with nail-biting sequences: These ascribe the film to be the most estimable start by Neeraj.
Fine! What's so appealing about the story of 'A Wednesday'? Come on take a glimpse
As the title goes, 'A Wednesday,' centers on certain events blossom forth between 2 and 6 P.M. on one fine Wednesday. These events are something that doesn't go noticed in the records of history, yet remains the most horrific ensuant for those involved in it.
It all starts when Prakash Rathod (Anupam Kher), City Commission of Police, Mumbai is buzzed by an anonymous entity demanding him to release four militants or else the bombs planted by him at various parts of the city would jeopardize lives of innocents. Prakash doesn't take it serious; assuming it is a crank call until he is blew out of the water once a bomb planted in the police station right opposite his police headquarters is spotted.
Situation is no easier for Prakash and now ropes in the squad of top-notch men for trapping the anonymous caller, queering down his plans. Even a young hacker is hired to assist the team in deciphering the stranger's location. But nothing really helps them out With no options left, Prakash Rathod takes in the aid of two young cops (Jimmy Sheirgil and Aamir Bashir) in handing over militants to the anonymous caller. 'But, this is something clichd kind of story': if you ever thought so, you're erred. Well, then starts the gripping chain of events that leading to a freakish turn
It's completely out from platitudes when it comes to script and screenplay where we are lucky to see a flick sans songs, and irrelevant commercial elements. Hats off to Neeraj Pandey! His brilliancy in penning an exceptional script and brimming up star-casts on new dimensions is a penchant piece of work酅.Well, the initial scenes centering on parallel stories may be quite irksome, but once the thriller ride begins, you would throw yourselves into the screen.
The most honky-dory personalities Anupam Kher and Naseeruddin Shah on the screen together and their breathtaking performance are really laudable. In precise, Naseeruddin Shah hits the bull's eyes with his over the top gestures and uttering of dialogues. His mind blowing performance in the climax sequences doesn't go alone: but with a rigid applause. Peering across the same wavelength is Anupam Kher spotted more energetically perfect. If you are looking out for his extraordinary performance, again it's the same climax that is about taking face to face with Naseeruddin Shah
Jimmy Sheirgil with a never seen before performance steals the show as a fickle cop. One fine reason of singing appraisals for Neeraj is of utilizing Jimmy's potentials on superior quality. On the pars, Aamir Bashir, yet another talented actor is revealed. Chetan Pandit as the Chief Minister and Kali Prasad Mukherji as terrorist take on with perfection.
Getting on with technical aspects, one single word would be efficacious to describe them, 'Awesome'. Be it the chasing sequences canned by Fuwad Khan or Shree Narayan Singh's editing, everything is compact in spelling the flavor of a perfect thriller. Don't miss out the background score by Sanjay Chowdary: they are simply enchanting.
As a whole, A Wednesday is a flick that is sure to win the laurels across the far-flung corners. A bold and innovative attempt by Neeraj is worth it
Patently, Cheenti Cheenti can be praised for being 2nd Indian non-mythological flick churned out and first animation film in India made in cell-animation (manual) using hand drawn pictures thereby ensuring international quality standards. There are more than 9, 60,000 drawings used in the film. Alas! Despites possessing such uniqueness, the film falls out of expectations, for loose-ends on every aspects and nothing seems to off top-notched quality. Of course, amidst of advanced animation flicks hitting across far-flung corners of the globe, the film doesn't prove of its worthy vying with it. R.D. Malik should've better made this flick, if he had something unique to deliver or else shouldn't have envisaged about it. Indeed, it cannot be watched just for the sake of tag 'Made in India'.
The story revolves around two kingdoms of Ants -redandblack: Near the pond, on the west side of a dilapidated bungalow, lie two kingdoms of the red and the black ants constantly at loggerheads. It erupts into a major showdown whenLaal Budda(old ant) is accused of harassing Kalibou, a hand maiden ofKaali Rani. She complains toKaali Rani, who insists thatKaala RajabeheadLaal Budda! Angered by the audacity of theKaala Raja,Laal Rajawages an attack on his kingdom. To make things worse,Lohitthe Laal Prince falls in love withKrishnathe Kaala Princess and elopes with her.
The supporters of theKaala Rajaare MightyGirgit...and the Frog...But some have vested interests. The Laal Raja also has his supporters, including the magicalBeyallis Karma. 
The film seems to have been produced just eyeing on kids, but then it's so precise even they wouldn't be entertained with this fallible piece of work. It's been a clichd theory that most of animation flicks doesn't brim up with perfect screenplay. Merely, because the characterizations keep dominating and you wouldn't notice even the blatant flaws over there. Cheenti Cheenti has caricatured characters that don't exert a pull on audiences. The most exemplifying factor would be so-called chameleon that never changes its colors and a frog that never stops croaking. More specifically, a mongoose that looks like a mouse is really ridiculous and this isn't the end, for you would point out a long-listed absurdities. 
