Hostel Movie Review

Hostel Review

When you step out of school, you look forward to the life in college and of course, 'freedom'. You are stepping into adulthood, learning to cope with life and enjoying the thought that you will be able to take your own decisions. With great difficulty you procure admission in a college and hope to nurture your dreams. But is it all that fun? Not really

I was horrified when I read a news-report sometime back about a student being forced to bathe in his own urine by his seniors. I was aghast. I was disgusted. I was appalled. I genuinely felt that some socially responsible film-maker should make a hard-hitting film on ragging and create awareness on the evils of this form of abuse, which has caused several deaths in the last so many years. Hostel, directed by Manish Gupta, addresses the issue, although it's not the first. Munnabhai M.B.B.S and 3 Idiots also had a scene or two depicting the maltreatment. But the films should not be compared because this one is a full-fledged film on this subject

The story of Hostel is inspired by true-life events, I am told. But the question is, does it serve as a wakeup call in the true sense? Does Hostel successfully bring to the fore the gravity of torture people experience in the name of ragging? Unfortunately, it doesn't. Sure, it's well thought of and well intentioned, but not well penned and well executed. The film starts off brilliantly, but loses focus midway.

Ideally, a film depicting an evil should stay close to reality. It should depict the atrocities committed in the name of ragging without deviating to alternative tracks [in this film, the romantic track is a big bore]. A film tackling this theme should open your eyes to what a victim goes through. After all, the motive of films like Hostel is to act as an eye opener, to evoke feelings like anger and disgust, but it doesn't evoke those feelings, frankly. 

Ragging is a sadistic practice that has become a ritual wherein students are beaten up, stripped, paraded naked, starved, tortured, molested and even raped by their seniors. Since victims of ragging find it humiliating to report sexual abuse to their parents or others, most ragging-related crimes go unreported. Sadly, these very students - who suffer silently at the hands of their seniors - in turn vent their frustrations by ragging their juniors in the following years. Thus, this cruel practice continues year after year and has claimed [and is still claiming] the lives and careers of innumerable students.

Hostel comes to the point at the very start. The sequence at the outset - of Mukesh Tiwari physically abusing the young students - is hair-raising. A few minutes later, he repeats the act with the protagonist, Vatsal Sheth. To give the credit where it's due, the sequences are disturbing and you only hope that the goings-on succeed in maintaining your interest.

Hostel crumbles the moment the love story begins. Plus, an interesting twist in the film - of Vatsal confronting a gangster - looks plain ridiculous. At this point, Mukesh Tiwari, who should've turned more ferocious, goes on back foot when it comes to dealing with Vatsal. Why? The post-interval portions, again, don't measure up to the expectations. The finale is too clichéd and formulaic.

Director Manish Gupta, who went into an investigative mode in The Stoneman Murders, which was an engrossing fare, lacks the promise he showed in that film. And he's to be held responsible for it, since he's penned the script of this one. He should've stuck to realism, instead of trying to balance between real and hackneyed and corny sequences. Also, this one should've been a song less film, but the few songs throw a spanner in the narrative. Cinematography is functional.

One of the reasons why Hostel doesn't work is because the casting is not right. Barring Mukesh Tiwari, who looks convincing and does well and Nagesh Bhosle [warden], who is equally effective, the actors don't look their parts. Vatsal Sheth relies on a set of expressions all through the film, while Tulip Joshi is wasted. The students don't look like students, frankly. They actually appear more like street thugs or rowdies and less like students of engineering to me.

Source: Bollywood Movies Review {www.radiomaska.com}

Yeh Faasley Movie Review

Yeh Faasley Movie Review

Remember the 2005 film, MAINE GANDHI KO NAHIN MARA directed by Jahnu Barua? The film in which Anupam Kher holds himself responsible for killing Mahatma Gandhi? Now, in 2011, Anupam Kher plays a character in YEH FAASLEY, who's accused of killing his wife. Although poles apart, the courtroom scenes and Anupam Kher are the common elements in both the films.

YEH FAASLEY basically explores a father-daughter relationship. Arunima (Tena Desae) is all excited to be back home after completing her studies, so that she can be with her father Devinder Devilal Dua aka Dev Dua (Anupam Kher). Dev is very protective about Arunima which is evident when he bashes up a guy who gets cheeky with her at a wedding. It's clear; Dev can go to any extent for her daughter.

