CHHALAANG

 #FinalVerdict: PASSABLE

Rating: 2 stars

On paper, the concept of Chhalaang sounds interesting and you expect the film to score a century like several films churned out by director Hansal Mehta. But the problem is its writing, which is tame and mediocre.

The romantic moments between Nushrratt Bharuccha and Rajkummar Rao lack fizz. Even the assorted characters like Jatin Sarna, Ila Arun and Saurabh Shukla contribute nothing to the film.

Chhalaang has a patchy script. It's interesting initially but takes the beaten path later. The film stagnates just when you think everything is going fine. The graph of the film is erratic. It goes up and down at regular intervals. Things take a dip in the second hour. After an easy-on-your-senses first hour, you expect a certain culmination to the story, but what you receive is not what you desire. Chhalaang isn't great cinema. It isn't bad either. It floats in between.

Fine, director Hansal Mehta has executed a number of sequences with panache, but the film is not as invigorating in toto. The screenplay (Luv Ranjan, Aseem Arora and Zeishan Quadri) lacks meat in the second hour. And that takes Chhalaang a few notches down.

Also, the humour in the first half compels you to flex your facial muscles quite often. But the film faces roadblocks thanks to the half-baked story (Luv Ranjan). Hitesh Sonik's music is good. Eeshit Narain's cinematography is lucid.

Hansal Mehta's direction is satisfactory. Though the viewer is well aware of what the ending would be, the climax is well executed. Unfortunately, the final speech by Rajkummar Rao is outright predictable. Chhalaang would've benefitted with an innovative end.

Chhalaang belongs to both Rajkummar Rao and Mohd. Zeeshan Ayyub. As always, they deliver sparkling performances. Nushrratt Bharuccha is highly competent. Jatin Sarna, Saurabh Shukla, Ila Arun, Rajeev Gupta and Suparna Marwah are wasted. Satish Kaushik and Baljinder Kaur are first-rate.

On the whole, Chhalaang is strictly average!

Mirzapur 2 (Web series)

#FinalVerdict: High on hype, high on substance as well!

Rating: 4 stars

Amazon Prime Video's Mirzapur 2 is even more hard-hitting than its predecessor. Will be listed as Puneet Krishna-Vineet Krishna (story) and Gurmmeet Singh-Mihir Desai's (director duo) paramount work!

One needs to have a really strong belly to soak up Mirzapur 2. Also, this binge-watching experience comes with a colossal length, but Anshul R Gupta & Manan Ashwin Mehta - the master editors - weaved nothing short of a masterpiece.

For those who don't just binge-watch a series but see it as a reason to look for something more, Mirzapur 2 is just the turn you need! Bolstered by riveting performances and thrilling plot dynamics, season 2 is a gripping successor!

Mirzapur 2 tops with out of the ordinary characters and each of these well-defined characters has a tale to put in the narrative. Also, season 2 has subtle doses of emotions attached to the characters so that they don't become unidimensional.

The narrative acts like an adhesive that clutches the various episodes as one. Mirzapur 2 is strengthened by entrancing performances, with each actor pitching in a noteworthy act. Moreover, the women in season 2 are edgier and more layered.

Kudos to Gurmmeet Singh-Mihir Desai (director duo) and writers Vineet Krishna-Puneet Krishna for serialising the occurrences to precision. John Stewart Eduri's music enhances the impact of several sequences. Cinematography (Sanjay Kapoor) is up to the mark.

Mirzapur 2 is amongst Casting Bay's finest works. The season yields from soaring acts by Pankaj Tripathi, Ali Fazal, Divyenndu Sharma, Shweta Tripathi Sharma, Rasika Dugal, Harshita Shekhar Gaur, Vijay Varma, Anjum Sharma, Amit Sial, Rajesh Tailang, Priyanshu Painyuli and Isha Talwar.

Produced by Ritesh Sidhwani-Farhan Akhtar's Excel Entertainment, Mirzapur 2 is worthy of a repeat viewing, if only to catch all its nuances. Season 2 has several nail-biting episodes and tremendous shock-value that keep you completely hooked. Binge-watch the entire season right away!

Dolly Kitty Aur Woh Chamakte Sitare

 #FinalVerdict: HOTCHPOTCH

Rating: 2 stars

Dolly Kitty Aur Woh Chamakte Sitare is a confusing mixture of different emotions. The slow pacing also ruins the impact. Moreover, the message director Alankrita Shrivastava conveys doesn't reverberate after the screening has concluded.

With a plot like this, writer/director Alankrita Shrivastava could've done wonders. Unfortunately, Dolly Kitty Aur Woh Chamakte Sitare neither provides wholesome entertainment nor sets you thinking. The execution of the material would appeal to a tiny segment of viewers and a mandate from the aam junta will elude it.

