Movie Review: 'Twilight Saga: Breaking Dawn 2' Review: Just be glad this is the last film!

Cast: Kristen Stewart, Robert Pattinson, Taylor Lautner

Director: Bill Condon

How ironic that a film whose characters can zip across forests faster than deer should be so slow and laborious itself! Breaking Dawn - Part 2, fifth and final installment in the cheesy but immensely popular Twilight movie franchise, is a film unlikely to appeal to anyone but hardcore fans who've been consistently forgiving of its many shortcomings.

Bella Swan (Kristen Stewart) has given birth to a daughter with husband Edward Cullen (Robert Pattinson). The film opens with Bella embracing and reveling in the new lifestyle...not motherhood, but vampirism! Converted into a bloodsucker after a rather brutal childbirth in the previous film, Bella is now faster, stronger and hungrier than she's ever been, and even Edward has to keep up with her.

No sooner than they've settled into their new home and enjoyed a few passionate moments, Edward and Bella learn that the Volturi, that feared clan of vampire law-keepers, is headed their way to pick a fight. Turns out the Volturi is convinced Bella's daughter, Renesmee, is an "immortal child" and therefore must be immediately killed. Truth is, since the girl was conceived and delivered while Bella was still human, she's very much a mortal. But because the Cullens aren't smart enough to figure out a way to clear the misunderstanding, they decide to gather their forces and fight the Volturi instead.

Good luck trying to keep awake as you're introduced one-by-one to the dozen-or-so friends, each with a special power or gift, that the Cullens call upon to help them in their stand-off against the Volturi. Of course wolf-boy Jacob (Taylor Lautner) is still around; he's now an ally of the Cullens, and he hangs around all the time like that pesky neighbor who can’t take a hint.

Creepiest of the lot is little Renesmee herself, the root cause of all the problems in this film. The kid (Mackenzie Foy) ages rapidly, and has this strange gift where she can touch your face with her palm and teleport her back-story to you. Her shameless parents encourage her to do this with pretty much everyone she meets...clearly they haven't heard of perverts and child molesters who might enjoy this kind of intimacy!

It's all deathly boring for anyone who's expecting an engaging story or even interesting characters. At best, the climatic battle scene delivers some thrills, but be warned, it's a surprisingly gory finale. The only other truly enjoyable thing in this film is the delicious overacting by its cast, particularly Michael Sheen as Aro, leader of the Volturi, who offers such a hammy performance, it’s hard not to laugh out loud.

Bella and Edward murmur most of their lines to each other softly; you’ll find yourself straining your ears to catch their words…can you really blame them for their embarrassment, given those corny lines! Kristen Stewart appears a little less morose in this film than she usually is – thanks to her new diet, maybe? Robert Pattinson, meanwhile, does much smiling and posturing, but Edward as a character is still such a stiff. Taylor Lautner, built like a Chippendales model, once again gets to take his shirt off, in what is perhaps the film’s most unintentionally funny scene.

Beautifully lit and lovingly filmed by director Bill Condon, Breaking Dawn – Part 2 looks like a 2 hour advertisement. It's hard to empathize with these characters, or fear for them when they’re in trouble, because they're so hollow, and because the actors can't even carry off the silliness of these stories with flair.

I’m going with a generous two out of five for The Twilight Saga: Breaking Dawn – Part 2. For anyone who doesn’t worship the franchise, this is drivel. Just be glad this is the last film!

Rating: 2 / 5

Movie Review : Son of Sardaar Only on BOllywood Insider

Cast: Ajay Devgn, Sonakshi Sinha, Sanjay Dutt

Direction: Ashwni Dhir

Rating: *1/2

Ajay Devgn's Diwali gamble didn't quite pay off this time. A film like 'Son of Sardar' can work on two accounts, either on the merit of star power or on the quantity/quality of amusing gimmicks that the makers can pack in. However, with a flimsy plot and inadequate humour, the story fails to take off.

Simply put, it is a bloody revenge saga where Jassi (Ajay Devgn) and Billu (Sanjay Dutt) belong to the opposite camps. Jassi comes to India to sell off an ancestral property and wants nothing to do with the existing family hostility but the Sandhus are still waiting to settle the score. Predictably he falls in love with Sukh (Sonakshi), the girl from the enemy camp and he must now, not only fight for his life but also his love.

Jassi discovers that the only way to save himself is to remain a guest in the Sandhu household and thus, follows tedious hide-and-seek sequences where the Sardar tries to pull off one daft trick after the other to avoid the talwar. The action sequences and the gags don't pack in enough punch to lift the sagging narrative.

Sanjay Dutt's angry/soft flip-flop and his incomplete love story with Pammi (Juhi Chawla) make for the few moments of genuine laughter. Rest of the humour and the funny one-liners are either oft repeated or annoyingly slapstick. Sonakshi is spot on as the perky Punjabi kudi.

I don't care if the film is a remake or if it's inspired from elsewhere, as long as it is well done. Every once in a while, I love nothing better than a mindless comedy where you can put logic and sensibilities aside and just enjoy the film. However, the film needs to entertain, some good music, witty antics, well-directed action sequences peppered with some Bollywood masala'; sadly 'Son of Sardar' has none of these elements.

Movie Review : ‘Jab Tak Hai Jaan’ Only on Bollywood Insider

That man taught a country of a billion the art of loving. Those subtle, nuanced, romantic sweet nothings that were engendered from the brain of that man, have always had a way with people – no matter how much they would want themselves to be impervious to that emotion called love. Yash Chopra, you made sure that you will live on and that your last film will be remembered - jab tak hai jaan!

The King of Romance behind the camera directing the Badshah of Romance in front of the camera. And a script that boasts of solid, undying love. No, there cannot be a better way to portray love on the silver screen. ‘Jab Tak Hai Jaan’ has nailed that – at least for the immediate future. Shah Rukh Khan, you don’t really need words of praise or adulation; but go ahead and take a bow! With Samar Anand, the actor has brought another Raj Malhotra alive on screen. And a newer, better, improved version at that. One who doesn’t know how not to love; one who instills in every heart the hope to be able to love – love unconditionally, love that doesn’t know its limitations. Sounds like I’m just out of a Yash Chopra movie? Yes, this had to be the one.

Free Download songs from Jab Tak Hai Jaan (2012) Movie

Major Samar Anand, stationed with the Bomb Defusing Squad of the Indian Army is a man who flirts with death at every step of his life. He has successfully cut short the lives of ninety-seven bombs and is on his ninety-eighth one when the film begins. Wolf-whistle from all corners of the theatre greets the stubbled, sunglasses-clad man in uniform; oh yes, and a lot of claps too.

Akira Rai (Anushka Sharma) is a twenty-one year old intern; a state-level swimmer, national-level tennis player etc. (pardon me if the order is wrong – this girl has a long list of accolades behind her name!), and is dying to get placed with the Discovery Channel. The girl dives headlong into the freezing cold waters of a crystal-blue lake with Major Anand sitting on the banks. She passes out in the water and a nonchalant Samar saves her, makes her wear his jacket and rides off on his Royal Enfield. Once in the room, off falls Samar Anand’s diary from one of the pockets of his jacket; on to Akira’s hands and the girl is transported back in time into the life of a twenty-five year old Samar.