Meanwhile, there's an unsaid bond of love between Manu (Rushad Rana) and Arunima and Dev is very happy for them. All's well till the day Arunima finds a will written by her mother, who passed away in an accident when Arunima was just two. Why someone would make a will at such a young age, is what leaves her perplexed. There's clearly more to it than what meets the eye. Her attempt to know more about her mother goes in vain as Dev doesn't like to talk about her. In fact, he even hides some important things about her from Arunima like her being a professional singer and her closeness with musician friend Digvijay Singh (Pawan Malhotra). A relentless Arunima, in her quest to find the truth about her mother, comes to know that Dev was apparently responsible for her death. Will she ever get to the bottom of the secret is what ensues. 












Source: Bollywood Movies Review {www.radiomaska.com}

Kaccha Limboo Review

Hindi cinema is going through a major metamorphosis. Innovative ideas and fresh stories are being developed and executed by Gen X storytellers. Bheja Fry director Sagar Ballary also tries to attempt something different from what he attempted in his maiden attempt. The humungous expectations from Ballary must've put tremendous pressure and responsibility on his shoulders, for sure. But before I begin to analyze Kaccha Limboo, let me clear the misconception about the genre of this one. It's not a comedy, not remotely similar to Bheja Fry, as some people would like to believe.

I couldn't help but recall three films while watching Kaccha Limboo - Gulzar's Kitaab [1977], Ritwik Ghatak's Bari Theke Paliye [Bengali; 1959] and celebrated French director Francois Truffaut's The 400 Blows aka Les Quatre Cents Coups [French; 1959]. These three films had great stories to tell [of a misunderstood adolescent], but among the three, Kaccha Limboo bears a striking resemblance to Kitaab, which, in my opinion, ranks amongst Gulzar's best works. However, unlike Kitaab, which remains well etched in our memory even after three decades, Kaccha Limboo runs out of gas after an interesting first hour.

Kaccha Limboo suffers due to a sketchy screenplay, also penned by Ballary. In fact, the post-interval portions ruin the impact that was beautifully created after a fairly engrossing first hour. One would've expected Ballary to explore the infatuation angle in the story or the cracks that develop between the adolescent and his parents. Instead, the story wanders to an alien territory in the second hour and I actually wondered, did Ballary intend telling a fresh story in the second half? That's not all! The story goes on and on and on and on… so much so that you fervently pray that it reaches its culmination pronto. But Ballary messes up the conclusion too.


Makes me wonder if Bheja Fry was a fluke. Or was it just a flash in the pan? In fact, I would consider it disrespectful if anyone compares the brilliant Taare Zameen Par with this slapdash effort!

Shambhu [Taher Sutterwala] is a 13-year-old teenager who falters consistently. Trouble at school, peer pressure and a half-baked romance, all contribute to his woes. A huge fight with some local boys and a stern warning from the School Principal deepens his crisis and running away from home seems like a solution.

On his journey of self-realization and discovery, Shambhu bumps into Vitthal [Chinmay Kambli], an extremely smart kid who belongs to a nearby fisherman colony. Shambhu is mesmerized by this new world he encounters with Vitthal. Everything is in such stark contrast to the world he had just left behind. And everything worked just fine until a sudden turn of events force Vitthal and Shambhu to set out on a train journey in search of a place where they can find the freedom they desire.

Kaccha Limboo starts off really well, with Ballary handling the material with great care. Childhood can be a delight, but in today's chaotic world, the kids are often exposed to the realities of adulthood very early in their life. The incidents depicted in the film's first hour [peer pressure, puppy love, familial frustrations and high-school dilemmas] seem so real, as if they were borrowed from your, mine, our lives. The incidents, anecdotes, occurrences and episodes are worth noting, especially Shambhu's interaction with his classmates and also with his parents [with his father in particular]. In fact, the viewer is introduced to Shambhu's grumpy and irritable nature at the very outset, when Vinay Pathak and Rukhsaar, family friends, are invited home for dinner. The kid experiences the lonely stages at home and also at school and the film offers an insight into the emotional confusion that he experiences, besides creating a touching awareness of his unspoken agonies.

But, like I pointed out earlier, Kaccha Limboo goes haywire in the post-intermission portions. One only expects Ballary to come up with a much better second hour, but you feel exasperated after a point. The film ends abruptly, leaving the viewer wondering what really happened to Vitthal, who fell off the train? Also, why is Shambhu felicitated by the School Principal? Did Shambhu actually commit some act of bravery to merit a felicitation in his school? If yes, what was it? No explanations are offered, frankly!

Ballary has injected a couple of songs in the narrative and though at least two numbers are decent, the song in the fishermen colony was just not required. In fact, it only makes the proceedings lengthier. I would like to make a special mention of the dialogue, which are wonderful at places.

