Good Newwz

#FinalVerdict: Amusingly enlightening!

4.5 stars

It has become a trend of sorts now that the year ends with a major release. Of late, Akshay Kumar has earned the reputation of making you laugh in film after film. You expect Good Newwz, his new outing, to transport you to ha-ha-land, given the smart-n-chic promos of the film. The prime motive is to entertain you for the next 2 hours. Above and beyond, the endeavour to shun the conventional plot, bring the issue out in the open determinedly and present it in a light tone in the backdrop merit acknowledgement. Good Newwz is one of those entertainers that deliver what it promises: Funny sequences, super performances, loads and loads of laughter and an underlining message that settles with you.

Let's get this straight. Good Newwz works in totality thanks to the kind of star power and energy that the four actors pack in - Akshay Kumar, Kareena Kapoor Khan, Diljit Dosanjh and Kiara Advani. It would've been difficult to hold the film from falling apart had these actors not been competent enough to carry off their respective parts. Every situation in the film seems straight out of life and there’s nothing that’s over the top. The focus is on the entertainment quotient. There are moments when you laugh so uncontrollably that it gets embarrassing and there are times when you continue smiling, even during the most ordinary scenes. Things would've gone wrong had the end stumbled and fumbled, but it doesn't. The finale, in fact, takes the film back to the level that one expects from a film of this magnitude. Take a bow, Raj Mehta. You’re a splendid storyteller.

Making an assured debut with a light, frothy film that still has something important to say, director Raj Mehta delivers one of the year’s most pleasing films. He balances the two halves adroitly. The beauty of the film lies in the fact that it instantly absorbs you. I'd like to make a special mention of the screenplay (Jyoti Kapoor and Rishabh Sharma). Not once does it deviate to the tried and tested track. It's engaging content from commencement to conclusion and along with a set of impeccably cast actors, it's one joy ride you can't afford to miss. Having said that I'd like to add that the movie loses some steam (for a few minutes) in the post-interval portions, but, thankfully, Good Newwz doesn't get unbalanced. The movie accomplishes what it sets out to do -- it enlightens and entertains and that, in my opinion, is no puny achievement. The entire movie will make you enjoy the war of words between Akshay, Kareena, Diljit and Kiara at regular intervals. Good Newzz also works because the script is believable and the journey from Scene A to Z is well structured.

Also, one needs to applaud the endeavour because hi-concept films take the unconventional route, yet enlighten and entertain, both. Sure, masala movies are great fun, but a film like Good Newwz breaks the monotony, shatters the unwritten rules of the game and scores brownie points. Cinema is rapidly changing and one can connect with viewers across the globe even without making the usual mainstream Hindi movie. Good Newwz proves it! It's Raj Mehta who stands out with a near-perfect film in his very first attempt. The concept is oven-fresh and the handling of a number of dramatic moments is noteworthy. He not only merges funny situations and emotional moments with aplomb but also makes a compelling, wholesome film. Good Newwz is thought-provoking at the same time. The message the movie conveys comes across loud and clear and that's one of the prime reasons why Good Newwz becomes a deserving watch.

Every person behind the camera gives his/her best to the film. Jyoti Kapoor and Rishabh Sharma's screenplay is the mainstay of the film. Vishnu Rao's cinematography is awesome. The DoP does a magnificent job. Dialogues (Jyoti Kapoor, Rishabh Sharma and Raj Mehta) are sure to make your jaws ache. A couple of the inadvertent funny scenes are howlarious. The background score (John Stewart Eduri) is perfect. Musically, it's a hit score with a mix of peppy and melodious numbers. Sohel Sanwari's sound design is utterly believable. Casting (Shruti Mahajan), filtering, blending of characters together and depicting them in a film like this, without outlasting any one character's limit and to give off a cosmopolitan effect, is a lesson indeed and how! The editing (Manish More) is feverish, which is the best part of the enterprise.

Good Newwz belongs to everyone. Akshay Kumar, Kareena Kapoor Khan, Diljit Dosanjh and Kiara Advani deliver an equally sterling performance. The film would be incomplete without any of these characters. Note another aspect where director Raj Mehta makes all the difference: All these actors have been a part of comic capers in the past, but after having watched them in Good Newwz, not once do you feel that they're repeating themselves. Akshay Kumar is in terrific form. This role offers him ample scope to go beyond the comic roles he specializes in. One performance that should find a prominent place in his impressive repertoire. Diljit Dosanjh is dependable yet again. He is so comfortable in light roles that even if he sleepwalks, he'd make you giggle. He's outstanding from start to end. Kareena Kapoor Khan leaves an indelible impression. The glam looks combined with that rare confidence takes this performance to dizzy heights. Clearly, Kareena is miles ahead of her contemporaries as far as talent goes and this film proves it yet again. Kiara Advani is a complete natural, has all the trappings of a fine actress and delivers a super confident performance. She adds enormous value to the movie by her act, screen presence and striking looks. She's truly admirable. Another actor to watch out for is Adil Hussain. He's natural to the core, addressing a role without going overboard. Tisca Chopra is splendid. She enacts her part with amazing ease.

On the whole, Good Newwz promises entertainment unlimited and delivers it with aplomb. Do carry your kerchief along. It makes you laugh, it makes you moist-eyed. The makers have had the courage to bring a diverse issue out in the open, narrating a daringly different story without getting preachy. Witty, funny and also emotional, Good Newwz is forward-thinking, progressive commercial cinema which vastly enlightens and hugely entertains! At the box-office, it has the potential to rock big time. No Hindi movie buff should deprive himself/herself of watching this crackerjack affair, which ends the decade on a high. Grab a ticket today!

Dabangg 3

#FinalVerdict: Unadulterated crowd-pleaser!

4 stars

The pre-Christmas week has at last shown up. The best is always reserved for the last and it has been a custom to have at least one biggie unfurl in the Christmas week before the curtains fall on the on-going year. Salman Khan teams up with the Hit machine - director Prabhudheva -- yet again. In addition, several enviable names, on and off-screen, lend muscle to the enterprise. The canvas is gigantic as well. It can't get bigger than Dabangg 3, honestly.

Prabhudheva is synonymous with audience-friendly movies. Most critics may abhor his work, however, the paying public - the ones who matter ultimately - adores his film. His films may not offer ground-breaking stuff, nor do they get exemplary honours, yet he whips up a storm at the box-office each time he attempts a high-on-entertainment fare.

This is for fans and adversaries of Salman Khan... Fans, cheer, Salman is back furiously with Dabangg 3. This is his deadliest performance to date. Indeed, you read it right! Adversaries, sorry, you won't have the option to lash out at him or dispatch a horrendous tirade this time. Well, without mincing my words, I must avow that Dabangg 3 is aimed exclusively at the hoi polloi. It rides on Salman Khan's star power. In a film like Dabangg 3, in a role that appears to be an expansion of his character, you can't even consider any other actor portraying this role with flourish.

Recollect the successful potboilers of yore. Recall how the hero would diminish 10 goons to mash in a fraction of seconds. Recall how heroism won at last, regardless of how unfriendly the conditions were. Recall those films wherein rationale assumed a lower priority since the attention was on entertainment... You relive those moments as reel after reel of Dabangg 3 unfolds. It may/may not make sense to you, but screenplay writers - Salman Khan, Prabhudheva and Aloke Upadhyaya - ensure that you are entertained.

With Dabangg 3, one is well prepared about what's in store. The sole factor that director Prabhudheva needs to stress over is whether Dabangg 3 would meet the towering and monumental expectations. More so, because Salman Khan is contending with himself. Salman Khan has redefined superstardom with mass entertainers. He's box-office's favourite actor and seems invincible and insurmountable at the moment! Hardcore masala films are relished with glee by the audience and Dabangg 3 takes this genre one step ahead. Sure, it's an old wine packed in a brand new bottle but the result is sheer magic. Most importantly, Dabangg 3 has Salman Khan like never before. In fact, breathing fire and venom, Chulbul Pandey aka Robinhood Pandey taps Salman's star power like no film has. Dabangg 3 stands on three pillars - Salman Khan's star power, smashing stunts and super music.

In a nutshell, Dabangg 3 delivers what it promises: Entertainment in enormous doses. Prabhudheva's latest offering speaks the language that the masses comprehend. It's one formula that can never go out of fashion if handled smartly. Actually, Chulbul Pandey has come to represent the common man and that's yet another reason why you root for him, feel overjoyed and ecstatic when he triumphs in the finale. For anyone who needs to comprehend what is the on-screen meaning of Bollywood, Dabangg 3 is absolutely textbook fare.

Let's face it, Dabangg 3 has nothing ground-breaking to offer as far as the story (Salman Khan) is concerned. But what makes Dabangg 3 shine, and shine brightly, is Salman Khan's star power, which camouflages the aberrations wonderfully. The film is special for two more reasons: Anl Arasu's stunts and Sajid-Wajid's music. Talking of action scenes, Salman's introduction at the start and the fight-to-finish in the climax, when Salman's shirt tears apart and the rippling muscles and the bare-chest fight ensues, will send the masses in frenzy. To state that the action scenes are outstanding, especially the fight in the finale would be an understatement. Mark my words, the action scenes will lead to chaos at mass-dominated centres, especially at single screens. It won't be erroneous to state that the climax is worth the price of the ticket, samosa, sandwich, popcorn, nachos and cola put together.

Sajid-Wajid's music is of a mixed variety and gels wonderfully with the genre of the film. Munna Badnaam Hua track will send the viewers into raptures. The background score (Sandeep Shirodkar) is electrifying and in sync with the on-screen situations. Dialogue (Dilip Shukla and Aloke Upadhyaya) are excellent. The lines are written with equivalent flamboyance and will be greeted with claps and whistles. Mahesh Limaye's cinematography is top-notch and he makes every frame appear larger-than-life.

But Dabangg 3 is not without its share of flaws. The film stands on a thin storyline and the viewer can guess what's in store next. Besides, the film could've done without a song or two, thereby keeping its length in check (editor: Ritesh Soni). However, these are minor aberrations. For, the plusses easily outweigh and outnumber the minuses here.

The principal cast provides the much-needed sheen to Prabhudheva's vision. Salman Khan uses his fists, spews venom and threats, bullies the villain, flirts and romances, does the pelvic thrusts... in fact, he does everything that one expects from Chulbul Pandey. Honestly speaking, Dabangg 3 is a Salman Khan vehicle and the actor is the Big Boss here. You cannot imagine anyone else doing what he does. And every time he plays to the gallery, many in the audience (especially at single screens) are sure to fling the loose change on screen as a mark of appreciation for his on-screen antics. He defies logic and gets away with it! He is like a ferocious lion who roars with all his might. The show belongs to the actor, who scorches the screen every time he displays the manic anger. From a statutory warning against cigarette and gutka, mouthed by Khan, to his anti-dowry stance and a message on water conservation and a dig at demonetization at the very end, there is also ample messaging to be found in the movie.

