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Welcome - Review

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Welcome to the crazy, mad, funny, outlandish, outrageous, zany world of WELCOME, directed by Anees Bazmee, who gave us the rib-tickling NO ENTRY. Bazmee is a veteran when it comes to leave-your-brains-at-home comic capers, having penned and helmed non-stop laughathons in the past.

The question is, does WELCOME make you break into guffaws? The question is, does WELCOME measure up to the mammoth expectations surrounding it? The question is, will WELCOME be as big a hit as NO ENTRY?

WELCOME follows the same path as David Dhawan and Priyadarshan movies. The mantra is simple: Lock your brains at home, throw your worries out of the window for the next 2 hours and get ready to embrace a world where logic and sense have no place… In short, WELCOME remains faithful to the genre from start to end. Bazmee borrows a bit from the likable Hugh Grant starrer MICKEY BLUE EYES [also bears an uncanny resemblance to SHAADI SE PEHLE] and adds loads of Indian masala to make the proceedings spicy and tangy. Lo and behold! WELCOME succeeds in tickling your funny bone at most places. The humour is basic and even absurd, but it works well in a film like this.

To cut a long story short, WELCOME is one of those entertainers that deliver what it promises: Funny sequences, super performances and loads and loads of laughter. Without doubt, WELCOME will be welcomed with open arms by the aam junta!

Uday Shetty [Nana Patekar], Majnu [Anil Kapoor] and their boss, Sikander [Feroz Khan], are basically three Hong Kong-based serio-comic mobsters, who are keen to get Uday’s sister Sanjana [Katrina Kaif] married into a respectable family.

Uday, who accidentally meets the handsome bachelor Rajiv [Akshay Kumar], gets convinced that the latter would be an appropriate match for Sanjana. Meanwhile, Sanjana, who is totally unaware of her brother’s plans, also meets Rajiv separately and they fall in love. She has the acceptance of Dr. Ghunghroo [Paresh Rawal], Rajiv’s uncle, who is unaware of the fact that she is Uday’s sister.

When Dr. Ghunghroo realizes his faux pas, he decides against the marriage. The entire plot takes a U-turn when a stunning bombshell [Mallika Sherawat] arrives on the scene and claims to be Rajiv’s wedded wife, which only adds to the hullabaloo and chaos.

You realize you won’t need your thinking caps at the very outset. Note the introductory sequences of Nana Patekar, Paresh Rawal and Anil Kapoor. They set the mood of the film. Also, the first hour has several humorous moments and you enjoy the one-liners that the characters keep delivering every now and then.

The director makes sure to open three more surprises in the post-interval hour -- Feroz Khan, Mallika Sherawat and Vijay Raaz, who is introduced in the first half, but gets scope only in the second half. The sequences between Nana and Mallika and also between Anil and Mallika are truly funny. Also, the marathon portion at the funeral is sure to bring the house down.

Of course, there’re loose ends. The pace dips in the second hour, a few jokes seem repetitive and therefore, don’t evoke the required mirth. Also, the music could’ve been better. Only two songs come easy on your lip [the ones that are promoted], but the chartbusting quality is missing.

Bazmee’s direction does justice to the material. The director and his team of writers [Rajiv Kaul, Praful Parekh] don’t deviate from the core issue and pack the script with inane stuff, but the impact is so funny that you break into a hysterical laughter at places. The Kaul and Parekh jodi, known for writing a number of David Dhawan and Indra Kumar films in the past, are back in true form after a long time.

As mentioned earlier, the music is a mixed bag. ‘Uncha Lamba Kadh’ and ‘Tera Sarafa’ [Anand Raaj Anand] are the best tracks of the enterprise and the choreography of these numbers take them further, but the remaining songs are below average. Dialogues are laced with wit and enjoyable, especially those delivered by Nana, Paresh and Anil. Sanjay F. Gupta’s cinematography is striking. The locales of Dubai and South Africa give the film a grandiose look. The effects [especially in the climax -- the house collapse sequence] are tacky.

Although WELCOME boasts of a formidable star cast and every actor handles his/her part with effortless ease, the one who registers the maximum impact is Nana Patekar. Nana is in terrific form, the real scene-stealer. It’s a treat to watch this accomplished actor essay a role that’s in stark contrast to the ones he’s known for [intense, hard-hitting characters]. His comic timing is fantastic!

