The Lunchbox: Anupama Chopra's review

Poignant, Powerful

The Lunchbox is my favourite love story of the year. It’s sweet, sad and deeply aching. Debutant director Ritesh Batra captures the harrowing loneliness that a metropolis like Mumbai fosters, the hope of happiness that glimmers and enables us to go 

on.


The Lunchbox

Direction: Ritesh Batra

Actors: Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui

Rating: ****

The Lunchbox is about two desolate individuals who make a tenuous connection when the famed Mumbai dabbawallas mess up and deliver lunch to the wrong man. Saajan, played by Irrfan Khan, is a widower on the verge of retirement.

Ila, played by Nimrat Kaur, is a housewife, frayed by neglect. Their relationship – expressed entirely through notes exchanged in the lunchbox – develops into love. Every detail in this lovely film speaks of the care with which it has been crafted. So, as Ila does the household laundry, she listens to recipes of paneer do pyaaza on the radio.

Saajan, who is Catholic, writes to her that he has been offered a vertical burial plot – “I’ve spent my life standing in trains and buses,” he says, “now I will have to stand even when I’m dead.” The writing is enhanced by terrific performances. This film is a triumph for all its leads – Irrfan, Nimrat and Nawazuddin Siddiqui who is endearing as Saajan’s junior.

Irrfan, who also co-produced the film, is its backbone. His gait, eyes, even his slight smile, captures Saajan’s melancholy. Irrfan and Nawaz are two of the finest actors working today but this film wouldn’t be what it is without Nimrat’s heartbreaking performance. The Lunchbox is poignant and powerful. It will make you laugh and cry. And it will also make you hungry – I was dying to eat paneer kofta and bhindi when it finished.

I absolutely insist that you see it.

Phata Poster Nikla Hero: Review- Courtesy Hindustan Times

Rajkumar Santoshi's Phata Poster Nikla Hero has not managed to garner appreciation from the critics. The film, they say, doesn't offer anything new but Shahid Kapoor is the only possible reason to go for it. 

Going by the reviewers, the film attempts to be a comedy and it fails 

miserably. Simantini Dey of Firstpost sets it straight, "If Phata Poster is meant to be a comedy, it isn’t funny. If it is an action film, then it’s so last decade. What it definitely is, is a disappointment."

Dey gives credit to the lead actor and feels there is no meat in the film except him. The critic says, "Shahid Kapoor owns whatever there is to own in this film. His face is like all the emoticons that you have ever seen, rolled into one. This could have been a bad thing, but when Kapoor pulls all these expressions, he manages to make it work. He is delightful in dance numbers like Khali Pili and Dhating Naach. However, there is only so much that he can with a half-baked character and a messy plot"

Mayank Shekhar seconds that, "This movie is supposed to be a comedy, though it’s cacophony for the most part with assorted dons, fake cops, real cops, and general unexplained madness."

Shekhar further adds: "You feel sorry for the director, swallow some pride on his behalf. But the lead actor here wanted to be a Bollywood hero anyway. The pint-sized star like Singham drops from the air on his feet over flying dust, his body horizontally swaying over the earth as villains come crashing down, he travels to desolate beaches for the Sufi song, dances on the stage for the item track, weeps for his mother, hugs his father, mimics Dev Anand, Amol Palekar for comedy. You wish him well, quickly pop a Saridon, along with the popcorn, and safely go home."

Taran Adarsh of Bollywood Hungama too feels the film is full of clichés. "It's a frothy comedy that would have gone astray and misplaced its luster had it been delegated to a lesser talent", he believes.

I Am Kalam - Review

I Am Kalam


Director: Nila Madhab Panda

Producer: Smile Foundation

Cast: Harsh Mayar, Husaan Saad, Gulshan Grover, Pitobash, Beatrice Ordeix



Once in a while, you come across a film that makes you a 'softer' person after just one watch. Yes, I truly believe that movies have the power to make you a better person, even if just temporarily. I Am Kalam, which revolves around seemingly impossible dreams of an 11 year old, is one such experience.


Chhotu (Harsh Mayar) comes from a really poor family and works at his uncle Bhati's (Gulshan Grover) dhaba. At the outset, the story appears simple enough. But as it unfolds, deeper layers unfurl in the most magical way. Chhotu befriends Kuwar Ranvijay Singh (Hussan Saad). The rich prince suffers from loneliness until he meets Chhotu (flashing his trademark confident toothy grin) teaches him a few lessons, some obvious and some more subtle. While Chhotu's bullying and insecure colleague at the dhaba, Laptan (Pitobash) is a die-hard fan of Amitabh Bachchan, Chhotu has bigger aspirations. The kid is so inspired by former Indian President APJ Kalam that he confidently rechristens himself Kalam, thus explaining the title of the movie.

Nila Madhab Panda makes a confident directorial debut, with his head and heart in the right place. Among other things, I am most impressed by the way Panda cleverly passes on a social message that a child's brilliance shines through even the dreariest of circumstances. And in direct contrast, a child can't be made happy by bestowing him with costly toys and other comforts.

This film is the right combination of sparkling intelligence and well-placed emotions. For millions of child labourers across the country, there couldn't have been better representation of them than Chhotu, with his genius and undying optimism. The best thing about this movie is that it is happy, despite the grim reality of life it portrays. The positivity somehow manages to touch a chord.

While Harsh Mayar steals your heart right away (the National Award was so well deserved), it's the other child Hussan Saad who also impresses with his clear diction and natural performance. Gulshan Grover as a kind man, who has a secret crush on a French woman Lucy (Beatrice Ordeix), is very good as usual. Pitobash does a very good job too.

I Am Kalam stands for what Chhotu firmly believes in. You make your own destiny, which he picked up from a speech by APJ Kalam. At a time, when children seem bereft of the right idol to emulate, I Am Kalam shows the way.

Source: Mid-Day

Tanu Weds Manu - Review

Sukanya Verma reviews Tanu Weds Manu.

A London-based Delhi [ Images ] boy and his family arrive at a Kanpur household kicking off a vibrant ruckus of prattle and curiosity.


Following a black eye fix from a local ruffian at the railway station, the jittery visitor and Co. lose some of their inhibitions after they're greeted by a naked tot waving at them with a cutesy, 'Aaiye, aaiye.' Meanwhile, the typically enthusiastic hosts indulge them with obligatory chit-chat and (presumably) Thaggu's ladoos.

The vocabulary, disposition, sensibility, camaraderie and milieu is fond, familiar and stems from a classic set-up in upper middle-class, non-cosmopolitan North India [ Images ]; all these elements composite into giving director Aanand L Rai's Tanu Weds Manu, travelling to and fro between Delhi, Kanpur, Lucknow [ Images ] and Kapurthala, a sense of accessibility and realism.

What ensues after the afore-mentioned scene is, however, not a commonplace eventuality. Although it's a routine arranged marriage layout for boy-meets-girl, the lady in question, is no Geet or Simran [ Images ].

A quirky creature with a picture of Argentine revolutionary Che Guevara in her bedroom, Tanu (Kangna Ranaut [ Images ]) is the kind of girl with no real focus, only cosmetic aggression. Although she's educated, her idea of liberation is hollow rebellion -- hanging out with crooked fellas, drinking, smoking, occasionally swearing -- which gets all the more highlighted because her parents appear to be exceptionally accommodating.