Samar there, loves Meera (Katrina Kaif). A girl who detests ‘brown, boring’ Indians and dreams that someday she’ll be married off to some gora. Fate, however, has other plans for her; and by a complicated turn of events that involves Meera learning music from Samar, both fall in love with each other. Hitch: Meera’s already had her “arrangement” – engagement, in Samar’s words. A series of promises to Jesus; some broken ones, some unbroken ones included; Samar goes off to the Indian Army. A tale of love; and love in its purest, most unadulterated form, ensues.

Speaking about Shah Rukh’s performance is nothing short of belittling the consummate actor’s skills. If as Raj Malhotra he had managed to woo half the population of the country; as Samar Anand, this man can make many more smitten by him. The slight stutter, the little hint of a tear in the eyes, the arms-outstretched pose – Khan knows how to make his ladies fall for him – be it that they are almost half his age! Katrina Kaif as the NRI Meera does a pretty good job of playing the girl who is torn between loves and promises; and her accented Hindi passes off as acceptable. Anushka Sharma acts well; however, she does dwindle to the extra-carefree attitude that she has been able to put her signature on in the last few films. But Shah Rukh, yes. He is, indeed, the man to watch out for.

Rishi Kapoor and Neetu Singh in an extended cameo make for a pleasant watch; and the scene where Neetu Singh meets Katrina is exceptionally moving. Anupam Kher as Meera’s dad doesn’t really have a lot to do.




Cut to direction. Only somebody like Yash Chopra could have made those mesmerising locales of Pehalgam and Ladakh come alive on celluloid. London, on the other hand, is beautiful – be it in winter, rain or summer. The film doesn’t really have the sarees flying slo-mo in the air, but what it has is sheer, pristine beauty. However, the film appears a tad too long; at almost three hours, the ‘impatient, newer generation’ might have to stretch themselves a bit.

AR Rahman’s music in the film somewhere seems underused. The songs ‘Challa’, ‘Ishq Shava’ and ‘Saans Mein’ are a delight to the ears. The Master Musician’s ‘Heer’ is a beautiful song. The numbers are hummable, and nice ones; but just that. They aren’t exactly exceptional. We’ve had better specimens from Rahman in the past, and will sure have better ones in the future.

In case you still haven’t, go watch ‘Jab Tak Hai Jaan’. You can thank the Kings of Romance once you’re done with the film… nahi bhoolenge hum, jab tak hai jaan!

By Ananya Bhattacharya

Movie Review: Ek THA TIGER

 Cast: Salman Khan as Tiger, Katrina Kaif as Zoya, Ranvir Shorey as Gopi, Girish Karnad as Shenoy


Director: Kabir Khan

Producer: Aditya Chopra

Music Director: Sohail Sen , Sajid Ali , Wajid Ali

Lyricst: Neelesh Misra

 
"Maine jo ek baar committment kar di, toh main apni bhi nahi sunta"- believe in the tiger's words, he has fulfilled his committment. Salman Khan does it once again with the year's most-awaited movie Ek Tha Tiger, that has released today. Directed by Kabir Khan, Ek Tha Tiger, that features Salman Khan and Katrina Kaif, is an action, spy thriller, with a dose of romance too. The film has been making headlines ever since it was conceptualised. And if the promos of the movie is any indication, Ek Tha Tiger has all the ingredients to make it to the top five movies of the year.

What is the story all about?

Ek Tha Tiger is a romantic thriller that revolves around the story of a Trinity College scientist, suspected of selling missile technology secrets to Pakistan. The Indian government sends a secret agent, codenamed Tiger (Salman Khan) to find out about the professor's activities. Tiger gradually falls in love with the professor's caretaker Zoya (Katrina Kaif), who is studying at a fictional dance academy. The film engages you strongly with several twists and turns. What happens next? Will Tiger gain victory in his mission or will love take an upper hand? Katrina conceals her real identity behind her barbie doll face. What's that? Will that endanger Tiger's mission?

Verdict on performances:

Termed as the mass entertainer, Salman Khan needs no verdict on his acting skills. What makes us love him in the movie is his rugged Tiger-like attitude, that suits him the best. Salman gets into the skin of his raw, rugged, edgy character and makes you admire over his marvellous performance.

When Kabir Khan claimed that everyone will get to see Katrina Kaif's acting potential in the film, it wasn't just a mere statement. He meant it and Kats did it. For all those who believe, Katrina is nothing, but, just a pretty face, Ek Tha Tiger is the answer for them. Katrina Kaif, not only looks super stunning in the movie, but, the girl proves that she's no less in acting as well. The girl definitely gets a thumbs up for her improvised hindi diction and good performance in Ek Tha Tiger.

Ek Tha Tiger, high on action:

The film starts with some heavy dose of action and introduces you with the Tiger Khan. Salman's entry in the film is sure to give you goosebumps. Khan's kingly and smashing entry is just wow and makes you say, "The real tiger is back with a bang." The action sequences in Ek Tha Tiger looks real yet, retains the element of larger-than-life heroism. Katrina Kaif is a surprise here. She is much more than just a barbie doll. Katrina lives up to Salman's Tiger image, with some good action, which is generally not expected from a sweet, petite girl.

Positives: The second half is gripping. Ek Tha Tiger will rock because of two strong points- good story and Salman's action packed performance, which is completely different from his other movies. On the other hand, despite the alleged break up, Salman and Katrina haven't lost an iota of the chemistry, that makes them Bollywood's ultimate power couple, which they have proved in Ek Tha Tiger. The comfort zone that the couple have shared in the second half of the movie, makes their romance look genuine and real. Ek Tha Tiger gives us the larger than life picture, with some beautiful and exotic scenaries.

Negatives: Katrina Kaif could have worked more on her facial expressions. The first half lacks passion and romance. In fact, at times, romance looks very dull and lacklustre between Salman and Katrina. The film leaves a big question that how can the Indian Government leave Tiger (Salman), a RAW agent so easily? What's more illogical is that how can such a tough RAW agent fall for a girl so easily, especially when he is on a mission?

Verdict: Ek tha Tiger gets a thumbs up. Ek Tha Tiger leaves a strong message on this Independence day. The film conveys that love goes beyond border. No matter if it's India or Pakistan, love and friendship always an upper hand.

Movie Review: Ice Age 4: Continental Drift

Ice Age 4: Continental Drift
Director: Steve Martino and Mike Thurmeier
Voices: Ray Romano, John Leguizamo
Rating: **

In movies, good things rarely come in fours. From the Jaws and Lethal Weapon to the more recent Pirates of the Caribbean and Shrek series, fourth installments have usually been quite superfluous. Ice Age 4: Continental Drift is no exception.

The trio of prehistoric critters, first introduced back in 2002, embarks on yet another digitally animated 3D adventure. This time around, their journey is dispiritingly dull.

Working from a woefully thin script, co-directors Martino and Thurmeier fail to bring any panache to the proceedings.

