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|113 reviews in total|
Aamir Khan must understand that he cannot fool the audience with an illogical and unrealistic climax.If a thriller does not thrill then it is not doing it's job.Talaash is not stimulating.What I mean by "stimulating" is adrenaline-rushing and heart pounding or keeping you at the edge of your seat. Each scene in Talaash failed to reveal something new, no matter how slight it is.And Reema Kagit the director, please don't tell us about stuff that has nothing to do with the story. I feel that the single greatest characteristic of a thriller is the obvious one. It "thrills" as one watches it. The plots are scary, the characters are at great risk and the novels are constructed in a manner that makes the reader really want to turn the page. Vijay Anand's Teesri Manzil,Raj Khosla's "Woh Kaun thi" as well as "Mera Saaya", Yash Chopra's "Ittefaq", Raja Nawathe's "Gumnaam" are all classic thrillers.Aamir should better stick to movies which give social message. He is not good in selecting a good script for an intelligent thriller.
Legendary filmmaker Yash Chopra signed off with a flourish with his romantic drama 'Jab Tak Hai Jaan' - his last film before his death this year. The film has his signature courtships and nuanced complexities set in India and London.But the film falls far short of expectations that come attached to swansongs. Chopra, who's the master of emotional dramas such as 'Kabhie Kabhie' and 'Silsila', simply fails to create a magnum opus with JTHJ. The scrutiny is greater because Shah Rukh Khan, the protagonist of the film, is back to the genre he ruled for over two decades before experimenting with science fiction and negative roles in classic remakes.So what went wrong in 'Jab Tak Hai Jaan'? And how could the film have been a better send-off for the iconic director.'Jab Tak Hai Jaan' falls far short of expectations that come attached to swansongs.Plot: For starters - the film is weighed down due to the lack of a cohesive plot. The film hinges on one women's promise to God to stay away from the man she loves for the rest of her life. It's not only far-fetched, it's downright silly. She makes that promise right after he is hit by a car. She makes her peace with Jesus Christ in the end, but not before she has wasted 10 years of her life. Shah Rukh on the other hand returns to India and enlists for the Indian Army - age be damned. The man who was shown waiting tables in London because he wasn't cut out for any specialized career, becomes the army's most coveted bomb disposal expert, to hell with logic. People expecting a tragic twist in the end were rewarded with a happy ending to the romance that waited its turn. But somehow the ending falls flat. A better screenplay would have elevated the film to another level.Cast: There is no doubting that Shah Rukh is Indian cinema's quintessential romantic hero. He's the boss in the matters of the heart. Or he was, until age begun to mark his face with its lines and creases. His 25-year-old portrayal of a busker in London just doesn't cut it. The heroines look much younger than him and his moments with Katrina came across as stiff and awkward. An older female lead cast would have worked wonders.Heroines: Heroines have always formed a crucial part of Yash Chopra's romances. From Rakhee to Rekha, Waheeda to Madhuri, the Chopra heroines are all about understated sensuality and elegance. Though immaculately turned out, Katrina is wooden throughout the film. She's glamorous and has perhaps scripted the best piece of percussive party dance number ever but fails to add depth to her character, making it very difficult for her audiences to feel any sympathy for her. Anushka Sharma as an over-eager intern for the Discovery Channel is much more believable. She tries to channel Kareena Kapoor in a 'Jab We Met'-type pitch to Shah Rukh, but for the most part she's annoyingly chatty and overdoes her brief.Music: This isn't your usual AR Rahman. The maestro's magic touch is lacking and none of the songs are memorable even after months of promotion. The selection of background voice artistes is poor, because Shah Rukh and Katrina's voice do not match with them and the resulting product jars on the ears. Different leads: Though it sounds improbable, but could Chopra have chosen different leads for his film? Though Shah Rukh makes the role his own, he does not fit into the lover-boy image at 47. Who could have worked for this role? Ranbir Kapoor would have been a good alternate choice along with Parineeti and Priyanka Chopra.Length: The length of Jab Tak Hai Jaan is a major issue. At 179 minutes it feels far too stretched. The editing could have been crisper.Attention to details: A struggling Pakistani, who could not hold down a job long enough to save some money to send back home, makes it big as the manager of a posh eatery in London in 10 years' time with the help of a fist full of bank notes. A rich NRI girl falls for the busker. A reporter shoves a camera in the face of a bomb disposal squad officer while he's defusing live ammunition. The same reporter, who is supposedly an expert swimmer, plunges into a freezing Ladakh lake for a dare and almost drowns. It's the lack of attention to details that takes away half the joy from watching JTHJ.Sex: Sex and intrigue have always been integral parts of Chopra's films. While a pair of dandelion would have sufficed in the 60s and a shot of two pairs of legs rubbing against each other in the 70s, it simply does not make the cut in 2012. Audiences are bred on much rougher stuff in films, videos and television series and the sexually loaded moments in the film fall flat.
