Movie & Music Reviews

●๋•๋• Exclusive Movie Review | Once Upon A Time in Mumbai | VaRiOuS RaTiNGs ●๋•●๋

0
1 year ago
by DesiVitch in


Cast: Ajay Devgn, Emraan Hashmi, Kangana Ranaut, Prachi Desai
Direction: Milan Luthria
Genre: Crime/Drama
Duration:

IndiaFM Review

The fascination with gangster movies has been immense worldwide. On this side of the Atlantic, several gangster films have left giant footprints on the sands of time. Films like DEEWAAR [Yash Chopra], DHARMATMA [Feroz Khan], NAYAKAN [Mani Ratnam], ANGAAR [Shashilal Nair], PARINDA [Vidhu Vinod Chopra], AGNEEPATH [Mukul Anand], SATYA and COMPANY [Ramgopal Varma], VAASTAV [Mahesh Manjrekar], GANGSTER [Anurag Basu], D [Vishram Sawant] and SHOOTOUT AT LOKHANDWALA [Apoorva Lakhia] have tremendous recall value to this day.

ONCE UPON A TIME IN MUMBAAI recreates an era that so many of us have left behind and for those who arrived on this planet post 80s, I am sure, they must have visited the era through some medium or the other, mainly movies and internet or during their academic careers.

ONCE UPON A TIME IN MUMBAAI is not part of history, but it attempts to portray on celluloid tales that are now considered legendary, that continue to make news to this date. Of course, the disclaimer claims that it bears no resemblance to a particular person, but you can't help but draw parallels with real-life characters. It could be a coincidence, though!

ONCE UPON A TIME IN MUMBAAI is a fascinating story that talks of how the mafia came into force for the first time in Mumbai. A thriller that depicts the crime scenario in Mumbai during the 70s and 80s. The rise to power of two young boys, in different age-groups, who grew up to 'rule' the streets of Mumbai.

Since there's tremendous speculation in the media that ONCE UPON A TIME IN MUMBAAI chronicles the lives of Haji Mastan and Dawood Ibrahim, the curiosity to watch the film increases manifold. Of course, I am no one to comment if it's actually based on their lives or merely borrows a few incidents from their lives or is pure fiction, but as a cinematic experience, I couldn't help getting transported to the bygone era, getting sucked into a world I had no clue of.

Besides the gangster chapter, one enjoys this film also because of its riveting drama and the power play. It could've been set anywhere, in the corporate world, in politics, in the film industry. Anywhere. The rise and subsequent fall of the King and the emergence of the Prince as the super power is what makes this film a compelling watch. The icing on the cake is the magical and lilting song compositions that are juxtaposed so beautifully in the goings-on. On the sidelines of the power play, a game of hearts is being played and that's what makes ONCE UPON A TIME IN MUMBAAI a wholesome movie experience.

Final word? ONCE UPON A TIME IN MUMBAAI is not to be missed. Set everything aside this coming weekend and watch this one. Strongly recommended!

The film, set primarily in 1970s Mumbai, follows the rise of Sultan Mirza [Ajay Devgn] and the conflict that ensues, when his protégé Shoaib Khan [Emraan Hashmi] challenges his supremacy and usurps power to rule the murky underbelly of Mumbai.

ONCE UPON A TIME IN MUMBAAI is a power-packed drama that makes you thirst for more. You rewind to an era of romance, smuggling, cabaret and mafia, but director Milan Luthria and writer Rajat Aroraa ensure that there's no sleaze or bloodshed-n-gore. In fact, there's hardly any violent sequence in the movie, except for one when Ajay hammers a cop during a naaka-bandi.

ONCE UPON A TIME IN MUMBAAI is not a biopic, but narrates the story through the eyes of a police officer [Randeep Hooda], who traces the changing face of the Mumbai underworld. The screenplay encompasses several moments that may compel you to draw parallels with real life, but talking strictly from the movie-going point of view, it satiates you completely. In fact, the writing is cohesive, smart and watertight and there's never a dull moment. Besides, there's no time to think whether it's factual or loosely based on someone's life or a work of fiction.

As I look back and recall the movie, a number of sequences flash across my mind. Note the sequence when Ajay divides the city amongst gangsters... The train sequence at the very start... The introduction of Emraan Hashmi's character... Randeep Hooda's landing on a film set and confiscating the equipment... The subsequent sequence, when Randeep is framed for accepting bribe... The romantic moments between Emraan and Prachi in the jewellery shop... Emraan starting his business and the confrontation that ensues between Ajay and Randeep... The showdown between Ajay and Emraan, with Ajay slapping Emraan in full public view... The conclusion to the story is equally novel. It stays in your memory and sets you thinking.

On the flipside, the story begins with Randeep attempting suicide, but the writer should've cited the reason that prompted him to take that drastic step. Sure, there's a mention at the start, but it doesn't register well. Also, you are keen to know the chain of events that drove Randeep to suicide. Also, the pace slackens in the middle of the second hour, but picks up dramatically when Ajay returns from Delhi and confronts Emraan. Besides, how I wish the film had a shorter, mass appealing Hindi title to attract more eyeballs and a big jump in footfalls [at single screens and smaller centres mainly] for a mass appealing subject like this.