For all her care-a-damn attitude, Tanu, just like her fierce curls and gentle countenance, is a fascinating paradox hopping between edgy and erratic, a soft head who sulks randomly, giggles comically, indulges in all possible shock tactics but ultimately does think there's not much difference between her and a 'bandariya.'

There's a thin line between silly and stupid but Kangna Ranaut makes Tanu work with her chirpy appeal and energy. Not really known for dialogue delivery, Ranaut uses her lumbering tongue to Tanu's advantage lending the rom-com some added lightness.

Then there's Manu (R Madhavan). Manu, like Mohan Bhargav of Swades [ Images ], is exactly the kind of too-good-to-be-true guy for whom terms like 'instantly likeable' were coined. And Madhavan suits the role to the T. He's perfectly cast as the genial, composed doctor head over heels in love with Ms High Maintenance.

Of course, they're no Joel and Clementine but the disparity is along the same lines. There are more layers to Manu than meet the eye but they're never underlined by writer Himanshu Sharma. Tanu Weds Manu engages best if you can read in between the lines and draw your own sub-text.

Sharma fails to maintain the zing till the very end though. A disappointing, lengthy and gabby third-act makes Tanu Weds Manu's running time of 2 hours and 15 minutes longer than it is. It's a shame for a script that has previously recognized the strength of communicating in silence or subtlety.

Some of the best scenes in the movie do not involve any talking. Rai captures the simplicity of eye contact and an innocuous smile in the scene when Manu helps Tanu pick a pair of earrings or her wedding lehenga. Even the talkie portions are on the crisp, terse side before Jimmy Shergill [ Images ] comes in to spoil the party and go on and on about what a threat he is. That last scene could have simply done away with all that filmi bak bak. Jimmy's verbal shimmy aside, Tanu Weds Manu is a pleasant experience for most part.


Wedding celebrations often make for a dazzling backdrop in romantic capers, be it Hum Aapke Hain Koun..! or Band Baaja Baarat. Tanu Weds Manu, too, employs the joie de vivre vibe to create resplendent song and dance spectacle with much help from Krsna's effervescent score ranging from thumping bhangra to rousing Sufi.


Besides its two titular characters, Tanu Weds Manu is blessed with an almost flawless supporting cast of actors like Rajesh Dobriyal as Manu's fretful, fast-talking pal, Pappi. He's especially droll in the Jai Mata Di sequence while haggling with a utility services attendant. On Tanu's side, you sit up and take notice of Swara Bhaskar as her blunt and plucky BFF alongside Eijaz Khan [ Images ] as her fiery 'n' fun groom. Reliable veterans like K K Raina, Rajendra Gupta and Navni Parihar competently fill in the shoes of Tanu and Manu's concerned yet harmless parents.

In a candid moment, Manu's father tells Pappi that he'll be happy if his son gets married and settles down but even if he chooses not to, 'Main apne ghar mein khushi se baitha hoon.' That's Tanu Weds Manu for you. It doesn't take offense at anything but will charm you anyway

7 Khoon Maaf - Review

Imagine a cocktail party full of dangerously beautiful women and handsome but decadent men. Imagine a home where such a party is thrown--inherited furniture, heavy drapes, smoke filled air and a butler who knows the bar as well as who drinks what. Now imagine a film where a succession of such men trip in and out of the door. It makes a wonderful series of vignettes, with Susanna, the hostess, played by Priyanka Chopra, graciously allowing herself to be used and abused. Sadly, though, it's no more than that.


Moody, atmospheric, marked by tremendous performances, and yet somehow the parts don't make the whole. Not for lack of trying. Susannah (Priyanka Chopra) is a tigress on screen. Sometimes slapped around, sometimes loving with abandon, sometimes happy in lust, and sometimes plain jaded, she is a woman of any freedom-loving woman's dreams. Mistress of a sprawling home, with no particular known income, she lives in decaying splendour like our very own Scarlett O'Hara. She has an ancient maid (Usha Utthup, in a surprise appearance), a discreet butler, a one-eyed jockey (for she is the mistress of several racehorses) and a loyal little boy whom she decides to put in school (a bitter-sweet debut by Naseeruddin Shah's younger son, Vivaan).


The plot is over-written as is to be expected in a film which becomes an extended cocktail party. The guests are fascinating, representing her lucklessness in love. There's the cruel army major (Neil Nitin Mukesh, excellent), the rock star (John Abraham, as good as he can get as the drug-addled, sex crazed Jimmy Stetson aka Jamshetji Rathore), the sensitive poet with a nasty streak (Irrfan Khan, as always brilliant), the kind doctor (Naseeruddin Shah, with a jolly Bonglish accent), the lascivious police officer (Annu Kapoor), and the handsome Russian (Aleksandr Dyachen, who should immediately be imported to Bollywood). All of them have their kinks and claws, and the pleasure is in discovering them.


Susanna Sahib's search for love takes her into territory that is often horrifying, but somehow the writing ensures that each episode remains a brilliantly shot and enacted short story, never quite integrating into a whole, introducing us to several guests but not quite involving us. Vishal Bharadwaj makes Priyanka act out of her skin, and she tries hard, subjecting herself to things onscreen most Hindi film stars wouldn't (don't get your hopes up, boys, Hindi film heroine standards are low).


Bharadwaj tries to give Susanna (sometimes Sultana, sometimes Sunaina, sometimes rock groupie Susy and other times the mysterious Anna) a reality by rooting her struggles with that of India. Oh, look, as Susanna marries her first husband, Operation Blue Star is happening. Oh, look, there's the Babri Masjid demolition as she meets her Kashmiri poet, oh look again there's the Pokharan nuclear explosion. And yet again, the IC-814 hijack.

It's not to say that there is no joy in watching Saat Khoon Maaf. Not at all. There are several. Priyanka Chopra, for one, showing tremendous courage. The men, for being uniformly engaging. The cinematography which succeeds in creating an atmosphere of lurking menace. The art direction, which almost threatens to overwhelm the film. The music, which is so perfectly matched to the movie. And yes, even Ruskin Bond, the writer, in a special role, saying the line that sums up the movie: It all comes down to love, sweetheart.

Indeed it does. Pity then that the film is a series of one night stands. What we wanted from the operatic Bhardwaj was an affair to remember.

Source: IndiaToday

Dhobi Ghat Movie Review by Taran Adarsh

Irrespective of its genre, an Aamir Khan production is looked forward to with super-enthusiasm. Films like LAGAAN, TAARE ZAMEEN PAR, JAANE TU YA JAANE NA and PEEPLI [LIVE] have redefined cinema and in their own small way prompted film-makers to think beyond the stereotype. That automatically raises the bar for AKP's new endeavor DHOBI GHAT.

Mumbai - this vivacious, lively and spirited city has inspired many a film-maker, novelist, writer, playwright, poet in the past. Kiran Rao's DHOBI GHAT takes a look at four different characters in this dynamic city. Interestingly, instead of opting for the usual candy floss entertainer in her directorial debut, Kiran chooses to make a film that's very real and also that comes across as personal memoirs that have found a place on celluloid. It's more of a video diary on the inhabitants of this bustling metropolis. More importantly, this is a story about four different people - all from diverse walks of life - and how their lives crisscross in this voyage and how they cope with yearning, solitude, affection, friendship and loss.

