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Mubarakan (2017)
A Mood Lifting Family Entertainer
Story: 'Mubarakan' is a story of twin brothers; Karan and Charan, one is based in London while the other is from Punjab. Karan is head over heels in love with Sweety (Ileana) and Charan has a soft corner in his heart for Nafisa (Neha Sharma). Their families are unaware of their relationship. Enter Jitto (Ratna Pathak) who sets up Charan's marriage with Binkle (Athiya), daughter of the rich Mr Sandhu (Rahul Dev). Charan seeks uncle Kartar's (Anil Kapoor) help to solve his love-problem. The rest of the film is about how the two brothers, along with their uncle Kartar solve their problems, confusion and all the madness that surrounds the family.
Review: Mubarakan is one of those films that entertains from start to finish, a 'paisa vasool' entertainer of a dysfunctional Punjabi family. It doesn't get into slapstick zone, the funny scenes haven't been forced into the screenplay to make the audience laugh. Instead, what we get is a bunch of actors who excel with their comic timing and situations that will have the audience in splits. The first half is excellent, Anees Bazmee is in top-form, as good as he was in films like 'Welcome' and 'No Entry'. Things begin to slow down in the second half and as the drama takes over from the comedy, the film gets more predictable. But 'Mubarakan' does end well.
Moving on to the performances, Mubarkan is Arjun Kapoor's best performance since his debut film 'Ishaqzaade'. He excels as Charan, the Punjabi character. What stands out is the amount of shared screen-time that both characters have. It would've been incredibly difficult for one actor to make two characters look completely different. Arjun succeeds and how. Anil Kapoor is fantastic in Mubarakan. His comic timing and expressions add tremendous value to the film. Pavan Malhotra is brilliant. Ileana D'Cruz looks stunning and acts well. Athiya Shetty has less screen time, she is okay. Neha Sharma has a small role, she does well. Ratna Pathak is excellent.
The music of the film is a mixed bag. 'Hawa Hawa' is the best song in the album and it's the only song that stays with you after the closing credits. Amar Mohile's background score is good. The cinematography and production design are top notch, something that wasn't visible in the promos of the film.
Overall, 'Mubarakan' is one of the most entertaining films of the year so far. A film that should be watched and enjoyed with the entire family. It has scenes that you recall and laugh, after the film has ended. It's films that 'Mubarakan' that most of the Hindi film audience has grown up watching and it's these kind of films that have, quite unfortunately, been missing on the silver screen. If you love clean entertainers, 'Mubarakan' is the film to watch this weekend.
Positives: Anees Bazmee's direction Clean family entertainer Excellent first half Performances by Arjun Kapoor, Anil Kapoor and the rest of the supporting cast.
Negatives: Second half weaker as compared to first.
Massu Engira Masilamani (2015)
A sixer in typical Venkat Prabhu style
Every time Venkat Prabhu's movie hits the theatres the expectation is to see variety with a bash of youthful energy, and the ace director this time has adopted the most successful genre in the recent times- horror comedy. Both stars Venkat Prabhu and Suriya have been aching to get back to the business after Anjaan bombed at BO and Massu seems to have laid the road, let's dig in and see what's spooky about it.
Plot:
Horror Comedy is quite an interesting concept and now it's not far away from being deemed as "Done and dusted", well here is VP with a new trick up his sleeve. Considering the genre of the movie, the lesser you know its better. The movie kicks off with Suriya and Premji two bonded-for- life amigos, who thrive on petty robberies. A song, action and a pot boiling chase stops at an accident after which Suriya is bestowed with a super natural power of seeing dead people. Why, what and how he deals with the power is to watch and relish.
Suriya and Premji set the pace of movie with light hearted comedy amidst spooky super natural elements in a rather interesting way. A horror movie is never complete without a flashback and a strong backstory. In 'Massu' you do see them after a series of VP's usual topsy turvy twists. When we say Horror, there is a big expectation of a scary road down the lane with some thrills and fear, Masss is more of a "Dealing with spirit's and their emotions" kind of movie and would be a long shot to put it in Horror genre. The first half is about how Suriya blends with his character of Massilamani the Masss, accepts his fear factor and channelize it to make it a living out of it. Once the core plot starts unveiling, the later part of second half does become very predictable and the screenplay chugs along with just the entertainment quotient to make it a fair play.
The "other" Suriya is a surprise element and VP touches the character with a Sri Lankan Tamil flavor and kudos to Suriya for pulling it rather brilliantly with the help of Rajasekar's perfect cinematography, not to forget the CGI effects through the movie giving life to the spirits. Nayanthara and Praneetha are the two leading ladies in 'Massu' and they have little to offer to the script and merely play love bugs.
VP's movies are always rich in casting, an ensemble cast of biggies, and a few cameos are his signature style. In Masss while Arvind, Jai, Vijay Vasanth appear in a cameo, two other important stars Parthiban and Samuthrakani add their star value. Both of them have meaty roles as a policeman and a politician, good or bad? Well watch and find out.
Things that stand out:
Suriya's characterization as Masss the hero and as a Srilankan Tamilian is commendable, as with all of VP's movies, he brings out the best out of his heroes. Suriya's dialogue delivery and screen presence catapults the movie forward. To quote a scene, the one in which Suriya feels for his friend Premji in front of Nayanthara is hilarious. VP has been stereotyped as the director who loves party hard movies, a bit of adult humor and all that but in Masss he has steered clear of those elements and has given a wholesome family entertainer with an interesting storyline for the summer. As much as we ridicule Premji's antics we cannot but admire him here for his timely tickles and his funny body language, which make a definite impact in Masss. Yuvan's music is certainly not the best, but the Poochandi and the BGM in the revenge sequences are a definite treat. The Poochandi song starts off in MJ's thriller style and then moves in good spirit, you really have to applaud VP for placing the song at the perfect juncture of the movie. A Special mention to stunt master Silva in the first half, for the car chase and fights made up for the action ingredients required for the commercial flick.