This is director Milan Luthria's best work to date, no two opinions on that. Recreating the bygone era is tough and the director, the writer and the art director [Nitin Chandrakant Desai] deserve brownie points for giving the film that authentic feel. In fact, the film wears a chic retro look throughout. Even otherwise, Milan's handling of the subject material is exemplary. This film is sure to catapult him to the top league. Rajat Aroraa's screenplay is powerful and engaging. The writer marries heavy-duty drama and subtle and delicate emotions beautifully. I would like to make a special note of the dialogue, also penned by Rajat Aroraa, which are simply fantastic. In fact, the dialogue writing is such it elevates even an ordinary sequence to great levels. One rarely comes across such potent dialogue in today's times.

Pritam's music is another ace. Injecting songs and that too a terrific soundtrack in a gangster film is tough. He did it in GANGSTER. He does it again in ONCE UPON A TIME IN MUMBAAI. 'Pee Loon', 'Tum Jo Aaye' and the remix of APNA DESH track are super compositions, which are also placed appropriately in the plotline. Cinematography [Aseem Mishra] captures the look to perfection. Akiv Ali's editing is sharp.

ONCE UPON A TIME IN MUMBAAI is embellished with fantastic performances. Ajay Devgn is splendid as Sultan. The actor had enacted a similar role in COMPANY, but it must be said that his interpretation is so different in ONCE UPON A TIME IN MUMBAAI. He adds so much depth to the character, which only goes to prove his range and versatility. This is, without a trace of doubt, Ajay's finest work so far. Emraan Hashmi is brilliant as the power greedy, wildly ambitious rebel. He plays the dark character to perfection. He's incredible in the penultimate moments of the film in particular. Besides carrying the look to perfection, Emraan is sure to break-free from the lover boy, serial kisser image with this film.

Kangna Ranaut is extremely natural and performs very well. Also, she brings so much of sensuality and glamour to her character [an actress of the 70s]. In fact, Ajay and Kangna make a wonderful on-screen pair. Prachi Desai is a bundle of talent who proves her mettle yet again. She's proficient in emotional scenes and sizzles in the BOBBY song-sequence. Besides, the chemistry between Emraan and Prachi is exciting. Randeep Hooda is top notch. Even though the film belongs to Ajay and Emraan, Randeep makes his presence felt with a powerful performance. This film should prove to be the turning point in his career.

Avtar Gill [as Home Minister] is good. Naved Aslam [as Patrick, Ajay's trusted lieutenant] is perfect. Mehul Bhojak [as Emraan's friend Javed] is competent. Ravi Khanwilkar [as Vardhan] is satisfactory. Gauhar Khan sizzles in the remix track.

On the whole, ONCE UPON A TIME IN MUMBAAI is an extremely well-made film that lingers in your memory. The realism coupled with stellar direction, power-packed writing, exceptional performances and ear-pleasing tunes are its trump cards. An outstanding cinematic experience!

Rating : 4

●๋♫●๋ Exclusive Movie Review | Khatta Meetha | Rating : VaRiOus ●๋♫●๋

0
1 year ago
by DesiVitch in


Cast: Akshay Kumar, Trisha, Johny Lever etc.
Direction: Priyadarshan
Genre: Comedy
Duration: 2 hours 40 Mins
IndiaFM Review

When Priyadarshan and Akshay Kumar join hands, you expect the cineplex to reverberate with laughter. Let's not forget, the team has regaled us with some terrific entertainers in the past. Naturally then, you expect KHATTA MEETHA to take the legacy forward.

Unfortunately, KHATTA MEETHA is noise [the actors scream a lot in this movie], more noise [the great promotion] and only noise, while the content takes a complete backseat. Although KHATTA MEETHA shouldn't be compared to this combo's earlier works, since this one's a satire, I have to add that this is their weakest film to date.

The first question I asked myself once the movie got over was, what's the story? Okay, okay, neither did Priyadarshan's last few films had a story to tell, but when you attempt a satire, when one talks of the hardships faced by the common man, when one talks of corruption in society, there HAS to be a story in place. That goes without saying!

KHATTA MEETHA raises a finger at the corruption in government establishments, but what it tries to say, or expose, has been witnessed over and over again. In fact, it's the writing -- sorry, the absence of it -- that makes matters worse. The beginning is good, the middle falters and the end is exasperating.

Final word? This one's far from being meetha. It's a khatta experience!

Struggling road construction contractor Sachin Tichkule [Akshay Kumar] is doomed. There is no chance that his dreams will ever come true, simply because he has no money to bribe. To make matters worse, the new Municipal Commissioner turns out to be his ex girl friend [Trisha], who now hates him.

The film reveals the extent of corruption and bribery rampant in the system and the ingenious means you have to adopt if you want to survive in today's times.