Talking of performances, Sarika is natural, while Atul Kulkarni handles his part with ease. The show actually belongs to the kids - Taher and Chinmay - who are the real stars of the enterprise. Taher delivers a spontaneous, deep and convincing performance, while Chinmay catches your attention with a splendid performance. In fact, it is Chinmay who makes vital portions of the second hour come alive with his bindaas portrayal. The remaining kids, each of them, are complete natural. Rajesh Khattar is effective. Iravati Harshe does well, but where does she disappear suddenly? Bhairavi Goswami gets no scope. Vinay Pathak, in a cameo, is passable. Ditto for Rukhsaar.

Source: bollywood movie review {www.radiomaska.com}

today latest bollywood movie review

Director: Milan Luthria
Starring: Ajay Devgn, Kangna Ranaut, Emraan Hashmi

Have you ever seen a filmi film? The kind of film where everything is larger than life? The bullet hits the Rolex which stops so you know a man's time is up? The woman has a hole in the heart and has only a few years to live? The man looks out at the sea and wants it to be in his "baahen" (arms)? Heroines flutter their false eyelashes and fans get signatures on Rs 1,000 notes which they then tear with great flourish. Films spout lines such as, "Main tumhare bachche ki maa banne wali hoon."
Well, Milan Luthria's film is that sort of film. It's overwritten, over acted, overcharged but also super fun. Nothing is simple here. Every dialogue is like a philosophical statement. "Jab dost bana kar kaam ho sakta hai to dushman kyon banaye," says Devgn's Sultan Mirza as he speaks to the dons of Mumbai--each one has had a movie made on him. "Jinki manzil ek hai woh raaste par hi milte hai," so says the heroine to her soon-to-be hero. As everyone knows the story is a fictional recreation of the rise of Mumbai's underworld, of the replacement of the gentler anti-social smuggling of Haji Mastan with the hard nosed, hard hearted gangsterism of Dawood Ibrahim. Devgn is Mirza/Mastan and Emraan Hashmi is Shoaib/Dawood. Mirza has his Madhubala (?) and Shoaib has his Mandakini. Mirza has his all white attire and Shoaib has his all black heart. Mirza is a boy who came to Mumbai in a "machli ki tokri" and Shoaib is the son of an honest police officer.

Yes, yes, with some changes of character here and there it could be Company. It is not, not even because of Devgn's presence. It is part costume drama, part period film and part crime thriller. It is also all glamour, from the hair on Kangna's elaborate wigs to the tips of Devgn's white shoes. Luthria, a Bollywood talent who has for one reason or the other, been languishing on the periphery should come full front and centre with this, fullfilling the early promise of Kache Dhage. He is in command of his film, however melodramatic it may be. A love letter to Mumbai, this is a film that trots out every possible placard signalling it is the 70s. Yes, "Amit" has the intense eyes required to play Mirza in a film (Deewar, anyone?). Yes, Bobby's polka dot lie-up shirt and hot pants became quite the rage. Yes, Mastan was a Robin Hood character who helped the poor whenever he could. And yes, Dawood was a new age criminal who believed the "ghoda" (gun) was the source of all power and the supari was the solution for all ills.
The movie takes us back to the last years of innocence, when it was clear that the social fabric of Mumbai was tearing. When it was clear that crime paid, got you the bangla, the gadi and the girl. When the police tried to prop one gang against another to create chaos in the underworld. When the economy of shortages meant no opportunities for youngsters. When criminals started becoming more powerful than politicians.
You can understand why then that dialogues like this: ''duniye raakh ki tarah neeche hogi aur khud dhuye ki tarah upar'' make so much sense. As does this: "Himmat batai nahin jati, dikhai jati hai." The clash of civilisations, between Mastan's gentler way of doing business and Dawood's criminal ways could not be sharper. Hashmi has played impetuous upstart before and can now do this sort of role in his sleep but he brings a new sleeker danger to Dawood's role. Devgn is also now a past master at playing the conscience striken criminal--I smuggle those things for which the government doesn't give permission, not for which my conscience doesn't. Kangna has never looked lovelier and been more playful. This is one girl who has not come out of a bottle, or even if she has, the bottle is broken. Prachi Desai as Dawood/Shoaib's girlfriend, who is as "garam" as the food she serves, is suitably tremulous and pleading.
The tragedy is even Dawood's beginnings look so modest by today's hugely corrupt standards. He has a two-in-one and phone and expects his girlfriend to be happy. He is not. He is greedy. He wants Mumbai, never mind if the city becomes as dirty as his deeds.
You get the picture, hmm? The film is directed with precision, the drama at a tone that matches the decor, the cabaret, the dialogues. Its cinematography is by Aseem Mishra who shot New York as well. And even the walk-on parts are played pitch perfect, from Randeep Hooda's policeman, Agnel Wilson, who blames himself for creating a monster, and Naved Aslam is stoic as Patrick, Mastan/Mirza's Man Friday. As Mastan would say "har kitab ki kismat main library nahin hoti, kuch kabadi ki dukan main milti hain". But this little number belongs to a full house.
Watch it. It's like watching a retro fashion show with some cool gun battles thrown in. Lots of rain, lots of crashing of the waves, moody lighting, and dialogues that echo Salmi-Javed at their purplest prose. Ahh. Mumbai when it was still Bombay.