As in the previous outings, the only clever gags involve the squirrel-rat hybrid whose dogged pursuit of an acorn triggers a continental cataclysm.

Among the victims of the nutty shenanigans is a woolly mammoth (dubbed in world-weary tones by Romano) that gets swept out to sea on an ice floe. Separated from his mate (Queen Latifah) and their teenage daughter, the paternalistic elephant is determined to reunite with his family.

Accompanied by a sabre-toothed tiger (haughtily voiced by Denis Leary) and a hapless sloth (Leguizamo) the mismatched pals must also outwit a band of seafaring brigands led by an orangutan (Peter Dinklage).

The all-new menagerie of marauders includes a panther pirate (Jennifer Lopez), a multi-tasking badger and a wacky walrus (Nick Frost). Wanda Sykes is a welcome addition to the core voice cast as the daft but resourceful granny.

The target kiddie audience for Ice Age 4: … will likely giggle at the mere sight of the colourful cartoon creatures. As for the rest, they are unlikely to be clamouring for another sequel any time soon.

Movie Review: Intouchables

For lovers of world cinema -- particularly French movies -- here comes a heartwarming tale -- not to mention, dubbed in English -- with all its various non-lingual elements well intact

Movie: Intouchables
U/A; Drama
Dir: Olivier Nakache, Eric Toledano
Cast: Francois Cluzet, Omar Sy, Anne Le Ny
Rating: ****
Constantly bordering on the verge of feel-goodness, Intouchables is however an honest attempt to dilute the racial and class divide prevalent in our so-called modern society. Though the narrative appeals more to the Gallic multicultural complexities, the tone is pretty much universal.

Based on a true story, it explores an unlikely bonding between a paralysed French aristocrat (Francois Cluzet) and his immigrant caretaker (Omar Sy) who is not only an ex-con but also someone who clearly doesn’t qualify for the job in the first place. As the film rolls on, he ends up accomplishing way more than he is expected to. And effortlessly teaches his rich boss some tricks in the art of living.

The most admirable part about this friendship is it lacks formal sympathy and grows on mutual respect. This attitude also allows humour to crystallise. Yes, some moments do hinge on blatant stereotypes but fits well within its almost two-hour canvas.

Given the paraplegic nature of the protagonist, this drama might remind you of Amenábar’s The Sea Inside or Schnabel’s The Diving Bell and the Butterfly. Having said that, Intouchables carries a far too lighter cross on its shoulder and avoids microscoping on unfairness. Come to think of which, it drags the audiences away from reality with an aim to arouse passion, not compassion. Without an able cast, this approach would have fallen flat on its cinematic nose.

Despite having nothing else but a face to express, Cluzet does a commendable job on his vulnerable wheelchair. Complementing his efforts, Sy initially comes out as somebody who wouldn’t care less before transforming himself into one of the most affable characters to ever grace the big screen. The supporting cast is admirable except when they are dancing!

The script written by the two sharp directors cleverly balances giggles with sentiments and avoids going over the top which is a common drawback of movies with similar backdrop. Intouchables seems like a bridge between black and white but on a closer observation, it’s pointing to that grey shade called life. Here’s the spoiler: In all probability, you’ll be touched by this film. And in the meantime, you’ll also wonder why isn’t it in French.

BY- MidDay

Movie Review: The Dark Knight Rises

The Dark Knight Rises is also not just a movie, it's a moviemaking miracle and a buffet of eyeball orgasms - one that contains enough visceral thrills and proof of Chris Nolan rising as the superhero of the movie industry.

The Dark Knight Rises
Starring: Christian Bale, Anne Hathaway, Tom Hardy
Dir: Christopher Nolan
U/A; Action
Rating: **** (out of Five)

In the four years since 'The Dark Knight' the fandom for Nolan’s Batman trilogy has grown to astronomical levels - you’d have to live on a different planet to not be familiar with these films. Nolan’s lavishness in imagination and passion for real emotions has made the first two parts transcend from mere films to spiritual experiences. The Dark Knight Rises is also not just a movie, it’s a moviemaking miracle and a buffet of eyeball orgasms – one that contains enough visceral thrills and proof of Chris Nolan rising as the superhero of the movie industry. It’s a sprawling epic, the darkest, most complex segment of Nolan’s Batman trilogy.

The first two were character triumphs on their own, but it is obvious that Nolan was saving all the goodies for last. The Dark Knight Rises obliterates the bar with gritty physical effects sprinkled with CGI. The effects are so realistic it’s impossible to distinguish between real and CGI, and are seamlessly woven into the sweeping exhilaration of Wally Pfister’s cinematography. It is in your best interest that you keep away from story details before watching the film – know that the plot takes eight years after the events of The Dark Knight, and Bruce Wayne has turned into a recluse, as the villainous Bane not-so-silently plots an apocalypse.

At a mammoth two hours forty five minutes, The Dark Knight Rises tends to have a slightly bloated middle section. The film shifts to a cave under the sands of Jodhpur and fast forwards three months without much consistency. I foresee complaints along the lines of Bane not being as awesome a villain as Heath Ledger as the Joker, but that complaint becomes irrelevant, because no one can possibly be as awesome as the latter. To make up for the choppy middle section, the third act of The Dark Knight Rises is an hour-long post-apocalyptic action set piece and is one hell of a rousing stretch of eye and ear candy.

The recurring cast including Gary Oldman holds a more poignant resonance this time, and Bale is particularly excellent as the tormented superhero. Michael Caine is unforgettably haunting as the distraught butler seeing his surrogate son fall. Anne Hathaway isn’t as sexy as she is oddly endearing as the Catwoman, but Joseph Gordon Levitt is great as a Gotham cop. Bane may not be The Joker, but Tom Hardy does all he can to emote with his face covered. The only real problem is that Bane’s voice is still not completely audible, and watching the movie in a theater that doesn’t have very high quality speakers will make Bane almost entirely incomprehensible.

Even with its ginormous set pieces, scope and SFX, The Dark Knight Rises separates itself from other blockbusters because it rarely loses sight of its humanity and mission to meet insane expectations. It’s outstanding entertainment, a victory of mad passion and cinematic artistry, with a sly final payoff that gives you goosebumps and leaves you drooling for more.

By: MidDay

Movie Review: Challo Driver

Movie: Challo Driver
U; Romcom
Dir: Vickrant Mahajan
Cast: Vickrant Mahajan, Kainaz Motivala, Prem Chopra
Rating: *1/2 (out of 5)


Every once in a while, there comes a film in Bollywood that tries to steer clear off the clichés. Sadly, this is not that film. Though it begins on a promising premise of the lead actress portraying a professional chauffeur, the plot becomes more and more apparent with every passing minute. Besides, it’s not really the first time in Hindi cinema that the heroine has gotten behind the wheel for a living. Deepika Padukone played a cab driver once and so did Lara Dutta.

Kainaz Motivala (last seen in Ragini MMS) plays the eponymous driver and is strictly likeable but her performance doesn’t really drive the film. The same is true about Vickrant Mahajan who plays an uptight rich guy who seems stuck in the mould. For what it’s worth, he merits mention for his one-man-army avatar as he’s not only essaying the lead role but also making his directorial debut with this romantic comedy. Even the story and dialogues were written by him. Perhaps he had too much on his plate!