KHATTA MEETHA attempts to say a lot many things in those 2.40 hours. Oh yes, its running time is a problem, more so because the narrative lacks the power to keep you hooked to the proceedings. Okay, coming back to what I wanted to say, KHATTA MEETHA is more of a collage of isolated incidents encompassed in those 2.40 hours. The collapse of the bridge, the consequent murder of Tinnu Anand, the constant bickering in the house, the tu-tu-main-main between Akshay and Trisha, the sister's track, the corrupt netas and government babus, the payment issue of workers... several sequences are a repeat of what's you watched barely minutes ago or an hour ago.

While the romantic track is the weakest link [half-baked; the songs are forced down your throats, without valid situations whatsoever], the flashback portions, depicting Akshay Kumar as a college student [!!!], is just hard to digest. Even the end is worn out and doesn't give the feel of contentment that one expects at the conclusion of a film.

Priyadarshan's handling of the comic sequences is noteworthy, especially in the first half of the film. The repair-and-paint sequence at Asrani's mansion is sure to bring the house down. Ditto for the conversation that Asrani has with multiple people, in person and also on phone. Also, the road roller sequence is a laugh-riot and prior to that Johny Lever's sequence of repairing the road roller is truly funny. But a few isolated sequences aren't enough. The veteran storyteller ought to know the importance of a watertight screenplay by now.

Cinematographer V. Manikandan's lens captures the exteriors with flourish. Pritam's music is easy on the ears and at least two songs are extremely popular as well, but the placement of songs in the narrative acts as a roadblock. Dialogues are funny at times, especially the one-liners.

Akshay Kumar plays the common man with gusto. He looks his part and more importantly, not once do you feel that he's repeating himself. However, he goes over the top in a few sequences. Trisha carries the Plain Jane look well, but fails as an actress. The fiery attitude, so vital when you're enacting the role of the Municipal Commissioner, is missing. Rajpal Yadav is in terrific form yet again. What a splendid actor!

Urvashi Sharma is awkward. Makrand Deshpande is wasted. Tinnu Anand is hardly there. Even Aroona Irani is sidelined. Kulbhushan Kharbanda is first-rate. Asrani is excellent. Manoj Joshi screams so much. Ditto for Neeraj Vora. Milind Gunaji is okay. The actor playing the role of Urvashi's husband does a good job.

On the whole, KHATTA MEETHA is a major letdown from the accomplished director. It's not a full-blown comedy. It's not a full-scale satire either.

Hugely disappointing!

Rating : 1.5 :yahoo: :lol:

*•.¸¸.¤ Exclusive Movie Review | SALT | Rating : VaRiOuS ¤.¸¸.•*

0
1 year ago
by DesiVitch in


Cast: Angelina Jolie, Liev Schreiber, Chiwetel Ejiofor, Daniel Pearce
Direction: Phillip Noyce
Genre: Action/ Espionage Thriller
Duration: 1 hour 40 Mins
IMDB Rating : 7/10

Indiatimes Review

A typical Hollywood spy thriller often delves into exploring and showcasing the impossible, without caring too much about how realistic the plot or its character looks. It’s different that the lead actors in these films play their roles convincingly and thus make these films believable...

Coming back to the archetypal espionage thrillers, the dare devil spy of the film is a killing machine who can bring down whoever and whatever he wants within a couple of minutes. Is he a superhero? No, but a man blessed with super stunt abilities? Yes.

Bond films, Mission Impossible, Bourne Identity are classic examples. An overdose of action and style is good enough to keep us entertained and once that’s done, one doesn’t give much importance to the loopholes in the plot...Salt being a classic example.

When CIA agent ‘Evelyn Salt’ (Angelina Jolie) is accused of being a Russian spy deployed to assassinate the Russian president during his visit to the US, Salt flees in order to prove that she’s innocent. As CIA believes Salt is guilty, she jumps across the tops of speeding vehicles on a freeway, dives from a helicopter, rides a bike manically and uses all her possible ‘training’ to escape from the clutches of whoever thinks she is a culprit. But, things are not as they seem. There is more to this conspiracy than meets the eye. In agent ‘Salt’s’ style, no body is, who they say they are. Who exactly is ‘Evelyn Salt’ then!

We are told, the film was originally offered to Tom Cruise before it came to Jolie as Cruise had prior commitments. No wonder Cruise didn’t take it. After all, Mission Impossible and Knight and Day were on the same lines. The script was rewritten for Jolie and it is the actress who infuses that spark in this otherwise formulaic action thriller.

Angelina establishes herself as the queen of action once again. She proves she is no less than a man when it comes to playing an out-and-out ‘action-oriented’ character. We quite liked the actress in ‘Wanted’ too. Scarlet Johansson (Iron Man 2) or any actress who wishes to be a femme fatale can take up some coaching from Jolie on how to get that body language right. Jolie as Salt, speaks less kills more and does it all in style. She shows no qualms in letting go of that iconic $ex appeal as she gets into the skin of her character by actually getting all daring and dirty!

If you are looking for novelty in films, there is nothing new about ‘Salt’ except for its attempt at letting a female protagonist tackle the bad guys on her own. The film’s climax has its share of twists and turns which aren’t too predictable but not jaw-dropping either.

Salt has some hair-raising action scenes and solid performance by Jolie but it suffers as far as the script is concerned. There is no depth to the characters and no insight into their lives as a result of which the audiences can’t connect to what they see onscreen. The post Cold War paranoia seems half baked and thus its effect on the story insipid.