Source: bollywood movies review {www.radiomaska.com}

Peepli Live Movie Review

Peepli Live

A film which lacks big names & bollywood characters how often succeeds to catch the eye of the audience?

But Peepli Live is an exception & the theater artist also proved their mantle. Know it’s a proven fact that even Aamir Khan’s name can work wonders… just kidding basically the story, acting and the perfection of the banner that has enlightened us yet again with a classic concept.

Raghubeer Yadav as Budhia is a character who is cunning & jugadu. Omkar Das Manikpuri as Natha is a simple, shy man around whom the story revolves. Nawazuddin Siddiqui as Rakesh is a depiction of a young budding journalist who can’t differentiate between fact & fiction. Naseeruddin Shah as Agriculture Minister has done justice with his part. The two news anchors will make you feel like you are watching a realistic Indian news channels one Hindi & the other English (I don’t want to name them).

 The premise of the film is extremely powerful, as it plays around, in a stark black comedy, the expected death of a poor farmer, Natha. But in spite of brilliant performances, sharp and intelligent lines, and a different, 'real', and believable setting, there seems to be something missing. And that 'something', in my opinion is the mantra all screen writing gurus insist on. I would name it: “Progress & Peac

After establishing the primary conflict of the film, the writer is supposed to take us on a journey. Not to a circus where we sit and wait for performers to exhibit their vibrant colours but to an active, involving journey of human emotions. Irwin Blacker brilliantly puts it as: "Plot is more than a pattern of events: it is the ordering of emotions." To invoke the desired emotional response, the writer has to establish a serious 'want' for the protagonist – what exactly is at stake; the higher the stake, better the chance for drama. But to actually achieve drama, the writer needs to elaborate and enhance the conflict. Create obstacles in the path of the protagonist who is striving to achieve his dramatic need. These obstacles, preferably as harsh as they could be, and the protagonist's efforts to overcome them is what makes drama affecting. His success or failure in doing so is hardly important. And this entire act of confrontation has been crafted with intelligence and an acute critical eye, making sure that each scene takes the story forwards – it progresses from one plot point to the other with a definitive sense of purpose, remembering that each tree is important without losing the idea of the forest.

Peepli Live' would work better in its repeat viewings, when you already know the story, its nature and limitations. It's then that the wonderful detailing and the 'moments' in its narration will make you smile. Its business story and importance, or the lack of it, in Hindi cinema history will always be worth discussing. But to understand the triumph of cinema, we need to keep these aside. The intent of a movie and the courage behind its making must be applauded if it deserves that. And after having done that justly, to really understand the cinematic achievement of it, the craft of the film should be analyzed. Perfection is not the prerequisite for great art, it is the stimulation that it provides to the audience is what matters. 'Peepli Live' does that, by not only making you think about the social issue it addresses but also, if you are interested, by inspiring you to diagnose the merits and demerits of its craft as a work of cinema. That, I believe, is enough of an accomplishment

And don’t forget to miss the hidden sarcasm about our Hindi media & their reporting style. As for the ending is concerned I feel the last scene should have been interchanged with the second last one & it would have delivered a heavy punch. If you can’t get it go and watch it LIVE..!






Source: bollywood movies review {www.radiomaska.com}

Patiala House Hindi Movie Review

Patiala House

Expectations are high from director Nikhil Advani’s soon to be released film ‘Patiala House’ that is slated to hit the screens on December 31, 2010. The movie would cast action Superstar Akshay Kumar in his quintessential comedy avatar and a box office success Is a given. To bring back the romance of the 1970s, Advani has also cast the hit duo of Rishi Kapoor and Dimple Kapadia who are expected to have an important role in the 3 hour long film.

 

As the name suggests the movie is set in Patiala in Punjab hence you can expect a lot of punjabi slapstick humour laced with sexual innuendoes. The movie revolves around a punjabi joint family and a second generation young punjabi lad who lives in London.

While working this young man meets a beautiful maiden (played by Anushka Sharma) who gives him the strength to challengeconventions even if it means going against long cherished family traditions.

