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!