Jawaani Jaaneman

#FinalVerdict: ENJOYABLE

3 stars

Saif Ali Khan - the name synonymous with urban rom-coms - slips into the role of a trendy, uber-cool, suave and metrosexual guy with elegance. Films such as Kal Ho Naa Ho, Love Aaj Kal, Salaam Namaste and Dil Chahta Hai have already consolidated and cemented his status in this genre. That's the prime reason why Jawaani Jaaneman generates curiosity.

Youth-centric rom-com is deemed as the most dependable genre and Jawaani Jaaneman is no exception. The film is amusing, sharp, witty and contemporary. It does some serious talking as well. The efforts are worth it and the time, well spent. Director Nitin Kakkar handles the subject with utmost maturity and ensures that there are wild-whacky moments aplenty. Being an unconventionally innovative film, Jawaani Jaaneman explores new grounds in terms of story as well as execution. The fresh concept combined with ample twists and turns in the screenplay only ensure that it doesn't stagnate.

The marriage of realism with escapism as also form and content is quite evident in Jawaani Jaaneman. There are moments that offer tremendous entertainment. Hussain Dalal (Story) borrows incidents straight from life. Jawaani Jaaneman also works because the characters are so true to life and identifiable that you can't help but relate to the issue. The icing on the cake is, undoubtedly, the execution of the film and the shot compositions. At the onset, the screenplay may give you the feeling that it's all gloss and no soul but Jawaani Jaaneman catches you slowly, but firmly and doesn't leave you till the end. There’s so much happening in the film every minute. A few sequences are unconvincing here and there but the plusses outweigh the minuses in a huge way.

Director Nitin Kakkar executes the film with effortless ease, handling a number of sequences with dexterity. Come to think of it, Jawaani Jaaneman is a complex film, which reflects the complexity and intricacies of human relationships. The highpoint of the film is the three sharply defined characters, besides, of course, the styling and visuals. Also, Nitin Kakkar's style of storytelling caters more to the multiplex crowd/elite/big city junta/Overseas audience rather than the aam public/hoi polloi/masses/frontbenchers. The generous usage of English will also restrict its appeal to urban centres. The humour, thankfully, is not of the slapstick variety; it's more subtle and situational. The emotional moments are not heavy either; they percolate unpretentiously. Everything that writers (Hussain Dalal, Abbas Dalal) and director Nitin Kakkar attempt to convey through their characters looks credible and relevant. More significantly, all of this is presented in an entertaining format. But the curse of the second half, which plagues most Hindi films, troubles Jawaani Jaaneman as well. The pace drops and the film starts to meander towards predictability. The second hour is half as exciting as the first. Unmemorable songs, an over-stretched story and the lethargic pacing ail the film.

It would be blasphemous to ignore the styling of the characters in Jawaani Jaaneman. Graceful designs dictate the wardrobes of the lead actors, which not only seizes your attention but also takes fashion trends frontward. Ketan Sodha's background score is classy and effectual. Manoj Kumar Khatoi's cinematography gives the film the international feel. In fact, the film has several stunning visuals. The dialogue (Hussain Dalal, Abbas Dalal) seem straight out of real-life but are wicked at times too.

Priyata Dixit casting is inch-perfect. Saif Ali Khan has that knack for rom-coms. He fits into his character fluently and leaves a deep-seated impression. He is outstanding in both emotional and light moments. The actor has worked hard on his looks and physique and looks smashing all through. The real scene-stealer is, without doubt, Alaya F, who not only looks sizzling hot but pitches in a confident performance. She lets herself loose, surrenders to her character wholly and nails the performance. It's an incredibly noticeable act. Tabu is in terrific form, portraying the role with gusto but she barely has any screen time or real purpose in the narrative. Kubbra Sait appears very confident and performance-wise, she is spot on. In fact, her character is fleshed out very well and with her performance, she makes it even more special. This is yet another feather in her cap! Farida Jalal, Chunky Panday and Kumud Mishra contribute so much to their sequences. They are super-efficient, as always.

On the whole, Jawaani Jaaneman has a single-point plan of engaging and amusing the spectators. Although the second half is not as tempting or intoxicating as the first hour. It pales when compared to the attention-grabbing first hour. Yet, all said and done, Jawaani Jaaneman is an immensely likeable film that should appeal mainly its target audience -- the youth. Go for it!

Happy Hardy And Heer

#FinalVerdict: UNEXCITING

2 stars

By now, it has become an inevitable fact that Himesh Reshammiya is a braveheart in whatever he dabbles himself into. You may not like him and he may not feature on your favourite actor list, but certainly, you cannot ignore him. Whenever Himesh Reshammiya stars in a film, it's got to be a musical and Happy Hardy and Heer is no exception.