Things that could have been better:
The film is spanned around 155 minutes, but it's those predictable scenes that make the sequences look even longer than reality. The Editing work in the first half is crisp especially with the one liners and comedy scenes not dragging, but loses steam in the second opening doors for improvement. VP's known for his signature style delivery of his intended storyline, Masss however is little less on the funny quotient and rather relies and thrives heavily on Suriya's super strength and mass factor. As with most of VP's movies the heroines don't have much of a part and a mature actress like Nayanthara could have been used better.
Verdict : In all, the movie is a good watch for this late summer to quench your thirst with laughs and occasional surprises.
Welcome to Karachi (2015)
Jacky n Arshad try to save...but film overall sinks
Story: Shammi (Arshad Warsi) and Kedar Patel (Jackky Bhagnani) are like Lloyd and Dunne of Dumb and Dumber. They are bestiez who have grown up together. Kedar is the son of Mitesh Patel (Dalip Tahil) who is an event manager for weddings in Jamnagar, Gujarat. Shammi on the other hand is an ex-navy officer who is kicked out of the force thanks to his stupidity. While Kedar is obsessed with going to the U.S., after being rejected a visa because of his surname.
On a drunk night, Shammi suggests that he and Kedar leave for America on a cruise, even though they laugh it off in that instance, in a freak accident by the sea, Kedar and Shammi who are supposed to manage a wedding baraat on a cruise, leave without the baraatis only to lose their direction and land up in Karachi, Pakistan.
What entails is a series of stupid events as they enter forbidden territories of Taliban.
Star Performances: Arshad Warsi as Shammi Thakur is decent enough. He does what he is best at, excel at the comic timing but it's just that the content does not support much here. We have seen him do much more rib tickling fun in other films and I wonder what made him choose this.
Jackky Bhagnani as Kedar Patel tries his best to perfect the Gujarati accent and he does manage a good attempt. Only in a certain scenes, it becomes ham but overall he holds it well. His character is an understatement for dumb and he pulls it off just fine.
Lauren Gottlieb promoted this film with full swing but little did we know that she has only a blink and miss performance in the film. She essays the role of an Intelligence officer but other than her song Shakira, she hardly has any screen space.
Direction,editing & screenplay: Ashish R Mohan directs this film and well, I have a lot of complaints for him. To start off, the film's special effects look pathetic and the scene where Shammi and Kedar are caught in the sea storm, the special effects used are so weak that even TV serials have better ones.
Secondly, if it is a comedy film, one need not use background music that hammers into your head the cues for every upcoming joke. I am completely not in favour of those 'tings' and 'tongs' that play pre and post jokes as if watching a comedy show.
The first half in itself is a tiring ride with majority of the gags failing and so when the second half kick starts, you have already given up on the film. The curse of the first half continues in the second, leaving you wanting to see predictable ending. The film has an open ending and well, if they earlier thought of continuing with a sequel, the makers need to sleep on it and forget this dream.
Basically, the director tries nothing to save his already shoddy content as even the music has disappointing tracks.
The Last Word: Welcome to Karachi promises nothing but slapstick humor. There is not one moment in the film where you get a good laugh and sadly not even a satirical one. This proved to be a yawn-fest for me and I am going with a 4/10 for the film.
Tanu Weds Manu Returns (2015)
Watch it for Kangana & Co.
Story: Four years down the line after a dramatic wedding, Tanu and Manu are settled in London and have fallen in a usual marital rut. Sentimental Tanu always looking for excitement and adventure in life is finding it hard to put up with a regular guy like Manu. She is ruing the loss of romance and he is just struggling to figure out what exactly has gone wrong. A visit to a counselor makes the matters worse and Tanu and Manu are separated.
Tanu is back in Kanpur trying to overcome the mental turmoil within, by trying to connect with her past, trying to find some footing and some assurance, somewhere. She is back to her wild ways. This time, with a flavor of a London returned small town Desi. While she is busy giving culture shocks to her folks, Manu is back home too. He is a nervous wreck who is unable to handle what his life has come to. Both of them don't want to be with each other.
While Tanu connects with Raj Awasthi, Manu finds a Tanu lookalike who captures his imagination. Athlete Kusum alias Datto is a feisty, smart, independent young girl who has just started out in life and is in the age of dreaming about life, career and love. Manu is unable to get his thoughts off her and an unlikely love story seems to be taking shape here.
The two loose ends of Tanu and Manu's life intertwine again. Raj Awasthi who formed the third angle in the love story of Tanu and Manu is involved in Tanu and Datto's story as well. Chintu, a young lawyer who lives in Tanu's house as a tenant who never pays rent, also plays his part in complicating matters. It becomes a sort of 'love pentagon' for a while.
Tanu and Manu go through a whole turmoil of not wanting and deep down so wanting each other. The story reaches a point where Manu is all set to marry Datto. Tanu is running errands, doing all sorts of work and witnessing every single happening around Manu's wedding as if to punish herself for blowing it off. Raj Awasthi by this point is ready to accept Tanu yet again. And Tanu seems to have retained a thing for him as well. Raj Awasthi is also not averse to the idea of marrying Datto as she looks like Tanu.
Now, do Manu and Datto get married? Is Chintu able to create problems that would change the face of any of the relationships? What happens to Raj Awasthi? And finally and most importantly, what happens to Tanu and Manu? Watch the film to find out. Kangana Ranaut and R. Madhavan in a still from movie 'Tanu Weds Manu Returns' Star Performances: This film belongs to Kangana Ranaut. This is another stellar performance by her after Queen. Here we have not one but two Kanganas. Tanu along with all her 'care a damn' attitude and in your face frankness also has a touch of cynicism, this time around. It is brought about beautifully by the dialogues and essayed marvelously by Kangana. She is totally rocking and endearing as the feisty but good natured Datto as well.
R. Madhavan as a depressed, patient man who sees a glimmer of hope and love in Datto is perfect. He does justice to the character of a man who badly wants love but is not totally convinced of what he is doing.