Sonakshi Sinha's pairing with Salman looks wonderful. She is her usual chirpy and feisty self as Rajjo. She delivers the right expressions. The newcomer Saiee Manjrekar has an infectious charm and radiates confidence all through the enterprise. The character she portrays has tremendous mass appeal. Also, the desi girl image suits her impeccably. She is camera-friendly and confident to the T. Arbaaz Khan is okay. Dimple Kapadia is truly wonderful. Pramod Khanna (brother of late Vinod Khanna) is excellent. Kichcha Sudeep has a good screen presence. He is superb as the antagonist. He's venomous to the hilt! Yet another sterling act that doesn’t miss a beat! He takes giant strides as an actor & gives the film the much-needed support.

On the whole, Dabangg 3 is the emblematic formula movie with distinct essentials that Indian masses yearn for. The film is for those who seek unabashed entertainment and relish masala films. Damn the indomitable critics, pseudo-intellectuals and connoisseurs of parallel cinema, this one's not for them. Dabangg 3 is for the aam junta. Entertainment guaranteed. Dabangg 3 is your ticket this festive season. Dhamaal entertainer!

The Body

#FinalVerdict: THRILLING

3 stars

The Body is a thrilling thriller that plays artfully with horror elements. It knows how to entertain and for the most part, it keeps you hooked with quick twists, good looking flashbacks and exciting intrigues.

First things first! Although The Body is an official remake of the Spanish mystery thriller El Cuerpo, it's not a blatant rip-off. A lot of modifications are done to provide enough thrills which the audience have not experienced on the Hindi screen. Ever. For those who want some 'hatke' stuff, The Body offers enough twists and turns to keep their interest alive. The screenplay gives you no time to ponder since it unfolds at a feverish pace. Also, the assorted characters and their tracks keep you on tenterhooks all through.

The sequence of events and the pace at which the drama unfolds comes as a bolt from the blue. At times, the impact is truly spellbinding. The Body is full of astonishments. The snake-and-ladder game between Rishi Kapoor and Emraan Hashmi subsequently is equally captivating. The sequence of events that lead to a truly nail-biting culmination, the razor-sharp dialogue and of course, the overall suspense... The Body takes the suspense angle to a new altitude altogether, emerging into an exceptionally constructed mystery. Director Jeethu Joseph has a strong control of the material and he executes it with aplomb and composure. Multiple flashbacks notwithstanding, The Body unfolds over a single night, creating the intensely compelling feeling that events are playing out in real-time.

To build an intricate story, story writer Oriol Paulo relies on a game of perspectives that start from the most classic of the narrative axioms of any self-respecting thriller: nothing is really what it seems, and the interplay of the various points of observation feed this mechanism on which The Body constructs its layered structure. The roles of victims and perpetrators tend to continually overturn thanks to the numerous joints that are hidden during the scarce two-hour film, always moving the lens one step further. With a clever play of flashbacks embedded in the story, often almost without interruption, related to the past of the characters that help to understand them much better, director Jeethu Joseph lets us discover the events that constitute the connective fabric of the story, but above all it succeeds in the not easy operation to maintain tension at high levels with urgent rhythms, basing oneself at first on tones of ghost story and horror and then turning sharply to those of the more typical thriller.

Building a tale steeped in growing tension, using not only the claustrophobic and anything but reassuring morgue spaces but also a fine play of dim and tremulous lights and shadows and sounds, director Jeethu Joseph builds an old-fashioned Hitchcock-style thriller, in which the scattered pieces (an eye to every detail, even the most insignificant) look like crazy chips that only towards the culmination, thanks to the classic twist, magically end up in their place.

The Body succeeds in creating a classic-looking, straightforward crime film that does not need any specific parapsychological allusions or supernatural events but still conveys the "mystery" character. From its very first minutes, The Body shows what kind of thriller it is. It is clearly based on the creation of a claustrophobic atmosphere and is constantly preparing for its overthrow. These two focal points succeed in doing the above, as the viewer feels that none of the possible explanations offered to him in the mystery is sufficient and at the same time the final solution is relatively unpredictable without being ridiculous. Having already conquered these, it is a given that the film works well. However, its scope is limited from the outset, with director Jeethu Joseph seems to have invested the least in this film to achieve the essentials. Thus, he ignores some script holes and allows his film, though for the most part tight and measured, to relax rhythmically just before the end. The main problem with The Body is that the resolution feels just too incredible and too constructed. The story stagnates slightly towards the beginning of the second hour.

Having said that, there's a remote possibility that you may solve the mystery before the protagonist gets to it in the finale. You can't help but stay hooked and wrapped to the twisted characters and disturbing situations that The Body offers. The finale, sure enough, is all-important in a film of this genre. In this case, it's astonishing, powerful and also heartrending. The film delves into deep, dark secrets and that makes the conclusion one of the most satisfying wrap-ups one has witnessed in a movie of this variety.

On the technical side, the production design (Prem Navas) and the detailing attached to the movie couldn't be more authentic and adds incredible value to the project. Visually too, the frames capture the nervousness and uneasiness of the characters and also the setting with aplomb (DoP: Satheesh Kurup). The music (Arko and Shameer Tandon) is situational. The songs may not feature on your fav list, but a couple of numbers are fascinating nonetheless. In fact, the songs are well integrated into the narrative, driving the story forward every time they appear. The dialogue are taut and transfixing.

The history of the film revolves mainly around the characters played on screen by Rishi Kapoor, Emraan Hashmi, Vedhika and Sobhita Dhulipala. Rishi Kapoor gives life to his character of the inspector in charge of solving the case. Behind him, he has a sad past from which he usually gets a certain bad temper that his teammates try to restrain. The earnestness and authenticity with which he enacts his character cannot be expressed in a few sentences. That would be doing gross injustice to the actor's abilities, frankly. Emraan Hashmi plays the sad young husband who has just become a widower, and now (and to top it off) sees how his wife's body disappears from the morgue without a trace. To say that his interpretation seemed irregular to me, offered everything: good, great and other bad moments. Being fair and, making a general balance, I will say that the cotton test finally passed with solvency. Sobhita Dhulipala is one of those actresses that endow her characters with great charisma and screen presence. She is one of those actresses who sell you alone the price of admission. And in this film, she performs another great performance with a character that "marked the whole movie". Vedhika looks gorgeous and delivers an admirable performance. A talent to watch out for. She's first-rate. Every other actor in the film -- in a brief role or otherwise -- stays fresh in your memory after the screening has concluded.

Irrespective of how it performs at the box-office, The Body deserves to be watched for director Jeethu Joseph's attention to detail, his watchmaking precision and Machiavellian story. The director takes up an attention-grabbing premise and spins a tale that makes the viewer a participant of sorts. While the cop tries hard to solve the jigsaw puzzle, the spectator, with his mind wide alert, gets intrigued by what he observes and perceives and is keen to get to the bottom of the mystery himself/herself. That, in my opinion, is why this suspense drama works.

Mardaani 2

#FinalVerdict: BRAVURA

4 stars

To endure Mardaani 2, the viewers need to have a strong appetite. Unlike the female cops portrayed in Bollywood thus far, the cop in Mardaani 2 is as real as real can be. Mardaani 2 is relevant, powerful and inspiring, with a top-notch performance by Rani Mukerji and brilliant execution by Gopi Puthran. It is surely not-to-be-missed!

In art, there are no paradigms that cannot be broken, and when we least expect it, we are surprised by ruptures. Director Gopi Puthran's Mardaani 2 is one of those rewarding surprises that break established standards without tripping or succumbing to feminist appeals and clichés. The film escapes stereotypes. It is a film for all audiences, appeals to everyone with an intricate and stimulating plot, stunning action scenes and competent cast.

In a world where -  fortunately  - women have more and more space, what until a few decades ago would have been unthinkable has been happening: we do have action films with strong female protagonists. This is the case of Mardaani 2 as well, which, even with occasional slips, consolidates itself as a work of good technical action - as well as fun and full of energy. it is commendable that the script (Gopi Puthran) establishes Rani Mukerji as a strong character -  physically and psychologically  - featuring in a variety of memorable action scenes and a series of keen moments, as she is not only good at fighting but also smart and shrewd.

Mardaani 2 grabs your attention from the commencement itself and never relents. Gopi Puthran's screenplay is replete with several intense episodes, which eventually make Mardaani 2 a good versus evil battle as the protagonist makes her way to the baddie behind the baddies. The stewing wrath of the protagonist is delineated convincingly while the director also incorporates ample emotional baggage that would cause you to associate with the on-screen characters. Seen in the present setting of the brutality against ladies in society in general and India in particular, a motion picture like Mardaani 2 couldn't have released at a superior time. While it may appear to glorify the brutality here and there, a hard-hitting motion picture like is the need of the hour. Mardaani 2 raises awareness of issues like the safety of women and the gender inequality that exists in society. It also motivates ladies to look within to trigger their very own bold soul.

The very well-executed culmination is realistic to the core, like the rest of the film. In fact, director Gopi Puthran manages to keep you hooked for most parts, without ever getting formulaic. Also, his stance to sidetrack the soundtrack is indeed courageous and commendable. The customary audience, so used to the mandatory songs each 15/20 minutes, may whimper at first, but let's be honest, similar individuals likewise protest if songs wreck the story when the dramatization escalates. Also, director Puthran resorts to realistic brutality to enhance the overall impact. The background score (John Stewart Eduri) is perfect and never goes overboard. The DoP (Jishnu Bhattacharjee) depicts the gritty environs with striking visuals, closing in tight on the protagonist in dramatic moments.

Rani Mukerji is evidently the best thing in the film. She is on a nailing spree. One cannot imagine this role without her. Portraying a true to life, forceful, aggressive and abusive cop with much-needed intensity, strength and dignity is no cakewalk but she slips into the skin of Shivani Shivaji Roy with elan. A virtuoso act, indeed! In a lesser entertainer's hands, the written material would not have been so ably conveyed.

The film’s antagonist Vishal Jethwa is a revelation. He's absolutely intimidating and menacing all through. In spite of being hollowed against a powerhouse entertainer like Rani, Vishal ensures he leaves an ineradicable impression, playing a cold-blooded criminal. Also, his rustic Rajasthani accent is bang on, just enough to add more menace.