Getting on with voices rendered, it's just Arsani who steals the show. But again, improper lip-syncs diminish the good credits. Well, looks like rest of dubbing artists haven't strained themselves for best efforts. 
Nothing great to speak about technical aspects; neither animation nor the musical scores goes convincing. Perhaps, the biggest spoil-factor of film is that it's 2-dimensional all throughout. 
On the whole, Cheenti Cheenti Bang Bang fails to get added with Antz or A Bug's life酅 
Verdict: Better avoid it 
Rating : *
Turning words into pictures is fairly clichd when it comes to Hollywood: Be it Francis De Coppola's The God Father or Stephen King's scintillating piece 'Different Seasons' adapted as The Shawshank Redemption. These are happening adaptations that have taken the position of 1 Hollywood's ever best films. Divulging to be so, the readers well-accepted these versions on the screen, merely because of good execution. Nevertheless, 'Hello' adapted from one of the finest hot-selling novels 'One Night @ the Call Centre' penned by Chetan Bhagat hits screens today. Indeed, Call centres happen to be the hot themes for novels and films 
Well, would the readers of this novel get gratified with its adapted handiwork? Not so sure, the film works out well on certain aspects. But again, long-drawn-out screenplay grinding to a halt gets the viewers bit annoyed. Chetan Bhagat fetches the good credits of penning an innovative novel, but things aren't the same with 'Hello' as screenplay crafted by Chetan and Atul Agnihotri is merely a mediocre. 
Fine! Let's a glimpse through the synopsis of 'Hello'酅 
Hello... is a tale about the events that happen one night at a call center. Told through the views of the protagonist, Shyam (Sharman Joshi), it is a story of almost lost love, thwarted ambitions, absence of family affection, pressures of a patriarchal set up, and the work environment of a globalized office.Shyam is losing his girl friend because his career is going nowhere as he trudges his way around in a call center. His girl friend, Priyanka (Gul Panag), is also an agent like him at the call canter who is about to be snatched by an NRI techno geek.There is also the aspiring model, Esha (Isha Gopikaar), who is hopping for the break that seems to be always already eluding her and the man about town, Varun (Sohail Khan), who is into well, things. The housewife, Radhika (Amirta Arora), who is constantly at the receiving end of her mother-in-law and a beleaguered grandfather, Military Uncle Vijay Pratap Chauhan (Sharath Saxena), who has been barred from interacting with his grandchild make up the rest of the call agents who see their worlds crumbling around them as the decisions of right sizing are conveyed by Bakshi (Dilip Tahil), the boss.It is a night when dreams will finally crumble. Or will it? For there is that call from God. Narrated as a tale within a tale as a beautiful woman (Katrina Kaif) meets the auteur/ narrator (Salman Khan) and promises him a story on the condition that he has to narrate it further.
Everyone loves 'Peeping tom' when it comes into the lives of call centre employees. This should have really evoked the interest of audiences to go for it. The characterizations have been precisely sketched, but the problem lies in establishing them Yup! Establishing characterization vividly varies from novels-to-films and for sure film buffs would understand it. Atul Agnihotri should have better finished introducing the characters within first few minutes. But the entire first half is carried on demonstrating characters and their problems. Of course, the scenario prolongs to the earlier minutes of latter part too and it gives a wretched look. 
Nothing to blame on the star-casts: everyone does a neat job with Sharman and Sohail Khan turning entire spotlights on them. They are enthusiastic right throughout emoting to fun, frolic and emotional quotients. Gul Panag doesn't deliver the best performance other than sharing romantic sequences with Sharman. Amirta Arora's performance is quite good, but it would have been better if the auteur had penetrated more on to her characterization. Ditto to Sharath Saxena and he should have been well-utilized. 
Salman Khan appearing in cameo role doesn't mean that director should have let him at ease to perform on his own interest. Katrina Kaif with her cherubic looks captivates us though she appears for duration of not more than 10mins. 
Exposing the customers buzzing up to the call centre executives has been very-well executed. It's so real of how some callers are so foolish and their queries too 
Musical score by Sajid-Wajid is commendable, but background scores are not solacing. The title song 'Bang Bang Bang' is sizzling and indeed a grand fiesta for fans of Sallu Bhai. Sanjay Gupta's cinematography is as enchanting as things have been well-worked out in interiors of call centre. Thanks to art director for decent works. 
On the whole, 'Hello' showcases the moderate effort of entire team and would sustain in box-office for the interesting story. 
Verdict: Watch it once.
Rating : **1/2
Flicks based on tinsel town aren't new to the world of cinema. Be it Krzysztof Kieslowski's 'Camera Buff' or Federico Fellini's '8 '; these avant-garde films dealt with intrinsic something more than filmmaking. Precisely, it was far away from shooting spots of clapboards and 'Camera Rolling Action-Cut'. To start off with, 'Luck By Chance' is worthy to be called as the best of its kind. Earlier, the same producers brimmed with an extraordinary flick 'Rock On' and again, here's one more tremendous piece of work accommodating itself across the 'Changing phase of Bollywood'.