Deepak Dorbriyal plays his character like a caricature. So, he seems to be overdoing it at times but some comic madness is always welcome.
Jimmy Shergill is excellent as a little sobered down Raj Awasthi who is still protective about Tanu.
Mohammad Zeeshan Ayub shines in a small role and so do Swara Bhaskar and Rajesh Sharma.
Direction, editing & screenplay: A cleverly written story is handled by Anand L Rai in a neat manner. He keeps it perfectly balanced and controls it beautifully. Except for Pappiji, the characters are real and meaty and characterization, spot on.
A special mention should be made for the dialogue writer Himanshu Sharma. He gives some killer one liners along with overall smart, funny and pertinent dialogues that help immensely in characterization. Mr. Sharma is also credited with the story and screenplay and one must say that this film actually belongs to him.
Along with the Tanu and Manu's story, the film also touches upon the issues of gender equality, respecting and valuing women, accepting a child born out of medical intervention etc. These issues are touched upon in the flow of the story without disturbing the texture of the film or without being preachy. That's a great achievement. This film also achieves a rare feat of a sequel being better than the original.
DOP Chirantan Das has given the right look and feel for this caper. Editing is crisp and enhances the overall impact of the film. All in all, a great package.
The Last Word: This is a real Desi rom com with a slightly quirky touch. It will leave a big smile on your face as you leave the theatre. Go, enjoy!
Piku (2015)
Constipation at its very best
Story: Piku Banerjee (Deepika Padukone) is a young woman in her late twenties who lives in Delhi with her 70 something father Bhaskor Banerjee (Amitabh Bachchaan) who suffers from constipation. While her day starts with her father whining about his unsatisfactory motions, Piku who is an architect and co-owner at a firm removes her daily frustration on the service that drives her home. Scaring the drivers with her difficultly stubborn attitude, the owner of Himachal cab service, Rana Chaudhary is in a fix as his drivers refuse to travel with her who is their regular customer. Piku's partner in business and also a person that she is involved in a casual physical relation with (Jisshu Sengupta) is the only other man other than her dad whom she connects with.
Coming from an extremely progressive background, Piku's father is not only aware of her physical relation but also wants her to remain unmarried until she has the right aim to and does not want her to give away her professional success and aspirations for some man she marries. This is reflective of his own marriage since after he marries Piku's mom, she leaves her job to take up household responsibilities, something that Bhaskor does not want Piku to repeat in her life.
While Piku's father is aging and is going through the paranoia of constipation and death, he wishes to visit his Kolkata home that Piku is planning to sell. Annoyed after going through series of arguments daily over her father's health which is medically stable yet a illusion for him, Piku decides to take him to Kolkata.
Well, since he cannot travel in either trains or airplanes due to his self-proclaimed health conditions, Piku is forced to book a cab from Rana's service. What lies ahead a 40 hour long journey, an unimaginable road trip.
During this will Piku realize how similar she is to her father and also is there a possibility for her and Rana to have a romantic angle? Watch it!
Star perfromances: Deepika Padukone is on a roll. She has been on a great stride ever since Chennai Express and what appeals to me even more is her choice of films. With Piku she proves how easily she can sneak into a character that seems naturally her. I finally got to see more Piku than Deepika in the film.
Amitabh Bachchan is once again successful at proving that he may be old and ageing but we still have so much more to see from the veteran actor. As Baba, he is the most stubborn father you will come across. The actor gives the film the required élan that is probably inherent to him as an actor.
Irrfan Khan as Rana Chaudhary completely rocks. I am not surprised at all at the brilliance of his act because I am aware that he is an actor of a great stature and post The Lunchbox, I bet none would doubt that. Rana's character became my favorite from the film and Irrfan pulled it off with much ease.
Moushumi Chatterjee is just her Bong self. She plays Piku's 'maasi' who is extremely straight forward. Chatterjee brings in a good quirk with her act.
Raghuveer Yadav plays the role of Dr. Srivastava who is seen in a small role yet noteworthy. Jisshu Sengupta plays Syed Afroze, again a small role yet quite satisfactory.
Direction, screenplay & editiong: I have to admit, after Piku, I have become a bigger fan of Shoojit Sircar. After a hilarious Vicky Donor, a thrilling Madras Cafe, he presents us an emotional and melancholic Piku. The film right from its first frame builds a certain aura that is extremely homely. Showcasing a father-daughter relation at a stage where it is probably the most important, Sircar wins you with the tale. Shooting across locations in Delhi, Benaras and Kolkata, his locations are eloquent of the emotions that lay underneath the story.
Director of Photography, Kamaljeet Negi's visuals are endearing as we see a beautiful sunrise from the Howrah bridge or even the calm that the night shoot of Benaras ghat captures. Rest of the indoor scenes take you into your drawing rooms. Editing is crisp, just that the interval seems a little abrupt bit overall limiting the film to a two hours fifteen minute journey, Sircar's work is perfect.
The last word: Piku will make you laugh, cry and smile all at once. It is a slice of life film that captures a rather unseen but the most real father-daughter relation ever. Don't miss this endearingly honest piece of work!
PK (2014)
PK Makes The Important Points In Right Manner
'PK' is latest offering from blockbuster duo of Aamir Khan and Rahkumar Hirani. They deliver first 200 cr film '3 Idiots' and this time expectations are for 300 cr. Let's see whether they manage to achieve that.
Film has rather interetsing plot. Alien PK (Aamir Khan) lands in Rajasthan and he lost his connection with spaceship and so he tries to survive on earth on his own. But his mannerism and thirst for knowledge of this new planet result in questioning of basic premises of religions. Though this sounds similar to 'Oh My God!' but that was more entertaining and here the treatment is more serious. In middle of this journey he meets good friend Bhairao Singh (Sanjay Dutt), Jaggu (Anushka Sharma). Jaggu is a student from Belgium but her role is half baked though that looks deliberate. In the end how PK manages touch upon some relevant issues and leaves a mark form the climax of the film.