With a run time of just under 2 hours, Mardaani 2 is a barnstorming, shocking and outstanding film all in all. It might be a bit over the top at times but director Gopi Puthran keeps the scenes tight and tense through his terrific screenplay. The film acts like a sledgehammer. Book your tickets, pronto!

Pati Patni Aur Woh

#FinalVerdict: Joyride!

3 stars

Pati Patni Aur Woh is a progressive joyride. At the box office, the film has all it takes to prove a success story on account of an impressive star cast, popular music and dollops of comedy.

Director Mudassar Aziz's Pati Patni Aur Woh is a recipe for a paisa vasool entertainer. The film is a humorous farce on the subject of sex. It's not the most original or charming comedy, but it does most things well and provides value for money in those two hours. In the spirit, Pati Patni Aur Woh is akin to David Dhawan movies. Mudassar Aziz attempts a comic caper that drives you nuts. His mantra is very clear: Garnish the enterprise with witty one-liners, hip-swinging music and throw logic to the winds. Comedy is a difficult emotion to capture on celluloid and to pull it off and make the moviegoer laugh non-stop for 2+ hours is even more difficult. And Pati Patni Aur Woh works mainly because the gags and punches in the enterprise are truly funny and relatable.

The film has several things going in its favour but the camaraderie the three actors share is, undoubtedly, one of the USPs of the enterprise. In a nutshell,  it is a chill pill every entertainment-hungry moviegoer would like to relish. The sole idea is to entertain and the film delivers what it promises. When you saunter into the cinema hall, just don't wear your thinking caps and you'd enjoy the film from start to end.

Jasmeet K Reen’s adaptation of the original script is not a copy-paste job. A lot of modifications are done keeping in mind the contemporary taste of the viewers. Although the film has its share of funny and entertaining moments, the pace is erratic. There's no denying the fact that Pati Patni Aur Woh could've been better. It suffers from a slow build-up, the pace dips at places and emotions might be a huge turn-off as they ambush the comical sequences. Also, John Stewart Eduri's background score is plain ordinary. Chirantan Das' cinematography is limited to the touristy locales of Kanpur and Lucknow. He could've captured so much more. The songs are better stand-alone, but they lose their charm in the film. Also, the placement of the songs seems forced.

Director Mudassar Aziz isn't in complete form. If only he would've picked up a riveting story to make a stronger impression. Also, the twist in the climax is badly executed. But the key asset of Pati Patni Aur Woh is Mudassar Aziz's witty dialogues. Also, the film is visually exciting. The usage of bright colours makes it look glamorous.

If the film belongs to anyone, it's Kartik Aaryan and Aparshakti Khurana. They are absolutely remarkable, proving that their timing for comic sequences is just perfect. Kartik Aaryan endears to the viewers completely. He's sure to walk away with all the glory with this performance. Aparshakti Khurana is just brilliant, bringing the house down with his performance. Bhumi Pednekar excels in a role that seems tailormade. WOW!

Ananya Panday looks the part she has been asked to portray and she looks convincing. She is sure to be noticed. Manu Rishi Chaddha and Neeraj Sood are superb as always. Sunny Singh looks dashing in a special appearance. Kriti Sanon adds to the oomph with her cameo.

All said and done, Pati Patni Aur Woh focuses on wit and humour rather than logic. With crisp editing (Ninad Khanolkar), the film is sure to regale viewers and also strike gold at the box-office. You may call it cliched or formulaic, but it works big time. Go have fun!

Yeh Saali Aashiqui

#FinalVerdict: Deliciously twisted!

3 stars

The sheer thrill of watching a film and not knowing what will happen next is one of the great pleasures offered by producer Dr. Jayantilal Gada's Pen India Ltd. and debutant director Cherag Ruparel's Yeh Saali Aashiqui.

A compelling plot (Cherag Ruparel and Vardhan Puri) that has the potential to keep the viewer captivated, Yeh Saali Aashiqui tantalizes and teases the spectator but is quite unpersuasive at certain junctures as well. You're on the edge of your seat virtually for sure. Movies with such an audacious theme generally ignite debates and this film is sure to meet with severe reactions. The makers ought to be prepared for some bouquets & brickbats. What makes the movie watchable is the raging ambition and commitment.

Yeh Saali Aashiqui is nonconforming. It rebels against the set-patterns, norms and formulas of Bollywood masala flicks. The story (Cherag Ruparel and Vardhan Puri), situations and the treatment of the narrative cannot be compared to any Hindi film witnessed so far. Well crafted with some great moments, Yeh Saali Aashiqui is not just style, but substance as well. There's no stopping this adroit storyteller, Cherag Ruparel. He continues to shock and startle you till the last frame. No one can predict what's in store next.

The casting (Manoj Lila Bhatt) also adds to the experience. Under normal circumstances, the inclusion of characters only results in things getting messier and chaotic. Not here in Yeh Saali Aashiqui! This film is more psychological thriller than bloody blast. As aforementioned, Yeh Saali Aashiqui gleefully shatters clichés and rejects conventional plot turns to surprise you at every available opportunity. The turn of events continues to keep you engrossed, immersed and takes the film to an all-time high. The film has some outstandingly executed sequences. The transformation of a simple boy to a hardened man is amongst the most convincing aspects. The film's nail-biting crescendo is completely justified in the end.

Any roadblocks? Yeh Saali Aashiqui could've been shorter. Also, the slow pacing acts as a deterrent. There is a misogynistic streak that pops up in the second half which was totally unnecessary. If trimmed slightly, it should only prove advantageous.

Debutant Cherag Ruparel is a director to watch! The expertise with which he has handled the tense-filled moments should win him all-round praise. He strikes the right balance between realism and commercialism, between form and content. The background music (Hitesh Modak) is fantastic, enhancing the impact of sequences considerably. Cinematography (Pratik Shah) is amongst the assets of Yeh Saali Aashiqui. The editing (Anirban Dutta) could have been tighter. The dialogues (Cherag Ruparel and Vardhan Puri) are flawless.

Besides a racy screenplay, Yeh Saali Aashiqui rests on two solid performances, that of debutant Vardhan Puri and debutante Shivaleeka Oberoi. Vardhan Puri handles the part like a pro. This film is sure to multiply his fan following tremendously. Shivaleeka Oberoi delivers a knock-out performance. A tricky role that demands histrionics and she takes to her part like a fish takes to water. Jesse Lever is a talent to watch out for, portraying his part with gusto.

All said and done, Yeh Saali Aashiqui is a bold step forward and has some fresh things to say about love, passion and deceit. For the most part, this unusual & gripping thriller keeps you on your toes, curious to see where its twists and turns will lead. Surprise shocker of the year!

Commando 3

#FinalVerdict: Bare-bones!

2 stars

Producers Vipul Amrutlal Shah's Sunshine Pictures, Shibasish Sarkar's Reliance Entertainment and Motion Picture Capital's Commando 3 arouses about as much emotion as an early morning jog on a treadmill but the end result is simply not compelling enough.

Commando3 will undoubtedly change the action landscape of Bollywood, with Vidyut Jammwal partaking in never-witnessed-before action sequences, hand-to-hand combat, mid-air splits and somersaults but Darius Yarmil and Junaid Wasi's story is plain ordinary. The film does manage to catch you unaware with some interesting twists and turns and the first half also successfully manages to build the momentum with some really stylish action scenes thrown in but it's the film's disjointed second half that drags predictably, which mars the overall impact. Also, it will take some nerve to sit through the brutal, gory and graphic violence in Commando 3. But its biggest strength is, without an iota of doubt, the action sequences (Andy Long Stunt Team United Kingdom, Allan Amin and Dr. K Ravi Verma).

Darius Yarmil and Junaid Wasi's story uses cliché tropes and scenes replete with loaded patriotic dialogues, making Commando 3 a jingoistic affair. There are enough scenes involving the good Muslims to point out that the film is only against bad elements in any community. The screenplay lacks novelty, acting as a spoilsport. The weak script lands up making the film all style & no substance. There’s no denying the fact that the story is so stretched, even the high-octane action doesn’t keep you invested all through. The narrative of Commando 3 is implausible and tries to pack in so much that it loses grip and pace more often than not. The background score (Saurabh Bhalerao) attempts to elevate the drama but is often overbearing. Also the dialogues (Darius Yarmil and Junaid Wasi) are strictly okay. While the kicks, punches, back-flips, smooth landing and hand-to-hand combat scenes keep you hooked, the chest-thumping jingoism is annoying. Sadly, Commando 3 has nothing more to offer. The intermission point, though filmy and beaten to death, warrants attention.

Director Aditya Datt goes overboard this time as he tries to pack as many emotions as possible in one film. Although he does garnish the action drama with romance and music but doesn’t quite succeed in integrating these well in the film. Average direction! The DoP (Mark Hamilton) is the behind-the-scene star of Commando 3. He deserves distinction marks for his camerawork, capturing the stunts with elan. The soundtrack (Vikram Montrose and Mannan Shaah) is good. Editing (Sandeep Kurup) could've been tighter.

Commando 3 clearly belongs to Vidyut Jammwal. The liberty of watching him crushing everything and everyone in sight leaves you tongue-tied. He's a fine actor too, but it's the action that takes precedence over histrionics here. His act will be greeted with whistles and claps, especially in the last 30 minutes. By doing the stunts without a body double or cables, he fits into the definition of India's Next Gen action hero without a hitch. The leading ladies get to kick butt, too, and both Adah Sharma and Angira Dhar seem to enjoy it. Adah Sharma's role has shades that are essential for a Hindi film heroine and gives it her best shot. Angira Dhar also comes across as a poised and self-assured actress. Gulshan Devaiah delivers an unparalleled performance, yet again in Commando 3. He's one of the finest talents around and even though he plays the conventional baddie, he will be recalled in the same breath as the protagonist of the film.

On the whole, Commando 3 is vintage good versus evil saga, which is high on breathtaking action but has a routine drama. With the story and the message that the director intended to convey, it could have been easily wrapped up in a crisp hour and a half. Thus, it would appeal only to its target audience.

Hotel Mumbai

#FinalVerdict: Gut-wrenching!

3 stars

Hotel Mumbai shows us the terror we find in terrorism. One relives the emotions while watching the horrifying events unfold on-screen. That's precisely why it triumphs as a feature film. Thumbs up!

Hotel Mumbai, based on the 2009 documentary Surviving Mumbai, is more or less a true story, with a gripping and gut-wrenching - at times, almost too gripping - screenplay by director Anthony Maras and John Collee, which leaves you stunned and traumatized. It is a ticktock of horrific violence, which began in Mumbai's main train station and shifted to the Taj. The movie grabs your attention from the inception itself. Each and every sequence that unfolds on-screen gives you goosebumps. It's chilling!