Speaking of performance, Prem Chopra remains an absolute delight throughout. In the second half, Manoj Pahwa provides the much-needed comical velocity. There’s not much to rave about the movie in terms of technicality. The background score is numb and the songs aren’t catchy either.

Talking of the positives, Challo Driver does try to be different by pointing out the need to do something differently when it comes to choosing a career. Anything, to be precise. In a nutshell, it makes an attempt to gauge the pulse of today’s youth. However, once the movie sets into motion, the lack of acceleration in the screenplay wrecks the show.

‘Cocktail’ Review: It is a heady mix of varied human emotions!

If you put three different people under one roof, throw in some fun, drama and lend a touch of romance to the plot- what you get is a savory mix of a ‘Cocktail’ which is worth every buck you spent to relish it.

Yes, that is what Homi Adajania’s newest work is all about. Post his previous off-beat venture ‘Being Cyrus’ that got massive critical acclaim, the man has hit the nail on its head once again with the flick that stars Deepika Padukone, Saif Ali Khan and young turk Diana Penty.

So here we are introduced to the tamed Meera (played by Diana Penty), who lands up in the city of London to meet her husband Rahul (played by Randeep Hooda). To her utter dismay, Rahul ruthlessly turns her away after conning her off all her money and leaves her on the street without a roof in an alien land. She chances upon spoilt, rich bitch Veronica who parties hard, drinks like a fish but has a heart of gold. She pities Meera and takes her under her shelter and soon they become the best of friends.

Enter Gautam (played by Saif), who flirts with every hot chick in the town with his cheesy one liners. Chances bring the three main protagonists together under the same roof as Veronica and Gautam start a casual fling without any commitment. However, things take a U-turn when Gautam and Meera fall for each other on a serious note during their South Africa holiday while Veronica realises that Gautam is THE man she must settle down with. Then what begins is a roller coaster ride of emotions, drama and fallouts amidst the trio.

Going by Deepika Padukone’s performance, this is one of her best so far. She hits the bulls eye with her portrayal of Veronica. Deepika manages to highlight the intricacies of the psyche of a woman who has had a troubled childhood, which propelled her to seek refuge in alcohol and hard core partying.

Saif too has his own moments in the movie such as the one in which he hilariously dances wearing lingerie and make up and gets caught by his mother (played by Dimple Kapadia) during his live performance.

On the other hand, Diana Penty looks fresh as a daisy on screen but needs to polish her acting skills a tad more if she intends to survive the rat race.

For those who have loved Saif and Deepika’s ‘Love Aajkal’, ‘Cocktail’ will not disappoint you as it has some shades of the former. The storyline of the movie is gripping and will keep you hooked and booked.

Talking about the songs, they are as foot tapping as they could get. “Tumhi Ho Bandhu” deserves a special mention here as it will make you get up from your seats and shake a leg as the song is played on the big screen. The locations of the movie are eye catching and the styling of the actors is in sync with their onscreen characters.

Final verdict: ‘Cocktail’ is worth a try!

Rating: Three cheers for this one!

Movie Review: Bol Bachchan

Movie: Bol Bachchan
Cast: Abhishek Bachchan, Ajay Devgn, Asin, Prachi Desai, Archana Puran Singh, Krushna Abhishek
Director: Rohit Shetty
Genre: Comedy

This one’s strictly for Bollywood junkies whose funny bones are easy to tickle. Yes, Bol Bachchan is a hot air balloon with no air, hot or otherwise. So expect no genuine comic highs.

It is certainly not my cup of lassi, as Prithviraj Raghuvanshi, the “I can talk English, I can walk English’ character played by Ajay Devgn, would say.

But that’s not to say there is nobody in this world that might take a shine to this laboured comic carousel. Good luck to all ye hardy souls!

Director Rohit Shetty, as he switches gears noisily from high-purpose action (Singham) to scraping-the-bottom-of-the-barrel comedy, pays homage to Hindi cinema of the 1970s and 1980s, but it’s all unalloyed Golmaal (hodgepodge) that only goes round (gol) in circles and delivers no goods (maal) worth the name.

Bol Bachchan borrows its basic premise from the Hrishikesh Mukherjee classic, Golmaal – the story of a man who is forced to rustle up a non-existent mustachioed twin to keep his difficult-to-please employer in good humour – and twists it completely out of recognizable shape with a stretched yarn that has neither the charming spontaneity nor the delicious subtlety of the original.

Along the way, Bol Bachchan alludes to Amitabh Bachchan starrers like Deewar, Parvarish, Kasme Vaade and Muqaddar Ka Sikandar. The Big B connection is laid on thick right at the outset with a song-and-dance prelude that has the male leads, Ajay Devgn and Abhishek Bachchan, match steps with the one-time one-man industry.

“I’m not in the film, only my name is,” the megastar helpfully tells the camera.

That’s the problem with Bol Bachchan at every level – it only skims the surface of all its sundry inspirations. It rips off a Hrishida film but the legendary touch of the man who made the delectable Golmaal (besides other fine comedies) is conspicuous by its absence.

Rohit Shetty has done his share of Golmaal-mongering over the years and made pots of gold in the bargain. With Bol Bachchan, the idea clearly is to quickly mop up Rs 100 crore at the box office before the audience can cotton on to the ploy. Do narrative niceties really matter in such a scenario? So there.

Abbas Ali (Abhishek Bachchan) is the Ramprasad Sharma of Bol Bachchan. But he is neither a nerd nor a nice guy in the Amol Palekar mould.

Out of work and down on luck, the Delhi boy and his little sister, Sania (Asin Thottumkal), relocate to Ranakpur, a village that looks like it would rather be a dusty city.

In the so-called village, Abbas breaks a temple lock to save a drowning boy. To ward off the ire of the devotees, he assumes a false identity.

Now known as Abhishek Bachchan, he lands a job with the local feudal lord, the aforementioned Prithviraj Raghuvanshi, a muscle-flexing marauder who plays Frisbee with human bodies and has violent bust-ups with a cussed cousin and his henchmen to protect his turf.

Prithviraj’s writ runs in Ranakpur. He detests liars and digs English as it’s spoken in his backyard. ‘English is a funny language: pineapple has neither pine nor apple,” he says, pointing to a birthday cake.

That’s true of the film itself. Bol Bachchan is a funny film where all the fun comes at the expense of the film.

Each time Abbas’ bluff is in danger of being called, he cooks up a new story to save his skin. He talks an ageing mujra dancer, Zohra (Archana Puran Singh), into standing in as his mother when his boss insists on visiting him.

He then spins a yarn about the existence of an effeminate Muslim twin only to have the fictitious guy being promptly hired by Prithviraj as kathak tutor for the latter’s sister Radhika (Prachi Desai).

As the lies multiply and Prithviraj’s English goes from bad to worse (success is the keyhole to saxophone; every penny discounts; your eardrums are playing drums; boy in armpit, hyper city noise pollution, et al), the film dutifully keeps pace with the worsening lunacy.

