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|27 reviews in total|
Francois Truffaut had given us 400 Blows and 50 years later,
Vikramaditya Motwane gives us Udaan, his directorial debut in a veiled
biography. Udaan is a celebration of innocence amidst adolescence
coupled with a youthful and rebellious spirit. It is a very crafty and
intensely personal script that you will surely identify with.
Udaan is a coming-of-age tale of Rohan Singh, brilliantly portrayed by Rajat Barmecha, a 17-year-old motherless teenager who is expelled from boarding school and has to live with his tyrant of a father Bhairav Singh, played by Ronit Roy. He learns of his 6-year-old step-brother only after his new life with his authoritarian, oppressive and abusive father is thrust upon him in the industrial town of Jamshedpur. Forced by his father to work in a steel plant and then study engineering and often subject to capital punishment, Rohan's only silver lining is his jovial and cheerful uncle Jimmy, aptly played by the rotund Ram Kapoor.
Udaan resonates with absolutely anyone who has had to break away from convention and suffer oppression in order to pursue one's dreams. It is a film about hope and every teenager will connect with Rohan when he rebels in his own ways by sneaking out after hours in his father's car and drinking with new found mates, by bunking college and blissfully penning poems along railway tracks and disobeying his father time and again.
Udaan takes flight and reaches an unimaginable height which is purely attributable to its honest and well-paced plot. With a story devoid of pretentious and unnecessary attractions, director Vikramaditya Motwane and producer Anurag Kashyap have recreated their Dev D magic all over again. In the climax when Rohan outruns his father after punching, you cannot help but give him a standing ovation.
The cast delivers a stellar performance. Rajat Barmecha is a discovery made by the Dev D duo and Ronit Roy with his superb portrayal of the frustrated father makes you wonder why he has been dormant all this while and making appearances only in soaps. On the lighter side is child actor Aayan Boradia who speaks volumes with his facial expressions. Oye Lucky Lucky Oye's Manjot Singh is commendable in his cameo as Rohan's school friend and partner-in-crime.
Amit Trivedi composes for Udaan after winning awards for Dev D and the track Aazadiyan is sure to move you while the other scores set the tone for the plot without distracting you. Vikramaditya Motwane has struck gold and each chord in our hearts with his directorial debut and this film is sure to linger in your minds for long. Arguably the best movie in 2010 amidst various disappointments, no wonder this was screened at Cannes this year.
I suggest go watch Udaan and celebrate Rohan's triumph as breaks free from his shackles. I give Udaan 4 stars out of 5.
-Joydeep Roy for MuvieMadlyDeeply.com
Road, Movie is director Dev Benegal's tribute to the magical realm of
cinema. He is back in style after a decade-long sabbatical following
Split Wide Open, to show the world how much he has matured as a
filmmaker. He adds his Midas touch to such an offbeat piece of
celluloid, giving it a western aroma only to take you on a journey that
is sure to find you wherever you are and promises to take you wherever
you want to go.
Vishnu (Abhay Deol) is a young man who is sick and tired of the life that is thrust upon him. To escape from his father's hair oil business, he volunteers to drive an antique 1942 Chevrolet truck across the desert to a museum, only to experience the thrill of adventure amidst his humdrum life. On his way he picks up a young tea-stall boy (Mohammed Faizal Usmani) who wishes for a better life in the neighbouring city and a voluble mechanic (Satish Kaushik) who intends to attend a local fair. Vishnu's road trip is filled with its initial hiccups with the truck breaking down at the drop of a hat. He encounters a corrupt cop who looks for sport in Vishnu amidst the lifeless desert. This is when Vishnu discovers that his truck houses a movie projector and is a mini theatre-on-wheels. He trades their release with the cop who has a libido alive enough to watch blue films.