Hotel Mumbai is an unsparing clockwork thriller, which depicts that the worst of tragedies can inspire the best in its victims. The callousness with which the terrorists operate is palpable and conveyed with a degree of verisimilitude that borders on sadism. Director Anthony Maras makes sure he doesn't skip a beat while narrating the vital episodes. Sure, the skeptics may argue, we have read and seen it all through various forms of communication, but what the director accumulates is beyond words. The film is skilfully made and co-writer/director Anthony Maras clearly wants to pay tribute to those who risked their lives to help others. One relives infuriation, distress, grief & helplessness while watching the dastardly events unfurl on-screen.

That tension is the most problematic - and therefore interesting - thing about Hotel Mumbai. There's a quiet radicalism in making a movie that is, at its heart, all about people who sacrificed their lives in saving others. It makes you salute & respect them. Director Anthony Maras must have faced the challenge to reconstruct the events and replicate the gruesome acts on celluloid. Hotel Mumbai is one film where the real-life episodes take precedence. And I avow that the outcome is absolutely spellbinding.

The screenwriting (Anthony Maras and John Collee), the dialogue, the cinematography (Nick Remy Matthews), the shootouts, the background score (Volker Bertelmann), the set (Scott Ashenden) and the edit (Peter McNulty) add credence to the enterprise that attempts to portray the carnage.

Hotel Mumbai is a film that is completely performance driven because it's not a rescue thriller, it is subtly-crafted drama meant to celebrate hope and resilience. Special mention to the casting directors here - Ann Fay, Leigh Pickford and Trishaan.

Anupam Kher delivers an exceptionally restraint and mature performance. DevPatel stands out completely. Nazanin Boniadi, Jason Isaacs, Armie Hammer and Tilda Cobham-Hervey translate the panic and agonising fear of those hours through their solid performances.

On the whole, Hotel Mumbai is akin to watching the barbaric act in rawest form. It's a gripping, hauntingly unnerving and emotionally draining watch. It also reminds us of the extraordinary courage of the ordinary people. Do not miss it! Bravo!

Pagalpanti

#FinalVerdict: Awful!

1 Star

Absurdity, illogicality & buffoonery scale new altitudes in TSeries and Panorama Studios' Pagalpanti. Not just your cell phone, even your brain needs to be put on 'switched off' mode at the commencement of this film because Pagalpanti throws logic to the winds. Most of the on-screen characters indulge in buffoonery. There's a conscious effort to pack one joke after another. Yet, the film doesn't work because the writing is ridiculously silly and the jokes are bland/unappealing.

Director Anees Bazmee's fundas are very clear: Ask no questions and abandon all faith in logic, reason and rationale. Only then can you relish the film. Frankly, Pagalpanti is more style than substance. There's no meat in the screenplay. It's an awful, awful film!

Director Anees Bazmee chooses to once again make a film he is most comfortable making and sticks to the staple formula of action, comedy and full-on masala. But Pagalpanti will be rejected by the masses and connoisseurs of cinema alike. Thumbs down!

Three writers (Anees Bazmee, Rajiv Kaul and Praful Parekh) are credited with having worked on the script, and yet all they could come up with is a moronic plot to deliver yet another unmistakably mind-numbing comedy. Pagalpanti is simply unpardonable!

While we viewers have witnessed the most ridiculous films in the recent past, Pagalpanti hits a new low when it comes to writing. The soundtrack (Tanishk Bagchi,Sajid Wajid, Yo Yo Honey Singh and Naeem-Shabbir) is equally monotonous. The sole silver lining is the cinematography (Sunil Patel) and striking locales of London.

In the past, every Anees Bazmee movie had a number of memorable sequences that made you jump with joy but Pagalpanti is not only saddled with a frail plot and powerless screenplay, even his execution is below the mark. It's Anees Bazmee's weakest film so far. While viewing the goings-on, you look at Pagalpanti in disbelief and wonder, is this an Anees Bazmee directed film?

It's an oft-repeated fact that the dialogue is the lifeline of every film. No film can survive on star power. That's another problem with Pagalpanti. Soon after the characters are established, most of the jokes fall flat and fail miserably at evoking mirth. The writing, as mentioned above, is a sore point. One expected more from these talented writers (Anees Bazmee, Rajiv Kaul and Praful Parekh).

From exciting car chases, high-octane destruction scenes to an entire act involving industrial strength glue, nothing works at all, thanks to a weak plot. Also, not all actors can carry off comic roles with flourish. Sadly, this is also the case with Pagalpanti.

There are a lot of characters in Pagalpanti, one sillier than the other. Anil Kapoor plays the flashy gangster with his trademark loudness. Arshad Warsi is the funny guy with witty one-liners. John Abraham exudes charm despite his goofy character. Pulkit Samrat once again plays up on his boyish charm. Ileana D'Cruz, Kriti Kharbanda and Urvashi Rautela are reduced to looking pretty and mouthing silly lines. Saurabh Shukla, Zakir Hussain and Inaamulhaq are impressive.

Be smart, exercise your right to avoid Pagalpanti with all your might. Even with an enviable star cast and heavy-duty action, the film fails in its endeavour because it is more of a chaos than a film. A damp squib which will bore the viewers to death!

Marjaavaan

#FinalVerdict: Fizzer

1 Star

Marjaavaan fails as a film. The only silver lining is the presence of A-list stars & of course, the hype surrounding the film, which might attract footfalls in mass-friendly circuits initially. Hugely disappointing!

The fight between the virtuous & wicked has been the staple diet of several hindi movies since eons. Marjaavaan is a classic case of an exhausting formulaic movie where the protagonist delivers thunderous dialogue & bashes up scoundrels like we swat flies.

I don't even wish to forewarn you about the essence of Marjaavaan, since, I presume, most of you must've guessed it by now thanks to its high octane promos. Unfortunately, it relies on the tried-tested-trusted and done to death recipe from commencement to conclusion. Right from the styling to the hero-villain conflict to death-defying action (Amin Khatib) to fiery dialogue (Milap Milan Zaveri) delivered in high decibels to the love track and the heroism, every single thing of Marjaavaan is reminiscent of the Bollywood of the 1980s. Writer/Director Milap Milan Zaveris sole intent is to provide entertainment to those who relish masala fares. But be forewarned, even if you have an appetite for the masala movies of yore, chances are you will feel suffocated by the on-screen goings-on.

The biggest problem with Marjaavaan is that the premise is archaic & the director (Milap Milan Zaveri) relies too heavily on some skillfully-filmed action sequences & dialogue-baazi to take the story forward. In fact, even the constituents like romance & comedy look forced. Milap Milan Zaveri garnishes the film with features that the masses take pleasure in. The conflict between good & evil is riveting and so is the rapid pacing (editor: Maahir Zaveri) but not with much novelty on platter. The music (Tanishk Bagchi, Meet Bros and Payal Dev) is a mixed bag. Sanjoy Chowdhury's background score is loud, which adds to the massy element.

Marjaavaan is the typical good versus bad saga loaded with every possible ingredient that makes masala films tick. But what unfolds on screen is so routine & monotonous. In massy entertainers, there has to be a hook to keep the viewer's attention arrested. Director Milap Milan Zaveri does nothing, absolutely nothing out of the box or path-breaking in the current scenario to grab your attention, which is why Marjaavaan fails as a film. Action, one of the high points, is slick and cater more to the desi audiences. Milap Milan Zaveri's dialogue have always been mass-friendly and the lines in Marjaavaan are a riot at times. The dialogue will be greeted with whistles and applause from fans of desi masala movies, especially those delivered by Sidharth Malhotra.

Sidharth Malhotra is absolutely at home in this out-to-please-the-junta character avatar. It's the kind of role that the fans take to instantly and he plays to the gallery. Riteish Deshmukh is exemplary. He carries off the unpretentious, sinister streak with brilliance. Tara Sutaria looks dew-fresh & manages to add so much to every sequence she features in. Post Student Of The Year 2, her performance in Marjaavaan is sure to multiply her fan-following. Rakul Preet Singh looks appealing but doesn't get much to do. Shaad Randhawa is top notch. Ravi Kishan is okay. Nassar leaves a mark. Suhasini Mulay is passable. Nora Fatehi is sizzling as always.

All said and done, unless you're a die hard fan of Sidharth Malhotra and you like Tara Sutaria, or your love is literally blind, then maybe you might actually like Marjaavaan. I did not. Once the initial euphoria settles down, it'll be difficult for the film to sustain. It's a tedious watch! Fiasco! 

Motichoor Chaknachoor

#FinalVerdict: Run-of-the-mill!

2 stars

Motichoor Chaknachoor is all pomp & no substance. It's average in merits, providing a few laughs intermittently. Its sustaining power at the box-office is doubtful.

The film has an intriguing first half filled with humour and the antics of Nawazuddin Siddiqui will definitely leave you in splits. But soon disappointment creeps in as Motichoor Chaknachoor's second half falls flat predictably when it comes to humour. It isn't totally captivating. Debutante director Debamitra Biswal Hassan's writing is plain mediocre. Besides, the second hour is lengthy & it gets tedious. Also, the pre-climax and climax don't sweep you off your feet. Unfortunately, what happens in Motichoor Chaknachoor is that you root for a few individualistic sequences only, not the film in entirety. In a nutshell, the movie does appeal, but in bits and spurts. Not in totality. An average experience!

Special mention should be given to dialogue writer Bhupendra Singh who has given some of the best lines to Nawazuddin Siddiqui. However, we wish he could have retained his series of punches even in the second half. The screenplay of Motichoor Chaknachoor is plain average. One misses a meatier script in the second hour.

Interesting concepts don't necessarily translate into interesting films. Motichoor Chaknachoor fizzles as soon as director Debamitra Biswal Hassan establishes the plot, because neither does the comic factor work nor do the melodrama salvage the show. The film has an anti-dowry message also. However, after a point, the writing doesn't spring any surprises. You know exactly what's in store next and that's what bogs it down. What the director delivers in Motichoor Chaknachoor makes you sit motionless for most parts. It fails to invoke wolf whistles or ovation at the right places. As a result, the viewer feels dejected because the drama is devoid of intensity.

Directorially, Debamitra Biswal Hassan's work gets easier thanks to the presence of seasoned actors but she needs to polish her skills as far as technique is concerned. Music is strictly okay. However, the picturisation of songs camouflages the deficiency. Suhas Gujarathi's cinematography is decent.