Performance wise Aamir Khan is simply outstanding and his methodical acting in every frame is commendable. He never goes out of character and his emotional impact is superb in climax. Anushka Sharma again gets 'Jab Tak Hai Jaan' kind of character which is catalyst but not a typical actress role. She manages to make a mark despite half baked role and presence of Aamir. Sushant Singh Rajput looks like a star and even in brief role he is too good. Boman Irani and Saurabh Shukla get very little to do and Sanjay Dutt is decent.
Film has some real boring songs and all songs work as welcome break in the film. Editing is uneven and cinematography is decent. Background score is good. Story and screenplay are so tight that they manage to hold the film together throughout despite flaws. Dialogues are strictly average and at times Bhojpuri dialect looks out of the place. Art department and costume department are below par.
Director Rajkumar Hirani again makes an entertaining social film where he raises few important points in right manner but this time impact is no where clsoe to his best work 'Lage Raho Munnabhai'. Film tries hard but then that should not be visible. Because it is releasing after 'Oh My God', the novelty goes away to some extent.
Film will release today and will get 4000 screens which will be apt for such film. Film will do roaring business in multiplexes for sure but will single screen audience embrace this content remains the question. Still a big hit is on the card for sure but how big is the million dollar question!
Go for this one for right medley of entertainment and message!
Pluses: Aamir Khan excels once again with his methodical approach, Aushka Sharma looks fresh, Sushant Singh Rajput is scene stealer, Sanjay Dutt is average, Saurabh Shukla and Boman Irani remain underutilized, excellent screenplay
Minuses: below par dialogues, boring music, uneven editing especially in 2nd half
Verdict: Watch it for perfect script and stellar performances
Lingaa (2014)
Watch it for Rajni Sir...
Story: Pon Kumaran and Cheiyyar Arun did fine work with the scripts and dialogues of Lingaa. The flow is visible during the movie. Lingaa (grandson) of Raja, is a petty thief in the present times, who spends his days plotting and looting valuables along with his gang, while Raja Lingeshwaran is from British period, who also happens to be a British collector and a civil engineer from Cambridge.
Lakshmi (Anushka Shetty)'s grandfather asks her to hunt for Raja's grandson and bring him to fulfil the promise of his father, who died in Solaiyur. Before his death, he had sworn to god that, the temple of Lord Shiva constructed by Raja Lingeshwaran, will either be opened by the Raja himself or by his son or grandson. Lakshmi finally tracks the heir, who happens to be none other than Lingaa and convinces him to come to Solaiyur.
Then follows the real story!
Star Performances: No words for superstar Rajini. After all, he is the god of Tamil films. His highness again made wonders by the typical Rajini performance.
For a change, Sonakshi Sinha actually did a good job. Playing the daughter of a farmer from Solaiyur, she did justice to her character. But, one thing I did miss about Sonakshi, was her original voice in the movie. Why dub her voice? Sometimes, it's better if the dialogues come in their original voices and tones, just like when other southern actors work in Bollywood movies.
Anushka Shetty like always, was superb. Her beauty and charm is always appreciated.
Given any character to play, Jagapathy Babu always does justice to it and comes out with shining colours.
Santhanam, from being a friend during the theft, to the close buddy of Raja Lingaa
all was justified. No one can beat Santhanam for his comic timing.
Direction & screenplay: Action, what to say, this is as much expected in Rajini movie, though some stunts shown during the climax of the movie were over exaggerated. But, I think that could be seen only in such movies, as it suits him. Direction was good by KS Ravikumar. It was a perfect gift for Thalaivaa on his 64th birthday.
The Last Word: Go, watch it. If you need a break from your schedule, and you want it to be full of entertainment, then I guesss, Lingaa would be a perfect movie to go for. Watching the superstar Rajini is a real treat. Nothing can be soothing than watching Thalaivaa on a big screen in dual avatar. One should never give a miss to him.
Action Jackson (2014)
Na story na direction only loo breaks.....
Story: Vishi is a local goon who basically likes beating up people to get his work done but is nonetheless a kind-hearted person. On the other hand Khushi is an extremely clumsy girl who keeps losing her chances with destiny and gets suddenly lucky after she accidentally meets Vishi.
Amidst the building chemistry between Khushi and Vishi, local cops and an international don named Xavier are on the look-out for AJ aka Jai who is a look alike of Vishi and is in the same city. The story takes a major turn of events when both AJ and Vishi come face to face.
Will AJ's past create problems for Vishi's future?
Performances: Ajay Devgn is a huge disappointment in this film. The otherwise brilliant actor seems too volatile in this role. Though he excels in the scenes which have action, the actor does not seem comfortable pulling off the comic undertones and it would be best left unsaid for the parts that he tries the 'Prabhudheva' style dancing.
This is Sonakshi Sinha's third film with the director and sadly she shows no growth whatsoever. The actress essays her usual self and nothing extraordinary to it.
Yami Gautam looks radiant in every frame that she is a part of.
Debutante Manasvi Mamgai reveals quite a lot with her negative character. But her acting is extremely weak and it would be safe to say that you would find her heaving much more than speaking in the film.
Direction Editing & screenplay: Unfortunately, this is the second time Prabhudheva fails me after his 2014 film Ramaiya Vastavaiya which was a flop. Even though I was hoping him to step up and make Action Jackson a second or an even better Rowdy Rathore, it couldn't come even a second close. He adds all his usual ingredients of action, comedy and Sonakshi Sinha but this time the recipe failed big time.
If only the story was a little stronger, the film would have been worth a watch but when topped with its pathetic background score, even minutes turn to hours. The absurdity with which the songs have been included in the film is shocking.
Gravity defying action sequences are a staple in his films and that is constant here too. There is a lot of play with lighting but is quite disturbing to see every action scene in a gloomy and rainy setting. The film is a drag for over two hours and that certainly talks quite a bit about the editing department.