Happy Hardy and Heer is a slice of life rom-com that takes you back to the times when simple stories were the order of the day with ordinary-looking people and their not too complex issues and problems. The film rests on a thin storyline (Himesh Reshammiya). Director Raka makes a sincere attempt but his striking direction is let-down by a boringly monotonous screenplay - written by Himesh Reshammiya's wife Sonia Kapoor Reshammiya - ranging from interesting to mundane to yawn-inducing. The USP, decidedly, is Himesh Reshammiya's musical score but how one wishes the super music was complemented by an equally superior script. Additionally, Happy Hardy and Heer doesn't rise to entertaining levels for two reasons. One, too many songs interlaced in the narrative. Two, the pace dips and the plot loses the steam after a point to the hilt.

Though Happy Hardy and Heer rests on a fragile plot, with the writing holding your interest at places, there are been-there-seen-that kind of situations aplenty and the narrative is laced with too many songs. Whether or not the situation warrants them, you have one track ready to unspool every now and then.

Directorially, Raka has avoided going over the top and remains faithful to the subject but he's handicapped by a sketchy screenplay. He cannot do much given the fact that there's no novelty at all. Overall, his direction is impressive. Himesh Reshammiya's music is expectedly top-notch. All the tracks are lilting compositions as well. Chandan Kowli's cinematography is perfect.

Himesh Reshammiya seems thoroughly dedicated to his craft and the composer/singer/actor goes that extra mile to get the role right. He has grown as an actor and that reflects in several moments of the film. Sonia Mann is completely natural. She looks alluring and acts well. Her confident portrayal stands out. Naresh Suri is impressive. Manmeet Singh is good. Deep Mandeep is perfect. Ashwin Dhar, Sejal Shah and Trupti Khamkar lend able support.

On the whole, Happy Hardy and Heer does appeal in bits and spurts but not in totality. The film isn't bad, but it isn't great either. Though it has a hit score to its credit, it won't work at the box-office. Flop!

Street Dancer 3D

#FinalVerdict: Entrancing

3 stars

One has to acknowledge that a dance film is particularly suitable for showing the advantages of 3D technology in the cinema, which has been in great demand for some time now. What do you ask for a dance film? A concrete story? Actors deserving of nominations in an official ceremony for their talent as performers? Not really. These points are certainly important but they represent only a little more. To tell the truth, what we ask of a film of the genre is an impeccable level of dance that makes us want each time to get up to shake our body to the rhythms of sounds. So yes, Street Dancer 3D has a script seen and reviewed hundreds of billions of times which, by the way, must fit on a postage stamp with regard to the anorexic thinness of the plot (love, betrayal, passion and all the usual cliches) but Street Dancer 3d ups the ante on the dance side, compared to the previous dance films. It is nowadays little exclusive - or a guarantee for an enriching, crushing film experience - when a film is made in 3D, Street Dancer 3D deserves all the praises it can get.

Street Dancer 3D is a dance movie every inch. Whether or not you are a fan, you will surely be enchanted. What the actors perform on screen is perfect, fresh and literally brilliant. Almost the entire 144 minutes are dancing, dancing and dancing. It's not a rule that the final number is the best, but here it succeeds. The film has all the trappings of a commercial Bollywood potboiler. The dance scenes are even more spectacular, artistic and expansive, cinematography even more musical, the entire film even more pop, more colourful and more fun.

Director Remo D'Souza doesn't care that he is not an intellectual high-flyer, he knows that his strengths lie elsewhere. He draws his strength from his heart, and the honesty with which his film operates is sometimes disarming. As for the story itself, nothing new awaits us. You know it: love, betrayal, last-minute arrivals and everything is coming to a happy end. But Street Dancer 3D impresses in its many dance numbers, in reckless breakdance steps and in prodigious choreographies that challenge the possibilities of human anatomy. Remo D'Souza knows where to put the camera so that each dance step is emphatic, powerful, but he is incompetent when it comes to bashing a story. Remo D'Souza is one of the promising and talented filmmakers in Bollywood, as he has a direct relationship with dance, which ultimately helped him excel as a filmmaker. You will not see this movie and judge it negative for its weak script or for the protagonists who do not have the brilliance of some great talent. Personally, I found it more striking and visually enjoyable experience than some of the recent dance films but poorer in intrigue as it follows a crude and clichéd recipe with almost no surprise. Nonetheless, it's definitely not for pseudos or advocates of arthouse cinema.

Although screenplay writers Tushar Hiranandani and Jagdeep Sidhu come up with several knockout sequences. But there's no denying that the screenwriting deviates into the conventional and foreseeable zone. While the film makes for a wholesome entertainer, it is the second half of the film that qualifies to be better than the first, as Remo D’Souza resorts to cliches to carry the story forward. Besides, the film is stretched by at least 15/20 minutes. Thankfully, the narrative gathers steam once again towards the closing portions and the finale is simply breathtaking, which will be greeted with seetis and taalis. The director has also used the added advantage of technology/VFX to keep things visually exciting for the audience at all times.