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Director Farah Khan will stop at nothing to get a laugh out of you. No disability is too sensitive to make a joke of, and no stereotype too overused to flog one last time. In a scene from her new film 'Tees Maar Khan', a dark-skinned thief nicknamed Ismail Koyla who only commits robberies in the night, is finally arrested when his shining teeth give away his hiding spot. In another scene in which a movie is being cast, a toothless villager presumably suffering from leucoderma is selected to play a British officer because he has white skin. A pair of conjoined twins only speak in unison and repeatedly hi-five each other. And three effeminate village boys forever dressed in pink assist a heroine with her make-up, and roll their eyes longingly at a hunky filmmaker. If you're outraged by such low-brow humor, 'Tees Maar Khan' is going to be a long, hard slog for you.Adapted from 'After the Fox', a 1966 comedy starring Peter Sellers, this film stars Akshay Kumar as Tabrez Mirza Khan or 'Tees Maar Khan', a master criminal who learnt to steal even before he was born, because his mother was addicted to classic Bollywood crime films while she was pregnant with him. When Tees Maar Khan is hired by the notorious Johri Brothers to rob a train stuffed with roughly 5,000 crore rupees worth of antiques, he pretends to be a Hollywood filmmaker named Manoj Day Ramalan, and under the guise of shooting a period film, enlists an entire unsuspecting village to help him with the heist.Despite several staggeringly silly set pieces - including a sequence in an airplane in which 'Tees Maar Khan' escapes from the clutches of two police officers - the film's first hour races by briskly thanks to breakneck pacing, and at least two energetically choreographed dance numbers. But by the time you've settled into your seat post intermission, the screenplay begins to come apart. There's a particularly awkward gag involving a headless horseman, and that leads to a supposedly poignant moment in the film that is entirely contrived. Even the train heist sequence isn't filmed dramatically enough, and the Manoj Kumar tribute at this point seems forced and overstretched. Tees Maar Khan, surprisingly, doesn't match up to the standards set by Farah Khan with her previously directed films. Both 'Main Hoon Na' and 'Om Shanti Om' were smarter, funnier films that benefited from the writer-director's irreverent humour. But for this film she hands over the writing responsibilities to Shirish and Ashmit Kunder who appear to have drained the film of any smartness. The dialogues are repetitive, and the jokes in 'Tees Maar Khan' are mostly puerile and not very funny at all. In fact, it's an arrogantly written script that seems to take the audience for granted. However, it's a testament to Farah Khan's directing skills that she makes even this disappointing film work on at least a few occasions. She draws out a winning performance from Akshaye Khanna as the Oscar-hungry filmstar Aatish Kapoor, who's still hurting from having lost a role in 'Slumdog Millionaire' on account of his foolish secretary. Despite the incessant hamming, Khanna easily emerges this film's best joke. Katrina Kaif, in a smaller role, as Tees Maar Khan's struggling actress girlfriend, submits herself completely to the silliness of her character, and at least succeeds in evoking a smile out of you. In the choreography department, there are few who can rival Farah Khan. The 'Sheela ki jawaani' number is one of the film's early highlights, a sight to behold not only for the dance movements but for the complete staging of the production - the music, the costumes, the lighting, and the editing. The 'Wallah wallah' set piece too, featuring Akshay Kumar and Salman Khan, has an infectious energy that is indisputable. Even if you go in willing to suspend your disbelief, 'Tees Maar Khan' is not an easy film to enjoy. Akshay Kumar works very hard to make the buffoonery look like fun, but he's saddled with such poor material, it's no surprise it doesn't work.Working with Akshay Kumar for the first time, it's surprising she delivered not the trademark Farah Khan entertainer one expected from her, but a typical harebrained Akshay Kumar comedy instead.