The last word: Action Jackson matches up to neither Prabhudheva's film making nor an Ajay Devgn film. It is an extreme downer for those expecting a full on action-packed 'masala' film. With a done to death plot and an absolutely nothing new to offer, the only thing that this film latches onto is Ajay Devgn who maintains his swagger well enough. I am going with a 3/10 for Action Jackson.
Madras Cafe (2013)
Shoojit Sir & John back with a bang...
Story: Vikram Singh is deployed on a covert oppression to Jaffna. After India and Sri Lanka signed the peace accord in the mid 1980s, India took it as their mission to help its neighbors relieve themselves from the ethnic strife between the Sinhalese and the Tamils. Hatching a plot to bring down Anna, a popular Tamil leader in the zone, Vikram begins with trying to team up with Anna's opponents in the beginning.
Falling prey to a leak, he loses his first shot with Anna and gets kidnapped by his forces! However, now hell bent on getting Anna to bow down, he teams with Anna's own men and manages to ambush his army. However, Anna manages to survive and returns even more powerful by eradicating Indian forces off Jaffna and Lanka.
Plotting ways to kill the former Indian Prime Minister fearing that he will return to power, the film is a tussle between the war makers to safeguard their interests! And for Vikram, it is the story about how India lost its Prime Minister in an assassination which the nation has still not forgotten!
Performances: John Abraham as Vikram Singh topples all his previous performances. He isn't a very flattering actor but his clever choice of role and wicked acting surely shows a remarkable improvement. He isn't the John who couldn't emote. He is the John who isn't afraid to take up challenging roles and carry them out gracefully.
Nargis Fakhri with her British accent is pitch perfect. She may not be a show stealer but does her bit with élan retaining the correct persona for it.
Siddhartha Basu is quite a natural as he smoothly slips in the role of R.D. His intelligence shows in his eyes, and he manages to command respect in his character! Never stepping a wrong stone, the man should have taken up acting long back!
The supporting actors are all impressive but in the end, this film is more about its intent and plot than about its actors!
Direction,editiong,screenplay & music:Shoojit Sircar is back after a long hiatus since Vicky Donor. He strings into the same plot, the emotional wreckage and physical devastation of war to emphatically put forth the futility of it all. In the climax, Shoojit concludes with, "One man's revolutionary is another one's villain!" followed by a few stellar lines of Tagore! Truly, in the clashes of mindsets the only people who suffer are commoners who seek only peace and happiness from their lives.
As Lankan leader Anna strives to garner power and Indian Government attempts to achieve their political motive of maintaining monopoly in the subcontinent by maintaining friendly relations with Lanka to obtain access into the South East Asia, Sircar wonderfully relates the story of anarchy, bloodshed and meaningless war which continued for 27 long years killing thousands. In the end, he does squeeze out a potent message about the nugatory nightmare of the wrath of war! Shoojit intelligently executes a crisply written story which is executed breathtakingly. The editing of the film is quite well done, as the docu-drama style doesn't stir up any boredom. Shantanu Moitra's music is pristine and haunting as the climax wraps up with Papon crooning Maula Re.
The last word: Madras Café is a hypnotically created masterpiece which thrives in the freshness of its conception. Using history with drama to build a persuasive tapestry of enthralling action, energetic plot and skillful narration of the grim phase of Lankan War, Shoojit Sircar astonishes with this fascinating docu style dramatic movie. I am going flatly with a 9/10 this triumphed work of passionate and compelling cinema.
Bey Yaar (2014)
Take a bow....Gujarati film with a bang
Story: "BEY YAAR" features the story of Chako (Chintan) and Tiniyo (Tapan) and their friendship. They are two fast friends who wish to earn money via the easy and short route, sans too much hardwork. But things have never been easy that way, and soon they are in a soup. How they get out of it, learning from the bitter experiences is all what "BEY YAAR" is about.
Performances: The acting by all the actors is superb. As Chaka, Divyang Thakkar is once again in fine form after Kevi rite jaish. He is particularly good in the emotional scenes. I still feel though that a shaven look would suit his character better. (Lol)
His yaar Tiniyo is played by Pratik Gandhi and he is perfect. With some flawless acting and a cute face, he is too good. However, the veteran actors steal the show. As the bad guy, Manoj Joshi is simply brilliant. This is a role he sleepwalks through. But he does even that with elegance. It is a pleasure to watch this versatile actor act.
But the star of the film is Darshan Jariwala. As Chaka's father, he is simply outstanding. Be his comic timing in the alcohol scene or his emotional outburst just prior to the interval, he is mindblowing. This film wouldn't have been the same without him.
Amit Mistry as Prabodh Gupta / Pranav is another flawless show. He is smooth, hilarious and perfectly cast.
Kavin Dave as the 3rd yaar is awesome. As the narrator, he is perfectly cast and a crucial character in the movie.
Direction: Direction by Abhishek Jain is pitch perfect. He directs every scene like its the last scene he is going to direct. No words can describe his direction in this movie.
Music: Sachin – Jigar's debut Gujarati outing is just superb. With just four songs, they still play a huge huge role in making the movie so good. All 4 songs are perfectly placed, appearing apt and never out of place. There is no unnecessary song, and the 2 versions of the title song stay with you long after the movie has ended. The background score of the film is another major plus point. It is very well done.
The last word: To sum up, "BEY YAAR" is a fantastic movie. It once again proves to the entire film industry that Gujarati films are not to be taken lightly. It is well made, has a solid story, has some great acting and music, and is thoroughly entertaining. It shows friendship the way it happens in Gujarat. It shows family life the way it happens in Gujarat. In short, it is something everyone can relate to. It had me longing to go on a bike ride with my best friend and click a SELFIE.
Take a Bow guys!!!
D-Day (2013)
Perfect Show stealer
Story: The nabbing operation of India's most wanted man that is carried out by four undercover agents, all of them come with their own personal baggage! Nabi Ali (Irrfan), stationed in Pakistan for years has already set up for himself emotional attachments. Rudra Pratap Singh (Arjun), a former Armed Force' officer is exactly the opposite and prefers being detached. Zoya (Huma) dumps her familial happiness and chooses her patriotism over it. And Aslam, who serves as the spy in the Don's 'kafila' joins hands in an impossible mission. On the eve of of his son's wedding, the mission that will result in the downfall of this notorious don is to be executed. How brilliantly the climax is tied up with its shockers and teary jerks are what make D-Day so unparalleled.