Remo D’Souza shows ample growth and confidence as a storyteller. A few emotional and dramatic moments are the mainstay of the enterprise. Remo brings alive estimable vigour, energy and imagination on the big screen. He blends the emotional quotient with dance and music and presto! You can't take your eyes off the screen every time a dance breaks out. The winsome soundtrack also compliments the theme of the movie. The choreography (Kruti Mahesh, Rahul Shetty, Tashan Muir) of each song and dance piece deserves distinction marks. It's truly inventive. Vijay Kumar Arora and Tushar Kanti Ray's cinematography is perfect - capturing the gloss and grandeur to the minutest - which accentuates the impact of several scenes, especially the dance pieces. Manan Ajay Sagar's editing should have been spruced up. Sachin-Jigar's background score is a bit loud but in sync with the film’s mood.

Now to the performances! Prabhudheva, regarded as the dance legend by many, is expectedly, incomparable in dances, but the good news is that he handles the dramatic scenes well too. If you thought that playing to the gallery came easy to certain actors only, watch Varun Dhawan spin magic in Street Dancer 3D. He's magnificent, the star attraction, the soul of this film. Shraddha Kapoor comes as a whiff of fresh air! She looks like a million bucks and is a treat to watch. Nora Fatehi delivers a power-packed performance. Aparshakti Khurana impresses immensely. Punit Pathak, Salman Yusuff Khan, Raghav Juyal, Dharmesh Yelonde, Sushant Pujari, Caroline Wilde and Francis Roughly have played their respective parts competently. Zarina Wahab, Murli Sharma and Manoj Pahwa lend able support.

To sum up, Street Dancer 3D does have a strong message to send across to its audience but the haphazard writing combined with a huge number of songs, dance sequences and battlefield banters thrown in after every five to seven minutes fail to stitch the film together in an organised way. Still and all, Street Dancer 3D is an impressive dance film, which weakens a bit in the character drawings, but is far ahead in all other respects. A paisa vasool entertainment that will have the audience thirsting for more! The film has its share of moments that stay with you, especially the concluding portions. Smash hit!

Panga

#FinalVerdict: Arousing

4 stars

The rules of entertainment are altering rapidly because Hindi movie heroine is now being looked up with strengths, shortcomings, mistakes and achievements. She is ready to conduct experiments, equipped to explore uncharted lands. This holds for Kangana Ranaut, one of the most talented actresses of our time. The famous actress has persistently paved the way vis-a-vis her choice of movies. Also, director Ashwiny Iyer Tiwari needs no introduction. With her debut film Nil Battey Sannata (2016), she had the audience sit up and take notice of her work. Panga, her latest offering, once again has you, as an audience, asking a question. Honestly, women's stories are not really exemplified conscientiously since Bollywood is branded for creating movies from a male perspective. But the souk of women-centric flicks is quickly turning out to be a bankable genre. Panga is a commanding tale, has an authoritative central character, has several dominant and thought-provoking moments, making it an all-persuasive film.

Panga is thought-provoking, articulate and clear. It brings the subject to light but Ashwiny Iyer Tiwari neither imposes her opinion on the audience nor do her characters. Each actor extends his or her arm within the ambit of their circumstances, never once attempting to go beyond it. That's the brilliance of this film. This is Ashwiny Iyer Tiwari's trademark. She is like the music conductor who knows the symphony like the palm of her hand and directs every actor with the delicate swish of her experienced baton. Of course, the film is built on the classic theme that a talented athlete has a dream to place at the top of the stool at the big international tournaments, where the road to it is not just straightforward but full of bumps and dents that need to be forced, which puts both the psyche and the physics to a hard test. And then, of course, it turns out in the end that iron willpower can pave the way for the dream to come true. The director does manage to make an extremely worthwhile and quite entertaining film, packed with both dramatic and exciting moments.

It is absolutely amazing to experience how camera movement (Jay I. Patel), editing (Ballu Saluja), music (Shankar-Ehsaan-Loy) and other technical aspects of Panga blend together to form a cinematic experience that, in terms of quality, rises to a level where the entertainment value is of an entirely exceptional character. In terms of action, Panga is fantastic storytelling, where the story writers (Ashwiny Iyer Tiwari, Nikhil Mehrotra) have managed to convey a story through the visual media to an unparalleled degree and turned it into a gripping, captivating, educational and uplifting and one of a kind experience. The film in many areas is also deeply touching. Director Ashwiny Iyer Tiwari ensures that Panga retains its individuality and doesn't come across as a replica/clone of other immensely likeable films with sports drama as the backdrop. In fact, her handling of several light moments as well as dramatic ones is exemplary. With the skills of a master storyteller, she amalgamates a human story in a truly striking and attention-grabbing format. There is a certain uninhibited genuineness in Ashwiny's direction. Besides, the additional screenplay by Nitesh Tiwari is outstanding; one seldom witnesses such aptitude and deliberation to specifications. Without doubt, Ashwiny Iyer Tiwari gives it her best shot with gleaming sincerity.  There are a few hiccups, but not the type that really go against the film. However, the climax is the highpoint of this enterprise. Also, fragments of tongue in cheek humour pop up when you least anticipate to liven up the solemn plot.