The movie is expected to rake in large sums in the box office since Akshay’s popularity as a young punjabi boy has been well documented. Whether portraying himself to be a rash (often uncouth) punjabi in London Dreams (opposite Katrina Kaif) or playing a simpleton in Singh is King, the action heartthrob has become one of the most highly paid actors in the country today.

His stint as a chef on Star Plus – Master Chef India – has given him a direct access to every household in the country and into the hearts of millions of Indian housewives.  Advani’s partnership with the celebrated music tripartite of Shankar Ehasan and Loy would once again be seen in this movie. The four worked together for the first time in Shah Rukh Khan starrer ‘Kal ho Na Ho’ in 2005 which rocked the music box office. Produced by Mukesh Talreja and additional music by Pritam, Patiala House would be one of the most eagerly awaited films post Diwali.

Source: bollywood movies review {www.radiomaska.com}

Dabangg movie review

Dabangg

'Dabangg' is a story of inspector Chulbul Pandey and his life. Too many elements like love for mother, romance, struggle with step-father and step-brother, an effort to fight corrupt politicians and much more is packed in this film.The Salman Khan and Sonakshi Sinha starrer movie received a mixed reviewed from the janta. The opening is record breaking. Many eager youngsters queued up to see the much hyped movie ‘Dabangg’ at a city multiplex. And at the end of the movie this is what they have to say:-

 

Madhavi Kulkarni says, “It is like a movie from the 90’s. Too much masala and I would like to say that it is a fun-watch but its only one-time watch.” Roshani Dattani took a very tough stance against the movie. She says, “I didn’t like the movie. And Sonakshi Sinha is also strictly okay. There is too much action in the movie and at many places unwanted.”

 

Balvinder Singh claims that he is a die-hard Salman Khan fan and has watched all his movies. He says, “This is definitely a must-watch for all Salman Khan fans. He looks great, the action is also good and so are some of the dialogues. I would also like to add that Malaika’s item number ‘Main Zandu balm’ is total paisa wasool.”

 

Mahesh Shatbhute thinks that ‘Dabangg’ is an average movie. “It is neither bad nor good. It is an okay movie. And if you have nothing else to do during this long weekend, you can definitely watch the movie.”

 

And our 5th respondent Namit Hasnandani liked the movie. “According to me it is a total entertainer. Its like a true Bollywood ishtyle entertainer. A typical Salman flick.

 

Source:  bollywood movies review {www.radiomaska.com}

Action Replay Movie Review

Hollywood and Bollywood, despite similarities in their names, hardly have anything in common. Except that the latter often borrows concepts from its older cousin. Yet, it manages to make something different from the original. ‘Action Replayy’ is an example of that.When proposed to, Bunty (Aditya Roy Kapoor) refuses to marry his girlfriend because he has seen his parents Kishan (Akshay Kumar) and Mala (Aishwarya Rai) fight since he was born. Even on their 35th marriage anniversary, they fight as if they were sworn enemies. A determined Bunty steals a ride on a time machine invented by his girlfriend’s grandfather to go back in time to make it all right.Doing this will be tougher than he had imagined as he finds his parents very different from what they are today. Parenting ones parents, Bunty would realise, is the toughest job in the whole wide world.The basic premise isn’t new. Even before ‘Back To The Future’ made it famous, travelling to the past to correct one’s present was staple food of science fictions. It is, after all, the ultimate human fantasy.What is new is how ‘Action Replayy’ lays bare the difference between two of the biggest commercial filmmaking centres of the world, Hollywood and Bollywood. While in ‘Back To The Future’ the stress is on science fiction and survival of the time traveller, here it is on human relations and the various emotions associated with it.Also the paper thin, cliched villains of the film shows that Bollywood is still in a time-wrap. But ‘Action Replayy’ can perhaps afford to, it being a time-wrap story and all.Lot of efforts have been made to get the sets right, and surprisingly it often works. Vignettes of ancient advertisements, painstakingly made a part of the set by the filmmakers, make it a thrill to watch, especially for those from that era.The costumes, however, try too hard to be retro. If you watch films of those period, they were not so flowery and jazzy as in this film. However, given the lighter vein in which the film is made, it is perhaps justified.

Aishwarya and Akshay are as good as Bollywood can get, which isn’t much. Pritam’s music is average and only when we do an action replay from the high plinth of the future, will we come to know the corners of the world he has plagiarised from.Few spoofs are hilarious, especially the one on the Gujarati band led by Mahesh Kumar whose brother can sing in two voices. The one where the son is desperately trying to make his retro father understand the concept of sex and uses the typical Hindi film analogy of two flowers meeting is a laugh-riot.Despite this the film misses many opportunities for gags that can easily be part of a time travel film. Just the inclusion of names common today like Obama, Mallika Sherawat, Saif Ali Khan etc., does not necessarily make it humorous.

