Showing posts with label Hindi. Show all posts
Showing posts with label Hindi. Show all posts
Gang of Ghosts
Gang of Ghosts













Story: A dilapidated bungalow is home for a group of ghosts with their own idiosyncrasies. When a builder threatens to bring it down, the spirits turn mean.

Review: Satish Kaushik's Gang of Ghosts is a remake of the Bengali social satire, Bhooter Bhabishyat (2012). So as such, the plot that comments on how land-grabbing sharks in cities like Mumbai have torn down beautiful bungalows and breathing spaces to accommodate ugly malls and modern monstrosities is convincing.


The narrative in-film style is entertaining, told as it is by a budding scriptwriter (Sharman Joshi, always good) to an aspiring filmmaker (Parambrata Chatterjee, fresh). The ghosts — Anupam Kher, Jackie Shroff, Rajpal Yadav, Mahie Gill, Meera Chopra, Asrani and Saurabh Shukla -- have some endearing (often irritating) character traits.

Yet, the ghosts' attempts to mess with one another and even their need to serenade the alcoholic actress (Mahie) feels funny initially. If you're feeling indulgent, you may even guffaw at filmi references to Ragini (MMS), Ram Gopal Varma and Makarand (pronounced Maa ka rand). But the jokes get too sidey and the jest is short-lived. In fact, w

hen proceedings are interrupted with an unspirited item song by the dusky Paoli Dam, in a hotspot called Bhoot Bar, where only ghosts are invited, you want to shoot some more people dead.

Post-interval, the real plot of a tycoon (Rajesh Khattar) who has acquired the disputed property with the intention of turning it into a mall is introduced. And the ghosts vow to seek revenge. But their hare-brained plan to bring the tycoon down to his knees is so amateur, that it fails to amuse.

Clearly, makers like Kaushik, who had a formidable box office record in the '90s remaking South Indian films, need to borrow modern-day technique and storytelling tactics to keep the ever-evolving viewer engaged. In the case of GOG, the only ones who seem to have had a blast are the actors - Mahie, Anupam, Saurabh and Jackie, all of who ham.
Ankhon Dekhi














Story: Life passes you by when you are too busy making plans for tomorrow. In times when the art of survival has overtaken the art of living, can you manage to live in the moment?

Review: Societal norms often dictate our actions and beliefs. Day in, day out, you try hard to fit in. Who would want to come across as ignorant, odd and a prude to the judgmental lot after all? It's easier to agree with the majority, hold our heads high and ego higher. In order to safeguard this pretence, we lose out on discovering who we really are. Right from our childhood, we are trained to follow what's been told to us. No questions asked, no risks taken.

The film's protagonist Bauji (Sanjay Mishra) faces this dilemma. Trapped by the burden of duties and responsibilities forever, an incident in his daughter's life directs him to a path of self-discovery and forces him to only believe in what he sees. But can you sustain these idealistic visions in the real world without being tagged either 'crazy' or 'saintly'?

Rajat Kapoor's film is thought-provoking and as a storyteller, he touches a chord. His satirical take on how everyone conforms to the herd mentality is relevant and praise-worthy. It inspires us t

o unlock the shackles of mediocrity and standard behaviour - comprising of what's right and wrong, true or false.

What we liked the most about this film is its old Delhi setting. It is as authentic as it can get and contributes immensely to the film's emotional quotient. The intricacies of a joint family have been explored beautifully. In fact, this track works better than the one revolving around Bauji's spiritual epiphany. Sadly, the latter gets more prominence.

The performances are another asset. Sanjay Mishra and Seema Bhargava (as Bauji's wife) are flawless. They infuse life into the story. The younger actors are impressive too and thankfully, not a single character's loud and Bollywoodised Punjabi, unlike many Delhi-oriented films.

What however doesn't work for the film is the fact that it borders on abstract at regular intervals and lacks continuity, making a few scenes and conversations seem out-of-context.

Nonetheless, the film is emotionally liberating. See it to believe it.
Lakshmi















Story: Lakshmi is sold off and forced into prostitution but she has the grit and gumption to free herself from the bondage of the brothel.

Review: Fair, fresh and barely fourteen. Pretty and virgin. Comes with a price tag (negotiable). Ready for sale! This is what a brothel-broker's sale-pitch would've been for teenage girl Laskhmi (Monali). A good bargain for a piece of puberty (sic!). Lakshmi's story of tragedy, trauma and triumph begins here.