The admiration for Kangana Ranaut has scaled woozy altitudes and let me affirm, the supremely talented actress delivers a performance that's at par with her former accomplishments. She re-evaluates screen acting in Panga. She arrives with yet another enlivening, commanding character in this film and her portrayal is sure to win laurels by assessors and cine-goers uniformly. Her body language, her confidence, her vulnerability, her fury, her grief, all fall upon wonderfully. Jassie Gill is a revelation. What a tremendous actor. His sequences with Kangana are truly wonderful. Neena Gupta proves yet again that she's an exceptional performer. She makes a stunning impact. Richa Chadha is, as always, efficient. She exhibits good screen presence and holds her ground firmly, despite Kangana's towering performance. She is exactly what the highly ranked coaches are made up of. Yagya Bhasin stands out with a terrific portrayal. He's is exceptional. Way to go, boy! Megha Burman shines as the young Kabbadi player.

On the whole, Panga raises questions, challenges the age-old customs and mirrors a reality most convincingly. A brilliant film embellished with bravura performances. The highs and lows, the triumphs and failures, the laughter and heartbreak… you smile, you laugh, you weep, you cheer, you feel ecstatic… Panga encompasses it all adroitly, with the finale leaving you exhilarated. Don’t miss it for anything in the world. A film that deserves an ovation!

Jai Mummy Di

#FinalVerdict: Insipid!

1 star

A title like Jai Mummy Di makes you curious and interested in the movie instantly. Some stories are only interesting to read but not cut out for cinematic adaptations. That's the problem with this film. The subject material comes across as a hollow attempt. The screenplay tries to pack too much stuff, but how everything is spread out on the table makes you squirm in your seat. Seriously, one wonders after a point, what was the writer/director trying to say? The writing is not merely humdrum and dreary, but also amateurish at the same time. Things are presented in such an amateurish manner that it fails to cut ice. Even the culmination is so filmy. It's a screenplay of convenience!

When it comes to escapist cinema, a gifted writer can make his imagination run wild. Think of a crazy story, come up with outrageous and zany situations, rope in actors who'd look believable in those parts... hey presto, a crazy potboiler is ready to be served. But Navjot Gulati's writing is plain mediocre. Besides, the second hour is lengthy, it gets tedious. After a point, the writing doesn't spring any surprises. You know exactly what's in store next and that's what bogs the film down. It also tends to get a little melodramatic and overemphasized intermittently. But the dialogues are smart and in sync with the mood of the film.

Sure, Jai Mummy Di remains faithful to the ongoing trend of providing laughs at the oddest of things, but it's more of a masala fare that's reminiscent of the 1980s cinema. Packaged in a modern avatar, of course. More specifically, the writing relies on the age-old stuff to reach the finale. Too many cinematic liberties have been undertaken and it doesn't work at times. Agreed, you don't look for logic and reason in hardcore potboilers, but the least the writer/director (Navjot Gulati) could do is provide loads of entertainment. Sadly, he makes mincemeat of a plot that had the potential to woo viewers. On face-value, what do you expect from Jai Mummy Di? Laughter unlimited. But what's served on the platter is so insipid and lame. The comic scenes (that make you laugh) are few and far between.

Directorially, Navjot Gulati goes horribly wrong. Saddled with a poor screenplay, there's not much that the director can do to salvage the show. The songs are plain ordinary. Sanket Shah's cinematography lacks the picture-perfect look. Hitesh Sonik's background score is loud to a greater extent than necessary.

Sunny Singh is getting stereotyped. He looks ill at ease at places. Sonnalli Seygall is sincere, enacting her part with utmost conviction. The drama gets a little amusing thanks to Supriya Pathak, Poonam Dhillon and Danish Husain. It is difficult to imagine another pair of actors pulling it off as well. Supriya Pathak plays to the gallery. Poonam Dhillon is superb. Danish Husain is fantastic.

On the whole, Jai Mummy Di just doesn't work. Flop!

Chhapaak

#FinalVerdict: Poignant!

3 stars

Courage is not A virtue, but The virtue.

Most storytellers entertain, a few enlighten. A scattering number of celluloid visionaries entertain as well as enlighten. Meghna Gulzar fits into that exceptional variety of film-makers that opens up thought-processes about the condition of the homeland without losing the cinematic elements that constitute a film. Meghna Gulzar has always believed in handling an issue every time She has attempted a film. To reconstruct on celluloid a true occurrence that is oven-fresh in public reminiscence is not a trouble-free mission. However, having sensitive and explosive material on hand is not enough. The execution of the subject is of paramount importance. Fortunately, Meghna Gulzar interprets the events in remarkable style and form and makes it a cinematic experience that haunts you even after the film has concluded. She does complete justice to the spirit of the story.

Chhapaak manages to show a mirror to the society. It is a rare film that will make you cry but at the same time scaffold you with the strength to raise your voice against injustice and why one must never compromise on self-respect. As a movie-watching experience, Chhapaak is flawless. There's absolutely no compromise at the level of storytelling. Bravo! Meghna Gulzar makes it an engaging piece of cinema rather than relying on the docu-drama format. Chhapaak belongs to the unique hard-hitting, gut-wrenching genre of cinema. Script-wise, the director has tried to remain faithful to the episode that occurred and also what transpired subsequently. The events have been chronologically put forth and the daring story of Malti hits you like a ton of bricks. The film truly celebrates the human spirit and also reflects a vital change in the society and in the attitudes of people.

