Movie Review: Pihu

Fri, 16 Nov 18 06:41:49 +0000

The most indispensable part of parenting, especially during the initial years, is supervision. It’s impossible that any parent would let the child go off their sights or that of the guardians. The fear that their kid might get hurt is forever looming over their heads. Vinod Kapri’s PIHU plays on this idea. It attempts to throw light on what happens when a child is let loose with nobody to look after, in an urban dwelling. The premise is quite intriguing, more so because it’s based on a true story. So does PIHU manage to give a nail-biting experience to the viewers? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter wp-image-921807 size-full" title="Movie Review: Pihu" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/11/Movie-Review-Pihu-005.jpg" alt="Movie Review: Pihu" width="620" height="450" /> PIHU is the story of a toddler trapped in a house. Pihu (Myra Vishwakarma aka Pihu) turns two years old and her parents – Puja (Prerna Sharma) and Gaurav (voiced by Rahul Bagga) – throw a bash for her. At night, after Pihu goes to sleep, the parents have a huge showdown. They have had a lot of such fights in the past. The next day, Gaurav leaves for Kolkata for work purposes early in the morning. Unable to bear the trauma of the problems in her marriage, Puja consumes pills and ends her life. Pihu wakes up next to the lifeless body of Puja. However, she’s unable to comprehend that her mother is no more. She tries to wake her up but to no avail. Gaurav meanwhile calls Puja to scold her for not packing his bags and also to inform her that he forgot to switch off the iron. However, Pihu answers the phone and due to her young age, she’s unable to inform her father about her mother’s state. Pihu meanwhile also feels hungry and goes down to the kitchen to have milk and snacks. However, she wreaks havoc as she tries to use the gas stove, microwave oven and refrigerator. She also accidentally switches on the geyser. What happens next forms the rest of the film. Vinod Kapri’s story is quite novel and interesting and it’s shocking to know that it’s based on a true story. Vinod Kapri’s screenplay (additional screenplay by Abhishek Sharma and Pihu herself) however has quite a few rough edges. It’s a bit too convenient after a point and also drags. Ideally, this 90 minute long film should have been further shorter by 15-20 minutes. Vinod Kapri’s dialogues are quite natural. Thankfully, subtitles have been provided and hence, one can correctly understand what the child is muttering. Vinod Kapri’s direction is simple and uncomplicated. But he should have known where to draw the line. He just goes on and on using all the props available and somewhere, the impact gets diminished. On the positive side, a few scenes are very well executed like Pihu getting trapped in the refrigerator, Pihu trying to locate the source of the smoke in the bedroom and Pihu’s conversation with her father in the second half. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/vinod-kapri-i-have-always-believed-that-truth-is-stranger-than-fiction-pihu/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> PIHU seems quite a lengthy fare as there’s no story as such and it moves at its own pace. The first 15-20 minutes are definitely arresting. The opening credits are in sync with the background noise played, depicting Pihu’s birthday celebrations. But soon, the film begins to lose its sheen. Survival dramas anyways are risky films as you really can’t do much with just one character. And there have been great films in this genre that have formed a benchmark. PIHU is nowhere close to it majorly due to the length. Moreover, few sequences are unconvincing. In order to up the scare quotient, Pihu is shown doing mischief with almost every appliance around – from television to gas stove to refrigerator to iron to microwave oven to geyser! After using all these aspects, Pihu moves to the balcony and as expected, she tries to climb the railing. All these scenes definitely give a heart-in-the-mouth scare but are also difficult to digest. Those who have infants in their house won’t be able to sit through the film. Finally, another major issue with the film is that the trailer, though quite impactful, showed a bit too much. As a result, one can anticipate about the various scary moments that will be shown in the film. PIHU consists of just two actors with Myra Vishwakarma having the majority screen time. As expected, she does a tremendous job. Her looks and expressions are very cute and at many places, your heart goes to her. Vinod Kapri deserves kudos for extracting such a fine performance from such a young actor. Prerna Sharma appears dead throughout the film and is decent. Rahul Bagga’s voiceover is fine but he hams a bit, especially in the end. Hrishita Bhatt (voice of Meera) however is fine. The other voiceover artists like the angry neighbour, milkman, watchman etc go overboard. Vishal Khurana’s music is a bit daily soap-like and could have been edgier. In a few scenes, it’s quite correct. Subash Sahoo’s sound designing is much better and enhances the thrill elements. Yogesh Jaini’s cinematography is captivating. It manages to capture the tension very well despite limitations in space and also give the film a theatrical look. Irene Dhar Malik, Sheeba Sehgal and Archit D Rastogi’s editing should have been slicker. On the whole, PIHU rests on a very novel idea but the long length and certain unconvincing and disturbing developments act as spoilsport. This niche film carries low buzz and would find it difficult to lure in the audiences



Movie Review: Mohalla Assi

Thu, 15 Nov 18 15:32:23 +0000

Globalization has brought the world closer. But a section of people, who are very rooted and swear by their age-old traditions and values, feel threatened by it. They always fear the Westerners are here to ruin their ancient tradition and that would mean a loss of identity. Dr Chandraprakash Dwivedi’s MOHALLA ASSI majorly talks about this aspect. Based in Varanasi, which is also a hot bed for political discussions, this film also has a political and communal colour to it. The film was stuck at the Central Board of Film Certification for a few years and it was passed by the High Court recently. This controversy has got the film some traction. So does this controversy and content help MOHALLA ASSI in making a mark? Or does it turn out to be a disappointing fare? Let’s analyse. <img class="aligncenter size-full wp-image-921644" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/11/Movie-Review-Mohalla-Assi-IMG.jpg" alt="Movie Review: Mohalla Assi" width="720" height="450" /> MOHALLA ASSI is the story of a man with principles forced to make compromises. Dharmnath Pandey (Sunny Deol) is a priest who sits on Assi Ghat in the holy city of Varanasi. He attends to the pilgrims during the day and teaches Sanskrit in the afternoon. The income is meagre and unlike others, he doesn’t compel his visitors to pay him exorbitantly. This causes lot of distress to his wife Savitri (Sakshi Tanwar) and she’s forever cursing him for not earning enough. But Pandey feels that there’s no end to a man’s greed and that one should be happy with what he/she earns. He’s also a firm protector of the values of Assi and would not tolerate any ‘corruption’. A lot of other Pandas like him also reside in Assi which gives a clear view of river Ganga. As a result, foreign tourists insist on renting a room in this locality. But Pandey not only refuses to allot a room to any tourist in his house but doesn’t even allow others Brahmin Pandas do so. His neighbour and fellow panda Upadhyay ji (Saurabh Shukla) is hence always cross with him on this aspect. Besides Dharmnath Pandey, the film consists of subplots comprising of a tourist guide Kanni Guru (Ravi Kishan) who’s ready to do anything to earn more money and Nekram (Faisal Rashid), a barber who falls for a tourist, Kathryn (Alisha). Lastly, the film also focuses on a group of men, comprising of right-winger politician Radhe Shyam (Mukesh Tiwari), Tanni Guru (Akhilendra Mishra), Gaya Singh (Mithilesh Chaturvedi), lawyer Srivastava (Rajendra Gupta), communist sympathizer S P Mishra etc – who meet at Pappu’s tea shop and discuss about politics, religion and how foreigners are trying to pollute Varanasi. MOHALLA ASSI is based on the book ‘Kashi Ka Assi’ by Kashinath Singh. The story is interesting and even quite brave as it boldly takes names of controversial incidents and episodes of modern Indian history. From a film point of view however, there’s too much happening and neither of the various tracks make the ultimate impact. Dr. Chandraprakash Dwivedi’s screenplay is engaging only in a few sequences but overall, it’s not put together properly. The tea-stall conversations seem interesting initially but later, it tests the patience of the viewers. Dr. Chandraprakash Dwivedi and Kashinath Singh’s dialogues are sharp and acidic at several places. A lot of abuses are used frequently but they are as per the requirements. Dr. Chandraprakash Dwivedi’s direction is simple and works at some places. But it’s also flawed as besides the character of Dharmnath Pandey and Savitri, one doesn’t connect with other dozens of characters in the film. Also, the major developments happen in the second hour and it doesn’t make for an exciting watch. This is especially after Dharmnath Pandey dreams about Lord Shiva cursing him and the developments that follow. The climax is strictly okay and the film doesn’t really end on a high. Also, one more problem with the film is that the plot begins in 1988 and ends in 1998. But barring Dharmnath Pandey’s kids, not a single character is shown aging. MOHALLA ASSI’s first hour is majorly devoted in just establishing the characters and the setting. Some sequences stand out like Gaya Singh forcing the cops to stop sealing the tea shop, Nekram and Kathryn eloping and Dharmnath Pandey deciding to go to Ayodhya for the cause of the construction of Ram Temple. The last-mentioned episode is expected to be a highpoint in the film but it quickly gets forgotten. It’s only in the second hour that Dharmnath Pandey takes centre stage and his problems get talked about. Few scenes here are moving and the sequence where Kanni Guru tells him to make major changes in his house is quite interesting. But after the much talked about dream sequence, the film goes downhill. <img class="aligncenter size-full wp-image-921645" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/11/Movie-Review-Mohalla-Assi-1.jpg" alt="Movie Review: Mohalla Assi" width="720" height="450" /> Sunny Deol is in a fine form. He’s known for his action roles and dialogue<em>baazi</em>. The role doesn’t give him a scope to beat up baddies but he surely gets a chance to deliver angry monologues, but this time, it’s restrained. Sakshi Tanwar is superb as the angry young wife who is scared of her family’s future. One can feel her pain in several scenes. Ravi Kishan is very entertaining and will surely be liked. Saurabh Shukla is as always dependable. Mukesh Tiwari plays the right-winger to the T. Mithilesh Chaturvedi goes over the top. Rajendra Gupta also manages to leave a mark. Faisal Rashid is decent and his track will surely induce laughs. Seema Azmi (Ramdayi, Savitri’s neighbour) also provides comic relief. Daya Shankar Pandey (Behroopiya/character dressed as Lord Shiva) makes an impact in a cameo. The actor playing S P Mishra is okay.  Out of the foreigners, Alisha gets the maximum scope followed by Sofia (Madeline). The actor playing Muslim vegetable vendor strikes a chord despite having a two-scene role. Amod Bhatt’s music is forgettable and music gets no scope. Amod Bhatt and Utpal Sharma’s background score is dated and gives the feel that the film is long delayed. Vijay Kumar Arora’s cinematography is simple and effective. There are not too many birds-eye-view shots of Varanasi and the lensman ensures MOHALLA ASSI doesn’t seem like a tourism video. Sham Kaushal’s action is nothing great. There’s just one lone action scene and it’s not worthy enough. Bhupendra Singh’s art direction is realistic while Nandita Pandey’s costumes are straight out of life. Aseem Sinha’s editing is very incoherent as scenes start and end at random and are not put together well. On the whole, MOHALLA ASSI is a poor fare and fails to make an impact because of the unexciting script, incoherent direction and too many subplots and characters. At the box office, it arrives without noise and is sure to sink without a trace



Movie Review: Thugs Of Hindostan is a King-Sized disappointment!

Thu, 08 Nov 18 07:42:52 +0000

A Diwali release is an event in itself. And this year, Amitabh Bachchan and Aamir Khan team up for the first time in the hugely awaited THUGS OF HINDOSTAN. <img class="aligncenter wp-image-918817 size-full" title="Movie Review: Thugs Of Hindostan is a King-Sized disappointment!" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/11/Thugs-Of-Hindostan-10.jpg" alt="Movie Review: Thugs Of Hindostan is a King-Sized disappointment!" width="750" height="450" /> Let's come to the point right away. Does THUGS OF HINDOSTAN manage to live up to the monumental expectations? Or does it turn out to be a shocking disappointment? Unfortunately, the film is a king-sized disappointment. THUGS OF HINDOSTAN is the story of a group of rebels fighting the British. The year is 1795. The kingdom is ruled by a benevolent king [Ronit Roy]. The evil Clive [Lloyd Owen] annexes the kingdom by treacherous means and kills the king and queen. The king's guardian, Khudabaksh [Amitabh Bachchan], escapes with the king's daughter Zafira [Fatima Sana Shaikh]. 11 years later, Khudabakash, Zafira and their gang are now considered thugs. They have wrecked havoc in the lives of the Britishers. With no other option in hand, Clive summons Firangi Malla [Aamir Khan] to trace the whereabouts of Khudabaksh. Firangi is a devious character and it's difficult to trust him. Betrayal is his second nature by his own admission. With the help of his friend Shanichar [Mohd Zeeshan Ayyub], Firangi devises a plan and enrols into Khudabaksh's army. What happens next? To start with, the story is formula-ridden and utterly predictable. The writer could have done so much with the content but, sadly, he lets go of this golden opportunity. The screenwriting has some moments [especially in the first half], but the narrative loosens the grip as it progresses. Worse, too many cinematic liberties and a lifeless second hour act as roadblocks. The dialogues are interesting, especially between the senior actors, but they are few and far between. Vijay Krishna Acharya's direction is shoddy. Frankly, with such poor written material on hand, the director couldn't have salvaged the show either. However, he does manage to make an impact in a few sequences... <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/thugs-of-hindostan-review-aamir-khan-amitabh-bachchan-katrina-fatima/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> *Firangi's entry and the sequences between Firangi and Khudabaksh in the first hour are worth recalling. *Khudabaksh's entry would be greeted with seetis and taalis. Even Firangi Malla's introduction is funny and keeps the interest going. *The interval point and prior to that, the confrontation and action sequences involving the two actors is engaging. Manoj Kumar's multi-starrer KRANTI, released in 1981, 37 years ago, remains a far more interesting and hugely entertaining movie made on the subject [a group of rebels fighting the Britishers]. That film boasted of memorable songs that hold tremendous recall value to this date. Ajay-Atul's music is a letdown. The supremely talented composers are not in form this time. Background score is jarring. Cinematography is stunning. Action sequences are well executed. Production design is top notch. VFX should've been better. Editing is uneven. The film could've done with a shorter run time. Aamir plays to the gallery, but is letdown by the writing. Also, at places, he tries too hard to be funny. Amitabh Bachchan delivers a powerful performance and towers above all. Fatima Sana Shaikh fails to create the desired impact. Katrina Kaif is hardly there, barring two songs and a few sequences. Mohd Zeeshan Ayyub hams to the hilt. The two Britishers are caricaturish. Ila Arun is wasted. Ronit Roy is decent. Sharat Saxena gets no scope. On the whole, THUGS OF HINDOSTAN has some engrossing moments in the first half, that's about it. The post-interval portions are an absolute downer. The plot is formulaic, while the screenplay is riddled with cinematic liberties. At the box-office, TOH is bound to have a huge weekend thanks to the festive period coupled with tremendous hype and the impressive names involved. But once the initial euphoria settles down, it'll be difficult for the film to sustain. This one is a golden opportunity lost, a KING-SIZED DISAPPOINTMENT



Movie Review: Baazaar

Thu, 25 Oct 18 11:25:33 +0000

The stock market is the most important aggregation of India’s financial centre, Mumbai. The updates of the rising and falling stocks always makes it to the news regularly. Yet, hardly any film has been made on this subject. In the last decade, Samir Hanchante’s GAFLA [2006] sank without a trace, although it was a decent attempt and inspired from the stock market scam of 1992. Now, Nikkhil Advani and debutant director Gauravv K Chawla unveil BAAZAAR, probably Bollywood’s first big film on stock market. So is BAAZAAR an interesting and worthy entertainer? Or does it turn out to be a dampener? Let’s analyse. <img class="aligncenter wp-image-913209 size-full" title="Movie Review: Baazaar" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/10/Baazaar-1-1.jpg" alt="Movie Review: Baazaar" width="720" height="450" /> BAAZAAR is the story of hunger, greed and power. Rizwan Ahmed (Rohan Mehra) is a small time stock broker in Allahabad. He’s not happy with the paltry earnings and hence, comes to Mumbai. His ultimate aim is to work with the dynamic business tycoon Shakun Kothari (Saif Ali Khan). He first manages to get a chance to work with Kishore Wadhwa (Denzil Smith) in his trading company. Here, he befriends Priya Rai (Radhika Apte) and both later get into a relationship. Once, both go for a high profile event where Rizwan finally manages to come face to face with Shakun. Rizwan impresses Shakun by correctly predicting an upcoming market development which nobody is able to foresee. Shakun hence opens his trading account with Rizwan and slowly both become very close. On the other hand, a SEBI official Rana Dasgupta (Manish Chaudhari) is aware of Shakun Kothari's misdealings but doesn’t have enough evidence. Realising that Shakun and Rizwan have become close friends, Rana now starts to closely monitor Rizwan as well. What happens next forms the rest of the film. Parveez Shaikh’s story is quite interesting and promising. There’s no similarity to the Hollywood flick WALL STREET (1987) as such. Parveez Shaikh and Aseem Arora’s screenplay is effective and engaging in the first half. In the post interval portions though, it goes downhill heavily and becomes cumbersome. Aseem Arora’s dialogues are sharp and impactful. Gauravv K Chawla’s direction is quite good for a first timer. Some scenes are exceptionally handled especially in the first half. However he makes a mess in the second half. The script had loopholes and he couldn’t cover it well. Moreover, too many technical terms are used in the film which a layman may not understand. So it’ll be difficult for them to comprehend the proceedings. This restricts the appeal of the film to a great extent. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/baazaar-full-public-review-saif-ali-khan-radhika-chitrangda-rohan-mehra/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> BAAZAAR begins on an intriguing note. The introduction scenes of Rizwan are interesting. However the entry sequence of Shakun Kothari is very powerful and whistle and clapworthy. From here on, there’s no stopping the film. All the scenes that follow like the auction scene, Rizwan's interview process at Wadhwa's office, Rizwan’s first big catch, Shakun’s confrontation with Sandeep Talwar (Vikram Kapadia), Shakun's conversation with wife Mandira (Chitrangada Singh) at the dinner table and then with the kids, Shakun-Rizwan's first meeting and the intermission point – all of them leave a tremendous mark. Some of them are convenient but you don’t mind since it’s entertaining. But the film falls in the second half and drags. Only the engagement scene of Aamna (Sonia Balani) is arresting. Otherwise the film’s developments post interval don’t make the desired impact. There are few twists and turns at this point but unlike the first half, these convenient developments now begin to bother. The finale also is not justified. Saif Ali Khan delivers an outstanding performance and this would rank as one of his best acts. Right from the first scene, he’s in his element. He sounds cunning as well as funny, depending on the situation, when he mouths Gujarati dialogues. Rohan Mehra makes a confident debut and is quite promising. He got a great role to essay in his first film and makes good use of it. Radhika Apte looks quite glamorous and charming and as expected, delivers a fine performance. Chitrangda Singh gives a great performance but has very less screen time. Manish Chaudhari is hardly there in the first half. He is effective overall. Denzil Smith, who impressed everyone recently in HAPPY PHIRR BHAG JAYEGI, is fine in a small role and convincing. Sonia Balani is adorable. Pawan Chopra (Zulfiqar Ahmed) and Abhishek Gupta (Anwar) are okay in their special appearances. Vikram Kapadia leaves a huge mark. Utkarsh Mazumdar (Chheda), Danish Hussain (Dubey) and Sahil Sangha (Vineet Mehra) are okay. Elli AvrRam is hot in the <em>'Billionaire'</em> song. Music is not memorable. Only song that works is the catchy <em>'Kem Cho'</em>. <em>'La La La'</em> comes next. <em>'Adhura Lafz'</em> and <em>'Chhod Diya' </em>are forgettable while <em>'Billionaire'</em> fails to make an impact. John Stewart Eduri's background score however is terrific and heightens impact in several scenes. Swapnil S. Sonawane's cinematography is great and the lensman captures the high rises and glitz and glamour of Mumbai very well. Shurti Gupte's production design is rich. Natascha Charak and Nikita Mohanty's costumes are very appealing and glamorous especially the ones worn by Saif Ali Khan and Radhika Apte. Maahir Zaveri and Arjun Srivastava's editing is very slick and stylish but in a few places in the second half, it’s a bit abrupt. On the whole, BAAZAAR has a brilliant first half but the unconvincing and convenient second half hampers the impact heavily. Moreover, the subject is such that only the multiplex audiences in the urban areas would find it appealing



Movie Review: Namaste England

Wed, 17 Oct 18 18:31:44 +0000

Times have changed when it comes to women empowerment and gradually, the people on the whole are realizing that equal opportunities are a must for people of all genders. Yet, a lot needs to be done especially in the places which are away from the mega cities. NAMASTE ENGLAND, which marks the return of Vipul Shah as a director after eight years, throws light on this aspect and also promises to be a beautiful love story. Moreover, it’s the second film in the franchise, the first being the much loved NAMASTEY LONDON [2007], starring Akshay Kumar and Katrina Kaif. So does NAMASTE ENGLAND manage to be better than or at least as good as its predecessor? Or does it fail to make an impact? Let’s analyse. <img class="aligncenter size-full wp-image-910511" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/10/Namaste-England-9-1.jpg" alt="" width="720" height="450" /> NAMASTE ENGLAND is the story of a couple torn between love and their dreams. Param (Arjun Kapoor) and Jasmeet (Parineeti Chopra) reside in a tiny village in Punjab. Both fall for each other. Meanwhile, Jasmeet, who’s interested in jewellery designing, gets a job in Amritsar. She has to work there for three days a week. Jasmeet’s grandfather (Shivendra Mahal) is strictly against women working. So Jasmeet hides this bit from him but one day the truth comes out. Param at this point asks Jasmeet to get married to him and asserts that she can work then without any problem. Param’s family visits Jasmeet’s house to ask her hand in marriage. Jasmeet’s grandfather agrees but he has a condition – Jasmeet should not work once she ties the knot. Both ultimately get married and a year later, Jasmeet meets her friend Harpreet (Mallika Dua). She lives in UK with her husband and is very happy and settled. Seeing her, Jasmeet gets a desire to leave India and settle in England so that she can work there and have an independent life. Param is even ready to move there with her and his father also has no issue. The issue however is that Param can’t go out of India. On his wedding day, Param has an altercation with his friend Gurpreet (Anjum Batra), who’s well connected, and the latter vows that he’ll not let Param get a visa of Europe, where the couple were planning a honeymoon. Jasmeet hence devises a plan – she’ll move to UK alone at first and after securing residency, she’ll be entitled to let Param enter UK. Param is fine with the arrangement. However, Jasmeet hasn’t been completely truthful to him. What happens next forms the rest of the film. Ritesh Shah and Suresh Nair's story is very weak and silly and rests on a wafer thin plot. The story has too many flaws. Ritesh Shah and Suresh Nair's screenplay is juvenile and does nothing to hide these glitches. It's shocking that the duo is associated with some fine films of recent times like AIRLIFT [2016], D-DAY [2013], RAID [2018], MARDAANI [2014] and even NAMASTEY LONDON and yet they collectively penned this apology of a script. Ritesh Shah and Suresh Nair's dialogues are also terrible and dated. Vipul Amrutlal Shah's direction is haywire and it seems like he has lost his touch. The scenes begin and end all of a sudden and he tries to incorporate a lot. He also tries to repeat the magic of NAMASTEY LONDON, be it during the intermission point or during the scene where Param delivers a patriotic speech. But while the latter sequence was powerful in NAMASTEY LONDON and is still remembered today, the one in NAMASTE ENGLAND looks forced. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/arjun-kapoor-parineeti-chopra-rap-talk-about-online-chemistry-lot-more-namaste-england/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> NAMASTE ENGLAND has a bit of an awkward beginning. The lovers are shown meeting each other during various seasons and it takes a while to understand that. At this point, Param forces his friend to marry a girl from Jasmeet’s group just so that he gets a chance to meet Jasmeet again! This scene itself gives viewers an idea that this film is not going to make any sense. The entire bit of Jasmeet's grandfather refusing her to work even after marriage seems unconvincing but works nevertheless. But the scene that doesn't work at all in this hour is Gurpreet's drama at the wedding. Param-Jasmeet's romance post marriage is cute and the scenes of Gurnaam (Satish Kaushik) help in keeping the interest going although the film has still not gone on a high. The intermission point comes across as a shocker but not for the right reasons. The first half comes across as disappointing while post interval, the film falls further. Param entering UK illegally is an engaging scene but doesn’t make any sense. Even worse is Param pretending to marry Alisha (Alankrita Sahai). These scenes, besides being nonsensical, are not even funny or moving. Also the film gives a very wrong message and tries to project that immigration is a bad idea and that's certainly not true. Also, the film ends at an abrupt point and all the conflicts of the film don’t end even when the credits roll. This isn't Arjun Kapoor’s best act and his performance leaves a lot to be desired. He looks haggard and a bit overweight in some scenes. Parineeti Chopra is however better and puts up a great act. Sadly, she is letdown by terrible writing.  Aditya Seal (Sam) has a fine screen presence and makes an impact. Alankrita Sahai (Alisha), last seen in the recently-released web film LOVE PER SQUARE FOOT, looks sizzling and does fine. Satish Kaushik is over the top and the way he says ‘Darling’ in every sentence is not funny. Same with Shreya Mehta (Mitthi) who makes a sound at the end of each sentence, a la Nawazuddin Siddiqui in KICK [2014]! But she puts a confident act. Anil Mange (Iqbal Khan) is decent. Pratik Dixit (KG, the British Born Indian origin guy) is laughable. Mallika Dua is good and probably is the only funny character in the film. Anjum Batra, Shivendra Mahal, Hobby Dhaliwal (Param’s father) and Vinod Nagpal (Sam’s grandfather) are okay while the actor playing Harpreet is damn good. Mannan Shaah’s music is okay with some songs working while the others being a disappointment. <em>'Dhoom Dhadakka'</em> is very catchy and foot-tapping. <em>'Tere Liye'</em> comes next. <em>'Bhare Bazaar'</em> doesn’t work and it’s abruptly cut into half. Prasad Sashte’s background score is over dramatic. Yiannis Manolopoulos’s cinematography is appropriate but nothing special. Sriram Kannan Iyengar and Sujeet Sawant's production design looks superficial, especially the houses in Punjab village. Aki Narula, Sanjana Batra and Gayatri Thadani's costumes are nothing special initially but the ones worn by Parineeti in London scenes are appealing. Amitabh Shukla’s editing is horrible. On the whole, NAMASTE ENGLAND is an extremely poor fare and is riddled with a terrible script and a juvenile screenplay. At the box office, it will face a tough time and will not find favour with the audience



Movie Review: Badhaai Ho

Wed, 17 Oct 18 10:55:32 +0000

Since the time Ayushmann Khurrana debuted in 2012 with VICKY DONOR, he has become the poster boy of films which were unconventional, taboo and yet attracted moviegoers in hordes. While his first film talked about sperm donation, his last year’s sleeper hit SHUBH MANGAL SAAVDHAN dealt with erectile dysfunction. Now he’s back with yet another film on similar lines, BADHAAI HO. So does BADHAAI HO follow in the footsteps of his earlier hatke films and emerge as a must watch fare? Or does it fail? Let’s analyse. <img class="aligncenter size-full wp-image-910393" src="http://www.bollywoodhungama.com/wp-content/uploads/2017/11/Badhaai-Ho-7.jpg" alt="Movie Review: Badhaai Ho" width="720" height="450" /> BADHAAI HO is the story of a family that faces an unusual situation. Nakul Kaushik (Ayushmann Khurrana) resides in Delhi with his family comprising of his father Jeetender aka Jeetu (Gajraj Rao), mother Priyamvada (Neena Gupta), grandmother (Surekha Sikri) and younger brother Gullar (Shardul Rana). Nakul is in a steady relationship with his colleague, Reene (Sanya Malhotra). One day Jeetu and Priyamvada get intimate when they are reading the poem written by Jeetu that is published in a magazine. 19 weeks later, Priyamvada falls ill and the doctors inform that she is pregnant. For Nakul and Gullar, the world comes crashing down. Priyamvada is told that if she wants to abort, she should do so within the next 3-4 days. But she doesn’t feel like aborting and decides to go ahead with the pregnancy. What happens next forms the rest of the film. Akshat Ghildial amd Shantanu Srivastava's story is very simple and relatable. It’s surprising that nobody made a film with this subject as the principle plot and the writers treat it well. Akshat Ghildial's screenplay is a bit subtle. This goes against the film in few scenes but still manages to click. Every situation in the film seems straight out of life and there’s nothing that’s over the top. Akshat Ghildial's dialogues are very witty and funny and would be loved, as again, they’ll resonate with the audiences. Amit Sharma's direction is decent but he falters in the first half. Also he should have treated the romantic portions well. The track of Nakul and Reene is weak and it’s the older couple and <em>Dadi</em> who take the cake. But on the positive side, Amit Sharma brings out the emotions very well in a lot of sequences. The film has quite a few subplots and the sequence of Nakul going to Gullar's school to teach a bully might seem unwarranted. But it is important as it helps in explaining how different generations react to such kind of development in their lives. BADHAAI HO might seem like a laugh a minute riot from the promos but it’s not. The funny moments are definitely there but the film also has its share of emotional and touching moments. Hence, keep your expectations right and you’ll surely enjoy the fare. The film’s beginning and introduction of characters is a bit shaky. The film picks up only when the Kaushik couple announces about the 'good news' to Nakul and Gullar. The reaction of <em>Dadi</em> at this juncture will surely be loved. The film again falls a bit and the intermission point makes it seem like an arthouse film. But it’s in the second half where the film shines the most. The outburst of <em>Dadi</em> in Meerut is clapworthy. Nakul's reaction when his parents return from Meerut is priceless. Another scene that stands out is Nakul apologizing to Reene's mother (Sheeba Chadha). The finale however is the best part of the film and would surely make viewers teary eyed. Ayushmann Khurrana delivers a brilliant performance and his act is spot on. Whether it’s the scenes where he’s acting rude or when he gets drunk and creates a ruckus…he is first rate. In the scene where he apologies to Reene’s mother, he’ll win a lot of hearts. Sanya Malhotra is quite decent but has limited screen time. Neena Gupta is the soul of the film and puts up a very convincing and lovable performance. In several scenes, she expresses so well with her eyes and silences. Gajraj Rao is in top form and steals the show in several scenes. He is like the second hero of the film and fulfills the responsibility ably. Surekha Sikri is out of this world and her scenes are sure to induce claps and whistles. Shardul Rana gives a wonderful performance and his scene with Ayushmann in the second half is noteworthy. Sheeba Chaddha leaves a tremendous impact in a small role. She also communicates a lot through her silences. Others are fine. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/sara-pagalon-ka-khandan-hai-hamara-ayushmann-khurrana-sanya-gajraj-neena-badhaai-ho/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of music, <em>'Badhaaiyan Tenu'</em> is the best of the lot and is very catchy. <em>'Sajan Bade Senti' </em>is average but is presented very well. <em>'Nain Na Jodeen'</em> is touching but the impact is limited as the romantic track is not that strong. <em>'Morni Banke' </em>appears during the end credits and is okay. Abhishek Arora’s background score however is entertaining and has a naughty vibe which suits the film. Sanu John Verughese's cinematography is appropriate. Ratheesh UK's production design is straight out of life. The house of Kaushik’s looks authentic. Kirti Kolwankar and Maria Tharakan's costumes are appealing especially the ones worn by the lead couple. Dev Rao Jadhav's editing could have been crisper at a few places. On the whole, BADHAAI HO is not a laugh riot but emerges as a complete family entertainer with emotions as its USP. The film leaves you with a smile and at the box office, it is at an advantage. It releases during an extended weekend and families are bound to come in large numbers. It’s surely a 'Badhaai Ho' time for the makers and investors