Akshay is equally competent. He looks every inch the seedha-saadha guy, who is torn between his lady love on one hand and the two factions [Paresh versus Nana, Anil & Co.] on the other. This film should find a prominent place in his repertoire.

Anil Kapoor comes up with yet another dhamaka. The actor compliments Nana beautifully and handles his role with precision. Paresh Rawal is superb yet again. He continues to make people laugh, even though he has consistently starred in umpteen funny movies.

Although the meatier scenes are reserved for the men, there’s no denying that Katrina gives her role the freshness that it demands. Also, she looks bewitching. Mallika Sherawat is electrifying. Although she makes an appearance in the second half, the confidence with which she carries her part is what works in her favour.

Feroz Khan is in form. Vijay Raaz is first-rate yet again. Supriya Karnik, Snehal Dhabi, Adi Irani, Mushtaq Khan and Sherveer Vakil are adequate. Suniel Shetty is there for a scene only; he’s okay.

On the whole, WELCOME is a fun ride all the way. The tremendous hype for the film has resulted in a tremendous start at the ticket window and the 5-day weekend as also the lack of biggies in the subsequent weeks will help WELCOME reach the ‘Smash Hit’ status in days to come.

Taare Zameen Par - Review

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Come to think of it, after two back-to-back hits [RANG DE BASANTI, FANAA], Aamir Khan could've given a positive nod to any masala flick and chosen to work with anyone he desired. But he preferred to make a film on a dyslexic kid, make him the focal point of the story and don three caps -- producer, actor and director.

At the very outset, let's make one thing clear. TAARE ZAMEEN PAR isn't one of those films that merely entertains, but also enlightens. TAARE ZAMEEN PAR is one film that makes you peep into a child's mind and how some parents, in their pursuit to make them 'stronger' academically, forget that there's hitherto untapped talent that needs to be nourished and encouraged.

TAARE ZAMEEN PAR drives home a strong message, making you empathize with the kid, compelling you to draw parallels with your life, making one realize that some of the renowned geniuses were once scoffed at, but the world had to bow down to their intellect later.

Sure, TAARE ZAMEEN PAR boasts of a story that strikes a chord, but most importantly, it has been treated with such sensitivity and maturity that you're left shell-shocked in amazement by the sheer impact it leaves at the end of this 18 reeler.

TAARE ZAMEEN PAR heralds the birth of a topnotch storyteller -- Aamir Khan. To choose a story that's a far cry from the mundane stuff that's being churned out like factory products, requires courage and conviction and to execute it with panache is a rarity.

Those who somewhere nursed a grudge that the camera follows Aamir in all his films, will chew their words once they watch TAARE ZAMEEN PAR. Yes, Aamir has a key role to portray as an actor, but the camera captures the child's emotions like never before in a Hindi film. Also, let's also clear the myth about TAARE ZAMEEN PAR being a kiddie film. It's not! It's about children. Note the difference!

In a nutshell, TAARE ZAMEEN PAR serves as a wake up call for every parent or parent-to-be. Also, it heralds the arrival of a magnificent storyteller -- Aamir Khan. At the end of the day, it's not difficult to choose who's better -- Aamir, the actor or Aamir, the director. TAARE ZAMEEN PAR is a triumph all the way from the director's point of view.

Ishaan Awasthi [Darsheel Safary] is an eight-year-old whose world is filled with wonders that no one else seems to appreciate; colors, fish, dogs and kites are just not important in the world of adults, who are much more interested in things like homework, marks and neatness. And Ishaan just cannot seem to get anything right in class.

When he gets into far more trouble than his parents can handle, he is packed off to a boarding school to 'be disciplined'. Things are no different at his new school and Ishaan has to contend with the added trauma of separation from his family.

One day a new art teacher bursts onto the scene, Ram Shankar Nikumbh [Aamir Khan], who infects the students with joy and optimism. He breaks all the rules of 'how things are done' by asking them to think, dream and imagine, and all the children respond with enthusiasm, all except Ishaan.

Nikumbh soon realizes that Ishaan is very unhappy and he sets out to discover why. With time, patience and care, he ultimately helps Ishaan find himself.

On face-value, TAARE ZAMEEN PAR looks like a kiddie film, but as the story unfolds, you realize that the story peeps into the mind and heart of a kid, his interests, his hobbies, his strengths and weaknesses. The director opens the cards at the very outset, when you realize that the kid is just not interested in books/studies. And his interaction with his stern father, doting mother and lovable brother is straight out of life.