An obnoxious pimp Chinna (Nagesh) buys off Lakshmi from a village in Andhra Pradesh and packs her off to a brothel (owned by his own corrupt brother, Reddy - Satish Kaushik) called Dharam Vilas Girls Hostel - a sham set up to run his sex trade. Soon she's thrown into a dark world of sex-hungry men who're ready to pay premium for her puberty. The 'madame' of the brothel (Shefali) trains her for the job (with padded bras and jellies to 'slip it in') while her roommate (Flora) teaches her how to allure the sleazeballs. She forges a friendship, but unable to suffer the atrocities, Lakshmi tries to escape the sex slavery. It leads to more unbearable brutality, but she's a fighter. She drags her oppressors to the courtroom and exposes their despicable crimes.

Kukunoor's 'Lakshmi', based on a harrowing true story, is a thought-provoking, disturbing film told with heartbreaking detail and a narrative that is so raw and ruthlessly realistic, it often becomes repul

sive. The repeat scenes of sexual exploitation (layered with lewd dialogues: 'Machine mein tel daal, factory kholna hai') are gut-wrenching. Several movies and documentaries have been filmed on this subject, what makes this special is the steadfast resolve of a 14-year-old to fight social demons.

We wish Kukunoor had focused more on her spirit and triumph - our experience would've been more fulfilling, less overbearing. Shefali is brilliant, debutant Monali expresses with her beautiful eyes. Kapoor and Kaushik are average and Nagesh doesn't push his performance too far.

Lakshmi's story makes your heart bleed. If you have the courage, watch it.
Sandcastle
Sandcastle

















Story: Set in contemporary India, the film is about Sheila's (Chatterjee) journey on the path of self-discovery amidst the pressures and expectations of urban society. She is helped along her path by Maya (Jethwani).

Review: Sandcastle is a film that, beneath the stylized production, attempts to address an important subject pertaining to women. It is a film that is split into many parts, or chapters, like a book or a play. Each part examines the story from a different angle.


Sheila is married to a successful husband Vikram (Sharma) and spends a lot of time examining how to reconcile her role as a wife who is living in the safe cocoon of an upper-class existence but reflects on her own ambitions and individuality. Sheila has a near-constant stream-of consciousness chatter going on. And one day, Maya appears.

She could very well be a real life person or simply a figment

of Sheila's overactive imagination. While Sheila is overly-emotional and definitely lonely in her own world, Maya fashions herself to be the colourfully-dressed provider of pragmatic answers to Sheila's many questions. Maya offers useful but boringly obvious advice about not letting people walk over you and about reinventing oneself; what is ironic is that such bits of wisdom can be applicable to anyone, regardless of gender.

The various chapters of this film aren't in chronological order. Different aspects of Sheila's life appear randomly. This is one of the things that disturb the flow of the film. For example, the pauses between sentences (Maya's in particular) might be aimed at dramatic effect and work in real life, but these make the film drag. While Maya is meant as a counterpoint to Sheila, the former's theatrics and gesticulations are quite over-the-top.


The concept of this film is sound as is Chatterjee's performance but the others are lacking. Under the broad umbrella of Sandcastle's overall feminist import and the examination of aspects related to the female psyche, it is a film about self-realization and identity, but one that could have been told better.
Bewakoofiyaan



















Story: A young couple's perfect love story turns upside down when recession leaves the boy jobless. Moreover, he has to win over his lady-love's terror-dad to marry her. Will his out-of-job status leave him out-of-love too? 