Performances: This high octave action flick depends heavily on the prowess of its actors to valiantly carry forward the story and each of the vital work of these actors turn out to be nothing short of stellar.
Rishi Kapoor as Goldman, the man fashioned on the iconic underworld character Dawood Ibrahim arrives with the enigma that his name is meant to convey. Getting every note right, he gives an impactful performance. The man is colossal in his notoriety!
Irrfan as Wali Khan is impeccably wonderful both in his tender moments and the high drama ones. How in a matter of one simple film this man has in his role such diverse hues is unimaginable. The accomplished actor he is, his tendency of constantly pushing the envelope further is what makes each of his work so distinct and yet doesn't blur in terms of marvel. He makes Wali both delicate and fiery with stunning ease.
Arjun Rampal has evolved for the better as an actor. His infallible personality and his portrayal that has hints of both anguish and strength is what makes him stand out despite the presence of more powerful actors. He acted like a dream and that is commendable, to say the least.
Huma Qureshi tackles her part with gusto and as compared to her role in the recent Ek Thi Daayan, she is light years ahead. A female soldier whose sacrifices are way beyond merely putting her life on stake, Qureshi's strength is in her simplistic acting.
Sriswara as Irrfan's wife is an excellent actress who known the right mode to enliven her role. Her chemistry with Irrfan is so adorable-ish, that your heart goes out to her helplessness!
Shruti Haasan as an actress is obviously great, but her character is quite misplaced. Nevertheless she carries out her role to perfection especially the power with which she manages to choke you up in the song 'Alvida'.
Direction & screenplay: Nikhil Advani's tangible movie is innovative in its vision and involving in its demeanor. The direction is so deeply fascinating, that one remains obviously latched to the movie. He carefully refrains from making any bit of it melodramatic which is perhaps the most effective part of the movie. Perhaps the only hiccup for me was the song 'Alvida' which in my opinion attempted to romanticize tragedy and pain very wrongly. It's a quite a shock that this man went wrong enough to make squibs like Chandni Chowk To China and Salaam-E-Ishq.
Tom Struthers and John Street's (of Inception and Dark Knight fame) stunning stunts right from Hollywood frames terrorizes with the right punch.
Tushar Ray's cinematography is picture perfect as he gives the right amount of anxiety to the story. The film's mayhem doesn't get anarchic and furnishes itself convincingly. Shankar-Ehsaan-Loy's soundtrack croons with a haunting feel and syncs wonderfully in the film's story.
The last word: Nikhil Advani's D-Day is by far one of India's most applausive high octave action films, which has a charming rendition in terms of an emotional plot. Appealing performances and the menacing story makes for decadent palette. I am going with a 9/10 for this well textured, fabulous film that will leave you speechless and overwhelmed without becoming imposingly patriotic.
Haider (2014)
May be the best of 2014
Only Vishal Bhardwaj could have thought of giving Hamlet the tinge of poetry, wit and yet ironically set it in a troubled Kashmir. There is a keenness in the way he handles the subject. From Peer's judgement of Kashmir in 1995 to the performances Bhardwaj extracts from his cast, it's all exquisitely done, beyond words can express.
Story: Haider (Shahid Kapoor) is a poetry student who is forced to return home when his father (Narendra Jha) disappears. Taken into custody for keeping a militant at his place, the doctor has gone missing. Haider returns to find his mother laughing with his chacha, hinting at a strong relationship between them. Ghazala (Tabu) from the onset is a tugging prop between Haider and Khurram (Kay Kay Menon). Amidst his life falling apart, his only solace is his fiancé Arshiya (Shraddha Kapoor) a righteous journalist.
Haider is hell bent on finding out what happens to his father and clues take through a journey where deceit is the norm and the most unlikely people have been disloyal to his Abbuji. Haider's motive becomes revenge and does he succeed in it at all is what the film narrates.
Performances: When it comes to performances, everyone is on the same page in this film. Shahid Kapoor brings out his genetic brilliance and gives an ace performance. From covering Hamlet's vulnerability to his anger about deceit, Kapoor delivers it all with breathtaking valor and immense sincerity. He slips from frame to frame, mood to mood with precision and ease that only someone who is convinced and confident can get.
Shraddha Kapoor as Oephilia or Arshiya as in the film, is great. Beautiful, innocent and smooth, she is better than most of her ungrateful roles.
Tabu brings her own to Gertrude. She plays Ghazala with flair and gets a haunting quality to her silence. When her son tells her she has two faces, the heartbreak shows on her face. Her beauty is such in the film that it reflects her state of mind. Her happiness speaks through her eyes, her pain shows even before she has slapped her son to express the same. Only Tabu could have brought alive Gertrude in Ghazala.
Irrfan Khan in few scenes in the film, is pitch perfect. He is the Quintessential Shakespearean prop that drives Hamlet and the actor is at his wicked best. Treat yourself if you can replicate his 'Badla'. So much said in one word!
Kay Kay Menon is far away from his last few stints and gives Claudius (Khurram) his own color. I loved how his demeanor shifted in the presence of different people. Earnestly loving towards Ghazala, he is genuinely venomous towards Haider and Menon does it with utmost brilliance.
Narendra Jha has little to play but is smashing in his minuscule part.
Direction & screenplay: Usually such films are candid expressions of the filmmaker's vision and Haider is no less. To create the tapestry of Haider could not possibly have been an easy task. Of course his repertoire shows he is capable of it but dealing with a plethora of emotions, blending them in the same film is only his cup of tea. He has used so much literature in his film, that it is an absolute delight to watch. There is a scene where Haider is looking through a pile of stenching bodies and suddenly wakes up a person who had survived whatever had happened to the rest of them. He wakes up, jumps out of the truck and dances in celebration. Such are relieving scenes in the film.