Hats off to Zoya Akhtar for a splendid debut! Unlike debutants, there is nothing to be called as 'amateurish' about her work on any quotient.
Ye Kaise Ho Saktha Hai?
When you've a legend Javed and a fantastic filmmaker accompanying her on the button, with a gripping storyline and perfect casting (including guest appearances of superstars) is what makes 'Luck By Chance' fantastic. The fantasy sellers and the devoted audience, the insane love for Cinema mixed with the eccentric notion of divinity and archaic beliefs; these are the contradictions that keep this world spinning.
The stark reality of living in India juxtaposed with the fantastical world depicted on screen suddenly begins to make sense
Sona (Konkona Sen Sharma) arrives in Bombay with her dreams of becoming a film star. Wide eyed but ambitious, she does whatever it takes, to make it. She lives on her own in a rented apartment - a luxury for most in this bustling city, and spends her time with a motley crew of loyal friends whose lives are also entwined with Bollywood, each one in search of a bigger dream. 
Vikram (Farhan Akhtar) has just moved to the city leaving the comforts of his parents' Delhi home. He is a mover, he is used to getting what he wants and is smart enough to know when to demand it and when to manipulate it. He is young and handsome, and full of promise. Sona begins to enjoy Vikram's attention and affections; they develop a romantic relationship.
Rolly (Rishi Kapoor) is a successful but superstitious producer who only works with the biggest stars. He is making a potential blockbuster launching the nubile Nikki Khurana (Isha Sharwani), the 18-year-old daughter of 70's superstar, Neena (Dimple Kapadia). The hero of the film, Zaffar Khan (Hrithik Roshan), is Rolly's favorite superstar. He was launched by Rolly and went on to become a huge draw at the box office. 
The wheels of fate indeed continue to spin favorably for Vikram, as elsewhere in the industry, havoc spreads on the sets of producer Rommy Rolly's new film. Vikram is called in for an audition and uses this opportunity to the fullest. 
The film is about a slice of Bollywood life, in which "Kismet" plays a huge role. Here, notions of superstition, fate and destiny underline every life, as grand desires and opportunity converge to form strange patterns. 
In such an unpredictable climate is success and failure that others define for you or is it something you decide for yourself?
As mentioned earlier, casting happens to be the most promising attribute for the film. Farhan Akhtar is marvelous with his casual air. The actor never seems to have exposed his strained take of performance in any scene. He's cool carrying off everything with his penchant for perfection. Not far away is Konkona Sen Sharma. The actress with her top-notching show emotes stupendously well in various situations.
She doesn't complicate herself while getting emotional outbursts. It's merely with her facial expressions and simple gestures that she emotes so well. Precisely, watch out for her final conversation with Farhan Akhtar on shooting spot, it is too good. A 5-star credit to Rishi Kapoor for an excellent performance throughout the show. Watch out for the reflections of disappointment on his face with a lowered voice, when Hrithik Roshan walks out of his project. And again, a glimpse on his actions while Hrithik congratulates him over the phone; he eclipses everything in the frame. His intonations of appraisals for Farhan like 'Volcanoes of Talents' doubtlessly gets us to laugh.
Dimple Kampadia's flare-up lines with her daughter are worthy of applause. Juhi Chawla in her minimal role is brilliant.
Getting on with superstars making their cameo, this isn't something of a lavish show. Apart from very few, everyone has a vital role to perform. Need an illustration? It goes off with Karan Johar's talk with Hrithik Roshan at Kareena's party. Above all, Shah Rukh's portion in the penultimate sequence is worth a mention with a strong substance.
Musical score by Shankar-Ehasan-Loy is of mediocre quality as only a couple of songs 'Bhaaware' and 'Sapno Se' do well on the screen. The same scenario persists with the background score as well but it is well established on few parts. Cinematography by Carlos Catalan offers an enriched visual quality with distorted tones. He has well-designed cuts with his innovative angles adhering to emotional touch.
This is more evident during Konkona's talk with her agent (First, both the characters focused clearly, towards the end, the camera pans depicting them in silhouette). Javed Akhtar's dialogues are gripping, especially with Konkona portion during climax.
Zoya Akhtar comes up with a good screenplay that's quite lively in the first half. But it turns to be slightly flimsy in latter part till the last few minutes. Nevertheless, an appealing climax diminishes those flaws.
On the whole, 'Luck By Chance' is sure to be loved by film buffs, multiplex audiences or those related with tinsel town. With no biggies slated to release for next couple of weeks, the producers can 'Rock On' filling their sacs with profits.
Verdict: It's worth a watch!
Rating : ***
Alas! Karzzz dashes down your expectations flubbing on every aspect: performance as well narration. Even it happened to be an archetypical piece of work by Director Satish Kaushik, the film has nothing great to be appreciated about. Perhaps, you'll get miffed up equating both the versions and better don't strain yourselves clinging on with it. 
Re-incarnation stories would sound better if filled with either cliff-hanging quotients or a transfixing screenplay. Well, Karzzz doesn't seem to be treading on any of these aspects and of course, it has no solid solution to the riddle of reincarnation other than vengeance. 