A number of sequences in the first hour leave you spellbound --

  • Ishaan's altercation with the neighboring kid over a cricket ball;

  • Ishaan's parents' decision of putting him in a hostel and Ishaan's constant pleas falling on deaf ears;

  • Ishaan going into a shell in the boarding school, looking disinterested in life. Also, the art teacher punishing him for his inattentive behavior.

There are several moments in the first hour that make you moist-eyed. The bonding between the mother and son is remarkable. These moments effectively capture the special bonding, making you realize that a mother's mere touch can act like a soothing balm on a troubled soul.

Aamir takes the courageous stand of placing the story on Ishaan's shoulders right through the first hour and not once do you feel that the kid doesn't have the power to keep your attention arrested.

The second hour is equally challenging and most importantly, motivating. The introduction of Aamir's character, Aamir spotting the indolent Ishaan, Aamir traveling to Mumbai to meet Ishaan's parents and then citing examples of extra-ordinary men who were ridiculed by their contemporaries/peers -- these moments linger in your memory even after the show has concluded.

But the best part is reserved for the finale -- the art competition in the penultimate twenty minutes. The emotions reach an all-time high as the kid regains his confidence. The finale would melt even the stone-hearted!

Directorially, Aamir Khan deserves distinction marks for extracting an exemplary performance from the kid and handling the plot with supreme sensitivity. In his debut film itself, Aamir proves that he's a gifted storyteller, someone who has the courage to swim against the tide and also convince the viewer that there's more to film-making than the mere masala entertainers. Bravo!

Setu's cinematography is mesmeric. The camera captures every minute detail, every emotion, every tear with precision. Shankar-Ehsaan-Loy's music is easy on the ears. 'Bum Bum Bole', 'Jame Raho' and the title track are first-rate compositions. Prasoon Joshi's lyrics in 'Maa' deserve special mention. Editing [Deepa Bhatia] does justice to the material. Only thing, the film, if trimmed [second hour], will only be more impactful. Animation and visual effects are fantastic.

TAARE ZAMEEN PAR belongs to Master Darsheel Safary. A performance that make the best of performances pale in comparison. A performance that deserves brownie points. A performance that'll always come first on your mind the moment someone mentions TAARE ZAMEEN PAR. A performance that's impeccable, flawless and astounding. A performance that moves you and makes you reflect on your growing years. A performance that merits a special award!

Aamir is excellent. Note his scenes with the father of the kid. First, when he visits their home. Next time, when he cites the example of Solomon Islands. Splendid! Tisca Chopra is outstanding. Here's an actress who needs to be lapped up in a big way by film-makers.

Tanay Cheda [as Ishaan's friend Rajan Damodaran] is excellent. Vipin Sharma [Ishaan's father] is slightly theatrical. Sachet Engineer [Ishaan's elder brother] is apt. The teachers have performed well.

On the whole, TAARE ZAMEEN PAR is an outstanding work of cinema. To miss it would be sacrilege. It has everything it takes to win awards and box-office rewards!

Do yourselves a favor. Watch TAARE ZAMEEN PAR with your child. It will change your world. It will also change the way you look at your kids!

Strangers - Review

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Unconventional stories are being told on the Indian screen, thus breaking away from the monotony. STRANGERS, directed by Aanand Rai, is one such film. It charters a hitherto unchartered path altogether!

Substitute the Indian faces with non-Indian actors -- French/Italian/German -- and STRANGERS would easily pass off as a foreign film since the concept is very unlike what we’ve seen on the Hindi screen so far.

One may draw parallels with STRANGERS ON A TRAIN, but as layer after layer is peeled off, you realize that STRANGERS travels on a different track. But the problem is, STRANGERS caters to a very, very tiny section of moviegoers -- intelligentsia. And that’s its biggest problem!

Two men, complete strangers to each other and diagonally opposite personalities, are travelling in a first class compartment in England. The claustrophobia of a closed space and the coincidence that they are both Indians, binds them to each other.

Mr. Rai [Kay Kay Menon], the management giant and Rahul [Jimmy Sheirgill], a writer with a flop career, in their efforts to entertain each other throughout the journey, drop clues and fill in the missing pieces into stories that are never told unless, between complete strangers. Four lives are put at stake and everything is about to change…

Director Aanand Rai narrates a fascinating story and although the writing isn’t foolproof, the execution of the material catches your eye instantly. The written material has some gaping flaws, like why doesn’t Nandana walk out of her marriage when her marriage to Jimmy has already started rotting? The end too looks abrupt, with Jimmy accomplishing the task so very easily. Some situations are left unexplained!