Review: 'Romance in times of recession' can be a buzzkill. When currency crash leads to heartbreaks and house-breaks. And the youth are left with bankrupt dreams. Morbid, huh? Hold on ... this one is far from a depressive rich-girl, poor-boy plot; instead, 'Bewakoofiyan' is a light-hearted story of how an out-of-work lover-boy signs on for a full-time job of making his love-life work.
Mohit (Ayushmann), a successful senior airline marketing executive, is madly in love with a hip banker, designer damsel, Mayera (Sonam). To burst the bubble in this 'all things good-looking' love story, enter - sullen-faced VK Sehgal (Rishi), Mayera's deadly dad (retired IAS officer who could never make big bucks). He ruthlessly rejects Mohit as the "bloody fatichar" who can't afford his darlin' shopaholic daughter's haute fashionable fantasies. He puts their pyar-on-probation with targets, tests, timelines, et al. To make matters worse, Mohit gets the 'pink slip' (fashionable in times of recession) and Sehgal gives the bechara bankrupt boy a tough run for his money (literally!).
Nupur Ashthana's rom-com has its moments; the coolest scenes are with Sehgal and his to-be son-in-law. The film needed to inves
t in wittier writing (Habib Faisal), more chemistry and a tad more comedy to make it a heartwarming love-story. The couple lack chemistry, and they fight and make-up quicker than a quickie. Even the music is unexciting. This isn't Sonam's best, but she looks every bit the fashionista (sizzles in a bikini too) and breezes through the film (stilettos on!). Ayushmann is charming but desperately needs to step out of his comfort zone. It is a sheer joy to watch Rishi Kapoor, who makes even stupidity seem delightful.

'Bewakoofiyaan' has its khoobiyaan but mostly it has majbooriyaan where the story is concerned. It tells you not to overspend. Yet the script is not as 'penny wise', gettit?

Nupur Ashthana's rom-com has its moments; the coolest scenes are with Sehgal and his to-be son-in-law. The film needed to invest in wittier writing (Habib Faisal), more chemistry and a tad more comedy to make it a heartwarming love-story. The couple lack chemistry, and they fight and make-up quicker than a quickie. Even the music is unexciting. This isn't Sonam's best, but she looks every bit the fashionista (sizzles in a bikini too) and breezes through the film (stilettos on!). Ayushmann is charming but desperately needs to step out of his comfort zone. It is a sheer joy to watch Rishi Kapoor, who makes even stupidity seem delightful.
'Bewakoofiyaan' has its khoobiyaan but mostly it has majbooriyaan where the story is concerned. It tells you not to overspend. Yet the script is not as 'penny wise', gettit?

'Bewakoofiyaan' has its khoobiyaan but mostly it has majbooriyaan where the story is concerned. It tells you not to overspend. Yet the script is not as 'penny wise', gettit?


This funnily leads to a series of lies, traps and troubles for the twosome which has to prove that their new-age love is not as 'plastic' as their platinum credit cards. Picture this: They party hard, she shops even harder. They guzzle cocktails and swipe credit cards till his bank balance dips to a 3-digit number. Never mind, love can feed the hungry. Really??!!
Total Siyapaa
Total Siyapaa

















Story: A Pakistani boy is in love with a Hindu girl, but he has to cross more than just borders to marry into her dysfunctional family.


Review: This 'Aman Ki Asha' is set on neither side of the Indo-Pak border. In fact, it crosses over to Brit-land, where butter chicken and bhangra rule the angrezis. And where Singhs are Kings. Here lies the love story of an Indian girl Asha (Yami) and a Pakistani boy Aman (Ali) who're much in love, but confused about how to cross over to the other side.
Well, one has to brave it, so Aman walks into a battlefield of boisterous Punjabi in-laws-to-be. Meet the high-pitched, melodramatic mom-in-law (Kirron) who's convinced "Yeh shaadi kabhi working nahin karega!". She tries hard to like her 'damn-aad' (son-in-law-to-be), but his buffoonery leaves her hysterical. Jiah (Sara Khan) is the feisty sis-in-law who breaks into sexy table-top dances and her 5-year-old daughter amusingly plays 'pregnancy' games. Adding to the mayhem is ex-army, senile dadaji (who took shots at Pakis in a real war) and an eccentric anti-Pakistani bro-in-law.

E. Niwas' story (adaptation of Spanish rom-com 'Seres Queridos') shows flashes of madness peppered with some 'LOL' dialogues, but the screenplay (Neeraj Pandey) is insipid and loses its comedy metre too often to entertain throughout. The plot had potential to induce much mor

e hilarity (picture this: a dabba of frozen soup could change Aman's love life!), but it quickly deflates. In parts, it zestfully breezes through sensitive issues (POK, terrorism and Shahid Afridi) with political incorrectness, but decent humour.

Ali shows flair for comedy but he doesn't get too many such moments. Yami is pleasant but her bewildered look distracts. Anupam Kher is quite wasted, and it's Kirron Kher who holds the madhouse together and provides the best laughs even with limited scope.