The narration is simply captivating that the viewer thirsts for more. Such is the impact of its taut screenplay! The film abounds in sequences that have been handled with utmost care, notable among those that focus on the relationship between Deepika Padukone and Vikrant Massey. The dramatic scenes are just right and not once does any character get loud or go overboard. The emotional scenes are a treat to watch. Another highlight is the climax. A film like Chhapaak pricks your conscience and makes you think.

Director Meghna Gulzar and story writer Atika Chohan deserve kudos for choosing a thorny and contentious story to interpret on celluloid. Meghna Gulzar, in particular, deserves a few extra brownie points for handling the material with aplomb. Her prowess and competence are visible all through the film. Since Chhapaak is based on a real story, Meghna Gulzar has kept the characters and the locations real and that's what makes the goings-on very identifiable, besides bestowing an authentic feel to the film. Here's a dynamic director-writer duo who needs to be lauded for tackling such a difficult subject and emerging triumphant!

A hard-hitting drama, generally, doesn't have scope for music. But Shankar-Ehsaan-Loy join hands with Gulzar saab, the wordsmith, and together they deliver a solid soundtrack. Music has been used in a matter-of-fact manner and at no point, it takes anything away from the narrative or the pace of the film. Malay Prakash' cinematography is first-rate. Dialogues are realistic to the core. Nitin Baid’s editing is perfect.

It would be a blunder if one missed out the contribution of the makeup artists. Transforming the ever-dependable actress into an acid attack survivor must've been an arduous task and Shrikant Desai and Clover Wootton deserve to be complimented for making Malti look so real.

Meghna Gulzar places immense trust on Deepika Padukone and she delivers a powerhouse performance. It is difficult to think of any other actress who could've essayed this complex role with such sincerity as Deepika. A powerhouse of talent, Chhapaak is yet another effort on the part of the actress to showcase the talent she possesses. To state that she is exceptional would be an understatement. Here's yet another award-winning performance from her. Another actor who delivers a first-rate performance is Vikrant Massey. He sinks his teeth into the character, giving it the much-required pragmatism that it necessitates. Sure, Chhapaak belongs to Deepika, but not once does Vikrant Massey dither from his position or seems inferior. This is the hallmark of a tremendous actor, which Vikrant is. Madhurjeet Sarghi is first-rate and lends adequate support.

A lot of films have been attempted on real-life incidents, but haven't struck a chord so effectively. Chhapaak should shatter this jinx. It focuses the viewer's attention to that segment of society that has seldom been depicted on the Indian screen. It will be well appreciated by the intelligent audience, gunning for women safety and empowerment. This heroic and daring film truly deserves prolonged applause.

Tanhaji - The Unsung Warrior

#FinalVerdict: Stupendous!

4 stars

The culture of India is filled with innumerable stories of bravery and valour. Sadly, a few of them have been lost in the pages of history or only have local awareness. Tanaji Malusare is one such great man who is credited to have fought a decisive battle in the Battle of Sinhagad in 1670.

Roman Polanski, the acclaimed storyteller, once remarked: 'Cinema should make you forget you are sitting in a theatre.' Director Om Raut's Tanhaji: The Unsung Warrior does exactly that. It raises the bar of films made in India. At a time when most dream merchants in Bollywood are concentrating on mindless entertainers that kiss goodbye to logic, Om Raut and Prakash Kapadia's story strike the right balance between logic, history, heroism and entertainment in Tanhaji. The scale of the film is colossal, the plot is invigorating and the outcome leaves you mesmerized. Without an iota of doubt, director Om Raut is a sheer genius for creating a film that sweeps you off your feet and leaves you awe-struck. After watching Tanhaji, it's not just admiration, but respect and reverence as well for Om Raut. It wouldn't be erroneous to state that you haven't watched anything like this on the Hindi screen ever in 3D. Also, as a cinematic experience, Tanhaji takes gigantic strides, taking Indian cinema notches higher… over and above the standards set by several skilled raconteurs in the past. This film will most definitely go down the annals of history.

It requires foresight, guts, vision and of course, the financial muscle to bring to life a lavish spectacle on the giant screen. And Om Raut uses his strengths and opportunities to accomplish what a majority of storytellers can only talk about or dream of. Let me add, Tanhaji: The Unsung Warrior is not merely a visually enchanting experience, but also a well-structured film that engulfs you into its world. Director Raut belts out a story that rests on the age-old adage, good triumphs eventually and he carries a huge burden on his shoulders: He knows that the canvas, VFX and entertainment quotient has to be bigger and better than most of the historical films churned out recently. It's a daunting challenge actually. And Tanhaji delivers and how!

