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.