If you like Angelina Jolie, this one’s quite an entertaining popcorn film. By popcorn, we mean the 'regular' salted popcorn. Don’t expect a caramel or cheese in it! If expecting logic? You can give this one a miss.

Rating : 3

*•.¸¸.¤ Exclusive Movie Review | LAMHAA | Rating : 2/5 ¤.¸¸.•*

1
1 year ago
by DesiVitch in

Lamhaa opens in the year 2009 and talks about the separatist protest movements that initiated in Kashmir which (it repeatedly claims throughout the film) had started ‘18 years’ back in the year 1989. Not only does the film goes appallingly wrong with elementary mathematics, but also adds to the audience ambiguity through its constantly changing geographical boundaries and jumbled history.

Lamhaa mercilessly doesn’t deal with the Kashmir issue in an outright jingoistic approach like those countless formula films that have been made on the theme that show India as a clear-cut hero and Pakistan as a definite villain to exploit patriotic sentiments. This film highlights several discrepancies in our own country from corrupt army officers, conniving politicians to scheming businessmen. But beyond that when it attempts to fit in a clichéd conspiracy theory within the preset political premise, it falls flat on its face.

Officer Vikram (Sanjay Dutt) is sent on an undercover operation to Kashmir when the Indian intelligence gets information of a probable big terror attack in the valley. There a separatist leader Haji (Anupam Kher) has been fighting against the Indian government since 1989 for Azad Kashmir. Haji’s protégé Aziza (Bipasha Basu) supports her mentor in his mission. Haji’s other ex-protégé Aatif (Kunal Kapoor), who is now a reformed militant, wants to contest elections from the valley to win his people and province.

For Vikram, spying seems to be a child’s play. He sneaks into the police commissioner’s office in broad daylight as if playing hide-and-seek with him. He walks into a seamster’s shop who gives him ‘tailor-made’ tips and tracks terrorist identity by just having a look at their jackets. (Was the writing conveniently inspired by the investigative tele-series CID?) For no good reason Vikram keeps stalking and supporting Aziza in her attempts. Thankfully (though the background score gives a slight hint) a romance track is averted.

Through all his lackadaisical spying, Vikram finally learns that the neighbouring country is going to repeat the assault of 1989 on a larger scale. So as you look forward to a striking climax, you are sorely disappointed to discover that the supposedly colossal conspiracy merely ends up being a bombing plan on a political rally, seen for a zillion times in Hindi films. The intended twist in the plot is predictable and the convenient culmination is void of any dramatic moments.

It takes time to absorb the wide-ranging characters and their varied conflicts in the film and yet you do not understand all of them. Vikram is specifically chosen for the Kashmir operation though he doesn’t belong to the region. Yet there is no background account to justify his character, making him look shallow. In the initial reels, one tends to get confused if Anupam Kher’s Haji is a protagonist or antagonist as he keeps juggling between the two identities through the film. His fallout with Aatif is merely mentioned in a flashback scene. And then there is Mahesh Manjrekar playing Peer Baba in a cameo who remains quite undefined through the film.

The screenplay by Raghav Dhar and Rahul Dholakia appears disjoint with constant unconnected scenes and subplots. Though the writing attempts to touch several related concerns from the half widows of Dardpura village, victimized prostitutes to the psychosis of the border security soldiers; these works only peripherally without being plugged into the core narrative. Bipasha Basu’s public humiliation scene seems to be distinctly derived from Monica Belluci’s Maléna . Nevertheless the actress is poignantly effective in her outburst.

The pacing seems too hurried and the restless editing by Ashmith Kunder and Akshay Mohan barely allows you to breathe, gasp, feel, absorb, react or relate. The incessant disturbing camera movements by cinematographer Jamie Fowlds annoy you more than having an effect. Mithoon’s soothing musical score has its charming moments.

The performances are not bad but don’t rise above the script. Sanjay Dutt plays his age but his character seems half-baked. Bipasha Basu is decent in a different role. Kunal Kapoor adds grace to his character but sounds meek in delivering political speeches. Anupam Kher is effective.

For the common man, the politics of Kashmir has often been a complicated topic. This film doesn’t make it any simpler. Lamhaa doesn’t enthrall beyond a few interesting moments.

Rating : 2

●๋♫●๋ Exclusive Movie Review | UDAAN | Rating : 3.5/5 ●๋♫●๋

0
1 year ago
by DesiVitch in

During my schooling days in Himachal Pradesh, a fellow student wouldn't long for the annual vacations in December, like all kids generally do. I often wondered why. Much later, I was told that his stern [and over-dominating] father called the shots with a cane in hand and my friend would literally shiver at the very thought of spending the next three months with his family.

We lost touch after we completed schooling and with the passage of time, I forgot all about him. Till I watched UDAAN and his face loomed large at the very start of the film. UDAAN does that to you!

Poignant, unsettling and disturbing, UDAAN is a brilliant take of an adolescent who has stepped into his teens and how he faces a tyrant father, a step brother he never knew existed and how he eventually breaks the shackles and frees himself from a world that's slowly suffocating him.