Movie Review: Jalebi

Fri, 12 Oct 18 08:19:26 +0000

Vishesh Films, headed by Mukesh and Mahesh Bhatt, are known for their small-budget, high-concept films. They have given some memorable films and chartbuster songs but since the last few years, their reputation has taken a beating. None of their films after the blockbuster AASHIQUI 2 [2013] have worked well. The number of films made by the banner has also reduced. Their last film, BEGUM JAAN [2017], released almost one-and-a-half-years ago. Now they are back with JALEBI, which promises to be a clean, romantic love story, and also it’s miles away from the erotic and horror films that had become their trademark. So does JALEBI touch the hearts of the viewers? Or does it fail to stir their emotions? Let’s analyse. <img class="aligncenter wp-image-908446 size-full" title="Movie Review: Jalebi" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/10/Jalebi-1.jpg" alt="Movie Review: Jalebi" width="750" height="450" /> JALEBI is the story of love and separation. Ayesha Pradhan (Rhea Chakraborty) is a depressed girl. She has written a bestselling novel but her troubled past is not allowing her to focus and write her next book. She is on her way from Mumbai to Delhi for a book reading session. In the train, her co passenger is Anu (Digangana Suryavanshi) and her daughter Pulti (Aanya Dureja). Over the course of their conversation, Ayesha gets a jolt upon learning that Anu’s husband is none other than her ex hubby Dev Mathur (Varun Mitra). The story goes back seven - eight years. Dev is from Purani Dilli where he does guided tours. He’s proud of his roots and proudly flaunts his locality and also his mansion, popularly known as Netaji Ki Haveli. Once, Ayesha takes this tour and falls for Dev. Dev also develops feelings for her. In no time, they get married and that’s when cracks begin to develop in their relationship. Meanwhile, in the present day, the train halts at Bhusawal railway station and Dev enters their coach to give Anu a surprise. The ex-lovers, that is Dev and Ayesha, thus come face to face after all these years. What happens next forms the rest of the film. Just like BEGUM JAAN, JALEBI is also a Bengali film remake, of Prosenjit Chatterjee-Rituparna Sengupta starrer PRAKTAN [2016], which was written by Nandita Roy and directed by Nandita Roy and Shiboprosad Mukherjee. Here in Hindi, Kausar Munir and Pushpdeep Bhardwaj's story is disappointing and juvenile. There’s no head and tail to the story and they do total injustice to the original film. Kausar Munir, Pushpdeep Bhardwaj and Suhrita Sengupta's screenplay is the biggest culprit. The film is bland and the trio have made no attempt to make situations exciting or novel. Kausar Munir, Pushpdeep Bhardwaj and Suhrita Sengupta's dialogues are horrible to say the least. The manner in which the characters are talking to each other is laughable. Pushpdeep Bhardwaj's direction is amateur and he doesn’t even know the basics properly it seems. The way the film moves back and forth especially when Ayesha would hear a term or hear a song is so convenient and outdated. And the post-marriage problems are akin to <em>saas-bahu</em> drama shown on television but even those daily soaps are more entertaining and even progressive than this film. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/parties-events/jalebi-film-screening-with-cast-crew/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> JALEBI is terrible from the word 'Go'. The film begins with a loud cry of Ayesha on the black screen and hence, even before the first visual, the film gets unsettling! The beginning portion of Ayesha crying over abandoning her marriage is weird. Once the train portions begin, one hopes for the film to get a bit better. Also, there are 3 subplots involving various passengers in the bogie. They seem interesting and you expect them to add to the film, in case the lead protagonists aren’t able to. Sadly, these three tracks are boring and contribute in no way to the film. The flashback portion begins well. Dev showing his house to the tourists is nicely done. Also the way Ayesha books the entire tour for herself just so that she can spend all the time with Dev is lovely. Once they get married, the film becomes routine and showcases problems beaten to death in films. The miscarriage portion is also poorly executed. The train portions aren’t that interesting, although few developments are a bit unpredictable. If you expect the climax to at least lift the film to some extent, you’ll be dejected. The Kashmir sequence makes no sense and even more senseless is the justification given by Dev in the end. Varun Mitra is disappointing. He looks weird in the scenes where he has to cry and even when he’s seen celebrating his wife’s pregnancy. In the beginning scenes, he does well. The actor has done well in the past, in Ishaan Nair’s unreleased film KAASH [2015]. So, here, the fault could be of the director in failing to get better performance from him. Rhea Chakraborty is what makes the film bearable. She has done chirpy roles in the past and JALEBI is the first time she is seen in a serious, mature role. She is the only one to benefit from this film as she proves that she can do a lot more than comic capers and special appearances. Digangana Suryavanshi is alright while Aanya Dureja is sweet. Arjun Kanungo (Arjun) is okay and his track makes no sense. Farida Dadi and Yusuf Hussain (the old couple in train) are fine but are letdown by the script. What exactly are they doing in the film one wonders. Poorti Arya (Renu; Dev’s sister) and the actor playing Dev’s mother are forgettable. Music also gets thumbs down, which is sad, since Vishesh Films was known for its songs. <em>'Tum Se'</em> is catchy but it’s not going to linger in one’s mind for long. <em>'Tera Mera Rishta'</em> is played during the courtship scenes, which as mentioned above, was the only good part of the film. The rest of the songs like <em>'Mujhme'</em>, <em>'Pehle Ke Jaisa'</em>, <em>'Pal'</em> and <em>'Mera Pyaar Tera Pyaar'</em> are nothing special. Raju Singh’s background score is bad. Same goes for Manoj Soni's cinematography – few shots are taken from a very close range. The VFX is tacky and anyone can make out that the scenery seen from the window is fake. Sandeep Suvarna's production design is alright and the set does look like an actual First AC bogie. But it’s funny to see the railway station being so empty in the end, and that too the busy Hazrat Nizamuddin Railway Station of Delhi. Devendra Murdeshwar's editing is not good and even the film that’s just 112 minutes looked like a three-hour-plus film. On the whole, JALEBI will leave you with a bitter taste. It’s a film that has no plot or logic. At the box office, it will be a disaster. Skip



Movie Review: FryDay

Fri, 12 Oct 18 03:13:29 +0000

A film shot in a house replete with madcap characters is a great idea used very well in the past. Priyadarshan tickled the funny bone of audiences with GARAM MASALA [2005], which was majorly set in a luxurious flat. Later, all the films of the HOUSEFULL franchise also dealt with this scenario and audiences loved it. Now Govinda’s new film FRYDAY is also on the same lines and what’s more, it also features Varun Sharma. Both the actors are known for their excellent comic timing and can create riot if the film is laced with a well-written and funny script. So does FRYDAY manage to get things right? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter wp-image-908293 size-full" title="Movie Review: FryDay" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/10/FryDay-1.jpg" alt="Movie Review: FryDay" width="750" height="450" /> FRYDAY is the story of madness that unfolds in a house on a Friday. Rajiv Chhabra (Varun Sharma) works in a water purifier company called Pavitra Paani Purifier as a salesman. He hasn’t been able to complete his targets while his colleague Sameer (Meghvrat Singh) has been an overachiever. His boss gives him an ultimatum that he has to sell a water purifier by coming Friday or else he would lose his job. Rajiv meets a motivational talker Manchanda (Sanjay Mishra) who inspires him and also recommends that he install a water purifier in the residence of NGO worker Bela (Prabhleen Sandhu). Bela is married to Gagan Kapoor (Govinda), a theatre actor. Bela is so busy with her social work that she starts to ignore Gagan. A lonely Gagan hence starts an affair with Bindu (Digangana Suryavanshi), who is married to Inspector Ranpal Dahiya (Rajesh Sharma). Bela is to leave for Shimla on Friday for a day. Therefore, Gagan makes a plan and calls Bindu to his house. On the other hand, Bela talks to Rajiv and calls him to her house to install the water purifier on Friday. On Friday morning, Bela leaves for Shimla and soon Bindu arrives in the house. However their idea of spending time together is short-lived as Rajiv lands up there to get his work done. What happens next forms the rest of the film. Rajiv Kaul’s story is simple and interesting. Rajiv Kaul and Manurishi Chadha’s screenplay turns the waferthin plot into an entertaining film. It flows very smoothly and does justice to the 113 minutes runtime of the film. Manurishi Chadha’s dialogues are one of the pillars of the film. The various one-liners are very funny and would bring the house down, especially in single screen cinemas. Abhishek Dogra’s direction is quite nice and does justice to the script. The director has earlier directed DOLLY KI DOLI [2015] which was also a fun comic caper. But even that film fizzled towards the end and FRYDAY is no exception. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/fryday-public-review-abhishek-dogra-govinda-varun-sharma-digangana-suryavanshi-sanjay-misra-2/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> FRYDAY has a rocking beginning with the opening credits that mention Govinda as ‘Hero No 1’ and an exhilarating song <em>'Chotey Bade'</em> is played. Rajiv’s introduction is nothing special. One wonders why he’s traveling by an expensive cab when he’s financially not secure. Gagan’s entry however is hilarious and it sets the mood of the film. Things really come on track once Bela leaves for Shimla and Bindu enters the residence. From here on, it’s a mad ride as strange characters ring the bell and disturb the lovers. The track of Chitchor (Brijendra Kala) and the manner in which Gagan allows him to loot his house with permission is hilarious. With Rajiv entering the mad house, things get even better and funnier. The intermission point comes at a crucial juncture although it reminds one of NO ENTRY [2005]. Post-intermission, the madness continues but after a point, it gets a bit diluted. A few sequences are funny, like Gagan making up stories about Bindu and Rajiv’s love affair when caught red-handed by Bela and also Ranpal’s scenes. But the climax leaves a lot to be desired and the film ends sans any high. One wishes the second half had more gags and funny situations especially when the setting and the characters had the potential. Govinda is in top form after ages. His recent films like AA GAYA HERO [2017], KILL DIL [2014], NAUGHTY @ 40 [2011] etc. have been highly disappointing. But with FRYDAY, the veteran actor proves that he still has the ability to thoroughly entertain the viewers with his excellent comic timing. It’s a pleasure to see him going all out and giving the audiences complete entertainment.  Varun Sharma also does a very good job and he too manages to leave a huge mark. Also, he compliments Govinda very well. Digangana Suryavanshi looks cute and manages to give a decent performance. Prabhleen Sandhu has a good screen presence. Sanjay Mishra is impressive in a cameo. Brijendra Kala has a crucial role and gives a fine performance. His track however doesn’t end on a satisfactory note. Rajesh Sharma delivers a nice performance, especially in the climax. Ashmita Kaur Bakshi (Sonam) and Manoj Bakshi (Boss) are okay. Ishtiyak Khan (Sunny) contributes to the laughter while Meghvrat Singh gets to play a very interesting character. There’s no scope for music as such in the film. <em>'Chotey Bade'</em> is played in the beginning credits and works at that juncture. <em>'Jimmy Choo'</em> and <em>'Kauva Party'</em> are missing from the principle part of the film. Sanjay Chowdhury and Rooshin-Kaizad’s background score is quite filmy and dramatic. Manoj Shaw’s cinematography is okay. Shailesh Mahadik’s production design is very poor and the film doesn’t look rich. Tina Ahuja and Naahid Shah’s costumes are quite appealing. Manan Ajay Sagar’s editing could have been a bit slick, especially in the introduction scenes of Rajiv. On the whole, FRYDAY is a decent funny entertainer that works despite glitches. Govinda is in superb form and he is sure to be loved by the audiences, especially in the single screen cinemas. But the absolute lack of buzz might go against the film at the box office



Movie Review: Helicopter Eela

Fri, 12 Oct 18 03:05:30 +0000

Motherhood, considered to be one the most beautiful aspects of life, comes with its set of challenges. Safeguarding the child becomes utmost important for mother, and also for the father. While some mothers are easy going and allow the child to develop and mature with minimal supervision, some are controlling and get too involved in a child’s life. It’s called ‘helicopter parenting’ because, like helicopters, these parents ‘hover overhead’, overseeing every aspect of their child's life constantly. Pradeep Sarkar’s latest offing HELICOPTER EELA deals with this aspect and promises to be a funny as well as a touching entertainer. So does HELICOPTER EELA manage to entertain? Or does it fail? Let’s analyse. <img class="aligncenter wp-image-908288 size-full" title="Movie Review: Helicopter Eela" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/10/Movie-Review-Helicopter-Eela.jpg" alt="Movie Review: Helicopter Eela" width="750" height="450" /> HELICOPTER EELA is the story of a mother and a son. Eela Raitodkar (Kajol) is an aspiring singer and is in love with lyricist Arun (Tota Roy Choudhury). She gets a major break as a singer and actor in a pop song. However, in the middle of the song shoot, the project gets shelved after the underworld gives threats to the director, Mahesh Bhatt. Eela meanwhile gets married to Arun. Their son Vivaan is born soon. All is going well until one day when Arun gets the news that his relative, in his 30s, has passed away. This is when Eela casually remarks how all the men in his family have died before they reached the age of 40. This scares Arun who realises that his end might be near. He decides to abandon Eela, Vivaan and his mother (Kamini Khanna). Eela has to give up her singing aspirations as she gets busy in raising Vivaan. Some twenty years later, Vivaan (Riddhi Sen) is now a college student. Eela is still as paranoid about Vivaan as she was before. Vivaan feels suffocated and he advises Eela to pursue her music or complete her education so that she gets busy and doesn’t bug him. Eela decides to do the latter and she joins Vivaan's college. If that isn’t enough, she manages to get admission in Vivaan’s class. What happens next forms the rest of the film. Mitesh Shah and Anand Gandhi’s story is adapted from the Gujarati play BETA KAAGDO, written by the latter. It is very unconvincing. Still it could have been a bit decent if the script had covered some loose ends nicely. But Mitesh Shah and Anand Gandhi’s screenplay is terribly flawed and all over the place. Also certain developments would leave the viewers stunned as it’s so senseless. Mitesh Shah’s dialogues are okay. Pradeep Sarkar’s direction is very weak. He has given some decent films in the past but HELICOPTER EELA is his worst film yet for sure. Also the film is titled so since Eela hovers around her son like a helicopter. But this is not explained properly in the film. Hence the viewers would be confused with regards to the title. HELICOPTER EELA begins on a haphazard note. The film then suddenly goes into a flashback mode and the beginning of this portion is quite convenient, especially how Eela is praised by one and all in the music industry. But the worst part of the film is how Arun decides to leave Eela and his family for a silly reason. It is unbelievable how this bit of the script even got approved. Moreover, Eela's education is never stressed upon initially and there was no inclination that she is not a graduate. As a result, Eela suddenly deciding to join college seems random. Post interval, the silliness continues and things continue to happen at random. In a crucial scene, Arun arrives again and one expects things to heat up. But he leaves as suddenly as he comes back. Immediately after this scene, Eela is seen singing the song <em>'Oh Krishna you’re the greatest musician'</em>. Wonder what made the makers chose this song out of all songs. It is sure to induce unintentional laughter. The film gets a bit moving when Vivaan decides to stay away from Eela. The climax as expected is also far fetched and stretched. The end credit scenes makes one laugh wondering what exactly were the makers thinking. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/helicopter-eela-public-review-pradeep-sarkar-kajol-riddhi-sen-tota-roy-chowdhury-neha-dhupia/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Kajol delivers a fine performance and in some scenes, she does bring a smile and even leaves audiences teary eyed. In the flashback sequence however, she gets over the top. Riddhi Sen delivers a terrific performance. This National Award winning actor remains in his character and does very well. Neha Dhupia (Padma) is fine in a supporting role. Tota Roy Choudhury is laughable. Kamini Khanna is decent. Zakir Hussain (Principal Vivek Joshi) is good but in the end, it’s funny to see him getting scolded by a student. Rashi Mal (Nikita) has a good screen presence. Chirag Malhotra (Yash) has an important part and is decent. The cameos by Amitabh Bachchan, Mahesh Bhatt, Ila Arun, Baba Sehgal, Shaan, Anu Malik, Ganesh Acharya etc add to the star value. Amit Trivedi’s music is nothing special. <em>'Ruk Ruk Ruk' </em>is the best song of the lot and is thankfully not a remix created for the heck of it. It has a significance in the film. <em>'Mumma Ki Parchai'</em> comes next and has quirky lyrics. <em>'Yaadow Ki Almari'</em> is a bit underwhelming while <em>'Janam'</em> doesn’t work. Daniel B George’s background score is in sync with the film’s mood. Sirsha Ray’s cinematography is neat. Madhu Sarkar and Bhavani Patel’s production design is rich. Radhika Mehra, Shubha Mitra and Punam Mullick’s costumes is appealing. NY VFXwalla's VFX is terrible while Dharmendra Sharma’s editing is haphazard. On the whole, HELICOPTER EELA is a poorly made film and has too many loose ends and silly moments. At the box office, this helicopter is bound to crash



Movie Review: Tumbbad

Thu, 11 Oct 18 10:57:51 +0000

We have lagged behind considerably in the horror genre with only a handful of films succeeding in impressing the audiences. A sub category in horror genre is that of period horror. Here, only Vikram Bhatt has made a mark with 1920 [2008] and HAUNTED 3D [2011]. The rest of the films in 1920 franchise and 1921 [2018] failed to live upto the expectations. Now, Anand Gandhi and Sohum Shah, known for making the critically acclaimed SHIP OF THESEUS [2013], return with a scarefest, TUMBBAD, based in the pre-Independence era. So does TUMBBAD manage to send a chill down the audiences’ spine? Or does it fail? Let’s analyse. <img class="aligncenter wp-image-908062 size-full" title="Movie Review Tumbbad" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/10/Movie-Review-Tumbbad.jpg" alt="Movie Review Tumbbad" width="720" height="450" /> TUMBBAD is the story of a man who gets access to unlimited gold thanks to the curse of a goddess. When the Universe was created, the Goddess of Prosperity, the symbol of unlimited food and gold, gave birth to 16 crore gods and goddesses. The Goddess however loved her first child the most – Hastar. But Hastar wanted all the food and gold possessed by the Goddess. He managed to get access to her gold but when he came to get hold of the food, the fellow Gods and Goddesses attacked him. Before he could get completely destroyed, the Goddess of Prosperity saved him by keeping him in his womb but on one condition – no one should ever worship him and that he should be forgotten. Many centuries later, the residents of Tumbbad village however made a shrine in honour of Hastar, turning this village into a curse. It became a village where it rains perennially. The story begins in 1918. A teenaged Vinayak, his younger brother Sada and their mother reside in this village. The mother is a mistress of the village Sarkar who stays in the ‘wada’ (estate) where the Hastar’s temple is situated. Vinayak and Sada are the illegitimate children of Vinayak and Sada. The Sarkar has tried to find the treasure possessed by Hastar but his search turned futile and he managed to find just one gold coin. The Sarkar’s mother is a wretched old lady who refuses to die and Vinayak’s mother takes care of him. The Sarkar dies and the next day, Sada falls from a tree and also passes away. The mother gets hold of the gold coin from the shrine and leaves Tumbbad permanently with Vinayak. 15 years later, in 1933, Vinayak (Sohum Shah) goes back to Tumbbad in the hope of finding the lost treasure. Luck smiles on Vinayak as he’s able to find a way that leads him to unlimited gold coins. But he gets hold of only certain coins at a time. Vinayak exchanges these coins with a local moneylender Raghav who grows suspicious of Vinayak and the way he regularly gets hold of the coins. Unable to control his curiosity and desperate to earn some quick buck for getting license from his opium business, Raghav goes to the estate to get hold of some gold coins. What happens next forms the rest of the story. Mitesh Shah, Adesh Prasad, Rahi Anil Barve and Anand Gandhi’s story is unique and unconventional. With such a plot and setting, TUMBBAD could have turned into a game changer. But Mitesh Shah, Adesh Prasad, Rahi Anil Barve and Anand Gandhi’s screenplay doesn’t let that happen. It is inconsistent – at places, the setting and the legend is very well explained. But certain developments are depicted in a subtle manner and they might get missed. Mitesh Shah, Adesh Prasad, Rahi Anil Barve and Anand Gandhi’s dialogues are simple and not memorable as such. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/aanand-l-rai-on-why-backs-films-like-newton-tumbbad-manmarziyaan-nil-battey-sannata-2/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Rahi Anil Barve’s direction is a bit weak as he too fails to do justice to the plot in hand. One of the biggest problems with the direction is certain things never get explained properly. For instance, who was the first one to remember Hastar and how did that person come to know about him, especially when he’s never mentioned in the scriptures anywhere? How come the Sarkar was never able to find gold coins in abundance, like Vinayak? The climax does grab your attention but again, a question arises why exactly such a twist occurs in the first place. TUMBBAD’s first few minutes should not be missed at any cost. The entire legend of the village and Hastar is explained here and missing this bit would prove detrimental. The film is divided into three chapters. The first chapter, involving Vinayak’s childhood, is disturbing and needlessly gory. It doesn’t really engage well. The second chapter is slightly better, though a lot is still left to be desired. The intermission point is well shot and it’s from the second half that the film begins to get clearer. The scene in the womb immediately after the commencement of the second half leaves a mark. The third chapter has interesting developments, especially in the finale. But the way the makers don’t answer certain questions again hampers the impact. Sohum Shah however delivers a fabulous performance. His deadpan expressions, dialogue delivery and eyes create an impact and works very well for this role. Anita Date (Vinayak’s wife) is quite good and makes a mark in few scenes. Ronjini Chakraborty (Vinayak’s mistress) gives a nice performance, especially in the scene where she meets Vinayak’s son. Mohd Samad (Vinayak’s son) is quite great and dominates a major chunk of the second half. Jyoti Malshe (Vinayak’s grandmother) is fine and her make-up itself is sure to scare a lot of viewers. Cameron Anderson (Sergeant Cooper) and the actors playing Hastar, Vinayak’s mother, younger Vinayak, Raghav are good. Ajay-Atul’s music is nothing special and there’s just one song – the title song – played at various junctures in the film. Jesper Kyd’s background score however is brilliant and has an international feel. Pankaj Kumar’s cinematography is spectacular and one of the best of the year. The virgin locales of Maharashtra are very well captured. Filmgate Films AB’s VFX is quite good and doesn’t give any reason to complain. Nitin Zihani Choudhury and Rakesh Yadav’s production design is praiseworthy, especially in the scenes of the womb. Smriti Chauhan and Sachin Lovalekar’s costumes are reminiscent of the bygone era. Serina Mendonca Texeira and Shrikant Desai’s make up and Dirty Hands and Studio Hash’s prosthetics is something to watch out for. Parvez Shaikh’s action is decent while Sanyukta Kaza’s editing is smooth. On the whole, TUMBBAD rests on a unique concept but the disjointed narrative spoils the show. It’ll be a challenge for this film to impress the masses and hence struggle to do good business at the box office



Movie Review: Venom

Fri, 05 Oct 18 12:12:30 +0000

Over the past few years, we have seen the rise of superhero films that have now become one of the best performing movies at the box office. In fact, Marvel has developed a fan base for almost each and every character they have, with standalone films doing brisk business. However, away from the Disney – Marvel universe, this week we see the release of a film based on Sony owned Marvel character, Venom. Starring Tom Hardy, VENOM features a character from the Spider-Man line of comics that features a grey character outline. An anti-hero at best, Venom is a symbiot that bonds with a host absorbing the personality and enhancing the host’s traits. But will this introduction of a relatively lesser known anti-hero work at the box office is what we analyse. <img class="aligncenter wp-image-905532 size-full" title="Movie Review: Venom" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/10/Movie-Review-Venom-image.jpg" alt="Movie Review: Venom" width="720" height="450" /> VENOM starts off with a space craft belonging to the CEO of Life Foundation - Carlton Drake (Riz Ahmed) that was on an exploratory mission crashing into earth. Carrying a payload of symbiotic lifeforms from deep space, the craft is destroyed on impact. However, while four specimens are recovered from the crash, one escapes. After the four are brought back to the Life Foundation research facility in San Francisco, Drake, becomes obsessed with bonding symbiots to humans to prepare humanity for Earth's inevitable ecological collapse, and begins illegally experimenting on vagrants, resulting in numerous deaths. In the meantime, investigative journalist Eddie Brock, who arranges an interview with Drake through his girlfriend Anne Weying, a lawyer affiliated with the Life Foundation confronts Drake with confidential materials indicating wrongdoing that he stole from Weying's e-mail, leading to them both being fired from their respective jobs and the end of their relationship. Six months later, Brock is approached by one of Drake's scientists, Dora Skirth, who disagrees with Drake's methods and wants to help Brock expose him. With her aid, Brock breaks into Drake's research facility to acquire evidence from his crimes, in the process learning that an acquaintance of his, Donna Diego, has become one of Drake's subjects. Brock attempts to rescue her, but Donna attacks him and the symbiot possessing her, transfers from her body to his, killing her in the process. Brock manages to escape, but soon begins displaying strange symptoms. Will Brock also fall victim to the symbiot, will the symbiot overpower its host, or will the two merge into one being is what forms the rest of the film. VENOM starts off detailing the character of Eddie Brock, the investigative journalist and Carlton Drake, the CEO of life Foundation, and from here the film quickly moves on to establish the basic premise of how the symbiots arrive on Earth and what their mission is. Director Ruben Fleischer does a good job in keeping the proceedings fast paced and gripping at the same time. Not once does the film slow down, instead the script keeps the viewer on the edge of their seat with constant shifts and well executed action sequences. A special mention here needs to be made for the Visual Effects team that have done well to integrate CGI and live action sequences seamlessly. This facet is evident in multiple scenes through the film, especially since the subject matter involves a ton of CGI. Coming to the performances in the film, both Tom Hardy as Eddie Brock/ Venom and Riz Ahmed as Carlton Drake/ Riot, have done an impeccable job with their given roles. Well timed humour and perfect timing in crucial moments propels the overall appeal of the film. Similarly, the rest of the cast, comprising of Michelle Williams as Anne Weying, and Reid Scott as Dr. Dan Lewis have done a decent job in their limited roles. Despite being a film that focuses solely on one character, VENOM features well detailed characters for each of the cast members. On the whole, VENOM makes for a fun action packed movie that keeps you in your seat. The constant twists and the rapid action does not let the tempo of the film drop. For the Indian market, being a film that does not come after any predecessor, VENOM is easy to understand and builds a story line around a lesser known character that can eventually become a major league player. At the box office, with competition from two other Bollywood releases viz. LOVEYATRI and ANDHADHUN, VENOM will face stiff competition. However, the wide release in four languages will work in favour of the movie



Movie Review: LoveYatri

Thu, 04 Oct 18 18:11:16 +0000

The state of Gujarat is considered quite vibrant and colourful but surprisingly, very few films are based there. Out of these films, most of the movies based in this state have failed to do justice to its USP. Only select ones like KAI PO CHE [2013], RAEES [2017] and the recently-released MITRON [2018] have captured the essence well. Now, Aayush Sharma’s long impending debut flick LOVEYATRI is out and it promises to show Gujarat at its best. Moreover, the film is set during the much-talked about festival of Navratri. So does LOVEYATRI manage to succeed in its endeavour? Or does it fail? Let’s analyse. <img class="aligncenter size-full wp-image-905203" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/10/Movie-Review-LoveYatri.jpg" alt="" width="720" height="450" /> LOVEYATRI is the story of romance that blossoms during a course of nine days. Sushrut aka Susu (Aayush Sharma) is a good for nothing guy in Vadodara, Gujarat. He is poor in studies and gives garba lessons to kids in his neighbourhood. Meanwhile, Manisha aka Michelle (Warina Hussain) is originally from Vadodara but stays in London with her father Sameer aka Sam Patel (Ronit Roy), who is a rich businessman. Manisha is studious and is about to get admission in a reputed business school. A day before Navratri, both arrive in Vadodara when their family members trick them. Manisha goes with her family and friends for a Navratri event and there she bumps into Susu. Encouraged by his maternal uncle Rasik (Ram Kapoor), Susu pursues her as he has fallen for her. Manisha too begins to get fond of him. Sam learns of this romance in the making and he tries to manipulate the situation. Susu has a fight with Manisha. By the time Susu realises his mistake, Manisha has already left for London. What happens next forms the rest of the film. Niren Bhatt’s story is too simplistic. There are a lot of interesting characters and even the setting is unique. But the writer doesn’t use them well. The biggest conflict arising between the lovers is insignificant but it takes forever for the misunderstanding to resolve. Niren Bhatt’s screenplay however is engaging and entertaining. Despite the fact that there aren’t many conflicts happening in the film, the script keeps viewers engaged. Niren Bhatt’s dialogues are quite nice. Some of them might remind of the WhatsApp forwards but considering the context and theme, it works. Abhiraj K Minawala’s direction is neat and uncomplicated. It’s his debut directorial venture but he proves that he knows his job well. LOVEYATRI begins well with the typical grand hero’s entry. His world is well established and also that of Manisha. The sequence where Susu sees Manisha for the first time might seem a bit far-fetched but it surely works. Susu's various interactions with his pals Negative (Pratik Gandhi) and Rocket (Sajeel Parekh) and Rasik mama are quite hilarious. Along with laughter, the film also depicts some tender, romantic moments between Susu and Manisha. But the best in the first half is reserved for the scene where Sam takes Susu for a ride in the giant wheel. Quite dramatic! The showdown in the high end restaurant followed by the intermission point is terrific. In the second half, things continue to remain interesting as Susu tries every trick in the book to go to London. Once in London, the fun gets better although the climax is sans any high. Aayush Sharma makes a confident debut. The actor surely has spark and is set for a great career ahead. He dances like a dream and most importantly, he does very well in the confrontational sequences. Warina Hussain looks stunning but is not relegated as a PYT in the film. She has an important part and she shines. Watch out for her scene where she opens up about her mother. Ram Kapoor is the 'jaan' of the film. His characterization and performance are such that they lift the proceedings! The scene where he talks about Shah Rukh Khan, Aamir Khan and Salman Khan would be greeted with claps and whistles! Ronit Roy gets the Gujarati accent right and performance wise, he is first rate. Pratik Gandhi brings the house down while Sajeel Parekh also contributes to the laughter quotient. Kenneth Desai (Hari; Susu’s father) is fine. Manoj Joshi (Natu Kaka) is great but doesn’t get scope. Arbaaz Khan (Jignesh) and Sohail Khan (Bhavesh) are adorable. <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/loveyatri-public-review-aayush-sharma-warina-hussain-salman-khan/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>Music is of chartbuster variety and utilized very well in the film. The title song is fun while <em>‘Chogada’</em> comes at an important juncture. <em>'Dholida'</em> and <em>'Rangtari'</em> are foot tapping. <em>‘Akh Lad</em> <em>Jaave’</em> has a nice seductive feel and lastly, <em>‘Tera Hua’</em> is melodious. Sanchit Balhara and Ankit Balhara's background score is dramatic and commercial. Jishnu Bhattacharjee’s cinematography is too good and captures the essence and colourfulness of Navratri flawlessly. Vaibhavi Merchant’s choreography is eye catching and adds to the film’s charm. Manish Malhotra, Alvira Khan Agnihotri and Ashley Rebello’s costumes are very appealing. Amit Ray and Subrata Chakraborty’s production design is simple and real. Ritesh Soni’s editing is neat. On the whole, LOVEYATRI is a feel good and colourful film laced with some lovely moments and chartbuster music as its USP. It’s a clean entertainer and has the potential to attract youth and families in abundance



Movie Review: AndhaDhun

Thu, 04 Oct 18 07:06:09 +0000

Bollywood filmmakers have used blindness as an interesting aspect in their movies and most of these films have turned out to be interesting fares. In recent times, films like KAABIL [2017], AANKHEN [2002], BLACK [2005], FANAA [2006], LAFANGEY PARINDEY [2010] etc featured blind characters and it gave a distinct touch to the film. Now, Sriram Raghavan, known for his crime thrillers, uses this aspect in his latest fare, ANDHADHUN. So does it turn out to be a thrilling flick? Or does it fail? Let’s analyse. <img class="aligncenter size-full wp-image-904952" src="http://www.bollywoodhungama.com/wp-content/uploads/2017/06/ANDHADHUN-review.jpg" alt="" width="720" height="450" /> ANDHADHUN is the story of a creative artist who gets involved in a crime scene. Akash (Ayushmann Khurrana) is a blind piano player based in Pune. While crossing the road, he one day accidentally bumps into Sophie (Radhika Apte), who along with her father runs a restaurant named Franco’s. Impressed with his piano skills, she hires Akash to play at Franco’s. Akash impresses the guests with his performance and also Sophie. Both start a love affair. A frequent customer at Franco’s is yesteryear actor Pramod Sinha. He has retired from films and is now into real estate. Three years ago, he married Simi (Tabu), who is his second wife. He has a daughter from the first wife, Dani. Pramod loves Akash’s performance and is also moved by the fact that he is able to recognize Pramod by his voice. It’s his marriage anniversary the next day and he asks Akash to come to his house for a private concert for him and Simi. The same night, he tells Simi that he’s going to Bengaluru the next day for work purposes. He purposely lies as his plan is to surprise Simi and then have a concert by Akash. The next day, Pramod reaches his residence but he’s shocked to find Simi sleeping with her lover, Inspector Mahendra (Manav Vij). In the madness that ensues, Pramod is shot dead. Minutes later, Akash arrives for the concert. What happens later forms the rest of the film. Sriram Raghavan, Arijit Biswas, Yogesh Chandekar and Pooja Ladha Surti’s story is inspired from the French short film L’ACCORDEUR [writer and director: Olivier Treiner]. However, a lot of changes have been done and it’s praiseworthy. Sriram Raghavan, Arijit Biswas, Yogesh Chandekar and Pooja Ladha Surti’s screenplay is flawless in the first half and is bound to leave viewers stunned. The second half becomes a bit routine and unrealistic. Sriram Raghavan, Arijit Biswas, Yogesh Chandekar and Pooja Ladha Surti’s dialogues are sharp and witty. Sriram Raghavan’s direction is terrific. In the past, he has made some great urban thrillers like EK HASINA THI [2004], JOHNNY GADDAAR [2007] and BADLAPUR [2015]. ANDHADHUN is more in the JOHNNY GAADAAR zone and he treats the plot very well. The dark humour element comes out beautifully and that helps the film from becoming too gory or disturbing. Also, his love for the 70s Hindi cinema comes to the fore and it adds to the film’s charm. If only he had done something about the glitches in the second half, ANDHADHUN would have been a game changer! ANDHADHUN’s first half is simply out of this world! The introduction of the characters is great and soon, the plot begins to unfold. There are surprises after every 10-15 minutes. The real fun however begins when Pramod Sinha gets murdered and Akash reaches his residence. This scene is seen to be believed! All scenes from hereon take the film to dizzying heights – whether it’s the scene at the police station or Manohar visiting Akash’s residence or Akash visiting Pramod’s residence the second time or the prayer meeting. The intermission point raises tension levels significantly. The second half begins with a bang and even a shocker. Although this hour also keeps the viewers gripped, the film begins to drop and get unconvincing. The proceedings become far-fetched which is not the case in the first half. Newer characters are added while a significant character from the first half gets sidelined. In fact, the first and second halves seem like two different films. The climax is interesting and watch out for the final scene! <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/sriram-raghavan-i-am-keen-on-web-series-because-ayushmann-khurrana-andhadhun/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Ayushmann Khurrana has done unconventional but mostly light films till now. ANDHADHUN is his first intense flick and he excels. This is a very challenging role as his character has lot of shades and a secret to hide. But he puts up an excellent act. He’s unforgettable in the sequence where Pramod Sinha is killed and also in the scene immediately after intermission. Ayushmann already has a wonderful filmography and this flick will add a lot of weightage. Tabu delivers a bravura performance as expected. The manner in which she plays the mind games and tries to manipulate the situations at various points is quite fun. Radhika Apte plays a chirpy character and delivers a fine performance. Sadly, she has very little to do in the second half. Anil Dhawan is terrific and leaves a mark. Manav Vij’s entry scene is chilling and notice how he conveys a lot merely with his eyes. A first-rate performance! Ashwini Kalsekar (Rasika) is too good and rocks in the scene wherein she’s discussing the murder of Pramod Sinha. Zakir Hussain (Dr Swami) is quite quirky and contributes to the fun quotient. Gopal Singh (Sub inspector) is fine. Chhaya Kadam (Maushi) is an actor to watch out for. Kabir Sajid (the kid) is too good and too funny. The actors playing Murli, Mrs D’Sa are nice. Amit Trivedi’s music is melodious and suits the narrative well. <em>‘Naina Da Kya Kasoor’</em> is the best of the lot and is quite foot-tapping. <em>‘Laila Laila’</em> comes next despite coming immediately after <em>‘Naina Da Kya Kasoor’</em>. <em>‘Oh Bhai Re’</em> is quite quirky while <em>‘Woh Ladki’</em> is played at a crucial juncture. Daniel B George’s background score has a very important part to play and enhances impact in several scenes. The piano pieces are excellent. K U Mohanan’s cinematography gives the film a captivating feel. Also, ANDHADHUN is a rare film shot almost entirely in Pune and captures the city like never before. Snigdha Pankaj and Anita Donald’s production design is quite rich and appealing, especially Pramod and Simi’s residence. Anaita Shroff Adajania and Sabina Haldar’s costumes are also eye-catching, especially the ones worn by Radhika Apte. Parvez Khan’s action is realistic. Pooja Ladha Surti’s editing is razor-sharp. On the whole, ANDHADHUN is a thriller par excellence. Very rarely does Bollywood deliver a thriller that shocks and stuns you so well. Although the second half does drop, the impact is made and this would surely result in a good word of mouth. Recommended