Now to the performances. Motichoor Chaknachoor solely rides on Nawazuddin Siddiqui's shoulders. And he manages to carry off the role with aplomb despite the fact that he's known for serious cinema. The masses will simply love him in this avatar. Another special mention to Athiya Shetty. From getting the accent spot on to displaying the perfect body language & mannerisms to acing her expressions, she is a revelation to behold. I wish she approves better projects in future. Vibha Chibber, Navni Parihar, Vivek Mishra, Karuna Pandey, Sanjeev Vatsa, Abhishek Rawat, Sapna Sand and Usha Nagar are mere gap fillers but they lend able support.

To sum up, Motichoor Chaknachoor kick-starts with rib-tickling moments but fails to retain the humorous momentum throughout. Choosing an unconventional story is great, but it gets cumbersome to sit through the film after a point. Skip it!

Jhalki

#FinalVerdict: Provocative!

2 stars

Cinegoers have witnessed escapist cinema for years but along side comes a film that makes you think. Jhalki is one such film.

Director Brahmanand S Siingh and co-director Tanvi Jain's interpretation shakes you up completely. Prakash Jha, Kamlesh Kunti Singh, Brahmanand S Siingh and Tanvi Jain's story makes you sit up to the harsh realities of human-trafficking & child-labour. Certain films can really change the way you cogitate about an issue. Jhalki is one such film. Sensitively handled by director Brahmanand S Siingh and co-director Tanvi Jain, Jhalki is a a purposeful film. The story is straight out of newspaper & television headlines. In that respect, the movie would be identified more by an Indian cinegoer. More than anything else, the two directors ought to be complimented for having the courage to make this kind of cinema. A number of scenes in leave you spellbound and the rustic locales only give the film a distinct flavour. In a nutshell, Jhalki will come across as a shocker to those traditional Indian audiences who have grown up on the staple diet of sugar-coated romances & feel-good/sunshine/escapist cinema. You ought to have a strong stomach to absorb a film like Jhalki.

On the flip side, Jhalki caters to a niche audience. The film has an episodic feel to it. It also gets repetitive and lacks the intense moments because it evokes a wide variety of emotions at the same time -- anger, rage, disgust, abhorrence, revulsion and anxiety. Jhalki has the power to win awards. But box-office rewards and a mandate from the aam junta will elude it. The lethargic pacing will also go against it. It is non-committal when it comes to actual movements & its own premise. Also, in a serious, issue-driven film like Jhalki, the scenes of comedy only take away from the seriousness of the narrative. The culmination to the story does not evoke any real emotion within the audience. It also tends to get dry and heavy at regular intervals.

Jhalki boasts of some of the most talented names on and off screen. The performances are truly spellbinding. Divya Dutta, Boman Irani, Sanjay Suri, Tannishtha Chatterjee, Joy Sengupta and Govind Namdev succeed in making the proceedings life-like. Aarti Jha walks away with the glory, delivering one of the finest performances the Indian screen has seen from a child actor. All in all, an award winning act! Goraksha Sakpal leaves a lasting impression. The child actor manages to register a strong impact.

On the whole, Jhalki will cater to the connoisseur of qualitative cinema. The two directors will win praise but the film's appeal will be restricted to the elite at select multiplexes. Awards yes, box-office rewards no!

Satellite Shankar

#FinalVerdict: Overenthusiastic!

1 star

Writer/director Irfan Kamal may've borrowed real life events but Satellite Shankar is a typical Bollywood enterprise which ends up being a masala film that we've witnessed over & over again.

First things first! The story is different, something that hasn't been attempted before and Satellite Shankar has a strong message to offer. The intentions of writer/director Irfan Kamal need to be applauded! It moves you in parts.

So, does Satellite Shankar strike a chord? Not really. In fact, a little more concentration on that vital aspect called 'script' and it would've been in a class of its own. Just one word for this film: Disappointing! It just doesn't work.

DoP Jitan Harmeet Singh has done a splendid job in capturing the scenic locales. Frankly, the music (Rochak Kohli, Mithoon &  Tanishk Bagchi) is weak and the songs that have been incorporated, don't appeal. Director Irfan Kamal's handling of the subject deserves credit but the problem clearly lies in the scripting. He should've stuck to realism, instead of trying to strike a balance between realism & make-believe. There is really very little logic at play here. Also, there is an underlying theme of patriotism but the very low production values & weak narrative (resorting to every cliche and generalisation possible) make Satellite Shankar dated. Even the dialogue (Irfan Kamal & Vishal Vijay Kumar), like the screenplay writing, is pathetic.

Sooraj Pancholi tries very hard to look the character, but I just couldn't connect with it. Debutante Megha Akash has put in a lot of effort to stay true to her character. Palomi Ghosh delivers a striking performance. Upendra Limaye, Raj Arjun, Sanjay Gurbaxani & Sohaila Kapur leave a mark in small, but significant roles.

Honestly, Satellite Shankar comes across as a disjointed effort, in terms of writing. It is more of a collage of several isolated incidents, which explains why the screenplay lacks the power to keep you engaged. Sure, a few sequences are attention grabbing, but even the finale is poorly done. Skip it! It's a non-starter!

Bypass Road

#FinalVerdict: Tawdry!

2 stars

Bypass Road had the potential to be an exciting fare but first-time director Naman Nitin Mukesh fails to inject that edge-of-the-seat excitement, making it a long and tedious affair.

An interesting thought may not necessarily translate into an interesting screenplay. Bypass Road is a prime example of this statement. It is akin to a bottle of soda, which starts off with zest but the fizz settles down faster than expected. Bypass Road is loosely scripted & full of inconsistencies. It may have an interesting premise as its starting point, but the writer (Neil Nitin Mukesh) fails to flesh out a foolproof screenplay and doesn’t even stay true to the film’s own absurd logic. The film had great potential to be a riveting thriller but halfway through, you realize that the writer & director (Naman Nitin Mukesh) have run out of ideas. Bypass Road is one jigsaw puzzle that remains unsolved even after its culmination. Come to think of it, your imagination can run wild with a premise like the one in Bypass Road. But it runs out of fuel midway. In a nutshell, Bypass Road promises the moon, but what you eventually get in return is merely a mirage. A damp squib!

Specifically, the screenplay (Neil Nitin Mukesh) should've packed some great moments, but the writer seems to take an easy way out. The story is a chaotic mess & for no reason, it takes a non-linear route complicating even the simplest of things. Director Naman Nitin Mukesh has an eye for visuals but he couldn't do much since he's saddled with a poor script. The cinematography (Fasahat Khan), too, neither heightens the drama nor does it add any thrill. Music is the sole saving grace.

Neil Nitin Mukesh showed great promise as an actor and you only expect him to climb the ladder in his next releases. Adah Sharma is alright. Gul Panag & Shama Sikander add to the glamour quotient. Sudhanshu Pandey, Rajit Kapur, Taher Shabbir & Manish Chaudhari enact their parts with confidence but they have nothing substantial to portray.

To sum up, Bypass Road is a huge let-down. An apt case of body beautiful, minus soul! Flop!

Bala

#FinalVerdict: Bald and beautiful!

3 stars

Producers Dinesh Vijan's Maddock Films & Jio Studios' Bala is about inherent beauty where any physical flaw seems immaterial if one has the heart to identify real beauty. It is surely not-to-be-missed! Brilliant!

Bala works so well because it takes its subjects seriously enough to also be able to gently laugh at them. So all of the characters are played with a heartwarming sincerity that makes them genuinely likeable & relatable. There are very few times when one gets to laugh, cry & experience other emotions as the tale unfolds onscreen. Director Amar Kaushik has achieved that in this bittersweet comedy. Double thumbs up for him! The people & the settings are real which makes the message of Bala even more relatable.

Niren Bhatt's story has apt & simple ingredients which makes for an impressive tale. Dialogues, also by Niren Bhatt, ensure one feels with the characters. The film Bala laughs with, rather than mocking those who are unluckily rated low because of their appearance. What transports Bala into an exemplary film are the wonderfully light touches with which director Amar Kaushik unpacks the story. It also benefits from perfect & gimmick-free cinematography (Anuj Rakesh Dhawan) and instantly likeable BGM/soundtrack (Sachin-Jigar). Bala has been shot beautifully and the terrific background score supplement the tale. Director Amar Kaushik has ensured that Bala never seems made up. His direction is terrific.

Ayushmann Khurrana knows how to crack the code of the right script every time. Flawless act! Bhumi Pednekar makes sure her issues & predicaments seem relatable & she plays the part with consummate grace. Yami Gautam portrays her part with elan & she is a delight to watch as a girl obsessed with constantly looking good. Abhishek Banerjee is simply outstanding. Jaaved Jaaferi's comic timing is impeccable. Saurabh Shukla and Seema Pahwa's appearance, mannerisms & dialogue delivery are exemplary.

On the whole, Bala is brimming with solid content with a relevant message. Watch it for the heartfelt spirit it is made in. Bala will be Ayushmann Khurrana's 7th consecutive success in a row. Super-hit!

Ujda Chaman

#FinalVerdict: Flimsy!

2 Stars

Ujda Chaman is a very simple film which will bear the brunt of haste to release before producer Dinesh Vijan's Maddock Films' Bala, based on the same issue. The haste will surely prove fatal for it. Won't strike a chord with the audience.

It won’t be erroneous to state that Ujda Chaman has the right intentions but it fritters away its advantages & director Abhishek Pathak gives us a half-baked product. Also, the loud background score (Amar Mohile) ensures that there is no scope for subtlety or gentle humour. Even the claim - Takle ki Pehli aur Asli film - is false because Ujda Chaman is a *poor* adaptation (Danish Japjeet Singh) of 2017 Kannada film Ondu Motteya Kathe. Even the first hour doesn’t cut ice, focusing on the mandatory light moments that seldom seize your attention. While the original Kannada film held the spectators by its ears and eyes, Ujda Chaman suffers because the grip is absent from the very start itself. The inane comedy drama is without wit & warmth, making it unfunny, tiresome and also frequently cringeworthy.  The best they should’ve done it is to copy and paste the material. The second half redeems itself to a certain extent by bringing in the message of accepting people for who they are but overall, the writing (Danish Japjeet Singh) gyrates from interesting to ordinary to unconvincing and that bogs the film down.

Director Abhishek Pathak has handled a few scenes well, but the writing is ineffectual. The most important angles of baldness & fat shaming are wasted and appear to be dragged spoofs. Gourov-Roshin's music is nothing to write home about. Sudhir Chaudhary's cinematography is of inferior standard/quality. The movie is so exhausting that the run time of two hours feels like four (editor: Mitesh Soni).