UDAAN mirrors the real life and although the plotline is simple and uncomplicated, I must add that simple stories are extremely difficult to narrate. However, debutant director Vikramaditya Motwane remains faithful to the written material and handles the characters in the film with tremendous care, understanding and maturity. I genuinely feel that UDAAN borrows something from everyone's life. And that's what makes it an absorbing watch, especially its defining finale.

Final word? This one's a must-see for every parent, every child. This coming-of-age story is unique and speaks a universal language and hence, shouldn't be missed!

After being abandoned for eight straight years in boarding school, Rohan [Rajat Barmecha] returns to the small industrial town of Jamshedpur and finds himself closeted with an authoritarian father [Ronit Roy] and a younger half brother who he didn't even know existed. Forced to work in his father's steel factory and study engineering against his wishes, he tries to forge his own life out of his given circumstances and pursue his dream of being a writer.

The best thing about [most] first-time directors is their ability to narrate a new story without bowing down to market diktats. UDAAN is realistic to the core, so much so that the viewer becomes a participant after a while and feels that he's getting a first-hand account of what the troubled teen is enduring.

A number of sequences leave a stunning impact. But I'd like to single out a few that continue to stay with me, even while I write this review. Note the sequence between Rajat Barmecha and his step brother, when they meet for the first time. Also, the one when Ronit Roy and Rajat Barmecha have a confrontation at the dinner table, when the talk veers to Rajat's plans for the future. Another sequence that caught my attention was the heated argument between the brothers [Ronit, Ram Kapoor]. And, of course, the finale, the culmination to the film, which will have its share of advocates and adversaries.

Actually, all through the second hour, I was very keen to know how Motwane and co-writer Anurag Kashyap would conclude the story. But Rajat Barmecha's breaking-free sequence, a redemption of sorts, is simply brilliant. On the flipside, the pacing is very slow towards the second hour. Besides, the length could've been sharpened by at least 10/15 odd minutes.

If director Vikramaditya Motwane deserves distinction marks for narrating a slice of life film with aplomb, he along with co-writer Anurag Kashyap deserves the highest praise for handling the delicate and sensitive relationships lucidly. Every character in this film -- there are four principal characters -- is well etched and so identifiable.

Casting the right names must've been a tough call for its makers, especially casting the two kids in pivotal parts. The seniors [Ronit Roy and Ram Kapoor] are accomplished actors with years of experience to their credit. Yet, UDAAN explores a new facet of both Ronit and Ram. Ronit is super as the bully, semi-neurotic father with demons of his own to battle, while Ram underplays his part with rare understanding. The two kids, Rajat Barmecha and Aayan Boradia, are the real stars of this enterprise. Rajat seems to have got a tailor-made role and he sinks his teeth into it. Aayan, the child actor, displays the vulnerability beautifully. His tender expressions and soulful eyes convey so much!

On the whole, UDAAN is a simple, straight-forward film that doesn't need to be explained. It needs to be experienced.

Rating : 3.5

●๋•●๋•๋• Exclusive Movie Review | Tere Bin Laden | Rating : 3.5/5 ●๋•●๋•๋• [RRG]

1
1 year ago
by DesiVitch in

Osama Bin Laden. Just Google this name and I am sure, the results would be amongst the highest on the web. Post 9/11, terror has a new name and also a face. Now imagine Osama Bin Laden running a poultry farm and also running behind chickens. Imagine Osama Bin Laden ogling at a makeup woman. Imagine Osama Bin Laden urinating outside a television studio, but ready to hand-over his business card to the person urinating on the other side. Imagine Osama becoming a business partner in a tacky salon.

Smiling, are you? That, in a nutshell, is TERE BIN LADEN, a wicked comedy with an out-of-the-box concept that offers laughter unlimited. In fact, I don't think I've flexed my facial muscles in any other film in the recent past as much as I did while watching this satirical comedy. What gives TERE BIN LADEN an edge over other comedies is that it's not the slapstick humour that keeps you entertained. This one has a story to tell as well, which also delves deeply into the minds of today's youth.

Final word? Grab a popcorn, sip your cola and get ready to laugh non-stop for the next two hours. You would love Osama Bin Laden, for a change!

TERE BIN LADEN is a tongue-in-cheek comedy about an ambitious young news reporter from Pakistan [Ali Zafar], who is desperate to migrate to the U.S. in pursuit of the American dream. His repeated attempts to immigrate are shot down as his visa is always rejected. But when things couldn't look worse, he comes across an Osama Bin Laden lookalike. Ali then hatches a scheme to produce a fake Osama video and sell it to news channels as a breakthrough scoop.

Unfortunately, there are serious ramifications as the White House gets involved and dispatches an overzealous secret agent on Ali's trail.

Although TERE BIN LADEN uses a surname that's known across the globe, there's not one serious moment in this film. Even the modus operandi of the Americans to nab Laden [which, frankly, could've turned the film serious] is so juvenile and crazy that you can't help but smile at the sequence of events.