Movie Review: Sui Dhaaga – Made In India

Fri, 28 Sep 18 08:21:49 +0000

Since more than a decade, filmmakers have been increasingly setting their stories in the heartland of India. This gives the film an authentic and realistic touch and also helps the film get a wider appeal. More number of people watch such films, provided they are told in a simple and entertaining manner, as they could relate to such stories more than the ones set in urban or foreign regions. SUI DHAAGA - MADE IN INDIA, this week’s big release, is not only based in a village, but also makes some important comments about social entrepreneurship for the social and economic development of artisans. So does SUI DHAAGA - MADE IN INDIA manage to be an entertaining as well as enlightening tale? Or does it fail despite its honest intentions? Let’s analyse. <img class="aligncenter wp-image-902814 size-full" title="Movie Review: Sui Dhaaga – Made In India" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/09/Movie-Review-Sui-Dhaaga-–-Made-In-India.jpg" alt="Movie Review: Sui Dhaaga – Made In India" width="750" height="450" /> SUI DHAAGA - MADE IN INDIA is a heartwarming story of pride and self-reliance. Mauji (Varun Dhawan) stays in a village near Delhi with his wife Mamta (Anushka Sharma), father (Raghubir Yadav) and mother (Yamini Das). Varun works at a shop that sells sewing machines, owned by Bansal (Sidharth Bhardwaj) and his son Prashant (Ashish Verma). Both have a habit of ill-treating Mauji and make him do fun antics. When Prashant gets married, Bansal invites Mauji and his entire family. Mamta feels humiliated when she sees Mauji being asked to imitate a dog by the Bansals. Mamta encourages him to start his own business, especially since he is a pro at sewing. However, Mauji’s grandfather was a tailor who faced immense losses. Hence, his father vowed never to get into this business again. Mauji at first rejects Mamta’s suggestion but later leaves his job and puts a stall on the streets in Delhi. On the other hand, Mauji’s mother falls down in their house and she’s hospitalized. The tests reveal that she has multiple blockages in her heart. The family is already having a hand-to-mouth existence and Mauji’s mother’s hospitalization further add to their woes. Moreover, Mauji has left his job as well. What happens next forms the rest of the film. Sharat Katariya's story is simple and the need of the hour. It reminds one of the films of Hrishikesh Mukherjee and gives a nice ode to that kind of adorable cinema. Sharat Katariya's screenplay however is much more impressive. He does total justice to the characters and the setting and also keeps the viewers involved. However, unlike his previous outing  DUM LAGA KE HAISHA [2015] which had plenty of funny moments, SUI DHAAGA - MADE IN INDIA is more dramatic. There's not much scope for humour and a section of audiences might miss that. Sharat Katariya's dialogues are witty and play a major part in contributing to the laughter quotient. Sharat Katariya's direction is brilliant and enhances the well written script. He could have made the film a bit tighter and less convenient and predictable but thankfully these are minor flaws. SUI DHAAGA - MADE IN INDIA 's first shot is very impressive and captures a lot simply in one take. After establishing the characters and setting, the film wastes no time in getting on point soon. The hospital sequence is lovely but in the first half, what takes the cake is the pre interval sequence. Notice how the makers raise tension levels! In the second half, the film drops a bit. Also the manner in which Mamta and Mauji get shortlisted for the fashion tournament seems a bit convenient. But the finale makes up for it (though it gives a déjà vu of the 2008 comic caper MONEY HAI TOH HONEY HAI) and the film is sure to leave viewers with a smile. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/anushka-sharma-everything-in-life-is-a-part-of-self-evolution/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> SUI DHAAGA - MADE IN INDIA belongs to Varun Dhawan and Anushka Sharma. Both actors deliver powerhouse performances. Varun Dhawan looks every inch a village simpleton and is sure to be loved. He plays his part with earnesty and that shows. Notice his reaction when Bansals force him to act like a dog and how he beautifully hides his embarrassment. Also in the climax scene especially in the hotel lobby sequence, he's too good. Anushka Sharma gets mentioned before Varun in the opening credits and has a very crucial part. One forgets that she is THE Anushka Sharma and gives her hundred per cent. In a scene where she asks her mother in law if she's fine and whether she liked the hospital, the actress seems so natural. Raghubir Yadav gives a very touching performance. Towards the finale especially, he’s sure to make viewers teary-eyed. Yamini Das plays her part perfectly, especially in the hospital scenes. Puja Sarup (Harleen Bedi) leaves a huge mark. Same goes for Namit Das (Guddu). Bhupesh Singh (Naushad) is damn good. The actors playing Majnu, Majnu’s wife, Palteram and others are also very good. Anu Malik’s music goes very well with the film, although it’s not of chartbuster variety. The title song comes at a very crucial juncture and makes an impact. <em>'Chaav Laaga'</em> is melodious. <em>'Khatar Patar' </em>and <em>'Tu Hi Aham'</em> are situational songs and work. <em>'Sab Badhiya Hai'</em> is missing from the film. Andrea Guerra’s background score is in sync with the film’s mood and is also subtle. Anil Mehta’s cinematography is too good and doesn’t get lost in capturing the simplicity of the village or the glitz and glamour of the city life. The lensman captures only what’s essential. Meenal Agarwal’s production design is realistic. Darshan Jalan and Neelanchal Kumar Ghosh’s costume designers deserve brownie points as it’s one of the pillars of the film. Charu Shree Roy’s editing is simple and neat. On the whole, SUI DHAAGA - MADE IN INDIA is a simple tale told beautifully with strong emphasis on emotions. At the box office, the film will have to rely on a very good word of mouth to attract audiences. It has an extended five-day weekend of sorts (with October 2 being a National Holiday). Hence, the film would surely have a healthy run at the ticket window and would turn prove profitable or should we say <em>‘badhiya’</em> for the producers. Recommended



Movie Review: Pataakha

Thu, 27 Sep 18 15:51:56 +0000

Ask anyone who has a sibling and they’ll admit that they have had physical fights with them while growing up. This aspect however has been rarely explored in our Hindi films, although a few films have talked about the relationship between brothers or sisters. While most grow out of our action avatars when it comes to our siblings, some don’t. Shakun Batra’s KAPOOR & SONS [2016] explored this aspect as it showed Sidharth Malhotra and Fawad Khan indulging in physical assaults as grown up adults. Vishal Bhardwaj now turns the tables with his latest outing PATAAKHA and throws light on the lives of two sisters who have no qualms fighting with each other. So does PATAAKHA succeed in entertaining viewers? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter size-full wp-image-902506" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/09/Movie-Review-Pataakha-IMG.jpg" alt="" width="720" height="450" /> PATAAKHA is the bittersweet story of two badass sisters. Badki (Radhika Madan) and her sister Chhutki (Sanya Malhotra) reside in a village in Rajasthan. Their mother is no more while their doting father Bapu (Vijay Raaz) works as a mine contractor nearby. Badki and Chhutki are forever fighting and beating each other for the smallest of reasons. Bapu as a result is perennially tensed. The sisters then fall in love – Badki with Jagan (Namit Das) while Chhutki falls for Vishnu (Abhishek Duhan). On the other hand, Bapu risks losing his mine if he doesn’t give bribe to tune of Rs. 4 lakhs to the new forest officer. Patel (Sanand Verma), the Mr Moneybags of the village and also the one with a roving eye, agrees to pay the said amount to Bapu in exchange for marriage with either Badki or Chhutki. A simple toss decides who’ll marry Patel. Badki unfortunately is selected as Patel’s wife-to-be. Chhutki is overjoyed that she’ll finally be free of Badki’s torture. However, on the eve of the wedding, Badki elopes with Jagan. On the day of the marriage, Patel decides to marry Chhutki instead. When Patel arrives for the wedding at night, he’s shocked to see that Chhutki has run away as well, with Vishnu! Both the sisters get married to their respective lovers. However, their joy is shortlived when they realize that Vishnu and Jagan are brothers and even after marriage, they’ll have to share the household with each other. What happens next forms the rest of the film. Charan Singh Pathik’s story (originally published as a tale called ‘Do Behenein’) is interesting and novel. Vishal Bhardwaj’s screenplay has some plusses. He has kept the tone of the film light and fleshed out some scenes very well. An interesting sequence in the first half that stands out is Badki enquiring at the milk plant while Chhutki making inquiries at a coaching institute. Notice how the camera pans out to a poster of Narendra Modi hugging Donald Trump! It’ll surely induce chuckles. Also, the way he draws a parallel to India and Pakistan’s equation while describing Badki and Chhutki’s relationship is interesting. However, in the second half, he loses grip over several scenes. Vishal Bhardwaj’s dialogues are witty at places. At few places however, some dialogues are difficult to decipher. Vishal Bhardwaj’s direction is controlled but in a few scenes, he could have done a better job. The entire portion of Badki and Chhutki facing physical ailments look very unrealistic and takes away the charm created by the earlier scenes. Moreover, a few scenes are disgusting and were avoidable. For instance, there was no need of showing excreta, people spitting on stones repeatedly etc. As it is, the visuals of women fighting are going to keep a section of audiences away and such scenes would further add to the alienation. PATAAKHA is a black comedy and definitely has its moments. The duration thankfully is controlled, at 136 minutes. The beginning portions are breezy and entertaining. Thankfully, the scenes of physical fights between the sisters are not incorporated every now and then. The way Badki and Chhutki fall in love seems a bit quick but works. But the equation is very well established among the principal characters. The scenes where the sisters run away make for a nice watch and same goes for when they realize that their husbands are related. Post-interval, the interest dips a bit in the initial portions. The interest rises again when Badki and Chhutki hatch a plan for independence from each other. Once that happens, the film shockingly goes downhill. The withdrawal symptoms faced by them are too unconvincing and difficult to digest. The finale thankfully has some fun moments which bring the film back on track. Sanya Malhotra, last seen in DANGAL [2016], can once again be seen getting into the mud while trying to defeat her opponent. This is no easy role and it required confidence and losing inhibitions. On both fronts, Sanya scores very well and the same goes for Radhika Madan. Not many actresses would like to do such a role in the initial years of their careers. But Radhika not only took up the challenge but also came out with flying colours. Sunil Grover (Dipper) has the most rocking character in the film and he’s surely the trump card of PATAAKHA. His scenes would be loved by the audiences as he tries to complicate matters into the lives of the warring sisters and her father. Performance-wise, he’s first-rate! Vijay Raaz delivers a terrific performance yet again. He contributes to the laughter but your heart also goes to him as he tries to survive amidst his ferocious daughters! Namit Das and Abhishek Duhan lend able support. Saanand Verma is decent. Chomina Beyong (Patel’s wife) is hilarious. Usha Nagar (Dadi), Sameer Khakhar (Sarpanch) and Ajay Kumar (Eye surgeon) are fine. Others do a good job. Vishal Bhardwaj’s music is hardly memorable but is well incorporated in the film. <em>‘Naina Banjare’</em> stands out. <em>‘Balma’</em> also works thanks to its picturisation. The title song is forgettable while <em>‘Gali Gali’</em> comes at a crucial juncture. The much talked about item song <em>‘Hello Hello’</em> featuring Malaika Arora is shockingly missing from the film and is not even a part of the end credits, although the credits mention her presence in the film in the ‘mela’ sequence! Vishal Bhardwaj’s background score has a fun tone and it helps in keeping the mood light. Ranjan Palit's cinematography is raw and grungy, in keeping with the film’s theme. Subrata Chakraborty and Amit Ray's production design is realistic. Karishma Sharma’s costumes are straight out of life. Soma Goswami and Natasha Mathias’s makeup design deserve special mention for the heroines look quite convincing as rebellious village belles. A Sreekar Prasad’s editing is okay. On the whole, PATAAKHA is a decent entertainer which has its moments but the post-interval portions are quite unconvincing. At the box office, it will need to rely on word of mouth to register decent collections



Movie Review: Manto

Fri, 21 Sep 18 09:11:25 +0000

Is freedom of expression absolute? What constitutes obscenity and indecency? These are the questions our present-day Indian society is grappling with especially when artistes sometimes try to push the envelope. This is unfortunate, considering our history is replete with some very progressive artists who set the benchmark for progressiveness and yet, our society moved forward. Saadat Hasan Manto was one such writer and his works continue to fascinate readers even today. Nandita Das, after years of struggle, is finally ready with her film on this personality, titled MANTO. So does MANTO manage to stir and move viewers just like the writer’s works? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter size-full wp-image-900021" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/09/Movie-Review-Manto.jpg" alt="Movie Review Manto" width="720" height="450" /> MANTO throws light on the four decisive years of the life of Saadat Hasan Manto (Nawazuddin Siddiqui), a rebellious writer. The story begins in 1946 in Bombay, India. Manto is a non-practicing Muslim but has his apprehensions when the communal riots break out at a time when the country is at the cusp of freedom. He is married to Safia (Rasika Dugal) and he earns his living by writing for films. His close friends are fellow liberal writer Ismat Chugtai (Rajshri Deshpande) and film actor Shyam Chadda (Tahir Raj Bhasin). Meanwhile, India gains Independence on August 15, 1947. Saifa goes to Lahore to attend her sister’s wedding. Manto meets Shyam’s family who have run from Rawalpindi to India and have lost a family member while escaping. Shyam, in a fit of rage, expresses his hatred for Muslims and even tells Manto that he could have killed him too. A distraught Manto decides to leave India permanently and settle in Lahore. There, he is slapped with obscenity charges over his story ‘Thanda Gosht’. What happens next forms the rest of the film. Nandita Das’s story is interesting as it doesn’t throw light on Manto’s entire life but only on the four years. It also makes a nice comment on the idea of freedom of expression and how society continues to create problems for those who are showing the mirror. Nandita Das’s screenplay has its moments with few scenes being exceptionally written. However, at a lot of places, the film fails to make the desired impact which is unfortunate since the film has a lot of potential. Nandita Das’s dialogues are sharp and acidic. Manto’s original quotes are also used and it adds an authentic touch. However, a lot of dialogues are in chaste Urdu and English subtitles thankfully have been provided. Nandita’s direction is unhurried and breezy. The subject reminds one of Ketan Mehta’s RANG RASIYA [2014], which also spoke of an artist being dragged to court over a frivolous issue, and the acclaimed Spanish film NERUDA [2016], based on the Chilean poet Pablo Neruda. But Nandita with her execution ensures that viewers don’t start drawing parallels with these two films. Special mention should be made of two aspects – one, she doesn’t get overwhelmed with the period setup and doesn’t try to focus more on the sets and props. She instead keeps her focus on her protagonist. Secondly, she handles few sensitive factors with panache, one of them being Manto’s friendship with Ismat. The manner in which their pure friendship is depicted with Manto’s wife also acknowledging it makes for a nice watch. But on the other hand, she makes the film too dry, especially in the second half. This heavily mars the impact. MANTO is just 112 minutes long but could have been tighter, like Nandita Das’s previous directorial venture FIRAAQ [2009]. The characters are well established and the manner in which Manto’s stories are interspersed with the narrative smoothly is praiseworthy. The first half is shorter and has some memorable sequences – Manto getting livid with the producer (Rishi Kapoor), Manto and Safia trying to imagine the back story of a woman they see in a park and Manto and Safia witnessing the Independence Day celebrations. The best sequence of the first half however has to be Manto and Shyam’s confrontation in the local train. The second half is longer and this is where the film slips. Manto’s struggles could have been showed in a better manner. Also, the film has some great characters but barring 2 or 3, the rest don’t get their due like the lecherous film producer (Rishi Kapoor), Shaad Amritsari (Shashank Arora), Jaddan bai (Ila Arun), Nargis (Feryna Wazheir), Tea Stall Man (Neeraj Kabi), Ansar Shabnam Dil (Vijay Varma), Abid Ali Abid (Javed Akhtar) etc. The climax is symbolic but looks a bit abrupt. As a result, MANTO will appeal only to the high-end multiplex audiences. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/blockbuster-manto-quiz-with-nawazuddin-siddiqui-nandita-das-2/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Nawazuddin Siddiqui is the soul of MANTO and succeeds in giving a yet another memorable performance. The actor breathes life into the character and does justice as he portrays his various sides. One of the most underrated aspects of his performance is when he feels fearful (notice him in the scene with Ashok Kumar). Rasika Dugal has a crucial part and plays her part with aplomb. Tahir Raj Bhasin delivers a bravura performance. In the second half, his screen time is limited and although he does well, the happenings in the said sequence seem superficial. Rajshri Deshpande is terrific in a cameo and one wishes she had a longer role. Rishi Kapoor is good as the sleazy filmmaker. Shashank Arora has an important part but no explanation is given as to who exactly is he and how a bond is formed between him and Manto. Ila Arun gets to shine in the scene where she sings the song. Neeraj Kabi is as always exceptional but again, has hardly anything to do. Vijay Varma, mostly remembered as the antagonist in PINK, is decent. Javed Akhtar is impressive, giving one a déjà vu of Naseeruddin Shah’s cameo in the Pakistani film KHUDA KAY LIYE [2007]. Inammulhaq (Hamid) and Chandan Roy Sanyal (Ahmed Nadeem Qasmi) are okay and don’t get much scope. Feryna Wazheir gets no dialogue although she quite looks the part. The actor who played Ashok Kumar is a bit over the top but manages to get the nuances right. Then there are actors who play the characters of Manto’s stories. Out of these, Ranvir Shorey (Ishrat Singh) and Divya Dutta (Kulwant Kaur) get the maximum scope and create a tremendous impact. This is followed by Vinod Nagpal (Bishan Singh; Sikh man in Toba Tek Singh). Paresh Rawal (Pimp), Tillotama Shome (Prostitute), Gurdas Maan (Sirajuddin) and Purab Kohli (Kaifiyat) also do very well. Sneha Khanwalkar's music doesn’t get much scope. <em>‘Nagri Nagri’</em> gets registered as it’s played at an important part. <em>‘Bol Ke Lab Azaad Hain’</em> comes during the end credits. The rap song <em>‘Mantoiyat’</em> thankfully is not made a part of the film. Zakir Hussain's background score is subtle and impactful. Kartik Vijay's cinematography is neat. Rita Ghosh's production design, Sheetal Iqbal Sharma's costumes and Shrikant Desai's hair and make-up are too good and play an important role in giving the film a realistic, authentic touch. Prana Studios's VFX matches the global standards. All these come together very well in recreating the bygone era. A Sreekar Prasad's editing is simple. On the whole, MANTO has its moments and makes an important comment which is relevant in today’s times. However, the second half is weak and the film overall is too niche. Hence, it won’t appeal to the mainstream audience and this would affect its box office performance



Review: Batti Gul Meter Chalu is an average, one-time watch

Fri, 21 Sep 18 07:30:56 +0000

It’s often said that there are 2 India’s within this country. One is the urban India where the infrastructure is developed and all facilities like electricity, water supply, sanitation etc. are readily available. But there’s a part of India which still struggles with basic facilities. Shortage of electricity is one of the major problems of our country even today with power cuts being very frequent almost daily. On top of it, it’s not uncommon to come across reports of people slapped with insanely inflated electricity bills. Director Shree Narayan Singh, who impressed audiences last year with the social entertainer TOILET – EK PREM KATHA, is now back with BATTI GUL METER CHALU, and it also promises to be an entertainer with substance. So does BATTI GUL METER CHALU manage to impress and move viewers? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter size-full wp-image-899956" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/09/Batti-Gul-Meter-Chalu-9.jpg" alt="" width="720" height="450" /> BATTI GUL METER CHALU is the story of the struggles of the common man with regards to the inconsistent electric supply. Sushil Kumar Pant aka SK (Shahid Kapoor), Lalita Nautiyal aka Nauti (Shraddha Kapoor) and Sundar Mohan Tripathi (Divyenndu) are thick friends. All three are based in Tehri in Uttarakhand. While SK is a lawyer who likes to earn a quick buck by blackmailing people and arm-twisting them, Nauti runs a boutique shop and dreams of becoming a top designer. Sundar is a simpleton who has recently started his factory, called UK Packaging. Both SK and Sundar have feelings for Nauti. Nauti decides to date both of them one by one and decides to announce her decision as to whom she’ll eventually get into a relationship with. At first, she dates SK and she has a lovely time. Then, it’s Sundar’s turn and he floors her with his simplicity and honesty. One day, SK sees them cosying up to each other and he loses his mind. He stops talking to them and leaves for Mussoorie. Meanwhile, Sundar is slapped with a bill of Rs. 54 lakhs by the private electricity company SPTL. He tries his best to find a solution to it and explain to the concerned authorities that it’s impossible that he has consumed so much of electricity. Moreover, due to power cuts, he’s already using generator which has put additional burden on his finances. Realizing that he might have to sell off his ancestral house to pay off the dues, Sundar approaches SK for help. But SK is hurt that Nauti chose Sundar over him. Hence, he ridicules both of them. With no other solution in hand, Sundar decides to end his life. What happens next forms the rest of the film. Siddharth-Garima and Vipul Rawal’s story is simple which held a lot of promise but is not put together well. The basic premise has potential as it’s very relatable but it doesn’t come out properly. Siddharth-Garima’s screenplay is engaging only at places. There are far too many flaws and they get noticed easily. The film also reminds one of another courtroom drama, the JOLLY LLB series. Moreover, a crucial development is similar to Shahid’s own film CHUP CHUP KE [2006]. Siddharth-Garima’s dialogue has some funny punchlines. But the excessive use of terms like ‘<em>thehra</em>’ and ‘<em>bal</em>’ could have been avoided. In fact, the film’s length could have been reduced by ten minutes if these two words were chopped off! Shree Narayan Singh’s direction is weak. He had a bit flawed but interesting write-up in hand and any other capable director could have turned things around. But Shree Narayan Singh doesn’t succeed much. There’s no doubt that he has handled some moments deftly and does make viewers aware about how acute the problem in question is. But his execution leaves a lot to be desired. BATTI GUL METER CHALU is almost 161 minutes long and it’s first half could have been easily shortened by around 30 minutes. The beginning sequences depicting the friendship of the trio are strictly okay. Things begin to heat up once Nauti decides to date SK and then Sundar. The scene where Sundar spots Nauti and Sundar kissing is quite dramatic. Also, the entire Mussoorie sequence raises laughs and also has a great confrontational moment. The intermission point is dramatic. Post-interval, the scene of SK threatening the SPTL lawyer in the ombudsman office is whistle worthy. But the real fun begins with the courtroom sequence. The way SK catches hold of Gulnar Rizvi’s (Yami Gautam) soft-porn book and reads aloud an excerpt will bring the house down! A few of the facts revealed by SK are also startling. The climax ideally should have been a highpoint but sadly, it’s a point where the film comes down. Moreover, the villains in the story are not powerful enough. SK is fighting such a huge electricity company and he has even got the public on his side during the course of his fight. Yet, at no point does the company threaten him or his family members or physically assault him. They quietly let things happen and this bit looks very unconvincing. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/batti-gul-meter-chalu-public-review-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Shahid Kapoor is one of the major reasons why the film succeeds to an extent. He’s in top form and will be loved for his comic timing. In the second half, he’s a riot! Also, he gives a wonderful performance in the emotional sequences. Shraddha Kapoor is over the top in the beginning sequences and it’s only in the serious scenes of the second half where she scores. Divyenndu is quite sincere and as always, gives an able performance. Yami Gautam has a very late entry and gives a fine performance. However, the scenes where she gets teased in the courtroom might not be liked by the female audiences. Atul Srivastav (Murarilal Tripathi; Sundar’s father) has some important scenes and is nice. Mukesh S Bhatt (Upreti) has quite a lot of screen time but doesn’t contribute much. Sushmita Mukherjee (Judge) tries to do a Saurabh Shukla of JOLLY LLB but looks forced. Sudhir Pande (D N Pant) is strictly okay and some of his scenes, shown in the trailer, are removed from the final cut. His entire track of trying to find a second wife doesn’t add at all to the main plot. Farida Jalal (Dadi) and Supriya Pilgaonkar (Beena Nautiyal) are wasted. Samir Soni (Sanjay Baduriya) looks tired and it seems like his voice has been dubbed. Rajendra Chawla (Janak Khanduri; officer at the complaint office) and Sukhvinder Chahal (Pankay Bahugana; SPTL official who gets caught in sting operation) are quite nice. Bijendra Kala (Deendayal Gangotri Travels owner) is as always good. Vikas (Sharib Hashmi) is unrecognizable while Badrul Islam (Kalyan) is decent. But their track is such that viewers might not be able to comprehend its significance. Anushka Ranjan (Rita) gets no scope. As for the songs, <em>‘Gold Tamba’</em> is catchy and <em>‘Har Har Gange’</em> comes at a crucial juncture. <em>‘Hard Hard’ </em>and <em>‘Dekhte Dekhte’</em> are forced. Vijay Verma, Anamik and Lyton's background score is disappointing in the light-hearted scenes but gets better in the second half. Anshuman Mahaley's cinematography is appropriate but the makers should have avoided taking too many long shots of the town. Udai Prakash Singh’s production design is realistic. Darshan Jalan and Neelanchal Kumar Ghosh’s costumes are as per the requirements of the characters. Post House’s VFX is very bad especially in the scenes shot in the day but are presented as night sequences. Shree Narayan Singh’s editing could have been better and crisper. On the whole, BATTI GUL METER CHALU is an average, one-time watch entertainer that appeals only in parts. The film has lot of flaws and loose ends and Shahid Kapoor’s entertaining performance saves the day to an extent. At the box office, it will require a really strong word of mouth to attract footfalls



Movie Review: Mitron

Thu, 13 Sep 18 05:00:42 +0000

The entrepreneur spirit of the Gujaratis is well known globally. However, this aspect and the overall flavour of Gujarat hasn’t been captured well in our films. Barring KAI PO CHE (2013), none of the films based in Gujarat in recent times like GORI TERE PYAAR MEIN (2013), SWEETIEE WEDS NRI (2017), PATEL KI PUNJABI SHAADI (2017) and YAMLA PAGLA DEEWANA PHIR SE (2018) have failed to do justice to the Gujarat setting. Now FILMISTAAN director Nitin Kakkar tries his luck with a film based in a Gujarat city. So does he manage to put up a convincing show? Or does he fail in the process? Let’s analyse. <img class="aligncenter size-full wp-image-896784" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/09/Mitron-5-1.jpg" alt="" width="720" height="450" /> MITRON is the story of two people, both of whom are the black sheep in their respective families. Jai (Jackky Bhagnani) is a good for nothing youth in Ahmedabad. His father (Neeraj Sood) leaves no opportunity to chide him for wasting his life despite having a degree in automobile engineering. His interest lies in cooking and even he starts a YouTube channel. But it doesn’t pay dividends. He’s advised to make prank videos as it can get record views. Sadly his father catches him in the act. He decides to get him married, as per the recommendations of an astrologer and also with the hope that it’ll make him responsible. Meanwhile, Avni (Kritika Kamra) is a smart, responsible girl. She too doesn’t get respect from her father (Sunieel Sinha) since he always wanted a son. Hence he can’t wait to get her married. Avni is in love with Vikram (Prateik Babbar) and both plan to start a food truck business and also eventually settle down. However Vikram ditches her suddenly. Avni then accepts her father’s suggestion for arranged marriage. At this point, Jai and Avni meet. What happens next forms the rest of the film. Sharib Hashmi's story is adapted from a Telugu film PELLI CHOOOPULU (2016), which is written and directed by Tharun Bhaskar Dhaassyam. It is interesting and although a bit clichéd, it has potential. Sharib Hashmi's screenplay is entertaining and engaging. The food truck and the good for nothing character gives a déjà vu of CHEF (2017) and BAND BAAJA BAARAAT (2010). Sharib Hashmi's dialogues are quite creative and hilarious. Nitin Kakkar's direction is neat and uncomplicated, despite the non-linear narrative in the first half. In the second half, he could have done a better job at few places. This is especially in the scene where Jai gets late for the engagement brunch. That he had too much of drinks a day before and the manner in which he had no plan in place for the snacks that he was supposed to prepare seemed very unconvincing. Moreover, the title of the film doesn’t completely capture the film’s essence. However, overall Nitin managed to capture the flavour of Gujarat very well. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/jackky-bhagnani-initially-i-was-bitter-that-mujhe-kaam-nahi-milta-kritika-kamra-mitron/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MITRON's first ten minutes are flat with none of the jokes working. It’s only when Jai and Avni get trapped in a room and they narrate about their life is when the film picks up. The flashback is told interestingly; notice how the actors break the fourth wall at places smoothly while narrating their tale. The manner in which Jai catches his girlfriend Shruti indulging in cheating is sure to bring the house down. Also, Jai's attempt at pranking people by pretending to immolate himself is hilarious. The track of Avni and Vikram begins unexpectedly but it has its moments. The twist during the intermission point works. Post interval, the fun continues. The humiliation faced by Avni at the engagement brunch is a crucial sequence handled well (although the scenes that lead to it are difficult to digest) and also the following sequence involving Jai and Avni's father. The pace does drop here but it gets back on track in the climax. This is a comeback of sorts for actor Jackky Bhagnani (his last Hindi film was WELCOME TO KARACHI in 2015) and he gives a genuinely good performance. He gets the diction right and keeps his act controlled. Kritika Kamra makes a very confident debut. She gets chance to display her talent in the second half. Pratik Gandhi (Raunak) steals the show and gets to mouth some very funny one-liners. Deepu (Shivam Parekh) gets totally sidelined. Neeraj Sood also ensures he doesn’t get overboard and irritating and does a fine job. Prateik Babbar is impressive. The actors playing Perline (Richa) and Shruti (Jai’s girlfriend in the call centre) are okay. Songs are quite peppy and reflect the mood of the film. <em>'Kamariya'</em>, played in the intro scene and during the end credits, is the best song of the lot and is bound to linger in one’s mind for a long time. <em>'Sawarne Lage'</em> comes next and its theme music is a bit loud but again, very catchy. <em>'Ghar Ke Hai Na Ghat Ke' </em>has a nice 80s vibe and is also sung by Bappi Lahiri. <em>'Chalte Chalte'</em> is sweet. <em>‘Door Na Ja’</em> doesn’t make much of an impact although it’s sung beautifully by Sonu Nigam. Sameer Uddin's background score is fun and dramatic. Manoj Kumar Khatoi's cinematography gives the film a commercial touch. The locales of Ahmedabad, especially the long shots, are well taken. Urvi Ashar Kakkar and Shipra Rawal's production design is fine, with the food truck standing out. Mandira Shukla's costumes are quite real and appealing. Sachindra Vats's editing is quite impressive, especially in the first half. On the whole, MITRON is a feel-good film and can surely appeal to the family audiences. Unfortunately, the lack of buzz and acute competition this week will prove detrimental