Performances are decent but easily forgettable. Sunny Singh & Maanvi Gagroo portray their parts with elan but they deserve better written characters. Gagan Arora has a charming screen presence & contributes to some light moments. Saurabh Shukla and Sharib Hashmi are wasted. Atul Kumar, Grusha Kapoor, Karishma Sharma and Aishwarya Sakhuja play their parts well despite characters not being properly fleshed out. Guru Randhawa's special song in the end credits lights up the screen.

Final words - Lack of directorial skills and facetious writing rob Ujda Chaman of any possibility of being realistic and relatable. Also, the repetitive silly gags and heightened bickering make this film a non-starter! Flop!

Housefull 4

#FinalVerdict: Unforgivable Farce!

1 Star

#FinalVerdict

Housefull 4 is that rare genre of films which will test your patience with its foolishness, shock you with its lack of logic & launch a vicious assault on your senses. Utter nonsense!

Usually, a paragraph is devoted in reviews to detail the plot & screenplay but to say that Housefull 4 has even a semblance of the two is a poor joke. The audience is just going to shake their head in dismay & frustration as the intolerable cruelty unfolds.

Fridays are becoming a messy hodgepodge in Bollywood with each transient months, in the matter of getting an epochal release and a Diwali release is an event in itself. But the makers of Housefull 4 have literally shown a middle finger to the audiences. Sure, we relish madcap entertainers, but what director Farhad Samji serves in Housefull 4 transcends all limits. He attempts a crazy, simple entertainer yet again, but peppers it with inane, ridiculous episodes that makes you wonder, is this for real? Sara Bodinar and Sajid Nadiadwala's story drains you at the end, despite the actors putting their best foot forward to make you giggle. The banal jokes & the lame PJs coupled with the muddled screenplay are clearly responsible for the EPIC mess.

The soundtrack of Housefull 4 is pleasant, with the composer (Sohail Sen) belting out a couple of hummable tunes. The plush locales of London & the grandiose production design ( Subrata Chakraborty-Amit Ray) gives the film the required scale. And that's it.

VFX should've been better. Editing (Rameshwar S Bhagat) is uneven. This singularly unfunny film plumbs the depths of comedic bankruptcy by a director who quite frankly, hasn’t delivered anything funny in a long time.

Akshay Kumar plays to the gallery but is letdown by the writing. Also, he tries too hard to be funny. Riteish Deshmukh hams to the hilt. Bobby Deol looks out of place completely. The leading ladies - Kriti Sanon, Pooja Hegd and Kriti Kharbanda - are pure eye candies. Chunky Panday is wasted. Ditto for Ranjeet, Johny Lever, Sharad Kelkar, Rana Daggubati and Nawazuddin Siddiqui.

On the whole, it'll be difficult for Housefull 4 to sustain once the initial euphoria settles down. It’s all bad. All of it, every last instant, every single word. Simply put, Housefull 4 is an unforgivable farce. This is public harassment - a precise sentence I'll use to describe the experience. If you thought comedy could sink no further. Watch just 15 minutes of Housefull 4 and you’d be disavowed of that notion.

Made In China

#FinalVerdict: Fatuous!

2 Stars

The movie suffers from a weak script & vacuous screenplay which will be a huge turnoff even for its target audience. The masses will be disappointed and box office prospects will also be a grim disappointment. Director Mikhil Musale is making his Bollywood directorial debut with Made In China & even though one is mentally prepared for the kind of adult humour that the film promises to offer, still, one feels let down because it goes extremely overboard & directionless. Add to that, the puerile story (Mikhil Musale, Parinda Joshi & Karan Vyas, with Niren Bhatt's additional screenplay) only makes the film cringeworthy. The film is nothing but an onscreen amalgamation of one-liners & double entendres. Replete with outrageous dialogues (Niren Bhatt & Karan Vyas), Made In China hinges on a wafer-thin plot, relies largely on jokes & gags which appear funny at times but cheap in the overall perspective and turns into a serious letdown.

Though there are instances where you feel like director Mikhil Musale has somehow managed (read 'struggled') to maintain the film's proceedings, they are few and far between. What Made In China really needed was a good dose of the magic soup itself.

While the music (Sachin-Jigar) is nothing to write about, it remains an average fair. The background score (Sachin-Jigar) helps lift a few moments but is not enough. The editing (Manan Ashwin Mehta) too, is plain average. As for the performances, Rajkummar Rao stands out with a magnificent act. The actor hasn't let the shimmer of his success taint his acting. Although this is Mouni Roy's second Bollywood film, she owns every bit of the screen time she gets. Amyra Dastur, Paresh Rawal, Gajraj RaO and Sumeet Vyas also keep you interested in them with their limited screen time. Boman Irani, however, is the one who takes the cake in Made In China. His performance dwarfs everything and everyone else on screen.

To sum up, Made In China carries the message of normalizing conversations around sex, exposing the taboo & hypocrisy surrounding it, which is commendable but it also gets cringeworthy. A wise-cracking mentor tells the protagonist - "the customer is a ch***ya (the unmentionable isn't uttered, the audience is left to read the lips of the two actors) - and you wonder if the makers of this film believe in that axiom themselves. Wait for it to come on the streaming platform. Don't watch it in theatres!

Saand Ki Aankh

#FinalVerdict: BRAVURA

3 Stars

Producers Shibasish Sarkar's Reliance Entertainment, Nidhi Parmar & Anurag Kashyap have a winner on hands, yet again! Director Tushar Hiranandani hits the bullseye in his debut and encourages us to celebrate womanhood.

The film stands tall for its substance & most significantly, for the sparkling implementation of the written material. Kudos to Balwinder Janjua (story/screenplay). Brilliant product!

One solid reason why Saand Ki Aankh works is because director Tushar Hiranandani brings alive everything you've read in newspapers or watched on TV as an outsider, to the big screen. And that works and how! A number of sequences leave you tongue-tied. Exemplary! A film-maker is only as good as the story he tells & what Tushar Hiranandani creates in Saand Ki Aankh is creditable, besides working on the look & sound of the film as much as its content. There's no stopping him now. His level of maturity surprises you completely.

Music (Vishal Mishra) does boast of a couple of lilting tracks that fit so well in the narrative along with Raj Shekhar's meaningful lyrics. Advait Nemlekar's background score elevates the impact to an extraordinary altitude altogether. National award winner cinematographer Sudhakar Reddy Yakkanti captures the rustic locales with finesse. Also, the shooting scenes are spectacularly shot. Watch out for the scene where all the important movements of characters are captured in the rear-view mirror of a motorbike.  Debutant Jagdeep Sidhu's dialogue are natural and fit beautifully into the narrative.

Hiccups - Lengthy run time coupled with Devendra Murdeshwar’s slog editing tone down the impact considerably. Also the poor prosthetics & patchy make-up end up distracting you. Nevertheless, Saand Ki Aankh deserves to be told & seen as a film. So don't miss it!

Both Taapsee Pannu & Bhumi Pednekar are remarkable all through. Saand Ki Aankh is another medal that shines the brightest when you look at their enviable repertoire. They pitch in awesome performances with infectious confidence which deserve an ovation. Prakash Jha is menacing as the antagonist & one can’t help but hate him throughout! Vineet Kumar Singh stands out with another realistic performance. From his dialogue delivery to his expressions, he's top-notch. Shaad Randhawa makes his presence felt.

On the whole, Saand Ki Aankh has several plus points to its credit. It's bold & cheerful, with a heavy dose of feminism, based on the lives of Chandro Tomar and Prakashi Tomar. It is an inspiring cinema narrated with ferocious enthusiasm. Must watch!

Laal Kaptaan

#FinalVerdict: Unendurable!

1 Star


Laal Kaptaan is excruciatingly slow and bizarre. When the director sometimes starts thinking that 'Apun-ich God Hai', then the fate is similar to the second season of #SacredGames. DEBACLE!

Not just the unconventional story/screenplay (Deepak Venkatesha & Navdeep Singh), even the execution leaves the viewer clueless & the lack of subtitles adds to Laal Kaptaan's woes, especially when so many characters are speaking in different dialects throughout. On top of it, the editing (Jabeen Merchant) also spoils the overall impact as Laal Kaptaan has multiple tracks and a lengthy runtime with dreary and dull proceedings, repetitive imagery and banal dialogues (Sudip Sharma). The movie attempts to amp up suspense & tension but fails to sustain either. Director Navdeep Singh has directed a hollow period drama with nothing interesting to say. Shanker Raman's cinematography is the only saving grace in an otherwise barren film. Opting for generic combat sequences & seen-to-death sword fights, director Navdeep Singh fails in executing anything memorable here. The pre-climactic battle sequence is intriguing but soon fizzles out because the ultimate moments are also silly. Abdul Salam Ansari's authentic action scenes deserve special mention. Doesn't go over the top.

Zoya Hussain appears desperate, disheveled and has a haunting presence as per the requirement. Simone Singh, too, has an arresting presence but reduced to a bickering wife. Despite the physicality, Saif Ali Khan looks disinterested. He's too wooden, bereft of any allure or mystery, both key components for a character like this to work. Deepak Dobriyal, accompanied by two dogs: Sukhiram & Dukhiram, is a delight to watch as usual. Manav Vij is FANTASTIC. His intense eyes compliment his character. Neeraj Kabi and Sonakshi Sinha are wasted.

All in all, Laal Kaptaan also has a menacing BGM (Benedict Taylor-Naren Chandavarkar) but the movie is insufferable. FIASCO! Avoid at all cost!

Ghost

#FinalVerdict: Crashing bore!

1 Star

In recent decades, the horror genre has risen to scarier levels. But director Vikram Bhatt still follows the old spooky-tired format with dated makeup and prosthetics. Ghost is tacky, illogical & a snooze fest.

Where do I start? A lazy writing (Vikram Bhatt), poor direction (Vikram Bhatt) & an even more unconvincing act! This film uses every trick in the book & still fails to scare you. Only the really, really weak-hearted could get scared! Ghost is a yawn-fest. Since there is not one scary scene in the film, the only relief is its crisp runtime (editing: Kuldip Mehan). Even the finale is illogical & unintentionally funny. Also, there are plenty of songs which are presented almost back to back & break the continuity factor. The special effects/VFX are worse than a B-grade tv serial or web series. Ghost is an excuse of a horror film. In fact I would say, the dialogues were way creepier than what we were subjected to on a visual front. Several scenes are left incomplete as well.

Shivam Bhaargava and Sanaya Irani compete with each other to give the most wooden expressions. Shivam Bhaargava wins the contest by his lethargic body gestures, which further pulls this film down. Vikram Bhatt has a short role too but nothing histrionics to portray.