Like a cold, cloudy morning in London, this one leaves you with more gloom than glee.
E. Niwas' story (adaptation of Spanish rom-com 'Seres Queridos') shows flashes of madness peppered with some 'LOL' dialogues, but the screenplay (Neeraj Pandey) is insipid and loses its comedy metre too often to entertain throughout. The plot had potential to induce much more hilarity (picture this: a dabba of frozen soup could change Aman's love life!), but it quickly deflates. In parts, it zestfully breezes through sensitive issues (POK, terrorism and Shahid Afridi) with political incorrectness, but decent humour.
Ali shows flair for comedy but he doesn't get too many such moments. Yami is pleasant but her bewildered look distracts. Anupam Kher is quite wasted, and it's Kirron Kher who holds the madhouse together and provides the best laughs even with limited scope.

Like a cold, cloudy morning in London, this one leaves you with more gloom than glee.

Ali shows flair for comedy but he doesn't get too many such moments. Yami is pleasant but her bewildered look distracts. Anupam Kher is quite wasted, and it's Kirron Kher who holds the madhouse together and provides the best laughs even with limited scope.
Like a cold, cloudy morning in London, this one leaves you with more gloom than glee.

Like a cold, cloudy morning in London, this one leaves you with more gloom than glee.


Much later, pa-in-law (Anupam) appears after his night-out with a Brit hooker, causing more chaos in the madhouse. Evidently, there is no hope for peace in this Indo-Pak love war. One crazy act leads to the other, until comedy crosses over to insanity.
Gulab Gang
Gulab Gang
















Story: Fearless Rajjo runs a martial academy for rural women. What happens when she faces ruthless politician Madam ji?

Review: Straight on, Gulaab Gang's deepest colour comes from its villain, Madam ji, a politician of supreme ambition and total crassness, played with aplomb by Juhi Chawla. The film's central protagonist is rural Rajjo (Madhuri), who runs an academy where women wield weapons and weave pink saris. Rajjo's Gulaab Gang takes on oppressive elements - dowry-demanding husbands, bribe-demanding babus, grain-hoarding traders, the rapist son of the local neta. The gang, led by Rajjo's merry women including Mahi (Jagdale) and Kajri (Chatterjee), succeeds by winning hearts or breaking bones. But does Rajjo meet her match in unforgiving Madam ji?

Gulaab Gang captures the deep oppression the vulnerable face
. Some moments - Rajjo's face falling when Madam ji, presented with a rape charge against neta Pavanji's lout son, responds, "Aaj kal balatkaar ka kya rate hai?" - are memorable. The action is crackling and Madhuri looks great, going from dhak-dhak to thak-thak with a big stick. Alongside, Juhi shines with malicious pleasure as Sumitra Madam ji whose ambition - to become raja from patrani - is ferocious. Chawla makes you cringe as she wreaks revenge on anyone who crosses her, the actor getting into her role with lip-licking gusto.

But the dramatic tension simply doesn't hold. Every time there's a face-off between Rajjo and Madam ji, a diversion - a song, a character cracking a joke, guns fired - occurs, breaking the build-up. There are too many tangents, navels and nose-rings, diverting focus from Rajjo, the story's driving force. Instead of knowing how and why she becomes the tigress of Madhavpur, we're given mellifluous songs, intercut with soon-repetitive scenes of exploitation. Considering the subject's intense power and the charisma of these stars, the movie's hesitation with how to proceed stands out. At one point, Rajjo asks a woman, "Soch soch ke kaahi maarte ho?" That goes for Gulaab Gang too.
Mahabharat














48 years after Babubhai Mistry's Mahabharat with Pradeep Kumar, Dara Singh, Padmini and Abhi Bhattacharya was released, a full-computerised version of the epic directed by Amaan Khan hits theatres today. Fully relevant today because it deals with basic human characteristics like greed, duty, fidelity and selflessness, this animated version is like a refresher course for those who may not be well-versed with the Ramayana and Mahabharata.

The plot line of this epic, that has always been the basic fabric from which all story-telling in India is woven, remains unchanged. So you have the five-man army of the Pandavas with their common wife Draupadi (Panchali) pitted against the 100 Kauravas led by Duryodhan. So fragile is the ego, that one mere insult is enough to wage war. Drunk on her own beauty and power Draupadi rebuts Duryodhana. And, her unkind words have far reaching consequences. A long-drawn battle ensues and mayhem stops only when Lord Krishna intervenes.