Several sequences leave you tongue-tied and the film has no dull, tedious or mind-numbing moment. The highpoint is the concept. The writing is smart and clever, the episodes are ingeniously integrated into the screenplay (Om Raut, Prakash Kapadia) and the culmination to the tale leaves you spellbound. I'd go the extent of saying that Tanhaji: The Unsung Warrior has an unfaultable start, immaculate middle and impeccable end, which is a rarity as far as Indian films go. The film is seeped in Indian ethos, while the drama is garnished with several awe-inspiring sequences and jaw-dropping visuals. The screenwriting vacillates between light moments, high-voltage drama, tension-filled confrontations and luminously filmed and brilliantly crafted action sequences, resulting in a movie-going experience that doesn't insult your intelligence. The content is desi, while the packaging has an international feel.

There's no doubt that Tanhaji: The Unsung Warrior is Om Raut's most accomplished effort to date. His choice of the subject over the years has been diverse but Tanhaji is truly the big-ticket entertainer that leaves you awestruck by its powerful storytelling and meticulous detailing. Any deterrent? The soundtrack could've been better. Also, the editing (Dharmendra Sharma) could've been sharper at places.

Another prime reason why Tanhaji stays with you is, well, watching the story unfold in 3D. We have watched 3D films and also 2D-converted-to-3D films unfold on the Hindi screen. But, Tanhaji takes a leap by Indian standards and the technology adds a new dimension to this film. The background score (Sandeep Shirodkar) is electrifying. The breathtaking, larger-than-life frames (DoP: Keiko Nakahara), grandiose and opulent production design (Sujeet Subhash Sawant, Sriram Kannan Iyengar) and stunning visual effects impart sheen and sparkle. The action portions (Ramazan Bulut, R.P. Singh) provide ample exhilarating moments and I must add, it commands repeat viewing.

Tanhaji: The Unsung Warrior is powered by strong performances from the skilled cast. Having said that, the eyes are on the protagonist and antagonist all the while. You can sense the tension when the two gladiators clash and collide. Ajay Devgn is electrifying and gives his character the authority that they deserve. The undeniable presence and winsome act add weight to the magnum opus. Ajay seems born to play this role and he enacts it with such precision, such flourish, such confidence that it leaves you asking for more. A mind-boggling performance without a doubt! Saif Ali Khan is menacing, ferocious and nails his part with precision. His physical transformation -- a prerequisite for the character -- makes him look powerful and unshakable. He's most menacing in a role that must've been a herculean task to accomplish. Kajol gets limited scope this time but invests purity, valour and strength into her character and emerges triumphant. Sharad Kelkar uses his eyes to convey intensity and owns every sequence he's in. Luke Kenny is ruthlessly manipulative and pitches in a tremendous act. Padmavati Rao, as always, is impressive. Jagapathi Babu is unmistakably earnest. Devdatta Nage and Ajinkya Deo are impressive as well. Neha Sharma is perfectly alright.

On the whole, Tanhaji: The Unsung Warrior is, without a shred of doubt, a landmark film. This period drama has all it takes to prove the first blockbuster of 2020. You haven't watched anything so opulent, so magnificent like this in a long, long time on the Hindi screen. It's a feast for moviegoers and has the trappings to make all generations its fan. It shouldn't come as a surprise if it goes down as a textbook on how to make a solid entertainer. EPIC BLOCKBUSTER!

Darbar (Tamil)

#FinalVerdict: Dhamaal entertainer!

3 stars

The Indian audience savours true-blue masala entertainers. Director A.R. Murugadoss has to live up to the expectations for varied reasons: He teams up with superstar Rajinikanth for the first time and attempts a cop story yet again. Darbar is one of those earthy, traditional, uncomplicated masala movies that most of us grew up on. The protagonist of Darbar is not the desi version of James Bond, nor is he any kind of a superhero. The story is interesting and although it is oft-repeated, the new angle is both, contemporary and quite fresh. But what doesn't change is the intent of making a full-blown masala entertainer. Yes, Darbar is vintage masala fare that has a larger-than-life hero, who triumphs against all odds. And, of course, it has a knockout performance by superstar Rajinikanth. If at all there's a shred of doubt whether Thalaiva is The Best in the business, all you've got to do is watch Darbar.

Darbar is an acknowledgement to one of the most successful genres -- action movies -- known for the trademark good versus evil themes and well-choreographed stunts. Darbar revives memories of the bygone era that stressed on raw action and was rich in fist-to-fist combat scenes. But Darbar is a film of today, hence the stunts are extremely stylized and polished in keeping with the times. It's raw power presented in a slick demeanour. Darbar works for varied reasons: The conflict between the protagonist (Rajinikanth) and antagonist (Suniel Shetty), the high-quality dramatic scenes, the raw action and of course, it shows how police force should work against the rampant corruption, fraudulent politicians and spineless goons. In short, Darbar is a complete package.