Again, in a film that has Osama Bin Laden playing the central role, you're curious to know what its culmination will be like. Whether debutant writer-director Abhishek Sharma would settle for a realistic conclusion or an open ending. Thankfully, the film doesn't get preachy at all, nor does it get serious in those penultimate moments. It's as funny as the rest of the film and makes you wonder, kaash, the solution would be as simple in real life.

Debutant director Abhishek Sharma takes an offbeat story and gives it an interesting twist. Who would've ever thought of making a film on Osama Bin Laden and that too a comedy? This guy sure has courage to swim against the tide. Besides writing a crazy film and decorating it with madcap characters, Abhishek also does justice to the subject by handling it so well. Making people laugh is a herculean task and maintaining the tempo is, perhaps, the biggest challenge. One continues to smile from Scene A to Z and in two sequences specifically, I ended up laughing hysterically. One, when Piyush Mishra falls in the drain and lands straight on the hot seat and the second, when a bomb explodes inside the studio. Outrageously funny sequences, both!

The first-time director also deserves credit for recreating Pakistan in Hyderabad in India. Right from the look to the language to the costumes to the artefacts to the typical truck that you see in Pakistan, TERE BIN LADEN gets it right. Santosh Thundiyil's cinematography is good. Dialogue are witty and the one-liners specially evoke mirth. The review would be incomplete if I didn't highlight the invaluable contribution by its music composers Shankar-Ehsaan-Loy. 'Ullu Da Patha' is already a rage, while 'I Love Amreeka' is foot-tapping as well.

Casting new, confident and most importantly, talented actors gives the film the right push. Ali Zafar is a star, no two opinions on that. The youngster is a package of good looks, super talent and the right screen presence. He charms his way into your heart with a super-confident performance and I strongly feel that there's no stopping him after this film. In fact, TERE BIN LADEN heralds the arrival of a new star in Bollywood.

Pradhuman Singh is a replica of Osama Bin Laden and is in terrific form in the film. In fact, the film would've fallen flat had it not been for the actor enacting this part so convincingly. Piyush Mishra is exceptional, like always. Sugandha Garg [as Zoya] is first-rate. Nikhil Ratnaparkhi [as Gul, the cameraman, Ali's partner in crime] is very good. Rahul Singh [as radio jockey Qureshi] is perfect. Barry John [as Ted] is competent. Chirag Vohra [as Lateef, who writes the lines in Arabic language] supports well. Chinmay Mandlekar [as Barry John's sidekick] is decent. Rajendra Sethi [travel agent] is natural.

On the whole, TERE BIN LADEN is a fun-ride that makes you smile constantly and even laugh outrageously in those two hours. A thorough entertainer, this film has all it takes to not only make its viewers laugh in the aisles, but also its investors laugh all the way to the bank.

Rating : 3.5

*•.¸¸.¤ Exclusive Movie Review | Milenge Milenge | Rating : 2/5 ¤.¸¸.•*

0
1 year ago
by DesiVitch in


Indiatimes Review

The lead pair of the film is isolated for years and suddenly wants to find each other frantically without having any contact details of the other. Had there been a similar scenario in the current context they could have effortlessly found out each other through social networking websites. In that sense, this film delayed by almost half a decade appears unbelievable.

Amit (Shahid Kapoor) and Priya (Kareena Kapoor) meet at a Youth festival in Bangkok. The attraction is instant and they spend days together cavorting around Bangkok City together. At the end of the festival when they are preparing to come back to Delhi, Amit loses Priya’s trust and she decides to end the relationship. Amit tries to regain her trust by telling her that are destined to be together and Priya decides that if it is fate that they should be together, they will find each other Delhi again, Although both do not know each other’s whereabouts in Delhi.

Years go by and both of them are about to be married, but each still has this nagging feeling that the other was his/her one true love. Of course fate conspires to bring them back together (after about a dozen very interesting near misses) as they each simultaneously undertake one last attempt to find one another just before they get married to someone else.

So is all of life pre determined, even who our soul mate is? That's the theme explored in Milenge Milenge , a delightful fairytale of a romantic comedy that makes you fall in love all over again

This time Satish Kaushik doesn’t seek inspiration from his regular South territory but opts to remake the Hollywood film Serendipity (2001). The continuous attempts of the couple to find each other in the second half also reminds of Boney Kapoor’s earlier film Sirf Tum .

Both Kareena Kapoor and Shahid Kapoor are earnest and their chemistry is credible. But why do every other character artist from Satish Shah to Delnaz Paul end up hamming. Panini Rajkumar (Rajkumar’s younger son) is plastic personified. Aarti Chhabria and Sarfaraz Khan lack screen presence.

Watch it only if you are just interested to see Kareena when the term size zero wasn’t coined. Else Milenge Milenge doesn’t score much above zero.

Rating : 2

~I Hate LUV Storys ~ Movie Review ~

0
1 year ago
by DesiVitch in
Bollywood Hungama

The first thing that attracts you to I HATE LUV STORYS is its title. Let's face it, we adore love stories... at least I do. We idolise the characters decades after the movies have come and gone. The songs that come on our lips instantly while playing a game of antakshri are romantic songs as well. In fact, the biggest moneyspinners, let's face it, have been love stories, right? So how can we 'hate' a love story?