The third character Vishnu picks up en route is a young gypsy woman, played by Tannishtha Chatterjee of Brick Lane fame. Time and again, amidst the drought-struck desert, Vishnu and his mates pass by a band of women frantically searching for water, the imagery being heightened when they see Vishnu drink from a bottle. Vishnu's presence of mind is heightened in the climax when he dupes the desert-don (Yashpal Sharma) with his hair oil advertisement gimmick. Unfortunately, after 97 minutes, Road, Movie comes to an abrupt halt, leaving you desirous of much more.
Road, Movie, as the name suggests, is both about the life on the road and how the characters are rescued by the movies they screen. Cinematographer Michel Amathieu (Paris Je T'Aime) has captured the barren virgin deserts of Rajasthan with immense grandeur and élan and deserves the laurels for providing the visual imagery. The background score by Michael Brook (Into the Wild) is reminiscent of Gustavo Santaolalla in The Motorcycle Diaries and sets the tone of the journey. Production design by Anne Seibel (Munich) illuminates the sequences of the fun-fair amidst the dull and dry desert, which sadly is just a dream sequence. The dialogues are hilarious and coupled with the comic timing of such seasoned actors trigger giggles and laughs, especially those of the little boy and Satish Kaushik when he is verbose, drunk on Old Monk and high on ganja!! The plot does have scope for improvement and could have been thickened. The characters could have been further developed. All but the protagonist are unnamed. Satish Kaushik is at his comic best. Tannishtha does justice to her limited screen time reaching her peak when she sings an impromptu gypsy song. Abhay Deol shows exactly why he was always who Dev Benegal had in mind. Abhay Deol has grown from strength to strength such that none of his cousins are even distant competition to him. He comes across as very disillusioned and enigmatic and unlike in Dev D, he is shown in this movie searching and drinking water. His chemistry with Tannishtha seems coercive and feeble.
This film is sluggishly slow, just as the speed of the vehicle depicted and it requires tremendous patience to watch and appreciate it. The film conveys an important message of self-discovery and fulfillment albeit it loses direction. Road, Movie is sure to tug at the strings of your heart and is a must watch for all ages. So, get on the road and watch this movie. I am going with a 3.5 stars out of 5.
- Joydeep Roy for MuvieMadlyDeeply.com
*** This review may contain spoilers ***
The Adjustment Bureau The Adjustment Bureau is a 2011 supernatural
thriller directed by George Nolfi. It stars Matt Damon (Oceans series,
Good will hunting) and Emily Blunt ( Wolfman, The devil wears Prada)
Before I begin I would like to add that this was the first time I ever
went for a movie without knowing what it's about or who is in it. I
just bought the ticket to escape the heat and was hardly expecting
anything spectacular. The fact that I was actually surprised came as
quite a bonus considering how I was actually planning to sleep off the
entire viewing time.
So anyways the movie started off as a typical political thriller with its intense moments indicated by the music and an entirely huge collection of men in suits, all looking grave and serious. In fact i was half expecting it to be something on the lines of Michael Clayton if only half as good. It was only after 15 minutes into the film that the scenario completely flipped . From men in suits carrying books and files to time taking a halt and notebooks with digitally moving parts to even sets changing from one location to another through weird doorways. It was then that i realised that this movie was going to be anything but boring.
The movie starring Matt Damon and Emily blunt is a romantic science fiction thriller and we all know how rare that is. It follows the life of David Norris (Matt Damon) who is running for the Senate. Due to unexpected circumstances he looses his lead in the election and is thus at a point where he has to deliver his final speech before the final results come in. Here is where he encounters a girl who in 5 minutes changes his prospective on things after which he decides to change his rehearsed speech and delivers something spectacularly honest and offbeat. Even thou he loses the current election his unorthodox move puts him as a favourite for the next elections.