The background score (Sangeet Haldipur-Siddharth Haldipur) is obviously worked upon but it's a giveaway for what's about to come next & kills the excitement completely. To sum up, Ghost is a complete waste of time if you want to satiate your frightful taste buds.

#Yaaram

#FinalVerdict: Buzzkill!

1 Star

#Yaaram is a pea-brained rumpus of love and friendship that stutters & splutters all the way through to a hopelessly bizarre climax. Apparently, it's appalling!

#Yaaram attempts to be mature about friendship, love and triple talaq but continually slips into cliche. It’s the script (Veejay Mulchandani) that is to blame here, given that it suffers from lazy, loopy writing. As a result the film becomes completely superficial. #Yaaram also never offers a real sense about the characters. By the time it works itself between the messy love triangle & triple talaq, it feels as if director Ovais Khan is driving around aimlessly, lost for direction. It's mind-numbingly idiotic.

#Yaaram has a chunk of predictable scenes in the first half that make the film drag and leave you wondering how it will wind up. The characters lack depth and the dialogues (Abir Sengupta and Anushree Mehta) barely add weight. It is so bewilderingly bad that you keep watching just to see where the incoherent narrative will go next. And #Yaaram is stuffed with banal but infectious songs (Jeet Gannguli, Rochak Kohli, Sohail Sen) that lodge themselves in your head.

The acting in #Yaaram is pretty pedestrian although Siddhanth Kapoor is a talent to watch out for. Prateik Babbar tends to overact and over-deliver throughout. Ishita Raj gives evidence of an as-yet-unseen confidence. Subha Rajput is refreshingly natural.

All said & done, #Yaaram is mostly flat that could’ve done with more heart. It talks about a whole lot of things - friendship, trust, love, tolerance & triple talaq - but makes no sense at all. It would make perfect sense to give this film a miss.

The Sky Is Pink

#FinalVerdict: Triumphant tear-jerker!

4 stars

Few filmmakers stick their necks out to tell difficult stories. For their intentions alone, Ronnie Screwvala's RSVP Movies & Roy Kapur Films deserve a thumbs-up. Take a bow, Shonali Bose!

Some films are more than just cinematic expressions and The Sky Is Pink is one such film where director Shonali Bose has worked herself to the grind & her presence is felt in every frame. Her devotion and dedication towards her craft is truly inspirational. The Sky Is Pink is special in more ways than one. In my individualistic opinion, it easily ranks amongst this year best works so far. Just don't miss this one!

Clearly, the writing (Shonali Bose & Nilesh Maniyar) is smart, taut and absorbing. Kudos! The emotions in The Sky Is Pink would've fallen flat had the writing been sub-standard or the execution of the material been humdrum or the actors been inferior. But, thankfully, it scores in all three departments. All said and done, it's an outstanding film!

The story is complex but The Sky Is Pink is *not* disheartening or unsettling. The emotional quotient is tremendous. You'll overhear a lot of sniffs & see a lot of moist eyes once the lights are switched on. But it's a positive film & not a rona-dhona movie. Irrespective of how this film performs at the box-office, but note this, director Shonali Bose would be a force to reckon with after The Sky Is Pink. Pritam's music is soothing. Nick Cooke & Kartik Vijay's cinematography is incredible. The very effective and subtle background score (Mikey McCleary1) is The Sky Is Pink's very backbone. For the very first time, I felt that I was not hearing the background score, I was feeling it. Dialogue (Juhi Chaturvedi & Nilesh Maniyar) will touch your soul.

Now to the performances! Farhan Akhtar & Priyanka Chopra make the characters so plausible. It must be said that Farhan Akhtar & Priyanka Chopra exude a certain dignity and elegance, much needed for a sensitive film of this magnitude & caliber. Kudos to them! That doesn't mean that the remaining performances get dwarfed. Not once does Zaira Wasim dither from her position. This is the hallmark of a tremendous actor, which Zaira Wasim is. Rohit Saraf is a revelation, another surprise of The Sky Is Pink. Amazing!

Manas Mittal's editing is so well synchronized that the 2+ hours of your precious life that you would spend on this movie are absolutely worth your while.
On the whole, The Sky Is Pink is an amazing experience. Should win awards & also box-office rewards. It should strike a chord with everyone with a heart. An unmissable film which encapsulates the true essence of life & death & seduces the viewer with a strong emotional quotient.

WAR

#FinalVerdict: All Style and No Substance.

2 Stars

To say that War has a wafer-thin plot is an understatement. War has a lot of visual appeal but the all style and no substance approach makes this 2 hours 36 minutes film a real drag. DISAPPOINTING!

It isn’t completely unwatchable, but it certainly tests your patience. How many times have you ordered a dish that looks terrific photographed in a menu but disappoints when it shows up on the table? War is that kind of meal and a golden opportunity lost. It has two handsome leads, some eye-popping stunt scenes (Paul Jennings, Franz Spilhaus, Oh Sea Young & Parvez Shaikh) and a slew of beautiful locales. It would take an especially awful script & an incompetent director to deliver a mess out of those ingredients. Everything here is laid out crystal clear at the lowest common denominator. Sure enough, the film packs enough twists & turns. But those particular twists are so ludicrous that it is hard to imagine someone could still be thinking in such formulaic ways. Abbas Tyrewala's dialogues are so clunky, they make you cringe. Director Siddharth Anand, the man who gave us such excruciating films as Tara Rum Pum, Anjaana Anjaani & Bang Bang, applies the same pedestrian sensibilities to what could’ve been a slick enjoyable romp.

Siddharth Anand & Aditya Chopra's story rests on the assumption of suspension of belief. The film is weighed down by a teary familial back-story and a major twist that anyone who’s watched even three masala potboilers can predict from a mile away. It's a pity to see a production house of the stature of YRF go down the same path again and again. And yet if there’s one reason to watch War, it’s Hrithik Roshan. He’s charming, charismatic & appears to be having a good time. Here’s a movie star who actually looks like he could pull off those action scenes for real. Vaani Kapoor is wasted. Soni Razdan is Perfect. Ashutosh Rana is dependable as always. Arif Zakaria, Swaroopa Ghosh (Sherna Patel), Dipannita Sharma, Anupria Goenka are just fine in their respective roles. Tiger Shroff can dance effortlessly, fight in style and charm the audiences. But what one really needs to applaud is the way he carries the film. His role in War seems to be a hundred notches ahead of what he did in his previous movies.

For the most part War is all action, no talk. Its pace remains inconsistent. At times, it runs very slow but catches up with the action sequences that follow. Overall, the star cast will ensure that the movie sails through comfortably at the box-office. Skip it!

SyeRaa Narasimha Reddy

#FinalVerdict: Prodigious

3 Stars

SyeRaa Narasimha Reddy is a king-sized extravaganza expressly designed to be a blockbuster. The scale is colossal, the plot is invigorating & the outcome leaves you mesmerized. Don’t miss it!

It is an experience that should be enjoyed on the big screen.

Scale of ambition(Director: Surrender Reddy): Gargantuan.

Quality of VFX(R C Kamalakannan): Out of the ordinary.

Content(Paruchuri brothers): Gripping.

That, in a nutshell, is the epic SyeRaa Narasimha Reddy.

SyeRaa Narasimha Reddy manages to enchant you with its sheer scale & grandeur. Director Surrender Reddy has given acute attention to detail for the minutest of sound and visuals. He ensures that the larger-than-life execution matches his grandiose vision. Though this swashbuckling adventure relies heavily on CGI & VFX, SyeRaa Narasimha Reddy manages to be much more than a blood-soaked romp because it is seeped in Indian ethos while the drama is garnished with several awe-inspiring sequences & jaw-dropping visuals. The writing is smart & clever, the episodes are ingeniously integrated in the screenplay & the culmination leaves you spellbound. It has an unfaultable start, A1 middle and applaudable end, which is a rarity as far as Indian films go.

After watching the dubbed Hindi version, I feel that filmmakers should avoid dubbing films in different languages & rather release them with subtitles. The editing(Sreekar Prasad) could've been tighter as SyeRaa clocks on the dot at 170 minutes. The wondrous cinematography(R. Rathnavelu) and grandiose production design(Rajeevan) impart sheen & sparkle. Julius Packiam's BGM is electrifying. Lee Whittaker, Greg Powell & Ram Chella-Lakshman Chella's exhilarating action portions command repeat viewing.

Director Surrender Reddy is a consummate craftsman. He skilfully uses rousing BGM, slow-motion technology and several clap-trap moments to sweep you up in the filmmaking. An Indian filmmaker dared to dream & the results are for all to see.

SyeRaa has BRAVURA performances. Amitabh Bachchan, Tamannaah Bhatia, Ravi Kishan, Jagapathi Babu, Vijay Sethupathi, Kiccha Sudeep, Nayanthara, Anushka Shetty, Mukesh Rishi, every actor triumphs. Megastar Chiranjeevi's sheer mien & intensity is a sight to behold. A committed, extraordinary act!

On the whole, SyeRaa Narasimha Reddy is a cinematic extravaganza, indeed. A big screen spectacle that will keep you hooked with some incredible characters that are sure to stay with you for a long, long time. A feast for moviegoers! Courage, bravery, valour, fearlessness, SyeRaa encompasses all this and more!

JOKER (2019)

#FinalVerdict: MASTERPIECE


5 stars



Joker movie is a thunderous masterpiece! Can easily compete with the best comic book films of all time. The best movie of 2019 which belongs more in the Joaquin Phoenix Universe than the DC Universe.

 In the media, director Todd Phillips's Joker movie has been frenetically celebrated and a possible Oscars 2020 blessing (otherwise unthinkable for a comic-based film) is speculated violently. Let me say it loud and clear: there is not a word of it exaggerated.

Joker movie is an "origin story", which tells how poor Arthur, nicknamed Happy by his mother, will become one of the most famous enemies of Batman. However, here there is no question of the Dark Knight, the story unfolds when Bruce Wayne is still a child.

Surprisingly, Joker movie is totally a drama. A hard drama, rough, bitter, in a sticky environment. An environment that does not help Arthur to adapt. Director/writer Todd Phillips & cowriter Scott Silver take time to present the characters, places and situations.

Joker movie is a work closer to auteur cinema. It's important to note that there's nothing wrong with this movie. Director Todd Phillips manages to infuse a very stylized colorful theme with the dark at the same time. It's bold, devastating & utterly beautiful.

The sombre staging tackles you from the first second, shaking you through for two hours and never letting go until the last second. Joker movie is a horror story, not the celebratory tale of an antihero. Joker is a game changer and plays in a league of his own.