To me, Mumbai comes across as the fifth character in this film. The constant clamor of traffic, the sea of people, the energetic street life and the heavy and torrential rains dominate the goings-on from start to end. In fact, Mumbai comes across as a silent spectator here, watching each of those four characters mutely. Much like a septuagenarian [Aamir Khan's neighbor] in the film.

What catches one's attention is the fact that DHOBI GHAT tells four different stories in those 95 minutes in the most pragmatic manner. The characters are real and so are their stories, their emotions, their relationships, their smiles, their tears, their dreams, their desires, their fears and their tragedies. It comes across as factual and authentic as your eyes would observe and witness in real life. Sure, we got a flash of the assorted people of this city in SLUMDOG MILLIONAIRE, but DHOBI GHAT doesn't follow the conventional route. It is far more subtle and restrained.

DHOBI GHAT [Mumbai Diaries] is the story of four people from very different backgrounds, whose worlds intersect and leave them forever altered. As they find themselves drawn into compelling relationships, the city finds its way into the crevices of their lives, separating them even as it brings them closer...

Fragments of their experience -- seen through a naive video diary, black and white photographic images and painting -- form a portrait of Mumbai and its people bound together as they journey through longing, loneliness, loss and love.

Like I pointed out earlier, Kiran Rao encompasses emotions, dreams and aspirations most convincingly. In fact, every sequence of DHOBI GHAT tells a story, every image matters and that, in my opinion, makes this first attempt by Kiran nothing short of an achievement. Filmed in guerrilla style, with hand-held cameras and moving shots, DHOBI GHAT captures the real flavor of this populous city. Generally, film-makers try to stick to the right frames and procure permissions for the most eye-catching location, but not here. From opulent and classy apartments to the slums, DHOBI GHAT is an authentic piece of work.

DHOBI GHAT catapults Kiran Rao alongside the likes of accomplished storytellers like Mira Nair and Deepa Mehta with her intensely intelligent script. Besides throwing light on the daily routine of these characters, DHOBI GHAT juggles a recent past and the present time skillfully. Also, this one's a love story inherently; not a triangle, but a square. In fact, each of the characters is vividly sketched and each of them long or aspire for that someone special. Thanks to a watertight screenplay and eye for detail, Kiran's characters feel, look and sound genuine.

Cinematographer Tushar Kanti Ray shoots the film as if one were watching the story unspool live in front of one's own eyes. Academy Award winning Argentine composer Gustavo Santaolalla's [BROKEBACK MOUTAIN, BABEL] background score is captivating, also non-Indian, yet fits the varied moods, from melancholy to elation, admirably. The sole area where the film fumbles is its pacing at places. The results would've been even more impactful if the film was tightened a bit on the editing table.

The film marks the debut of Monica Dogra and Kriti Malhotra, who are exceptional and deliver natural performances. As for Prateik, the ease with which he speaks the slum lingo or converses with his pal or the gentle tone while speaking to the woman he loves [the urbane and classy Shai] proves what a dependable actor he is. The most memorable sequence for me is the concluding one when Prateik chases Shai's car. There's no doubt that he's a complete scene-stealer and a star in the making. His unconventional looks and captivating personality only adds to this performance.

Very much like his performance in TAARE ZAMEEN PAR, Aamir Khan very willingly lets his co-actors eclipse him. Sure, he's super as a cloistered artist, but this film is not about Aamir Khan, the superstar. It's primarily about four stories, with Aamir merely enacting one of the four pivotal characters. In fact, he underplays his part magnificently and munificently allows his fellow cast to be conspicuous in their respective parts. In actuality, not many actors in moviedom would dare to even think that way!

Kittu Gidwani is alright. The actor enacting the role of Prateik's friend does a fine job.

On the whole, DHOBI GHAT is an imposing and vibrant cinematic portrait, appending itself to the new wave of independent Indian cinema which I am extremely pleased to applaud. It is art house cinema with European sensibilities, embellished with a well thought out story that's devoid of cliches. This ingenious motion picture caters more to the intelligentsia and connoisseurs of world cinema and will therefore garner more patronage and benefaction from the metropolitan audience in India chiefly and global spectators predominantly.

Courtesy:- Indyarocks.com

Housefull

Film: Housefull

Dir: Sajid Khan

Cast: Akshay Kumar, Riteish Deshmukh, Lara Dutta, Deepika Padukone

Rating: ***

Welcome to yet another ‘leave your brains at home’ kind of comedy. An almost impossible task I think, to surgically remove your brain, and then to make your way to the cinema sans it.

Though I think, if you don’t already possess a brain, or your intellect has been considerably eaten away by recurring cinema such as this, then you may actually force yourself to patronize this stupid starry ordeal. I sadly caught myself chuckling a few times in a bid to recover my 320-rupee ticket price, a hefty sum for such little ‘entertainment’.

The unlucky Aarush (played by Akshay Kumar) must marry a girl to change his fortunes. His best friend Bob (Riteish) and his girlfriend Hetal (Lara Dutta) take him to a lavish London party where he meets the eccentric and drunk host, Randhir Kapoor (hic!). Aarush and Randhirs daughter Jiah Khan meet and instantly fall for each others traditional Indian values and within a few seconds the drunk dad announces their marriage, bequeathing a few million pounds to the lad he just met.

It didn’t make sense. So I swung a cricket bat and knocked the side of my head, subjecting my brain (which I had to bring with me) to a nasty blow. It still didn’t fly.

So Aarush and Jiah are on holiday in Italy/Greece/Film City or wherever the hell this exotic resort is and Aarush is thrilled to have better luck. The resort is run by a loud and irritating Indian who speaks in an Italian accent and is imaginatively named ‘Aakhri Pasta’ (Chunky Pandey). ‘Pasta’ cant keep his hands off Aarush’s bride (Jiah Khan) and Jiah cant keep her hands off a hairy and expressionless white man. Aarush is shocked to learn that Jiah and 'hairy white man' are lovers and that his marriage is a sham.

Enter Sandy (Deepika Padukone), who rescues a drowning Aarush and then dances with him in a sexy song sequence. It must be true love! What makes Sandy’s heart beat faster for the forlorn loser is ‘Aakhri Pasta’s’ lie that Aarush’s wife died on his honeymoon. Why the lie? You ask? I am clueless. I suffered another blow to my head with the cricket bat. My brain refused to shut up even then.

Well, If we must go further; you can expect inane misunderstandings between the two couples and then add characters like a farsan making Gujrathi father who sleepwalks, a man eating old heiress who is less entertaining than the man eating tiger on a couch, A parakeet that gets sucked into vacuum cleaner and a monkey that gets into a fist fight with Aarush.

Menaka Gandhi, fret not, the self respecting monkey gives it back in equal measure.