No matter how mushy or cheesy they are, we find love stories irresistible because of the tremendous rush we experience at the end. Some of us are big suckers for love sagas, aren't we? That's precisely the reason why this title [I HATE LUV STORYS] nagged me no end every time I watched the promo of this film.

Helmed by first-timer Punit Malhotra, I HATE LUV STORYS is typical candyfloss romance with a story that's not jaw-droppingly different, let me forewarn you. But if you're young at heart or a diehard and hopeless romantic, you'd lap up I HATE LUV STORYS like a kid laps up his fav candy.

Now to the vital question: If I HATE LUV STORYS rests on a thin plot, what is it that drives the film for the next two hours? My answer to that is, four factors: The fresh pairing and chemistry between the lead cast, tremendous youth appeal, terrific music and magical moments that make a love story work.

Final word? The makers have never claimed that I HATE LUV STORYS will change the face of Hindi cinema. Nor did they ever claim that I HATE LUV STORYS will change the mindset of the viewer towards romantic films. So let's sit back and enjoy the fun ride. This one's by the youth, for the youth. It's this age-group that would come out smiling, cheering and rooting for this prem kahani.

'I hate love stories' is the maxim Jay [Imran Khan] lives by. But as an assistant director to Veer [Samir Soni], the most famous romantic film-maker of Indian film industry, Jay has little option but to live with larger than life, glossy, cinematic love on an everyday basis. Things only get worse when he is made to work under the new production designer on the film, Simran [Sonam Kapoor], with whom he shares the strangest first encounter.

Simran loves love stories, so much so that even her life has begun to resemble one. With her ideal job and the perfect boyfriend Raj [Samir Dattani], she lives a blissful, dreamy life. One that is rudely interrupted by Jay's cynicism.

Writer-director Punit Malhotra wins Round 1 by casting the right actors in the roles of Jay and Simran. In fact, it wouldn't be erroneous to state that the casting is the trump card of this film. But what Punit ought to know by now is that every story ought to have a strong grip to keep your attention arrested for the next two hours. In this case, the film rests on a waferthin plot, with not much movement in the story in the first hour. In fact, the story barely moves in the first part.

Yes, post-interval, the story does gather momentum and though you're well aware of the journey and what the culmination will be like, you don't mind the ride because you can't take your eyes off Imran and Sonam. Also, a love story works if one pines for the on-screen lovers and in I HATE LUV STORYS, you genuinely want the duo to sort things out, which means that you're involved in their lives. Even the finale - it won't be fair on my part to reveal how this movie concludes - may be filmy or cliched, but let's face it, it works.

Let me draw parallels with another love story, also starring Imran Khan. Recall the finale of JAANE TU YA JAANE NA, which had Imran riding a horse to reach his sweetheart [Genelia] at the airport. I distinctly recall, a lot of people found the end bizzare and rightly so. Can you imagine anyone galloping to the international airport in Mumbai? But I was truly surprised when I learnt that the youth were whistling and clapping all through. The finale is different here [no horses, please] and you exit the auditorium with a smile on your face.

Director Punit Malhotra is heavily inspired by Mills & Boon novels and several Bollywood films... love stories all. But like I pointed out earlier, Punit needs to polish his writing skills, although the director in him bails the writer out and takes the film to a different level. The sequences between Imran and Sonam are well penned, but the ones between Sonam and her parents or Sonam and Samir Dattani are half-baked. Directorially, Punit shows super-confidence in moulding the two actors in their respective parts, so much so that you get sucked into Jay and Simran's world after a while.

A love story ought to be embellished with a lilting score - that's a compulsion - and Vishal-Shekhar are in true form this time. The score is trendy, energetic and beyond fantastic and what's more, it's already a rage. In fact, the musical score only takes the movie a step ahead. Ditto for Salim-Sulaiman's background score, which matches the mood to the T. Ayananka Bose's cinematography is awesome. The ace DoP proved his credentials in KITES recently and with I HATE LUV STORYS, he should find himself entrenched in the top bracket. The styling [Manish Malhotra] is top notch.

Imran enacts his part effortlessly. Though the role doesn't demand histrionics, you keep reacting to Imran because of the magnetism he radiates. The devilish streak in his character is sure to appeal to the youth. Besides, Imran has been photographed and presented very well. Sonam is a revelation. From salwars [SAAWARIYA, DELHI 6] to skirts in I HATE LUV STORYS, Sonam finally gets a role that does justice to her as an actress. The ease and class with which she carries off the glam look is fantastic. She's like a whiff of fresh air and you actually wonder, is she the same girl from SAAWARIYA and DELHI 6? In fact, I HATE LUV STORYS will only multiply Imran and Sonam's fan base manifold.

Samir Dattani is decent, although his role gets sidelined as the story moves forward. Samir Soni's character reminds you of a certain hi-profile director and he plays the part extremely well. Kavin Dave, as Imran's buddy, is first-rate and steals the show in several scenes. Aamir Ali is perfect, while Pooja Ghai doesn't get scope to deliver. Bruna Abdullah looks sensuous and adds to the glam quotient. Ketaki Dave [Sonam's mother] is wasted. Anju Mahendru [Imran's mother] is adequate.

