Jaffa movie Review

 

Movie  :  Jaffa

 

 

Rating : 1.5/5

Director :  Venela Kishore 

 

Behind the Screens

Wait is over for Tollywood movie lovers! Jafa who created a sensation with just one trailer hit the screens today. Let us see whether vennela Kishore can come out of his previous flop vennela 1.5 with this film.

Story

Much sought after criminal Jasimine Falguna (Jafa) lands himself in jail where he tries to solve the problems of prisoners. For people who wonder how could he solve problems, earlier he used to work as a software engineer under sadistic boss(Melkote) but finds in jail thanks to his colleague Sujit who commits suicide mentioning Jafa's name.

Jafa and jailer Viki(Vennela Kishore) sketches a plan to escape from prison. Whether they will be successful in there efforts should be found on silver screen.

Star Shine

Brahmanandam bought in various kinds of expressions and vennela Kishore is spontaneous. Others like Ali, Sravan,Dhanraj,Raghu Babu had limited scope for performance.

Analysis

There is a feeling that Vennela Kishore must have been in a hurry to cash into the response the trailer got. So much so that he did not come with any story and failed miserably in screenplay and direction. Though Vennela Kishore tries to be different he is unable to convince movie lovers and able to take them along with the story.

Kishore failed to extract comedy from Brahmanandam and in a way failed people as many expect comedy from Brahmanandam and nothing else. This made many leave theaters in the first half itself. Viewers were heard remarking its better Kishore pulls shutters to his directiorial dreams and do acting without making noise. Second half tests the patience of the people with slow and dragged sequences. Mnay are left scratching their heads about the incidents in jail.

Technicals

There is nothing to speak about techincal department as it is a complete failure. While BGM is horrible, dialogues are substandard and people are saved of songs as there are none. Production values are average.

Movie Marks

Jafa jolts movie lovers 'Jolly' mood making them Jaffas!

Credits

Banner: Kiran Studios
Cast: Brahmanandam, Vennela Kishore, Ali, Sravan, Harish Koyalagundla, Venu, Dhanraj, Melkoti, Ahuti Prasad, Raghu Babu, Fish Venkat and others
Music: Anoop Rubens
Cinematographer: Raja
Editor: Kotagiri Venkateswara Rao
Story, screenplay, direction: Vennela Kishore
Producer: Ramesh Varma
Release date: 29/03/2013

Swami Ra Ra movie review

 

Movie :            Swami Ra Ra

Rating :           3/5

Director:         Sudhir Varma

 

Behind the screens
Young stars Nikhil and Swathi are saying 'Swamy Ra Ra' in their quest for success on silver screen in the direction of Sudheer Verma. Let us see whether movie lovers blessed them with success stars or not.

Story Line

A golden Vinayaka idol stolen from famous Anantha Padmanabha Swamy temple Kerala changes hands from one person to another across the country and at the sametime the value of the idol increases enormously. Surya (Nikhil) earns his livelihood by indulging in pickpocketing along with his gang and suddenly finds himself in possession of the precious idol. However when dreaded criminal Durga Prasad (Ravi Babu) kidnaps his journalist girl friend Swathi(Swathi), he decides to help her parting away with the idol. How the events unfold should be enjoyed on silver screen.

Performance

Nikhil gave a neat performance. His changed style and looks are a perfect match for the storyline. Colors Swathi gave a bubbly performance and her beauty will be remembered for long time. Others came with spirited performances. 

Analysis
 
Director Sudheer Verma came with good storyline and neat script and executed it perfectly without deviating or pulled by the pressures of tried and tested formulas. Film slowed a bit here and there but overall it is passable. Except for predictable climax and story reminding people of some of the previous hits, film is enjoyable to the core. He extracted optimum performance from all actors and his technical team helped him in filming the story in a good and enjoyable manner. 

Technicals

Lakshmi Narasimha Entertainments banner production values are quite good. Editing of SR.Sekhar could have been little better but nothing to complain. Sunny gave good enjoyable tunes as music director and his background score generates interest in the film. Richard Prasad's cinematography is excellent. 

Movie Marks

Nikhil and Swathi makes Swami Ra Ra a sweet special for movie lovers.

Credits

Banner: Lakshmi Narasimha Entertainments
Cast: Nikhil, Swathi, Pooja, Chanti, Ravi Babu, Jeeva, Jogi Brothers and others
Music: Sunny M R
Cinematographer: Richard Prasad
Editor: S R Shekhar
Story, screenplay, dialogues, direction: Sudhir Varma
Producer: Chigurupati Chakri
Release date: 23/03/2013

Rangrezz movie review

     Release date: 21st March 2013
 Rating : 3.25/5
Director : Priyadarshan
Producer : Vashu Bhagnani
Music Director : Sajid-Wajid, Sundar C Babu
Starring: Jackky Bhagnani, Priya Anand, Rajpal Yadav


After creating a lot of hype by getting the rights of Korean singer Psy’s hit number ‘Gangnam style’ for his Hindi film ‘Rangrezz’, the Bhagnani’s, Jackky and Vashu Bhagnani are back with their upcoming film Rangrezz. Directed by Priyadarshan, Rangrezz is another male bonding flick starring Jackky Bhagnani, Priya Anand, Rajpal Yadav, Amitosh Nagpal and Vijay Verma in lead roles. This movie is a remake of Tamil hit film Naadodigal and has finally hit the screens. Let’s see how it is…

Story:

The movie starts off with three best friends, Rishi (Jackky Bhagnani), Winu (Amitosh Nagpal) and Pakkya (Vijay Verma) living a cheerful life in a middle class background and struggle to make it big in their respective career paths. Megha (Priya Anand) is Rishi’s childhood sweetheart who is also his uncle’s daughter.

Their lives take a U turn, when Rishi’s childhood friend, Joy (Raghav Chanana), who is also a son of a powerful politician enters their life. Joy is in love with the daughter of another A-lister but is scared to go against his parents. Rishi and his two friends come to his rescue and help Joy to get married to the love of his life. However their sacrifice is later followed by a strong betrayal by Joy. Because of this repercussions Rishi and his friends get into more trouble.

Rest of the story is as to how they manage to gather themselves and get back to their normal lives. Will the friends help the lovers to get married to each other and what problems will they face in the procedure, forms the rest of the story.

Positive Points:

Rangrezz is one of those movies, where you enter the movie hall with no expectations but come out totally satisfied. The movie is basically about friendship and sacrifice. The whole film relies on this strong concept and fabulous direction by Priyadarshan only enhances it more. The movie has some unpredictable twists, drama and amusing humor.

Speaking of performances, Jackky Bhagnani is growing himself as an actor with every film. He gives a splendid performance as compared to his debut in 2009’s ‘Kal Kissne Dekha’. Amitosh Nagpal portrays a role of computer intellect and a close friend with perfection. However, newcomer Vijay Verma is a show-stealer. His dialogue delivery and rowdy performance, makes him the star. He has the capability of going places after this.

Rajpal Yadav is flawless while portraying his forte onscreen. His humor takes the movie to another level. Priya Anand plays a bubbly in-love girl with ease. All other characters look refreshing on screen.