The director gets major help from two major departments -- cinematography [splendid] and background score [electrifying].

Both Jimmy and Kay Kay are highly competent. STRANGERS should occupy the top slot in Jimmy’s body of work. Kay Kay delivers an accomplished performance yet again. Nandana Sen handles a complex role with panache. Sonali Kulkarni [sp. app.] is perfect.

On the whole, STRANGERS is a well-made, intelligent thriller, but it caters to a miniscule audience only. At the box-office, the non-awareness of the film as also the non-happening promotion will hit the film hard.

Taare Zameen Par - Preview

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Characters:

Darsheel Safary as Ishaan Nandkishore Awasthi
Ishaan is 8 years old. He loves colours, fish, shiny things, dogs, golas, spaceships and kites. He loves to draw and paint and be a bindaas boy. He does not want to go to boarding school.

Vipin Sharma as Nandkishore Awasthi
Nandkishore Awasthi is Ishaan’s father. He gets very angry when Ishaan’s teachers from school complain. Nandkishore is of the view that only Boarding school can teach discipline to Ishaan.

Tisca Chopra as Maya Awasthi
Maya is Ishaan’s mother. She makes good food and looks after Ishaan when he gets hurt. She is very sad that Ishaan has to go to boarding school but she thinks it will be for the best.

Sachet Engineer as Yohaan Awasthi
Yohaan is Ishaan’s Dada. Dada is a very good student and also plays tennis and cricket. He also looks after Ishaan and loves him.

Aamir Khan as Ram Shankar Nikumbh
Nikumbh sir doesn't scold Ishaan like the other teachers. He sports a very nice smile and he likes colours and fish and dogs and painting too!

Tanay Chheda as Rajan Damodaran
Rajan is Ishaan’s best friend. He is very smart and intelligent and a good student and always knows the answers to all the questions. He always tries to be helpful to Ishaan.

Synopsis:

Ishaan Awasthi is an eight-year-old whose world is filled with wonders that no one else seems to appreciate; colours, fish, dogs and kites are just not important in the world of adults, who are much more interested in things like homework, marks and neatness. And Ishaan just cannot seem to get anything right in class.

When he gets into far more trouble than his parents can handle, he is packed off to a boarding school to ‘be disciplined’. Things are no different at his new school, and Ishaan has to contend with the added trauma of separation from his family.

One day a new art teacher bursts onto the scene, Ram Shankar Nikumbh, who infects the students with joy and optimism. He breaks all the rules of ‘how things are done’ by asking them to think, dream and imagine, and all the children respond with enthusiasm, all except Ishaan. Nikumbh soon realizes that Ishaan is very unhappy, and he sets out to discover why. With time, patience and care, he ultimately helps Ishaan find himself.

Khoya Khoya Chand - Review

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To recreate the bygone era is not only strenuous, but a challenging task as well. It's equally arduous to capture the essence of Bollywood of 1950s and 1960s with precision on celluloid. In that respect, Sudhir Mishra's KHOYA KHOYA CHAND succeeds in transporting the viewer to the golden era.

Although the story doesn't focus on any person in particular or highlight any incident or event, the director drops enough hints to draw parallels with real life characters. So far, so good!

Wait, you can't turn a blind eye to the deficiencies… KHOYA KHOYA CHAND looks like an assemblage of smartly executed sequences. You remember KHOYA KHOYA CHAND not because of its stirring and gripping storyline and the impact it creates in totality, but the recall value is thanks to the individualistic scenes.

Also, the pace dips at several points and what also goes against it is its length. The film goes on and on, testing the viewer's patience towards the second hour. Ideally, Mishra should've shortened the narrative by 20 minutes at least. Besides, the execution of the subject restricts its appeal to those who tilt towards offbeat cinema.

To sum up, KHOYA KHOYA CHAND does not hold universal appeal. It's for a niche audience with an appetite for unconventional movies, catering more to the festival circuit and a tiny section of moviegoers.