Movie Review: Manmarziyaan

Thu, 13 Sep 18 04:00:39 +0000

Bollywood is primarily known for love stories and many of the films belonging to this genre have been huge successes. A lot of these have been love triangles. But soon it emerged that it doesn’t project the reality, especially the confusion that prevails in such situations. Anurag Kashyap, known for dark and hard-hitting cinema, decides to switch gears and make a light-hearted romantic story dealing with three characters. So does this ‘commercial experiment’ work? Or does it fail? Let’s analyse. <img class="aligncenter wp-image-896770 size-full" title="Movie Review: Manmarziyaan" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/09/01_Daryaa.jpg" alt="Movie Review: Manmarziyaan" width="720" height="450" /> MANMARZIYAAN is the story of a girl trapped between two lovers. Rumi (Taapsee Pannu) is a rebellious girl from Amritsar. She is orphaned at a young age and stays with her paternal uncle and family. She’s in love with Vicky aka DJ Sandzzz (Vicky Kaushal) who stays close to her house. Vicky is used to secretly coming to her house to meet her in her bedroom. One day, he gets caught and all hell breaks loose. Rumi’s family members decide to get her married. But Rumi puts her foot down, stating that she’ll marry only Vicky. She also assures that Vicky and his parents will come to their house to ask her hand for marriage. However, Vicky shies away from responsibilities. Hence, he gets a jolt when Rumi brings up the topic of marriage. Meanwhile, Robbie (Abhishek Bachchan), based in London, arrives at Amritsar to meet his family and get married, as per the wishes of his family. Realizing that Vicky is commitment and marriage phobic, Rumi gives the nod to her family to find someone for marriage. Hence, Robbie and Rumi meet. For Robbie, it’s love at first sight. Rumi also agrees for marriage. Vicky gets livid when he hears about her wedding. A day before the marriage, he tells Rumi that he’s changed and is ready to take responsibilities and get married. Rumi still has love for Vicky and she agrees to elope with him. She first meets Robbbie at night and informs him that she can’t get married to him. What happens next forms the rest of the film. Kanika Dhillon’s story is impressive and a bit novel, despite based on a premise that’s been done to death hundreds of times. Kanika Dhillon’s screenplay is engaging and layered at places. The characters are very well fleshed out and the dynamics shared by them are superb. However, after a point, the film begins to slip in the second half. Also, at around 155 minutes, the film is a bit too long. Moreover, the bold theme of the film may put off certain section of audiences. The appeal of the film hence might be towards the urban and youth audiences more than others. Kanika Dhillon’s dialogues are powerful and acidic. The funny one-liners are also well written. Anurag Kashyap’s direction carries his trademark stamp although the subject here is a bit lighter as compared to his other films. He does justice to the overall plot but when the film begins to get a bit repetitive, even his execution is not able to do much. Let’s get one thing straight. MANMARZIYAAN is not a remake of DHADKAN [2000] or HUM DIL DE CHUKE SANAM [1999] as alleged by some netizens after watching the trailer. From the treatment to the characters to the happenings, there’s no similarity between these two films and MANMARZIYAAN. The film begins on a fun, musical note, depicting the hot romance between Vicky and Rumi. As the title suggests, the characters in the film do as their heart pleases. This aspect is brought right correctly, especially in the first half. The way dramatic sequences and songs are neatly blended also make for a good watch. One of the best scenes of the first half is when Rumi blasts Vicky in the middle of the highway. The intermission comes at a crucial point and one looks forward to what will happen next. Sadly, the film slips in the second half and even starts dragging. The pre-climax is unconvincing although the way the finale is presented makes up for it. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/manmarziyaan-public-review-abhishek-bachchan-taapsee-pannu-vicky-kaushal/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MANMARZIYAAN is embellished with some fine performances. Taapsee Pannu is electrifying and one can’t take one’s eyes off her. In recent times, she has given some memorable performances like PINK [2016], NAAM SHABANA [2017] and in the recently released MULK [2018]. But her performance in MANMARZIYAAN stands out and is surely her most accomplished work till date! Vicky Kaushal who is on a great spree this year delivers a yet another rocking performance. He gets totally into the skin of the character and looks every inch a wannabe musician cum DJ from a small North Indian town. His breakdowns, his silences, his way of communicating with his eyes are too good. Abhishek Bachchan maintains a strong position and it’s a pleasure to see him on screen after ages. He gets to play the role of a soft-spoken guy while the other two characters are quite dynamic. But this doesn’t mean that he gets overshadowed. He makes his presence felt and his breakdown in the second half is something to watch out for. Also watch out how he emotes in the ‘suhaag raat’ sequence immediately after interval and when the marriage bureau guy tries to badmouth Rumi. Supporting characters in the film also do a very fine job. Ashnoor Kaur (Kiran; Rumi’s cousin sister) is fine. Saurabh Sachdeva (Kaka ji, who runs the marriage bureau) has a crucial part and does very well. Vikram Kochhar (Robbie’s brother) adds to the fun quotient. The actors playing Rumi’s Darji and Robbie’s mother are also quite good. Amit Trivedi’s music is one of the pillars of the film as it’s a musical. Not all songs are memorable but they are well inserted in the narrative. <em>‘Daryaa’</em> is the best of the lot and both the versions are played in some important scenes. <em>‘Grey Walaa Shade’</em>, played in the very beginning, sets the mood of the film. <em>‘F For Fyaar’</em> is hardly there while <em>‘Dhayaan Chand’</em> is funky and well shot. <em>‘Bijlee Giregi’</em> is peppy and <em>‘Kundali’</em> is a nice celebratory track. <em>‘Hallaa’</em> is played during a very tense sequence. <em>‘Chonch Ladhiyaan’</em> and <em>‘Jaisi Teri Marzi’</em> are sweet while <em>‘Sacchi Mohabbat’</em> is poignant. Amit Trivedi’s background score is also very much in sync with the film’s theme. And watch out for the twin sensations, Poonam Shah and Priyanka Shah, dancing in the middle of the Amritsar streets while the characters go about with their lives. It gives a unique touch! Sylvester Fonseca's cinematography captures the tensions, the realistic locations and the locales of Kashmir beautifully. Meghna Gandhi's production design is straight out of life and psychedelic in the scenes of Vicky’s studio. Prashant Sawant's costumes are quite appropriate. All characters are dressed as per their personalities. Aarti Bajaj's editing is simple and neat. On the whole, MANMARZIYAAN comes across as a contemporary and an unorthodox tale laced with some brilliant performances and powerful writing. The bold theme of the film might restrict its appeal but its target audience is sure to give the film a thumbs up



Movie Review: Paltan

Fri, 07 Sep 18 08:43:24 +0000

It’s always fascinating to know about a chapter of history which is forgotten but holds an important place. In the past, we have seen with films like AIRLIFT [2016], NEERJA [2016] and the recently released GOLD which spoke about heroic instances and all these films were lapped up by the audiences. Now, J P Dutta, known for his war films, is back with PALTAN. After BORDER [1997] and LOC: KARGIL [2003], J P Dutta completes his war trilogy with his latest flick which also enlightens viewers about something that they should be proud of. So does PALTAN succeed in giving the viewers an exhilarating time? Or does it disappoint? Let’s analyse. <img class="aligncenter wp-image-894354 size-full" title="Movie Review: Paltan" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/09/Paltandfdfgd-20.jpg" alt="Movie Review: Paltan" width="750" height="450" /> PALTAN tells the story of a military clash between India and China in 1967. This is a time when the state of Sikkim isn’t a part of India. China wants to capture it by hook or by crook for strategic reasons but due to international pressure, they can’t make their intentions public. Yet, at Nathu La border in Sikkim, they keep engaging in minor skirmishes to scare the Indian forces which are stationed there after the king of Sikkim granted them permission. Maj. Gen. Sagat Singh (Jackie Shroff) appoints Lt. Col. Rai Singh Yadav (Arjun Rampal) as the in charge of Nathu La. Rai has undergone training in London and is well versed with Chinese tactics. Some of the officers under him at Nathu La are Major Bishen Singh (Sonu Sood), Captain Prithvi Singh Dagar (Gurmeet Choudhary), Major Harbhajan Singh (Harshvardhan Rane), 2 Lt. Attar Singh (Luv Sinha), Hawaldar Lakshmi Chand (Abhilash Chaudhary) etc. Frustrated with the constant harassment by Chinese, Rai recommends that a permanent fence be laid down dividing the Indian and Chinese border. This would stop the regular fights between the forces of both countries over where exactly the border line is. Work on the fencing begins on the Indian side and it rattles the Chinese as this would put their plan of capturing Sikkim in jeopardy. With no other option in hand, the Chinese forces open fire and a war breaks out between the two countries. What happens next forms the rest of the film. J P Dutta's story is based on real life incidents and he tries his best to keep it as authentic as possible. J P Dutta’s screenplay is engaging. Even in the repetitive scenes, one doesn’t get bored. J P Dutta’s dialogues are simple and sharp. But there are far too many famous quotes mouthed by actors every few minutes. J P Dutta’s direction is topnotch. Often, filmmakers who shined in the 80s and 90s are not able to move in with the times, a recent example being of Anil Sharma who directed GENIUS. But J P Dutta takes care of this bit and ensures the audience of today will be interested in the film. At the same time he has kept his sensibility intact. He however should have not let the proceedings to be stretched and should have avoided scenes similar to BORDER. But he executed the war scenes like a pro. Also he ensured the audiences can feel the tension at the border. PALTAN is two and a half hours long and takes a long time in the build up. The war commences only in the middle of the second half and that’s when the film truly shines. Before that, the film has its moments but not in entirety. One of the most heartbreaking sequences of the film is in the beginning showing a postman delivering the telegram to several houses in a neighborhood and thereby informing them of the demise of their family members in the 1962 war. The manner in which the postman nonchalantly delivers the telegram and cries can be heard in the background is quite chilling. After the story shifts to 1967, the film continues to be engaging. But it gets repetitive. There are far too many sequences of the Chinese soldiers arguing with the Indians. Also some amount of time is devoted in throwing light on the personal lives of the soldiers and their lovers. It is interesting but it has a BORDER hangover. The war sequence however is sans complaints. It is heroic and would surely induce claps and whistles. Also the scene of the family members receiving the remains of the soldiers will put a lump in your throat. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/first-day-first-show-of-paltan/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Jackie Shroff is in a supporting role and does fine. Some of his English dialogues in the beginning are a bit difficult to comprehend. Arjun Rampal plays the main officer in charge of the border and he nicely plays his part. The way he shows aggression but also knows when to restrain himself is impressive. Sonu Sood is a natural and adds a lot to the film. Gurmeet Choudhary leaves a huge mark with his humour, temper and also his romantic side. Harshvardhan Rane also delivers a stupendous performance and looks perfect as the angry young Sardar. Both Gurmeet and Harshavardhan are going to receive maximum applause and whistles in the finale! These two young actors get a chance to show their true potential in this film. Siddhanth Kapoor gets limited scope but is memorable as he plays the interpreter. Luv Sinha is alright but gets to show his worth in some very important scenes in the 2nd half. Abhilash Chaudhary and Nagender Choudhary get very limited scope. Rohit Roy (Major Cheema) is wasted. As for the actresses, Monica Gill (Harjyot) gets the maximum scope followed by Dipika Kakar (Captain Prithvi Singh Dagar's fiance) and both are nice. Esha Gupta (Lt. Col. Rai Singh Yadav’s wife) is hardly there while Sonal Chauhan (Major Bishen Singh's wife) appears only for a few seconds in a song. Anu Malik’s music isn’t of chartbuster variety but works for the film. The title track is average and <em>'Raat Kitni' </em>is forced but somehow works. <em>'Main Zinda Hoon'</em> generates the most impact. Sanjoy Chowdhury’s background score is dramatic and adds to the excitement. Nigam Bomzan and Shailesh Awasthi's cinematography is breathtaking and has captured the locales beautifully. However in terms of authenticity, the film falters a bit as they have tried to recreate Sikkim in Ladakh and obviously the topographies of both regions are different. Amrish Patange and Dayanidhi Patturajan's production design is very real. The huge billboard of Mao Zedong creates an impact. Sham Kaushal’s action is terrific and makes the war scenes so real but at the same time he avoids gore. Ballu Saluja’s editing is appropriate. VFX however is could have better at a few places. On the whole, PALTAN not only enlightens viewers about a lost chapter in history but also entertains viewers while doing so. Though the buzz is limited, a good word of mouth can definitely help the film



Movie Review: Laila Majnu

Fri, 07 Sep 18 04:01:18 +0000

The eternal love story of Laila and Majnu has fascinated people over the centuries across several countries. In Bollywood itself, some 4-5 films have been made on the lovers, that too since the time of silent films era. Now Imtiaz Ali presents a film on this topic directed by his brother Sajid Ali in association with Ekta Kapoor. Imtiaz is known for his intense love stories and has shown obsessive characters in the past and Laila-Majnu’s tale is also on similar lines. So does LAILA MAJNU manage to do justice to the spirit of the story and turn out to be a great entertainer? Or does it fail? Let’s analyse. <img class="aligncenter wp-image-894132 size-full" title="Movie Review: Laila Majnu" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/09/Movie-Review-Laila-Majnu.jpg" alt="Movie Review: Laila Majnu" width="750" height="450" /> LAILA MAJNU is the story of two lovers who are not destined to be together. Laila (Tripti Dimri) is a young girl in Srinagar who’s a flirt and likes attention from guys. One day she bumps into Kaes (Avinash Tripathy), a Casanova who has just returned from London. Laila at first is repulsed with Kaes’s stalking but slowly she falls for him. Both start dreaming of a future together. However, things aren’t going to be easy. Laila's father Masool (Parmeet Sethi) is in a feud with Kaes's father Ghulam Sarwar Bhat (Benjamin Gilani) with the former alleging that the latter took away his land by fraudulent means and built a five star hotel. Hence, the fathers of both Laila and Kaes get livid on finding out about their love affair. At the insistence of Kaes, Ghulam goes to meet Masool to ask Laila’s hand in marriage. Masool however humiliates him. A war of words ensues between the two. Masool decides to get Laila to Ibban (Sumeet Kaul), his trusted protégé. Kaes tries to find a way to stop this marriage. But when he’s not able to find any, he lands up at the wedding. He begs Masool to stop the marriage and when the latter doesn’t agree, Kaes insults him. Laila gets angry and asks him to leave. Kaes goes away in anger. What happens next forms the rest of the film. Imtiaz Ali and Sajid Ali’s story tries to do justice to the actual tale of Laila and Majnu. But Imtiaz Ali and Sajid Ali’s screenplay is difficult to digest especially in the second half. Also it gives a déjà vu of ROCKSTAR [2011]. Hence, the freshness element gets marred since viewers have already seen it before. But there are places where the craziness crosses all boundaries and it is unconvincing. Imtiaz Ali and Sajid Ali’s dialogues are however effective. Sajid Ali’s direction is quite good for a first timer and he definitely seems inspired by brother Imtiaz. He keeps viewers engaged but he fails to achieve mass appeal for his film. LAILA MAJNU's beginning evokes mixed reaction. The character of Laila is presented in a unique manner but to show her as a flirt is unconvincing. The sequence of Kaes peeing at the same spot where Laila is hiding is disgusting and one wonders why the writer wrote such a scene. Things get better once Laila and Kaes start seeing each other. The scene where Ibban follows Laila and Kaes is quite dramatic and same goes for the sequence where both the fathers meet. The intermission comes at a significant juncture. Post interval, the film goes on a different track as Kaes transforms into Majnu. This bit is bound to go bouncer for a lot of audiences as the depiction of his craziness is extreme. The film also ends on an unconvincing note. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/first-day-first-show-of-laila-majnu/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Performances however are exemplary. Avinash Tripathy delivers a confident and a very impressive performance. As Kaes, he’s efficient but as Majnu, he goes on another level. And it doesn’t appear like a caricature. This is no easy feat. Tripti Dimri does a great job in playing the vivacious Laila and again, knows where to draw the line while enacting. In the second half however she gets limited screen time. Sumit Kaul is the surprise of the film. He plays his part very nicely and he’s sure to get noticed and talked about! Parmeet Sethi and Benjamin Gilani deliver decent performances. Sahiba Bali (Laila’s sister) is fine. Others do a good job. Joi Barua and Niladri Kumar's music is indispensable to the film. Not all songs are memorable but they add to the impact. <em>'Hafiz Hafiz' </em>is the best of the lot as it is in sync with the crazy happenings in the film. <em>'O Meri Laila'</em>, <em>'Tum'</em>, <em>'Sarphiri'</em> and <em>'Gayee Kaam Se'</em> are soulful and melodious. Hitesh Sonik’s background score is also very nicely done. Sayak Bhattacharya’s cinematography is spectacular. Kashmir has been captured in a lot of films but never like this. Niharika Bhasin Khan’s costumes are very authentic and same goes for production design. Editing is simple and neat. On the whole, LAILA MAJNU is embellished with some fine performances but it is not meant for the mainstream audience. Also with very little buzz surrounding the film, it will be a challenge for the movie to register impressive numbers at the box office



Movie Review: Yamla Pagla Deewana Phir Se

Fri, 31 Aug 18 04:04:23 +0000

One of the most respected and humble film families has to be that of the Deols. It’s a treat to see the bond shared by Dharmendra with his sons Sunny and Bobby Deol. On-screen, it was first translated in APNE [2007]. But it was in the comic caper YAMLA PAGLA DEEWANA [2011] where it worked big time. However, the sequel, YAMLA PAGLA DEEWANA 2 [2013] failed to strike a chord with the audiences. Now the affable Deols are back with YAMLA PAGLA DEEWANA PHIR SE. So does it entertain audiences like they did with the first part of the series? Or does it fail just like the second part? Let’s analyse. <img class="aligncenter size-full wp-image-891114" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/08/Movie-Review-Yamla-Pagla-Deewana-Phir-Se.jpg" alt="" width="720" height="405" /> YAMLA PAGLA DEEWANA PHIR SE is the story of one man’s fight against a corrupt pharmaceutical company. Puran (Sunny Deol) is an Ayurveda expert who runs his clinic in Amritsar. He uses ancient medicinal knowledge passed on to him by his forefathers. Marfatia (Mohan Kapur), owner of Marfatia Pharma, tempts Puran’s younger brother, the good for nothing Kala (Bobby Deol), that he’ll offer Rs. 1 crore if he can convince Puran to part with the ‘<em>vajrakawacha</em>’ that can cure a host of diseases. Puran refuses the offer and even physically assaults Marfatia. Marfatia decides to take revenge for this humiliation. Meanwhile, Chikoo (Kriti Kharbanda), a surgeon from Surat, comes to Amritsar to study Ayurveda under Puran. Kala falls in love with her. Meanwhile, Marfatia slaps copyright case on Puran, alleging that he has the patent for ‘<em>vajrakawacha</em>’ and that Puran can’t use it in his clinic. Puran realizes that Marfatia has stolen the formula from him. Enter Jaywant Parmar (Dharmendra), Puran’s paying guest who has overstayed by years and pays a paltry Rs. 115 as monthly rent. Puran and Parmar don’t see eye-to-eye but when Puran gets into this legal tangle, Parmar, who’s an excellent lawyer, decides to help. What happens next forms the rest of the story. Dheeraj Rattan’s story is very poor and dated. A plot like this would have worked in the 90s or even in the past decade but not anymore. Dheeraj Rattan’s screenplay is the biggest culprit. A wafer-thin plot can be turned into a great film if the script is cracked properly. But sadly, he makes a mess. A few sequences are well thought of at the story level but at the script level, it goes kaput. For instance, Parmar’s dilly-dallying in the court in the finale could have made for a hilarious sequence. Same goes for Kala’s drunken rants at night, a la ‘Mausiji’ sequence of Dharmendra in SHOLAY [1975]. Alas, these scenes are badly written and hence, make no impact whatsoever. Bunty Rathore and Vankush Arora’s dialogues are also not worthy enough. Only a few one-liners leave a mark. Navaniat Singh’s direction is very ordinary. He didn’t add anything of his own and just executed a badly written script. YAMLA PAGLA DEEWANA PHIR SE does arrest attention in the beginning when <em>sutradhar</em> Annu Kapoor gives an introduction about Ayurveda medicines and its importance followed by Puran’s introduction. However, things go downhill once Kala is introduced. This is supposed to be a comic caper but throughout the film, there are hardly any scenes that would induce even a mild guffaw. The entire bit on who stole the formula from Puran’s clinic is very predictable. Kala-Chikoo’s love story is nothing special. In the second half, one expects things to get better as the madness shifts to Surat. But even here, there is hardly any scene that would be enjoyed or would touch audiences. The climax is long-drawn and the manner in which Parmar tries to waste time of the court goes on and on and tests audience’s patience. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/check-out-sunny-deols-superb-rapid-fire-damini-yamla-pagla-deewana-poster-boys/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Even in a poor film like this, Sunny Deol shines. He genuinely gives his best shot and he is the only one who strikes a chord with the audiences. His scene at the airport, for instance, is touching, though again the impact is marred by poor writing. In the climax, he gets a raw deal. His action scene should have got more footage than the dragging courtroom sequence. Bobby Deol is strictly okay and goes overboard in many scenes. Dharmendra shockingly has a late entry and has very little to do in the first half. It’s praiseworthy that he’s acting even at this age. He too tries his best but is letdown by the script. Kriti Kharbanda looks beautiful and gives a first-rate performance. She constantly tries to rise above the script and make the scene better. Shatrughan Sinha (Judge Sunil Sinha) is a well thought character and could have taken the film to another level had the writing being superlative. He looks quite old but entertains nevertheless. Mohan Kapur is alright as the villain while Rajesh Sharma (Lawyer Bhatia) leaves a mark in the courtoom scenes. Asrani (Nanu) is disappointing. Satish Kaushik (Bedi) is wasted. In fact, he is forced in the narrative in the climax. His presence makes no sense at all at this point. Paresh Ganatra (Real estate broker Paresh Patel) is fine and same goes for Binnu Dhillon (Billa). Bharat Bhatia (Sainath; Gujarati neighbour who’s always suspicious) plays his part well. Others are okay. Salman Khan has a cameo in the finale and he looks disinterested. Music is also disappointing. <em>'Little Little' </em>and <em>'Nazarbattu'</em> have zero recall value. <em>'Rafta Rafta Medley'</em> is shown in the end credits. Raju Singh’s background score is loud and over the top. Jitan Harmeet Singh’s cinematography is nothing special. Rita Ghosh’s production design is theatrical. Vikram Dahiya’s action is quite nice. Manish More’s editing is okay. On the whole, YAMLA PAGLA DEEWANA PHIR SE is marketed as a comic caper but there are hardly any scenes that would make one laugh. Disappointing



Movie Review: Stree

Thu, 30 Aug 18 16:50:24 +0000

Horror comedies can be quite fun if handled well. Last year, we saw how GOLMAAL AGAIN became a blockbuster as it amalgamated horror and comedy in equal and entertaining doses. Earlier this year however, the Abhay Deol starrer NANU KI JAANU also belonged to this genre but failed miserably. Now debutant director Amar Kaushik is ready with his own horror comedy, titled STREE. So does STREE follow the footsteps of GOLMAAL AGAIN and entertain audiences? Or does it fail to impress, a la NANU KI JAANU? Let’s analyse. <img class="aligncenter wp-image-890996 size-full" title="Movie Review: Stree" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/08/Stree-Review-Image.jpg" alt="Movie Review: Stree" width="750" height="450" /> STREE is based on folklore and a myth that has found acceptance in several states across India. Set in the Madhya Pradesh town of Chanderi, it tells the story of a bride’s wandering spirit who roams the streets for four days during an annual pooja. She calls out to young, unsuspecting men, and if they turn back, she takes it as their acceptance to be with her. Vicky (Rajkummar Rao) is a gifted tailor in this town and he doesn’t believe in this myth. On the first day of pooja, a mysterious young girl (Shraddha Kapoor) approaches him to design her ghagra. She shows interest in him romantically and Vicky falls for him. Vicky tells his friends Jana (Abhishek Banerjee) and Bittu (Aparshakti Khurana) about his love interest. Jana is happy for Vicky but Bittu cautions Vicky to be careful of her. Trouble arises when Bittu analyses the situation and realises that Vicky's love interest might be none other than Stree. What happens next forms the rest of the film. Raj Nidimoru, Krishna DK and Pawan Sony’s story is based on a true phenomenon. They make great use of the plot as it’s quite fresh and they add the necessary elements to make it better. Raj Nidimoru and Krishna DK’s screenplay is very effective and entertaining. The film’s duration is just right at 128 minutes and it keeps the audiences engaged. Sumit Aroraa’s dialogues are hilarious and very witty. Few one liners are sure to bring the house down. Amar Kaushik’s direction is commendable, considering that this is his first film. He has handled the horror as well as dramatic scenes with panache. However for a horror comedy, the film gets a bit too spooky. Hence, it might be a bit too much for the family audiences. Secondly it seems he rushed through the ending. The build up is excellent but then he finishes it in a jiffy. Also the final scene will confuse a section of audiences and they might come out of the theatre in daze. STREE begins on a high and sets the eerie mood. Immediately then, the entry of Vicky, Bittu and Jana make things light hearted. The manner in which Vicky and the girl fall in love is sweet. However the horror sequences are also neatly inserted in between. The sequence where Narendra (Aakash Dabhade) gets taken away is quite scary. However the most chilling sequence of the first half is the pre-interval sequence. Post intermission, the oscillation between fun and horror continues well. But the interest drops a bit at this point. Also, the ending has its moments but it’s also underwhelming and confusing. Rajkummar Rao gets a chance to dabble in a new genre and he excels thoroughly. He genuinely gives an earnest performance and is a treat to see him getting spooked, delivering monologues and behaving madly in love. He is sure to bring the house down when he loses his cool in front of Jana and Stree. Also watch out for him in the second half sequence when he’s trying to analyse <em>Stree</em>. He’s terrific. Shraddha Kapoor delivers a fine performance and has a mysterious air about her as per the character's requirement. In the second half she gets better. Aparshakti Khurrana gives a great performance and he doesn’t get overboard. Same goes for Abhishek Banerjee. In fact he’s superb in the last one hour. Pankaj Tripathi is hardly there in the first half and he rocks big time in the second half. Vijay Raaz (Shastri) leaves a mark in the lone sequence. Flora Saini plays an important part with elan. Atul Srivastava (Vicky’s father) brings the house down in the scene where he talks to Rajkummar Rao about sex. Nora Fatehi is sizzling in the item number. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/rajkummar-raos-super-fun-rapid-fire-on-ghosts-paranormal-activity-lot-more-stree/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Sachin-Jigar’s music is entertaining. <em>'Darji'</em> is peppy while <em>'Milegi Milegi' </em>is the best of the lot but is played during the end credits. <em>'Kamariya'</em> is entertaining while <em>'Nazar Na Lag Jaaye' </em>is okay. <em>'Aao Kabhi Haveli Pe'</em> is relegated to the background. Ketan Sodha’s background score is excellent and enhances the eerie quotient significantly. However the sound quality at some places could have been better. Amalendu Chaudhary’s cinematography is ideal and sans any vague camerawork that certain horror films often have in Bollywood. He also has shot the locales of Chanderi beautifully. Madhusudhan’s production design is authentic. Manohar Verma and Gulzar Amin Khatib's action is nothing special. Prime Focus’ VFX is upto the mark. Hemanti Sarkar’s editing is simple and works well. On the whole, STREE is a unique concoction of humour and horror that floors you completely. At the box office, this entertainer surely has a chance to tickle the audience’s funny bone, send a chill down their spine and ultimately give them a roller coaster experience. Impressive



Movie Review: Happy Phirr Bhag Jayegi

Thu, 23 Aug 18 18:47:53 +0000

Every year, we have had sleeper hits that come out of nowhere and turn out to be surprise successes. HAPPY BHAG JAYEGI was easily the dark horse of 2016. It released with minimal buzz and ended up doing decent business at the box office. Audiences loved the humour quotient a lot which helped the film sustain and even have a recall value two years later. The makers are now back with the sequel, HAPPY PHIRR BHAG JAYEGI and promises to be better or as funny as the first part. So does it manage to live upto the expectations? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter size-full wp-image-887947" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/08/Happy-Phirr-Bhag-Jayegi-Review-Image.jpg" alt="Happy Phirr Bhag Jayegi Review Image" width="750" height="450" /> HAPPY PHIRR BHAG JAYEGI is the story of mistaken identity that takes place in the neighbouring country of China. Harpreet Kaur aka Happy # 1 (Diana Penty) is accompanying her hubby Guddu (Ali Fazal) to Shanghai in China where the latter is invited to sing at an event. In the same flight, Harpreet Kaur aka Happy # 2 (Sonakshi Sinha) is also flying to Shanghai to find Aman Singh Wadhwa (Aparshakti Khurana) who was to marry her but ditched and flew to China on the wedding day. Happy # 2 mistakenly takes the cab that had come to pick up Happy # 1. It is learnt at this point that Guddu has been tricked into coming to China by Chang (Jason Tham). They want to kidnap Guddu and then force Happy # 1 to go to Pakistan, meet her friend Bilal (Abhay Deol) and compel his father to get into a business deal that he had promised to fulfill but had later cancelled. Sadly for Chang and his men, they got Happy # 2. With no other option, they are forced to kidnap Daman Singh Bagga (Jimmy Sheirgill) from India and inspector Usman Afridi (Piyush Mishra) from Pakistan and force them into finding Happy # 1 and take her to Pakistan. Happy # 2 meanwhile runs away from the clutches of Chang and bumps into Khushwant Singh Gill aka Khushi (Jassie Gill), a sardar who works at the Indian embassy. He decides to help Happy # 2. Usman and Bagga too manage to get free from Chang's hold and they team up with Khushi and Happy # 2. What happens next forms the rest of the film. Mudassar Aziz’s story is based on a wafer thin plot and doesn't have much logic in it but the humor makes up for it. Mudassar Aziz’s screenplay is engaging but one wishes he had done something about the loose ends. The scene where Usman gets horny on seeing the semi naked girls doesn’t really induce laughter. Mudassar Aziz’s dialogues are hilarious and witty. Dialogues had been the mainstay of the first part as well and in the sequel, they are funnier. At some places, it’ll pleasantly surprise you. For instance, the DANGAL reference is killer! Mudassar Aziz’s direction is simple and uncomplicated. He uses a bit of a non-linear style in the beginning and it works very well. In the midst of fun and laughter, he inserts the somewhat sad flashback sequence of Happy # 2 and yet it engages viewers. It’s also thanks to his direction that the glitches in the script get overpowered to a great extent. HAPPY PHIRR BHAG JAYEGI doesn’t waste time and the story starts to move forward from the first scene itself. The misunderstanding owing to the name is neatly established. The real fun begins once Bagga and Usman enter the narrative. Their interactions are hilarious and take the film to another level. One of the funniest scenes is the madness that happens in Khushi's house when Chang arrives with Usman and Bagga. The flashback portion of Happy # 2 keeps the interest alive. The drama at the adult toy centre and the prison is not that funny but makes for an interesting watch. Also the film slips in the middle of the second half. But it picks up well in the pre climax. Watch out for the escalator sequence here; hilarious! The climax might be a bit underwhelming but has some funny moments. The film ends on a positive and 'Happy' note. All the actors do a very commendable job. But it’s Jimmy Sheirgill and Piyush Mishra who take the cake. Jimmy Sheirgill is the soul of this series. By now he’s become a pro in playing roles of guys who don’t get the girl in the end. But he does it endearingly and it’s a treat to see that. Piyush Mishra comes next. He also contributes a lot to the funny quotient of the film. In the adult toy centre sequence, he is too good. Sonakshi Sinha delivers a very able performance. She completely looks the part and in some sequences, she dominates beautifully. Jassie Gill enters the series and even Bollywood with no expectations. However he turns out to be a nice surprise. Watch out for him in the scene where he starts blabbering nonsense while in shock. It’s sure to bring the house down! Diana Penty and Ali Fazal hardly have anything to do initially but give their best shot in the last 20 minutes. Jason Tham is an actor to watch out for. Denzil Smith (Adnan Chow) essays a novel and a never before seen character and is very impressive. Aparshakti Khurana leaves a mark but only in the second half. The actors playing Happy # 2’s father and sister are decent. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/happy-phirr-bhag-jayegi-sonakshi-sinha-diana-penty-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Sohail Sen’s music doesn’t work. The title song is the best of the lot. <em>'Swag Saha Nahi Jaye' </em>comes next. <em>'Kudiye Ni Tere' </em>is forced but stands out as it’s a rare song in today’s times sung by Udit Narayan. <em>'Koi Gal Nahi'</em> is a forgettable composition but incorporating two Chinese men singing a Hindi song is funny! <em>'Chin Chin Chu'</em> appears during the end credits. Sohail Sen's background score however is much better and suits the film's quirky mood. Sunil Patel’s cinematography is sans complaints. Aparna Raina and Sheena Saini’s production design is realistic. Divya – Nidhhi and Ipshita Bhatnagar’s costumes are authentic and appealing. Ninad Khanolkar’s editing is slick but gets a bit dragging in the second half. On the whole, HAPPY PHIRR BHAG JAYEGI turns out to be a worthy sequel. Despite the loose ends, it manages to make audiences laugh thanks to its funny dialogues and situations, clean humour and bravura performances. At the box office, it will turn out to be a decent fare