All through this we witness strange men in overcoats and hats watching and monitoring his entire move. The next day he runs into her again on a bus even thou we are told that certain people were trying their level best to make sure he misses his bus. From then on it sets off a series of incidents which according to the men in hats was never supposed to happen. That is when they intervene and introduce themselves as the Adjustment Bureau. A group with extraordinary powers who follow the orders of the 'Chairman' (a synonym of angels following the orders of GOD) . They inform him that he is supposed to be very important for mankind and his further association with the girl might jeopardise the entire 'Plan' Their job was to make sure that things move according to plan. They have maps which charts out the path of every human being. They can change and arrive at any location instantly through a series of doorways. They can cause incidents on their own will and they were willing to put all their resources to use to make sure these two never meet. Bizarre as it sounded he agrees to their conditions. But a thing like love and curiosity is a lethal combination. From there on the movie turns into a roller coaster ride as we follow every step of Norris to discover how things unfold.
As a movie it surprised me to a great extent as I never actually believed that it would be this entertaining. This being the first directorial venture of George Nolfi , whose writing credits include The Bourne Ultimatum and Oceans Twelve, he did quite a fine job in doing justice to the plot which in itself could have gotten quite convoluted and confusing . Instead he introduced a certain smooth flow to the entire plot where no scene seemed unnecessary and there were hardly any blank or boring moments. One could say the concept came a little close to being like City Of Angels only with less mush and a more solid story line. The performances of both the leads as well as the side characters were believable but nothing spectacular, for after all it was more of a story driven movie rather than performance. We expect good things from this director in years to come.
Rating: 3.5/5 Vikram Agarwal for MuvieMadlyDeeply.com
*** This review may contain spoilers ***
THOR Directed by: Kenneth Branagh Cast: Chris Hemsworth, Natalie
Portman, Tom Hiddleston, Anthony Hopkins and Erik Selvig Dear Kenneth
Branagh . We like you , we really do but when you take something which
is meant to be entertaining and turn it into a boring melodramatic tale
of fathers and sons who like to play with trippy lights and hammers
which go underutilised in one place throughout most of the film......it
just ticks us off.
Thor is a summer blockbuster. Thor is meant to be a break from low budget films and is supposed to provide us with a blockbuster feel. But unfortunately it does neither. Instead what you get is a movie which starts off well, introduces good looking characters and then while we wait for that moment which leaves you grasping for air it takes a dive down and provides us utter disappointment. Like many others I love summer blockbusters. It's that time of the year when we don't really care for mind boggling theatricality and twisted convoluted plots (although if we get them too along with the high budgets then two thumbs up). Instead we just like to lie back as we watch things blow up and watch characters do amazing things in slow motion. Everything in short that a 200 million budget should provide us with.
It's with that expectation that I went for Thor. Having watched a couple of films of the director I knew that although unconventional, good things were expected out of the film which claimed to have merged the world of mythology and superheroes in one film. Odin (Anthony Hopkins) is the king of Asgard who has claimed victory over the frost giants. He has two sons, Loki ( Tom Hiddleton) and an arrogant yet charismatic Thor( Chris Hemsworth) . As the elder son Thor is to step on to the throne. But a sudden attack from the frost giants makes him disobey his father and go to their planet to wage an attack with the help of his friends.
Arriving just on time Odin rescues Thor and his Troupe but is enraged by his actions and henceforth banishes him to Earth and strips him of his powers and from his hammer (which is his mighty weapon). Arriving on earth he bumps into Jane Foster (Natalie Portman), a scientist, who agrees to help him in exchange for his explanation of the galactic phenomena through which he arrived on Earth. From here on most of the film focuses on him searching for his hammer and on discovering the plot because of which the events were in motion.
As a film it started off well and did delight us with amazing effects. It even moved at a steady pace and looked all set to finish off well. Till the first half it seemed above average but then the second half took a steep drop with the climax being a complete let down. The basic motives of the characters seemed to be lost and we got over dosed with the light effects and teleportations .
As a super hero film the action was mostly missing replaced instead by men in suits who looked completely lost and out of clue. Throughout most of the second half we kept looking forward for the wow moments which we felt sure had to be there. Just as we got the spark and we sat up straight we realised that the moment was gone and alas it never returned again. Even the romantic equation between Hemsworth and Portman never actually set properly with everything feeling incomplete.