The protagonist Monty (Himesh Reshamiya) is an extremely successful Rock Star based in South Africa. Indeed, phenomenally popular across the country, he is worshipped like an idol. In course of one of the many parties he attends, he meets Tina (Swetha), a final year catering student. For Monty, its love at first sight. But, Tina returns home immediately, after leaving Monty fretting. That's when things start to change.During one of his rehearsals, Monty starts playing a tune and suddenly goes into a trance, with intense visual flashes - a mansion, a temple, a beautiful girl... Monty collapses unconscious.On further probe, he finds out; the mansion belonged to a certain Ravi Verma (Dino Morea), who died in a tragic accident. Another flash back reveals that Monty was Ravi Verma in his previous life, married to a beautiful girl called Kamini (Urmila Matondkar). Monty now has the grave realization of having been reborn in his current persona. His beautiful love interest (Tina) is none other than Kamini's foster daughter. From here starts Monty's new journey.A journey of enthralling vengeance, which he unleashes on Kamini. In close connivance with her wicked accomplice Sir Juda (Gulshan Grover), Kamini had murdered Ravi to take over his estate, leaving his family helpless after his death.To repay the debt he owed them for all their suffering, Monty now brings his mother and sister out from the dark recesses of their life; he also reunites with Tina and culminates his incomplete love from a previous life.Nearly, before three decades, the theme of rebirths would have fathomed to be something new. But, Satish Kaushik should have brimmed up with polished work and not just the replica. The entire hours of film right from the beginning till climax, everything seems to be clichd inclusive of graveling characterizations and passing-scenes techniques of car-driving sequences that were more famous 80s. 
On terms of performance, it's just Urmila Matondkar and Dany Denzongpa who keep churning best out of them. Be it the devilish kind of attitudes or appearing in bewitching looks, Urmila scores the best turning spotlights on her. Dany Denzongpa as a film-maniac adds more to humor part and pretty well on emotional lines too. In fact, Satish can be well-appreciated on depicting Danny's role for its one just convincing factor in the film. Himesh Reshamiya merely disappointson performance with his inability of emoting to humor, action and sentimental situations. Just glimpse through the sequence where he catches hold of his past memories looking at his hillside bungalow, you are sure to break down with laughter. Swetha Kumar with good looks fails to impress with her performance. The most annoying part is Gulshan Grover being portrayed as mute-funny villain with his left arm equipped with instrument. 
Lack of on-screen chemistry between Himesh and Swetha is furthermore scattering away everyone's attention. Lots of songs in the first half completely encumbrances the pace of screenplay and you never feel like getting into halls post-interval. Again, the portrayal of Rohini Hattangadi is nettlesome as she recognizes her re-incarnated son though there are no similarities between Himesh and Dino. The climax sequence is completely cockeyed where Urmila triggers out bullets on Himesh's legs and yet he looks cool. His gestures look like he hasn't been stuck by bullets, but stones. Dino Moreo does justice appearing on cameo role and ditto to Bakthiyaar Irani.
Musical score by Himesh Reshamiya are mesmerizing and Manoj Sani's capturing the best exotic locations of Cape Town and Kenya are spellbinding. 
Nevertheless, moderate performance by entire star-casts, deplorable screenplay and poor direction marks Karzzzz as C-graded film 
Rating : *
Click to LISTEN songs on Raaga.com
Yeah! When you've a British Filmmaker and Indian Artists are on the show, 'a mind-boggling' magic goes on. For sure, you wouldn't need an illustration for this. Richard Attenborough's 'The Gandhi' touched the feat of honor. Now, after 27 years, here the Indian dreams getting accomplished yet again. Thanks to Danny Boyle who has made us wonder how versatile filmmakers of our Country weren't able to present such a mirror-image of Mumbai, its beauty and the other side. Precisely, it's worthy calling the film as the 'Good-Bad-and-The Ugly' of Mumbai. Indeed, the British Filmmaker endows us with a tremendous piece of work. Well, this flick isn't merely about 'A Slumdog turning millionaire overnight', but the heart-and-soul encounters faced by a lad on his way from 'Rags to Riches'.
Ever heard about the line 'Reality Bites', you should have. A staggering film that offers you surprises and irresistible shocks that even Mumbaikers wouldn't have noticed. If you're looking out for any messages to be perceived - yeah, you've one. 'Bitter experiences making you stumble down are the stimulants to successes'. Don't assume this to be Danny's statements; but it is for those audiences who expect a solid substance from it.
Accused of cheating and desperate to prove his innocence, an eighteen-year-old orphan from the slums of Mumbai reflects back on his tumultuous life while competing to win 20 million rupees on India's 'Who Wants to Be a Millionaire' in Danny Boyle's inspirational drama. Jamal Malik (Dev Patel) may not have a penny to his name, but that could all change in a matter of hours. He's one question away from taking the top prize on India's most popular television game show, but as with everything else in Jamal's life, it isn't going to be easy.