A.R. Murugadoss’ screenplay is engaging and interesting. The first half is replete with light moments which keep the viewers fully entertained. The second half is serious but yet, very engrossing and engaging. It also offers scope for emotions. Several of the scenes will draw huge rounds of applause in the cinema halls. Of course, the single screens will resound with thunderous applause when Thalaiva comes on the screen for the first time. The climax, after that, is simply earth-shattering and the audience will experience a rush of adrenaline throughout the action-oriented climax. The twist in the tale will also bring the house down with excitement. All in all, the screenplay is so phenomenal that it will make the viewers’ hearts dance with joy. In fact, the drama and also the execution of the written material keeps you completely hooked to the proceedings.

I'd like to make a special mention of the action scenes (Ram-Laxman, Peter Hein). At a time when most film-makers opt for action directors from abroad for gadget-driven thrills, Darbar goes for the desi flavour and it works luminously. The raw, hardcore action is easily amongst the high points of the movie. On many occasions than one, you have your hearts in your mouths while watching the scenes. Anirudh Ravichander's effectual background score also deserves immense praise.

For any good versus evil film to click, it ought to have the protagonist and the antagonist on the same podium. In Darbar too, it's not just the hero who's powerful and mighty; the villain is equally ferocious. That's what makes the conflict all the more enjoyable -- it's a fight of the equals. Besides the sequences involving them, a number of dramatic sequences leave an indelible impression. And, of course, the finale, which is simply outstanding. The dialogues (A.R. Murugadoss), in a nutshell, are aimed at the masses and works big time. Santosh Sivan's cinematography is eye-catching. The film bears a stylish look all through. A.R. Murugadoss’ direction is extraordinary. His narration makes the drama believable. He has given the film a huge canvas and has spared no efforts to make it a visual delight. There are a number of scenes which show his genius as a filmmaker.

But even roses have thorns and the aspect that doesn't really gel is the romance between Thalaiva and Nayanthara. In fact, the romance-and-song routine comes across as a roadblock and mind you, it has nothing to do with the lack of chemistry between the two actors. It's because the drama is so powerful, commanding and omnipotent that you want every other aspect to be sidetracked. Anirudh Ravichander doesn't get the opportunity to deliver a sparkling soundtrack. Yet, the title track (rendered with a lot of fervour by Nakash Aziz) is the sole track that works. The editing (Akkineni Sreekar Prasad) is razor-sharp at most times but could've been spruced up during midsection.

Superstar Rajinikanth is in the centre of the battle between good and evil. He is the lifeline, the soul of the film. The embodiment of screen masculinity, Thalaiva enacts the central character of a righteous, hardhearted cop with flourish. He brings alive on screen a larger-than-life hero character with determined conviction, which renders you thunderstruck. He returns to the over-the-top-action genre of films with this one. In a nutshell, his performance plays a pivotal role in carrying the film to the winning post. Darbar bestows him with abundant opportunity to flaunt each shade of his skill. It's not only the plot that carries Darbar. It's also the mood and the expression of Thalaiva that makes Darbar a treat.

Nayanthara is fabulous. To share the screen space with an actor of the stature of Rajinikanth and yet remain in your memory even after the show has ended is no cakewalk. She looks fresh and photogenic and acts her part brilliantly. Suniel Shetty is in terrific form. Darbar would’ve faltered if the antagonist wouldn’t be as convincing as the protagonist. Suniel Shetty matches up to Rajinikanth every time they come face to face. He's venomous to the hilt! Darbar has a huge supporting cast, but I would like to single out a few names that add weight to the proceedings. Nivetha Thomas impresses again. She deserved more footage. Prateik Babbar is superb. He's only getting better with every film.

To sum up, Darbar follows the existing trend to create more homespun, home-flavoured desi movies rather than pursue the money-spinning NRI souk that has, until recently, been the order of the day. While the central plot packs a solid punch, with several clap-trap situations interlaced in the narrative, it slips into the knowable zone at times. Overall, Darbar works big time for varied reasons: The energetic drama, the terrific confrontations, the raw stunts and of course, for the three 'heroes' -- superstar Rajinikanth, Suniel Shetty and director A.R. Murugadoss. This one is the emblematic formula movie with distinct essentials that Indian masses yearn for. A complete package of entertainment for the masses and devoted fans of masala movies. Go, have a blast!

Sab Kushal Mangal

#FinalVerdict: Painfully unremarkable!

1 star

Fridays are turning into an untidy jumble in Bollywood in the matter of getting an epochal release. In actuality, releasing a film on the very first Friday of the New Year is unavoidably viewed as cursed. When there are myriad of Bollywood films churning out every single Friday, the makers are now being left barehanded other than to explore the date.