Bol Bachchan ends the only way it could have – on a see-sawing car dangling from the side of a precipice with the two male leads negotiating long-term peace between their warring families.

The acting is generally so unabashedly hammy that you might be forgiven for wondering whether you have wandered into a pigsty.

Be warned. Bol Bachchan is a comedy so absurd that it could reduce you to tears of despair. Conversely, if you have the stomach for such rampant silliness, it might propel you into paroxysms of delight. The call is entirely yours.

Movie Review : The Amazing Spider-Man

Director: Marc Webb

Cast: Emma Stone, Andrew Garfield, Stan Lee, Rhys Ifans, Martin Sheen, Chris Zylka, C. Thomas Howell, Sally Field, Embeth Davidtz, Denis Leary, Irrfan, Kelsey Chow, Annie Parisse, Campbell Scott, Michael Massee

Rating: ****

First, the bad news: The Amazing Spider-Man contains a majority of the elements found in the Sam Raimi film – Peter Parker is a loser school kid in NY, Peter has the hots for his classmate, Peter gets bitten, Peter becomes Spidey, Peter overcomes the school bully, Peter loses his uncle, and Peter fights crime. There is precious little that the reboot brings to the table, some of which includes a glimpse of his parents. The good news is that The Amazing Spider-Man works despite the constant sense of deja vu.

That slightly-okay story finds a young Peter Parker (Andrew Garfield) being hurriedly placed by his parents in the care of Uncle Ben (Martin Sheen) and Aunt May (Sally Field). Cut to a grown up Peter working with his late father’s old colleague Doctor Connors (Rhys Ifans) and finding love and a pesky reptilian ruffian with a master plan. The bulk of the film then becomes a series of action scenes and romantic cutaways in which Peter and Gwen Stacy (Emma Stone) effortlessly make us forget the lame melodrama between Maguire and Kirsten Dunst.

There is no upside down kiss under the rain, but there is an unexpected moment under a starlit balcony and a finale that puts a big twist on the bittersweet climax of the 2002 movie. Despite some clunky dialogue, the melodrama and romance here actually works — thanks mainly to director Mark Webb who brings the matured, assured handling of emotions from his (500) Days of Summer and makes his actors believable. Unlike the case in Spider-Man 3, Webb keeps The Amazing Spider-Man from becoming a string of hastily glued together boring ‘emo’ bits.

Best, however, is the charming Andrew Garfield in the title role —even though he looks hilariously old for a school kid. Garfield is the perfect leading man and has a sunny, winning charisma that audiences (mostly girls) can cheer for.

Peter here is faced with more heartbreak and trauma than in all three previous films put together, yet Spidey is more of the sarcastic wisecracking punk here — it makes for a nice change. Emma Stone is jaw-droppingly gorgeous to look at, and her Gwen is rather courageous instead of ditsy. Sheen and Field here are the Hollywood versions of Alok Nath and Farida Jalal, and they even have those overtly dramatic facial expressions and cringe-inducing lines. Irrfan plays the Token Black Guy of the movie.

Mark Webb seems to understand why we have put on the 3D glasses, and he offers enough immersive scenery to keep us wowed. When Spider-Man swings, he takes you along with him. The downside is that there simply aren’t enough of those scenes. There are some brilliant sequences, including one in a sewer that lasts quite a few minutes. One little scene at Peter’s school where a certain someone makes a cameo is probably the film’s best moment. There is also a 3D jump scare that might scare the hell out of you.

The Lizard is menacing, and very intricately designed but frustratingly there aren’t enough still moments to make us appreciate the work that was put in to create the motion capture GI beastie. When the action isn’t happening, Webb brings in his years of music video experience and throws in some rock music montage, but it sadly makes us yearn for Danny Elfman’s score from the Raimi movies.  

By santabanta

Movie Review : Tezz

Movie Review : Tezz

(U/A; Action thriller)

Dir: Priyadarshan

Cast: Anil Kapoor, Ajay Devgn, Sameera Reddy, Kangna Ranaut, Zayed Khan

For a thriller that created more buzz for an item number than for its action, you know what to expect. And you don’t even have to wait too long…. barely a few minutes into the film and Mallika Sherawat pops up to do her Laila act. Over and done with the song, as you wait for the action to unfold, there’s another coming along… Ajay Devgn and Kangna Ranaut break into a romantic number. Never mind that there’s a bomb ticking away on a train, lives of 500 passengers are at stake and time is fast running out.

In a bid to infuse the melodrama bits into Tezz, scant attention has been paid to the plot that keeps going off the track. What’s most vital in a thriller is the frenetic pace with which things have to move. There has to be that visible sense of urgency. But this is missing, as an assortment of characters get tossed around doing their own bits. And most importantly there is no one keeping tabs on the time elapsed, these guys seem to be in no tearing hurry.

The plot revolves around Akash (Devgn) who is an engineer but an illegal immigrant in London. Finding himself on the wrong side of the law, he is taken to task. But he decides to take revenge along with his accomplices Adil (Zayed Khan) and Megha (Sameera Reddy) by planting a bomb on a train. He is not a terrorist but is simply a victim of circumstances. Now how many illegal immigrants get caught and go around planting bombs to seek revenge? The premise itself is far from intriguing. Akash also wants to make some cool millions by asking for a ransom to live happily ever after with wife Nikita (Kangna Ranaut).

South star Mohan Lal may be the director’s buddy but looks out of place as a cop. There is also Boman Irani as the railway traffic in-charge and Anil Kapoor as the counter terrorism chief who is pulled back into the job moments after his retirement speech and exclaims, “Woh English filmein bahut dekhta hoga” when the perpetrator leaves him befuddled. Just in case if you thought that the makers weren’t!

What catches your attention are the sequences featuring Sameera in a raft and later speeding on a bike (yup… you read it right it is Sam, no less) with the cops tailing her. And then Zayed resorts to some parkour stunts with Anil trying to keep pace with him. These two moments apart, what you also remember are the deeply-stained teeth of Devgn and the different shades of orange that Kangna’s hairdo has.

By: Midday

Movie Review : Hate Story (Erotica/Thriller)

Cast: Paoli Dam, Gulshan Devaiah, Nikhil Dwivedi
Director: Vivek Agnihotri

Meet the newest avatar of Maa Kali! The fascist avenging woman has always been a favourite figure of fantasy fashioning for our films. Who can forget Nargis gunning down her own son in Mehboob Khan's Mother India?

The motivations for revenge in Hate Story are not quite the ones that impelled the woman protagonist to rise up in arms in Mother India or for that matter in Bhavna, a film directed by Hate Story producer Vikram Bhatt's father Pravin Bhatt, where Shabana Azmi killed her own husband.

Really, who needs a gun to get even when you have sex?

Paoli doesn't give a damn if her bare back or flesh flash across the screen. She displays a healthy attitude of disdain for the camera, letting it swoop down on her vulture style, never allowing her vengeful character's erotic journey to get sleazy, cheesy or lurid. The camera violates her character's privacy with her consent.