Set against the Hindi film industry in 1950s and 1960s, KHOYA KHOYA CHAND is the tumultuous story of Nikhat [Soha Ali Khan] and Zafar [Shiney Ahuja]. Nikhat, a fledgling actress, becomes a big star with the help of superstar Prem Kumar [Rajat Kapoor]. But in return of favours.

Zafar helps Nikhat get free from the iron grip of Prem Kumar. But the relationship is short-lived.

Sudhir Mishra captures the behavioural pattern of stars, budding actors and film-makers to perfection. Note the tantrum-throwing heroine or the finicky producer who's more of a 'Yes Man' to the superstar or the heroine's mother and her companion who live off the heroine's money -- only an insider who knows Bollywood inside out or has watched them from close quarters would get it right.

Mishra's execution of a number of scenes is exemplary. But the grip to keep you hooked non-stop, from start to end, is missing. The film dips at regular intervals in both the first and second hour. Also, the culmination to the story is abrupt.

Shantanu Moitra's music is in sync with the old-world charm. The title track is lilting, while 'Ye Nigahen' is equally exuberant. Sachin Krishn's cinematography is striking. The production design [Gautam Sen] is first-rate. Ditto for the costumes [Ashima Belapurkar and Niharika Khan].

It would be erroneous to give the credit to just one actor, when the fact is that all three -- Shiney, Soha and Rajat Kapoor -- deliver sterling performances. Shiney is a complete natural, expressing the anguish through his eyes. Soha is a revelation. This film exhibits her potential to the optimum. Rajat Kapoor is only getting better with every film. Sonya Jehan is effective. Saurabh Shukla is in terrific form. Sushmita Mukherjee deserved more footage. Vinay Pathak is excellent. Dipannita Sharma is okay.

On the whole, KHOYA KHOYA CHAND has some interesting moments, but the impact it ought to create as also its slow pacing and excessive length dilute the effect. At the box-office, the film caters to a tiny section of moviegoers, but that's not enough!

Gauri - The Unborn - Review

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The two aspects you look forward to in a horror film are [i] The thrills-n-chills should scare the living daylights out of you and [ii] The story should’ve something new to offer. Sure, GAURI – THE UNBORN has a new story to tell, but the chills-n-thrills don’t give you the jitters and jhatkas, barring a scene or two.

On the contrary, what you carry home is a socially relevant message: Say ‘No’ to foeticide.

Sudeep [Atul Kulkarni], an architect, lives with his wife Roshni [Rituparna Sengupta] and their daughter Shivani [Baby Rushita Pandya]. The family decides to go for a holiday to Mauritius, but the daughter insists on going to their ancestral home.

The parents agree half-heartedly, but decide to visit the ancestral home nonetheless to keep their daughter happy. But an incident from the past comes back to haunt them. And the unseen force threatens to take their daughter away from them.

GAURI – THE UNBORN had the potential to work big time, but the screenplay has its limitations. The moment the aatma of the unborn kid swears revenge, you expect the sequence of events that are to follow to give you gooseflesh. But what unfolds is hardly spine chilling. Besides, the pacing slackens in the second hour, which is a deterrent.

However, the concluding 20 minutes are the best part of the enterprise. The climax is indeed novel and the end drives home the message effectively. Another aspect that catches the eye is the visual effects, which are skilfully executed and smartly integrated in the narrative.

Director Aku Akbar makes a promising debut. He’s a proficient technician, but he should’ve emphasized on a far more convincing script. There’s just one song in the narrative [a lullaby], which is strictly okay. Cinematography is up to the mark. Background score enhances the impact at places.

Atul Kulkarni is plain mediocre. Rituparna Sengupta has her moments. However, their intimate scenes seem forced in the screenplay. Baby Rushita Pandya is the real scene stealer. To see a kid carry off a tricky role is wonderful. Anupam Kher is passable.

On the whole, GAURI – THE UNBORN is an okay fare that may find its share of advocates in those who tilt towards the horror genre.

Aaja Nachle - Review

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A 'comeback' film always holds significance. Dilip Kumar [KRANTI], Amitabh Bachchan [MRITYUDAATA], Vinod Khanna [INSAAF], Dimple Kapadia [SAAGAR], Mumtaz [AANDHIYAAN] and Kajol [FANAA] are names you cannot erase from your memory since the celebrated actors returned to the big screen after a hiatus.

With AAJA NACHLE, Madhuri Dixit, who reigned supreme, is back to the studios with the Numero Uno production house of the country. Does the actress still possess the charisma to ignite fire in water? Also, does the vehicle she chooses to make a comeback with, have the fuel to reach the winning post?