What makes this version thoroughly enjoyable is the talent that has lent its voice to each of the prominent characters. And there's a bonus too because the fil

mmakers have also tried to bring out a facial resemblance between the animated character and the actor who has dubbed for it.

Amitabh Bachchan's bartitone is used for the stellar Bheeshma Pitamah. Although the Big B doesn't have muscular arms like his animated counterpart, their faces match. A superlative list of actors like Ajay Devgn (Arjun), Manoj Bajpayee (Yudhisthir), Sunny Deol (Bheem), Anil Kapoor(Karan), Jackie Shroff (Duryodhan), Anupam Kher (Shakuni) and Vidya Balan (Draupadi) have also infused life into the computer generated characters with their inimitable voices.

On the flip side, the animation effort itself is immature and several notches below those of Hollywood films. Yet the dub effort by the Bollywood superstars uplifts this epic, making it enjoyable.
Dhoom 3 - Blollywood Movie Review
Dhoom 3














Straight up, Dhoom 3 makes you laugh, gasp - even sniffle. The most emotional of the Dhoom series yet, this is Aamir Khan's show all the way. As revengeful circus star Sahir, whose father Iqbal (Shroff) dies after losing his beloved Great Indian Circus to a stony-hearted Chicago bank, Khan is terrific. The Dhoom series usually showcases brawn on bikes but in this one, mind meets machinery, Khan's brain almost visibly ticking behind his eyes, calculating every second before he vrroooms off on a bike - across a wire stretched high between buildings, beneath a mega-truck, even underwater.

Chicago forms a super backdrop for Sahir's stunts, the grainy stone of its buildings the perfect texture against which those bikes purr past with velveteen growls. Scrawling 'Teri aisi ki taisi' on its vaults and scattering the bank's money across Chicago's skies, Sahir makes the local police look as intelligent as turkeys. But things change when Mumbai cop ACP Jai Dixit (Bachchan), with bike-and-babe-mad subordinate Ali (Chopra), arrive and figure out why - and how - Sahir is breaking the bank.

Dhoom 3 rests on Khan's magnetism, his actor's eyes and jaw-line, his abs playing a part too. But the film is powered by its action. With WOL (whistle-out-loud) moments, this is super-slick and on an extravagant scale, using Chicago's skyscrapers like sexy statues arching into the sky. Alongside,Dhoom 3 features the franchise's tongue-in-cheek cheekiness, Ali, fida over blonde policewoman Victoria (as in 'secret'), Jai telling him to focus not onKamasutra but kaam. As circus star Alia, Kaif pro

vides soft romance, her fitness and innate grace redefining sexiness, making even potentially risque sequences - she lands her job following a speedy striptease - look delicately sensuous. Alia's charming beauty stops our protagonist in his tracks - but for how long?

Clocking in at nearly three hours, Dhoom 3 is slightly extensive. But it holds advantages, the first, that sizzling Dhoom tune, all leather, boots and electric guitars, which straightens sagging scenes. The second - sharp performances by Khan, Bachchan (an underrated actor, whose ability to drawl languid lines with intense looks stands out) and Chopra, who sprinkles lightness and fun. And the third - Dhoom 3's story with a twist wrapped around it, like the ribbon around a Christmas gift. Merrily unwrap - flying out of the Great Indian Circus, Dhoom 3 is great fun.
Jackpot - Bollywood Movie Review
Jackpot



















Three con artists have their eyes set on some fast money. However, each of them are secretly trying to con the other as well. Who will outwit whom and get away with the loot?

Goa forms the backdrop for this who-gets-the-moolah caper. Francis (Joshi) packs in the muscle and has a can of beer always close at hand. He is also street-smart enough to impress Maya (Leone), the oomphy voice of reason in the movie. Boss Man (Naseeruddin) is a veteran raver whose clothes are as colourful as his principles and punchlines. Slow in speech but quick to draw a six-shooter, he owns the Jackpot casino.

Boss, Francis and Maya hatch a plan to steal crores of cash. And while the deed itself is executed decently enough, the subsequent sub-plots and implications of intrigue amongst the schemers is laid on with the predictability and subtlety of a bull in a china shop.

Completely in character, Boss looks and sounds like a parody of a villain. While it's clearly understood that he is the owner of a floating casino, his lines flog every possible gambling pun to death. After a point, you can almost predict what the next one-liner will be. Francis and his other muscle-bound cronies often get into squabbles whenever some suspicion of duplicity arises amongst them.