Arrested by police under suspicion of cheating, Jamal is interrogated by the authorities. The police simply can't believe that a common (Slumdog) could possibly possess the knowledge to get this far into a brain game game, and in order to convince them of how he gained such knowledge, Jamal begins reflecting back on his childhood. As young boys, Jamal and his older brother, Salim, lived in squalor, and lost their mother in a mob attack on Muslims. Subsequently forced to rely on their own wits to survive, the desperate siblings fell back on petty crime, eventually befriending adorable yet feisty young Latika as they sought out food and shelter on the unforgiving streets of Mumbai.
Though life on the streets was never easy, Jamal's experiences ultimately instilled in him the knowledge he needed to answer the tough questions posed to him on 'Who Wants to Be a Millionaire'. Though Jamal makes a convincing case for himself, one question still remains: why would a young man with no apparent desire for wealth or fame be so determined to win big on a national game show? Of course, it won't be long until everyone finds out the answer to this burning question, because as Jamal sits down to find out whether he will be rich beyond his wildest dreams, 60 million viewers remain transfixed to their televisions eager to see if he'll correctly answer the final question. 
It's merely not the expositions of Mumbai and Vikas Swaroop's 'Q
Check out the list of star-casts, everybody on the title cards steals the show with their exceptional performance sans flawlessness. Dev Patel has an inborn talent that's so evident on his gestures and actions on every frame. The glimpse on his reactions as Irrfan questions 'Who's there on 100 rupee Indian Note?' his fantastic spell of reaction would never stop anyone from applauding. Watching this guy glimpsing on his past for the last question of 'Three Musketeers' and smiling cheerfully, would again make you hail him with praises. 'An outstanding actor' and that's it.
Well, you don't have Frieda Pinto appearing for more than 30mins (3 different girls on different ages of Latika's characterization). But, gets her depicted attractive sans a lavish makeover Madhur Mittal as Older Salim overwhelms with sparkling acting especially in the penultimate sequences. Wanna hear his Punch dialogues? 'Eeeeeasy', 'Aaraamse.', 'I'm at the centre of centre'.
Anil Kapoor deserves great appraisals for the bold attempt of picking a characterization of negative shades. Irrfan Khan with his casual efforts picks your attention. Saurabh Shukla does his characterization which is presented with finesse.
The technical aspects are enthralling. We have never seen Mumbai's slums so deeply. The cinematographer doesn't fail to capture even the minutest props with the best-innovative placements of camera angles. Bird's eye view of Mumbai's slums is over-the-top..
As icing on the cake, the Musical score by Rahman makes it big with the visual perception. To a certain extent, title song 'O Saayo' seems to be carrying the traces of opening scene in Fernando Meirelles' 'City of God'. Rahman's earnest involvement in getting along with creative thoughts of the cinematographer and Danny Boyle has yielded the best results. Doubtlessly, 'Jai Ho' and 'O...Saayo' are electrifying making you feel to watch it over again for many times. Nithin Desai's set decoration of 'Kaun Banega Crorepathi' and the marvelous Taj Mahal are a masterpiece. 
On the whole, 'Slumdog Millionaire' has various reasons to capture everyone's attention. Probably, the most top-charting show of 'Who wants to be a Millionaire', 'Kaun Banega Crorepathi' should have earlier pulled everyone. Nevertheless, there's something more close to your hearts than these factors of emotional vistas. A beautifully portrayed romance bounded with lots of hurdles in the union till last moment is sure to melt down your hearts.
Verdict: Watch it any cost. Even, if a ticket costs a million dollars!!! 
Rating : ****1/2
Known for percolating exceptional themes and winning laurelses, Rituparno Ghosh pitches 'The Last Lear', based on the classic play 'Aajker Shahensha' by Utpal Dutt. Alas! It's a paradise for minuscule audiences while for the rest its 120mins, world of hellhole. Unlike his previous flick, 'Rain Coat', this trenchant piece of work goes dashing down the hopes of many. Reason is so simple: Lots of Shakespearean poesies and you know who loves it the most? Nevertheless, 'Last Lear' would be an epithet of how an enchanting play would be metamorphosed into a blemishing wretched film because of it screenplay.
Siddharth (Arjun Rampal), a struggling auteur with dreams of making films on realisms is on search of some actor who would be a worthy actor to play lead role in his film. He finally settles down onan aged play actor Harry (Amitabh Bacchan), who has no likeliness towards cinema.
But the actor still looks cherished on uttering libretto with a bold tone of voice. Residing in house of closed windows and dim-lit rooms, Harry finds Siddarth going much similar with his ideologies. Well, it all starts with cup of vodkas, cheerful interaction and then what? The curtains rise up in the frame, where Harry plays the role of an ageing clown namedMaqbool.Over these hours of shooting for the film, Harry gets into a new friendship with actress Shabnam (Preity Zinta). While, the film is winning grand round of applause at premiere show, but Harry tightly holds him back into his dim-lit dark room with the doors tightly shut. No one cares and the premiere still goes on and here reveals the selfish motives of entities
On the traits of screenplay, Rituparno Ghosh fails at certain points and more specifically at the flimsy climax. Despites possessing fantabulous theme and strong characterizations, nothing works out the magic. It's not just about these two characters of Harry and Siddarth, but Rituparno depicts a strong color of feminism. Fine! Preity Zinta, Shefali Shah and Divya Dutta dominate the screen during most of the times. But they are worthless, when it comes to narration and Ghosh should have spelt out purely for commercial panoramas. This happens to be the queasiest spoiler of this flick.