Sadly, AAJA NACHLE is below the mediocre mark and doesn't meet the humungous expectations that you associate with the Yashraj - Madhuri combo. What's the problem? Without a doubt, the script! What starts off as a story that seems real and identifiable becomes a fairy tale in the latter hour. Also, with a title like AAJA NACHLE and the story harping on music, the songs had to be chartbusters. That's just not the case here!

In short, AAJA NACHLE fails in the two vital departments -- writing and music. The film doesn't make your heart go dhak-dhak, nor does it prompt you to break into a nach at the end of the show.

After nearly a decade, an unexpected phone call shakes Dia [Madhuri Dixit] out of her dance rehearsal in New York. Makarand [Darshan Zariwala], her guru, is dying and she must return to Shamli, a town in India. The town where she grew up, the town where she learnt to live and to dance. Also the town she left on an impulse, severing ties with her parents and her people.

It is a poignant and troubled return; not only has her guru passed away but the institution that he so lovingly nurtured is in decay and under threat of demolition. Ajanta theatre, the once vibrant hub of the community, the place where Dia's fondest memories are embedded, must now be brought down because the local political authorities feel it a waste of prime real estate.

With the help of Doctor [Raghuvir Yadav], the caretaker of Ajanta, Dia sets out on a mission to prevent the destruction and resurrect the spirit of Ajanta. In an atmosphere of mistrust, ridicule and active hostility, Dia picks up the gauntlet and agrees to achieve the near impossible task of putting together a theatrical production. She must also ensure that every member of the production is from Shamli town. She has only two months to prove her point or the bulldozers will be waiting.

Bearing a striking similarity to the Brazilian film XUXA REQUEBRA, Jaideep Sahni's screenplay is the biggest culprit here. The protagonist [Madhuri] knows that there would be hurdles galore on her way, as she embarks on a journey to realize her guru's dreams. But she hardly struggles to achieve the impossible. Even the corrupt politician [Akhilendra Mishra] or the shrewd businessman [Irrfan], who could've proved to be tough nuts to crack, give in so easily.

Besides, the goings-on get too unbelievable. The first question that crosses your mind is, how does Madhuri raise the funds to put up this spectacular event [the set design in the penultimate song is marvellous]? Okay, that's a cinematic liberty, but, seriously, there should've been at least some reference to where the money would flow in to fund this mammoth, lavish and extravagant event. What starts off as a 'real' film, drifts into a 'surreal' world as it moves ahead.

Debutante director Anil Mehta knows the importance of frames/visuals since he's an accomplished cinematographer. But Mehta ought to know by now that it's the content that does the talking eventually. The writing is too commonplace to make any impact whatsoever. In an effort to strike a balance between believable and make-believe, AAJA NACHLE falls like a pack of cards.

Salim-Sulaiman's music is another minus point. You expect the songs to linger in your memory even after the show has ended… that's what makes a musical tick, right? It's not the case here. Dialogues are wonderful at places, especially the ones delivered by Akshaye Khanna and Madhuri. Cinematography [Mohanan] is splendid.

Madhuri has always delivered qualitative performances and the fire continues to burn to this date. She's top notch, but how one wishes the script would've done justice to her talent. It doesn't offer her a pedestal to take that big leap. The loyal Madhuri fans would surely feel disillusioned and saddened.

Akshaye Khanna is tremendous. In fact, it's a treat to watch Madhuri and Akshaye together, after a hiatus. Kunal Kapoor is likable; he enacts his part with natural ease. Konkona is nice, but when compared to her previous work, it's definitely not in that league.

Irrfan, in a brief role, is okay. Divya Dutta too is relegated to the backseat. Ranvir Shorey is first-rate. Ditto for Raghuvir Yadav. Darshan Zariwala does a fine job. Yashpal Sharma is alright. Vinay Pathak and Sushmita Mukherjee are adequate. Akhilendra Mishra is as usual. Jugal Hansraj gets no scope. Vinod Nagpal and Uttara Baokar, as Madhuri's parents, have nothing much to do. Felix D'Alviella [as Steve -- Madhuri's lover] is passable.

On the whole, AAJA NACHLE disappoints big time. At the box-office, the film has embarked on a poor start and coupled with weak merits will only emerge as one of the major disappointments of the year.