And those expecting anything even close to a Sunny Leone steam-fest will be disappointed. In fact, she raps the knuckles of the local lads, scolding them if they dare lay their gaze on her bursting-at-the-buttons bosom. "My eyes are up here, not down there!" she reminds one local lad. She is also given lines like "Sarkar aur underworld mein kya farak hai?"

Similarly, Francis, who later in the movie reminds her that "Hum log artisthai - con artist!" and Boss, who reasons out that in his line of work, "Risky is like whisky". Makarand Deshpande's kooky cop character is genuinely funny, but corny lines aside, one of Jackpot's few redeeming factors here is that it moves along quickly.
Lucky Kabootar - Bollywood Movie Review
Lucky Kabootar














Lucky (Eijaz Khan) loves 'modern' Kammo (Shradha Das) but ends up marrying the girl-next-door Lakshmi (Kulraj Randhawa). An accident leads him to believe that his wife is dead. Instead of mourning her death, he falls into Kammo's arms. Turns out, he's not that lucky.

Consider yourself 'unlucky', if you are made to sit through this film, which boasts of a bizarre love quadrangle and 'how to become a Crorepati' side story. To begin with, the title has absolutely no relevance to the film. There is no defined storyline whatsoever. However, the same can't be said about the film's poster, (if you happen to see it). The makers, it seems, have literally shown a middle finger to the audiences, who may have had certain expectations from it. That way, they aren't deceiving!


If Lucky Kabootar was meant to be a romantic comedy, not a single scene makes you laugh or feel the love. The crudity of the language makes you cringe instead. It's only right if Punjabis take offense, for their portrayal is vastly unflattering.

Picture this - you are bombarded with bad sex jokes and random erotic dream sequences, all of which are shot in water! All the characters are water nymphs, we get it! A horny female character hits on Ravi Kishan, shows off ample cleavage and then acts drunk when he doesn't reciprocate her 'feelings'. A pansy guy's name is 'Phussy' (mind the h), and a wish-granting baba is called 'Sexydaas' (Sanjay Mishra borrowing Satya Sai baba's hairdo and yesteryears villain Jeevan's unique nasal t

wang and trademark dialogue delivery).

The baba's female minions are called Hard drive and Pen drive. A lady politician mispronounces 'Shaks (somebody in Urdu) as Sex' and then keeps repeating it, assuming it's funny. Wonder how the censor board cleared this film with a U/A!

Among the cast, Sanjay Mishra and Kulraj Randhawa are probably the only decent actors and you feel sorry for them for they do their job sincerely. Popular TV actor Eijaz Khan fails to rise above the terrible writing and lacks presence.
What The Fish - Bollywood Movie Review
What The Fish



















Monster 'Mausi' ( Dimple Kapadia) is the grumpy old Delhi woman, with an OCD. She dislikes everyone, except for her Parrotfish Mishty and a money plant. What happens to her prized possessions after she goes to the US for a month, putting her niece in charge of the house?

The niece passes on her responsibility of 'feeding the fish and watering the plants' to fiance Sumeet, and he to someone else...this goes on and on. Neat freak Mausi's house gets temporarily occupied by new guests who have their own issues to deal with. What happens when she returns?
What the Fish has a promising premise and an intriguing start but runs out of steam way too soon. A few minutes into the movie and you'd already guess what the climax could be. The non-linear narrative manages to engage you in the beginning but lack of humour and interesting characters make the execution look a tad tiresome and repetitive.

In terms of treatment, the film borrows from The Hangover's 'What the f*** is going on' theme but falls flat as the writing is unimaginative and predictable. Characters keep walking in and out of the film, with none making a mark. They bear no relevance to the movie, nor do they add
an extra element of fun. Thus when they appear out of nowhere and disappear as quickly, you eventually stop wondering what their contribution to the film is.

Every actor does an elaborate cameo of sorts and though the performances are decent, they fail to make their characters 'likeable'. The plot's restrictions need to be blamed. It even makes Dimple Kapadia's tryst with comedy seem loud and forced.

The 'idea' behind the movie can be appreciated for its novelty but it fails to develop into a full-fledged comedy of errors, which was the intention. If you like funny movies, there are plenty more fish in the sea.
Club 60 - Bollywood Movie Review
Club 60
















A couple in their 60's loses their only son to gun violence in the US. With no reason to live and nobody to love, the two almost give up on life until they bump into the jovial members of Club 60.