While the situational ideas have the potential to entertain like in a ‘Dumb & Dumber’ or in an ‘Andaz Apna Apna’ sort of slapstick way, the execution and smugness of the making, leaves you baffled as only the cast seems to get most of the jokes. The exaggerated climax, where laughing gas is released into Buckingham palace, is anything but funny. As you watch white skinned extra’s and red-faced Indians laughing uproariously on screen, you are deafened by the silence of the audience in the cinema hall.

There are racist jokes; like the Gujrathi father looking at a black woman and disdainfully calling her ‘Surpanakha’ (Ravan’s ugly sister), bad Italian accents with the use of words like pasta and De Niro to frame sad sentences and even done to death closet gay jokes; where the Gujrathi father seems to find the boys in compromising positions. Sadly Unoriginal.

Yes, we’re looking for entertainment and not necessarily intellectual stimulation all the time. But recent films like ‘3 Idiots’ have proved that our cinema can be 'silly funny' and yet have heart. That we can laugh at jokes and gags without having to surgically remove our brains or knock them out cold with cricket bats.

As we settle back into cinema halls post the IPL season, and look for entertainment worth the insane ticket prices, we must remember this. A lavish and starry production with a great marketing budget is no compensation for amateur dialogues, predictable screenplays and hammy acting.

Instead, you could watch Amitabh Bachchan in the 1981 hit ‘Kaalia’ on the telly this weekend.

Source: chakpak

Kites~~

Kites is an international film in every sense of the word. It takes one of the biggest stars from Bollywood and places him opposite one of the most popular actresses in Latin America. You could say it’s a story about star crossed lovers but that would be too simple. Kites is so much more. It’s a drama, romantic-comedy, and an action flick all rolled into one, and somehow despite its heavy description, nothing gets lost in translation.

The Players:

Director: Anurag Basu

Screenwriter: Anurag Basu, Robin Bhatt, Akarsh Khurana, Rakesh Roshan (story)

Cast: Hrithik Roshan, Bárbara Mori, Nicholas Brown, Anand Tiwari, Kangana Ranaut, Yuri Suri

Music By: Rajesh Roshan

The Plot:

Kites centers on Jay, a self-centered man who doesn’t care about anyone but himself. His main goal in life is to be rich but his priorities change when he meets and falls in love with Natasha, a Mexican woman who marries a powerful man for his fortune and a free pass into the States. Both have their own agendas that get tossed to the wind when they realize that love is a lot more important than any possession including their own lives.

The Good:

Hrithik Roshan: This leading man proved that he’s more than just a pretty face with his performance. He has great comedic timing, yet still manages to deliver some heavy emotional scenes, while pulling off a believable high speed car chase. He does it all!

The Action: These days action films are laced with heavy CGI and because of that a lot of the excitement is lost. In Kites, there were real explosions and real danger, which made the scenes more enjoyable to watch.

The Narrative: This narrative isn’t told in a linear way, yet Basu keeps you invested in the story, while constantly changing the point of view from one character to another.

The Score: The music in Kites is amazing. The score is such a compliment to to the story. It intensifies each action without being too overbearing.

The Cinematography: The composition of each scene is gorgeous. There are so many stand out sequences that are shot at the right angles and with the right lighting. It’s at those moments you can’t take your eyes off the screen.

The Bad:

The Montages: In typical Bollywood fashion there are several montages and musical breaks that are appear during the film. They’re not too extreme but if they were cut out they would shave off some excessive length that the film doesn’t really need.

Overall:

Kites is an entertaining film that tells one of the oldest stories in the book but does it in an interesting and entertaining way. It’s filled with a great cast led by the charismatic Roshan and has one of the best musical scores that’s appeared on film in recent years. If you’re willing to expand your horizons, Kites is a great introduction into the world of Bollywood without coming on too strong.

Rating: 9/10

Source: screencrave

Raajneeti!!

RAJNEETI PORTRAYS the battle for political supremacy in the Pratap family. The film is like Mahabharata, wherein Duryodhan considered to be the rightful heir of the Kuru legacy has to fight within the family as he has to compete with Pandavs.

Similarly in Prakash Jha's Rajneeti, Manoj Bajpayee, who is the son of a venerable politician feels sidelined after power shifts from his father, who suffers a paralytic stroke to his uncle. Bajpayee is not able to reconcile with the fact that he has been left behind in the shadows, whereas his cousins Arjun Rampal and Ranbir Kapoor grow in stature and influence.

To change the political equation, he reaches out to Ajay Devgun in order to neutralise his political opponents. However, the entry of Ranbir Kumar as Samar Pratap Singh, who comes on a vacation from New York changes the ballgame altogether. Ranbir guided by the veteran Nana Patekar has an ace up his sleeve for every political trick used by his opponents.

Rajneeti as a film speaks about the political system of India, how it operates, and how the dynasties perpetuate their political power. Rajneeti also depicts the saga of violence, betrayal, crime and use of money to secure power and pelf for oneself.

Ranbir Kapoor has delivered a powerful powerful performance as he learns the tricks of political trade faster than his rivals, much to their surprise and discomfiture. He has a lot of people including elder brother Arjun Rampal, his political mentor Nana Patekar and his childhood buddy Katrina Kaif to support him, but in a quintessential God Father style he plans and executes almost singlehandedly.

Rajneeti movie review: Raajneeti stars Ajay Devgan as Sooraj Kumar, Ranbir Kapoor as Samar Pratap, Katrina Kaif as Indu Pratap, Naseeruddin as Shah Bhaskar Sanyal, Nana Patekar as Brij Gopal, Arjun Rampal as Prithviraj Pratap and Manoj Bajpai as Veerendra Pratap. Directed by Prakash Jha; written by Anjum Rajabali and Prakash Jha; music by Wayne Sharpe; art director, Jayant Deshmukh; produced by Ronnie Screwvala and Prakash Jha; released by UTV Motion Pictures.

Source: merinews

Pankh - Review

Pankh starring Bipasha Basu and debutante Maradona Rebello along with an experienced star cast of Mahesh Manjrekar and Lillette Dubey boasts of not being a run-of-the-mill potboiler's by any chance and promises to take edgy cinemas to a new level. Without dragging too much let me break the suspense right away, director Sudipto Chattopadhyay's Pankh is a disaster in its true sense. Parents forcing their lofty ambitions on their kids are nothing novel. What could have been novel is the way of approach and portrayal. Sudipto messes up big time in both the script and its direction.

Jerry (Maradona) who attained stardom as a child artist playing Baby Kusum turns a homosexual due to the confusing childhood he led. Despite his father's undying protest, his ambitious mother doesn't seem to speak of ending the child's misery. Due to his sexual identity crisis, he grows up unloved, lonely and friendless. Slowly he begins to befriend his pet turtles and an imaginary friend Nandini (Bipasha). What happens to the turbulence in his mind and his relationship with his mother forms the rest of the story.

Pankh, long in the making, is heavy on its message and bizarre in its theme with pretension of profundity. It lacks a cohesive, decent and gripping tale that keeps you hooked on the screen. Most of what the script has to say seems senseless and fictitious. It's extremely dark theme and some disturbing moments although is imaginary, makes it hard to digest and sit through. And when the script fails to create the necessary impact, the overwhelming shots are introduced with different hues, tones and colors. Lighter moments to relax are few and far as the film deals with many confusing sub-themes like - too many biblical references, the oedipal complex, a delusional superhero, the homosexuality and the abusiveness. Packed with abusive scene and nudity, the films climax is no different and is a complete shocker. Not for the light-hearted.