Seriously, it's damn difficult to poke fun at oneself. Sure, we relish madcap entertainers, but what first-time director Karan Vishwanath Kashyap serves in Sab Kushal Mangal transcends all limits! The jokes fall flat on numerous occasion. The situations/characters try too hard to chuckle you but fail miserably. There's nothing in the film which has got an iota of intelligence. While Sab Kushal Mangal begins on a promising note - it's a premise ripe with comic potential - the graph only spirals southwards barely ten minutes into the film. It's not sacrilege to attempt a no-brainer - the audience loves it - but the smiles/guffaw/laughter should never be in short supply. With a run time of approx. 2.15 hours, Sab Kushal Mangal drains you at the end of it, despite the actors trying so so so hard to make you giggle even when the gags are weak. Prashant Singh Rathore's editing causes extemporaneous sleep. The banal jokes and the lame PJs coupled with the muddled screenplay (Brijendra Kala, Karan Vishwanath Kashyap) are clearly responsible for the royal mess. There are several scenes in the film which make the drama appear so stretched that the audience wonders what’s going on. Even the climax does not have the desired impact. Emotions fail to touch the heart.  The substandard VFX by Katalyst Creates is an absolute letdown. The result is a confused, unpleasing, long-drawn mess. In fact, the film makes a mockery of everything you may have seen or heard.

While bits and pieces of the first half are tolerable, the film goes completely awry in its post-interval portions. Seriously, what was Karan Vishwanath Kashyap thinking while penning and executing this one? Choosing an unconventional story is great, but coming up with a gripping film is nothing short of a challenge and that's where this film boomerangs. In fact, it gets cumbersome to sit through the film after a point, since what unfurls is ridiculous and bizarre. The soundtrack (Harshit Saxena), too, is neither catchy nor melodious. A listless score! Sachin K. Krishn's cinematography is tacky.

Akshaye Khanna is exceptional and evokes laughter whenever he comes on the screen. He's the sole saving grace. Debutant Priyaank Sharma and debutante Riva Kishan are monotonous. Also, the spark is missing. Satish Kaushik, Supriya Pathak and Rakesh Bedi are completely wasted. They're just gap fillers.

On the whole, Sab Kushal Mangal won't live up to its title. From start to finish, there’s isn’t a single shred of conviction on display. Steadfastly puerile, Sab Kushal Mangal is a big splotch of utter nonsense. Disaster!

Bhangra Paa Le

#FinalVerdict: Boringly monotonous!

1 star

What bogs the film down is that it's too predictable from start to end. However, predictability is not the sole hitch here. The story doesn't have the zing to keep you hooked to the screen for most parts and also, it unravels at such a lethargic pace that you break into a yawn at several points of the narrative. Sadly, Bhangra Paa Le is below the mediocre mark and doesn't meet the expectations at all. What's the problem? Without a doubt, the script! What starts off as a story that seems real and identifiable becomes a fairy tale in the latter hour. Also, with a title like Bhangra Paa le and the story harping on music, the songs had to be chartbusters. That's just not the case here!

The sole aspect that you carry home is Sunny Kaushal's earnest performance, who has consistently taken one step ahead with every film. This time, unfortunately, the shoddy script makes the actor's efforts null and void. Bhangra Paa Le is a chance lost! Come to think of it, most dance-based reality shows on television these days promise far more entertainment, excitement, drame-baazi and those euphoric moments than the one you see in Bhangra Paa Le.

Dheeraj Rattan's story/screenplay is the biggest culprit here, which is tacky and bland at the same time. Besides, the goings-on get too unbelievable. What starts off as a 'real' film, drifts into a 'surreal' world as it moves ahead. In today's times, when every film-maker is striving so hard to narrate a new story, Bhangra Paa Le harps on the same-old mundane, cliched, tried-and-tested stuff that you've watched again and again and again. The journey of the protagonist is so lifeless that you don't feel for him. Conversely, during the climax, when he eventually emerges a winner, you don't feel euphoric either. The writing is too commonplace to make any impact whatsoever. In an effort to strike a balance between believable and make-believe, Bhangra Paa Le falls like a pack of cards. The narrative is quite dull at times and the slow pace dilutes the impact further.

Music is another minus point. You expect the songs to linger in your memory even after the show has ended... that's what makes a musical tick, right? Sadly, it's not the case here. The movie clearly lacks a hit number to take it to dizzy heights. However, the choreography is top-notch (Vijay Ganguly, Adil Shaikh, Sahaj Singh, Bosco-Caesar). Dialogues (Dheeraj Rattan) are plain ordinary. Cinematography (Jitan Harmeet Singh) is splendid. Debutante Sneha Taurani's direction is amateurish, to say the least. Some of the scenes are stretched without any purpose. Sneha Taurani should have directed a music album instead with greatly executed Bhangra/dance numbers. Antara Lahiri's editing is also slack. The movie could have easily been trimmed by 15-20 minutes.

Bhangra Paa Le is embellished with great performances. Sunny Kaushal is top-notch, but how one wishes the script would've done justice to his talent. It doesn't offer him a pedestal to take that big leap. He makes a sincere effort and the honesty shows in a number of scenes. His dances, expectedly, are exceptional. Debutante Rukshar Dhillon is first-rate, conveying so much through her eyes. What makes this performance special is the way Rukshar approaches it - without actually replicating anyone. Besides, her dances/acrobatics are a treat. Shriya Pilgaonkar enacts her part with natural ease. She provides some pleasant moments, but the role doesn't demand histrionics.

On the whole, Bhangra Paa Le won't dance its way into the audience's heart. It will only emerge as one of the major disappointments of the year.