Movie Review: Genius

Thu, 23 Aug 18 17:47:41 +0000

We often come across reports of whiz kids who prove to be much smarter and intelligent than others their age. Anil Sharma’s GENIUS attempts to tell the story of not just one, but two such geniuses and what happens when they have a face off. So does GENIUS turn out to be as entertaining and exciting as some of the previous entertainers of Anil Sharma? Or does it prove to be a disappointment? Let’s analyse. <img class="aligncenter size-full wp-image-887942" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/08/Genius-Review-Image.jpg" alt="Genius Review Image" width="750" height="450" /> GENIUS is the story of two genius minds. Vasudev Shastri (Utkarsh Sharma) is an orphan from Mathura. His mind works faster than a computer. He not just knows his Sanskrit <em>shlokas</em> but also his algebra theorems and scientific formulas by heart. He goes to study at IIT Roorkee where he falls for Nandini (Ishita Chauhan). The RAW finds out about Vasudev and his intelligence and invites him to join the wing even before completing his course. Nandini however doesn’t reciprocate to his love. Vasudev gets depressed and one day he comes to the rescue of RAW when their servers get hacked. Vasudev then once again gets an offer to join RAW and this time he agrees. While investigating the hack and a fire in an ammunition godown in Ambala, Vasudev realises that the mastermind is the evil and mysterious MRS (Nawazuddin Siddiqui). How Vasudev tries to defeat this fellow genius forms the rest of the film. Anil Sharma’s story is weak and flawed. Anil Sharma, Sunil Sirvaiya and Amjad Ali’s screenplay has loose ends and is scattered everywhere. The idea of having a non-linear narrative in the first half doesn’t work. Anil Sharma, Sunil Sirvaiya and Amjad Ali’s dialogues are over the top and preachy. Some of them are absolute trash and it won’t be surprising if a fun listicle is made on them. Anil Sharma’s direction is dated and it looks like he’s stuck in the 90s, or even in the 80s. The way the songs are forced into the story and the manner in which few sequences are lifted from Hollywood films like the Batman series is shocking and is reminiscent of the bygone era. GENIUS has a non-linear narrative and it makes no sense why it was done. In the first 10 minutes, viewers get a fair idea about what has happened. One expects the makers to rush through these developments. But instead they take their own sweet time to unravel the story. The entire idea of genius bit is hammered needlessly. Everyone is shown to be in awe of Vasudev's genius side, constantly praising him for just any random reason. He’s also shown as someone who plans not just ten, but thousand steps ahead. This could have been interesting but sadly, it seems laughable. In fact it is shocking how the script got approved in the first place. The first half is longer with the romantic portions being bland. And not just the love story, even the revenge saga fails to impress. Utkarsh Sharma is terribly miscast for the role. He’s extremely raw and has a long way to go. He looks like a college kid and hence throughout the film, it becomes difficult to imagine him as a RAW agent or even as an IIT student. He also needs to work on his expressions. Ishita Chauhan also fails to give a decent performance. In the initial sequences, she has just one expression on her face. Nawazuddin Siddiqui makes an entry only minutes before the intermission. He saves the film with his excellent performance. Watch out for his dance in <em>'Pyar De Pyar Le'</em>! Mithun Chakraborty (Jaishankar Prasad) is decent. Abhimanyu Singh (Pravin Joshi) is wasted. Same goes for K K Raina (Mr Das) and Ayesha Jhulka (Nandini's mother). Malti Chehar (Rubina Sheikh) and Dev Gil are hardly memorable. Himesh Reshammiya’s music is peppy and soulful. It’s unfortunate that such nice songs are used in such a terrible film. <em>'Tera Fitoor'</em>, <em>'Dil Meri Na Sune' </em>and <em>'Tujhse Kahan Juda Hoon Main' </em>are melodious. <em>'Holi Biraj Ma' </em>is very catchy and <em>'Pyar Le Pyar De'</em> is entertaining. Monty Sharma’s background score is exhilarating and dramatic. <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/anil-sharma-jab-kangana-ke-bacche-honge-tab-hum-kangana-se-puchenge-nepotism/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>Najeeb Khan’s cinematography is nothing special. Abbas Ali Moghul’s action goes a bit overboard at places but otherwise it’s entertaining. The VFX however is very tacky. Bijon Das Gupta’s production design makes the film looks very rich. Ashfaque Makrani’s editing is haphazard. On the whole, GENIUS is an extremely poor and senseless fare. At the box office, it will be rejected outright by the audience. Watching this film is surely not a genius idea. Avoid



Movie Review: Gold

Tue, 14 Aug 18 11:39:36 +0000

In the beginning of 2016, an Akshay Kumar starrer, AIRLIFT, opened our eyes about an incredible rescue mission carried out by an Indian and shockingly, very few knew about it. It made people realize that there are many such episodes that have been lost in the pages of history. The fact that these stories are not popularly known coupled with the heroism attached to it make it ideal for it to be captured on celluloid. 2 ½ years after AIRLIFT, Akshay is back with another real-life story with GOLD and this time the genre is sports drama. So does GOLD manage to entertain and move viewers like some of the previous well-made sports biopics? Or does it fail in its endeavour? <img class="aligncenter wp-image-884106 size-full" title="Movie Review: Gold" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/08/Gold-Review-Image.jpg" alt="Movie Review: Gold" width="750" height="450" /> GOLD is a story of India’s first big win in an international sports tournament after attaining independence. Tapan Das (Akshay Kumar) is the junior manager during the 1936 Berlin Olympics for the British Indian hockey team. British India defeated Germany quite easily and won the gold medal. Since India then was still under the British rule, the British national anthem was played at the end of the match. Tapan feels humiliated and he vows to help a free India win the Olympics and then stand proudly as Jana Gana Mana will be played. Sadly the World War 2 begins soon enough and the 1940 and 1944 editions of the Olympics get cancelled. In 1945, the war ends and in 1946, it is announced that the 1948 Olympics will take place in London. The independence of India is also near. Tapan by now has become an alcoholic and owes a lot of money to many. He has been ousted from the Hockey Federation. But the announcement of the 1948 Olympics excites him. He manages to convince the Federation board that he’ll move heaven and earth and get the best team for India and a gold for India eventually. Thus begins his search. The captain of the 1936 Olympics, Samrat (Kunal Kapoor) refuses to come on board but he recommends Tapan that Imtiaz Shah (Vineet Kumar Singh) should be made the in charge. Tapan then tours around the country and finds gems like Himmat Singh (Sunny Kaushal) and Raghubir Pratap Singh (Amit Sadh). All is going fine until the Partition is announced. What happens next forms the rest of the film. Reema Kagti and Rajesh Devraj’s story is surely something that deserves to be told. Of course, it has been dramatized and slightly fictionalized but it’s done well. Reema Kagti’s screenplay is topnotch and she keeps viewers captivated. However a few sequences could have been shorter and crisper. Also a few scenes give a heavy déjà vu of CHAK DE INDIA [2007]. Reema Kagti’s dialogues are sharp and acidic and give the right punch. Reema Kagti’s direction is neat and uncomplicated. The match scenes are very nicely presented but at a few places, some of the cliches could have been avoided. But it’s praiseworthy how she took the film on a high in the finale. The national anthem scene would surely move viewers and it doesn’t seem forced. The patriotic fervor comes out perfectly! GOLD has a terrific commencement. The 1936 Olympics finale is very well shot and the pain of standing for a foreign national anthem comes out very well. The opening credits don’t make the desired impact but the film gets on track once Tapan starts getting the players. The entire bit of Raghubir Pratap Singh stripping after seeing an impoverished person is lovely. However the best sequence of the first half is the Partition sequence involving Imtiaz. Heartbreaking! Post interval, the Kanheri Caves sequence involving a mute priest is great and will bring the house down. Another sequence worth mentioning is Samrat compelling the players to pick up bricks to teach them a lesson in unity. The film however also gets a bit long and a song or two could have been done away with. But the climax makes up for it. The tension and drama in the last twenty minutes would surely keep you hooked. Akshay Kumar might not be playing hockey in the film (save for one brief sequence) but he rocks the show. One can feel his passion and pain when he goes about convincing people that how important it is for India to win the gold. Even his comic timing is spot on, as always. Mouni Roy (Monobina) has an excellent screen presence and lights up few sequences. Unfortunately her role is limited.  Kunal Kapoor looks every inch a star player and it would have been great if he had more screen time. Amit Sadh gives a brilliant performance and gets to play a very interesting character. Sunny Kaushal is the surprise of the film. His track is very touching and he’s sure to win hearts! His outburst in the pre climax is too good. Vineet Kumar Singh also wins hearts. His performance as expected shines and he gets to play a very memorable character. His track and the way India-Pakistan aren’t shown as rivals as it usually happens is a beautiful aspect of the film! Nikita Dutta (Himmat's girlfriend) is cute and does fine. The actors playing Mr. Mehta and Mr. Wadia are decent. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/golds-public-review-is-out-akshay-kumar-mouni-roy/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> The songs are melodious and peppy but few of them are forced. <em>‘Naino Ne Baandhi’ </em>works as it’s nicely shot. <em>‘Chad Gayi Hai’</em> is forced and looks very much like <em>'Monobina'</em> played earlier. <em>‘Ghar Layenge Gold’</em> and <em>‘Khel Khel Mein’ </em>are okay. Sachin-Jigar’s background score however is in sync with the film’s moods and even elevates impact. Alvaro Guierrez’s cinematography is quite appropriate and helps a lot in simplifying the hockey scenes. Paul Rowan and Shailaja Sharma’s production design is outstanding and the duo recreates the bygone era authentically. But the VFX in the match scenes is bad, especially the spectators bit. Payal Saluja’s costumes are also quite realistic. Aimee Mcdaniel is the sports coordinator and he also deserves praise for his work. Anand Subaya’s editing is great, especially in the match scenes. On the whole, GOLD is a brilliant, touching saga that would surely entertain viewers and make them hoot for the retro men in blue. At the box office, it is sure to strike Gold! Highly recommended



Movie Review: Satyameva Jayate

Tue, 14 Aug 18 04:42:40 +0000

We all have seen corruption and apathy in the government and police force etc. from close quarters at some point in our lives. Most of the times, we have not protested and merely given up since the thought of taking on the system is just too much. But imagine if you could teach these corrupt officials a lesson. Milap Milan Zaveri’s SATYAMEVA JAYATE promises you to get into that space and give you a kick in seeing baddies facing a crushing defeat from an aam aadmi, as evident from the trailers. So does SATYAMEVA JAYATE turn out to be as action-packed, massy and satisfying as expected? Or does it fail? Let’s analyse. <img class="aligncenter wp-image-883951 size-full" title="Movie Review: Satyameva Jayate" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/08/Satyameva-Jayate-2.jpg" alt="Movie Review: Satyameva Jayate" width="750" height="450" /> SATYAMEVA JAYATE is the story of a vigilante on a killing spree for a personal reason. Veer (John Abraham) is an acclaimed artist who has taken up a mission to kill corrupt cops. His first target is Sadashiv Patil (Abhishek Khandekar). He sets him on fire alive and then sends his ashes to his police station in Santacruz, Mumbai. In no time, he bumps off Inspector Irrfan Qadri (Shaikh Sami Usman) from Andheri Police Station in the same manner. DCP Shivansh Rathod (Manoj Bajpayee) is given the charge of this case by the Commissioner (Manish Chaudhary). Veer meanwhile meets Shikha (Aisha Sharma) at a beach clean-up drive and both fall for each other. Meanwhile, Veer challenges Shivansh to stop him from killing his next target. Shivansh fails and Veer manages to eliminate Inspector Damle (Ganesh Yadav) of Thane Police Station. Shivansh is shaken by Veer’s audacity and his fearlessness and he goes on an overdrive in trying to know who his next target would be. Finally, Shivansh cracks the modus operandi of Veer. Shivansh realizes that Inspector Bhonsle (Rajesh Khera) from Yari Road police station is the next one in line. Shivansh lays a trap and is all set to catch Veer. What happens next forms the rest of the film. Milap Milan Zaveri's story is simplistic, massy and something that the masses would applaud. Milap Milan Zaveri's screenplay is also on the same lines but it gets repetitive. There’s no novelty value left after a point with regards to the killing of the cops. Also it’s a bit flawed. For instance, Veer giving all the clues through his painting was a bit too convenient. The climax is a bit confusing especially actions of Shikha. Milap Milan Zaveri's dialogues however are completely <em>paisa vasool</em> and would be greeted with <em>seetis</em> and <em>taalis</em>! Milap Milan Zaveri's direction reminds one of the 90s action dramas. Although it works in most parts, at some places the film begins to give a dated feel. In the second half, he could have executed the killing sequences differently as that would have enhanced interest. Moreover, the film gets a bit stretched towards the finale and perhaps, he could have avoided this aspect too. SATYAMEVA JAYATE begins with a <em>dhamaka</em> and the excitement keeps going. The entry of DCP Shivansh in the narrative adds to the fun. Veer’s first ever call to Shivansh is quite a dramatic sequence. The manner in which the three cops are eliminated are also quite interesting and viewers would surely root for these sequences. But the best sequence of the first half is the <em>‘namaaz’</em> sequence. Single screen audiences would go crazy at this point. The intermission point comes as a bolt from the blue. Post-intermission, the hospital sequence stands out. But then the film drops as it becomes too overdramatic and repetitive. Even the finale would be received with mixed reactions. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/satyameva-jayates-public-review-is-out-john-abraham-aisha-sharma/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> John Abraham delivers a fabulous, nuanced performance. John is known for his action avatar majorly and his role in SATYAMEVA JAYATE is definitely the best as compared to other such flicks of recent times like FORCE 2, ROCKY HANDSOME and DISHOOM. Watch out for the way he dons a cunning act in the hospital sequence. Manoj Bajpayee provides able support and enhances impact in some scenes. His confrontation with Veer at various points is too good. Aisha Sharma makes a confident debut but sadly doesn’t have much to do in the film. Amruta Khanvilkar (Sarita) is completely wasted and that’s unfortunate considering that she just gave a memorable performance in RAAZI. Manish Chaudhary is fine but hams a lot in the climax. Rajesh Khera leaves the maximum impact out of the police officers. Ganesh Yadav comes next. Abhishek Khandekar, Shaikh Sami Usman and Ankur Sharma (Inspector Mohan Shrivastav) are okay. Chetan Pandit (Inspector Shiv Rathod) leaves a mark. Archita Agarwal (Muslim girl harassed by cop) has a good screen presence. Nora Fatehi looks and dances like a dream and is quite sizzling. The songs don’t have much purpose in the film. <em>'Dilbar'</em> is the best of the lot and this chartbuster is very well picturised. <em>'Paniyon Sa'</em> doesn’t register an impact while <em>'Tajdar-E-Haram'</em> is relegated to the background. Sanjoy Chowdhury's background score is dramatic and exhilarating. Nigam Bomzan's cinematography is decent while Priya Suhas' production design is a bit poor but works well for this film as it’s based in a realistic setting. Amin Khatib and Ravi Verma's action is the highpoint of the film. It’s not too gory but at the same time feels quite raw and real. Maahir Zaveri's editing should have been crisper. On the whole, SATYAMEVA JAYATE is a powerful and gripping drama that leaves an impact as it resonates with the problems of the common man. It is sure to work big time in the single screens where the various scenes are bound to induce claps and whistles. This one is for the masses



Movie Review: Vishwaroop II

Fri, 10 Aug 18 04:46:44 +0000

Terrorism is a global menace and its impact is felt more in the world now than ever before. Kamal Haasan tackled this issue head-on with VISHWAROOP [2013] and tried to give the film a nice, novel touch and matched it with international standards in terms of scale and grandeur. The veteran multi-talented performer is now back with the sequel, VISHWAROOP II. So does it manage to entertain viewers as much as the first part or does it fail? Let’s analyse. <img class="aligncenter wp-image-882333 size-full" title="Movie Review: Vishwaroop II" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/08/Vishwaroop-II-2-1.jpg" alt="Movie Review: Vishwaroop II" width="750" height="450" /> VISHWAROOP II continues from where the first film ended. After the plan of Al-Qaeda terrorist Omar Qureshi (Rahul Bose) to attack New York City is disrupted by RAW Agent Wisam Ahmad Kashmiri aka Vishwanathan aka Vis (Kamal Haasan), the former and his aide Salim (Jaideep Ahlawat) escape. Wisam's wife Nirupama (Pooja Kumar) slowly begins to accept the fact that her hubby is a dashing secret agent and not an effeminate dancer that she loathed. Wisam, Nirupama, Wisam’s protégé Ashmita (Andrea Jeremiah) and Wisam’s boss Colonel Jagannath (Shekhar Kapur) then head to United Kingdom where they get ambushed and they suspect that it’s the handiwork of the expat Rajesh Mehta (Ananth Narayan Mahadevan). Soon Wisam discovers that Omar has planned to explode the bombs situated under water since the time of World War 2 and thereby destroy the city of London. He also finds out about another shocking terror attack planned by Omar in Delhi. What happens next forms the rest of the film. Kamal Haasan’s story has some promise and it could have made for a nice, espionage action thriller. But Kamal Haasan’s screenplay is very weak and disjointed. The sequences are not stitched together well. There are some individualistic scenes involving Wisam and Nirupama and even Wisam and his mother (Waheeda Rehman) that stand out. But these scenes have no connection as such to the main plot and that’s not good for a film that’s actually an action entertainer. Atul Tiwari’s dialogues are simple and aren’t memorable. Kamal Haasan’s direction is very poor and he completely lost the opportunity of taking this franchise forward nicely. The film doesn’t involve or move viewers at all and there are too many tracks running simultaneously and none of them leave an impact. What works are the few scenes that are helmed well like Ashmita and Wisam finding the bug in the room in UK, the action sequence in the beginning, the underwater action madness and Wisam’s heroic entry in the finale. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/i-didnt-say-hindu-terrorism-i-said-hindu-extremism-kamal-haasan/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> VISHWAROOP II’s opening credits are splendid and you expect the fireworks to begin right from the first scene and continue till the end. There’s an intense action scene in the first 15 minutes itself when the car topples after being attacked by a terrorist. From here on, the film goes downhill. The film then depicts some portions of VISHWAROOP (when Wisam goes undercover in a terror camp) in a fast-forward manner and at the same time, some extended sequences are also added. The manner in which it’s done is very bland and disinteresting. Also, VISHWAROOP doesn’t have a recall value and the first half wasn’t a critical or commercial success. Moreover, it had come 5 ½ years ago. As a result, most of the moviegoers will have no clue of the events that unfolded in part 1. But Kamal Haasan and team assume that viewers very well remember what all happened in VISHWAROOP. Even after the recap portions get over and the film comes back to present day, nothing much happens in the story. The intermission point is random but in the second half, a new chapter begins with no connection as such to the underwater sequence that happened before the interval. This bit too takes a lot of time to come to the main point and once it does, it is very abruptly and hurriedly done. As for acting, Kamal Haasan is decent and tries to give his best shot. But due to faulty writing and execution, his performance gets affected. Also, some of his dialogues are difficult to decipher. Rahul Bose has a very short role this time since the film goes off track and hence he gets limited scope. He hams all the way like never before. See it to believe it! Pooja Kumar makes her presence felt more in the sequel and gives a fine performance. Also she adds the required sizzle in few scenes. Andrea Jeremiah too has a better fleshed out role and she’s confident. Shekhar Kapur is dependable. Ananth Narayan Mahadevan is memorable but his track doesn’t serve much of a purpose and it was flawed. Jaideep Ahlawat gets some scope only towards the end. Waheeda Rehman is endearing but again, her track is just forced in the film. Yusuf Hussain is okay while Rajendra Gupta is disappointing and it was frustrating to see how he kept on hammering the importance of ‘collateral damage’. M Ghibran’s music is completely forgettable. None of the songs – be it the title song or <em>'Ishq Kiya Toh'</em> or <em>'Tu Srotu Hai'</em> - are good enough. But the background score is quite dramatic. Shamdat and Sanu John Varghese’s cinematography is eye-catching. Stefan Richter, Parvez Feroz, T Ramesh's action is too gory and bloody and would surely put off a section of audiences. Lalgudi N Ilayaraja’s art direction is authentic. Mahesh Narayanan and Vijay Sankar’s editing is nothing great. On the whole, VISHWAROOP II is a highly avoidable flick. The film has too many tracks and the narration and execution is flawed and weak. Also at the box office, the film will have a tough time



Movie Review: Fanney Khan

Fri, 03 Aug 18 04:12:34 +0000

It’s often said that not just talent, but luck is also required to fulfil your dreams of making it big in showbiz. As a result, those with oodles of talent but little luck find it tough to survive in this field. But many of these individuals don’t stop dreaming with the hope that one day luck will favour them. Atul Manjrekar’s directorial debut FANNEY KHAN talks about these relatable aspects and promises some touching as well as hilarious moments. So does FANNEY KHAN succeed in giving the audiences a great time? Or does it fail? Let’s analyse. <img class="aligncenter size-full wp-image-878957" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/08/Fanney-Khan-3-4.jpg" alt="" width="750" height="450" /> FANNEY KHAN is the story of a father going to desperate lengths to ensure his daughter becomes a star. Prashant Sharma aka Fanney Khan (Anil Kapoor) was a local orchestra singer in Mumbai who has to give up his singing dreams when his daughter Lata (Pihu Sand) is born. Lata is now approaching her 20s and Fanney is now working in a factory. Lata is a huge fan of sensational singer Baby Singh (Aishwarya Rai Bachchan) and aspires to be like her. But her attempts to participate in singing competitions lead to humiliation, more so because of her weight. Fanney wants to save money and cut an album for her. However, his earnings are quite meagre. And one day his world comes crashing down after the factory he works in suddenly closes down. Fanney thankfully starts working as a taxi driver. One day he gets none other than Baby Singh as his passenger. Instead of dropping her at her location, he puts her to sleep by lacing her water with sleeping pills. He then takes her to the factory where he worked, which is now abandoned. With the help of his colleague Adhir (Rajkummar Rao), he officially kidnaps her and also calls Baby's manager Kakkad (Girish Kulkarni) and informs him about the abduction. However, he doesn’t ask for money as ransom. What happens next forms the rest of the film. FANNEY KHAN is an official remake of the Belgian film IEDEREEN BEROEMD aka EVERYBODY’S FAMOUS [2000]. While the original film was shorter and had dark comedy, thereby maximizing impact, FANNEY KHAN on the other hand moves at its own pace and is too melodramatic. While this may work for some, others might find it unconvincing. Atul Manjrekar, Hussain Dalal and Abbas Dalal’s screenplay is lackluster at places but scores at a few places. Hussain Dalal, Abbas Dalal, Jasmeet K Reen and Athar Nawaz’s dialogues are simple but quite funny in some scenes. Atul Manjrekar’s direction could have been better and that in turn would have made the film better. There’s no doubt that he handled some scenes exceptionally well. However, at many places, he loses the plot. The storyline is quite illogical in the first place and it needed an expert hand to ensure the film works logically. Unfortunately, Atul partly fails in his endeavour. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/mohammad-rafi-was-the-greatest-playback-singer-anil-kapoor/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> FANNEY KHAN has a decent commencement and sets the mood of the film. The introduction of characters however is not that impressive. The track of Adhir and Jinal (Swati Semwal) however is interesting. The film picks up thankfully once the kidnapping takes place. The manner in which Fanney Khan and Adhir make futile attempts to scare Baby Singh makes for a great watch. In the second half, the film drops again and hooks viewers only towards the end. The climax would be loved by a section of viewers as its quite moving. But some might find it too illogical. The performances however are too good, thereby helping the film. Anil Kapoor is in a great form and is the soul of the movie. The emotional scenes work thanks to him. One can feel his pain and one can’t help but hoot for him even when one knows that what he did isn’t right. Rajkummar Rao genuinely puts his best foot forward and is endearing. He raises laughs in the kidnapping scene. Aishwarya Rai Bachchan looks like a million bucks and adds a lot to the film with her supporting role. Pihu Sand seems a bit irritating at places but she makes up for it with her touching performance in the climax. Divya Dutta (Kavita) is dependable as always. Girish Kulkarni as usual plays the negative part quite well. Satish Kaushik (Kadar bhai) has an interesting part but is wasted. Barbie Rajput (Rhea), Swati Semwal and Asif Basra are decent. The songs are appropriate for the sequences in which they appear but could have better since the film is essentially a musical. <em>‘Achche Din’</em> is the best of the lot. <em>‘Tere Jaisa Tu Hai’</em> comes next and it comes at a crucial juncture. <em>‘Mohabbat’</em> serves as a fair introduction for Aishwarya. <em>‘Fu Bai Fu’</em> has interesting lyrics. <em>‘Halka Halka’</em> is the most unconvincing portion of the film as it shows a prominent singer, whose kidnapping has shaken the entire nation, roaming around freely! Tubby - Parik’s background score goes well with the various moods of the film. S Tirru’s cinematography is quite effective. Ajay Vipin’s production design however is nothing great although it works in the house scenes of Fanney Khan. Monisha R Baldawa’s editing is passable. Eka Lakhani and Manish Malhotra’s costumes are appealing, especially the ones worn by Aishwarya. On the whole, FANNEY KHAN is laced with illogical plot and a lot of loose ends. But the emotional and funny moments coupled with some fine performances ensure that the film turns out to be a decent, entertaining fare



Movie Review: Karwaan

Thu, 02 Aug 18 09:30:19 +0000

Road trip films have their own charm and some of the most memorable films in the West belong to this genre. Even Bollywood has excelled in this genre with films like PIKU [2015], QARIB QARIB SINGLLE [2017], ZINDAGI NA MILEGI DOBARA [2011], HIGHWAY [2014], JAB WE MET [2007], YEH JAWAANI HAI DEEWANI [2013] etc. Irrfan Khan, surprisingly, has appeared in two such films in recent times – PIKU and QARIB QARIB SINGLLE. And now he’s all set to complete his travel trilogy with KARWAAN, which is the Bollywood debut of South star Dulquer Salmaan and the first leading role for internet sensation and Marathi actor Mithila Palkar. So does KARWAAN manage to entertain and motivate like other films in this genre? Or does it disappoint? Let’s analyse. <img class="aligncenter wp-image-877921 size-full" title="Movie Review: Karwaan" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/08/Karwaan-1.jpg" alt="Movie Review: Karwaan" width="750" height="450" /> KARWAAN is the story of three diametrically opposite individuals on a journey together. Avinash Rajpurohit (Dulquer Salmaan) works in an IT company in Bengaluru and is frustrated with his job. One day he gets a call that his father Prakash Rajpurohit (Akash Khurana) has died in a bus accident while he was on his way to Gangotri. The travel company arranges for his father’s mortal remains to be sent to Avinash in Bengaluru. Avinash had a troubled relationship with his father as the latter compelled him to give up his dreams of becoming a photographer. As a result, he’s not quite affected with his demise. Avinash asks his friend Shaukat (Irrfan Khan), who runs a garage, to provide him with a van so that he can carry the mortal remains from the airport to the crematorium. Avinash picks up the body and reaches the crematorium, where he realizes that he is given the mortal remains of a woman (Beena). The woman turns out to be a victim who also died in the same bus accident and her family resides in Kochi, who in a terrible mix up, were provided with Prakash’s remains. Avinash hence decides to take advantage of the long weekend and take the woman’s remains to Kochi and exchange it with his father’s. Shaukat also joins in. On the way, the dead woman’s daughter Tahira (Amala Akkineni) makes a SOS call to Avinash and requests if he can pick up her daughter Tanya (Mithila Palkar) who studies in Ooty and is incommunicado. Shaukat has reservations with this idea but Avinash doesn’t listen. He reaches Ooty, picks up Tanya and then they head to Kochi. Unknown to them, a group of small-time goons are also following the trio. What happens next forms the rest of the film. Bejoy Nambiar’s story is promising and could have made for a great script. But Akarsh Khurana and Adhir Bhat’s screenplay fails to take advantage of this wonderful opportunity. The film moves at a snail’s pace and many developments don’t happen organically. Also, the entire track of Avinash’s father forcing him to give up photography is something that’s been done to death in our films, most notable and recent example being TAMASHA [2015]. Hussain Dalal’s dialogues are funny and witty, yet worded simply. The ones mouthed by Irrfan Khan stand out. Akarsh Khurana’s direction is weak and he also lets go of the opportunity of turning a somewhat flawed script into a good film with his execution. One doesn’t feel much for the characters due to the way the narrative pans out. Except for the part where Shaukat speaks about his father, no other scene moves viewers, not even the monologue of Tahira and Avinash. Also, the predictability sets in since one knows that the road trip films usually end with the characters getting transformed ultimately. Hence, despite the scene of Avinash in the end with his boss being a good one, it doesn’t make the desired impact as the audiences already see it coming. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/mithila-palkar-i-will-walk-away-from-rajsrk-from-ddlj-because-rapid-fire-karwaan/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> KARWAAN begins well and the frustration of being a part of a profession that doesn’t suit Avinash is well depicted in the initial scenes. One expects things to get better once the road trip begins. And it does get better but not to a great extent. The film drags and a lot of humour and situations seem forced. The character of Tanya is half-baked and the writers should have etched this part in a better way. The intermission point is funny and again, the hopes rise for a better second half. Alas, that doesn’t happen and the film remains flat in the last hour as well. Even the climax lacks punch. In fact, the Indian audiences might have strong reservations in the manner in which Tahira and Tanya organize a feast, play cricket and make merry as if nothing untoward has happened in their lives, just hours after the funeral. On the positive side, the film has some funny moments that succeed in raising laughs. The best part in this regard is that track of the <em>shehnai wallah</em> (Habib Azmi). It’s sure to bring the house down! Irrfan Khan delivers a decent performance and contributes to the laughter quotient, but only at places. Almost all his dialogues are worded to create an effect and the endeavor fails. Compare this with Irrfan’s previous travel films – QARIB QARIB SINGLLE and PIKU – where the humour flowed organically. Unfortunately, that doesn’t happen here. But he surely dominates the film and gives the most memorable performance out of all actors. Dulquer Salmaan makes a confident debut. He understands his part well and watch out how he carefully ensures he doesn’t go overboard. This aspect would surely be loved. Mithila Palkar is strictly average. Her character lacked depth and even performance wise, she could have brought out various shades which would have enhanced the impact. Alas, her performance looks a bit monotonous. Amala Akkineni is genuine. Akash Khurana is good as the autocratic father. Kriti Kharbanda (Rumana) is quite lovely in the special appearance, but again, her track fails to add much to the film. Donna Munshi (Tasneem) has a striking face and does very well. Habib Azmi gives a fine performance. Beena is alright. The actors playing the cargo office staffer, Avinash’s boss, Rumana’s husband, new employee at Avinash’s office and Nambiar are good. Music goes well with the narrative but isn’t something that would have a long shelf life. ‘<em>Chota Sa Fasana’</em> is the best of the lot and is like a theme of the film. <em>‘Heartquake’</em> comes next and works due to its quirky lyrics and situation. <em>‘Saansein’</em> is also fair and the rest are forgettable. Anurag Saikia’s background score is good but could have been a bit more subtle. Avinash Arun’s cinematography is breathtaking and captures the locales so well that one feels that one is actually a part of the ‘Karwaan’. The lensman had earlier shown his magic in MASAAN [2015] and DRISHYAM [2015] and directed the acclaimed Marathi film KILLA [2015] and he ensures that he keeps his credibility intact. Tiya Tejpal’s production design is passable. Three locations – the house of Rumana, Tahira and Nambiars – all seemed to be shot at one location. Ajay Sharma’s editing is too slow and could have been slick. Also, the manner in which the flashback of Prakash Rajpurohit would suddenly pop up seemed unconvincing. Jaya Taurani’s costumes are fine. On the whole, KARWAAN is a good opportunity gone waste. Irrfan Khan is the biggest draw of this film but the audiences might be dejected to not see him in his full glory. At the box office, the film is going to struggle to stay afloat