But don't miss out the comedic encounters between Arjun Rampal and Amitabh Bachchan. Pointing the individuals moving through their home by roadside and guessing about their profession are a great relief to the anxious audiences. Indeed, their tiff over adding 'Soliloquy' in the film reveals of a realistic encounter between an ambitious filmmaker and stubborn actor.
Nothing to blame on the performance of star-casts: especially the breathtaking performance of Amitabh Bachchan His stunning action of pleading Arjun Rampal about performing the climax sequence without any dupes is a chef-d'oeuvre.
The exotic locations captured by Abhik Mukhopadyay'scinematography isa grand fiesta of visual treat. While nothing more to do with background score or editing.
If you are planning to get relinquished of watching an exceptional film and if you are ardent fan of Shakespeare and Fedrico Fellini's style of films, The Last Lear would be best one. While for others, it's about dashing their hopes.
Verdict : Fiesta for miniscule audiences
Rating : **1/2
'Marvelous', 'fantabulous' and what else, put your best words of appraisals for Director Kaushik Ghata. Amidst, corporate companies and Hollywood's top-charting production houses churning out their extravaganzas in Bollywood, Rajshri Productions enriches with simplistic beauteous themes straight from its shoulders. 'An oasis amidst of large deserts'  Of course, Ek Vivaah Aisa Bhi deserves it for a poignantly crafted tale by Suraj Bharjatiya and Kaushik Ghatak's perfect direction. 
Possibly, with changing phase of genres in Bollywood, one may not opt for PURE DRAMRA. Uh-huh! Multiplex audiences may not choose this flick, as they have plenty of good releases hitting screens recently. Obviously, it's hard to choose the best out of bests as Tom Hanks says it in Forrest Gump  My Mamma used to say 'Life is a box of chocolates, you don't know what you're gonna pick'. Fine, it could be a difficult task in opting one best out of all recent releases. 
Producers brimmed up with perfect knacks have hit bull's eyes. Everyone could've have felt it odd with makers releasing this flick with just 80prints and in single screens. Undoubtedly, audiences zeroing down on single-screens will love watching this film. For sure, producers should've opted for 'Slow 
Best in its theme, Rajshri haven't failed in bringing to us, best wedlocks on screen in their previous films and Ek Vivaah Aisa Bhi is not an elision. Hymeneals, gala celebrations of marriage ceremonies have been spelled Don't miss the concentric aspects of heart-binding emotions and splendid plotline.
Sacrifices for love portrayed would melt everyone's senses and overall it's a decent family entertainer. 
Chandni (Eesha Koppikar) belongs to a middle class family; living in one of the tiny by lanes of old Bhopal. She lives with her father and younger siblings- Anuj and Sandhya. Chandni, who is deeply attached to her school going brother and sister, is trained in classical and folk music. During a stage performance she falls in love with Prem (Sonu Sood)..
Prem hails from a rich family. He is an un conventional Ghazal singer full of mischief and pranks..
Life is picture perfect ...until on the day of engagement Chandni's father passes away...suddenly she becomes the eldest in her family. On one hand her 'Mehendi' adorned hands are beckoning her to the dream home of her fianc and on the other hand are her younger siblings, whom she cannot take along with her. Chandni decides not to marry so that she can bring up her little brother and sister with respect.
Prem understands her and stands by her through thick and thin as she goes through her struggle. He unconditionally waits for Chandni for 12 long years until she fulfill all her responsibilities as an elder sister.
'Truly...sometimes the greatest love stories are .... the ones that stand the test of time.'
Doubtless, taglines picked for promos don't dash down your hopes and debutant Kaushik Ghatak strides winning accolades. Lots of his elbow greases get revealed with the exquisite filming of best moments through the entire show. Perhaps, lack of pace in first few minutes may put down your interests Nevertheless, the scenario transcends with solidity in screenplay and actors breathing lives on characters. Better don't forget your hankies; certain scenes would soak your eyes with tears rolling down on cheeks. 
Nothing to blame on star-casts; their flawless top-notched performance strikes straight into your hearts. They are sure to remain undiminished post-the-show. Sonu Sood brims up with an over-the-top act. Be it his gestures or facial expression, he looks full-blown from his previous hits Jodha Akbar, Singh is King. Ditto to Eesha Koppikar; she steals the show with her chasteness adding strength to emotional ratios. Alok Nath, Vallabh Vyas and Smitha come up with laudable performance while Vishal Malhotra exceeds your expectations. 