As characters Chris Hemsworth did justice to his role and Portman did the best she could with her role but the other characters hardly roused any emotions and yes I include Anthony Hopkins as well. It seemed they packed all that they could in the first half and let the second half drag and suffer in the process. Disappointing is the word.
Vikram Agarwal for MuvieMadlyDeeply.com
Young kid : Hey Mister are you really the Irishman? Danny Greene: What
about it? Young Kid: My cousin says you have more balls than anyone
else, he wants to be just like you! Wonderful piece of Cinema, starring
Ray Stevenson best known for his role as Titus Poulo in the legendary
T.V series Rome. Stevenson stars in and as Danny Greene, a tough Irish
thug working for mobsters in Cleveland during the 1970's. Greene who
looks to turn over a new leaf in the second half of the movie by going
legitimate faces the wrath of the Mafia.
The Mafia are after him he don't care! The Cops are after him, he don't care! Calls himself a descendant of the Celtic Warriors in short " one tough son-of-a-gun!" The movie follows Greene's rise to power, although his practices were corrupt he maintained a certain amount of dignity and a code to how he went about doing his work.
Great performance by Stevenson, but poor supporting performances makes the viewer lose the flow of the movie, Director Jonathan Hensleigh fails to use actors like Christopher Walken and Val Kilmer effectively, definite shades of the Scorsese classic Goodfellas in the narrative perspective, in fact the knife stabbing scene behind the car boot is directly lifted from there, Alas Jonathan did not have Joe Pesci to liven up the screen! All-in-all an entertaining watch, witty dialogue, powerful scenes, fast narrative and one of the few movies these days with a great background score. The U.S.P of the film is Stevenson's performance, the guy has tremendous screen presence and he carries the movie alone. I would give it a 7/10.
Anshuman Bagri for MuvieMadlyDeeply.com
There has indeed been a lot of "shor" throughout 2011. The cacophony of
corruption , the noise made by Anna Hazare against it , the cheer of
India triumphing at the cricket world cup , the hullaballoo of the
royal wedding , the euphoria surrounding Osama's death and not to
forget the annoying IPL trumpet.
We are indeed living in noisy times. Raj Nidimoru and Krishna DK get it right stating with the title itself.Mumbai in the last few years has ceased to be the dream city conjured up by Bollywood over the years. It has emerged into the city of the Slumdog , of Aamir , of Dhobhi Ghat and now as a noisy ,dirty and eccentric metropolis.
Three stories run parallely during the Ganpati festival. Each story deals with fringe characters desperate to make it into the mainstream. So we have petty criminals , foreign returned Indians and an out of favour cricketer. In Inarritu style they criss-cross each other's lives which culminates into the climax.
Hats off to the directors for the mood they lend to the film. The opening credits run amidst chaotic Mumbai streets where cars narrowly miss you. A sense of claustrophobia persists throughout along with intense , scorching heat. The bustling and crowded outdoors , the narrow dingy lanes , the deserted rooftops hardly give you any breathing space. The viewer is immediately overtaken by a sense of visual noise.
The sudden cuts coupled with edgy music and pedestrian language keeps the narrative tight. Again , hardly any breathing space anywhere. The performances blend into the story. Pitobash as Mandook stands out. Special mention for Tusshar (he's dropped the Kapoor) here for whom its been a long journey from Bore to Shor .
The 'shor' gets heightened as Tilak (Tusshar) who been married for a while now hardly even knows his wife. The story unfolds during the Ganesha festival with his idols dotting the city. But its almost as if God himself has been rendered helpless against the times. Is he just an excuse for another festival? While the ending may remind one of Travis Bickle from Taxi Driver , its best left to the viewer to be the judge of it.