It's difficult to single out any one sequence in particular which has a consistency. Director Alankrita Shrivastava's choice of the subject is laudable but the screenplay is dry and confusing.  Also, the culmination to the story seems hurried and unjustified. Instead of beating around or taking its own sweet time to come to the point, the end should have been at least right. Charu Shree Roy's editing is below par. The film feels stretched.

Mangesh Dhakde's background score is effective in parts. Although the music is in sync with the genre, it has its limitations. The ambience of Dolly Kitty Aur Woh Chamakte Sitare (art: Tiya Tejpal) deserves special mention. John Jacob Payyapalli's camerawork is average. Shruti Mahajan's casting is perfect but the characters of Kubbra Sait, Amol Parashar, Vikrant Massey, Karan Kundrra and Aamir Bashir are underdeveloped. Konkona Sen Sharma is flawless yet again. Bhumi Pednekar is exceptional.

On the whole, director Alankrita Shrivastava is known to dabble in issues pertaining to women but she fails miserably this time in defying the rules of commercial cinema. Dolly Kitty Aur Woh Chamakte Sitare will be rejected outright!

MASABA MASABA (web series)

 #FinalVerdict: TRUE TO LIFE

Rating: 3 stars

Watch Masaba Masaba - a genre-bending series on Netflix India - for director Sonam Nair's striking direction, for Masaba Gupta & Neena Gupta's superlative performances and for its inspiring and enlightening plot!

Films/web series are nothing but reel representations of the real-life. Director Sonam Nair has carved a niche for herself in making realistic yet commercial cinema (Gippi, Khujli). Her penchant for realistic storyline continues with Masaba Masaba. Although Masaba Masaba is a fictional version of events, Sonam Nair along with co-writers Nandini Gupta, Anupama Ramachandran & Punya Arora highlights Masaba Gupta's life after the exposure to fame and success by keeping the narrative engaging throughout. There are many occasions wherein director Sonam Nair could have just lost control and gone over the top but she restrained the storyline convincingly. Kudos to her for coming up with a series that enlightens, motivates and entertains you!

Director Sonam Nair brings alive everything you've read in newspapers or watched on TV as an outsider, to the celluloid. And that works and how! But let's not give the subject material all importance, for Sonam Nair's handling of the subject is exemplary.

But there's a hitch which tones down the impact to some extent. Masaba Masaba starts meandering in the middle and the drama seems forced. But the series gathers steam during the closing stages, with Sonam Nair handling the culmination with adroitness.

The DoP (Aditya Kapur) captures the varied emotions and the glam quotient with dexterity. Eka Lakhani's styling is striking. Panchami Ghavri's casting is spot-on. Shruti Bora's editing and Anasuya Sengupta's production design are perfect.

Masaba Masaba is debutante Masaba Gupta's show all the way. Every emotion, every sentiment is projected with sheer brilliancy. Neena Gupta is incredible. She arrests the viewer's attention whenever she appears on the screen. Neil Bhoopalam leaves a solid impression. The other characters get less screen space, but they are clearly etched nonetheless. Satyadeep Misra, Smaran Sahu, Rytasha Rathore, Sunita Rajwar, Suchitra Pillai and Harpreet Vir Singh are praiseworthy. Nayan Shukla is incredible. Way to go!

To sum up, Masaba Masaba's subject - the behind the scenes working and drama of the fashion industry - is its USP. Watch it for its wholesome entertainment value and the efforts of the complete cast & crew! Netflix India and producer Viniyard Films have a winner on hands!

AASHRAM (web series)

 #FinalVerdict: INSIPID

Rating: 1 star

Aashram - an MX Player original series - is an indescribable boring experience. A thesis on guilty pleasure entertainment! Directed by Prakash Jha, the series lacks the power to keep you glued to the screen.

Given the topic amassed on the plate, one could explore so much. But in Aashram, the story only moves in the penultimate moments. Director Prakash Jha could've explored so much given the choice of the subject but he's letdown terribly by the script. The problem with Aashram begins soon after the characters and their diverse characteristics are introduced. The closing moments are interesting because it's at this juncture that there's some movement. But it's too late by then. The viewer is exasperated by now!

Aashram is shoddy in every possible way! This is a poorly assembled, terrifically tacky and tremendously ill-conceived show. After the disappointing Class Of 83, Bobby Deol is again reduced to a supporting presence in this MX Player original series. Ideally, Bobby Deol should have been given a role befitting his top-billing. Also, the 'sex scenes' are forcefully inserted into the plot and for some bizarre reason, these scenes have been self-censored but the language and the violence aren’t censored at all.