Negative Points:

Rangrezz is one movie that inspite of a strong concept, lacks some substance. Priya Anand, who showed her acting skills in English Vinglish, has been completely wasted in the film. Rajpal over does his character in some places.

The biggest disappointment is the climax of the film, which is left unexplained by the director. Just when the viewers start to shower interest in the movie, it looses plot and scatters. The story also has one nameless and dialogue-less character, who is not been introduced at all, but is present in almost all major scenes.

Technical Aspects:

The music of the film is decent enough to entertain the viewers. However, Shambho Shiv Shambho, the song adapted from Naadodigal, is the highlight. It leaves an impact and goes with the flow of the scene. While the first half of the film is short and informative, the second half needs serious trimming.

The first half is engraved with some engaging drama and humor and also has some nail-biting sequences. The social message sent across by the filmmaker is powerful. Cinematography and screenplay is laudable and editing is decent.

Verdict:

On the whole, Rangrezz is a total surprise and is targeted to the youth of today. Apart from being entertaining, the movie is thought provoking and an example of good cinema. However the lack of big names may hinder the movie’s performance at the box office. Finally Rangrezz is surely worth a watch.

Bakara movie review

Release date : 22 March 2013
Rating :1.5/5
Director : CSR Krishnan
Producer : Sivarama Krishna C, Koteshwar Rao
Music Director : Rohit RK
Starring : Srihari, Pragatika, Brahmanandam

Real Star Srihari’s new film ‘Bakara’ hit the screens today. The movie has newcomers in crucial roles and Srihari will be seen as a Mafia Don. R.Krishnan is making his debut as a director and Rohith R. Kulkarni has composed the music. Koteswara Rao and Sivaramakrishna have jointly produced this movie. Let us see if the film is worth a watch or if it is going to end up making bakras out of viewers.

Story :

Baba Bhai (Sri Hari) is a Don who lives in Mumbai. With the help of Minister Venkoji (Tanikella Bharani), he runs an extortion racket in Hyderabad as well. Some local goons kill Venkoji and Baba Bhai comes down to Hyderabad to avenge his friend’s death. After finishing them off, Baba Bhai decides to pay a visit to Mumtaz Cafe, a place which holds many childhood memories for him.

Baba Bhai is faced with an unexpected situation when he receives a call from an anonymous fellow, warning him about a bomb below his seat in the cafe. The anonymous caller keeps calling Baba on his phone regularly and warns him about getting up.

Baba’s fate is intertwined with that of three youngsters – Raghupathi, Raghava and Rajaram. Raghupathi works in the cafe while Raghava and Rajaram take up other professions. How are they linked to Baba Bhai? Will Baba Bhai come out of the scenario alive?

That is the story of ‘Bakara’.

Plus Points :

Sri Hari has done a good job in the film. His character has negative shades and he has mixed those emotions nicely with good sentiment when required. Tanikella Bharani has a very limited presence in the movie, but he makes an impact with his punch dialogues.

Minus Points :

The director wanted to shoot a suspense thriller but he ended up making a boring drama. Needless comedy sequences, poor writing and bad screenplay kill the film. Except for Tanikella Bharani’s punch dialogues, there is nothing noteworthy in the first half of the movie.

None of the newcomers make a good impression in the movie. A lot of comedians have been used in the film, but none of them make an impact. The comedy scenes are outdated and cliched. Brahmanandam, M.S. Narayana, Duvvasi Mohan, Raghu Babu and Dharmavarapu Subrahmanyam are wasted in poor roles.

Srihari is shown as a very powerful Don inititally but when he is threatened by an anonymous caller about a bomb, the reactions given by him and his gang are very silly. Srihari’s introduction song comes up at the very beginning of the film and then he is nowhere to be seen until the interval, where he makes one more entry. Why have an introduction song at the beginning if you don’t want to reveal your character till the interval?

Poorly placed songs just kill the flow of the movie. The item song does not attract the attention of viewers at all.

Technical Aspects :

Vijaya Sri’s cinematography is just about ok. Rohit Kulkarni’s background score and music do not help the film in any way. Director R. Krishnan’s dialogues are ok, but he fails miserably in the direction and narration departments.

Production values are below average.

Verdict :

This movie will definitely make a bakara out of you if you decided to take a chance. Srihari’s performance and Tanikella Bharani’s one liners are the only positive aspects of the film. A terribly slow pace and a poor script make this film a very poor watch.

Kai Po Che Movie Review

 

Kai Po Che Movie Review

A Chetan Bhagat novel is akin to reading a screenplay. You start visualizing the characters, the occurrences and episodes, the myriad emotions… like it were occurring in front of your eyes. What also makes Bhagat’s novella interesting are its characters and the fact that they are hugely identifiable since they are based in India.

After ‘one night @ the call center’ [HELLO] and ‘five point someone’ [3 IDIOTS], the author’s much-talked-about novel ‘the 3 mistakes of my life’ gets picked up for the big screen adaptation called KAI PO CHE. So what does the title [KAI PO CHE] mean, a question I have been asked more than a few times by cineastes. Translated simply, it’s a call of triumph in Gujarati, when one kite flier cuts another’s kite. Besides sounding different to the ears, the title metaphorically suits the premise of the story that’s set in Gujarat. And how close is the motion picture to the much-acclaimed novel? Well, the episodes and characters are the same, except that Abhishek Kapoor tweaks and fine-tunes it [adapted for the screen by Pubali Chaudhuri, Supratik Sen, Abhishek Kapoor, Chetan Bhagat], since the medium is cinema.

KAI PO CHE cannot be slotted in any particular genre, in my opinion. It depicts unconditional friendship, it portrays bromance as well as romance, it illustrates politics, it exemplifies the passion for a sport [cricket], it talks of the events that unfolded in Gujarat [earthquake, Godhra massacre and the riots]. Multi genres, you could say. But, at heart, KAI PO CHE remains an emotional saga of three friends and how it stands the test of time. Very similar in spirit to the director’s previous outing ROCK ON!, Farhan Akhtar’s DIL CHAHTA HAI and Zoya Akhtar’s ZINDAGI NA MILEGI DOBARA, yet different.

In KAI PO CHE, Abhishek brings alive the characters and events most persuasively. He borrows from the novel, but at the same time adds a lot to it with his deft execution. Resultantly, what emerges is a movie that evokes myriad emotions in the viewer. You smile, chuckle, get anxious and jittery, also moist eyed on several junctures. Attention-grabbing in entirety, absorbing you into its world from the onset itself, KAI PO CHE blends fiction and facts dexterously, recreating a story on celluloid that’s credible and noteworthy.

KAI PO CHE narrates the story of three friends and is based in the city of Ahmedabad. The plot sees a young boy in Ahmedabad named Govind [Rajkumar Yadav] dream of starting a business. To accommodate his friends Ishaan [Sushant Singh Rajput] and Omi’s [Amit Sadh] passion, cricket, they open a cricket goods and training shop. However, each has a different motive: Govind’s goal is to make money; Ishaan desires to nurture Ali, a gifted batsman; Omi just wants to be with his friends. The events that transpire against the backdrop of all that occurred in the city during that time change the lives of each of the friends in very different ways.