Movie Review: Mulk

Thu, 02 Aug 18 03:57:12 +0000

One of the most burning issues of the country and also the world, since a long time, is the perception of Muslims in society. In India, the extremely traumatic memories of Partition of 1947 compounded the Hindu-Muslim divide. As time passed, the differences reduced significantly but it still exists. Anubhav Sinha’s MULK attempts to talk speak about this aspect and promises an intense, hard-hitting time to the viewers. So does Anubhav Sinha treat this sensitive topic well? Or does it fail to make any impact? Let’s analyse <img class="aligncenter wp-image-878300 size-full" title="Movie Review: Mulk" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/08/Movie-Review-Mulk.jpg" alt="Movie Review: Mulk" width="750" height="450" /> MULK is the story of a family facing extreme crisis when one of their own is accused of being a terrorist. Murad Ali Mohammed (Rishi Kapoor) is a respected lawyer in Varanasi and he lives there in an almost century old building with wife Badi Tabassum (Neena Gupta), brother Bilal (Manoj Pahwa), Bilal's wife Choti Tabassum (Prachee Shah Paandya), Bilal’s daughter Aayat (Vartika Singh) and Bilal's son Shahid (Prateik Babbar). The Mohammeds are planning a grand party on the occasion of Murad Ali's 65<sup>th</sup> birthday. His daughter in law Aarti (Taapsee Pannu), married to his son Aftab (Indraneil Sengupta) comes from London and surprises them. On the same day as Murad Ali's birthday, Shahid leaves at night under the pretext of watching a cricket match at Kanpur. Unknown to the family, he has been brainwashed and he carries out a bomb blast in Allahabad, killing 16 people. Shahid is spotted in the CCTV footage and a hunt begins for him. He’s finally found and is eliminated by officer Danish Javed (Rajat Kapoor). For the Mohammed family, the world comes crashing down. Bilal is accused of helping out Shahid with the terror attack and is arrested. What happens next forms the rest of the film. Anubhav Sinha’s story is excellent and the need of the hour. There are a lot of characters and each of them is well written. Anubhav Sinha’s screenplay is highly effective as it keeps the audiences captivated from start to finish. He understands that he has a sensitive topic in hand and treats it very well. He takes up both sides of the issue and that’s very praiseworthy. Anubhav Sinha’s dialogues are hard hitting and acidic. The dialogues mouthed by Santosh (Ashutosh Rana) might squirm viewers but it was needed to make the impact. Anubhav Sinha’s direction is very good and he is in control of the written material. He has often been criticized for not executing his films well, be it DUS [2005], CASH [2007] or RA.ONE [2011]. But in MULK, he seems in seems in top form. Only blemish is that the film seems too long and it drops in between in the second half. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/nervous-anubhav-sinha-taapsee-on-love-jihad-prateik-on-whos-a-terrorist/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MULK impresses viewers from the introduction itself. After acquainting them with the Mohammed family and the characteristics of each of them, it slowly indicates that Shahid is not what he seems to be. The sequence where Shahid is encountered is quite thrilling. But the scene in the first half that stands out is when Murad Ali refuses to accept Shahid’s mortal remains. It’s moving to see how he and his family gets branded as terrorists by those who knew him since years. In the second half, the film gets better as the courtroom drama goes on a high. At some places however the pace drops. But the film picks up when Aarti interrogates Murad Ali and asks him some tough questions. Note that this sequence might remind viewers about PINK [2006] which had a similar sequence of Amitabh Bachchan forcing Taapsee Pannu to speak up to prove a point. The closing arguments of Aarti are also terrific and surprisingly, even the monologue of the judge (Kumud Mishra) is remarkable and would induce claps from audiences! Rishi Kapoor delivers a bravura performance, and stands amongst his finest in his long, glorious career. Viewers are bound to move by his plight and helplessness and the way he was obligated to prove his nationalism simply because of his religion. His monologue in the pre climax is very memorable. Taapsee Pannu is quite nice in the first half and in the beginning of the second half, she’s a silent spectator to the goings on. But as soon as she takes up the case, she surprises viewers with her glorious performance. It’s thanks to her that the climax goes on dizzying heights.  Manoj Pahwa is the next best in line. He’s always been a fine actor but sadly never got his due. With MULK, he’s surely going to be talked about a lot! Prateik Babbar is terrific in a small role. Ashutosh Rana gets into the skin of the character and is quite good as the villainous, communal minded advocate. Rajat Kapoor looks every inch a no nonsense officer and performance wise, he’s dependable. Kumud Mishra is subtle yet impressive. Neena Gupta and Prachee Shah Paandya are decent but get scope only in the first half. Vartika Singh, Ashrut Jain (Rashid) and Indraneil Sengupta are fine. Others do well. Songs aren’t required in this film. Only <em>‘Thenge Se’ </em>stands out. Mangesh Dhadke’s background score is dramatic and enhances tension. Ewan Mulligan’s cinematography is fairly decent. Nikhil Kovale’s art direction is quite earthy and real. Yasmin Rogers's make up and Preetisheel Singh's prosthetics are excellent, especially in case of Rishi Kapoor. Riyaz – Habib’s action is straight out of life, in the lone action scene. Ballu Saluja’s editing could have been crisper and better. Few scenes ended and began abruptly and this could have been avoided. On the whole, MULK is a hard hitting and exhilarating saga that effectively talks about some of the burning issues of our country. At the box office, it has the potential to grow thanks to the positive word of mouth and thereby emerge as the dark horse of the year! Recommended



Movie Review: Saheb Biwi Aur Gangster 3

Thu, 26 Jul 18 17:34:33 +0000

SAHEB BIWI AUR GANSTER [2011] arrived sans any noise and it turned out to be a surprise success at the box office. Encouraged by the response, the makers came up with the sequel – SAHEB BIWI AUR GANGSTER RETURNS [2013]. The first part had a great combination of sex and thrill while the sequel hardly had any sizzling scenes. Now the makers are all set to unveil SAHEB BIWI AUR GANGSTER 3 and it marks the return of the sizzle in the franchise. What’s more, this time, Sanjay Dutt plays the dashing gangster while Chitrangda Singh is also added to the cast. So does SAHEB BIWI AUR GANGSTER 3 manage to be as good as its predecessors? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter size-full wp-image-875738" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/07/Saheb-Biwi-Aur-Gangster-3-5.jpg" alt="" width="750" height="450" /> SAHEB BIWI AUR GANGSTER 3 begins where part 2 ended and twisted games that continue between the Saheb and the Biwi. Aditya Pratap Singh (Jimmy Sheirgill) is still in prison and is desperate to get out, settle scores and take back his lost power. His seductress wife Madhavi Devi (Mahie Gill) is now an MLA and using all the tricks of the trade to get what she wants. Aditya hatches a clever plan and comes out on bail. Madhavi realizes that with the Saheb a free bird, she would once again be compelled to remain caged behind closed doors. She searches her way out and in the process bumps into the Gangster, Udai Pratap Singh (Sanjay Dutt). Shunned by his family and scorned by his love, the beautiful Suhani (Chitrangda Singh), Udai agrees to help Madhavi Devi. What happens next forms the rest of the film. Tigmanshu Dhulia and Sanjay Chouhan’s story is weak and stands on a wafer thin plot. In fact one can say that there’s literally no story in the film. There are far too many characters and too many plots running parallel. Tigmanshu Dhulia and Sanjay Chouhan’s screenplay is quite disjointed with the narrative not flowing in an organic manner. Tigmanshu Dhulia and Sanjay Chouhan’s dialogues thankfully save the day and spike interest in some scenes. Tigmanshu Dhulia’s direction is flawed and it’s shocking that a person who exceptionally helmed films like HAASIL [2003], PAAN SINGH TOMAR [2012] and even the previous parts of SAHEB BIWI AUR GANGSTER is just not in form. There are multiple scenes which start and end abruptly. The VFX is tacky at places and in one shot, the colour correction changes mid way! For most part of the film, nothing much is happening. Only few scenes here and there work, along with the performances. The film’s length is another issue. It’s too long and with not much exciting stuff happening in the film, it tests your patience. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/chitrangda-singh-i-am-okay-with-love-making-scenes-it-depends-on-saheb-biwi-aur-gangster-3/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> SAHEB BIWI AUR GANGSTER 3 arrives five years after the second part and the recall value isn’t that strong. The makers should have realised this and could have given some recap. But they don’t and as a result, audiences might get confused with some of the developments. On the other hand, the track of Sanjay Dutt is like a downer. His track is half baked. Audiences never get to know under what circumstances he had to leave India, separate from Chitrangda Singh and marry someone else. However some scenes stand out. The sequence where Mahie Gill picks up a hunk from a party and gets him to the haveli will bring the house down. Chitrangda's entry is power packed. A few sequences of Jimmy also work well, particularly his conversations with Mahie. When seen in isolation, these scenes look great but in totality, they get overshadowed by the many minuses. Sanjay Dutt's presence was supposed to take the series to the next level. But sadly he looks disinterested and tired and fails to do justice. Thankfully he gets to mouth some clapworthy dialogues, which will impress single screen audiences. Jimmy Sheirgill is yet again in top form. The actor enjoys playing the Saheb and it shows. The film will disappoint but Jimmy won’t! Mahie Gill is also exceptional and arguably creates the maximum impact. Watch out how her character cunningly gets her way out of any situation. Surely she deserves to be seen more and act in better films. Chitrangda Singh genuinely gives her best shot and her entry scene is kick-ass. But later on, she hardly has anything to do in the film. Deepak Tijori (Vijay Singh), Zakir Hussain (Bunny Uncle) and Kabir Bedi (Udai's father) are average. Deepraj Rana (Kanhaiya) plays the loyal assistant part well. Pamela Singh Bhutoria (Deepal) is quite promising. Nafisa Ali (Udai’s mother) leaves a mark. Soha Ali Khan is okay. The music is disappointing and songs are just forced, further adding to the film’s length. <em>‘Baba Theme’</em> has a massy touch while <em>‘Kesariya Jugni’ </em>suits the opening credits.<em> ‘Lag Ja Gale’ </em>has been promoted a lot but it’s wasted. Dharma Vish’s background score is quite exhilarating but badly chopped at places. Amlendu Chaudhary’s cinematography is okay. Dhananjoy Mondal’s production design and Tulika Dhulia’s costumes are rich, authentic and quite appealing. Nishant Khan’s action is nothing special. Pravin Angre's editing could have been slicker and at places, could have been smoother. On the whole, SAHEB BIWI AUR GANGSTER 3 is a disappointing fare thanks to its long length, flawed script and haphazard direction. At the box office, these flaws and the lack of buzz will hamper its commercial prospects



Movie Review: Mission: Impossible – Fallout

Thu, 26 Jul 18 13:09:43 +0000

Making a sequel to a highly successful film isn’t an easy task, leave alone making the sixth instalment in a franchise that has since its introduction back in 1996 developed a fan following across the globe. But this week we see exactly that with the release of MISSION IMPOSSIBLE: FALLOUT. Marking the return of Tom Cruise to the legendary character of Ethan Hunt, after the highly forgettable THE MUMMY, the film comes with tremendous hype. But will the new film live up to the legend of old, or will it like the previous film in the series leave fans disappointed is what we analyse. <img class="aligncenter wp-image-875633 size-full" title="Movie Review: Mission: Impossible – Fallout" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/07/Movie-Review-MISSION-IMPOSSIBLE-FALLOUT.jpg" alt="Movie Review: Mission: Impossible – Fallout" width="750" height="450" /> MISSION IMPOSSIBLE: FALLOUT begins with Ethan Hunt on a mission to impersonate an arms dealer in an attempt to recover three nuclear cores. However, the deal goes south with Hunt finding himself caught between choosing the life of one of his team members and acquiring the cores. Putting his team’s value above everything else, Hunt saves Luther’s life but in the process loses the cores. After this IMF mission ends badly and Solomon Lane escapes custody, the world is faced with dire consequences. As Ethan Hunt takes it upon himself to fulfil his original briefing, the CIA begins to question his loyalty and his motives. Hunt finds himself in a race against time, hunted by assassins and former allies while trying to prevent a global catastrophe. Starting off, MISSION IMPOSSIBLE: FALLOUT marks Christopher McQuarrie’s second directorial outing in the franchise, the first being the rather forgettable MISSION IMPOSSIBLE: ROGUE NATION. However, unlike the previous film in the series, with FALLOUT, McQuarrie has done a commendable job of harkening the new flick to the first three in the series. From high octane bike chase sequences, to the cliff hanging thrill of free had rock climbing the FALLOUT features quite a few sequences that remind viewers of the first three films. Well executed and deftly shot, the film makes for a rather thrilling adrenaline pumping right. Sadly though, FALLOUT has a rather flimsy story line. With a wafer thin plot and multiple utterances of the catch phrase, “I’ll figure it out” the film comes across as a project that did not really have a bound script. In fact, more often than not, the on screen progression comes across as ad hock performances strung together to make a whole. Coming to the performances, Tom Cruise has since become the main stay of the MI series. And with the new film, it isn’t much different, Cruise does well in his given role as the super agent that never was, while still retaining the charm and charisma from the previous films. Since the film focuses mainly on his character, the others viz. Henry Cavill, Ving Rhames, Simon Pegg, Rebecca Ferguson, Sean Harris, Angela Bassett, Michelle Monaghan and Alec Baldwin find themselves relegated to supporting roles. While most of them have performed well, Sean Harris as Solomon Lane makes an impact. Playing the rogue agent who has since setup his own organisation, Harris imbues his character with a fierce menace and maniacal rage that chills. On the other hand, Henry Cavill as August Walker is plain pointless. Though the character has multiple arches both emotionally and mentally, Cavill just seems like a misfit. However, it isn’t performances or story that is the main stay of MISSION IMPOSSIBLE: FALLOUT, instead it is the action. Well-choreographed and executed marvellously, the film makes of an engaging watch. Though it doesn’t keep you on the edge of your seat, it has enough elements to get the adrenaline pumping. With high altitude helicopter chase sequences to high speed bike chase scenes, MISSION IMPOSSIBLE: FALLOUT features some of the grandest stunts that exist in the series. On the whole, with only action going for the film, MISSION IMPOSSIBLE: FALLOUT does make for a decent watch for the MI fans who enjoy action films. At the Indian box office, with previous Bollywood releases fading away, MISSION IMPOSSIBLE: FALLOUT that sees a wide release in multiple languages, looks set to enjoy a good opening weekend



Movie Review: Dhadak

Thu, 19 Jul 18 19:11:20 +0000

Falling in love in India comes with its share of major problems. This is especially true when the lovers belong to diverse castes or religions or regions. Honour killing is still prevalent in many parts of India and so many cases have been reported and talked about so openly in media that it doesn’t even shock us anymore. Yet, when Nagraj Manjule presented his 2016 Marathi film SAIRAT to the audiences, it left the audiences deeply impacted. But at the same time, they were thoroughly entertained too! The film became a craze in Maharashtra and also got noticed pan-India. Shashank Khaitan, who has proved his worth with films like HUMPTY SHARMA KI DULHANIA [2014] and BADRINATH KI DULHANIA [2017] decided to take up the task of remaking this flick in Hindi. Titled DHADAK, the film is significant as it marks the long-awaited debut of Sridevi’s elder daughter Janhvi. So does DHADAK manage to turn out as entertaining as or better than the Marathi original? Or does it fail to live upto the expectations? Let’s analyse. <img class="aligncenter size-full wp-image-873109" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/07/Movie-Review-Dhadak-image.jpg" alt="Movie Review Dhadak image" width="720" height="405" /> DHADAK is the story of two young souls who fall in love against the restrictions of caste hierarchy. Madhukar Bagla (Ishaan Khatter) belongs to a lower caste in Udaipur, Rajasthan. He’s smitten by Parthvi Singh (Janhvi Kapoor), the daughter of the high-caste politician Ratan Singh (Ashutosh Rana). Parthvi has an intimidating personality but that doesn’t stop Madhukar from making her known that he has feelings for her. Parthvi gets impressed by Madhukar’s bravado and love blossoms between the two. Trouble arises when at the birthday celebration of Parthvi’s brother Godaan Kumar (Roop Kumar), Ratan Singh catches Parthvi and Madhukar together. Madhukar and his friends Shridhar Watsar (Purshottam) and Gokul (Ankit Bisht) are taken into police custody while Parthvi is grounded at home. Parthvi however reaches the police station and manages to free Madhukar and his friends. Madhukar and Parthvi escape to Kolkata where they try to start their life afresh. What happens next forms the rest of the film. DHADAK is adapted from SAIRAT (written and directed by Nagraj Popatrao Manjule). Shashank Khaitan’s story is on the same lines as the Marathi blockbuster with minor tweaks. Shashank Khaitan’s screenplay is very effective. One of the best things about the screenplay is that it’s shorter than SAIRAT. However the impact is more or less the same. In the second half, the film gets a bit slow but then it was necessary to show the hardships. Shashank Khaitan’s direction complements the script well. He keeps the film very rooted and also tells a very relatable story. In some sequences, he takes the film on another level. For instance, the scene where Madhukar and Parthvi have a showdown on the streets of Kolkata is very well handled. Also he shines in the climax. Shashank Khaitan’s dialogues are simple and funny and even acidic as required. Though DHADAK is an official remake of SAIRAT, one should not expect the former to be a scene by scene reworked version of the latter. As a result, there are quite a many changes. Hence even those who have seen SAIRAT will be in for a surprise. The film begins on a nice note with the food eating competition sequence turning out to be quite interesting. The manner in which Madhukar and Parthvi's love story develops will surely put a smile on the faces of the viewers. Two sequences stand out here – Madhukar meeting Parthvi at her mansion at night and Madhukar singing an English song for Parthvi. The film goes on a high as soon as Ratan Singh learns about their romance. Post interval, the film switches tracks as the lovers realise that love is not a bed of roses. But the best is reserved for the finale. It’s a shocker to say the least! <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/dhadaks-public-review-ishaan-khatter-janhvi-kapoor-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>Ishaan Khatter had already proved his worth with BEYOND THE CLOUDS and with DHADAK, he proves that he’s definitely here to stay. He’s very confident and looks so endearing in scenes where he’s head over heels in love, especially in the song <em>'Pehli Baar'</em>. In the emotional and dramatic, he’s equally efficient. Janhvi Kapoor also does extremely well and exudes lot of confidence. She handles this difficult role with so much ease and that’s a feat for a newcomer. Definitely, a star is born! Ashutosh Rana is a natural when it comes to negative roles and this one is no different. Shridhar Watsar is extremely hilarious and contributes a lot to the humour quotient. He’s going to be loved by the youth and single screen audiences. Ankit Bisht is fair but gets overshadowed by the presence of Ishaan and Shridhar. Godaan Kumar is good in the villainous role and leaves a mark in the scene when he’s asked to apologise to the college professor. Aditya Kumar (Devilal) gets limited scope. Ishika Ganeja (Ambika) looks lovely and gets noticed. Govind Pandey (Bhagwandas) is decent as Madhukar's father. Shalini Kapoor (Ashadevi) and Aishwariya Avinash (Gayatri) are fair as the mothers of Parthvi and Madhukar respectively. Manish Verma (Arvind Mama) is passable while Kharaj Mukherjee (Sachin Bhowmick) is very adorable and would be loved. Shubhadevi Harshal Choksey (Promila Bhowmick) looks beautiful and is confident. Balaji Gauri (Sulekhaji Goenka) makes a mark in a cameo. Vishwanath Chatterjee (Inspector Shekhawat) looks convincing. Ajay-Atul’s music is melodious. The title song has a soothing feeling. <em>'Zingaat'</em> is already a rage and should grow after the film’s release. <em>'Pehli Baar'</em> is soulful and well shot. <em>'Vaara Re'</em> is neatly relegated to the background. John Stewart Eduri’s background score is brilliant and enhances the impact. Vishnu Rao’s cinematography is one of the best things about the film. The locales of Udaipur have been captured like never before. Shashank Tere’s production design is convincing as well as appealing. Monisha R Baldawa’s editing is slick. Manish Malhotra, Natascha Charak, Nikita Mohanty's costumes are impressive. On the whole, DHADAK is a simple tale told in a beautiful way. Despite being a remake of an iconic film, it manages to stand up on its feet and entertain the audiences thoroughly. At the box office, the youth is going to savour this flick big time which will ensure commercial success



Movie Review: Soorma

Thu, 12 Jul 18 18:02:25 +0000

An anonymous quote says “Willpower is like a muscle: The more you train it. The stronger it gets”. Yet, it is easier said than done, especially in cases when the whole world is asking you to give up or not try. But there are a rare breed of people who have managed to shun all these notions and achieve the impossible through their sheer will. One such legend is the Indian hockey player Sandeep Singh who got back on his feet after facing a shocking accident. The plot is very interesting and can turn out to be a great, inspirational biopic. So does director Shaad Ali manage to do justice to this exciting storyline? Or does he fail in its endeavour? Let’s analyse. <img class="aligncenter size-full wp-image-870658" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/07/Soorma-Revie-Images.jpg" alt="Movie Review: Soorma" width="750" height="450" /> SOORMA is the unbelievable story of Sandeep Singh, his beginnings in the world of hockey, his accident and his comeback that shocked everyone. Sandeep Singh (Diljit Dosanjh) is from the village of Shahabad, Punjab. As a kid, he is enrolled for hockey training under Coach Kartar Singh (Danish Husain). But Kartar's strict ways forces him to leave the training in his childhood itself. When he turns adult, he gets interested in hockey again when he falls for Harpreet (Taapsee Pannu). She is an efficient hockey player and Sandeep decides to try his luck on the sport once again to woo her. Meanwhile, Sandeep's brother Bikramjeet Singh (Angad Bedi) never left hockey and has the potential to play in the national team. However he doesn’t get selected. He returns home dejected but is overjoyed when he realises that Sandeep can do the dragflick, an extremely difficult skill of hockey, effortlessly. Bikramjeet hence takes Sandeep to Patiala so that Coach Harry (Vijay Raaz) can train him. In no time, Sandeep gets selected in the national team. He also is given a job in an airline company. Harpreet is ready to marry him too. However, all his dreams are shattered on August 22, 2006, when he’s traveling in a train and a police officer accidentally fires him on the back. Sandeep survives but he gets paralysed from his waist below. Needless to say, he can’t play hockey again. What happens next forms the rest of the film. Shaad Ali’s story is quite promising and inspirational. But Suyash Trivedi, Shaad Ali and Siva Ananth's screenplay fails to do justice. It is a bit slow in the first half but on the plus side, a lot of scenes are well written. But in the second half, it is too quick and sans any impact. Suyash Trivedi, Shaad Ali and Siva Ananth's dialogues are witty, sharp and funny, especially the ones mouthed by Vijay Raaz. Shaad Ali's direction is inconsistent, with the first half executed very well more or less but the second half being a letdown. Post interval, he rushes through the narrative. He also fails to do justice to the romantic track at this point, which otherwise is quite cute in the first half. Also, hockey as a sport is not as popular as say cricket. Hence it was important for him to ensure that the aam junta can comprehend what’s going on in the hockey scenes. But that doesn’t happen. Few developments are not properly explained. For instance, why Chairman Saab (Kulbhushan Kharbanda) is called back is not properly explained. A film like SOORMA should have ended with a punch. But the final match between India and Pakistan is lackluster. SOORMA is a bit shaky and one realises that in the very beginning. But one doesn’t mind as the first half is embellished with some lovely and dramatic sequences that keep the interest going. One of the most interesting sequences of the film is when Bikramjeet realises that Sandeep is a very good dragflicker and the latter is surprised that he possesses such a rare skill. Then, Vijay Raaz tickles the funny bone with his hilarious one liners. The intermission point is shocking. Unfortunately, the film goes downhill in the second half. The entire process of Sandeep getting back on his feet and on the field should have been the highpoint. Shockingly, director Shaadi Ali shows it in a bland manner within just a song, thereby completely diluting the impact. What also is a problem is that CHAK DE INDIA [2007] is still fresh in people’s minds and has set a benchmark when it comes to hockey related films. SOORMA is nowhere close to this iconic film. <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/soorma-first-day-first-show-public-opinion/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>Diljit Dosanjh however saves the film to an extent. He looks very endearing as he romances his ladylove and wins accolades for India. One feels terrible after he meets with the accident. Watch out for him when he has an ugly fight with his brother outside his residence. Taapsee Pannu gets to play an interesting character but sadly her part seems unconvincing after a point. Performance wise, she is very good though. Angad Bedi has a supporting part but is fairly nice and gets to be a part of some important scenes. Vijay Raaz steals the show. Some of his dialogues are going to bring the house down in the single screens! Satish Kaushik (Gurucharan) plays his part with honesty. Khulbhushan Kharbanda and Avtaar Singh (Mahavir Bhullar) are quite lovable. Danish Husain looks very convincing. Jimmy Moses (Lobo Joseph) gets a bit overboard. The real Bikramjeet Singh appears in the film as the villainous Pakistani player Tanveer Alam and is fine. Others do a good job. Shankar-Ehsaan-Loy’s music is forgettable. <em>‘Soorma Anthem’</em> has the anthem like feel but is not well utilitised. <em>'Ishq Di Baajiyaan'</em> is lovely but is used in too many scenes. <em>'Flicker Singh' </em>and <em>'Pardesiya'</em> are strictly okay while <em>'Good Man Di Laaltain' </em>works as it’s well shot and choreographed. Shankar-Ehsaan-Loy and Tubby’s background score is dramatic. Chirantan Das's cinematography is a bit disappointing. Some scenes could have been better shot. Sharmistha Roy's production design is authentic and same goes for Eka Lakhani's costumes. Farooq Hundekar's editing could have been better, in the second half majorly. On the whole, SOORMA is laced with a promising plot but the weak execution hampers the impact. The buzz is very low and at the box office, it should do better in the North compared to the rest of the country



Movie Review: ANT-MAN AND THE WASP

Thu, 12 Jul 18 11:09:20 +0000

After the last Marvel release AVENGERS: INFINITY WARS fans of the series have been desperately awaiting the next film in the line, which is ANT-MAN AND THE WASP. With many unanswered question still remaining after the last releases, hope is that the new film will at least manage to assuage a few unrelenting questions. But will ANT-MAN AND THE WASP that comes with much hope attached to it live up to audiences’ mammoth expectations or will it be just another fly on the wall in the larger scale of things is what we analyse. <img class="aligncenter wp-image-870507 size-full" title="Movie Review: ANT-MAN AND THE WASP" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/07/Movie-Review-ANT-MAN-AND-THE-WASP.jpg" alt="Movie Review: ANT-MAN AND THE WASP" width="720" height="405" /> Starting off ANT-MAN AND THE WASP begins with Paul Rudd’s Scott Lang AKA Ant-Man living life within the confines of his home for the past two years after the happenings in CAPTAIN AMERICA: CIVIL-WAR. Post Lang assisting Captain America in his fight against Stark, Lang has been put on house arrest with the threat that if he breaks the parameters of his new boundary or even comes in contact with quantum tech, he will be imprisoned for 20 years. With just a few days left till his house arrest is terminated, all hell breaks loose when Lang has a dream where he sees Hank Pym’s wife and daughter Hope. Confused with the sudden dream, Lang makes a call to Pym, who in turn reaches out and literally abducts Lang with the help of Hope. Once at the lab, Lang is told that Hank and Hope managed to open a tunnel to the quantum realm wherein Hope’s mother has been trapped for the past 30 years. And it was due to this that Lang, who has in the past visited the quantum realm, developed a link with Hope’s mother. But in the meantime, Ava/ Ghost, a young girl who has met with a quantum accident is hell bent on acquiring energy from the quantum realm to help stop her from phasing. While a battle ensues between Pym, Hope, Ant-Man and Ghost to acquire control of the quantum tunnel all hell breaks loose. Will Pym, Hope and Lang manage to rescue Hope’s mother, will Ghost harvest enough quantum energy or will the tech fall into the wrong hands is what makes up the rest of the film. Right from the start it is evident that ANT-MAN AND THE WASP is unlike any of the previous films released in the Marvel Cinematic Universe (MCU). With a focus more on human values, the film sees the family and emotions play a more integral part in the overall story and on screen happenings. However, this does not diminish the action. In fact, keeping with the MCU format ANT-MAN AND THE WASP does feature its share of action and humour well interspersed that keeps the viewer in his seat. From witty one liners to some high octane action, the film has it all. But, the biggest drawback for ANT-MAN AND THE WASP is the fact that unlike previous MCU films, the villain in this one is rather underplayed. After the progressions in AVENGERS: INFINTY WAR, the audience expects nothing less than a menacing antihero or if you will, the villain. Unfortunately in the new release, the role of the villains comes across more as an individual who has been led down a nasty path against their will. With the main antagonist owning up to their dark past while displaying remorse for what they have done, the viewer is gets the picture that is contrary to expectations Ghost is in fact a lost soul in desperate need of realignment. But it doesn’t stop here, instead ANT-MAN AND THE WASP comes across as more of a Disney film rather than a Marvel film for the plain fact that while typical Marvel films focus on interpersonal superhero relationships and their outcomes, this film follows Disney’s tried and tested method of instilling family values, with the good guys eventually saving the bad one who then turns over a new leaf to live a perfectly normal life. However, despite this, one must admit that ANT-MAN AND THE WASP does still make for a decent watch. With CGI and visual effects that are on point and a tight script, the film takes the viewer on a rollercoaster ride with references to past films and TV series thrown in for good measure. On the whole, ANT-MAN AND THE WASP that makes for a good watch plays its role of acting as balm to assuage the anguish left after AVENGERS: INFINITY WAR perfectly. A light hearted film with true Walt Disney film values at its core, this is one film to watch just to complete the list of MCU releases that eventually will tie into the main plot of the next AVENGERS film. At the box office, with SANJU still running, and the other Bollywood release SOORMA taking up a good share of screens, ANT-MAN AND THE WASP is likely to face a hard time raking in the numbers



Movie Review: Sanju

Fri, 29 Jun 18 08:40:42 +0000

Biopics are quite in vogue in Bollywood and in recent times, many of them have even tasted massive commercial success. But often, these biopics are criticized as they become quite hagiographic and tend to glorify the person in question. In such a scenario, blockbuster director Rajkumar Hirani’s SANJU promises to be different and shows the highs as well as lows and dark periods of actor Sanjay Dutt. That it’s directed by Rajkumar Hirani, who has a cent per cent track record and features popular actor Ranbir Kapoor, has added to the excitement considerably. So does SANJU live up to its hype and turns out to be a yet another feather in Hirani’s cap? Or does it fail to impress? Let’s analyse. <img class="aligncenter wp-image-866409 size-full" title="Movie Review: Sanju" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/06/Sanju-5-2.jpg" alt="Movie Review: Sanju" width="750" height="450" /> SANJU is the biopic of controversial actor Sanjay Dutt and some of the dramatic and significant episodes of his life. Sanjay Dutt (Ranbir Kapoor) is the son of famous actor Sunil Dutt (Paresh Rawal) and yesteryear actress Nargis (Manisha Koirala). He is about to get launched in a film by his father titled ROCKY. Upset with his father, he tries drugs for the first time courtesy his friend Zubin Mistry (Jim Sarbh). At this point, he finds out that Nargis is suffering from cancer and has few days to live. She is taken to New York for treatment. Sanju is unable to control his drug habit even when his mother is struggling. While in New York, he befriends Kamlesh Kapasi (Vicky Kaushal) and they both form a wonderful bond. Sadly due to his drug addiction, his relationship with his girlfriend Ruby (Sonam Kapoor) gets affected and ends on a dismal note. Nargis dies just three days before the release of ROCKY. An overwhelmed Sanju agrees to go for rehab in USA. Once he overcomes this addiction, he gets into a bigger problem. He gets arrested for illegal possession of arms. He’s also accused of aiding the terrorists in carrying out the serial bomb blasts in Mumbai in 1993. How Sanjay Dutt fights this dreadful charge forms the rest of the film. Rajkumar Hirani and Abhijat Joshi's story is interesting but one can sense that they have tried to play safe. But they have balanced it out by not glorifying Dutt and showing his bad and dark side too. Also, it’s impressive how Rajkumar and Abhijat haven’t focused on his film career and have focused on his personal life and turmoils. Rajkumar Hirani and Abhijat Joshi's screenplay is terrific and despite the minuses, can be used as a guide on how to write films. With so much happening in the film, the writers ensure that the narrative doesn’t go all over the place. Everything is neatly put together. For instance, when the sequence where the Dutts are returning back to India, Nargis’ remarks about Ruby. This is done organically and neatly links to the next sequence which is related to Ruby. Rajkumar Hirani and Abhijat Joshi's dialogues as always are entertaining, sharp and massy. Few dialogues related to sex will bring the house down in single screens and in the hinterland. A section of audience however would also be put off by such jokes and dark humour at places. Rajkumar Hirani's direction as expected is highly effective. This is no easy film to make but he executes and presents the plot in a simple and crisp manner. His magic comes to the fore in several sequences and is bound to leave viewers smiling and teary eyed. However, the climax could have been better and more powerful. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/sanju-public-review-first-day-first-show-ranbir-rajkumar-anushka/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> The biggest strength of SANJU is that the film never drops. The screenplay is riveting and keeps you hooked, even if you might not agree with the goings on. And that’s a feat for a film which is 160 minutes long. The back and forth narrative works very well and keeps viewers intrigued. The first half is excellent and boasts of some fine emotional, funny and dramatic sequences. The intermission point comes as a bolt from the blue. The madness continues in the second half but the plot gets a bit shaky here. The film goes on a high in the first half but the same doesn’t happen in the second half. The film should have ended with a punch or on a rocking note, as it has happened in the previous Rajkumar Hirani films. However, the film leaves a strong emotional impact overall, which works very well. Ranbir Kapoor owns the film and delivers a terrific performance. Nowhere does his performance seem like a caricature and he gives his best shot in ensuring that he looks and behaves like Sanjay Dutt. Watch out for him in the emotional sequence, particularly when his mother passes away and he confesses to his father that he needs to get better. Also he’ll leave viewers moist eyed in the scene where he fails to read his speech to his father and later the inevitable happens. SANJU surely ranks as one of the most or arguably the most accomplished performance by this young actor and is bound to win him accolades, admiration and awards! Paresh Rawal is also quite impressive and plays the important part of Sunil Dutt with perfection. SANJU is a father-son story and he compliments Ranbir very well in taking some scenes to great heights. Vicky Kaushal is the surprise package of the film. Right from his entry, he makes a mark and brings the house down at several places. Also, he’s rocking in the emotional sequences like when he meets Ruby or when he tells Sunil Dutt that they need to help Sanjay Dutt. Even in the second half, watch out for him when he meets Sanjay Dutt in the hospital and in the pre-climax when he listens to the radio. Manisha Koirala has a supporting part but is an important pillar in the film and charms with her performance. Anushka Sharma (as Winnie Dias) delivers a splendid performance. Again, her screen time is limited. Jim Sarbh makes an impact with his role. Sonam Kapoor (as Ruby) is decent in the cameo. Boman Irani (as Homi) contributes to the fun quotient. Sayaji Shinde (as Bandu Dada) looks every inch a gangster. Dia Mirza (as Maanayata Dutt) gets overpowered. Aditi Seiya (as Priya Dutt) looks quite like Priya but doesn’t have much to do in the film. Karishma Tanna (as Pinky) is quite sizzling and makes a mark, despite being there for just a scene. Mahesh Manjrekar (himself), Piyush Mishra (D Tripathi), Ashwin Mushran (security officer), Bharat Dabholkar (lawyer) and Aanjjan Srivastav (minister) are good. Songs are not that great but work well in the film.<em> 'Kar Har Maidaan Fateh'</em> is the best of the lot. <em>'Main Badhiya Tu Bhi Badhiya'</em> is very well picturised and imagined. <em>'Ruby Ruby'</em> (by A R Rahman) is relegated to the background. Sanjay Wandrekar and Atul Raninga's background score is much better and exhilarating. S Ravivarman's cinematography is splendid and has captured some of the locales beautifully. In fact, he impresses right from the first shot itself - a bird’s eye view of Bandra. Shashank Tere's production design is appealing and rich. Eka Lakhani's costumes are authentic. Vikram Gaikwad's make-up design, Clover Wootton's prosthetics and VFX by Fluiidmask Studios deserves the highest praise for making Ranbir look like Sanjay Dutt through the ages. Rajkumar Hirani’s editing is crisp. On the whole, SANJU is an entertaining saga that blends emotions, humour and drama in adequate doses. It is powerful, engaging, emotional as well as compelling. The combination of Rajkumar Hirani and Ranbir Kapoor works like a dream. At the box office, despite not being a ‘typical Rajkumar Hirani family entertainer’, SANJU will score tremendously and emerge as a Monstrous Hit! Don't miss it