Bipasha Basu's super glam avatar's seems to make no sense what-so-ever. Besides she hams in her performance big time. From her dialogue delivery to her expressions, Bips doesn't get t right. First timer actor Maradona Rebello appears to have given it his best however isn't consistent in his performance. Lillette Dubey is unintentionally hilarious and way too over the top. Mahesh Manjrekar is okay.

To sum up, Pankh do not have any entertainment value and it could not be completely passed as an art film. Works in bits but not for the faint hearted.

Courtesy: nowrunning.com

Sadiyaan : Review

We rarely make desi movies these days. Palatial mansions, swanky cars, designer outfits, the latest handsets and gizmos have replaced large kothis, traditional outfits, ghoda-gaadis and makke di roti aur sarson ka saag. True to its name, Sadiyaan takes you to a different era, when the warmth of relations mattered the most, when blood was thicker than water, when promises were meant to be honoured.

Buzz up!Sadiyaan is set in the 1970s, but travels to the partition days. Raj Kanwar tackles a unique theme this time - of two mothers. The first is the biological mother, who gets separated from her child during the partition. The second raises the child like her own, when she crosses to India after partition. The basic premise is wonderful and you can draw parallels with Hindu mythology.


Sadiyaan is divided into two parts. The first part focuses on the love story, which falls on the predictable, mundane stuff, with the Hindu-Muslim angle thrown in. But Raj Kanwar reserves the best for the second part, when the two women meet and the story takes rapid turns. But, let's face it, Sadiyaan is not everyone's idea of entertainment, since the 'multiplex junta' doesn't patronise desi cinema anymore, unlike the single screen audience that adores this kind of cinema.

So what's the final verdict? Watch it if you like desi melodrama of yore, which comes alive with Sadiyaan.

Sadiyaan is a period drama based on an incident which happened during the partition. It's the story of two mothers, a Hindu played by Rekha and a Muslim mother played by Hema Malini.

In the chaos and confusion during partition in 1947, Benazir [Hema Malini] leaves behind her child in the mansion she lived in, before moving to Lahore. The child is rescued by Amrit [Rekha] and Rajveer [Rishi Kapoor], who try hard to locate the parents of the child, but in vain. They decide to raise the child themselves.

Ishaan [Luv Sinha] falls in love with Chandni [Ferena Wazeir], who lives in the same city [Amritsar]. However, Chandni's parents oppose the match, since Ishaan is a Hindu. Amrit and Rajveer decide to reveal the truth to Ishaan and also to Chandni's parents.

Two commonalities in Raj Kanwar movies… One, he has always stressed on drama in his movies and Sadiyaan is no exception. Two, the maker has often worked with newcomers [SRK in Deewana, Aarya Babbar and Amrita Rao in Ab Ke Baras and Lara Dutta and Priyanka Chopra in Andaaz] and now, it's Shatrughan Sinha's son Luv Sinha in Sadiyaan.

Sadiyaan has two stories running concurrently - the love story [Luv, Ferena] and the story of two mothers [Rekha, Hema Malini]. While the love story is hardly exciting since it relies on the tried-and-tested stuff, the Indo-Pak angle in the mothers' story makes this part extremely watchable.

The best moments are reserved for the second hour, with the penultimate moments proving the mainstay of the enterprise. However, as mentioned earlier, desi themes aren't too popular these days, except in the hinterland. Hence, a film like Sadiyaan has its limitations to cut across to a universal audience. Another drawback is that a love story should be embellished with lilting music and unfortunately, Adnan Sami's music is a letdown.

Directorially, Raj Kanwar handles the dramatic moments with flourish, but the writing, especially the love story, is archaic. Also, what was the need to force comedy in the narrative? Cinematography is alright, but the locations are eye-filling.

Rishi Kapoor, Rekha and Hema Malini are the lifeline of the film. Rishi is top notch. Rekha is amazing, while Hema is perfect. In fact, it's a treat to watch the two actresses share screen space after a really long gap. Luv Sinha needs to polish his acting skills. He's slightly awkward in the first part, but decent in the second half, when the goings-on get emotional. Ferena is a decent actor, but needs to work on her makeup and wardrobe.

Javed Sheikh is appropriate. Deep Dhillon is good. Vivek Shauq is getting typecast. Avtar Gill is perfect.

On the whole, Sadiyaan is an emotional drama narrated in old-fashioned style. If old world charm still excites you, there are chances you may like this one.

Courtesy: OneIndia

The Great Indian Butterfly : Review

Most movies are entertainment-driven, but a few movies, apart from entertaining, also raise pertinent questions that stay in your mind. The Great Indian Butterfly belongs to this group.

People travel miles, cross borders, go on an endless pursuit to attain happiness, peace, love and luck, which would make their journey on this planet memorable. The Great Indian Butterfly talks of a couple on the brink of a failed relationship and who travel from Mumbai to Goa to ‘trace’ the butterfly that would make their lives full of sunshine.


A beautiful thought undoubtedly, but how one wishes director Sarthak Dasgupta would’ve narrated the story concisely, without overstretching it to almost two hours.


The Great Indian Butterfly mirrors a reality. You empathise with the on-screen characters and that’s one of the reasons why this film works. But the flipside is that English-language films cater to a niche audience in India, which means you lose out on a big chunk of audience. Also, in this case, the awareness level of The Great Indian Butterfly is zilch.


Krish [Aamir Bashir] and Meera [Sandhya Mridul], a young couple, go in search of a legendary magical insect — The Great Indian Butterfly. Last seen by an unknown Portuguese explorer, in a remote valley located in Goa, the butterfly possesses a magical aura, granting immense happiness, peace, love and luck to the person who catches it. Will Krish and Meera find the elusive and mystical Butterfly?


Director Sarthak Dasgupta is clearly in a mood to narrate a real story. Hence, the conversation between the lead characters is equally real and also very relatable. The cinematography, while the car is in motion, is appreciable.


But the story stagnates in the second hour. In fact, there’s not much movement in the story and it also starts getting repetitive. Plus, an overdose of songs [not required]. But, thankfully, it picks up towards its finale.


The film is embellished with bona fide performances by Aamir Bashir and Sandhya Mridul. Aamir is a remarkable actor and it’s a pity that we haven’t tapped his acting abilities in our movies. Ditto for Sandhya, who deserves much more than what she’s being offered. Koel Purie is efficient in a small role. Barry John is alright.


On the whole, The Great Indian Butterfly is for lovers of art house cinema mainly. Unfortunately, the awareness of this film is zilch and that would hamper its stay at theatres.

Courtesy: DNAIndia

Clash of The Titans- Review

The plot of this movie begins in ancient Greek times, the ultimate struggle for power pits men against kings and kings against the gods. But the war between the gods themselves could destroy the world. Born of a god but raised as a man, Perseus (Sam Worthington) is helpless to save his family from Hades (Ralph Fiennes), vengeful god of the underworld. With nothing left to lose, Perseus volunteers to lead a dangerous mission to defeat Hades before he can seize power from Zeus (Liam Neeson) and unleash hell on earth.