Abhishek Kapoor has the trappings of a first-rate storyteller — a fact that was evident in his first two endeavors [ARYAN, ROCK ON!]. In several ways, ROCK ON! and KAI PO CHE are analogous, yet divergent. While ROCK ON! was urban and metro-centric in terms of content, KAI PO CHE has the raw emotional appeal of three middle class guys that strikes a chord with just about anybody and everybody. In any case, a film like KAI PO CHE is damn difficult to make. It has several layers and sub-plots… a bigger canvas actually. And like I pointed out at the outset, it encompasses not just the story of three friends, but also real incidents that send a shiver down your spine.

Abhishek gets out of the comfort zone to attempt a daringly different movie. Also, with KAI PO CHE, the supremely talented craftsman takes giant strides as a film-maker. What’s truly credible is the fact that he doesn’t follow the rules or diktats prescribed by his peers in Bollywood. Instead, he charters a path that’s pure and uncontaminated. Also, he opts for relative newcomers this time [casting director: Mukesh Chhabra], which could’ve boomeranged if the actors were incapable of infusing life in their respective characters.

After ROCK ON!, which had a lilting soundtrack, KAI PO CHE too has a winning musical score, composed by the inimitable Amit Trivedi. The songs are uncomplicated and mirror the spirit of the film wonderfully. More importantly, it’s an unadulterated Indian soundtrack, not a cacophony of tunes put together to western beats. Swanand Kirkire’s lyrics are poignant and leave an impression. The background score [Hitesh Sonik] is subtle where required, but electrifying when necessary. Anay Goswamy’s cinematography is top notch, capturing the emotions as well as the rustic atmosphere to perfection.

The three pivotal parts, enacted effortlessly by Sushant Singh Rajput, Rajkumar Yadav and Amit Sadh, are the heartbeats of the enterprise. Sushant is a terrific actor, is blessed with wonderful screen presence and gets the timing of his character right. I see tremendous potential in him! Rajkumar Yadav has proved his credentials in the past and shines yet again in a role that’s in sharp contrast to the other two characters. He’s excellent! Amit Sadh is another remarkable talent to watch out for. Sure, he too has a couple of films to his credit, but his performance in this film will make people notice him. Besides, their on-screen camaraderie is truly infectious. Amrita Puri leaves a strong impression in a movie that’s an all-boys’ show predominantly.

The supporting cast is equally super. Manav Kaul is magnificent, taking his character to another level. Asif Basra does a splendid job. Digvijay Deshmukh [as Ali] is a revelation. He’s incredible!

On the whole, KAI PO CHE is brimming with solid content. Watch it for the spirit it is made in. Watch it because it’s the kind of cinema that pushes the boundaries. Watch it because movies like KAI PO CHE need to be encouraged. A film that deserves an ovation!

Zero Dark Thirty movie review

Cast: Jessica Chastain, Jason Clarke, Kyle Chandler, Mark Strong

Direction: Kathryn Bigelow

Genre: Drama

Duration: 2 hours 40 minutes

Story: How one CIA agent tracked down Osama bin Laden and ended the largest manhunt in US history.

Review: When you first meet Maya (Chastain), she's a recruit fresh off the plane from Washington, stepping into one of the CIA's Black Sites where detainees are being interrogated (read: tortured) to give up the location of al Qaeda head Osama bin Laden. Her fellow officer Dan (Clarke) is persuasive and experienced enough to make the tough calls and wonders if Maya has what it takes. He needn't have worried.

By the time the Bush administration gives way to Obama's and Dan returns to Washington, she is doggedly pursuing any and every lead that can bring her closer to her target. Personal losses, two attacks on her life notwithstanding, she single-mindedly trudges on and on till the very end.

Jessica Chastain deserves to win every award she's nominated for this year. That's how good her performance in the film is. The supporting actors impress as well, and that's rare to see. Backed by a winning script by Mark Boal (who also wrote Bigelow's The Hurt Locker), Chastain strides through in a splendid role. Kathryn is the film's other star. Beginning the film in the dark with voices amplifying the terror that was 9/11, she matter-of-factly tells her story, in chapters which might just as well have been a visual dossier of the bin Laden killing, but is elevated by the human element.

However, overindulgence is what truly mars the effort. The film could've been much shorter. Clocking in at close to three hours, the film's premise is based on a series of events that spanned close to a decade, but the suspense is built, almost in real time, on slow-burn. It gives you the feeling of being there 'as it happens'. That's not always something your audience wants.

Note: You will not like this movie if scenes of torture and foul language disturb you.

pizza movie review

Cast: Vijay Sethupathy, Ramya Nambeesan, Naren, Jayakumar, Karunakaran Direction: Karthik Subbaraj Genre: Thriller Duration: 2 hours 8 minutes

Synopsis: Michael (Vijay Sethupathy) lives with girlfriend Anu ( Ramya Nambeesan) and works as a deliveryman at a pizzeria. One day, Anu announces that she is pregnant and he is faced with a dilemma. They decide to marry and save up for a big bash later. But during a routine delivery one day, the pizza crumbles...

Movie Review: At a time when lavishly mounted movies are biting the dust, Karthik Subbaraj serves up a sumptuous delight with his very first feature film, made on a budget possibly less than four times that of a big star's movie. If he maintains the quality of his menu and future offerings, Karthik, who gained much praise for his short films, is sure to become one of Kollywood's top directors.

Karthik, who has written the story and screenplay too, displays a strong control of the medium and gives abundant display of his narrative skills. He keeps the red herrings coming at regular intervals, never allowing the audience to guess what he has in store for them. Just when you think "Ah, I know what is coming", he springs a surprise on you.

Karthik gets able support from cinematographer Gopi Amarnath, who provides the necessary toppings to the pizza. It would not be wrong to say that the movie would not have been half as enjoyable if not for him. He does a brilliant job in the scenes shot in the haunted house, where sometimes the only source of lighting is a torch held by the actor. His camera angles and lighting provide the necessary eeriness to keep the audience on the edge of its seats, and with the songMogathirai..., he proves that he can also shoot bright and beautiful romantic sequences.

More seasoning is provided by music composer Santosh Narayanan, who earlier scored a winner with Attakathi, and editor Leo John Paul. The good background score by Santosh and the tight editing of Leo John ensure that the pizza remains crispy.

Vijay Sethupathy, whose first film in a lead role was the natonal award winner Thenmerku Paruvakatru and was later seen in Sundarapandiyan, gets an author-backed role and does full justice to it. For a huge chunk of the movie, he is the only character on the screen but it is thanks to his performance that there is not one dull moment. Whether it is nervousness, fear or anger, he gets all the emotions bang on. Other actors like Ramya and Naren, who plays the owner of the pizza parlour, are adequate.

The characters and dialogues are well-etched and as real as possible. While most directors would have refrained, Karthik shows the lead pair in a live-in relationship and openly discussing sex and pregnancy. And when the man throws a fit over his uniform not being washed, she slaps him back. It is welcome to see directors show a mirror to society in their movies, rather than resort to cliched themes and styles of presentation.