Action Replayy’ despite its best intentions and few successes, fails in many others. Perhaps it will take someone else to say action-reply and better the present for Bollywood.

 

 

 

 

Source: bollywood movies review {www.radiomaska.com}

today latest bollywood movie review

Another new romantic comedy about a wedding, but also prove to be a party to remember. A London-based Delhi boy and his family arrive at a Kanpur household kicking off a vibrant ruckus of prattle and curiosity. Tanu Weds Manu is a colorful and playful wedding drama that suffers from a wafer-thin plot and lack of chemistry between the lead pair.Like his directorial debut STRANGERS, director Aanand L Rai opts for unconventional and unpredictable situations in TANU WEDS MANU. Of course, the fact that Tanu and Manu would tie the knot sooner or later is at the back of your mind, even before the reels have begun to unfold, but you want to experience their journey - their voyage from strangers to lovers. Meet Manu as R. Madhavan, a seedha saadha Doctor from London. Intelligent, temperate and from a respectable family, the perfect groom which every parent wants for their daughter. When he arrives in India, he realizes that India has changed and so have the people. The Indian women in particular are more attracted towards the Western lifestyle. Family pressure leads him to Kanpur to meet Tanu that’s Kangna Ranaut, the quintessential small-town girl who has studied in Delhi.Anand Rai’s Tanu Weds Manu is a colorful and playful wedding drama that suffers from a wafer-thin plot and lack of chemistry between the lead pair, but survives simply because it is an endearing film with a lovable supporting cast, and provides a delectable experience of small town India. Tanu (Kangana Ranaut) and Manu’s (Madhavan) tangled relationship kicks off on a shaky note with the scene where the all-too-simple NRI doctor groom falls in love with a sari-clad bride-to-be who has passed out after taking sedatives. Creepily, he even takes a photo of her unconscious state and steals a kiss. Thus begins Manu’s inexplicable infatuation for Tanu. His only reaction is to smile in front of her, while hers is to selfishly play games with his heart.The NRI male lead – Manu – is so shy and simple in his bespectacled niceness that he becomes a one-note character. Tanu, on the other hand, displays an intriguing package of character traits, even throwing in a fleeting hint of her bi-curious sexuality (cleverly handled by Rai). Yet her characterization also hits an extreme note and you’re left wondering why these two should ever be together The film works, oddly enough, because of its ambience. The people and places around Tanu and Manu make the film enjoyable. Deepak Dobriyal as Manu’s loyal buddy Pappi is a delight with his spontaneity. His reactions to the various situations evoke the most laughs. Eijaz Khan as buddy #2 Jassi also adds spunk to the goings-on, while his new bride Payal, played confidently by Swara Bhaskar, proves to be a much more interesting and dynamic character than her best friend Tanu. Tanu Weds Manu will be categorized in the same genre as other charming and revamped rom-com wedding flicks Jab We Met and Band Baaja Baraat. And for the most part, Rai succeeds in making the story and situations reflective of today’s India. But, unlike the other two films mentioned, this film lacks the crackling lead pair that would have made it a much better experience. 





Source: bollywood movies review {www.radiomaska.com}

Utt Pataang movie review

've often said that 'small' or low cost films, very often, have much more to offer than several biggies that thrive on star value primarily; content is a secondary issue for these films. Ticket paying audiences insist on watching good films and that's where a strong word of mouth plays a vital part these days. Positive feedback can lure viewers even after the crucial opening weekend is over. Films like Tere Bin Laden, Udaan, Do Dooni Chaar, Phas Gaye Re Obama and Band Baaja Baaraat endorse this statement.

Buzzgenuinely believe that the audience for hi-content films is multiplying with each passing week. The viewer is willing to give his/her precious time and invest his/her hard-earned money on a film with substance, which only goes to prove yet again that content is the backbone of business, the low cost or absence of top stars notwithstanding. The day of the underdog has finally arrived.

In the 1970s, Hrishikesh Mukherjee and Basu Chatterjee popularized comedy films. The trend was carried forward by Sai Paranjpye. Early 1990s saw the emergence of David Dhawan, Priyadarshan and Anees Bazmee proving their mettle with slapstick. First-time director Srikanth V. Velagaleti merges comedy with thrill elements in his debut outing Utt Pataang and the experiment succeeds to a major extent.

Utt Pataang is a difficult film to conceptualize, pen and also execute. Besides, it requires seasoned players - known for their abilities to deliver natural performances - to get the characters right. Utt Pataang isn't one of those films that tell you to leave your brains at home. On the contrary, this one demands your complete attention. Blink an eyelid and you would miss out on a vital sequence and the narrative thereafter would only get difficult to decipher.