Buzz up!Leading a daring band of warriors, Perseus sets off on a perilous journey deep into forbidden worlds. Battling unholy demons and fearsome beasts, he will only survive if he can accept his power as a god, defy his fate and create his own destiny.


First things first, a remake of the 1981 original by the same name is much better than the original version. But as a 3-D version, it’s a non-event, the film having been shot normally and twiddled in post to ride the Avatar wave. It’s effective in a few bits (you can almost smell the Kraken's breath), but if you take the glasses off it doesn’t make a lot of difference most of the time.
Two things stand-out. The first is Fiennes’s hugely fun turn as a hunchbacked, raspy-voiced, bitter, twisted Hades who turns up in a fireball and a smoking cloak to wreak a spot of havoc, instill terror, make dire pronouncements and such. The on-screen reunion of Neeson and Fiennes echoes their Schindler’s List dynamic, Zeus being all handsome and kind of noble, and Hades all full-tilt nutso. Also good is fragrant Gemma Arterton’s demi-goddess Io being attached to the travelling band of warriors since she serves as a quite useful Voice of Exposition, explaining all sorts of otherwise baffling stuff. Sam Worthington (Avatar, Terminator Salvation) sporting a buzz cut and looking more like a US Marine than a Greek seaman fits the part.

When Sam Worthington takes on a giant scorpion, the battle is impressive. The same cannot be said for the other mythological encounters. Many of Leterrier’s monsters look as if they were created for a Wii gaming system and then viewed through a pair of mud-stained sunglasses. The make-believe creatures don’t respond to gravity and clearly look superimposed.
This one is a full-throttle action-adventure, played unapologetically straight. Watch it for fun.

Starring: Sam Worthington, Ralph Fiennes, Liam Neeson, Alexa Davalos and Gemma Arterton

Director: Louis Leterrier

Courtesy: OneIndia

Alice in Wonderland : Review

Directed by: Tim Burton
Written by: Linda Woolverton (screenplay), Lewis Carroll (books)
Starring: Mia Wasikowska, Johnny Depp, Helena Bonham Carter, Anne Hathaway, Crispin Glover, Alan Rickman, Stephen Fry

Less than three months after the release and total box office domination of James Cameron’s Avatar, many questions still remain about the promise and the appeal of digital 3-D movies. Was Avatar merely a fluke, or did it lay the groundwork for this technology to be fully utilized by filmmakers and fully embraced by moviegoers? Is 3-D truly the future of storytelling on the big screen, or is it still just a distraction? As the next major 3-D film from a visionary director, many people are looking to Tim Burton’s Alice in Wonderland for answers to some of these questions.

Once again Disney and Tim Burton have chosen to hang the film on their most valuable leading man, Johnny Depp, expanding the role of the Mad Hatter in the story in order to accommodate him. Depp and Burton have worked together so often over the years that the collaborations are all starting to blur together, to the point where it has now become (ahem) old hat. Still, with all the potential for eye candy here, Burton does manage to offer some genuine moments of wonder in Wonderland, and if that’s all you’re looking for, this is one trip that you might want to take.

The movie is essentially a mash-up of Lewis Carroll’s Alice in Wonderland and Through the Looking-Glass (which isn’t a huge issue since the two novels are quite often mixed up in most people’s minds anyway). Alice is 19, and about to be betrothed to a man for whom she does not have any feelings. As he asks for her hand in marriage, she takes a moment to step away and think, only to find herself chasing a familiar white rabbit down a rabbit hole. She re-enters Wonderland, a place that she had previously visited when she was much younger, but apparently forgotten about. Upon her arrival she learns that it has been foretold that a girl named Alice will slay the Jabberwocky, a dragon that is controlled by the evil Red Queen, and free the land from her tyranny. However, there’s just one problem: there appears to be some confusion over whether or not she is actually the right Alice for the job.

With all the focus on the 3-D aspect of this film, it’s important to note that Alice in Wonderland was not actually shot in 3-D the same way that Avatar was. All of the 3-D was added in post-production. There was also no motion capture used; although they did experiment with it initially, they ended up simply using the live action footage and inserting CG characters afterward. The end result is that the world does not feel quite as fully realized and as immersive as Avatar. Granted, it is a more stylized world, and the production time on Avatar was a lot longer as well, but Wonderland is somehow not quite as enthralling as Pandora (interestingly, Robert Stromberg was apparently production designer on both films). At times the environments feel a bit washed out and empty, which could be a result of the 3-D not meshing well with some of the darker colours. Either way, the character designs are still visually striking, and the CG animation work is one of the movie’s greatest strengths.

The movie starts off at an engaging and brisk pace, introducing a number of creepy and intriguing characters all of whom are voiced by inspired British actors including the White Rabbit (Michael Sheen), Tweedledee and Tweedledum (Matt Lucas), Cheshire Cat (Stephen Fry), and the Blue Caterpillar (Alan Rickman). By the time Alice reaches the Mad Tea Party, things are really starting to come unhinged and the zaniness is at an amusingly high level. Unfortunately, as the story transitions to the second half of the film, it falls in line with much more bland and formulaic fantasy fare in the vein of The Chronicles of Narnia. We are quickly whisked from plot point to plot point without much excitement or danger, and many of the wacky surprises and character interactions slowly fade away until we conclude with a tired clash of CG armies.

Make no mistake, even though Alice is a bit older in this version, this is a movie that is aimed squarely at kids, and doesn’t have the depth that some might demand from an adaptation of this classic tale. Screenwriter Linda Woolverton does not do much to elevate the material, although there is just enough self-discovery that goes on in the film to justify Alice’s character arc. The tone attempts to remain cute while also being purposely weird and trippy, which doesn’t always work. The sensibilities of Disney and Tim Burton at times appear to be struggling against each other, although the resulting middle ground still makes for some fun visual gags.

Johnny Depp succeeds in carrying much of the film as the Mad Hatter, even though his character feels a bit inconsistent. He alternates from a drunk lisp to a Scottish brogue and back again. Contrived at times, yes, and at other times it feels like we’ve seen it before, but it’s still a performance that not many other actors could pull off. (He does “nuke the fridge” towards the end with his breakdancing scene, but I won’t get into that.)

Helena Bonham Carter is humourous but perhaps not quite menacing enough as the Red Queen, while Crispin Glover is a great Knave of Hearts, if only he had been given a little more to do. Anne Hathaway’s White Queen seems to be a mere footnote in the film, but most importantly, Mia Wasikowska is sincere enough to buy into as the main character of Alice herself.

Alice in Wonderland can definitely be categorized as Tim Burton lite, and is nowhere near as strong as his earlier works from the late ’80s and early ’90s… but then, you probably already knew that. I would say that it’s most comparable to his take on Charlie and the Chocolate Factory in terms of its energy and whimsical nature. This not the dark and edgy Lewis Carroll adaptation that some people may be hoping for, but it does have moments of twisted brilliance. I would still recommend it primarily on the strength of the visuals and some of the performances. As far as the 3-D experience goes, however, I honestly can’t say that it was really a necessary part of the equation. — Sean

Courtesy: www.filmjunk.com

Well Done Abba Review

WELL DONE Abba is a story of a driver in Mumbai, Armaan Ali (Boman Irani), who takes a month’s leave from work in order to seek a matrimonial alliance for his daughter Muskaan (Minissha Lamba). Armaan heads towards his village near Hyderabad and gets embroiled in the problems faced by this weary village struck by water scarcity. It is a narration by a driver to his boss on how his turning into an activist delayed his return to work.