Hate Story is a tale that invites provocative measures of counter-argument. When the protagonist Kaavya (Paoli Dam) gets down to revenge, she spares no one, least of all herself. She announces she wants to be a sex worker, and thereafter, there's no looking back.

And quite a comely back it is.

Paoli's Kaavya uses her physique to lure her enemy into her trap. Director Vivek Agnihotri cuts into her journey of self-destructive vendetta like a knife.

The episodes sometimes stretch the limits of belief. But what the heck! No one is making a statement here on the politically correct conduct of the Indian woman.

In what can be regarded as one of the most defiantly unconventional debut performances, Paoli lets herself go with the furious flow of her character's vendetta.

The episodes hammer into one another with scarce room to breathe. The pace is dizzy most of the way. And when it slows down, you feel the protagonist's vendetta is losing its steam.

Steamy lovemaking scenes are strewn across the narrative's stricken landscape. The soundtrack suggests there's an urgent tragedy nudging the erotic content. The dialogues by Rohit Malhotra don't shy away from telling it like it is.

Vikram Bhatt's screenplay is Sidney Sheldon territory. It doesn't shy away from showing the heroine in an unflattering light. This is new-age cinema with no room for conventional narrative devices or apologies for what the protagonist sets out to do.

If in The Dirty Picture, Vidya Balan wore her sexuality on her sleeve, in Hate Story, Paoli uses her sexuality like a favoured currency in the stock market.

Mint-fresh and shock-proof, Paoli interprets her character with vigorous conviction. As her adversary Gulshan Devaiah (so watchable in Shaitan and That Girl In Yellow Boots) careens between rage and anguish quite effortlessly.

Hate Story is not quite the tale of the simpering wronged woman we've been seeing in our films since the time Adam impregnated Eve.

Hate Story pushes the envelope so hard, all the contents spill out in a torrential tumble of tantalising power-play set within the world of corporate battles and gender conflicts.

This is a most riveting and aesthetic saga of a woman's revenge against the man who's wronged her since RK Nayyar's Inteqaam - except for the fact that Paoli does things Sadhana in Nayyar's film could have never imagined.

By IANS 

The Darkest Hour - Movie Review

Movie Review: 'The Darkest Hour'; 

Star Cast: Emile Hirsch, Olivia Thirlby, Max Minghella;

Director: Chris Gorak; 

Rating: *1/2 - cinematically bleak.

Alien invasion movies, a specialised Hollywood domain, works on few fundamental premises -- characterisation of protagonists who the viewers relate to, fierceness of aliens that includes their looks and finally the ability of humans to fight back.

Despite having potential, 'The Darkest Hour' becomes one of the darkest hours of alien invasion movies because it goes wrong on all fundamentals of this sub-genre.

Five young Americans are caught unawares in Moscow after an alien invasion threatens to wipe out every thing that comes in their path. They must work together if they have to survive. But how do you survive an enemy you cannot even see?

One of the greatest reason why alien movies work is the way the writers and the director tease their viewers. This film gets this right. The aliens are not just seemingly invincible, but are also practically invisible.

The other things that work is when, like your protagonists, you are in the dark about what is happening. As the film progresses, you regain your senses to first survive and later to fight back. No such luck in this regard with this film.

Alien invasion films work when the aliens are revealed somewhere after the mid-point of the film and the survivors gather their wits to fight back, even if it is a seemingly losing battle. In this film, the aliens are revealed too late and even then you merely get a scant glimpse of them.

Secondly, there aren't enough chinks in their armour for humans to have hopes of survival. Hence, the last bit where humanity shows hopes of fighting back, shown here through a radio message, seem concocted and fantastic.

That the writing is so sloppy that not once in the film do you relate to any of the characters or their struggles, only add to the woe of the film. Even a no-brainer action film can work only when the characters and their motivations are believable.

The only good thing about the film is its special effects. The effects are good, but their charm fails because they aren't backed by a good story to seem believable. Setting the film in Moscow, instead of the usual New York or Los Angeles that have been destroyed countless times by Hollywood, seems to be the only 'original' idea in the film.

What you thus have here is a mishmash of different ideas picked up from more films than you care to remember which neither work collectively not on their own.

By IANS

Movie Review - Players

British director Peter Collinson -- may the lord bless his soul -- and American director Felix Gray Gray -- verily alive and kicking -- must love their movies The Italian Job they directed in 1969 and 2003 respectively. But if the latter was to watch its Indian adaptation Players by our desi men in white, Abbas Mustan, he might either pull out his hair in disappointment, or -- on the contrary, after comparing his film to its botched up Indian rip-off -- be driven to a megalomaniacal delusion of having himself made a cinematic masterpiece, or -- at worst -- might pull up the Indian makers for artistic defamation and aesthetic butchering. For Players is a film to guarantee migraine to those immune of headaches, fits of yawn to the insomniacs, and trainloads of frustration to the lovers of action genre. It’s a film whose ticket you will happily gift to those you want revenge from!

Alright, let’s not be unfair. For starters, expecting Abbas-Mustan to go one better on the two directors mentioned above would be to expect an Indian high jumper to land on the moon. And then we have a bunch of non-actors, the esteemed coterie of Abhishek Bachchan, Bipasha Basu, Sonam Kapoor, Bobby Deol and Sikander Kher competing among themselves to see who hams less and fluffs least. Of all, Deol is the most fortunate, not because he acts well, but because his character is bumped off half way through the film, thus sparing him of the remaining monstrosity of this film. If anything was left, we have Pritam’s tortuous tunes foisted upon us, one song after another. Now, do so many pits make a hit? Go figure!

Storyline: Charlie (Abhishek), a chartered accountant by day and a conman by night, comes to know of a gold bullion worth 1000 crores being trainsported from Russia to Romania. The aim is to gather a team of experts and pull off this daring heist. The experts he manages to bring together are: Ronnie (Bobby Deol) an illusionist, Riya (Bipasha Basu) a locomotive engine expert, Bilal (Sikander Kher) an explosives specialist, Spider (Neil Nitin Mukesh) a master hacker and Sunny (Omi Vaidya) the prosthetic make-up specialist.

There’s also Naina (Sonam Kapoor) who harbours a crush on Charlie but is left flaring her nostrils for the most part as he cozies up with Riya.

Now, will this team of the world’s best players (as we are duly told) pull off this dangerous heist? Is there a rat in the pack? Will someone betray and backstab? If yes, how will the remaining players square up with him or her?

What Players essentially lacks is a deft execution on the part of directors. The director duo, known for relying too heavy on Hollywood inspiration throughout their career, brings in their old world style that’s well past its expiry date. Sample this: all the players (the would-be looters, that is) are introduced in a sloppy sequence set inside a hospital one by one like strippers in a burlesque show. It’s a sequence you can’t help laughing at, and to your gaiety note that you are not the only one doing so in theatre. Rest assured there are such sequences aplenty when the film wants you to gawk seriously, but you laugh perilously.