Utt Pataang is a smart film, which gradually sucks you into its world. What sets it apart from comic-thrillers is the fact that the entire drama takes place in a single night. At first, you wonder, hey, what happened to Saurabh Shukla? Where did he disappear from the restaurant? Then you wonder, why is Vinay Pathak's girlfriend Mahie Gill desperate to have her belongings? Much later you question, who is that look-alike of Vinay Pathak and what is he doing in his apartment? But you get your answers in the post-interval portions and the rejoinders only highlight how intelligent the screenplay is and how efficient the director has been, in terms of keeping you hooked all through those 1.50 hours.

Final word? If out of the box themes are your choice, head for Utt Pataang right away. This one's no Utt Pataang film in the name of entertainment!

Utt Pataang talks of incidents that occur in one night. Vinay Pathak is on the brink of a break up, caught in a dangerous money deal gone horribly wrong. Caught in this chase for the bagful of money is his private detective friend Saurabh Shukla, a heartbroken woman [Mona Singh], a French-obsessed gangster [Vinay Pathak, again] and the gangster's moll [Mahie Gill], all thrown into a dangerous game of cat-and-mouse chase. Layers of secrecy unfold and the game gets worse as the night wears on.

For any comic-thriller to succeed, it ought to clear the doubts -- in the most simplistic manner, mind you - before the film reaches the finale. The screenplay [writers: Saurabh Shukla and Srikanth V. Velagaleti] is almost perfect, except for an instance towards the second half. The best part about this film is that barring the simpleton Vinay Pathak, everyone has a crooked/shady side to him/her, which makes them appear very real. In fact, each one is double crossing the other and that's why you feel ecstatic.

The screenplay writers and director complement each other wonderfully well. If the writing is watertight, the direction is top notch. In fact, the writing would've gone for a toss had a lesser director wielded the megaphone. Arun Varma's cinematography captures the look of the film well. I'd like to give brownie points to the editor [Sankalp Meshram] for the sharp edit. Sanjoy Chowdhary's background score enhances the impact. Saurabh Shukla's dialogue are realistic.

Vinay Pathak proves yet again that he's a super actor. Though he's getting typecast as a simpleton, the other role - with a French fixation - is what catches your attention. Also, he gets the French accent and pronunciation right. Saurabh Shukla is remarkable all through. Mahie Gill springs a surprise. She plays a con woman who's emotionless, who's lusting for money most convincingly. Mona Singh does very well. Sanjay Mishra doesn't get much scope. Brijendra Kala is okay. Delnaaz Paul is cute. Murli Sharma and Govind Namdeo appear towards the finale. Both are perfect. Kurush Deboo is fair.

On the whole, Utt Pataang springs a pleasant surprise. It has a novel premise and what makes it even more appealing is the way the subject material has been executed. In fact, it's a difficult film to conceptualize, pen and also execute and should be appreciated by those who have an appetite for out of the box themes.





Source: bollywood movie review {www.radiomaska.com}

latest bollywood movie reviews

Cast:Rajat Kapoor, Vinay Pathak, Neha Dhupia, Iravati Harshe, Dilip Tahil, Anu Menon, Navneet Nishan
Publicity Designer:Pritish Nandy Communications Ltd
Story Writer:Saurabh Shukla, Rajat Kapoor
Sound Designer:Resul Pookutty
Producer:Rangita Pritish Nandy
Production Designer:Meenal Agarwal
Music Director:Ankur Tewari
Director:Saurabh Shukla

Beneath the veneer of a steady smooth marriage lies the seed of temptation that needs a few swigs of wine to sprout and find an ecstatic release. No wonder that almost every character in Raat Gayi Baat Gayi seems to be cheating on his or her spouse.

Rahul (Rajat Kapoor) wakes up foggy after a night of drunken revelry at a party with a svelte and sexy babe Sophia (Neha Dhupia) but can’t clearly recall how far he went on his bed-rocking adventure with the hottie. He’s particularly worried because his wife Mitali (Iravati Harshe), who was also at the party, is withdrawn and sullen in the morning. She seems to know the truth which Rahul himself can’t recall.

So, Mr. Cheater visits his neighborhood buddy Amit (Vinay Pathak) to untangle the mystery. Amit being of little help, the duo meets up the party’s host Saxena (Dalip Tahil) who outwardly is happily married to a plump Punjabi (Navneet Nishan) but is having a fling on the side with the same hottie.