Better it would've been, if Kaushik and Sooraj had their focus on technical panoramas. Except couple of songs inclusive of 'Mujhme Zinda Hai Woh', nothing works out magic especially in first half. Sashi and Sumit make the film more resplendent penning dialogues and they deserve special mention. 
Ek Vivvah酅 Aisa Bhi is perfect in all vistas savoring to the tastes of audiences. Indeed, it's worthy carrying credits of 'One of the year's best family entertainer'. There aren't any letdowns from Rajshri Productions and hats off to entire team 
Verdict: Worth watching Don't miss it. 
Rating: ****
Director Sanjay Gadhvi should have displayed disclaimer much before title credits, "Don't watch this flick carrying same expectations of Dhoom and Dhoom 2". Well, the film deserves it, for you are sure to get down with your hopes after watching it. Both the previous biggies Dhoom and Dhoom 2 were grandiloquently spelled with big star-casts and racy executions. Well, Kidnap is nowhere near these two directorial ventures of Gadhvi. Alas! Never expected such a ridiculous piece of work from the same director and of course, Imran Khan is the one guy in the entire star-casts who deserves pat for his solacing performance 
Well, hide and seek games are quite clichd when it comes to Hollywood films like Cellular, Phone Booth and more. Bollywood directors endeavored remaking these films titled 'Speed' and 'Aamir'. Though not a remake, Kidnap falls on the same lines of tete-a-tete conflict where revenge has its special attention. In simple, the film is about a boy versus man and this theme sounds quite interesting. But where does this drama get you disappointed? Flimsy screenplay blended with lots of absurdities and we are sure you don't need any rigid reasons than this. 
The very title 'Kidnap' and its prognosticating prologue keep your guessing quotients locked. Fine! The motive of Imran Khan abducting the victim is merely not for money. But when the suspense gets unraveled in its decisive moment, you would regret for ludicrous intentions of the young lad. 
Flaws are so blatant on almost the entire crew. Much before getting done with the analysis, let's take a quick run through about Kidnap is all about 
When Dr. Mallika (Vidhya Malvade) asks her daughter Sonia (Minisha Lamba), what she would like to be gifted for her 18th birthday, Sonia wants to meet her Dad. On the get-gos, it is revealed Mallika divorced Vikrant Raina (Sanjay Dutt) when Sonia was just 10. The bitter judicial proceeding was settled in Mallika's favor and Sonia has not met her father for eight long years.Rebellious Sonia is hell-bent on meeting her dad, but Mallika does not want her to have anything to do with him. After a spat between mother and daughter, Sonia walks off in a huff and doesn't return.Mallika gets panicked when a stranger (Imran Khan) rings her up and conveys his message that he has abducted Sonia. The kidnapper, Kabir, has only one demand 酖 for which he will negotiate with nobody but Sonia's father - Vikrant Raina.Reluctantly Mallika brings Vikrant back into their lives to save Sonia. But Vikrant Raina, one of the richest Indians in the world, with a net worth of 51.7 billion dollars, chokes at the thought of taking orders from a criminal.But Kabir holds the trump card - he holds Sonia and Vikrant knows that he has no option but to toe the line.It's very simple, Kabir tells him. They are going to play a game - just the two of them. Vikrant has to play by the rules set by Kabir and he has to play alone. He has to play to save his daughter. If he even utters the words 'Hello Police', it will be Bye Bye for Sonia!With his daughter's life is at stake, a reluctant Vikrant agrees to obey Kabir's orders. Kabir sets him a series of intimidating, time bound tasks. As Vikrant completes each task, he receives a clue that will bring him a step closer to finding Sonia.And here starts not-so thrilling, cat and mouse game where Vikrant Raina chases baffling clues through impossible terrain, even as a hawk eyed Kabir keeps a watch on every step he takes. The slightest error or delay on his part and Vikrant will never see his daughter again. But why do all the tasks involve Vikrant having to commit crimes in rising intensity?Although circumstances have forced Vikrant to take orders from this hateful stranger, he's also a master strategist of many board room battles and a man to be pushed around. Thus he succeeds in outwitting Kabir on more than one occasion.But then a counter-offensive Kabir puts Sonia's life in jeopardy and Vikrant vows that he will stop at nothing to save his daughter... his only child.
Fine! The film filled with lots of clue-games is quite convincing, but not all: be it earlier segments of train sequences and few more sounds absurd. Totting up to one more quotient of annoyance, Imran Khan shoring into Sanjay Dutt's house will surely get you more vexed. As mentioned earlier, the biggest blemish that gets you move out of nerves is when the silly intentions behind kidnapping is revealed. 
Nothing to blame on the part of Imran Khan and he is worth getting grand round of applause. But not do all the other star-casts deserve the same credits, even the biggie Sanjay Dutt. He lacks solidity and to perform such a challenging character, Sanjay Dutt is supposed to be electrified right on his heels. Well, he hasn't stressed himself to give tensed gestures that would have added up more on emotional bonding between a father and daughter relation. Following him is Minissha Lamba who doesn't suit for the role of 17-yr old girl and the person to be blamed again is Sanjay Gadhvi for roping her in for an incongruous characterization. The most outlandish flaw is posing Vidhya Malvade and Minissha Lamba as mother-daughter. Nevertheless, Vidhya lives up to the expectations while Reema Logoo does justice to her role. 