Review: After the untimely death of their only son, neurosurgeon, Dr Tariq Sheikh (Farooque Sheikh) and his wife Dr Saira (Sarika) are unable to put the pieces of their broken life together. Tariq suffers from depression, while Saira struggles to cope with her husband's suicidal tendencies. In an attempt to make a fresh start in life and to get rid of the 'nothingness' that haunts them, they shift to Mumbai from Pune. More than the city's distractions, it's their loud neighbour Manubhai (Raghubir Yadav), who manages to kill the deafening silence that plagues them with his somewhat annoying yet adorable antics. Manubhai introduces Tariq to members of his sports club - where life begins at 60.


Club 60 has its heart in the right place. Sanjay Tripathy makes an earnest attempt to reach out to the elderly, who seek purpose in life. This one scene in particular where Saira doubts her longing for her
son is heartbreaking. Farooque Sheikh and Sarika are outstanding. They prove what a huge role and huge difference, a 'good casting' makes in cinema. They hold the film together with their presence, even as the film deviates from tragedy to the unwanted naughty antics of the oldies.

Guess the intention was to show mischief but the club members eying women of all ages and cracking jokes with sexual innuendo, makes them look way too lecherous for your liking. We wish the supporting characters were more defined and sincere. You don't feel much for anyone except for the lead couple. Also the film gets a tad predictable in the second half. Why must everyone have a dark past?

Club 60 is essentially a heartrending tale of a couple, coping with an irreparable loss. In spite of the flaws, you can watch it solely for the immensely talented Farooque Shaikh and the sublime Sarika.
R... Rajkumar - Bollywood Movie Review
R... Rajkumar











A rowdy Romeo falls in love with a village belle, but he has to fight the enemies of love - chachas, chamchaas and cronies - to take home his dulhaniya.

He rips, he roars, he rages. He rides roughshod. Like a lovelorn 'Rambo', he rolls his 'R's. He's the riotous R...Rajkumar (R for Romeo!). Once again, a rebellious and raving hero jumps out of Prabhu Dheva's story - loaded with gaon-full of goons, buffoons, 'item' chhoris, less 'silence' and unstoppable violence.


'RR' (Shahid) lands in Dhartipur, with his heart on his colourful sleeve, double power in his muscles and bravado in his bones. Flaunting hismawaligiri and 'maar'daangi with equal gusto. One quick encounter withdesi beauty Chanda (Sonakshi) and his dil is 'attached' to her for eternity. He woos her aggressively (lovingly calls her Lollipop!), even turns Action Jackson for her, 'breaking a few legs' and tons of bottles. She's no less a razor-tongue firebrand and hard-to-get girl, albeit briefly.

Some gandi baat, chummas, and 'sari falling' scenes later (nothing scandalous!) she melts, and their love story seems complete. Not really! Thegaon is infamous for two warring drug dons, Shivraj (Sood) and Parmar (Vidyarthi). 'RR' joins Shivraj and becomes his lead henchman, but soon realizes that Lollipop is Parmar's niece. More trouble ensues' it turns into a'sarry affair' (everyone seems to fight for a yard of Chanda's sar

i!) and 'RR' has no choice but to become the new posterboy of the now stereotyped, violent, angry, young man.

Shahid pulls off the tapori act well, dances fabulously, does kickass action and slips in good comic moments. His makeover as action hero can't go unnoticed, but his demolition man act is unconvincing for action larger than his boyish shoulders. He scores better as Romeo than ruffian. Sonakshi has some dumdaar lines but repeats her desi doll act. Sood's dabang-giri works, Asrani (as Shivraj's senile soothsayer) shoots funny one-liners, but his OTTism is sadly stuck in an 80s loop.

While 'R...Rajkumar' entertains at some levels, it suffers from utter plainness and predictability. The raw action is impressive (Ravi Varma), the songs (Pritam) and the choreography are routine attractions. The second half seems like a sari too long and the comedy is often forced.

It has some 'Must Haves' of a pot-boiler, but misses the real thing - a SOLID STORY!

Bullett Raja - Bollywood Movie Review
Bullett Raja



















Simple Raja Mishra turns into deadly Bullett Raja - who goes bang and who whimpers?