Bharadwaj's vision is clear. At the onset itself you know where his characters are heading and he keeps the journey interesting still. There are no confused hiccups or moments where the filmmaker is self consumed. The iconic graveyard scene is beautifully translated and you are bound to sit with a lump in your throat.
The last word: Haider is a rare film that will go down in cinematic history as a bold move that detaches Kashmir from the its usual depictions and dares to lay it bare. Talks of ghost ids, demilitarization of the state, the plebiscite that never happened are all issues mainstream cinema probably have never even heard of. Bhardwaj conjures up a heart wrenching tale of betrayal, loyalty, love, angst, pain and a man torn between them all. I am sure no one except Vishal could have stayed so true to Hamlet and made something so different from it. The performances are top notch but what works the best about Haider is its unpredictability. Even if you are fluent with Hamlet, there will be a lot you can take away from Haider. I guess, this film is the best all those who are associated with it can get.
I go with 9/10.
Rang Rasiya (2008)
Adds new RANG to the Indian Cinema
Story: Based on Desai's novel on Raja Ravi Varma (Randeep Hooda), the film deals with the court case slapped on the iconic artist for painting nude images of women and giving face to Indian Goddesses. Religious gurus filed him for propagating vulgarity and hurting religious sentiments. The film traces his story through his childhood, his marriage, his muses, his love and inspiration from Sugandha (Nandana Sen) who pushed him to deliver his best work and of course about how the fate of that case changed the face of law's perception towards art and censorship.
A case whose ruling is relevant even today; despite science taking over, logical and wide thinking hasn't prevailed clearly. The film is an eye opener for many who think limited and judge art from a moralistic point of view.
Performances: Randeep Hooda was used in his nascent best. The actor gives his rustic swag a look uncannily different from what we recognize him from. From playing a frivolous flirt in scenes to a heartbroken painter whose muse was socially humiliated because of him, he brings an ethereal quality in his performance delivering undoubtedly his best.
Nandana Sen looks radiant in every frame, bringing poignancy to her performance. Vulnerable in love, drawing strength from the same, it's her heartbreak and breakdown of faith that makes the climax so surreal.
Paresh Rawal as the the scheming Seth was great. Sachin Khedekar was again good in his part. Even the naive, young and equally stellar Ferena Wazair has done a memorable job.
Direction & Screenplay: Rang Rasiya is Ketan Mehta's victory alone. While all may feel his story, it is he alone who has truly empathized with his fellow filmmakers and artists all over the world, who are still suffering the wrath of fake societal norms. In very few terms, Mehta takes on the system and poses pertinent questions – should the views of all govern the views of an artist and why doesn't the common man open himself up from fundamentalist thinking; a critical take on religious leaders whose charisma is borne out of unscientific, often regressive thinking. Mehta wastes little energy on what doesn't fit with the film's theme, focusing solely on Ravi Varma's life and all that pertains to him and his battle in revolutionizing the Indian thinking.
The director's delight in conveying cinema is evident in that one scene where Ravi and his friends witness the screening of 'L'Arrivée d'un train en gare de La Ciotat'. The ecstasy in the shot of the moving train is unmissable. Based on a rich tapestry, the film's valiant approach towards art and how Ravi Varma wins the case is significant and the last scene where a gorgeous nude painting of Raja Ravi Varma is destroyed all speaks volumes about how art in democratic India still doesn't have the freedom to remain alive and breathe. A complex and diverse country dominated by people who cannot think freely, Ketan's baseline remains at How free are we?
The last word: Smeared in color, vibrancy and sensuality, Rang Rasiya revels in its operatic, dramatic beauty and narrates a liberating tale of love, passion and freedom of vision. Ketan Mehta brings out the best from his actors Randeep and Nandana; especially the latter who unleashes on screen much beyond her sublime beauty, the vulnerability of her character. The inspirational story tells an uninhibited tale of a man who will always remain eternal through his art. I am going with 8/10.
Zid (2014)
Don't watch if it is free also...
Story: Rohan Achrekar is a crime reporter with the daily who is nursing a broken heart. Estranged girlfriend Priya has stopped responding to him. He needs to move on and to initiate that he takes a home in the woods. Maya, the daughter of the landlord has an air of mystery to herself. She is positively smitten by him and can't get enough of him. Amidst all this, after a drunken night the two have an accident where Nancy is killed. Nancy is the younger sister of Priya. Maya and Rohan shush up on it and run away from the spot. Story leads to a series of mishaps and murders and Maya's obsession for Rohan keeps growing.
Is jealousy leading her to murder those close to Rohan or is it all a botched up plan of Rohan and Priya to resolve permanently some old sibling rivalries?
Performances: Manara is radiant to look at. Resembling Parineeti Chopra a lot in many ways, the actress misses the enthusiasm and expertise of her sisters. She needs a good deal more of experience before she attains the same.
Karanvir is quite competent in comparison. Though his acting too can do with some polishing, the actor has done a decent job.
Shradha Das in her minuscule role was good and shares quite a sparkling chemistry with Karan even if it hardly has any screen space.
Mohan Kapoor is a veteran and though barely used he was great.
Direction & screenplay: Vivek Agnihotri had found a fan in me with Buddha In A Traffic Jam but the filmmaker's stark disparities in the standard of films shock me. He is on extremes. Either he is bloody brilliant or when he is bad or mediocre, he is way below his caliber. I trust him to make a better film, but Zid was plain dumb. I understand the story isn't any genius but the director often structures the film such that it can run chills down your spine. The first point of put off is its depressing setting. Gloomy and raining; I stop to wonder does these stereotypes come with thrillers. The film is devoid of light and colors. The screenplay isn't fast enough for a thriller and the build up is more irritating than enticing. Once the climax was done, I bought the story giving it the benefit of being just another stereotypical thriller but the anticlimax left me so disappointed. It was anything but extraordinary, rather it left too many loose ends untied in the end. The music wasn't up to my taste and the film's end made me thank my stars for having the strength enough to survive it.