Getting on with technical aspects, Pritam's musical score works no wonder. Except 'Mit Jaaye', none of them sound pleasing for your ears. Bobby Singh's Cinematography blended with Raju Singh's background score adds on more to the tension-filled sequences. 
Valuating the film on whole, Kidnap has nothing to offer more than disappointments and it's a great disaster in the directorial career of Sanjay Gadhvi. Perhaps, the film may witness grand opening just for Imran Khan with his recent sensational debut Jaane Ya TuNaa making high waves across the box-office. But the scenario may change sooner dropping down in its response
Verdict: Watch it if you can 
Rating : **
Here comes a dissimilar version to yesteryear classics of 'Devdas' that were so solemnly delivered the words of Sarath Chandra into picture. Well, in an era of cyber mania and lots of changes happening over, one cannot assure about the same classic hitting on top-of-charts. Yeah! Anurag Kashyap brimmed with such a motif strike a different note based on same lines. Of course, when you've Devdas turning into stylish DEV D, there's whole lot of innovative factors blended with some of real life incidents. Moreover, he has spelled a fantabulous piece by limning the characterizations more potently. Dev, Paro and Chanda; they've uniqueness of their own rigidity and that scores good points for Anurag. Alas! Like in much of the recent films, where a perfect script is fumbled with flimsy screenplay DEV D doesn't happen to be an elision. In fact, its stops the film half way from striking Gold and auteur could've perhaps worked the better way (Is it an impact of Anurag's adamant statement in recent interview 'I Do What I want to do'?). 
The film has been crafted with lots and lots of stylish factors and MMS has a great role over here. Perhaps, you can ennoble DEV D as 'Urbanized Version of Classical Devdas). Dev Dis a modern-day interpretation of the classic novel "Devdas" by Sarat Chandra. Dev, Paro and Chanda ofDev Dreflect the sensibilities, conflicts, aggression, and independence. Free thought, exuberance and recklessness of the youth of today. A generation that is jammed between eastern roots and western sensibilities.Dev Dis set in the rustic and colorful Punjab and also explores the dingy, morbid, dark underbelly of Delhi. From sprawling mustard fields to a riot of neon. 
Fine! Getting on with storyline, there's nothing much dissimilar from previous versions. Dev (Abhay Deol) and Paro are devilishly in love with each other. Don't expect to the same classical poignant touch of divine love. Here's something more loaded with more lecherousness. Eventually, things are topsy-turvy when Paro is urged to marry another person. Now Dev has all his trust on 'Alcohol' (Aye! You'll find lots of promo for Vodka of particular brand) and drugs. When these have nothing to do with him, Dev happens to meet Chanda (Kalki Koechlin), a student who was affected by MMS issue turning into sex-worker. 
When you've three characterizations of complicated natures, it's gonna be a much more interesting show when they're interwoven. Finally, the show is all about the pursuit of real love getting accomplished. 
Anurag Kashyap seems to have made this version for international audiences. It's more illustrious on every vista of narration, adult contents and sleek technical factors. Maybe, DEV sitting at London and glimpsing on pics mailed by Paro in Punjab may go gaga with western audiences as well cosmopolitan cities of India. But a billion dollar question is that would a young lad or missy feel comfortable watching it along with their parents (again Anurag's statement 'I Do want I want to do' is prevalent seems to be prevalent here). Chanda's characterization of real life incident is a bold attempt. Here and there, we've lots of traces inherited from flicks made by avant-garde auteurs. 
With things completely gratifying the audiences' interest over there in first half, the latter part is a bit annoying. Sluggish screenplay with more predictable quotients lets you yawn frequently. On the pars, there are bits and pieces of absurd factors that naturally get diminished if audiences' aren't so keen on picking them. 
On the performance, Abhay Deol steals the show with a colossal piece of work. His smart looks and matured performances has it all peaking him to score great. Well, couple of actresses has delivered their best doing justice to their role. Anurag could've focused a bit more on Koechlin as she has got a solid characterization, but goes middling with her performance. 
A prodigious work trenchantly showcased by entire technical crew. Looks like Anurag is vividly influenced by Greg Harrison's 'November' and Pedro Almodover, the world's best filmmakers using stylish colors on the screen. Doubtlessly, they have been few amongst small group of avant-garde filmmakers who have narration and technical aspects scoring best equally. Kashyap tries making different attempts on technical panoramas of musical score and editing. Possibly, he could've made it stunning in screenplay too 
On the whole, DEV D is a good film made with best experimentations by Anurag Kashyap. And even you can watch the film for a try out and come up with commendable applause for entire team though latter half is loaded with tenuous attributes. 
Verdict: An unusual one from clichd versions 
Rating : **1/2