The action sequences, the train robbery, the car chases, are tacky, at best. The twists and turns are so lousy that you almost foresee them and can’t help going ‘aha!’ at your ‘clairvoyance’ when they come to pass. Among the actors, only Neil Nitin Mukesh and Omi Vaidya deliver what comes close to the definition of a performance.

Before the film’s release, Abbas-Mustan promised that ‘Players’ will “blow your mind away”. Mind? Well, it certainly blows your money and time away.

Last word: Players is neither glitter, nor gold. I say go for old, and watch ‘The Italian Job’ DVD instead.

Rating: 1 star out of 5

By apunkachoice

Movie Review : Rockstar

Director: Imtiaz Ali; 

Cast: Ranbir Kapoor, Nargis Fakhri, Shammi Kapoor, Shikha Jain, Jaideep Ahlawat, Aditi Rao Hydari, Piyush Mishra; 

Running time: 160 mins; 

Certificate: PG

 Borne entirely of the imagination of Imtiaz Ali, Rockstar is the fictional story of Janardhan Jhakar, a small town boy with big dreams of becoming a rock star like his idol Jim Morrison. Lacking any personal tragedy that might infuse his music with passion, Janardhan goes on a quest for love and unwittingly embarks on a journey that culminates in his dramatic descent into oblivion. Using a non linear narrative style, the film depicts his emotional journey, from Janardhan the college geek, to Jordan, the angst ridden rock god who fills out stadiums.

The film opens with a bedraggled Jordan, fighting off police as he makes his way to his own concert. The footage is interspersed with flashbacks to the character in his youth, a gawky guitar wielding rock star wannabe, who sings to queues of people at bus stands.

Rockstar engages you from its very opening sequence through to its emotional denouement. Director Imtiaz Ali adeptly employs a range of elements that, in combination, render the film enthralling. The film is smattered with wry humour and witty dialogue where you least expect it. The non-linear style works brilliantly, maintaining a sense of escalating drama and building to a crescendo, as piece-by-piece we discover the incidents that lead to the genesis of the tormented artist.

Key to the film's authenticity is an outstanding performance by Ranbir Kapoor, who has immersed himself in the role. Kapoor's performance as the wilful Jordan, a loose canon and a free spirit with a sense of entitlement, belies his years, as he undergoes a dramatic transformation. We trace the emotional trajectory of Jordan over a period of seven years, and with subtle nuances Kapoor captures the character's unravelling. Jordan's burgeoning angst is conveyed in his physicality as he transmutes into a Che Guevara styled urban guerilla. Kapoor reportedly learnt to play the guitar for the role and his performance is so realistic that, coupled with the documentary style concert footage, it's easy confuse the film for a real life biopic.

Nargis Fakhri, meanwhile, is well cast as Heer and makes a bold cinematic debut. She brings naturalism, effervescence and incandescent beauty to the role, though her lack of experience is evident in the more intense stand-offs with Kapoor. Both actors have a natural chemistry and convey the unfettered spirit that unites the lovers, and depicting the carefree lunacy of their youth which is displaced by the torment of a forbidden passion and illicit love.

The music is integral to the story and bears all the hallmarks of A.R. Rahman's personal brand of genius. The soundtrack complements the emotional peaks and troughs in the narrative, and set against the backdrop of the stunning planes of Kashmir and Prague, is entirely compelling.

With subtle allusions to classic stories of forbidden love such as Romeo and Juliet and Heer Ranjha, Rockstar is a riveting portrait of the destruction that ensues in the face of passion and desire borne of forbidden love.

A simple story, beautifully enacted, perfectly crafted, there is not much to fault in this film. Exemplary cinema by any standards. 

 By Priya Joshi 

Movie Review : Love Breakups Zindagi

Love and breakups have become a common component of urban zindagi. As much as predictability has become a part of most romantic comedies. This zillionth Bollywood spinoff on the second half of Kuch Kuch Hota Hai is no different! 

Jai (Zayed Khan) and Naina (Dia Mirza) are in their individual mismatched relationships. Until they meet in a common friend's wedding. Amidst song-dance routine, cupid strikes Jai by the interval point. Naina is uncertain until her doting mother advices 'wahi karo jo tumhara dil kehta hai' (how pioneering and profound!) Alas she takes a little too long to decide while the viewer has already reached to the conformist conclusion.

Till date, Bollywood has devised only two alternatives for the climax of a film like this. In the feel good format, the other man willingly decides to let go his ladylove for the main hero (like Salman Khan did in Kuch Kuch Hota Hai). The other option is when this other man acts difficult (Jimmy Sheirgill in Tanu Weds Manu). This film belongs to the former feel-good variety.

While the film could have brought some variety with its other assorted couples, the problem with the writing is that all the supporting tracks are half-baked. Jai's friend (Cryus Sahukar) falls for a 'Sheila' (Tisca Chopra) who isn't exactly 'jawaan'. While this odd-aged couple has its moments of charm and comedy, their bonding could certainly have been explored in a better way. The girl from Dairy Milk ad (Umang Jain) has graduated to having ice-creams here after her multiple break-offs, but her sweet revenge spree was far from funny.

The film does have a lighthearted mood throughout but one does feel that its sense of humour, though not bad, could have been more fine-tuned and sharp. While this brand of comedy is anytime better than a senseless slapstick, there is a feeling that the film could have been funnier. At the same time while the director tries to keep things subtle and avoid melodrama, some situations lack the basic intensity that the drama demands. Like Jai's breakup with his first girlfriend (Pallavi Sharda) comes across so
casually that it seems as if nothing has happened. The pacing is slow and the length is a little too long for a predictable film.

Zayed Khan and Dia Mirza share good chemistry and are decent in their acts. Dia has a natural charm. Cyrus Sahukar underplays his character and is the butt of most jokes. Tisca Chopra looks delightful despite playing a (slightly) elderly female. Umang Jain is cute but has a short-lived character. Vaibhav Talwar plays in a limited range but pulls off his part. Satyadeep Mishra is good. Pallavi Sharda and Auritra Ghosh get no scope. From all the special appearances, Boman Irani is hilarious and leaves more impact that Shah Rukh Khan who doesn't do much beyond playing himself and endorsing furniture brand.

Director Sahil Singha doesn't show any innovation in the storytelling of his debut venture but he still has the command to bring a smile on your face, thanks to the breezy romance and the film's optimistic outlook. While being conventional cinema, it isn't essentially exasperatingly cliched.

Neither utterly lovely nor breakthrough! Love Breakups Zindagi is that variety of predictable cinema that is passable.

Telugu Movie Review: 'Dookudu' an out and out Mahesh Babu film

Film: 'Dookudu'; 

Cast: Cast: Mahesh Babu, Samantha Prabhu, Parvathy Melton, Sonu Sood, Sonia, Brahmanandam, Vennela Kishore, M.S. Narayana, Kota Sreenivasa Rao, Dharmaavarapu Subramanyam, Shaaji Shinde and Nazar; 

Director: Sreenu Vaitlaa; 

Writer: Gop Mohan;

Producer: G. Ramesh Babu; 

Camera: K.V. Guhan;

Music: S.S. Thaman; 

Rating: *** 1/2

'Dookudu' was much awaited because of the two big names of the Telugu film industry associated with it - Mahesh Babu and director Sreenu Vaitla. 