 

Murder-3 movie review

The premier production house, Vishesh Films, has the maximum number of film franchisees to its credit. The super success of RAAZ, MURDER and JANNAT spurred the Bhatts — Mahesh and Mukesh — to make hi-concept movies that merged erotica and thrill dexterously. The defining success of MURDER [Anurag Basu; 2004] and MURDER 2 [Mohit Suri; 2011], therefore, has led to monumental expectations from MURDER 3. But unlike the first two parts, which had a high quotient of erotica, the focus is less on erotica, more on emotions in MURDER 3. Yes, you read it right! Vishesh Bhatt, who makes his directorial debut with MURDER 3, reinvents the brand ‘Murder’, focusing more on the emotional drama. Also, the spotlight is on the two women protagonists this time.

Over the past few years, the Bhatts were often accused of sidetracking the emotional quotient — the USP of their previous movies — in their recent endeavors. The success of their new films notwithstanding, the emotional quotient had descended to an all-time low, the skeptics felt. I am sure, the Bhatts would’ve taken the criticism on their chin, for MURDER 3 is akin to a resurgence, a new beginning for the Bhatts, who have adapted to the changing times proficiently. In fact, post RAAZ 3, MURDER 2 and JANNAT 2, any other production house would’ve felt the vacuum, but not the Bhatts. With MURDER 3, they transform themselves into a new persona, rediscover their strengths [emotional quotient], but at the same time, garnish the proceedings with the tried and tested ingredient [erotica] to create a scrumptious dish that’s delectable and delightful.

A quick clarification before I proceed further! MURDER 3 is the *official adaptation* of the Spanish thriller THE HIDDEN FACE [LA CARA OCULTA], but the Bhatts are known for their strong ingenious sensibilities when it comes to adapting foreign films for the pan-Indian market. Vishesh, the scion of Vishesh Films, seems to have imbibed this thought. For, as the reels of MURDER 3 unfold, you realize, MURDER 3 may have sourced from the Spanish movie, but Vishesh has Indianized it so damn well. It is *not* a cut and paste job!

A hot-shot fashion and wildlife photographer Vikram [Randeep Hooda] gets into a relationship with a waitress from a lounge, Nisha [Sara Loren]. She moves in with him in his palatial house outside the city. The old world house, made decades ago, is stunning as well as terrifying. It holds a vital secret which Nisha soon unearths: The mysterious disappearance of his former girlfriend Roshni [Aditi Rao Hydari].

One is uncertain about the genre of MURDER 3 in the first hour. There are spooky moments and you question yourself, is it about a haunted house? Is it a horror movie? Is there a ghost staring at the new woman in the house? Also, the plot relies on the usual twists in this hour… a lovey-dovey couple shifts to an isolated location outside the metropolis, the girl goes missing under mysterious circumstances, the guy is heart-broken, the cops suspect the guy, the guy falls in love with a new woman and gets her home… Just when you’re about to give up, the variation happens at the onset of the second hour as the chunks begin to fall into place skillfully. What starts off as a ghost story that flaunts the depleted cliches soon transforms into an exhilarating fare, with several nail-biting and claustrophobic moments and a stunning conclusion that leaves you spellbound. The real twist comes to the fore towards the middle of the second hour, while the culmination leaves scope for carrying the franchise forward.

MURDER 3 is a thriller that offers thrills and chills aplenty. The beauty of the film lies in the fact that it’s so damn unpredictable, so unforeseeable in its second hour. It’s nothing like you’ve seen in a Hindi movie thus far. Also, it’s a plot-driven movie, with Vishesh not borrowing anything from the previous two MURDERs. It goes without saying that MURDER 3 stands tall for its substance and most significantly, for the sparkling implementation of the written material [Mahesh Bhatt]. Like I pointed out earlier, Vishesh and the Sr. Bhatt metabolize the source completely to create a product that’s nothing short of brilliant.

A film-maker is only as good as the story he tells and Vishesh seems to have done his homework well. What he creates in MURDER 3 is creditable, contemporary, besides working on the look and sound of the film as much as its content. It rides on the new energy of a young mind and the level of maturity in his very first endeavor surprises you completely. There’s no stopping this guy. Music [Pritam, Roxen band] has always been an integral part of Vishesh Films and the soundtrack of MURDER 3 does boast of a couple of lilting tracks that fit so well in the narrative. I’d like to make a special mention of Raju Singh’s background score, which is of international standards. There are several silent moments in the narrative and the background score elevates those sequences to an extraordinary altitude altogether. Sunil Patel’s cinematography is top notch. He captures the stunning locales of South Africa with finesse. Sanjay Masoomm’s dialogue are natural and fit beautifully into the narrative.

Randeep does complete justice to the character he illustrates. Sure, one does miss Emraan Hashmi initially, but once the narrative seizes your attention, Randeep brings alive his character and you don’t draw parallels subsequently. Both Aditi and Sara are show-stoppers and deliver knockout performances. Aditi excels in the post-interval portions, while Sara gets a platform to prove her talent in several sequences. Both score and how!

Rajesh Shringarpure makes his presence felt. Shekhar Shukla is decent. Bugs Bhargava is efficient.

On the whole, MURDER 3 is one of the finest thrillers to come out of Vishesh Films. An outstanding story narrated with ferocious enthusiasm. Vishesh Bhatt hits a boundary in his very first attempt!

The Rating
4 out of 5

Lincoln movie review

Tommy Lee Jones|Sally Field|Lincoln|

Critic's Rating: Cast: Daniel Day-Lewis, Sally Field, Tommy Lee Jones Direction: Steven Spielberg Genre: Drama Duration: 2 hours 30 minutes Avg Readers Rating: Listen to the album on gaana

Story: Four years into America's terrible Civil War, Southern surrender looks likely - but will President Lincoln end the war before abolishing slavery?

Movie Review: One line by Republican politician Thaddeus Stevens sums up Abraham Lincoln's historic feat - "Corruption aided by the purest man in America."

---

Indeed, Lincoln shows us a whole new side to the ending of American slavery, taking us behind blood-stained fields of war into the backrooms of real politics, chambers where representatives cut sharp deals, attics where lobbyists haggle 'patronage-pay', corners of grand Houses where leaders drop their bluster and name their price. This is a clever, cynical graph of the mathematics that went into Abraham Lincoln's philosophy - underlining how a great statesman was a shrewd salesman too.

In drawing Lincoln thus, Day-Lewis delivers a molten, silken performance, etched like an ivory statue whose eyes glisten occasionally at the ironies he sees. These are often lost on those around him - most notably, on his neurotic wife Mary, played by Field with edgy, brittle flair as she berates Lincoln for being coldly uncaring, imprisoning his family "within this terrible house!" His wife isn't his only challenge - Lincoln faces opposition from his party, rivals, even his staff. Here, Lincoln scores big again - despite Day-Lewis' dazzling performance, other political players come to life too, including David Strathairn as velveteen Secretary of State Seward and Lee Jones as the brilliantly blunt Stevens.