*** This review may contain spoilers ***
No One Killed Jessica, directed by Rajkumar Gupta, is a loud, overdramatized account of the Jessica Lall murder in 1999 and the events that followed. Drama is inherent to this story, in which the prime accused was acquitted by the court for lack of evidence, then sentenced to life imprisonment when the case was reopened seven years later following a collective public outcry. Yet Gupta paints in broad strokes, delivering a simplistic, Bollywood-ised version of real events. So Vidya Balan plays Sabrina, Jessica's elder sister, as a dowdy figure, robbed of any personality, focused on seeking justice for the death of her sibling. And Rani Mukherjee is the smoking, swearing TV reporter Meera Geti, who leaves a man halfway through an amorous encounter when she receives a call about a big breaking news story. Both are what you'd describe as 'signpost' characters; they might as well be wearing their character sketch around their neck.With the exception of a few powerful scenes that leave you with a genuine lump in your throat, Gupta goes for full-on melodrama that doesn't always ring true. Courtroom scenes in which lawyers bellow at witnesses, or newsroom scenes in which Meera railroads her boss and barks at junior reporters, are written with the sole purpose of eliciting an applause. The film opens with the news of Jessica's death reaching her sister, and quickly flashbacks to the incident where the model bartender was shot at point blank range for refusing a drink to a politician's son after the bar had been closed. The court case follows, where the accused is allowed to walk free, because witnesses have been intimidated or paid off. The only compelling character in this track is a cop (played by Rajesh Sharma), who in one of the film's best-directed scenes tells Sabrina he accepted a bribe to not hurt the accused while recording his statement.The film's parallel track involves Rani's character Meera, a star reporter who initially has no interest in the Jessica story, then goes after it when she's convinced justice has been denied, and spearheads a campaign to undo the damage.No One Killed Jessica has a disclaimer that describes the film as "a hybrid of fact and fiction". Indeed, the film may work as a masala entertainer, but for the most part, the director's treatment is too exaggerated and bombastic for a 'true story'. Virtually every single supporting character is a cardboard caricature, and watching those courtroom scenes in which witnesses are called to testify, is nothing short of sheer torture because of the amateurish acting that's up on display. One character whose representation in the film I found particularly offensive was the mother of the accused, who shows up on three separate occasions and almost in a cutesy sing-song voice tells her husband that no matter what, he must protect her son. It's almost unbelievable that the director goes for such insensitive humor in a film of this nature. As far as the central performances go, Vidya Balan plays her character one-note, and seems to forget to invest any personality into Sabrina. Sure one doesn't expect to see her play Sabrina as a bubbly, lively woman, but she needn't have been so dull either. Vidya shines in the one unpredictable scene she's allowed, in which her character breaks into a giggle during a tense moment in court. Rani Mukherjee, despite being saddled with a cliché of a character, is more cinematically engaging, and knows exactly how to command the screen with her presence. But the star of 'No One Killed Jessica' is Amit Trivedi, the film's music and background score composer, who gives the film its soul. His pulsating track Dilli is possibly the best opening-titles number in recent memory, and he infuses life and pace into even somber scenes with his rich background compositions.No One Killed Jessica' isn't a bad film; it's just a disappointing one from a filmmaker who showed such promise with his debut film 'Aamir'. This one falls short.