This is a film "full of sound and fury" Signifying existence in between -Sushovan Sircar for MuvieMadlyDeeply.com
Cinema is an art, beautiful, complex and surreal . To make a good film
requires more than just money and a fancy equipment. The problem
nowadays is that it has become more and more difficult to actually find
the art in cinema . We have movies coming out, it seems in factory
lines, with a particular format of budget and emotions. And all this
while we forget to add the soul in films.... the soul which makes it
what it is, but then again every once in a while we come across
something which surprises us but at the same time we find the
familiarity of likeness which we have been seeking for so long. It need
not be too fancy or too flashy. All it needs to be is a good idea,
cleverly executed. Source Code is a perfect example of that! Having
heard a lot about the film, I still kept my expectations low. In
comparison to the brand of cinema (in 3D, might I add) we've been
witnessing lately, it wasn't surprising that people have developed a
tendency of appreciating anything mediocre these days. What I saw,
however, blew my mind away. Not because it was an extremely well
crafted script, not because Jake Gyllenhaal performed spectacularly but
because it managed to join the small list of films which I entitle as
beautiful. Made on a reported budget of a mere 35 million dollars, it
did what most of these so called blockbusters haven't managed to do,
made me sit in one place for one and a half hour......in awe.
"Captain Colter Stevens (Jake Gyllenhaal) wakes up to find himself on a train heading to Chicago. Although the other passengers all seem to know him, he has absolutely no idea where or even who he is. The last thing Colter remembers is flying a helicopter mission in Iraq, but here he is in someone else's life, being referred to as "Sean" by his traveling companion (Michelle Monaghan). Even the man in the mirror looks nothing like him. Before he can find out what's going on, an express train zooms by on the opposite track and a bomb on the train explodes.
Colter then wakes up in a chamber where an officer on the screen (Vera Farmiga) tells him that he has just returned from the "Source Code", a secret government project which lets him go back to the last 8 minutes of a person's life and re-live it. His job is to use those 8 minutes in order to find out who the bomber on the train was as that is their only key to saving the other places where the bomb has been planted.
The movie works on a large scale mostly due to the combined brilliant efforts of both the director and its lead actor. Jake Gyllenhaal displays a wonderful presence of character and has, after a long time given such a wonderful performance, supported well by the rest of the cast members which includes a surprise number in the form of Russel Peters. Also remarkable were the special effects which showed that YOU DO NOT NEED 3D TO MAKE A VISUALLY WELL SHOT FILM, but what works most for the film is its human element which manages to make an otherwise imperfect film, beautiful. Being a science fiction film it could well have gone down the path taken by most science-fiction films where good concept is traded off for action scenes and everything that could have helped it become a masterpiece is flushed down the drain. Instead, Source Code walks down a different path... it chooses to have a soul (a la Vanilla Sky, Blade Runner and Inception) Every time Colter goes back for eight minutes, it feels as if we are back for another short adventure, building our anticipation about what indeed we are going to find next. Director Duncan Jones manages to make a fast-paced gripping thriller and displays enough reasons why he will be the one to watch out for in the years to come! With every film, he is evolving into a fantastic direct0r. Moon suggested it and now Source Code confirms it too. That's 2/2 for you!
If Inception and now Source Code are anything to go by, rest assured this decade, might turn very well turn out to be the age of intelligent, thrilling science fiction movies.
Thank you Duncan Jones, for re-establishing my faith in the new breed of film directors. Not all's lost!!
Written by Vikram Agarwal for MuvieMadlyDeeply.com
"Guess who got shot? Serpico.
- You think a cop did it? I know six cops who said they'd like to." Fresh out of the Godfather, Serpico was the film that further cemented Al Pacino's status as a powerhouse performer. Based on the story of real life cop, Frank Serpico, who had almost the entire police department turn against him for being an honest cop, "Serpico" is a gritty drama about dirty cops and the politics that came with it in the police department in the 60s.
Given the material, this could've been an edge of the seat fast paced thriller that could have easily catered to the "popcorn" entertainment bracket but when you have Sidney Lumet's name in the credits, you could almost always be rest assured that it wasn't going to be the case. Now, make no mistakes though. Serpico may not be "fast paced" and it certainly isn't a "pop corn" entertainer but a thriller it still is, and intense in ways that makes this film worthy of an intelligent audience.