Marshalling these forces - plus a little flock of lobbyists - Lincoln induces the House to finally debate abolishing slavery. His obsession to push his idealism - even at the cost of delaying ending the war - reveals itself as deadly sharp through all that wafting smoke and shadowy silhouettes, interlaced with Lincoln's numerous meandering parables.

On the downside, Lincoln is long-winded, clutching strands - like the President's sons - that needlessly distract from its pointed political play. Its first half's slow, the second quicker but deep-set in American minutiae. Still, as one of its senators finally roars, "God damn it - I'm voting yes."

NOTE: You will not like this if you're bored by wordy historical dramas.

Kadali movie review

	Release date: 01 Feb 2013
	Rating : 2.5/5
	Director : Mani Ratnam
	Producer : Mani Ratnam, A. Manohar Prasad
	Music Director : A. R. Rahman
	Starring : Gautham, Thulasi, Arjun, Aravind Swamy

Mani Ratnam’s Kadali has been in the news for more than one reason. First, it marks the launch of two star kids in Gautam Kartik and Tulasi and secondly is the comeback film for Aravind Swamy. Music by A R Rahman, especially the Gunjukunna song has created a decent buzz for the movie. Kadali also stars action king Arjun and Lakshmi Manchu in other roles. The movie has finally released amidst yet another big budget film Ongolu Gitta today, so let’s see how it is.

Story:

Berchmans(Arjun) and Sam(Aravind Swamy) are members of a christian missionary, who are getting trained to become holy fathers in future. One day an unexpected event occurs and Sam complaints against Berchmans who is eventually kicked out of the Church. An angry Berchmans pledges to Sam that he will return back and take his revenge.

As time passes by Sam is posted as a holy father in a small fishing village. He slowly gathers people around him, and also instills religiousness in the village. During this phase, he also gives shelter to an orphan named Thomas(Gautam Kartik) and takes good care of him.

One fine day Sam happens to meet Berchmans, and this meeting lands Sam in big trouble.

While all this is going on, Thomas happens to meet Beatrice(Tulasi) and falls in love with her, only to realise that she is the daughter of Berchmans. Rest of the film is as to how Thomas helps Father Sam, and fights against Berchmans to win his love.

Positive Points:

Kadali is an out and out Arjun and Aravind Swamy film. Both of them suit their roles perfectly. Arjun looks good and plays the perfect bad guy. He has dubbed with his own voice, which gives more edge to his character. Aravind Swamy gets a meaty role, which he delivers with ease. He plays the role of Church father with peace and sincerity.

Gautam Kartik makes a decent debut with Kadali. He suits his role and has been well trained for his character. On the other hand, the female lead Tulasi does not have much to do in the first half and looks OK . Laksmi Manchu’s cameo is neat.

Negative Points:

As in all Mani Ratnam movies, pace of the movie is very slow. Some scenes involving Aravind Swamy and his preachings, could have been easily removed. The romantic track between the couple lacks clarity. Heroine’s character has hardly any weight, and is utilized only in the last half hour of the movie.

The romantic elements which all Mani Ratnam films have, are completely missing in this film. Some scenes have been dragged out, and the realistic approach might not be liked by all.

The movie has absolutely no comedy or any fun moments in the film. As the first half of the movie looks interesting and nicely set up, second half is a big set back. The pace drops drastically and the films starts to waver.

The absence of any commercial values will make this film tough to appreciate for regular cinema lovers.

Technical Aspects:

As in all Mani Ratnam films, Kadali is high on technical values. Camera work by Rajeev Menon is stunning. The movie is based near the beaches and the locales have been captured beautifully.

A R Rahman’s music is ok and the sole hit number ‘Gunjukunna’ comes only in the background. The background score is good. Dialogues are OK but some heavy duty Christianity related words have been used. Lyrics of the movie are poetic and the editing is good. Screenplay is just about OK.

Verdict:

On a whole, Kadali is a film completely based on Arjun and Aravind Swamy. Slow paced narration, weak romantic track and lack of a gripping screenplay go against the film. Kadali is a not Mani Ratnam’s best work. If you are hell bent on watching it, go without any expectations.

Inkaar movie review

 

Inkaar Movie Review

The moviegoers have developed a taste for innovative, out of the box stories. Topics that were once considered taboo are being attempted on the Hindi screen. Pushing the envelope within commercial parameters is the new mantra. Known for attempting diverse stories in film after film, Sudhir Mishra takes on a hitherto untold topic for his newest venture INKAAR: Sexual harassment in a work environment.

A film like INKAAR is extremely relevant, topical and relatable in today’s times. Sexual harassment is a reality and one needs to address it. We ought to discuss it — with students, with grownups, with working men and women, within and outside organizations. One has to be vigilant, on the guard against those indulging in it and getting away scot free. The ones who endure harassment are often scared to come out in the open, fearing that it may ruin their personal/professional life.

INKAAR may revive memories of DISCLOSURE [Michael Douglas, Demi Moore] and also Abbas-Mustan’s AITRAAZ and Madhur Bhandarkar’s CORPORATE, but INKAAR depicts the clash of egos most differently. Beneath the sexual harassment issue that it addresses, there’s a love story that comes to the fore during the culmination of the film. However, the writing isn’t watertight this time. More on that later!

At one of India’s leading ad agencies, the battle for the top job between Rahul [Arjun Rampal], a venerated advertising CEO, and Maya [Chitrangda Singh], his ambitious protégé, takes a dramatic turn when she files a sexual harassment complaint against him. It’s the job of the committee set up by the agency to hear both sides of the story and work through the layers of lies and accusations to find out who’s really telling the truth and who’s lying. The stakes are high because only one of them [Rahul or Maya] will walk away with their reputation intact. Will the committee really be able to uncover the truth?

INKAAR is a tough film to make and one must compliment Sudhir Mishra for sticking his neck out. Let me add, INKAAR is not just about sex. It’s about greed, ambition and power play. Generally, in a majority of Hindi films, it’s the man who seeks sexual favors, while the woman is projected as someone who’s meek. But the woman here is shrewd and spiteful. When the two sexes collide, what the spectator gets to see is not just the issue that the film raises, but also the games the ambitious play to reach the top spot.

Mishra is a sensitive storyteller. At the same time, he’s a director’s actor. Given the subject matter, INKAAR would’ve turned into a sleaze fest, a cheesy film, but the director handles the provocative moments elegantly. However, like I pointed out at the outset, the writing is gripping in parts, not in its entirety. A few episodes are engaging, but a couple of them lack the hammer-strong impact. Besides, the screenplay should’ve been exhilarating and engaging towards the resolution. Also, the track of the father [Kawaljit Singh] is a little difficult to comprehend. What was the writer trying to convey in those scenes? Dialogue are incisive, razor-sharp and acidic, depending on the situation.

INKAAR succeeds in bringing out the right emotions from its actors. Arjun Rampal displays remarkable understanding of the character. Post CHAKRAVYUH, which released a few months ago, this is yet another power-packed performance that makes you realize that this supermodel has transformed into a super actor. Chitrangda immerses herself into the role brilliantly. She uses her lustiness in a wicked, dominating way and that’s what catches your eye. It’s great to see Deepti Naval after a hiatus. The film has a collage of talented actors, which includes Vipin Sharma, Mohan Kapur, Asheesh Kapur, Shivani Tanksale, Gaurav Dwivedi and Rehana Sultan [cameo] and each of them stands out in his/her respective part.