The last word: Zid is not cringe worthy, just plain boring. Selling itself in the garb of a few explicit shots, the film's fabric did not back itself in a solid enough story. It doesn't have anything exemplary about it, not its acting, story or the chemistry between its lead pair. The worst thing about Zid was its climax that was downright silly. It's almost like a bunch of intelligent people thought of doing a crash course in making a silly film and Zid was made. I am going with a very kind Rating of 1/10.
Ungli (2014)
Better but could have been best
Story A bunch of four, Abhay (Randeep), Maya (Kangana), Goti (Neil) and Kalim (Angad) after an unfortunate incident create a vigilante gang called the Ungli gang. Plagued with corruption, in every faction, every strata of the system, the gang picks up momentum and people's love by a series of action. But soon enough they find a fan replicating what they do and an application to join the gang. Everyone is skeptical of Nikhil (Emraan) who poses as a law student but is actually an undercover cop, on duty to expose the Ungli gang. Nikhil has their smarts and sharpness. But, Nikhil too believes in their ways. Will he take them to task or join their movement?
Performance Emraan Hashmi is great. Donning his wicked smile, he plays a lackadaisical cop who finds his real calling in changing the system when he associates with the Ungli Gang. He brings out Nikhil's dilemma of being torn between what's right and what's not. There is a simmering intensity in Nikhil no one except Emraan could have brought out.
Following up close is Randeep Hooda, who is robust and never over the top in this film. He is great in every frame and with the same grit.
Sanjay Dutt shot his last scene with them and he still has his iconic punch to his persona. I miss watching mode of Munnabhai and such roles and the little stint in Ungli will make you crave for it.
Kangana Ranaut, Neil Bhopalan, Angad Bedi were all great in their parts. Kangana does not have a very meaty role in the film but she is radiant and great in the scenes she has.
Direction & screenplay Films like Ungli are never about its actors but about its director and its writing. Rensil makes a compelling film which doesn't shy away from taking on the system, much like his dreaded gang. Ungli prides itself in being a cross between a formulaic entertainer and relevant cinema and it makes for an interesting watch. The only times Rensil loses tempo is when the film's melodrama steps in. Luckily not enough time or energy is wasted on that. It's a slow boiling thriller that doesn't have the darkness of Kurbaan, which was again a fantastic watch, but tackles it all with intelligent humor. The punches in Ungli have a certain sincerity, that flows from the film's goodness and novelty. I am so bored of watching potboilers that Ungli is a whiff of freshness that has an enticing narrative which will keep you interested all through. And when you try predicting, Rensil's climax will brilliantly throw you off. What's another sparkling part of Ungli is its theme songs and Neeti's voice will resound every time the gang accomplishes a mission.
The last word
I think it's putting too much of a responsibility on a film to instigate a social change. It's job is to primarily entertain and make better cinema. Ungli's novelty is its highlight point. Benefitting from sharp writing, lucid narrative and a few clapworthy zingy dialogues which have the punch, I do think Ungli is one of 2014′s most novel concepts. Well rendered and acted with zeal, don't miss five people showing an entire system, the finger. I am going with 7/10.
Kill Dil (2014)
They really killed my dil...
Story: Dev (Ranveer Singh) and Tutu (Ali Zafar) work as Bhaiyaji's (Govinda) henchmen. Picked by him from a garbage bin, the two are loyal dogs of the goon who has bred them to do his dirty job. Killing with flair is their job and the two are quite ecstatic about their profession until Dev meets Disha (Parineeti Chopra). An upmarket, Delhi social worker, who doesn't shy from being blunt, Dev falls in irrevocably in love.
Stuck between the sinister world of Bhaiyaji and the beautiful world of Disha, Dev ends up lying to both and leading a dual life. All hell breaks loose, when both find out about his other reality. Will Dev give up crime for love or will loyalty towards Bhaiyaji's weigh heavier?
Performances: Ranveer Singh is endearing and lovable. You thoroughly enjoy watching him because he puts too much of his impromptu self in making Dev his own. Dev, despite being an ordinarily written, seen-too- many-times-before sort of character, Ranveer adds his own touch of sincerity to the role.
Parineeti Chopra is great in her role. This wasn't exactly her film but in the romantic lead opposite Ranveer, there is an unusual, watchable chemistry between the two. I, somehow, go expecting Hasee Toh Phasee from her every time. I am a victim of my own expectations when it comes to her.
Ali Zafar cannot act. He is a total mis-fit in this movie.
Govinda is amazing. Well, I agree that the guy's caliber is put to good use but there is too little of him in the film. Somehow, his part in the story could have been much longer. It would have been interesting to watch him and Ranveer squabbling more like that intense, momentous 8 minute monologue. Such sparks are rare in the film.
Direction & Screenplay: Shaad Ali's long sabbatical since Jhoom Barabar Jhoom did help him. But he still isn't his best. I have no idea why was the film's climax so hurried, warped and abrupt. I didn't even see it coming. It's not just the climax, but the whole film is not clear about what it has set out to achieve. Is it a musical or a crime drama or a thriller or a romance? It's a bit of all of these and yet, none wholesome enough to pull through the audiences' attention for two hours. The delight of the humor used too is sparse. I hope it was intentional to have Alok Nath play the kind insurance company honcho and have a picture of Nirupa Roy in the background with her hapless face. It made me laugh thoroughly. Besides this the LOL and ROFL investigations did not seem funny to me. While, the music of the film is good, there is too much of it. It comes at every other cue and kills the simmering intensity of the film's drama.
The last word: Kill Dil is a badly made film. With such sincere actors, the film lacks a distinct soul, killing it's intensity scene by scene, frame by frame by adding frills. Despite good performances by Ranveer and Govinda, the film is a victim of bad writing more than a bad story, and wobbly direction which couldn't guide the ship right. I am going with 2/10. Had the climax been a little meatier, I wouldn't hold the film in such low opinion.