Movie Review: Race 3

Fri, 15 Jun 18 05:54:09 +0000

When RACE [2008] arrived in cinemas, everyone expected it to be a decent suspense fare. But the film exceeded everyone’s expectations thanks to its stylish narrative, performances, writing and most importantly, the numerous unpredictable twists! RACE 2 [2013] didn’t reach the level of its predecessor, forget going beyond it. Yet, the franchise had a lot of steam left. The producers obviously realized it and they have now come up with RACE 3. This time, the film is bigger in terms of scale and grandeur and moreover, it also features one of the country’s biggest superstars, Salman Khan. At the same time, the thrill element has been toned down a bit to make it more family-friendly. The lead of RACE and RACE 2, Saif Ali Khan, is no longer there and same goes for Abbas-Mustan, the director duo of both the parts. With all these changes, does RACE 3 manage to impress and entertain? Or do these changes lead to plain disappointment? Let’s analyse! <img class="aligncenter wp-image-861035 size-full" title="Movie Review: Race 3" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/06/Race-3-Movie-Review-Image.jpg" alt="Race 3 Movie Review Image" width="750" height="450" /> RACE 3 is the story of a dysfunctional family amidst a high stakes heist. Shamsher (Anil Kapoor) is the head of this family and Sikander (Salman Khan) is the kind-hearted and wise member. Sanjana (Daisy Shah) and Suraj (Saqib Saleem) are the youngest in the family and have a grudge against Sikander. But Shamsher is the pacifier who always ensures that things don’t go out of control. However, trouble arises when this family is entrusted with a task of retrieving a hard disk kept in a locker. This hard disk is worth millions. Shamsher entrusts this task to Sikander and the other family members. What happens next forms the rest of the film. The biggest problem with RACE 3 is that there’s hardly any storyline in the film. Whatever of Shiraz Ahmed’s story is there is lame and confusing and it rests on a wafer thin plot. Shiraz Ahmed and Kiran Kotrial’s dialogues are corny and one soon realizes that Daisy Shah’s ‘none of your business’ is not the only troll-worthy one-liner of the film! Shiraz Ahmed’s screenplay is disjointed as it concentrates more on style and action than substance. Also, just like its predecessors, the makers have added a lot of twists and turns but they are unnecessary and unconvincing. Remo Dsouza’s direction also suffers as a result of the flawed writing. The film is high on style and low on substance. The action bits are good but Remo has stretched these scenes unnecessarily. Moreover, he, the makers and writers have tried every gimmick in the book to appeal to Salman fans. Even dialogues and scenes are something that are tailor made for bhai fans but they appear unconvincing and evoke disappointment. The first half of RACE 3 is quite horrible and there’s absolutely no story. It’s only in the second half that the film boasts of some worthwhile moments. There’s no doubt that the film looks rich. Each and every frame is a visual delight and it shows that the money has been spent like water. The makers have even left scope for a sequel. However, one really doubts whether the RACE franchise would now be carried forward. At 2.40 hours, the film appears too long. Some of the scenes are so corny that it would surely become the talking point of social media in days to come. Talking of performances, Salman Khan does well and is in a way the saving grace of the film. He’s not in his top form like he was in his last film TIGER ZINDA HAI [2017]. But he sails through the film with his performance. Jacqueline Fernandez is shockingly disappointing and she struggles to act. Bobby Deol (Yash) is also strictly okay. There was an excitement to see him after a hiatus and he’s sure to disappoint his fans and admirers. Anil Kapoor however puts his best foot forward and is impressive. His look is also quite great. Daisy Shah and Saqib Saleem are hardly memorable. Same goes for Freddy Daruwala (Rana). <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/anil-kapoor-i-dont-look-back-i-look-ahead-to-race-3-2/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>The songs of RACE 3 fail to meet the expectations. However, <em>‘Allah Duhai Hai’</em> and <em>‘Selfish’</em> are quite memorable and are picturised brilliantly. <em>‘Heeriye’</em> leaves a bit of a mark. The rest of the songs are forgettable. Salim-Sulaiman’s background score is much better and it adds to the thrill and dramatic element. Ayananka Bose’s cinematography is eye catching and captures the locales of U.A.E and Thailand very well. Rajnish Hedao’s production design is classy while Anal Arasu and Thomas Struthers’s action lifts the film to an extent. But again, it’s not as spectacular as Salman’s previous films like TIGER ZINDA HAI and KICK [2014]. Steven Bernard’s editing is haphazard and the film could have been smoother and shorter in length. Manish Malhotra, Ashley Rebello, Alvira Khan Agnihotri, Anaita Adajania, Akshay Tyagi and Rhea Kapoor’s costumes are quite good and suit the financial status of the characters. On the whole, RACE 3 is high on style and low on substance. It lacks entertainment value and is a disappointing fare due to its wafer thin plot. At the box office, the movie will take a jump start due to Salman Khan’s star power and accelerate over the weekend, post which, the business will see a sizeable drop. The film will entail losses to the distributors



Movie Review: Jurassic World - Fallen Kingdom (English)

Wed, 06 Jun 18 13:03:26 +0000

Back in 1993, JURASSIC PARK introduced viewers to a different breed of monster movies that thrilled and chilled. Following this, the JURASSIC trilogy with two more subsequent films viz. THE LOST WORLD: JURASSIC PARK and JURASSIC PARK 3 hit screens in 1997 and 2001 respectively. Cut to 2015 when the first of the new trilogy that was based on the previous three films releases with JURASSIC WORLD made a splash. Taking up the mantle from the earlier three, the 2015 release did rather well at the box office re-establishing the JURASSIC brand. Now a couple of years on we see the second instalment in the new Jurassic trilogy gearing up for release with JURASSIC WORLD: FALLEN KINGDOM. But will the fifth film in the series live up to the dinosaur expectations of fans that have been developed over years or will it like the creatures in the film fade into oblivion is the question of the hour. <img class="aligncenter size-full wp-image-857701" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/06/Jurassic-World-Fallen-Kingdom-English-Review.jpg" alt="Jurassic World Fallen Kingdom (English) Review" width="750" height="450" /> JURASSIC WORLD: FALLEN KINGDOM starts off four years after the Jurassic World theme park was closed down. Owen and Claire return to Isla Nublar to save the dinosaurs when they learn that a once dormant volcano on the island is active and is threatening to extinguish all life there. Along the way, Owen sets out to find Blue, his lead raptor, and discovers a conspiracy that could disrupt the natural order of the entire planet. Will they manage to foil the malicious plan or will life find a way again, is what makes up the rest of the film. Going into the film, the first question that comes to mind is whether the makers of JURASSIC WORLD: FALLEN KINGDOM will manage to provide a different take on the happenings in this film from the previous four? Well, the short answer is yes. Director J. A. Bayona has done a marvellous job with the new film; he has dared to take risk where others would have usually preferred to stick to the tried and tested formula. Though the basic plot line of the film still remains the same viz. dinosaurs are introduced into modern times and run amok while all hell breaks loose. However, unlike the 2015 film, the new one deals with a more human angle where the power of greed comes into play. Starting off with an epic sequence that grabs your attention, the film continues to engage viewers’ right through the first half. Set in the open landscape of Isla Nublar, the visuals are both breath-taking and thrilling giving the viewer a feel of the enormity of the dinosaurs and the task faced by Owen and Claire. Post the interval there is a change in setting with the on screen happenings shifting indoors. However, this restriction does not dampen the proceedings. In fact, thanks to this shift Bayona manages to recreate some of that old school charm, thrill and excitement that was felt in the first ever JURASSIC PARK. From introducing a new species to relocating the dinosaurs while at the same time battling for survival, the film encompasses almost every emotion that you would expect. Coming to the performances, for Chris Pratt (Owen) JURASSIC WORLD: FALLEN KINGDOM is a chance to recover a bit after his character’s faults in the recently released film AVENGERS: INFINITY WAR and boy does he do a good job. Sticking true to his role of being a dinosaur trainer, Pratt does well in his given role managing to make the task of communicating with an animal believable. Bryce Dallas Howard as Claire too is pretty good, keeping up with the happenings. Howard makes her character believable by developing an emotional connect with the viewers. Similarly the rest of the cast as well do a decent job to lend support to the main leads. <img class="aligncenter size-full wp-image-857802" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/06/Jurassic-World-Fallen-Kingdom-English-Review-Image.jpg" alt="Jurassic World Fallen Kingdom (English) Review Image" width="750" height="450" /> Talking about the visuals, it has been 25 years since the release of the first film JURASSIC PARK and with the advancement in technology JURASSIC WORLD: FALLEN KINGDOM can easily be classified as one among those that seamlessly interweaves CGI and live action. This coupled with a background score that builds up the crescendo at the perfect moment and the overall dark theme of the film lend a more plausible and relatable tale. On the whole, JURASSIC WORLD: FALLEN KINGDOM might not be the best in the Jurassic series but it comes pretty close. With stellar direction, action scenes aplenty and a thrilling depiction, this one is certainly a must watch. At the Indian box office, with no Bollywood release, the film is likely to do well especially since it enjoys a wide release across four languages



Movie Review: Bhavesh Joshi Superhero

Fri, 01 Jun 18 08:02:18 +0000

India has its own range of superhero comics since a long time. But unlike the West which is minting huge amount of money by making films on Marvel and DC comic characters, our filmmakers have lagged behind in this aspect. Bollywood has given a handful of superhero flicks like MR X [2015], DRONA [2008], A FLYING JATT [2016], RA.ONE [2011], ZOKKOMON [2011] etc. which didn’t work at the box office. KRRISH series is the only one that has been successful. Now this week’s release BHAVESH JOSHI SUPERHERO gets added to the list of ‘Hindi superhero films’. So does it manage to entertain and give audiences a great time? Or does it fail just like most of the superhero films of our industry? Let’s analyse <img class="aligncenter wp-image-855733 size-full" title="Movie Review: Bhavesh Joshi Superhero" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/06/Movie-Review-Bhavesh-Joshi-Superhero.jpg" alt="Movie Review: Bhavesh Joshi Superhero" width="720" height="405" /> BHAVESH JOSHI SUPERHERO is the story of a one man’s fight against a corrupt practice in Mumbai. Siku (Harshvardhan Kapoor) is friends with Bhavesh Joshi (Priyanshu Painyuli) and Rajat (Ashish Verma). Siku and Bhavesh feel a change is needed in the country. Both participate in India Against Corruption (IAC) movement of 2011 and also start a YouTube channel called 'Insaaf TV'. As part of this endeavour, they’d wear masks in order to conceal their identity and expose those breaking local civic laws. When the IAC movement fizzles out by 2011 end, Siku gets disillusioned and moves on with his life. 6 years later, Siku is working as a coder in an MNC and he’s offered a chance to move to USA, which he accepts. Bhavesh meanwhile still believes in bringing change. An old aged resident contacts him and informs him of a huge racket involving water scarcity. Bhavesh uploads a video exposing the scam and the baddies involved in this racket are alarmed. They begin to find out his identity. Meanwhile an altercation takes place between Siku and Bhavesh and the former shoots a video of the latter wherein he’s speaking about the ills plaguing the country. Siku uploads the video online but only a part of it. Bhavesh is hence presented as someone who’s insulting India. The water scarcity baddies, headed by Rana (Nishikant Kamat), accuse Bhavesh of being an anti-national. He’s badly beaten up. Bhavesh however doesn’t relent and he continues exposing the racket. This time Rana's goons murder him. Siku reaches the airport to leave for USA but at the eleventh hour, he changes his mind. He returns back to the city without informing anyone and decides to avenge Bhavesh's death. He assumes the identity of Bhavesh Joshi and promises to teach the wrongdoers a tough lesson. What happens next forms the rest of the film. Vikramaditya Motwane, Anurag Kashyap and Abhay Koranne’s story is very disappointing and juvenile. The premise has too many loose ends. Vikramaditya Motwane, Anurag Kashyap and Abhay Koranne’s screenplay is also not effective. Only a few sequences are well written. Their dialogues also work only at select places. BHAVESH JOSHI SUPERHERO's beginning portion is very dry and incoherent and makes no impact. It’s only when Bhavesh chances upon the water scarcity bit that the film gets better. The manner in which Bhavesh is tortured by Rana’s men is intriguing. The intermission point is when the film goes on a high. It is the best part of the movie and one expects fireworks in the second half. Sadly that never happens. The unconvincing moments are aplenty. It is bewildering how Siku and Sneha (Shreiyah Sabharwal) don’t communicate at all after the former pretends to move to USA, especially when they haven’t formally broken up. Moreover, Siku following Rana’s men without even changing his appearance is too much since they could have easily spotted him and his game would have been up. One expects at least the climax to be satisfying. But alas, the film gets worse at this point. <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/bhavesh-joshi-superhero-first-day-first-show-public-opinion/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>Vikramaditya Motwane’s direction is poor and this is shocking since he has handled his previous films [UDAAN, LOOTERA, TRAPPED] very well. A few scenes are deftly handled. For instance, the entire passport track is very relatable. But in the major part of the film, the direction goes haywire. Harshvardhan Kapoor is strictly okay and lacks the conviction needed for the part. At some places, he’s completely blank. For instance, after Bhavesh gets beaten up because of his folly, he ideally should have looked regretful and sad. But these emotions don’t come across on his face at all. Priyanshu Painyuli is much better and dominates the first half. His dialogue delivery especially is praiseworthy. Nishikant Kamat leaves a mark in a small role. Shreiyah Sabharwal is wasted. Ashish Verma is great and shines in the finale. The actors playing Hemant Patil, old aged resident and the cop do a nice job. Amit Trivedi’s music is nothing great. <em>‘Chavanprash’</em> is foot tapping but Arjun Kapoor’s version is missing. <em>‘Hum Hain Insaaf’ </em>stands out and<em> ‘Qasam Kha Li'</em> is relegated to the background. Amit Trivedi’s background score is dramatic. Siddharth Diwan’s cinematography is rugged and that works well. Cyril Raffaelli, Sébastien Seveau and Vikram Dahiya's action is entertaining, especially in the local train chase sequence. Aditya Kanwar’s production design is fair. On the whole, BHAVESH JOSHI SUPERHERO is a poor show owing to its haphazard writing and bad direction. At the box office, it will be a disaster. Avoid



Movie Review: Veere Di Wedding

Fri, 01 Jun 18 03:45:58 +0000

Bollywood has given innumerable bromance flicks. But there have been hardly any such film involving our pretty ladies. This is quite a shocker as the urban, multiplex audience would love to see female bonding flicks talking about their problems, quirks, way of life etc. Finally Sonam Kapoor and her sister producer Rhea Kapoor took up the challenge and designed VEERE DI WEDDING. Despite their lead actress Kareena Kapoor Khan getting pregnant, they stayed put and refused to shelve the project. The film is now finally out for release and does it manage to meet all the expectations? Or does it fail in its endeavour? Let’s analyse! <img class="aligncenter size-full wp-image-855592" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/06/VEERE-DI-WEDDING-review.jpg" alt="" width="720" height="405" /> VEERE DI WEDDING is the story of four female friends at an uncertain age. Kalindi Puri (Kareena Kapoor Khan), Avni Sharma (Sonam Kapoor Ahuja), Sakshi Soni (Swara Bhasker) and Meera Sood (Shikha Talsania) are the best of pals. Avni is doing well professionally as a divorce lawyer but her mother (Neena Gupta) feels that it’s not all worth it unless she gets married. Sakshi is married and is facing tough times. Meera is married and also has a child and she is unhappy as her father has not accepted the union. Kalindi is dating Rishabh Malhotra (Sumeet Vyas) and all is going well in their relationship. But one day Rishabh proposes marriage. Kalindi says yes but she develops cold feet. Her marriage gets planned with much fanfare and it stresses her out. Of course her gang of friends assemble to be with her during the most significant period of her life, while battling their life problems. What happens next forms the rest of the film. Mehul Suri and Nidhi Mehra’s story is very relatable and raises some important points about marriage, relationship, friendship, broken families etc. But Mehul Suri and Nidhi Mehra’s screenplay fails to do justice to the plot. The script is haywire and hence one doesn’t feel totally involved with the goings on. Also there are far too many subplots in the film and too much is packed in 125 minutes. Mehul Suri and Nidhi Mehra’s dialogues are peppered with adult talk and abusive language. At places it is very witty and funny but at several places, it looks forced and that it’s added just for the effect. Thankfully most of the dialogues are left intact by the Censor Board. VEERE DI WEDDING rests on a great idea and interesting characters. But it doesn’t translate into a fully entertaining fare. It’s the direction that plays spoilsport. The execution is very shaky and it hampers the impact. The introduction of the characters is nice and the marriage prep sequence is the most relatable. Post interval, the Thailand sequence stands out. The climax should have been a highpoint but sadly that doesn’t happen. Shashanka Ghosh’s direction is the biggest culprit. The film just gives an overview and never allows viewers to delve into the lives of the Veeres. Also some shocking developments take place in the film like Rishabh's father (Manoj Pahwa) getting arrested. But it’s not executed in the desired manner. <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/veere-di-wedding-first-day-first-show-public-opinion/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>The chemistry of all the four actresses is brilliant and looks very convincing. It’s difficult to say if it’s their performance that’s great or their chemistry in real is the same as shown in the film. Kareena Kapoor Khan delivers a marvellous performance. She indeed looks like a commitment phobic person who’s getting the chills with the elaborate marriage preparations. Sonam K Ahuja leaves a mark but other actors dominate her. Swara Bhasker is outstanding and her performance will surely be a talking point. Watch out for her excellent dialogue delivery! Shikha Talsania is a complete natural. Sumeet Vyas is quite endearing. Vishwas Kinni (Bhandari) plays the irritating character well. Neena Gupta is decent. Vivek Mushran (Cookie Chacha) and Anjum Rajabali (Kishan) are fair. Manoj Pahwa is his jovial self while Ayessha Raza (Rishabh’s mother) leaves a mark. Ishwak Singh (Nirmal) is apt for the part. Ekavali Khanna (Paromita) raises laughs. Edward Sonnenblick (John) is okay. The songs are well woven in the narrative. Shockingly, the film’s biggest chartbuster <em>'Tareefan'</em> is missing. ‘<em>Pappi Le Loon</em>', ‘<em>Bhangra Ta Sajda'</em>, ‘<em>Laaj Sharam</em>' and ‘<em>Aa Jao Na</em>' are all relegated to the background. ‘<em>Dagmag Dagmag</em>' is played during the opening credits while ‘<em>Veere’</em> makes the most impact. Arijit Dutta’s background score is quite good. Sudhakar Reddy Yakkanti’s cinematography is bad. There are too many close ups which take away the charm from many scenes. Shweta Venkat Mathew's editing is razor sharp. Priya Ahluwalia's production design is rich. Rhea Kapoor, Abu Jani – Sandeep Khosla’s costumes are quite bold and appealing. On the whole VEERE DI WEDDING has a bold theme that defies stereotypes and delivers a shock value. At the box office, the multiplex audience and the youth [especially female] will patronize the film in a big way. Watch it for all the fun and madness created by the four leading ladies



Movie Review: Solo: A Star Wars Story (English)

Sat, 26 May 18 09:45:11 +0000

A little over four decades ago, in 1977, the first film in the epic Star Wars saga (that would extend over years to come) released with the release of A NEW HOPE. Now after nine films in the saga, we see the release of a spin off story line that brings fans in touch with the origins of one of the most loved characters Han Solo. But will this new age space western do justice to the mammoth legend of Han Solo or will it like so many other spin off/ origin satires falter, is the question of the hour. <img class="aligncenter wp-image-853334 size-full" title="Movie Review: Solo: A Star Wars Story (English)" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/05/Movie-Review-Solo-A-Star-Wars-Story-English.jpg" alt="Movie Review: Solo: A Star Wars Story (English)" width="720" height="405" /> SOLO: A STAR WARS STORY follows the escapades of Han Solo before he became the legend. Starting off from the early days, the film depicts the squalor that Solo came from that was ruled by the tyrannical Lady Proxima and his constant schemes and efforts to pay his way out. Besides this like most of the films in the saga, this one too features a budding love story angle between Solo and Qi’ra. But will the two young romantics find a way out of the hell hole or will they fall prey to the Empire’s growing power is what forms the rest of the film. Starting off one must bear in mind that the happenings in SOLO are dated before the rebellion came into being. In fact the film goes on to depict the rise of the Empire into a force to reckon with. While at the same time laying the base upon which the legend of Han Solo is built. If that wasn’t enough, through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo meets his mighty future co-pilot Chewbacca and encounters the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars saga's most unlikely heroes. First things first, with director Ron Howard at the helm of the film, one expects nothing less than a visual spectacle. Known for films like APOLLO 13, A BEAUTIFUL MIND and more recently RUSH and INFERNO, Howard brings with him, expectations of a space western film on epic proportions. However, unlike Howard’s previous cinematic outings, SOLO: A STAR WARS STORY offers little scope for sweeping cinematic visuals. Despite this, when given the chance to depict a world that has been ravaged by time, Howard works his magic with aplomb. Going into SOLO: A STAR WARS STORY, viewers are already aware of the fact that it will feature some of the high points of Han’s life that eventually made him the smuggler with a heart of gold, unfortunately this exact premise hampers the entire telling of what could become an epic due to the limited scope to explore unknown avenues, a detail upon which most of the film in the Star Wars franchise that thrived. But despite this, Howard has managed to pull together an enjoyable film that sadly looks like a series of highlight from a character’s life. Coming to the performances, Alden Ehrenreich is no Harrison Ford, but he does manage to do a commendable job with the role of Han Solo. Joonas Suotamo as the lovable Chewbacca and Donald Glover as Lando Calrissian are sorely underused. Despite having prominent roles in the film, both their characters (though only supporting roles) appear to be greatly under developed and half baked. One wishes that both Chewbacca and Lando were given more meatier chunks to explore the entire depth of their characters. But it is the roles of Woody Harrelson as Beckett and Emilia Clarke as Qi’ra that come across the most dejecting. In fact, both good actors in their own right fall flat with a narrative that focuses on Solo alone. While one wishes that these two were used more to their full potential being a Han Solo film, they are relegated to the shadows serving only as waypoints to take the story forward. However, the biggest drawback of SOLO: A STAR WARS STORY is the writing and the narrative, with most of the suspense lost, the makers have had to rely heavily on the epic tale of Solo to develop a narrative that does justice to his character. Sadly, this does not suffice. Instead the film comes across as a rather poor attempt at developing a new story line to encash on an epic saga that has neared the end of its money making heydays. Simply put, with an underwhelming story and weak narrative SOLO: A STAR WARS STORY is devoid of that charm and charisma that have over the years endeared the epic of STAR WARS to so many fans. Even the background score of the film, unlike most Howard directorial seems greatly underused. With a fall back to the now legendary Star Wars theme every now and then, this new venture offers very little to the viewers. But it isn’t all downhill. Though limited, the action and race sequences are well shot and choreographed but one wishes there were more. The CGI too though done well could have been so much better had the story line of the film given room to develop a bit more. On the whole, SOLO: A STAR WARS STORY leaves you with a somewhat empty feeling. With nothing new to tell in the story and very little scope to deviate from the past, the film becomes just another run of the mill cinematic outings that is developed to cash grab the last bits of money from a fading franchise. At the box office, with the John Abraham starrer <em>Parmanu</em> releasing alongside the film, SOLO: A STAR WARS STORY might just face a hard time raking in the numbers



Movie Review: Parmanu - The Story of Pokhran

Thu, 24 May 18 17:58:54 +0000

When India got independence in 1947, it was a challenge for those who assumed power. After all, they had to start from scratch in several areas and aspects. These challenges continue till date but it’s heartening to see that despite a lot of hurdles, India has made great progress in a lot of fields. One of the achievements was becoming a full-fledged nuclear state and this happened due to a series of nuclear tests carried out in Rajasthan town in 1998. The entire story behind these nuclear tests is quite fascinating and surprisingly, no filmmaker had picked it up in these two decades. Finally, actor-producer John Abraham took the challenge and has come out with PARMANU – THE STORY OF POKHRAN. So does the film turn out to be an engaging and thrilling fare? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter wp-image-852673 size-full" title="Movie Review: Parmanu - The Story of Pokhran" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/05/Parmanu-Review-Image-1.jpg" alt="Movie Review: Parmanu - The Story of Pokhran" width="750" height="450" /> PARMANU – THE STORY OF POKHRAN is the story of those people who secretly carried out a series of nuclear bomb test explosions in Pokhran on May 11, 1998. Ashwath Rana (John Abraham) is from the research department of the Central Government and in 1995, he advises the Prime Minister’s Office to conduct nuclear bomb tests in order to achieve supremacy in this field and establish fear among the nuclear powers of the world. The plan gets accepted but he’s not made a part of it. His plan is also not studied well. As a result, USA's satellites catch India preparing for the tests red handed. India is left red faced and Ashwath is made the scapegoat. He is removed from his job and shifts to Mussoorie with wife Sushma (Anuja Sathe) and son Prahlad. For the next 3 years, Ashwath does odd jobs while Anuja runs the house by working in an observatory. In 1998, Atal Bihari Vajpayee is made the Prime Minister. His principle secretary Himanshu Sharma (Boman Irani) summons Ashwath and asks him to help with the nuclear tests. Ashwath agrees and devises a plan to prepare and conduct the tests without the USA getting a whiff of it. He also prepares a team comprising of Ambalika (Diana Penty), Dr. Viraf Wadia (Aditya Hitkari), Dr. Naresh Sinha (Yogendra Tikku), Major Prem Singh (Vikas Kumar) and Purunganathan. How they manage to work together and put India on world nuclear map forms the rest of the film. Saiwyn Quadras, Sanyuktha Chawla Shaikh and Abhishek Sharma’s story is very promising and novel as it has entertainment and feeling of nationalism in adequate doses. Saiwyn Quadras, Sanyuktha Chawla Shaikh and Abhishek Sharma’s screenplay is neat and simple and they ensure that complex technical language is not used. As a result, even the layman can understand what’s going on. PARMANU – THE STORY OF POKHRAN has a shaky start. The 1995 sequence doesn’t involve viewers properly. It’s when Ashwath meets Himanshu is when the film picks up. From here, the film goes on another level and it’s fun to see Ashwath assembling his team and fooling USA. The intermission comes at a great point. The second half is better as the Pakistani spy (Darshan Pandya) and CIA agent Daniel (Mark Bennington) try their best to fail Team Ashwath's mission. There’s also sudden humour quotient added and it works very well especially in the confrontation scene between Ashwath and Sushma. The best is reserved for the finale. It is very well handled and the patriotic fervor comes out beautifully. Saiwyn Quadras, Sanyuktha Chawla Shaikh and Abhishek Sharma’s dialogues are nothing great but look real and conversational. Abhishek Sharma’s direction flows quite easily and is to the point. He very nicely packs in a lot in 130 minutes. However, one wishes if the tension levels could have gone higher. A film like this should have had more edge of the seat moments for an added impact. Also, though the team is shown facing roadblocks, it seemed a bit convenient at most places. Thankfully, the film has enough plusses that overpower these glitches. <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/parmanu-the-story-of-pokhrans-public-review-john-abraham-diana-penty/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>John Abraham delivers one of the best performances of his career. His act is subtle and yet leaves a mark. His character has suffered a lot and this bit comes out very well. Also he’s not shown as an invincible killing machine which is his image. Yet he pulls it off very well! Diana Penty has a crucial part and essays the no nonsense character very well. Boman Irani delivers an incredible performance and it was a pleasure to see him on screen after ages. Vikas Kumar is totally believable as an army major. Yogendra Tiku raises laughs while Aditya Hitkari looks quite smart and gives an impressive performance. Darshan Pandya leaves a mark. Anuja Sathe is very good and manages to create an impact with her supporting role. Mark Bennington and Zachary Coffin (Stephen) are okay. Sachin-Jigar’s music doesn’t get much scope and all songs are relegated to the background. <em>'Thare Vaaste'</em> is the only song that stands out, more so because of the execution. Sandeep Chowta’s background score is theatrical and impactful but has a major Hans Zimmer hangover which could have been avoided. Zubin Mistry’s cinematography is quite nice and captures the barren locales of Rajasthan well. Rameshwar S Bhagat’s editing is slick. T P Abid and Sandeep S Ravade’s production design is very authentic and realistic. Amar Shetty’s action is sans any gory. On the whole, PARMANU – THE STORY OF POKHRAN is an excellent saga that has a big chance of working at the box office despite the low buzz. The patriotic fervor and simple, effective narration works big time. Recommended



Movie Review: Deadpool 2 (English)