On the whole, INKAAR is for spectators of serious cinema. Caters to a niche audience!

The Collection

Cast: Josh Stewart, Emma Fitzpatrick, Christopher McDonald, Lee Tergesen,Randall Archer

Direction: Marcus Dunstan

Genre: Action

Duration: 1 hour 22 minutes

Story: You survive the ravages of a masked serial killer called The Collector. The last thing you want to do is walk right back to him to save someone you don't even know. Arkin (Stewart) is blackmailed into doing just that. Some people have all the tough luck!

Movie Review: This movie's a sequel. And I'll be curt here. Don't bother with the first film (The Collector), touted to be a successor of the 'Saw' series. Here's a recap of what happened in that film: Arkin, a petty thief, gets trapped in a mansion while picking a safe. A masked murderer enters, tortures and kills everyone inside the house except for Arkin, whom he'collects' in a trunk.

When we meet Arkin in this film, he's in the aforementioned trunk and is set free by Elena Peters (Fitzpatrick), who's one of the revellers at a shady underground club that soon turns into a slaughterhouse, courtesy The Collector (Archer). Arkin manages to escape but is unable to save Elena, who is 'collected'.

As luck would have it, Elena's Daddy Deep-Pockets (McDonald) dispatches right-hand man Lucello (Tergesen) to convince Arkin to lead hired mercenaries to the killer, and promises "to take care of the rest". Nothing's ever as simple as that. Arkin is compelled to accompany the group into the killer's lair. Do any of them make it out alive or is it just a suicide mission?

A recap of the previous film would have been ideal but that is sacrificedto keep the movie crisp.

This film has been called many things ('torture porn' being one of them). And if you get queasy at the sight of spilled guts and grey matter, shredded skin and severed body parts and death by impaling, slashing and stabbing, you're probably better off not watching this film. But if you are a fan of the genre, The Collection is worth a watch.

Devaraya movie review

 

		Director : Nani Krishna
		Producer :Kiran Jakkam Shetty , Nani Krishna
		Music Director : Chakri
		Starring : Srikanth, Meenakshi Dikshit, Vidisha

Family hero Srikanth is trying his hand at socio fantasy for the first time with ‘Devaraya’. Nani Krishna is the director of this movie and Chakri scored the music. The film has Vidisha and Meenakshi Deekshit in the lead roles opposite Srikanth. After some delay, the movie has released today across Andhra Pradesh. Let us see how ‘Devaraya’ is.

Story :

Dorababu (Srikanth) is a village playboy who believes in enjoying life to the fullest. He falls in love with Swapna (Vidisha) and she too responds to his affection as she sees the good side of his nature. She tries to get Dorababu to mend his ways but her grandfather (Ranganath) is staunchly against the alliance.

As this story is going on, an archaeologist (Sivaji Raja) discovers some items belonging to Sri Kirshna Devaraya in the Godavari delta and decides to investigate the matter. With the help of Ranganath, he tries to translate an ancient diary that belongs to the Legendary Telugu King.

Some startling secrets come out in this process and everyone discovers that Dorababu has a connection with Lord Krishna Devaraya. He has some unfulfilled promises to keep and Dorababu is now required by the forces of nature to sacrifice himself for that promise. What happens next is the story of the film

Plus Points :

Srikanth’s performance is ok in this movie. As Dorababu, he tried to imitate Megastar Chiranjeevi’s style for the comedy department. During his performance as Krishna Devaraya, he tried to imitate Sr NTR’s diction and dialogue delivery.

Vidisha is good and she may have some future in the industry if she takes care of her projects. Meenakshi Dixit is strictly average. Veteran actor Balayya, Ranganath, Sivaji Raja, M.S. Narayana, Raghu Karumanchi and Jayaprakash Reddy try their best to liven up the proceedings to a certain extent. Some visual effects and a few scenes from Krishna Devaraya’s court have been shot well.

Minus Points :

The plot of this movie has more holes than a sponge and just like a sponge soaks up water, this film will soak up the viewer’s patience. There is virtually no story in the first half and there are way too many bad songs.

The scenes are loud, poorly written and have absolutely no logic. If you had a great image of King Sri Krishna Devaraya, you will be disappointed with the way he has been portrayed in this movie.

There are too many foolish sequences in the film. In the flashback episodes, King Krishna Devaraya’s character keeps shifting between present day Telugu and ancient Telugu in the same dialogue!! The actor who is seen as Jayaprakash Reddy’s brother looks very comical with a hideous wig. The central plot of trying to build a cement factory in a place containing an ancient temple is never given its due importance.

The placement of songs is atrocious. Just when the film tries to gain some momentum, these songs appear and drive the pace right into the ground.

Some graphics sequences are very poorly executed and while that is understandable, given the low budget of the film, they should not have been attempted in the first place with such limitations.

Chakri’s music and background score make things worse. The climax simply falls flat and there is no reason for that Chandramukhi style dance (with the Chandramukhi costume) in the first place.

Technical Aspects :

Nani Krishna’s direction is poor and he does not have any grasp over the basic aspects of narration and screenplay. Editing is atrocious. Cinematography is just about ok. Veerababu’s dialogues are bad.

Like I said before, Chakri’s music is very bad and he does not lend any strength to the movie. Production values are mediocre.

Verdict :

Srikanth is a nice guy with a family hero image and it is sad to see him in films like this. ‘Devaraya’ is a movie that has absolutely nothing going for it. Do yourself a favour and stay away from it unless you want to watch the movie out of an academic interest to see what shouldn’t be done by a director.

Mythri review

Mythri (Telugu: మైత్రి) is a 2012 Telugu Suspense Thriller Film directed by Surya Raju starring Navdeep and Sadha in the Lead roles. Rajesh Kumar produced the movie on Hanu Cine Creations Banner and Vikas provided the Music.

Cast

• Navdeep


• Sadha as Mythri


• Bramhanandam


• Uttej


• "Chitram" Seenu


• Suman Setty


• Kallu Chidambaram


• "Satyam" Rajesh


• Bhikshu

Preview

The movie was launched at Annapurna Studios on May 06, 2012. Nandini Reddy , Satish Reddy, Rajesh Kumar, Surya Raju attended this event.^[1] Since then the movie was shot in a nonstop mode. This marks the return of Sadha to Telugu and Tamil Industry and in this film, she palys the titular role of Mythri, a docile and well mannered young woman during day time. But once the sun goes down, a peculiar change can be observed in Mythri. She turns hysterical, roams around all alone and behaves in mystical ways and the story is all about this change and the mystery behind it

Movie Review-Mythri

rating-2

Directed by     Surya Raju
Produced by     Rajesh Kumar
Written by     surya raju
Screenplay by     surya raju
Story by     surya raju
Starring     Navdeep,Sadha,Bramhanandam,Uttej,"Chitram" Seenu,Suman Setty, Satyam Rajesh

Music by     Vikas
Cinematography     sleva kumar
Editing by     vinay
Studio     Hanu Cine Creations
Release date(s)

30 November 2012


Story

Dipak(Navdeep) an aspiring director approach Genious Murthy(Brahmanandam) TV channel head with a unique ad concept. However Murthy okays his concept with a condition that he shoots the ad on his PA. Dipak with much after thought and prodding from his team agrees to Murthy's condtion and selects a lonely bunglow for his shooting purpose for seven days speaking to the watchman of the house.