Adapted from the Maas book by Waldo Salt and Norman Wexler, "Serpico" is a difficult film about police corruption and the man who tried to fight it. Although backed by a fine supporting cast, "Serpico" is a film that belongs to one man and one man alone and not only does he justify his presence in the role by giving it what it demands, instead, he goes two steps further and delivers a splendid performance! Near flawless and a testimony to the enormous amount of talent the man is credited for.
From the clean Shaven look to the handlebar mustache to the bearded Hippy look, which Serpico adapts to avoid alienation from the regular crowd which a normal cop suffers, Pacino slips into the skin of the character and shines in what has to be one of his most natural performances. This was the Pacino before he got into his other avatar. The Pacino before Scarface and Tony Montana. The Pacino, before he developed his other "loud" style which to be honest, still kicks ass!! This was the Pacino that you saw in The Godfather and you would go on to see in The Godfather Part II and Dog Day Afternoon.
Like all Sidney Lumet films, this one too, is a slow film and tests your patience at times, but sit there till the end and you will be rewarded with a film that goes beyond just making a shallow statement or telling a simple story. It tickles your conscious and makes you question and that, in my opinion, has always been the sign of a good film. The fact that you can relate to a character like Serpico, a man who wants to do what he always wanted to do and will not turn a blind eye to things, even if it risks his own life, is not surprising. Serpico is a character who's in a place where you've once been yourself or you surely know someone else who was.
At 2 hours and 10 minutes, Serpico may feel lengthier than it is, but at the end of the day the big question always is that whether it's worth it or not! Thankfully in Serpico's case it is! A fine example of good writing and a realistic approach, there's a good reason why this movie is rated as one of Pacino's finest. Lumet, to me, as brilliant as he was, was a hit-or-miss director. From that perspective, not only is Serpico a hit, it hits the bloody bull's eye! Recommended!! 8/10 Written by Aamil Keeyan Khan for MuvieMadlyDeeply.com
It's official. Rakeysh Omprakash Mehra is one of the finest talents we
have in Indian Cinema today. Before I saw Delhi 6, I was warned by many
of my friends who had gone for an early screening about how terrible
the movie was, lacked a storyline and was absolutely bizarre! Well,
bizarre it is... for never before have I seen a film like this! Granted
that a film like Delhi 6 is not meant for all types of audience but
then again, which movie is? Delhi 6 belongs to that rare breed of
cinema that one rarely gets to see- intelligent, thought-provoking,
interesting, entertaining, enlightening, fresh, unique and most
importantly, beautiful like no other!!!
A lot of people seem to be complaining about how Delhi 6 lacks a storyline and hence, its a bad film but then I wonder, why does a Bollywood film always have to be story-driven? I can imagine the amount of bashing Tarantino would've got for Pulp Fiction and Scorsese for Taxi Driver had they made those character-driven masterpieces for audiences with such sensibility that the majority of Indian viewers tend to possess.
Going by the basic plot, this movie would've been such a turkey had it been handled by any other director but Mehra takes the plot and very interestingly weaves a series of incidents through which he underlines almost every sensitive issue that he had set out to address without ever getting into a very "in-your-face" approach except for the ending which becomes a little more preachy than intended but none of that takes away from the film what it is- a gem of the rarest kind!
As far as comparisons are concerned, its like I said before, too unique to be compared to a film made before but if I had to, I'd say its more on the lines of Swades than RDB. A lot of sequences in this film seem to be inspired by the ones in Swades but that's just where the resemblance ends- inspiration. As for the filming, special mention must be made about the song "Dafatan" which is shot as a dream sequence. Watch out for it! Its pure magic...
Coming to the performances, I can't remember when was the last time when I had seen such an excellent collage of actors. Deepak Dobriyal, Vijay Raaz, Om Puri, Pawan Malhotra, Atul Kulkarni, Waheeda Rahman, Rishi Kapoor, Supriya Pathak, Divya Dutta, Prem Chopra and Sonam Kapoor- everyone adds a strong flavour to this delicious dish of Delhi 6 served by Mehra with Abhishek Bachchan being the cherry on top. Yes, this is Abhishek's finest since Guru. He never tends to go overboard with the American accent, is likable and packs in a powerful performance especially towards the last 30 minutes of the film. Sadly, the only portrayal that sticks out like a sore thumb is that of MTV VJ, Cyrus Sahukar's. Roping in an actor for his part would've really helped.