More minuses! Advait Nemlekar's background score is jarring. Also, the length is a problem. In this case, the run time seems never-ending (Editor: Santosh Mandal). The series goes on and on and after a point, you actually want to scream, 'Enough!'. Chandan Kowli's cinematography is passable. Director Prakash Jha has tried to recreate the magic of his earlier hits but failed miserably. Moreover, the series has a huge cast but only Bobby Deol, Chandan Roy Sanyal, Aaditi Pohankar and Darshan Kumaar leave an impact.

On the whole, Aashram has precious little to offer. It has a body, but no soul. It's very high on hype but very low on substance. A moviegoer wants a riveting story more than anything else. This series is definitely worth a miss!

MEE RAQSAM

#FinalVerdict: BRAVO

Rating: 2 stars

Presented by Shabana Azmi and directed by her brother, the acclaimed cinematographer Baba Azmi, Mee Raqsam - which literally translates to "I Dance'' - is an honest attempt at tackling a bold theme. A terrific film that will stay in your heart!

Mee Raqsam is an ode to Kaifi Azmi Sahab. Although an effort like this is sure to find its share of bouquets and brickbats but the message that the film conveys resonates loud and clear, without getting preachy.

Till sometime back, certain themes were kept locked inside the almirah. Delicate and sensitive issues and relationships are slowly stepping out of the closet. On celluloid. Written by Safdar Mir and Husain Mir, Mee Raqsam connects with every segment of moviegoers. Director Baba Azmi has treated the film with utmost sensitivity. There are several scenes that linger in your memory for a long time and prove the director's command over the script and medium. A welcome change from the oft-repeated themes which degrade a woman no end!

But Mee Raqsam isn't a foolproof product. It has its share of flaws. The turn of events isn't captivating at times. The characterisation of certain characters and their track seem incomplete. But the film packs in so much, there's no time to think or analyze.

Mee Raqsam is soaked in reality. It takes the realistic route without bowing to market diktats or over-stretching realities. The film stays true to the material. Besides, the director along with the team of writers stay away from the tried-and-tested tropes. There's a strong emotional connect as the film depicts the delicate relationship shared by a father and his daughter most realistically. The drama is spot-on. The emotional quotient is heartrending. Moreover, the culmination takes the film to an all-time high.

George Joseph-Ripul Sharma's background score is effectual. The DoP (Mohsin Khan Pathan) deserves tremendous praise for doing complete justice to the vision of the director. Dialogue empowers the film wonderfully. Pooraj Kapoor's editing is watertight.

Mee Raqsam is a Danish Husain show all the way. Newcomer Aditi Subedi is truly fantastic. Way to go! Naseeruddin Shah, Shraddha Kaul, Rakesh Chaturvedi Om and Sudeepta Singh are mature performers. Shivangi Gautam, Juhaina Ahsan and Kaustubh Shukla inject freshness to their respective characters.

To sum up, Mee Raqsam is director Baba Azmi most accomplished work so far. He deserves brownie points for narrating the story with flourish. The narrative style is simplistic, yet solid and that's what catches your eye. Watch Mee Raqsam On ZEE5 right away!

CLASS OF 83

#FinalVerdict: RETREAD

Rating: 2 stars

Loosely based on S. Hussain Zaidi's book, The Class Of 83: The Punishers Of Mumbai Police, this Netflix India original film - produced by Red Chillies Entertainment and directed by Atul Sabharwal - has an archaic premise that offers no novelty. The film relies on the tried-and-tested recipe from commencement to conclusion. The tough life a cop leads, the politician-underworld nexus, the clash of ideologies... plots and sub-plots like these have been witnessed time and again. It doesn't work at all!

Class Of 83 is Bobby Deol's first tryst with an OTT platform but the screenplay (Abhijeet Deshpande) is far from inventive and everything seems conventional. A few moments do keep you glued and hooked to the proceedings, but the wafer-thin plot and lacklustre screenplay play spoilsport. What takes you by complete surprise is the crude humour (dialogues: Atul Sabharwal) that's integrated into the narrative. I mean, one doesn't mind the toilet humour as long as the situation warrants it, but it seems totally forced in the film.

Bobby Deol flaunts the attitude all through. Vishwajeet Pradhan and Joy Sengupta are simply brilliant. It's a joy watching Anup Soni in a negative role. Bhupendra Jadawat, Ninad Mahajani, Hitesh Bhojraj Malukani, Prithvik Pratap and Sameer Paranjape are absolutely flawless. Way to go!

On the whole, Class Of 83 doesn't give you the feeling of having watched a mazedaar entertainer purely because, besides being conventional and foreseeable, it is also stretched without any solid reason whatsoever (Editor: Manas Mittal). It will be outright rejected!