Once again the pioneer of hindi parallel cinema Shyam Benegal has dished out a film full of irony, satire and rebuked the dynamics on which the government machinery moves. It seems to have unmasked the reality of the campaigns launched by political bygones like ‘Aam Admi’ and ‘India shinning’.

The film tells us how, Armaan, who is courageous enough to quench the thirst of a village after reading a government scheme about getting a loan to dig a well. But in a bid to quench the thirst of the government bureaucrats he is left with little to offer to his fellow villagers.

This piece of parallel cinema is a sheer delight with lot of substance in its script. The plot and narration is forceful enough to hit a chord with the audience. The music has been composed keeping in mind the theme by Shantanu Moitra which has a tone of folk music. A double act by Boman Irani needs a special mention and is something to watch for in the film. While Ila Arun , Minissha and others are an icing on the cake to make this film a total entertain package, which also has a strong message .

So, it is bundle of satire, ridicule and irony wrapped up intelligently with loads of humour only to make the audience say WELL DONE BENEGAL!

Courtesy: Merinews

Hum Tum Aur Ghost review

MovieHum Tum Aur Ghost
Director
Kabeer Kaushik
CastArshad Warsi, Dia Mirza, Sandhya Mridul and Boman Irani

In this peculiar fantasy of a world, a Cosmo magazine editor (great opportunity for drowning the leading lady in labels) has fallen for a refusing-to-grow-up fashion photographer. Editor (Dia Mirza, very good) and Photographer (Arshad Warsi, coming alive only during the sparse comedy), exchange sentimental `i love yous’ in every sentence. There’s a parallel track about his assistant (Sandhya Mridul) who he insists must wear mini dresses; irked, the editor girlfriend drinks up and does a hot number on the dance floor with him. Okay.

Moving on, the leading man realises he can see dead people. As is the case with most films of this genre, a psychiatrist is summoned who instantly says he is 'hallucinating due to exhaustion', and then spits out the 's' word.

Nowhere in the film, however, are we in a quandary whether he’s indeed suffering from schizophrenia or can he really connect with spirits. The ghosts put forth their requests to him; he agrees hoping they’ll stop harassing him thereafter. The requests range from playing cricket to marrying Aishwarya Rai – an attempt at caricaturing the ghosts for laughs. Finally, a lady ghost pleads with him to help her find her son, whom she’s been searching for 30 years; while the girlfriend gives him an ultimatum to shape up or ship out.

While the first half is about too little, the second tries cramming in too many things. The story doesn’t have enough substance to thrive through the running time, which is why the viewer is worn-out much before the finale.

Hum Tum Aur Ghost doesn’t know what it wants to be – a frothy romance, a dark comedy, or an Arshad-Warsi-starrer (his first production, this).

Of course a film can be all; but here, it’s none. The romance is tiresome because of weak characterisation, the comedy is laboured, and Warsi has done far better. Situations are repeated endlessly, from the ghost track to the insipid romance. Speaking of character sketches, they’re implausible. Working and living aboard, the characters choose to converse with each other in flawless Hindi.

Also, the editor’s rarely working (she’s sifting through glam photographs most of the time, yet picks up an excellence award) and mixes the personal with professional, firing her boyfriend for an assignment because he didn’t return her calls. Armaan’s graph appears slightly more fleshed out, because he has more screen-time. Heck even the ghosts appear, disappear and reappear indiscriminately.

Kabeer Kaushik (Chamku, Sehar) tells the story in an inhibited manner, playing by the rules, even adding an unwarranted emotional angle. But then the credit for this film gone wrong must also be shared with Arshad Warsi who is responsible for the screenplay-dialogue of the film. Admittedly a few witty dialogues combined with Warsi’s mumbling delivery style do crack you up – but that’s hardly a cause to spend two hours plus on an otherwise convoluted picture.

Courtesy Sify

Bhagam Bhag

Fultoo Time Pass


BHAGAM BHAG is the last biggie to arrive in 2006, which has been a terrific year for box office and none other than Priyadarshan should be highly excited about its prospects. After all it has turned out to be his most hyped film ever!
Ever since the film was announced, it has been in news since it has been touted as the comeback vehicle of Govinda. A film that seemed to be running on the shoulders of hit jodi of Akshay Kumar and Paresh Rawal with Govinda benefiting from the coming together of a successful team has seen a remarkable turnaround with the latest set of promos on air. It clearly seems that Govinda and Akshay Kumar are going to rock together as a pair in the film and come up with an all out rip roaring laugh saga.
Looking at the response that the film's promos along with title song 'Bhagam Bhag' and 'Signal' have generated [each featuring the two actors], producers K Sera Sera, Shree Ashtavinayak Cinevision Ltd and Popcorn Motion Pictures have gone all out in promoting the film day in and night out through satellite, print and exhibition media.
The only film which is being most talked about at the moment is BHAGAM BHAG closely followed by SALAAM-E-ISHQ which would release on the eve of our Republic Day.
If one looks at Priyan's releases this decade, there have been films like HERA PHERI, YEH TERA GHAR YEH MERA GHAR, HUNGAMA, HULCHUL, GARAM MASALA, KYON KI, MALAMAAL WEEKLY and CHUP CHUP KE before BHAGAM BHAG. Though except for YEH TERA GHAR YEH MERA GHAR and KYON KI, all the other films have been successful at some level or another, none of them have been promoted the way BHAGAM BHAG has been promoted.
While GARAM MASALA stays as Priyadarshan's biggest Bollywood success till date, BHAGAM BHAG is poised to outperform it in a big way at the box office as it releases on 22nd December.BHAGAM BHAG is the last biggie to arrive in 2006, which has been a terrific year for box office and none other than Priyadarshan should be highly excited about its prospects. After all it has turned out to be his most hyped film ever!
Ever since the film was announced, it has been in news since it has been touted as the comeback vehicle of Govinda. A film that seemed to be running on the shoulders of hit jodi of Akshay Kumar and Paresh Rawal with Govinda benefiting from the coming together of a successful team has seen a remarkable turnaround with the latest set of promos on air. It clearly seems that Govinda and Akshay Kumar are going to rock together as a pair in the film and come up with an all out rip roaring laugh saga.
Looking at the response that the film's promos along with title song 'Bhagam Bhag' and 'Signal' have generated [each featuring the two actors], producers K Sera Sera, Shree Ashtavinayak Cinevision Ltd and Popcorn Motion Pictures have gone all out in promoting the film day in and night out through satellite, print and exhibition media.
The only film which is being most talked about at the moment is BHAGAM BHAG closely followed by SALAAM-E-ISHQ which would release on the eve of our Republic Day.
If one looks at Priyan's releases this decade, there have been films like HERA PHERI, YEH TERA GHAR YEH MERA GHAR, HUNGAMA, HULCHUL, GARAM MASALA, KYON KI, MALAMAAL WEEKLY and CHUP CHUP KE before BHAGAM BHAG. Though except for YEH TERA GHAR YEH MERA GHAR and KYON KI, all the other films have been successful at some level or another, none of them have been promoted the way BHAGAM BHAG has been promoted.
While GARAM MASALA stays as Priyadarshan's biggest Bollywood success till date, BHAGAM BHAG is poised to outperform it in a big way at the box office as it releases on 22nd December.