Musically, the film stands at par with Rahman's finest works till date with every track scoring brownie points and the background score being the icing on the cake. Lyrically, this is Prasoon Joshi's best piece of work since Rang De Basanti (Dafatan, Arziyan, Rehna Tu, Masakkali). In short, Delhi 6 carries Mehra's winning streak on. For those expecting a Rang De Basanti will be disappointed because Delhi 6 is an entirely different outing. Going by the general opinion, you'll either love this film or hate it. For me, this one scores big-time! Its 8 on 10 for Mehra and the team! Keep the good work coming!
8/10 (Reason I've voted 10 stars is to counter-balance the no of less votes its receiving from that section of the audience that hails Ghajini as well-crafted cinema).
*** This review may contain spoilers ***
A Comedy By: Sir Satish Kaushik Mis-Cast: Himesh Besharmiya, Urmila
Matondkar, Danny Denzongpa, Shweta Kumar, Rohini Hattangadi, Dino Morea
(with really needs to shampoo his hair), Gulshan Grover, Asrani, Raj
Babbar and Himani Shivpuri.
Wo wo wee wo! I knew it'd be bad, but this bad?? It really needs talent to take a script which has so much potential in it and then make a movie this bad. Satish Kaushik is truly an amazing comedian, but its not as an actor but as a director where he truly shines as one.
Everything with this movie was wrong, the first of course being remaking Karz when "Om Shanti Om" (which was rather a light-hearted take on the same film) still being fresh in our minds, for good or for bad is a different issue altogether. Then roping in Satish Kaushik as a director, who took charge from thereon to make sure this Karzzzzzzzzzz (pardon my no of z's, I'm bad with spellings) was truly a freakshow. A cleavage-showing Himesh Reshammiya, a pink-turban wearing Raj Babbar and a testicle-grabbing Danny Denzongpa are just some of the things to begin with. Ironically, the only thing that makes sense in this freakshow is the tagline--- Vengeance is back (Reshammiya's last flick was Aap Ka Suroor which inflicted similar torture on people that chose to watch it). Just buying Taran Adarsh is not enough my boy! People take him as seriously as Dino Morea takes his career.
Before I probe further into the details of this sexual, mental and physical assault by Kaushik-ji, let me also mention that the best thing about this movie is also Himesh Reshammiya, who seems to be the only one acting on-screen. Maybe because the others never took this film seriously (blame the director, he started it). Karzzzzzzzzzzzz witnesses the most cheesy performances that one could ever expect from a B-Grade cast (Denzongpa, Babbar, Grover).
Kaushik avoids logic just as much as Gayshammiya avoids good looks (yeah, he's really ugly). The movie has so many memorable moments that its difficult to single out one. I mean, what do say to a person (loser Morea) who's just found out that he's about to die and is still smiling shamelessly? Hattangadi (another overweight Bollywood mom besides the gigantic Kiron Kher) is least bothered by her son's death (completely ignoring his dead body that lies in front of her) and chooses to talk to Maa Kali instead, telling her that she must "reincarnate" her son else she will get the temple broken :). Gayshammiya is introduced as a rockstar that makes girls go weak in the knees (another flaw in the script) who wants "Maa Ka Pyaar". Kaushik, of course takes it upon himself to add a lot of humour--- his kind of humour (cheap humour). How he does it is painful to describe.
The movie Karzzzzzzzzzzz is a thought-provoking film. Once you're done watching it, it really makes you wonder if Kaushik-ji ever went beyond third standard (i.e., if he attended school on the first place). Bottomline: Karzzzzzzzzzzz is an instant classic, but for all the wrong reasons.
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