Vaitla has been known for making successful comedy-action films, while Mahesh's movies stood out for his trademark stylish acting, glamour and breathtaking action sequences. 

Since his biggest blockbuster 'Okkudu', Mahesh's performance has always been of higher level. 

Vaitla uses Mahesh's style and presence well in 'Dookudu', which boasts of his signature style of narration and this film too he focuses on punchy dialogues, which will satisfy moviegoers. The touch of comedy is felt in most of the sequences in the second half where focus is on reality show and two eminent comedians -- Brahmanandam and M.S. Narayana -- have been liberally used to entertain the audience. 

There is also Parvathi Melton's well-shot item number. 

Within a few minutes of the film, you will realise that it is an out and out Mahesh Babu's film. His versatility, his dances and body language -- all add up to highlight his characterisation. In many scenes, the actor has allowed two veterans, Brahmanandam and Narayana, to take centrestage. 

Mahesh's character has all the elements that his fans expect from him and there is a good dose of emotion, which may go well with family audience. His love for his father and the emotional sequences that happen in his large family will tug at the audiences heartstrings. 

The film is replete with visual treat and style as each sequence is shot with the backdrop of a rich canvas. 

The story may be formulaic, but there is enough space for entertaining elements. Though the writers have failed to give a credible story and script, artists and technicians make up for it and take the film to a greater height. 

However, music could have been a little better. 

The story starts with the assassination attempt made on an honest politician Shankar Narayan by some anti social elements. Though it is believed that Shankar Narayan is dead, he survives but goes into a coma and his trusted aides keep him in a hospital for 14 years. 

Shankar Narayan wants his son Ajay to be a politician, but he becomes a super cop instead and is on a mafia wipeout spree. He is sent to Istanbul to track down a don called Nayak and there he bumps into a girl who is a stylist and is there to participate in a fashion show. 

Ajay kills many notorious gangsters and finally Nayak, who is also his father's tormentor, is eliminated with others. 

As earlier said, Mahesh Babu's performance and style quotient is the main attraction. Samantha Prabhu has little to offer in terms of performance, but looks good in song sequences. Sonu Sood is becoming quite repetitive in villain's roles. 

The veterans comedy is top class. Parvathy Melton excels in the item song. Vennela Kishor Mahesh Babu's side kick is impressive. 

K.V. Guhan's top class cinematography captures the scenic richness of Turkey as well as Mumbai and many other outdoor spots. The title song and "Guruvaram" are well shot and composed. 

Dookudu is a treat for Mahesh's fans. But others can also enjoy this film for its comedy elements and Mahesh's powerful presence. 

Source: IBNLive.com

Telugu Movie Review: 'Madatha Kaja' has nothing new

Film: 'Madatha Kaja';

Cast: Allari Naresh, Sneha Ullal, Jayaprakash Reddy, Ali, Dharmavarapu Subramanya and Vennela Kishore; Director: Sitarama Raju; 

Producer: K.K. Radha Mohan; 

Music: Vasanth;

Rating: ** 

Telugu film makers are weaving the same type of stories and remixing the content of films already released. They end up making silly movies, but yet complain that well made films do not run. 

'Madatha Kaja' featuring Allari Naresh in the lead role may well remind you of films like Ravi Teja's 'Mirpakaay' and 'Don Seenu' released just a few months ago.

But one thing that is distinctly clear in 'Madatha Kaja' is that the film is made with very poor production values and the hero Naresh just looks like a poor man's Ravi Teja. 

That is the real tragedy of 'Madatha Kaja' as Naresh is really talented and can be a great entertainer if he is properly supported with a good script and if the film is handled by a competent director. 

This is amply clear from the number of hits Naresh and his famous father E.V.V. Sathyanarayana have delivered and you will understand the potential of the former in author-backed roles. 

Besides the hollowness of the script, 'Madatha Kaja' suffers from other aspects as well. 

The dialogues lack the punch and many sequences in the film fail to make any impact. Comedy films need to have good, quality dialogues of great entertainment value. With passive dialogues, the predictable comedy sequences are not hilarious enough to make the audience laugh. 

The film's heroine Sneha Ullal, a look alike of Aishwarya Rai, struggles with acting. 

Kalyan from Visakhapatnam is a police informer who is in love with Sneha. As his mission in catching criminals by tipping off police is hugely successful, the police chief wants him to go to Hyderabad to give information about a notorious don Nanda who is controlling illegal activities in Hyderabad by remote control from Bangkok.

His trusted lieutenants J.P. and K.P. running separate gangs are always fighting which results in bad execution of activities and losses to Nanda. 

Nanda wants to bring in some unity between JP and KP. He decides that KP's daughter Sneha should marry J.P.'s son. 

Then Kalyan decides to bring Nanda from Bangkok and uses his intelligence and guile to eliminate the don's gang. He also gets his lady love Sneha. 

Allari Naresh tries to deliver justice to his routine role and he evokes laughter through some of his funny mannerisms and dialogues. Sneha Ullal is ordinary, but looks good in song sequences. The veterans have put in a good show. 

'Madatha Kaja' is certainly not in the same league as Allari Naresh's earlier films like 'Kitha Kithalu' and 'Seema Thupaki'. 

If you have no other better alternative, you can watch 'Madatha Kaja' once.

Movie Review: Hum Tum Shabana

Movie : Hum Tum Shabana

Cast: Tusshar Kapoor, Shreyas Talpade, Minissha Lamba, Satish Kaushik

Direction:Sagar Ballary

Production:Sunil Chainani, Sameer Chand, Srivastava, Subhash Dawar

Story /Screenplay: Farhajaan Sheikh

Music:  Sachin-Jigar

Rating:           **

Hum Tum Shabana is intended to be a comedy movie revolving around two boys – Rishi (Tusshar Kapoor) and Kartik (Shreyas Talpade,) competing against each other in the office at work; as well as outside the office, to woo a beauty pageant contestant – Shabana (Minissha Lamba). Shabana’s uncle (Satish Kaushik), an underworld don, is adamant to find the right groom for his niece. Now, race between the boys, instead of winning the lady, takes turn to get out of the clutches of this gangster.

Sagar Ballary seems to be losing his proven expertise at simple mindless comedy of Bheja Frying, and has to hide behind silly slapstick in Hum Tum Shabana.  The first half fails to tickle; while the second half makes you to join the race of fleeing the flick.

Outdated story with patchy writing and countless ramp walk rounds substantiates the writer’s obsession of Madhur Bhandarkar’s ‘Fashion’ sans its glamour and charisma; and screenplay, with dreary jokes, fails to entertain the viewers.

Tusshar Kapoor and Shreyas Talpade can’t add any spark, neither can Minissha. Veteran comedians Satish Kaushik and Sanjay Mishra hold the burden of providing some hilarious moments in the second-half with their witty gags; however, poor script does not provide much scope to them either.

Overall, if you are looking for some light comedy, Hum Tum Shabana is not it, for sure!