As the trio set about to piece together the jigsaw of the debauched night, we are flashbacked to the party and its colourful, droll, and drab characters. Did Rahul transgress the bounds of marital vows? Did he bed Sophia? Or is there another secret that springs up as a sting in the tale’s tail.
A wry comedy with its share of oddball characters not uncommon from the ones in previous films by the Rajat-Vinay-Neha gang, ‘Raat Gayi Baat Gayi’ gives you a slightly déjà vu feel of having been there and seen that. With Vinay once again playing a commoner who sneak peeks into porn or Rajat playing the suave smoothie or Neha playing a temptress, there’s little shock value to the film and how the characters are shaped, but for its climax which more than compensates for the sluggish interludes in an otherwise briskly unfolding tale.

The performances are doubtlessly topnotch, with even Navneet Nishan managing convincingly to play the rotund and slightly snobbish party hostess or Irawati Harshe lending a somber mystique to Rahul’s morose wife. Anuradha Menon, the inimitable VJ Lola Kutty of the small screen, tones herself down substantially.

Director Saurabh Shukla peppers the screenplay with good bouts of potent humour, but it isn’t the kind that will have you doubling up with laughter. All in all, a timepass watch.




Source: bollywood movie review {www.radiomaska.com}

latest bollywood movies review

Yeh Faasley Movie Review

Remember the 2005 film, MAINE GANDHI KO NAHIN MARA directed by Jahnu Barua? The film in which Anupam Kher holds himself responsible for killing Mahatma Gandhi? Now, in 2011, Anupam Kher plays a character in YEH FAASLEY, who's accused of killing his wife. Although poles apart, the courtroom scenes and Anupam Kher are the common elements in both the films.

YEH FAASLEY basically explores a father-daughter relationship. Arunima (Tena Desae) is all excited to be back home after completing her studies, so that she can be with her father Devinder Devilal Dua aka Dev Dua (Anupam Kher). Dev is very protective about Arunima which is evident when he bashes up a guy who gets cheeky with her at a wedding. It's clear; Dev can go to any extent for her daughter.

Meanwhile, there's an unsaid bond of love between Manu (Rushad Rana) and Arunima and Dev is very happy for them. All's well till the day Arunima finds a will written by her mother, who passed away in an accident when Arunima was just two. Why someone would make a will at such a young age, is what leaves her perplexed. There's clearly more to it than what meets the eye. Her attempt to know more about her mother goes in vain as Dev doesn't like to talk about her. In fact, he even hides some important things about her from Arunima like her being a professional singer and her closeness with musician friend Digvijay Singh (Pawan Malhotra). A relentless Arunima, in her quest to find the truth about her mother, comes to know that Dev was apparently responsible for her death. Will she ever get to the bottom of the secret is what ensues.


Tanu Weds Manu Movie Review
It's been a while since we saw a good romantic flick in the league of DILWALE DULHANIA LE JAYENGE and JAB WE MET. There was something very refreshing about these films that was lapped up by the audience. The quirky promos of TANU WEDS MANU showed the same promise.

The film traces the life of Manoj Sharma aka Manu  an NRI doctor, who's living a forlorn life in London for 12 years. As per his parents wish, he comes to swadesh to get married. He gets smitten by Tanuja Trivedi aka Tanu, the very first girl that he meets, even though she has passed out. He gives her a peck on the cheek, takes her picture on his mobile phone, leaves the room and announces to everyone that he likes her. Their wedding is on! But there's a hitch. He has to pay the price for not taking Tanu's approval. It turns out that Tanu has a boyfriend, whose name she has inscribed on her chest. So Manu is forced to call off the wedding. But can he live without her?

Director Aanand L Rai (STRANGERS) begins the proceedings impressively. You soon get acquainted with the unpretentious yet strong Manu and the bindaas Tanu. The sundry characters especially, Pappi (Deepak Dobriyal) and Payal (Swara bhaskara) add life to the proceedings. Although the first half gets a bit wobbly before the interval, it's pretty watchable primarily because of Tanu's crazy histrionics.

The problem lies in the second half when the narrative takes the much traversed path of numerous past movies. It's a mixed bag of HUM DIL DE CHUKE SANAM, JAB WE MET and PYAAR TOH HONA HI THA. The predictable end is not a problem, the docile script is. There's not enough spunk in the storytelling. You never get to know why Manu is going out of his way for Tanu, when he knows her intentions (is it his unconditional love for her?). Tanu's character all of a sudden becomes soft, and thereby loses her charm. Even the humour quotient isn't up to the mark.

TANU WEDS MANU is not completely bad and has its moments. The twist post the interval is deftly done. Some of the genuinely beautiful moments include the 'Jai Mata Di' scene in the beginning and Pappi conversing with Manu on the terrace.





Source: bollywood movies review {www.radiomaska.com}