I love to watch movies which are entertaining.So,I enjoyed watching Housefull very much because it is a very good entertaining movie without hurting the intelligence of the viewer.This is an excellent movie in terms of Bollywood entertainment.I am sure that this movie will not get any awards and this movie will not get any 5 star rating from expert critics.Sajid Khan is not the best director in Bollywood.I feel that Sajid Khan- the director is superior to many Bollywood directors because he exactly knows what the audience wants. Housefull is full of comedy.Editing is very fast.The length and time duration of the movie is correct.Production values are very good. The hero of this movie is the screenplay.This movie is made from the audience's point of movie. So, ninety percent of the movie buffs are going to enjoy watching this movie.I remember that Manmohan Desai's movies were never appreciated but people used to watch three or four times. I can assure that after you finish watching Housefull from beginning to end, you will surely have a big smile on your face.You will also like to watch it two or three times because this is a complete repeat value movie. This is not overconfidence because I have this belief that this movie is purely made for the audience.And when I say audience then it does not mean only the masses or the front benchers or single screen audience. By audience, I mean people who love to watch movies for entertainment. I feel cinema is about entertainment.No movie can change anybody's life. No movie can cure cancer. No movie can bring changes in the society. Movies are made mainly for providing entertainment. About 200 to 300 movies get released every year from Bollywood but only 5 or 6 movies become box office successes and ninety nine percent of the movie become flops. And the main reason for these flops are that these are not entertaining movies. These movies actually irritate people and that is why they become flops.Those filmmakers are making movies for themselves and not for the audience.I hate movies which irritate and bore people. I love movies which entertain people.Housefull will entertain you completely because this movie is made for the audience.
Raavan is a total disappointment everythingwise. Unfortunately, Raavan is high on hype, but low on substance. I feel that Raavan will neither appeal to connoisseurs of meaningful cinema nor strike a chord with the hardcore masses.The first half is so bad. Actually I had almost forgotten the bad experience of watching Kites. But Raavan reminded me of it again. Throughout the film, there is rainfall and waterfall everywhere. It is so slow that I took a nap for sometime because I was sure that I am not going to miss out on anything important.Abhishek is good but not very convincing. He has hammed in many scenes. His role, inspired by the mythological character Raavan, was supposed to be the most evil character and create fear whenever he enters the frame. But he comes across as a crack head. I do not want to take away the credit for his honest performance but he becomes too predictable and a bore.Mani Ratnam. The name itself is enough to generate tremendous curiosity and excitement for a film. So, as the lights go off in a cinema hall and the titles roll, you expect nothing short of a masterpiece from a master film-maker.Coming from the maker of classics like Nayakan, Roja and Bombay, his latest offering Raavan is a complete letdown. It simply fails to connect with the viewer!Director Mani Ratnam fails completely in keeping the viewer's interest alive.Frankly, Mani is letdown by the script of the film. The film tries to strike a balance between realism and make-believe, but falls flat from tip to toe. What makes matters worse is that Mani's storytelling lacks the hammer strong impact that this genre demands. In fact, the stamp of a genius is sorely missing in the film, even though the film does boast of some fine performances. But can the best of performances camouflage the harm inflicted by a weak screenplay? Never!
Rann is truly a well-made film. No two opinions on that. The film should be patronised by viewers of serious, sensible cinema.Rann is a serious film and Ram Gopal Varma knows what he's talking this time. It wouldn't be erroneous to state that you recall Ram Gopal Varma's Sarkar while watching Rann, even though the two films are as diverse as chalk and cheese. You recall Sarkar because Rann is an equally powerful film that shows a world we've only seen from the exterior. Rann is for those who enjoy serious cinema. It's more for the intelligentsia, for the thinking viewer. Definitely not for those who seek refuge in frivolous masala capers.