On the whole, I HATE LUV STORYS is a young and vibrant love story with tremendous appeal for the yuppies. The fresh pairing and the on-screen electrifying chemistry, the lilting musical score and the magical moments in the film should attract its target audience - the youth - in hordes. If you're young or young at heart, this one's for you!

RATING: 3.5/5

●๋•๋• Exclusive Movie Review | The A-Team | Rating : 3/5 ●๋•●๋

0
1 year ago
by DesiVitch in

Cast: Liam Neeson, Bradley Cooper, Quinton Jackson, Sharlto Copley, Jessica Biel
Direction: Joe Carnahan
Genre: Action
Duration: 1 hour 57 minutes

TOI Review

Story :A bunch of four Iraqi war veterans have been framed in a heist case and sent to separate prisons. They call themselves the A-Team and have a reputation of solving any and every case with the most unorthodox measures. Naturally, it doesn't take long for them to stage daring escapes and re-group under the leadership of maverick colonel Hannibal Smith (Liam Neeson). The motive: to clear their name and prove their patriotism, while the whole US army doubts their integrity. Except for Captain Sosa (Jessica Biel) who still nurtures a soft spot for her ex, Lt. Templeton Faceman Peck (Bradley Cooper). The others in the crack team include tough guy Bosco Baracus and ace pilot `Howlin' Mad Murdoch.

Movie Review: A-Team is an unbridled adrenalin rush all the way. You don't get the time to sit back and think of story and all that stuff in the thud and the rumble of the action set pieces that explode in your face.

Leading the lean-mean team is Liam Neeson who is determined to prove his innocence, after being convicted of stealing some engraving plates, which have caused a flush of counterfeit US dollars to flood the battle-scarred country. Like the quintessential leader of the wolf pack, Neeson harnesses the forces of the foursome, which essentially means the following: giant Jackson must crash through gun battles at crucial junctures on vrooming Harleys, Sharlto Copley must fly planes at breakneck speed, causing acute air sickness to anyone who can dare to keep his eyes open and playboy Cooper must dazzle with his with, charm and sharp shooting abilities, when he's not taking his shirt off, flinging tanks down the sky, or flirting with his ex, the delightful alpha girl, Jessica Biel.

Based on the popular TV series of the 1980s, The A-Team is strictly for action buffs who love to OD on high-decibel AXN cuts. The action is superbly crafted, leaving no room for anything else. Of course, the foursome do add a lot of charm and charisma to the lead characters, specially Cooper who gets more and more irresistible after Hangover.

Rating : 3

*•.¸¸.¤ Exclusive Movie Review | Edge of Darkness | Rating : 3/5 ¤.¸¸.•*

0
1 year ago
by DesiVitch in

Mel Gibson, aged 54, might be playing a tough, no-nonsense cop in Martin Campbell's new film, but the actor has clearly come some way from his action-comedy roots.

The first few minutes of Edge Of Darkness show Gibson's Tom Craven stand shellshocked as a masked man yells his name and shoots his daughter lethally in the chest, and yet when commiserating cops ask him if he has any suspects, Craven sullenly draws a blank.

He never bothered making enemies. It's hard to imagine Lethal Weapon's Martin Riggs behaving the same way.

The actor himself, conversely, has infuriated quite a few people over the last few years, as he's pinballed from Holocaust-denying to drunken anti-Semitic rants, and its hard to forget all of that. Yet as an actor, Gibson -- coming back to the screen for the first time since 2003's The Singing Detective -- seems to channel all that world-weariness and exasperation into very effective character traits, and makes for a cop worth following.

The film itself, as mentioned, is about Craven trying to hunt down his daughter's killer. It is very clear very early on that despite what the world assumes, the cop himself was never the target, and his investigation into his daughter's affairs sets him down the dark and cinematically familiar path of corporate greed, lies and conspiracy theories.

Based on Campbell's own British miniseries of the same name, Edge Of Darkness is both brutal and efficient, not once surprising or over-clever, but compelling enough for a good, solid watch.

This is no Michael Clayton or The Insider, powerful films about whistleblowers that left us alarmed and awestruck, but somehow the lack of dramatic twist or insight in Edge Of Darkness just serves to make the film coast along more tightly.

A lot of the film is handled extremely matter-of-factly, with only one memorably written character: a Londoner who makes things 'go away', played by the screen-seducing Ray Winstone. Portly, profound and elegiac, he's a pleasure to hear from. Danny Huston does well in his role, but the character and firm he represents -- and Gibson targets -- is too caricatured to seem like a real threat.

Edge Of Darkness is an all-Gibson experience. Looking older than his years, with thinning hair and wrinkles, Mel looks like a beleaguered and washed up version of Simon Cowell and that's a thought as sobering, as scary as can be.

The actor brings nuance to everyday gestures, investing acts of washing his face, looking into the mirror or drinking ginger ale with sheer melancholia. That, and he can still hold a gun better than any of today's young punks.

Rating : 3/5
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