The great soundtrack consists mainly of classics of the swing era (Frank Sinatra et al) and is an integral part of the plot. The congenial score of Hildur Gudnadottir amplifies the power of the images many times, so that every scene penetrates deep into the bone marrow.

Director Todd Phillips is a revelation at the helm and does the best directing job of his career with the twisted material, able to strike a tone that straddles stabs of bleak darkness, gasps of hope and pangs of inevitability. I doff my hat to you sir!

DOP Lawrence Sher's no-frills work to emphasize twisted, dark cityscapes, streets & nightmarish forms deserves a huge shout-out. With picture-perfect contrasts & color, sublime compositions, the rich and complex mise-en-scène succeeds in elevating the movie.

But all of this impressive, stylish construction wouldn’t have worked without Joaquin Phoenix. He inhabits his role with a commitment that’s magnetic in its unpredictability. His unbelievable performance will leave the most lasting impression on the audience. Robert De Niro - one of his best roles for a long time! Zazie Beetz is remarkable.

I left the cinema with lasting impressions & my mouth open. Beneath this gripping, bold, revisionist psychological thriller, Joker is the comic book villain we deserve right now.

Joker movie is a masterpiece! Its understanding doesn’t cross the line into sympathy, as we’re left watching a man who becomes less & less human as his tragedy unfolds. We repeatedly see him burst into laughter, but can never rule out whether he’s actually crying.

The Family Man (Web Series)

#FinalVerdict: Watchable!

3 stars



Razor-sharp writing, shorter episodes & some serious thoughts into the concept of a "family man" would have made the Amazon Prime Video's series an outright winner. Howbeit, a consistently engaging show!

I am still marvelling over two applause-worthy'single take' long sequences in The Family Man:

- The one where suspected terrorists are chased down.

- Episode 6, which has a 11-minute one-take shot in a hospital.

F-A-N-T-A-S-T-I-C!

The Family Man suffers majorly from its execution & presentation. The foley work is particularly poor & the background music - Ketan Sodha(Talvar, Stree) - doesn't go well with the tone of the series. At places, the substandard visuals also mar the impact.

The only real technical craft on display is Nigam Bomzan's superlative cinematography. Kudos! The Family Man suffers from a relatively slack midsection, which - while not humdrum - isn't arresting. Sumeet Kotian's editing could've been spruced up.

The nuggets of the quirky humour injected in the plot work incredibly well. Director duo Raj Nidimoru & Krishna D.K.'s method of exemplifying the anecdote is way too varied from the prototypes. The Family Man is more about wit and intelligence with a garnishing of the desi tadka.

Manoj Bajpayee is the vital USP of The Family Man. He has a distinct style of dialogue delivery that gels well with the character. It's a flawless performance. The fact that Priyamani is superlatively talented only gets reiterated with her elaborate act. Sharib Hashmi's sections with Manoj Bajpayee are hilarious and demand repeat viewings. His presence adds so much freshness to The Family Man. Sharad Kelkar plays his character with flourish. Darshan Kumaar is excellent while Dalip Tahil is as always terrific. Sundeep Kishan is a revelation. He takes full advantage of the opportunity. Gul Panag is superb, enacting her role with precision. New-find Zarin Shihab has screen presence and she makes an effective debut. Supporting cast adds strength. A huge round of applause for casting director Mukesh Chhabra.

All said & done, The Family Man is watchable but it will test your patience in parts. The climax is tad confusing. But give it a chance, prepare to be patient, and chances are that it’ll stay with you.

Pal Pal Dil Ke Paas

#FinalVerdict: Absolute Piffle!

1 Star


Pal Pal Dil Ke Paas is a SNOOZEFEST without any story or so. Neither Sunny Deol's direction nor Jasvinder Singh Bath-Ravi Shankar's screenplay/dialogues have the potential to offer anything new. A ham-fisted affair!

Set in and around Manali majorly, Pal Pal Dil Ke Paas is targeted at the youth but every single teenager who would watch it will be insulting their own intelligence. It will be taught in film schools, every year, on the topic - How To Make a Really Bad Film! Though the songs are the sole saving grace (Sachet Tandon-Parampara Thakur, Tanishk Bagchi & Rishi Rich), the plot line is incapacitated, imbecile & extremely dumb. Director Sunny Deol plays in to every stereotype about the youth under the sun but failed miserably! Yes, the cinematography (Himman Dhamija-Ragul Dharuman) is top-notch, which gives the feel of a lavish Bollywood affair. The DOPs swathe the viewers by capturing the lush locales of Himachal Pradesh with finesse. Marvellous! Devendra Murdeshwar's editing is an utter doom, with the movie clocking in at 152 minutes. The pace dips & goes up hand in hand. I have a tendency to repress traumatic memories. The direction is even more puerile, with the storyline going haywire.

Pal Pal Dil Ke Paas has nil novel/fetching/affectionate (for a love story to be) factor. One wonders for a prudent actor a la Sunny Deol to have come up with such odious plot, that too for the launch of his son. The background score is a sore to the ear. Be it the debutant Karan Deol, who isn't ready yet to deliver or the debutante Sahher Bambba, who though is photogenic & in high spirits, should have performed as side actors first, then they would have been working as main leads. Aakash Ahuja is alright. One wonders, what made such actors of calibre sign this movie as Sachin Khedekar and Simone Singh. Kamini Khanna, Nupur Nagpal, Kallirroi Tziafeta, Vijayant Kohli, Meghna Malik, Reuben Israe & Mannu Sandhu are all wasted. The makers have taken them for granted.

To sum up, Pal Pal Dil Ke Paas is a pejorative damp squib from such a putative production house (Zee Studios & Sunny Super Sound). An out and out/staunch let-down in terms of acting, direction, plot line, dialogues and editing. Stay clear, period!

Prassthanam

#FinalVerdict...

Gabfest!

2 Stars

The only smart thing about Director Deva Katta's film is its title (meaning REIGN). Might win praise from the critics & find some flavour with the gentry but a dry subject like politics finds limited patronage. Politics, besides movies & cricket, is a favourite topic of Indians, but the talk on politics has reached a crescendo these days. Also, remakes are dicey business. No matter how much you improvise on your new script, comparisons are bound to be made. The power-play depicted in Prassthanam is praiseworthy & as a result of which writer/director Deva Katta will receive plaudits but the film is intense & grim and it won't find acceptance from family audiences & those who prefer escapist/candyfloss cinema. Prassthanam gives a microscopic view of what goes into politics. It’s not a bad film, it’s just not good. The story has nothing new to talk of, since the genre has been over-exploited. Lengthy run time, slow pacing & too many subplots and a disappointing finale are major hiccups. Also, Deva Katta's direction is quite simple.

The movie has a sprawling canvas & it takes time to figure out the characters & their motivations but certain sequences are excessively stretched (Editor: Ballu Saluja). The songs are utterly misplaced & the dialogues (Farhad Samji) are clunky. Mahesh Shankar's background score elevates the situations considerably. Cinematography (Ravi Yadav) captures the mood of the film to perfection. Abbas Ali Moghul's action is a bit gory. Pallavi Bagga and Suman Roy Mahapatra's production design is average. Prassthanam is also held up by a string of credible performances. Sanjay Dutt delivers a bravura performance. Ali Fazal makes the most of his well-written character. His most sensitive portrayal to date. The confidence with which Satyajeet Dubey carries off his part is sure to win him plaudits. Chunky Panday is outstanding in a role that fits him like a glove. Manisha Koirala doesn't get much scope but she handles her part with flourish. Amyra Dastur acts with conviction and makes her presence felt. Jackie Shroff is, as always, bankable but his character is underdeveloped with hardly any dialogues. Chahatt Khanna and Divinaa Thackur did well. Other actors who stand out are Deepraj Rana (S P Narang), Zakir Hussain (Majid Maqbool) and Annup Sonii. Ishita Raj looks hot in the item number.

All said & done, Prassthanam is, at best, an average movie with an overwhelming sense of pointlessness & familiarity. It will meet with diverse reactions. Those into realistic cinema might like the film, while those who swear by candyfloss entertainment will skip it for sure.

The Zoya Factor

#FinalVerdict

No-Brainer! Stay miles away from it! Bummer!

1 Star

We do relish madcap entertainers but what director Abhishek Sharma serves here transcends all limits! I must avow that it's futile to expect anything sensible except for mindless mediocrity. If there’s a universally reviled film this year, it’s Fox Star Studios & Ad-Labs Films Limited's The Zoya Factor, more so because some of director Abhishek Sharma's earlier films were hits. No director can be senseless enough to think this is fine or remotely funny.

Idiocy is a gentle term for what is unleashed upon us. It's a two hour show reel of plot-less, witless, joylessness. Silliness can be great fun. But brainless doesn’t have to translate to brain-dead. The direction is a complete let-down. The situational gags try too hard to tickle the funny bones of the viewers consummately and the essence of the story gets dissipated because of unwanted scenes galore with no tie-in to the ongoing. It doesn’t even get its ‘Cricket’ aspect right. The direction is middle-of-the-road precisely, as the writing (Anuja Chauhan, Pradhuman Singh Mall and Neha Sharma) lacks the meat and the sequence of events just don't work. The pace also mar the overall impact with songs acting as killjoy. After Studios' VFX is pathetic. The Zoya Factor will drain you at the end.

While it begins on a promising note - it's a premise ripe with comic potential - the graph only spirals southwards barely half an hour into the film. It's not sacrilege to attempt a no-brainer but the smiles/guffaw/laughter should never be in short supply. The actors, putting their best foot forward, try so so so hard to make you giggle even when the gags are weak. The banal jokes and the lame PJs coupled with the muddled screenplay are clearly responsible for the royal mess.

Because there’s little to count on in terms of story, the fate of The Zoya Factor depends almost entirely on the likeability of its leads. The film belongs to Dulquer Salmaan , who proves, yet again, that he is an incredible actor. He adds so much to the sequences. Sonam Kapoor delivers an earnest performance but she fails to rise above the flawed script. Angad Bedi does complete justice to his character. Sikandar Kher seems comfortable in the given space. Sanjay Kapoor is natural. Anil Kapoor's cameo is hilarious. Manu Rishi Chadha is fine, not overdoing the lisping bit. Koel Purie is strictly okay. Pooja Bhamrrah (Sonali) looks quite glamorous and plays the supporting part well. From the Cricketers, the ones who leave the mark are Abhilash Chaudhary (Shivi), Gandharv Dewan (Harry) and Sachin Deshpande (Lakhi).

To sum up, The Zoya Factor is not entirely unwatchable because it's shot in a manner that’s easy on the eye. But walking out of the cinema once the lights come back on, you’re just glad it’s finally over. Stay miles away from it!