While he reluctantly shoots the ad, Mythri(Sada) owner of the house comes arrives much to the surprise to settle the property dealings before flying to US once again. Dipak convices Mythri to shoot for his ad and during the inmates experiences unique happenings in the house along with a murder attempt on Mythri.

What is the mystery behind the mysterious happenings should be found out on sliver screen.

Performance

Navdeep and Sada's roles don't have much scope for performance. Sada looked good in two songs.Brahmanandam tried to bring some smiles. Kallu Chidambaram, Uttej,"Chitram" Seenu,Suman Setty, Satyam Rajesh and others peformed according to their roles.

Analysis

Director Surya Raju prepared a good script and he should be first credited for maintaining the suspense part in the film till the final few minutes. Had he sketched some performances oriented roles for the lead pair, film would have been on different platter. Romance and climax scenes are not elevated convincingly. Though suspense is maintained till the end, there is no convincing reason for attacks on Mythri. Songs acted as speed breakers while Uttej's dialogues on film industry though good was washed away in his drunken concept.

Technicals

Production values are ok. Music by Vikas is fine and stands out in two songs, one saree song showcasing the Indian tradition. Selva Kumar's cinematography is ok and editing by Vinay is average. Had directed finetuned the storyline, it could have caught the attention of movie lovers with mouth talk.

Final Talk

Mythri keeps movie lovers glued to screens till a point before loosening its noose like grip.

Red Dawn movie review

The army invading the United States in "Red Dawn," an ill-advised remake of the campy 1984 original, was changed in post-production from Chinese to North Korean. With a few snips here, a few re-dubs there, the filmmakers re-edited and re-shot, fearful of offending China and its increasingly important movie-going market.

But why stop there? Can't we blithely make any nation our enemy for movie-sake? Let's try a version with Iran! And don't we have reason to be suspicious of Sweden? Do we really know what's in all those giant Ikea stores?

The ridiculous "Red Dawn" is the supreme example of Hollywood's Cold War nostalgia, when the Russkies offered up an easy, de facto villain. Today's terrorism paranoia, apparently, is too complex and too faceless for some. No, we need a clear-cut enemy. Do you have something in red?

The awkward updating of "Red Dawn" came after Metro-Goldwyn-Mayer, which had produced the film back in 2009, went bankrupt. Not surprisingly, the market was weak for a film that reportedly cost $60 million to make and suggested modern China was the equivalent of Cold War-era Soviet Union. So the switch was made and distributor FilmDistrict picked it up.

Like the original, "Red Dawn" is about a band of high-schoolers whose hometown (now Spokane, Wash., instead of small-town Colorado) is suddenly taken over by parachuting foreign troops. With most adults locked up and military response not coming, the kids develop into a gang of insurgents, dubbing themselves the Wolverines.

Back in 1984, the kids were played by brat pack all-stars: Patrick Swayze, C. Thomas Howell, Charlie Sheen, Jennifer Grey. Yes, Tom Brokaw had it wrong: This was truly the greatest generation. The film (the first PG-13 rated movie, incidentally) was grade-A '80s kitsch, a movie that captured the imaginations of kids growing up amid Cold War fears.

The new "Red Dawn" has no such context. While there is plenty of anxiety to go around these days, North Korea is more likely viewed a punchline than a legitimate invasion threat. (In the film, Russia is suggested to be cahoots with them, as well.) The implausibility is dizzying, all around.

The cast is centered on two brothers: the returning Iraq veteran Jed (Chris Hemsworth, the "Snow White and the Huntsman" star) and high school quarterback Matt Eckert (Josh Peck). They're the leaders of the Wolverines, whose ranks include Josh Hutcherson ("The Hunger Games"), Adrianne Palicki ("Friday Night Lights"), Connor Cruise and Edwin Hodge.

From a mountain cabin and other woodsy lairs, they launch guerilla warfare on the occupying North Koreans. Director Dan Bradley, a former stunt coordinator, can mount a decent shootout scene, but doesn't stage the action well, leaving scenes looking set in the same few downtown blocks. Still, there's no telling how Bradley had to alter his footage. (No one had it harder than actor Will Yun Lee, who, as the occupying commander, had to redo his lines in Korean.)

In recent years, home invasion movies have been made frequently, only with aliens. The appeal, as one of the characters in "Red Dawn" says, is that defending one's homeland makes "more sense" in a time filled with indirect military aims.

But such fantasies — here played out by delusional teenage football players — are all the more dubious given that the U.S. was engaged in two (real) wars at the time of filming. In "Red Dawn," Afghanistan and Iraq go hardly mentioned, replaced by a game of toy soldiers with make-believe foes.

'red dawn'

Studio: FilmDistrict

Rated:PG-13 for sequences of intense war violence and action, language

Running time: 93 minutes

Talaash movie review

 

‘Talaash’ is an incredibly rousing tale of deceit, betrayal and revenge, set against the backdrop of an unforgiving city.

It’s a story that forces us to look beyond the obvious, and explore the unknown.

The narrative is slow, and intended, brilliantly capturing the essence of what truly lies beneath.

We surrender to director Reema Kagti’s, and writer-director Zoya Akhtar’s, exquisite story, allowing them to influence our sensibilities, unquestioningly.

As the curtains go up and credits roll, we are introduced to a mesmeric Mumbai that awakens to a whole new world at night through Mohanan’s mesmeric frames and Ram Sampat’s foot-tapping beats.

Just minutes on, a famous actor is found speeding to his death, as three unsuspecting witnesses watch the events unravel in front of their eyes.

A police investigation is summoned, and earnest cop Surjan Singh Sekhawat is appointed to handle it.

He examines the witnesses whose frank observations don’t quite explain the tragic end.

It leads to an excruciatingly, daunting journey that forces him to push his boundaries, and accept the incomprehensible.

Reema’s incredible genius lies in her ability to involve the audience without unveiling too much until the very end.

And, it’s those few moments of revelation that’s the most riveting.

Aamir turns Surjan into a credible cop, minus the Bollywood clichés that surround every uniformed hero these days. He gives Surjan immense depth and authority, controlling our emotions and moulding our beliefs with finesse.

From taking down street rogues without any remorse, to stepping out to save the life of a streetwalker, to being sensitive to his wife’s inability to move on, to trusting another woman of questionable reputation, there are numerous layers to Surjan’s personality.

While you’d question some of his decisions, you’d never doubt his integrity.

Despite investing his every wakeful hour in solving the murder mystery, it’s the burden of losing his young son that constantly harasses him. An unfortunate event, which he believes he had caused due to his negligence.