Tue, 15 May 18 18:26:45 +0000

Back in 2016, we saw the release of an unlikely superhero film in the form of DEADPOOL. Back then the makers of the film took a gamble and kept the film R-rated to do justice to the foul mouthed ass kicking, quick witted and sarcastic superhero Deadpool. The film which released amid much fanfare went on to work brilliantly well at the box office, warranting a sequel. Now a couple of years on and we see Ryan Reynolds, yeah the same guy from the forgettable and regrettable GREEN LANTERN, return to the big screen with DEADPOOL 2. But will the sequel work its magic at the box office, or will it like so many other franchise sequels bite the bullet is the question. <img class="aligncenter size-full wp-image-849089" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/05/Deadpool-2-English-1.jpg" alt="" width="720" height="405" /> DEADPOOL 2, starts off with the foul-mouthed mutant mercenary Wade Wilson (A.K.A. Deadpool), blowing himself to pieces after a tragedy only to be rescued by Colossus, who is on a mission to enroll Deadpool at Professor Charles Xavier’s home for the gifted, and eventually into the X-Men. However, Deadpool being well basically Deadpool, manages to bugle things up when they are called to assist with a rogue mutant kid. After an initial altercation, Deadpool is sent back to the ‘ice box’ along with Russell AKA FireFists (Julian Dennison). Unfortunately, a super soldier from the future, Cable (Josh Brolin) travels back in time to eliminate Russell and save his era. Will Deadpool manage to protect Russell whom he has developed a liking for, will Cable prove to be too overpoweringly strong, or will Deadpool finally join the X-Men, are some of the questions that make up the rest of the film. Going into a film like DEADPOOL 2 you are faced with the question of how can the makers live up to the expectation that have been developed by the first film? Coupled with this is the fact that the makers are faced with a task of making a film wherein the lead character is constantly able to break through the fourth wall and communicate with the audience. This melange of rather tough questions is answered in DEADPOOL 2 with a stellar script and some top notch direction. David Leitch has done a marvellous job of interweaving the story of Wade Wilson AKA Deadpool along with the narrative that gives the character enough leg room to pass some snarky comments and establish a rapport with the viewer. Double innuendo gags, well scripted humour and oneliners that come with a punch are some of the high points of the film. However despite this, DEADPOOL 2 does have moments that can leave some viewers a little lost, yes we are indeed referring to the multiple references to pop culture, films from the years gone by that have burned themselves into memory and some latest releases too. But with a lead character that is aware of these references, it becomes a breeze to watch a comic character come to life on the big screen. Coming to the performances in the film, Deadpool 2 is as the name would suggest a Ryan Reynolds film all the way. No not like the 2011 film GREEN LANTERN, instead like the first DEADPOOL, it's very entertaining. With Reynolds going all out to infuse life into the character in the process spilling some of his own real life charm and charisma into it, the film rests firmly on his shoulders. Other cast members who have prominent roles in the film like Cable for instance, played by none other than Thanos err… sorry… Josh Brolin is on point yet again. Be it playing the mad titan or the time travelling super soldier, Brolin brings a depth to his character that is rarely seen on the big screens these days. Zazie Beetz as Domino, Julian Dennison as Russell, TJ Miller as Weasel and of course Karan Soni as Dopinder do an equally good job in their given roles. However, when it comes to Morena Baccarin as Vanessa one can’t help but notice how underused her character is. In fact with fleeting screen time, Morena’s might just be the smallest dialogued role in the film. <img class="aligncenter size-full wp-image-849090" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/05/Deadpool-2-English2.jpg" alt="" width="720" height="405" /> Assisting the stellar performances in the film is the action. Like the first DEADPOOL 2 keeps the action crisp and limited, not going overboard with bodies flying lends the film a more plausible feel thus developing a better rapport with the viewer. But don’t be disheartened, for the action seekers, this film holds more than its fair share of awkwardly twisted limbs, head rolls (literally), blood splatter and yeah fire balls!!! Another aspect of the film that works well with the on screen happenings is the background score. But since the lead character is able to break through the fourth wall, the background score more or less acts like a playlist for the character as he goes about his business. This concept helps audience unconsciously prepare for an upcoming sequence without realizing that they have been drawn into it. But what is all this without the amazing visuals, right? DEADPOOL 2 features some of the best visual effects in recent times. No, it isn’t like AVATAR great; instead it is more like a live action film that has CGI and VFX blended into the mix seamlessly. This slick merger of CGI into the live action film takes things up a notch for DEADPOOL 2 delivering that extra bit of punch when it matters the most. On the whole, if you have watched the first film in the series and liked it, there are high chances that DEADPOOL 2 will blow you away. For those who like superhero films, this one is a superhero film with a difference. In the end, DEADPOOL 2 that features some crazy action, wicked humour, madcap one liners and well timed humour is definitely a must watch. At the Indian box office, with no big releases hitting screens for another couple of weeks, DEADPOOL 2 looks set to enjoy a stellar run



Movie Review: Raazi

Thu, 10 May 18 16:32:50 +0000

In the past few years, Bollywood has churned out some very exciting spy films like AGENT VINOD [2012], PHANTOM [2015], BABY [2015], BANG BANG [2014], EK THA TIGER [2012], TIGER ZINDA HAI [2017], D-DAY [2013] etc. Most of these films also had the role of a female spy who looked like she meant business and would easily kick ass. Katrina Kaif’s portrayal in the TIGER series is the most apt example. But imagine a spy who’s completely feminine replete with long, flowy hair and salwar kurtas et al. Anil Sharma did slightly touch upon this aspect in 2003 with his biggie THE HERO: LOVE STORY OF A SPY. Now Meghna Gulzar attempts to make a complete film on this aspect with RAAZI. So does it manage to engross viewers like the other spy films? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter size-full wp-image-847128" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/05/Raazi-Movie-Review.jpg" alt="" width="750" height="450" /> RAAZI is the story of a young girl from India sent to Pakistan as an undercover agent. The year is 1971. Pakistan is all set to make a surprise attack on India and the Indian intelligence is trying it’s best to get the details. Hidayat (Rajit Kapur) lives in Srinagar and travels to Pakistan for business. He is a part of the Indian intelligence but has convinced Pakistani Brigadier Syed (Shishir Sharma) that he works for them. Hidayat is terminally ill and he asks Syed if he can get his daughter Sehmat (Alia Bhatt) married to Syed's younger son Iqbal (Vicky Kaushal). Syed agrees and surprisingly, Sehmat also gives her nod. Sehmat is obviously being married to Iqbal to spy in the house of Syeds and she gets adequate training from Khalid Mir (Jaideep Ahlawat) from Indian intelligence. Sehmat gets married and she gradually gets attached to Iqbal, who gives her the space and doesn’t force himself on her. Meanwhile Sehmat begins her surveillance and finds out crucial information regarding naval attacks planned by Pakistan against India. However the challenges faced by Sehmat are immense and one wrong move can prove fatal for her. What happens next forms the rest of the story. RAAZI is based on Harinder S Sikka’s novel ‘Calling Sehmat’. The story is novel and stands out from the rest of the spy films as the lead character goes to any lengths, morals be damned. And this bit comes across very nicely. Bhavani Iyer and Meghna Gulzar’s screenplay is a mixed bag. In most scenes, it’s simplistic and engrossing. RAAZI doesn’t commence on a high note but grips viewers well. The characters are well established and Sehmat agreeing for the dangerous mission could have come across as not so believable. But thankfully that doesn’t happen. Her training sequence is interesting but the film gets better once she moves to Pakistan. Though the film drops for a while, it picks up brilliantly in the intermission point when Sehmat drives the jeep. Arguably it’s the best part of the film. Post interval, the film has some engaging moments but at the same time, the film begins to slow down. There should have been a more gripping cat and mouse chase game but that never really happens. The manner in which Sehmat is able to escape suspicion most of the times is very unconvincing. The finale however makes up for the minuses to an extent. Some of the scenes however gets complicated. For instance, some of the details provided by Khalid during Sehmat's training is difficult to process as it is presented too quickly. Also the interest drops in some scenes. Meghna Gulzar’s dialogues are simple and neat and are very craftily written. Meghna Gulzar’s direction is impressive. Despite the content being niche, she tries to tell the story in a commercial format. She does falter at places but overall, manages to do justice to the plot. Alia Bhatt delivers a powerhouse performance and this is surely one of her most accomplished works. Her character is living a double life and she brings out this aspect very nicely. In the emotional and breakdown sequences, she shines! Vicky Kaushal has a limited screen time but he leaves a mark. His character is sure to be loved. Rajit Kapur is quite endearing. Jaideep Ahlawat is very good. This talented actor deserves to be seen more in movies. Shishir Sharma is quite dependable. Notice how endearing he looks when he’s interacting with Sehmat but transforms in another avatar altogether when he’s talking business. Amruta Khanvilkar (Munira) is lovely. Arif Zakaria (Abdul) plays a dynamic role with panache. Ashwath Bhatt (Mehboob) has a small role but is effective. Soni Razdan (Teji) is okay. Other actors do a good job. <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/raazis-public-review-alia-bhatt-vicky-kaushal-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>Shankar-Ehsaan-Loy’s music is melodious but won’t be remembered, except for <em>‘Ae Watan'</em>. The song has an anthem like feel and can get a longer shelf life if it’s played during Independence and Republic Day celebrations in the country. The title track gets noticed while <em>‘Dilbaro’</em> is completely relegated to the background. Shankar-Ehsaan-Loy and Tubby’s background score is quite exhilarating. Jay I Patel’s cinematography works big time. The exterior shots of Kashmir are simply breathtaking. Nitin Baid’s editing is nice but should have been more razor sharp. Subrata Chakraborty and Amit Ray’s production design is very authentic. Maxima Basu Golani’s costumes are appealing. Harpal Singh’s action is subtle and not very detailed. On the whole, RAAZI is an interesting thriller brilliantly narrated by Meghna Gulzar that makes for mature viewing. It is a film that celebrates nationalism that is devoid of the colors of religion. At the box office, it has the potential to grow with positive word of mouth and keep its makers happy



Movie Review: Omerta

Fri, 04 May 18 06:17:40 +0000

Terrorism is arguably the biggest threat to humanity and every major country is at their wits end on how to eradicate it completely. It’s no surprise that in Bollywood as well in Hollywood, plenty of films have been made that talk about terror attacks and other related aspects. Talking specifically about Bollywood, some very interesting flicks have tackled terrorism like DIL SE [1998], BLACK FRIDAY [2007], NEW YORK [2009], A WEDNESDAY [2008], THE ATTACKS OF 26/11 [2013], FANAA [2006], FIZA [2000], PHANTOM [2015] etc to name a few. Hansal Mehta now brings up OMERTA and this film promises to stand out from the rest as it talks about one of the most dangerous terrorists of the world. So does OMERTA manage to shock and awe? Or does it fail in its endeavour? Let’s analyze. <img class="aligncenter size-full wp-image-844543" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/05/Omerta-4.jpg" alt="" width="750" height="450" /> OMERTA is the story of Omar Saeed Sheikh and how he emerged as one of the forces to reckon with. Omar Saeed Sheikh (Rajkummar Rao) is British-born who gets affected with the way Muslims got butchered in the Bosnian war in 1994. At first, he joins the local protest with like-minded individuals. It’s at this point that he’s offered a chance to go one level up in this field and he agrees. After an intense training session, he arrives in Delhi and assumes the identity of Rohit Verma. He befriends a foreigner named Rhys Patridge and his friends and then kidnaps them to send a message to the world that the Whites are not safe. However, this act of Omar leads to his arrest. He gets released in 1999 along with two other terrorists in exchange for the hostages of the Indian Airlines that was hijacked from Nepal. What happens next and how Omar rises in the world of terrorism is what the film is all about. OMERTA gets into a very unconventional zone right from the word ‘Go’. From the manner in which the introduction and lead character is established to the non-linear narrative, a lot of aspects in this film don’t follow the norms. One of the most memorable sequences of the film has to be the kidnappings of foreigners in Delhi. The way Omar befriends them with his smooth talk in British accent looks absolutely real. One can actually feel that anybody else in the place of the foreigner would have fallen for it. In a way, it also helps viewers delves into the minds of these terrorists and how they are ready to go to any length for their endeavour. The entire Daniel Pearl episode is also engaging, and chilling. On the flipside, the unconventional narrative does make it difficult to digest things. There’s no message as such in the film and one really wishes that Omar’s fall or the fact that Omar regretting to choose this line of work is shown. Moreover, Omar’s contribution in the 26/11 terror attacks is only briefly put forward. The makers should have explored this angle more as it’s quite shocking. Actor Mukul Dev has written the story and it’s definitely interesting and novel. Dialogues are sharp. Hansal Mehta’s screenplay is terrific, especially in Delhi kidnappings and Daniel Pearl episode. But otherwise, it’s decent to even shaky at places. The film suffers a bit as a result of this inconsistency. Same goes for Hansal Mehta’s direction – he has handled the angle of Omar’s relationship with his father well. It makes an important comment how family’s silence can also play a role in their children going the wrong way. He also nicely creates the dark and violent feel for the film so that audiences get sucked in the world of Omar. But at some places, it leaves a lot to be desired. For instance, Hansal does show that Omar has a wife Saadia (Orvana Ghai) but he doesn’t delve much into this aspect. <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/celeb-interviews/rajkummar-rao-10-years-back-no-one-would-have-dared-to-make-omerta/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> OMERTA belongs to Rajkummar Rao – no doubts on that. In his brief career, he has given some marvelous performances and with this flick, he continues his tradition. Notice how he has worked on his body language, accent, voice, eye movements – it’s drastically different from any other performance of his. OMERTA just confirms that Rajkummar is one of the finest actors that we have today. Timothy Ryan Hickernell (Daniel Pearl) leaves a mark as a passionate reporter whose quest for reporting leads to his gruesome death. Rajesh Tailang (ISI General Mahmood) is okay initially but makes his presence in the sequence where he comes to meet Omar wearing a burkha. Rupinder Nagra (Maulana Ismail) has a natural foreign accent that works to his advantage. Performance wise, he’s fair. Orvana Ghai sadly gets no scope. The actors playing Rhys Partridge and Omar’s father are quite nice. Ishaan Chhabra’s music has the thrill element that keeps the tension going. There’s just one song but is hardly memorable. Anuj Dhawan’s cinematography is quite raw and rugged in the tension-filled, action scenes. But it’s also quite simple and neat as per the requirement of the scene. Aditya Warrior’s editing is slick and razor sharp. Neil Chowdhury’s production design is authentic. Harpal Singh and Ravi Kumar’s action is quite gritty and disturbing. On the whole, OMERTA has some engrossing moments and Rajkummar Rao’s award-worthy performance as its USP. But the unconventional narrative and dark, violent theme of the film will restrict its appeal. Box office wise, this film will have a tough road ahead but critically, it’s bound to get accolades



Movie Review: 102 Not Out

Wed, 02 May 18 06:22:13 +0000

“Age is just a number” is a very old adage and many people swear by it. Despite their growing age, they prefer to keep the child inside them alive. The rest on the other hand feel that it’s better to come to terms with the old age and all the complications associated with it. R Balki handled this aspect beautifully in 2007 in CHEENI KUM wherein Amitabh Bachchan’s character at 64 was all set to get married while his to-be father-in-law, essayed by Paresh Rawal, was younger than his to-be son-in-law and was all set to become a ‘senior citizen’. Amitabh now gets into a kind of a similar zone with 102 NOT OUT. So does it turn out to be an ideal family entertainer? Or does it fail to evoke fun and madness? <img class="aligncenter wp-image-843612 size-full" title="Movie Review: 102 Not Out" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/05/102-Not-Out-1.jpg" alt="Movie Review: 102 Not Out" width="750" height="450" /> 102 NOT OUT is an unusual story of a father and a son. Dattatraya Vakharia (Amitabh Bachchan) is a healthy old man at the ripe age of 102. He’s full of life and aims to live for 16 more years to break the record of the oldest man alive on Earth. His son Babulal (Rishi Kapoor) meanwhile is around 75 and has lost interest in life. Dattatraya is unable to tolerate the negativity oozed by Babulal with regards to old age, death etc. and decides to become the first father ever to admit his son in an old-age home. Babulal is naturally shocked and livid at this decision of his father and he protests. Dattatraya, as a result, decides to put few conditions in front of Babulal that he needs to fulfill if he wants to stay in their sprawling bungalow. As Dattatraya starts to fulfill these conditions, he becomes more and more excited and child-like. But few of the conditions also require Babulal to confront some of the past demons, which is going to be a challenge. What happens next forms the rest of the story. The opening credits of the film are creative, showcasing some of the important landmarks of Mumbai, many of which are also a part of the film’s narrative. The introduction of all the 3 important characters – Dattatraya, Babulal and Dhiru (Jimit Trivedi) is quite funny and makes for a nice watch. The film is just 102 minutes long and hence, no time is wasted. The film comes right on track after the quick introduction and it’s hilarious to see Dattatraya trying to get his son admitted into an old age home. The sequence where he reads Babulal’s love letter raises lots of laughs. From here, the film slips a bit as the direction is a bit disjointed. But the film picks up slightly with the church sequence as a new angle is introduced at this point. Post-interval, this angle gets a lot of prominence and that’s where the film gets emotional. The sequence where Dattatraya narrates a terrible ordeal from their lives is heart-wrenching but also one of the best sequences of the film. The climax is clap worthy and also puts a smile on one’s face. But in this process, the humour that one would expect after watching the funny promos of the film, might feel a bit let down as the second half is very serious, with very few laughs. Saumya Joshi’s story is novel, touching and gives a very important message. Saumya Joshi’s screenplay is effective, for most of the parts, but is too quick and slightly incoherent in the first half. For instance, the manner in which the film’s tone gets too emotional in the sequence when Babulal enters the park with the aeroplane is too quick and catches viewers unaware. Saumya Joshi’s dialogues however keep the fun and interest going and at places, are also quite acidic. Umesh Shukla’s direction is simple and neat. He struggles at a few places in the first half, but overall, he manages to leave a mark and ensure that viewers are moved and have laughed in equal measures. 102 NOT OUT is adapted from a Gujarati play by the same name, directed by Saumya Joshi, and Umesh manages to get it on celluloid very well. At a few places, it does give you a feeling of a play but no complaints as such since the content is strong! <iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/specials/amitabh-bachchan-gives-rishi-kapoor-pouting-tips-in-this-hilarious-video-from-102-not-out/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Amitabh Bachchan is in a great form yet again and delivers an outstanding performance. It’s amusing and endearing to see him playing a centenarian and still preferring to live life to the fullest. Even in the emotional scenes, he shines a lot. His Gujarati accent comes out well, but it’s not too in-your-face. Rishi Kapoor also puts his best foot forward and gets completely into the skin of his character. It’s nice to see him as an uptight senior citizen and his gradual transformation is also lovely. His best act is definitely in a crucial emotional sequence in the second half where he mouths no dialogues but communicates a lot simply through his expressions and eyes. Jimit Trivedi whose debut in BHOOL BULAIYAA (2007) was much talked about gives a yet another bravura performance. He also contributes a lot to the fun and emotional quotient of the film. Dharmendra Gohil (Amol) is decent in the lone sequence. Salim-Sulaiman’s music is hardly memorable. <em>'Bachche Ki Jaan'</em> and <em>‘Kulfi’</em> both are played in the background and go well with the narrative. <em>‘Badumbaa’</em> is missing from the film. George Joseph’s background score however is quite exhilarating. Laxman Utkar’s cinematography is decent and the exterior shots of Mumbai are well captured. Bodhaditya Banerjee’s editing is slick, at times too quick, but overall fair. It’s commendable that a film with the title of 102 NOT OUT is actually 102 minutes long and kudos to the editor for managing it. Mansi Dhruv Mehta’s production design is appealing – the mansion looks quite rich. Veera Kapur Ee’s costume stylist is first-rate. The review would be incomplete without the mention of Preetisheel Singh’s make up, hair and prosthetics. She gives a great look to both the veteran actors which also turns out to be the film’s USP. On the whole, 102 NOT OUT is a complete family entertainer with strong emotions as its trump card. It carries an important message for today’s times. At the box office, it will have a strong word of mouth and families are bound to flock to watch it in theatres. Recommended



Movie Review: AVENGERS - INFINITY WAR (English)

Wed, 25 Apr 18 15:23:44 +0000

Making a film that spans not just two or three characters but instead features a multitude of characters, more precisely 76 of them is feat in itself. Well, the latest offering from Marvel in the form of the highly anticipated and keenly awaited AVENGERS: INFINITY WAR is exactly that. An unprecedented cinematic journey ten years in the making and spanning the entire Marvel Cinematic Universe, Marvel Studios' AVENGERS: INFINITY WAR brings to the screen the ultimate, deadliest showdown of all time. Given the immense hype for the film and the massive fan following each superhero character has developed over the decade long saga, it is a no brainer that the film will be a sure shot money spinner at the box office. However, we at <strong>Bollywood Hungama</strong> dissect the film to tell you why this one should definitely be on your must watch list. <img class="aligncenter wp-image-841236 size-full" title="Avengers Infinity War Movie Review Image" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/04/Avengers-Infinity-War-Review-Image.jpg" alt="Avengers Infinity War Movie Review Image" width="750" height="450" /> AVENGERS: INFINITY WAR starts off with the Avengers and their allies continuing to protect the world from threats too large for any one hero to handle. But, a new danger has emerged from the cosmic shadows: Thanos. A despot of intergalactic infamy, his goal is to collect all six Infinity Stones, artefacts of unimaginable power, and use them to inflict his twisted will on all of reality. Everything the Avengers have fought for has led up to this moment - the fate of Earth and existence itself has never been more uncertain. Faced with dire consequences, the Avengers and their Super Hero allies must be willing to sacrifice all in an attempt to defeat the powerful Thanos before his blitz of devastation and ruin puts an end to the universe. Going into the film you are inundated with tags like ‘epic film’, ‘not to miss spectacle’ and ‘definite must watch’ that are often used to promote and hype big ticket summer releases. In the case of AVENGERS: INFINITY WAR each one of these tags hold true. Believe the hype, this film that features all of the Marvel superhero characters that have been introduced so far and some that are yet to be seen does full justice to what a Marvel film should be. The film starts off where the last Marvel film THOR: RAGNAROK left off with the Asgardian brothers Thor and Loki heading off on a spaceship. Thanos accosts their convoy laying waste their craft eventually acquiring the Space stone that was housed in the Tessaract. Defeated and left for dead, Thor teams up with the Guardians of the Galaxy who arrive at the location following a distress beacon. On a parallel track, learning of Thanos’ evil plan, Bruce Banner AKA The Hulk makes his way back to earth arriving (read crashing) at Doctor Strange’s lair. Once there, he teams up with Strange and Tony Stark after detailing what he has learnt. With the location of five of the six power stones that Thanos is after being known, Earth’s mightiest defenders team up to formulate a plan to stop the mad titan and save not just Earth but half the universe. Whether they succeed or fall victim to the tyranny of Thanos is what makes up the rest of AVENGERS: INFINITY WAR.   Given Marvel’s penchant for larger than life cinematic experiences, expectations from AVENGERS: INFINITY WAR is high, and the film lives up to each and every bit of hype. Naturally, the special effects and visuals as you would expect are top notch and seamlessly woven into the film. However, the high point of the film has to be its direction. In fact, the Russo brothers are faced with the mammoth task of telling a one line story that involves a multitude of characters and parallel story lines in a coherent way without confusing the viewers. In this regard it's fair to say that the Russo brothers have gone above and beyond in narrating the film interweaving each individual story line with the main plot of the film developing a stellar piece of beautiful filmmaking amid an ocean of chaos. <img class="aligncenter wp-image-841235 size-full" title="Avengers Infinity War Movie Review Image" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/04/Avengers-Infinity-War-Review-Image_2.jpg" alt="" width="750" height="450" /> Coupled with the marvellous direction is the spot on Editing that keeps the film crisp and edgy. Keeping up with the rapid progression on screen, the editing is fast paced and seamless in effect enhancing the story telling ability of the directors. If that wasn’t all, the Background Score of the film plays well with the narrative building up the anticipation for each climactic battle sequence. Besides this, a special mention needs to be made for the writing team who have done a brilliant job of detailing each character while at the same time not making the depiction too heavy or lengthy. In fact, Thanos too has been well detailed, from his mannerisms to his methods each and every aspect lends to the viewer understanding the tyrannical titan and his motivations. Performance wise, each of the members of the cast have gone the extra mile to bring to life the larger than life characters battling a cataclysmic evil. Though with the number of cast members this segment alone deserves a stand alone post, suffice to say that each and everyone from Robert Downey Jr. as Tony Stark AKA Iron Man to Chris Evans as Captain America, from Scarlett Johansson as Black Widow to Zoe Saldana as Gamora and from Chris Pratt as Star Lord to Tom Holland as Spider Man each have brought in their own charm. However, it is Josh Brolin as Thanos who steals the show. With a character that has been worked upon the most, Brolin does full justice in depicting the power hungry evil overlord. All in all, AVENGERS: INFINITY WAR is every bit an EPIC action film with amazing and fast paced action sequences. From featuring an engrossing story line to a well-defined and AWESOME villain, this film has it all, proving that the 10 year long, 18 film build up that leads to climactic surprise ridden visually extravagant end was well worth the wait. Watch it on the BIG SCREEN. Do not miss it



Movie Review: Nanu Ki Jaanu

Fri, 20 Apr 18 03:05:13 +0000

The success of GOLMAAL AGAIN has shown that horror comedies have immense potential in India. Now Faraz Haider, who last made a war comedy WAR CHOD NA YAAR [2013] attempts with this genre fusion in NANU KI JAANU. So does NANU KI JAANU follow in the footsteps of GOLMAAL AGAIN and provide humour and horror in ample doses? Or does it fail on both the fronts? Let’s analyse <img class="aligncenter size-full wp-image-838864" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/04/Nanu-Ki-Jaanu-2.jpg" alt="" width="750" height="450" /> NANU KI JAANU is the story of a ghost that falls in love with a crook. Nanu (Abhay Deol) is a small time goon who works with Dabbu (Manu Rishi Chadha). Their modus operandi is to rent a flat and then threaten the landlord to transfer the ownership in their name. One day, Nanu is returning home when he sees that Siddhi (Patralekhaa) has met with an accident. He refuses to be a bystander and takes her to the hospital. Siddhi is barely conscious but she sees Nanu helping her and she falls for him. Unfortunately, she passes away as soon as she is brought in the hospital. Nanu gets disturbed by the episode. Soon he realizes that the spirit of Siddhi has followed him to his posh residence in Noida. With no other option in hand, he finds out the address of Siddhi's father (Rajesh Sharma) and meets him. But even that doesn’t help. He then approaches a ghost buster (Shreya Narayan) but it ends up in a disaster. To make things worse, Nanu loses interest in his illegal work and as a result their source of livelihood is in danger. What happens next forms the rest of the film. NANU KI JAANU is a remake of a Tamil film PISAASU and is written by Mysskin. The adaptation by Manu Rishi Chadha is very poor. Manu Rishi Chadha’s screenplay is very weak and only a few moments stand out. NANU KI JAANU doesn’t have a great beginning but one hopes for things to get better as the film progresses. The sequence where Siddhi is dying but is looking at Nanu lovingly could have gone wrong but is handled well. The film has some nice moments once the ghost starts to harass Nanu. The scene where Dabbu gets hung upside down by the spirit brings the house down. The intermission point is intriguing. But shockingly, the film goes completely downhill in the second half. The narrative goes haywire. The last 30 minutes of the film are bizarre to say the least and it’s going to raise questions as to how the script got approved in the first place. Manu Rishi Chadha’s dialogues are funny at places but they fall flat in many scenes. The dialogues get tacky in the finale. Faraz Haider’s direction is ineffective. He already had a weak plot in hand and his poor direction further messes up things. In the second half, he completely loses control. Even before the shockingly pathetic climax, he has done weird things like putting an intense chase sequence in a romantic song! <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/nanu-ki-jaanu-abhay-deol-patralekha-public-review-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>Abhay Deol sleepwalks for most of the part but suits the role and is overall decent. He is known to be a thinking actor and has a credible track record. Hence it comes as a jolt to see him in such a bad film. Patralekhaa is shockingly hardly there in the film, maybe for around 10 minutes. Her performance is okay. Manu Rishi Chadha is funny and provides the much needed humour quotient. Rajesh Sharma is quite genuine even when he’s made to perform some very embarrassing scenes. Himani Shivpuri (Nanu's mother) is fair. Brijendra Kala (Mr Kumar) is nice in the intro scene but then hardly has anything to do. Shreya Narayan's scenes are a bit overboard but funny but she does well as per the characters requirement. Spandan Chaturvedi (Phantom) plays a difficult role with ease. Manoj Pahwa gets to play an unusual role and is quite good. Others like Gayatri (Shefalii Rana), Gurmeet Singh (Yahoo), Sameer Siddiqui (domestic abuser), Adithi Kalkunthe (domestic abuser’s wife), Mahendra Shrivas (kachauri seller), Ganesh Kumar (watchman), Chirag Sethi (Con man in building lobby), Kunickaa Sadanand (Mrs Nandi), Tarana Kaur (psychiatrist) and Reshma Khan (Promila) are good. Sapna Choudhary is alright in the item song. The music of the movie is forgettable. <em>‘Tere Thumke’ </em>catches attention while <em>‘Bhoot Aaya’ </em>fails to register impact. Other songs like <em>‘Tujhe Dekhti Hai Nazar’</em>, <em>‘Kali Choti’</em> and <em>‘Jai Mata Di’ </em>are also poor. Dhruv Dhalla’s background score is needlessly loud. S R Sathish Kumar’s cinematography is nothing special. Boishali Sinha’s production design is passable. Sunil Rodrigues’s action and Manan Ajay Sagar’s editing are okay. On the whole, NANU KI JAANU is an extremely poor show. At the box office, it will be a huge disaster



Movie Review: Beyond The Clouds

Thu, 19 Apr 18 04:58:52 +0000

The city of Mumbai has been shown by countless filmmakers, even by Hollywood filmmakers [the classic example being the Oscar-winning SLUMDOG MILLIONAIRE]. But there’s still lot to the city that largely remains unexplored. Acclaimed Iranian director Majid Majidi now takes up the challenge of weaving a sensitive tale in the fabric of the maximum city and the result is BEYOND THE CLOUDS? So does this film manage to leave the audiences in awe like it happened in previous Majidi films? Or does the master director fail to impress? Let’s analyse. <img class="aligncenter wp-image-838512 size-full" title="Movie Review: Beyond The Clouds" src="http://www.bollywoodhungama.com/wp-content/uploads/2018/04/Movie-Review-Beyond-The-Clouds.jpg" alt="Movie Review: Beyond The Clouds" width="720" height="405" /> BEYOND THE CLOUDS is a story of hope and happiness in the times of despair. Aamir (Ishaan Khatter) is a young guy from Mumbai in his early 20s who peddles drugs for a living. One day, cops get on his trail and to escape their clutches, he seeks refuge at his sister Tara (Malavika Mohanan). He also gives her a drug package and tells her to hide it. Both Tara and Aamir are orphans and Aamir had separated from Tara after her ex-husband used to beat him up. The next day, Tara goes to collect the package at the 'dhobi ghat', where she works. She goes to meet Akshi (Gautam Ghose) who has hidden the package. Akshi however at this point tries to rape Tara and she brutally assaults him. She is arrested on charges of attempt to murder. When Aamir learns about this episode, he goes to the hospital and finds out that Akshi is severely injured and unable to walk and talk. It’s important for Akshi to testify to the cops that Tara hit him in self defence. Realising that the faster Akshi heals, the faster Tara will be released, Aamir starts attending to Akshi and his medical needs. In jail, Tara is disturbed and befriends Chotu, a young son of an inmate (Tannishtha Chatterjee). What happens next forms the rest of the film. Majid Majidi’s story is simple and has scope for an emotional, touching fare. Majid Majidi and Mehran Kashani’s screenplay is a bit faulty in the first half but gets better in the second half. BEYOND THE CLOUDS’s first half is a mixed bag. In some of the scenes, the emotional graph goes over the top. For instance, Tara’s outburst after her argument with Aamir and Aamir banging on the police jeep at the railway crossing. Moreover, it was advertised as a film that’s entirely shot in Mumbai and has the city as a character. But shockingly, some of the scenes seem to be shot outside the city but are passed off as Mumbai. And the locations are such, like the railway crossing for instance, that one can easily make out that it’s not Mumbai. Even Tara’s house seems quite spacious for the city’s poorer section to which both Tara and Aamir belong. Also, the locality doesn’t give any feel of Mumbai. Even story-wise, there are some flaws. It is not established that under what circumstances Tara is arrested. Tara attacks Akshi in a place that was kind of in the middle of nowhere and she could have easily run away after the attack on Akshi. Whether she herself surrendered or whether she is caught by witnesses (the possibility is remote) is never shown. Moreover, the film focuses on the slums and poverty of Mumbai and hence, it immediately gives a déjà vu of SLUMDOG MILLIONAIRE [2009]. Questions might be raised as to why these international filmmakers always get interested in India’s poverty when the country has so much more to offer. Thankfully, BEYOND THE CLOUDS has its share of pros too. The first half gets better once Aamir starts to visit Akshi in the hospital. The way he threatens him makes for a great watch. In the second half, the manner in which Aamir forms a bond with Akshi’s family is lovely and even quite moving. In the parallel track, Tara-Chotu’s relationship is also quite endearing. The ending is a bit ambiguous but the film ends on a happy note. Vishal Bhardwaj’s Hindi dialogues are realistic but gets a bit unconvincing in the beginning portions. Majid Majidi’s direction goes a bit off track in some of the sequences of the first half. But overall, he tries to get creative with his execution and it works. The use of cloth and light, festival of Holi in the end and of course using the kids in the best way possible in his trademark style is surely impressive. <center><iframe id="jwiframe" class="playerFrame" src="http://www.bollywoodhungama.com/videos/first-day-first-show/public-review-of-majid-majidis-beyond-the-clouds-starring-ishaan-khattar-malavika-mohanan/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe></center>Majid Majidi also brings out great performances from his actors. Newcomer Ishaan Khatter is quite confident and takes the film to another level. He has the common man look and doesn’t possess any starry airs in his performance. This helps big time as he really looks like someone who belongs to the poorer section of the society. Watch out for him when he dances while injuring a person who betrayed him – it’s terrific! Malavika Mohanan doesn’t impress initially but then gets better and in control. Sadly, her screen time is quite limited as compared to that of Ishaan. Gautam Ghose conveys a lot through his performances and eyes. In the beginning however, he could have done a better job. G V Sharada (Jhumpa) delivers a brilliant performance and the sadness that she conveys through her eyes is seen to be believed. Dhwani Rajesh (Tanisha) is lovely and her track is quite crucial. Tannishtha Chatterjee is okay. The actors playing Anil and Rahoul are fair. A R Rahman’s music is subtle and doesn’t stand out. But it is in sync with the narrative. The sole song <em>‘Ey Chhote Motor Chala’</em> is relegated to the background. Anil Mehta’s cinematography is award-worthy and captures the gritty side of Mumbai beautifully. Amaar Shetty’s action is real and raw. Hassan Hassandoost’s editing is decent. Mansi Dhruv Mehta’s production design and Planet D’s art direction is nice but is quite unrealistic in some of the scenes. Payal Saluja and Bibi Zeeba Miraie’s costumes however seem authentic. On the whole, BEYOND THE CLOUDS is a nice, touching tale that works despite the minuses. At the box office however, its chances are bleak due to its niche appeal