Kabul Express

Something worth enjoying



Not a single person in this world can be disappointed by this movie. After all, people go in with moderate expectations for a movie like this, and practically get blown away. Kabul express is the same sort of eye candy, which comes with a fresh script, and everything that it offers has never been seen before in Bollywood cinema. Kabir Khan has taken a new step into perfection, and Bollywood cinema excels one more time with this visual masterpiece. The acting is better than mediocre. If not exaggerated, the acting is superbly executed by the whole cast. Especially, Arshad Warsi, who provides a perfect comical timing. Kabul Express can be seen as a bold comedy, an eye opener, a stunning experience, and a film which will bring change.

Five unlikely acquaintances make their way across Afghanistan as war looms on the horizon in this satiric comedy from filmmaker Kabir Khan. Suhel (John Abraham) is a broadcast journalist from India who is given an important and potentially very dangerous assignment. New York City's World Trade Center has been attacked by terrorists, members of the Afghan-based Taliban are believed to be involved, and the United States is expected to launch a major attack on Afghanistan in a matter of days, so Suhel and a cameraman, Jai (Arshad Warsi), are flown in to get a front row seat for the upcoming fighting.

As they search for genuine Taliban fighters to interview, Suhel and Jai make their way across Afghanistan in a Land Rover with their driver Khyber (Hanif Hum Ghum). The television reporters are soon joined by an American photojournalist, Jessica (Linda Arsenio), and before long they find a cooperative (if surly) member of the Taliban to guide them, Imran (Salman Shahid). However, as the miles pass the traveling companions find themselves less concerned with terrorism or international politics than sports scores and seating arrangements, and they encounter a number of strange characters along the way who make the absurdity of the coming war all the more obvious. Kabul Express received its North American premier at the 2006 Toronto Film Festival.

Kabul Express works in parts. Each visual depicts the tragedy of a spectacle called Afghanistan. Each scene is also accompanied by a killer line by Arshad. John really doesn't have much to do or say in the film and is treated purely as eye-candy, much like his female counterpart, the American journalist, Linda Arsenio.


Kabir, thankfully, doesn't take sides and gives due blame to bring the current situation to light. America is named as the reason for every ruin you see in the film. The most interesting conversation takes place on the run -- when Coke-Pepsi, Madhuri Dixit, Kashmir and America are all tied up.


You cannot stop laughing and being pissed at the irony of it all -- that in the end all these wars are about digging up oil and selling Pepsi and Coke.
Kabul Express suffers from poor characterisation of John and Linda. At times, you squirm in your seat as they have no real connection to the story. But then having John in a film helps market it so that the film opens to houseful boards. That isn't really a strategy you can find fault with -- the reason a film likes this ends up being green-lighted is for the star power behind it.
Yash Raj Films decides to experiment with Kabul Express, a song-less film. Technically, every department is top notch. As an actor, Arshad steals the show. Salman Shahid and Hanif Humghum are also very good.


Kabul Express is a good-looking film but it refuses to get its hands dirty. Instead of having a gritty and rugged feel, it is too spic and span. Technical finesse is one thing, but in these rugged terrains, the feel should be more like the look of a commercial film like Black Hawk Down to get the viewer more involved. Kabul Express should have had the look of Omkara.
Also, one wonders why two journalists would land up in Afghanistan without a guide or any contact or be unable to find a shutterbug in a country overflowing with photojournalists.
However, what makes it hard to quibble about Kabul Express is that the film works on many levels. It's the first Indian film to show a true picture of Afghanistan. It shows the plight of Pakistanis caught on the other side after their country was forced to change allegiances by America. It is a film which makes you ponder on a picture postcard country ruined by a capitalist monster running amok worldwide.


The scariest scene in the movie is when the Pakistani soldier talks about the deception of America, mirrored by his colleagues at the Pakistani border that has been sealed off. The scene makes you think that Pakistan and America have been the best of friends. Today if this is the state of Pakistan, what about India?


We are going to bed with a monster with no heart. Are the ruins of Afghanistan a mirror to the future ruins of a country called Pakistan? A country called India?
Are we just fuel pumps on a global map selling oil and Coke?
Kabir Khan has told a story from his heart, and what is important is that his heart is in the right place.

BAABUL.........

Was that A Movie.....


When I went for the movie, it was like sitting on the drenched seat and watching the movie. Well, I meant to say that, the movie was filled with emotions which left tears in the eyes of many people. Like earlier BR Chopra movie, Baghban, this one also has it’s own share of emotions.

Rich businessman Balraj Kapoor (Amitabh Bachchan) and wife Shobna (Hema Malini) are overjoyed when their only son Avinash a.k.a Avi (Salman Khan) returns home after seven years in the U.S. No sooner does he land in India than he bumps into artist Malvika a.k.a Millie (Rani Mukerji), right at the airport.Love is soon in the air and the two get married. Meanwhile, Millie's dejected lover Rajat (John Abraham) - if you believe it, the young girl considers him only as her best friend and is blissfully unaware of his deep love for her - quickly vamooses to Europe to pursue his career as a singer.Four years quickly pass before director Ravi Chopra decides it's time to send Salman Khan to his maker.

Millie is so heartbroken over her soulmate's death that she gets into a slough of depression. Voila, her father-in-law Balraj Kapoor hits upon a novel - and bizarre - plan to restore sunshine into the young widow's life. He goes in search of her friend Rajat and prevails upon the young lad to woo Millie into marriage.There is plenty that seems to have gone askew with Baabul.

Seeing her in pain, Balraj decides to bring colours back into her life. He approaches Mili’s friend Rajat ( John Abraham ) who has always loved her but never expressed his feelings. A musician settled in Europe, Rajat is willing to marry Mili.But this decision of Balraj meets with a strong opposition from his own from the family. His wife doesn’t approve of this decision. And the stiffest resistance comes from Balraj’s elder brother Balwant ( Om Puri ), who holds age-old traditions above everything else.Will Balraj be able to get Mili remarried? The movie’s conclusion will certainly leave you with moist eyes.

All the characters did their job very well specially Amitabh Bachchan and Rani Mukherjee. Salman Khan was good too, after a long time I found his role very balanced. He is director’s man with very good acting skills but very few directors knows how to take good skills out of this man. And Ravi Chopra succeeds in this. Hema Malini is sure going to make all the young girls jealous, she looks very beautiful at this age too. And the pair of Amitabh Bachchan and Hema Malini looks very young and refreshing. There is a very good repot between them. If there were awards for the best pair of the year, it would surely go to Amitabh Bachchan and Hema Malini’s bag.

Predicto Meter: The movie stands a good chance of crossing the hit mark. The movie might not impress teenagers but it is surely going to make our parents cry. It is a must watch for families.