Although he checks in his wife for medical assistance, Surjan refuses to accept he is suffering himself and spends every night reliving the horrors of that fateful day.

His wife, played by a make-up-less, light-eyed Rani Mukerji, appears more eager to nurse her aching heart and find ways to deal with her grief.

She’s exceptional as the wounded woman who is unable to solve her failing marriage, and prefers to ignore the bad and focus on the positive. Despite being projected as the weaker parent, she shows great strength and resilience.

Kareena Kapoor pouts and charms as the third crucial character Rosy, as she controls Surjan’s psyche immeasurably. Although she has dolled up to step into the murky red-light zone in her earlier movie ‘Chameli’, this act is far more convincing and daunting.

Among the supporting cast, Nawazuddin Siddiqui is exemplary as the limping Tehnur, who hopes to benefit from the murky dealings to win his freedom, and Shernaz Patel plays the intrusive, quirky neighbour with aplomb.

Reema and Zoya have worked out the most enthralling suspense drama without succumbing to any Bollywood cliché. Even Ram Sampath’s striking musical compositions are played to accentuate the narrative and not puncture it.

It’s by far the most honest movie in a long time.

Routine Love Story review

Cast: Sundeep Kishan, Regina Cassandra, M S Narayana, Thagubothu Ramesh, Chandramohan
Direction: Praveen Sattaru
Genre: Romance
Duration: 2 hours 4 minutes

Synopsis: Sanju (Sundeep) just can't take his eyes off Tanvi (Regina Cassandra) when he encounters her on the very first day of their engineering college. But when they meet for the first time, and ever after that, they just seem to have been born to fight with each other.

Movie Review: Love's fine. But who'll do the drab daily household chores - mop the floor, cook, wash the clothes, make the bed, etc? Love at first sight may be a possibility, but how does the fight first that follows the romantic flight become the last one?

Sanju (Sundeep) just can't take his eyes off Tanvi (Regina Cassandra) when he encounters her on the very first day of their engineering college. But when they meet for the first time, and ever after that, they just seem to have been born to fight with each other.

If Sanju lives at Madhapur, that's cause enough for Tanvi to mock him saying perhaps his family became rich overnight in real estate business. Sanju has enough reasons to take a dig at her for the simple reason that she lives in Banjara Hills.

Well, the point is Sanju loves Tanvi, who also senses it. Sanju, however, is scared even to be introduced to her. He's the type who would rather come straight to the point, decide on a relationship, and stick to the girl. She's, however, apprehensive and cannot make up her mind. The question that bothers her is: What if he doesn't turn out to be her Mr Right, after marriage?

Sanju just does not want to play her bodyguard in college but Tanvi expects just that, so that the boys will keep off her. With a bit of help from their friends in college, Sanju and Tanvi try to be more than just friends for six months. An excursion to Kashmir and Ladakh brings about situations where they come close to understanding each other. But Tanvi's apprehension persists.

And then an idea crops up. If Tanvi has to completely be sure of him, they will have to live together for some time to know each other. The friends facilitate but how they manage that is a different story.

When the mess in the house has to be cleared, guess where our Sanju is? Playing volleyball with friends and sipping beer. Tanvi, predictably is enraged.

But there are ways to come out of a situation unscathed if the woman in your life is yelling at you. Simply walk away. Or say sorry, even if you are right and her argument holds no logic whatsoever. That's the `gyan' given in the film.

The expressive Regina Cassandra infuses life into her character. Sundeep Kishan fits his role perfectly. This `Routine Love Story' is indeed common in the lives of many young people in love and it must be said to the credit of director Praveen Sattaru that he handled the story in an uncommon way to hold the attention of the audience. Nothing much to write home about the comedy.

Son of Sardaar: Movie review

 



Cast: Ajay Devgn, Sonakshi Sinha, Sanjay Dutt, Juhi Chawla
Direction: Ashwni Dhir
Genre: Comedy
Duration: 2 hours 20 minutes

Story: A strapping sardaar travels home (Punjab) from UK, to claim ancestral property; only to be welcomed by another family of sardaars who're age-old clan-dushmans. And the only escape is living-in with the enemy.

Review: Move over Chicken Khurana, the real butter kukkad is here. And he's here with a bang this Diwali - singing, dancing, flipping in the air - all in the mustard fields of Phagwara (that's in Punjab, FYI), classic Bollywood ishtyle. Except that this is a Singham getting Dabangg and Rowdier than any Rathore - on Punjabi steroids - and in total sardaar avatar. Hadippa!
Best Reader's Review


So bring out that tall glass of chilled lassi and let's figure the why, what, who of this desi-ghee story. Jassi (Ajay Devgn) jaisa koi nahi. He falls in love-at-first-sight, in a train with Sukhmeet (Sonakshi), call her Sukh please (she's quite a 'peace' of work); and ends up as a guest in her mad-house full of comical sardaars - The Sandhus. There's the head-of-the-house Billu paaji (Sanjay Dutt), bros Tony (Mukul Dev) and Tito (Vindoo Dara Singh), who've sworn to never have ice-cream and cold-drinks (rum-on-the-rocks is all he's ever had, poor liver, sigh!) until they avenge their father's death; and a kid sardaar who talks about 'pegs' (Patiala types).

Adding solid femme power to this macho sardaar story is Pammi (Juhi Chawla, delightful) Billu's mooh-boli-biwi, Bebe (Tanuja) suffering from part-time memory lapses; and lastly Rajpreet the loved buffalo (who mooed this cheez?) The problem? The Sandhus have been vengefully thirsting for Jassi's head, but can't lay a sword on him because he's their (unwanted) house-guest (mehmaan equals bhagwan, remember?), he even feigns 'paira-te-laces' (paralyses) to stay 'home' to save his life.

Ajay Devgn convincingly plays son-of-the-soil with power, playfulness and colorful pagdis in every scene. He switches from comedy, action and romance flippantly, impressing with funny lines, gimmicks atop a ghodi (Jassi again) and tons of PJJs (poor-Punju-jokes). Sonakshi throws in another 'heavy-weight' performance. In Ajay's own words, "kaafi bhaari hai" (read: weight). She does her usual dance routine (with ceetees et al), spouts 'chal jhoota' to all men, and plays the moophat girl in true sardarni style.

Sanjay Dutt, as the supporting sardaar, is a delight to watch. His gussa makes you giggle and his angry outbursts are adorable. Juhi Chawla lights up the screen with her comic timing as impeccable as ever. The coy-cum-cutesy scenes between Dutt and Chawla are amongst the highlights of this one.

The other members of this madhouse, Vindoo Dara Singh and Mukul Dev also pack a knockout Punjabi-punch with their dumb'n'dumber act.

Ashwni Dhir entertains in parts, with a plenty of Punju humour and goofy one-liners that crack you up. While handling all the Jaswinders, Parminders, Happys and Sweetys, he loses the plot, stretching it all around the sarson-ka-khet (and leaving some behind). This is a mass-entertainer, strung together with a series of Santa-Banta jokes, spiked solidly with macho sardaarisms.

Like Jassi says, "Kabhi toh hasliya karo", this one makes you laugh - in parts!