Straight up, Bullett Raja (BR) is zany and funny, an Uttar Pradesh take on Sholay's Jai and Veeru, 'twice-born' in Lucknow as Raja Mishra (Khan) and Rudra Pratap (Shergill). Educated Raja and Rudra are reluctant gangsters, turned by violent, caste-ridden UP politics into what political advisor Srivastava (who Skypes from jail) calls "political commandos." These 'commandos' work at the command of minister Ram Babu Shukla (Babbar), finishing his enemies and finessing his friends. But there's a big bang when Raja and Rudra meet Bajaj (Grover), powerful financier who's rude to the dynamite duo - and gets kidnapped by them. Revenge follows with conspiracies, lots more bang-bang and some LOL jokes.

Hence, opponents are shot during a 'Bak the Talk' shoot, gangster Sumer Yadav (Ravi Kishan, in good form) is told, "Aap jail ke superstar hain, fan following toh hogi", Raja tells girlfriend Mitali (Sinha) how he prefers 'noose' and 'jaanwaron ka channel' to serials - and says 'I love you' in a precious scene. All along, the bang-bang cascades and ace cop Arun Singh (Jamwal) is dispatched to kill Raja.

BR scores with its tight performances, Saif terrific with his clenched-jaw comedy, Shergill intense and growlingly funny, Jamwal's flying kicks and wavy hair making the landscape even hotter. Sonakshi's pleasant if unsurprising while Babbar and Grover infuse their roles with oily, kachori-like spice. UP comes alive too as Bullett Raja leaps from Gomti to gaus, sex to sex pistols, Hollywood to Hazratganj, its imagery somewhere betweenOmkara and Dabangg.

Where the film misses a bulls-eye is an excess 20 minutes, music that, despiteTamanche Pe Disco, remains average and direction that sometimes - don't miss the guy flagellating himself as Saif makes a momentous decision - wavers. Still, BR is a racy ride, cynical, yet sweet, dark, yet bright. Go watch - you'll enjoy those bangs in the dark.

Note: You may not like this film if you avoid violent political tales.
Gori Tere Pyaar Mein! - Bollywood Movie Review
Gori Tere Pyaar Mein!



















She's the Punjab-di-gori who loves her 'mera gaon mera desh'. He's the rich Tamilian playboy who likes his women and his cars 'fast'. In a clash of ideologies, they seem to be a bridge too far.

Meet the gorgeous gora-gori jodi of this village-side story. Dia (Kareena), a social worker living in Bengaluru. There she meets the phoren-educated architect Sriram (Imran) - who she calls 'Sridevi'; a misfit and 'black' sheep in a traditional, lungi-clad Tam-Brahm family. He's carefree, casual about love, lazy and shows little humanitarian inkling. She's a fiery, righteous rebel, a mini 'Mother India' who fights for everything 'unfair'. They fall in love, but their ideologies are unaligned, so over some 'tooh-tooh main main', they split up and move on. He moves on to Vasudha (Shraddha), the pretty matrimonial pick, while Dia heads to a remote village in Gujarat.


Soon he realizes his dil beats for Dia, and he follows her all the way to Jhumligaon. The only way to win her over is to embrace the gobar, gareebi, gais(cows) murghis (though he'd rather see the 'chick(en)s' in a tandoor), and whole bunch of dhoti-clad villagers (straight out of 'Lagaan', even with 'Oh Mitwa' playing in the background for impact). Yes, he even sacrifices his strictly 'chicketarian' diet for dhoklas instead (becharo chhokro!). Lastly, he helps Dia with her mammoth dream of replacing the gaon's shaky rope-bridge with a real one. Now, will 'Sridevi' be able to use his chaalbaazi to crossover to his chhori - That's the idea.

Imran, is most at ease playing Romedy roles, it shows. He's endearing and likeable as a loverboy. Kareena looks stunning in her desi avatar and pulls off the chhori-chichhori with spontaneity and s

punk. Shraddha makes a 'pretty' pleasant cameo; and Anupam Kher entertains with his madcap act.

Punit's 'GTPM', is a sweet, breezy romcom with likeable characters presented in glossy, lavish, true Karan Johar (producer) style. In the second half, the 'the bridge over troubled waters' project is a bit stretched, and you wish thegaonwallahs would leave the pair to romance instead. Music (Vishal-Shekhar) is peppy and pleasing.

This isn't the most rousing romance (second-half lacks 'rom'), but has its feel-good moments. Chew it up with some 'Chingam' and a cute date.