*** This review may contain spoilers ***
Directed by Jugal Hansraj and written by Uday Chopra, Pyaar Impossible is painfully predictable, and offers nothing original in it's writing or treatment.Pyaar Impossible doesn't work because it's hard to empathize with any of the characters and because the actors fail to rise above the flawed script. It's back-breakingly long at two hours and twenty-odd minutes, and I can't remember one single scene that made me smile. The humour is ordinary, and the pre-climax romantic scene in a Mac store is the most embarrassing I can remember in recent times. On more occasions than one, the makers compromise basic common sense to deliver scenes that are offensive or plain dangerous. To be entirely honest, I didn't quite understand what the film was trying to say in the first place. That beauty isn't skin deep and that there's more to love than just surface-level attraction? I suppose that's why Alisha ends up with Abhay in the end. But why doesn't the same logic apply to his interest in her? After all I can't think of one reason why anyone would be drawn to Alisha if it isn't for her beauty she's pretty harebrained, she's not a responsible mother, she has a fake accent, and she dresses like a tart. If you ask me, Abhay's too good for her.
Chance Pe Dance is only a little over two hours in running time, but feels much longer because the screenplay limps lethargically in no particular direction.Chance Pe Dance is an annoying, exhausting film that entirely fails to entertain. The dance portions here are impressively performed by Shahid Kapoor, but you could interchange each of the sequences and it would make no difference to the final film. Much of the blame for that must by shared by composer Adnan Sami who delivers an uninspired soundtrack of indifferent tunes.Chance Pe Dance doesn't work because you feel no empathy for its protagonist. The film's writers -- if you can call them that, considering there is no script to speak of -- fail to invest even a hint of vulnerability in Sameer. More so, Shahid Kapoor's surface-level performance doesn't help convey the desperation his character's supposedly feeling.The obligatory romantic track between Sameer and an upcoming choreographer (played by Genelia D'souza) is so random, it adds no dimension to the central plot. This is a film without any character arcs, or plot progression. To be honest, Chance Pe Dance is a film that probably started shooting before a script was ever written; a one-line idea that never developed into a complete story.
Veer suffers from formulaic overkill. There is just so much contrived jabber-jabber you can take about defending your honour, about duty versus love, and about drinking the blood of the British. The film's director, Anil Sharma, may have touched a chord with a similarly jingoistic approach in his Sunny Deol-starrer Gadar: Ek Prem Katha, but in Veer the chest-thumping melodrama appears mechanical and excessive. The film, then is watchable for Salman Khan's arresting screen presence, his charming romantic overtures, and a degree of involvement from him that you haven't seen before. Unfortunately, what lets Veer down in the end is the fact that it overstays its welcome. At almost two hours and forty minutes, it's way more than you can handle on an evening out. It doesn't help that key parts are filled by weak actors like Sohail Khan, Puru Raaj Kumar and Aryan Vaid who rob the film of any shred of credibility it might have otherwise earned.Watch it if you're a die-hard Salman fan. It's an epic-sized period film with tacky special effects. Unacceptable in these times. From Cameron's Pandora to Anil Sharma's Pindhari, we've come a long way. The film's action is visceral with several blood-splattered slaughter scenes, but often runs the risk of coming off as ridiculous. A Gladiator-style duel ends with Salman literally twisting a man's head 360 degrees around, and there's another one in which he yanks out a rival's insides with his bare hands.The film also suffers on account of too many songs that don't take the narrative forward, including one in which Neena Gupta jiggles and wiggles and heaves her bosom suggestively at the entire Pindhari clan including her grown-up sons who dance along merrily.Much of the film's first half holds up because there's conviction even in the stupidity. You may find it hard to believe that one man can single-handedly fight an armed gang, but Salman and his director dive into the most preposterous scenes unblinkingly.
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