Indian movies

Television producer. Music composer. Singer. And now actor. Oh yes, Himesh Reshammiya wears many caps. Literally! Everyone's curious to know how HR is as an actor? Is he a fine actor? Or has he strolled into the wrong alley?

Don't expect miracles. HR is no Dilip Kumar, Amitabh Bachchan, SRK or Aamir Khan when it comes to histrionics. He's not the best looker in town either, not anywhere close to Salman Khan, Hrithik Roshan or Akshay Kumar.

But you've to hand it over to HR for being the most courageous and confident person around. Can you ever imagine actors like Amitabh Bachchan or SRK turning music composers overnight? It's difficult to take risks, especially when you're under a scanner constantly. Like the famous lines go, every step you take, every move you make, the world'll be watching you…

Let's get one more thing straight. AAP KAA SURROOR is no amar prem kahani. The love story is the type we've watched a zillion times on the screen before. But what saves the ship from sinking is the fact that the turn of events unfold at a feverish pace and before you realize you've been there, seen that, you're already watching the next link to this story.

So what's the verdict on AAP KAA SURROOR? It's crystal clear. The curiosity to watch HR 'act' will ensure his fans and foes making a beeline for movieplexes at least once. HR is sure to have his share of bouquets and brickbats. Bouquets, because the musical score of AAP KAA SURROOR is tremendous. Besides, he has handled a few emotional moments without trying to ape any actor. He's natural. Brickbats, because the film rests on a thin plot. Plus, the writing gets so filmy that you know exactly what the film is all about, at the start itself.

All said, watch it for Himesh Reshammiya take a giant leap. At least he has the guts to chase his dreams!

AAP KAA SURROOR begins with a dead body of a TV journo, Nadia Merchant, being found in a remote area, somewhere in Germany. Soon after, HR is arrested after a concert for murdering the television journalist. HR is put behind bars and the incidents begin to unravel as the movie goes into a flashback.

While on a concert in Germany, HR meets the event organizer [Darshan Jariwala] and his partner [Mallika Sherawat]. He also meets the event planner [Hansika Motwani] and its love at first sight. Love blossoms. After initial reservations, Hansika's father [Sachin Khedekar] approves of the match.

Things take a turn when HR is arrested. He asks Mallika, also a lawyer, to bail him out. But hell hath no fury like a woman scorned. Mallika is in love with HR, but the rockstar loves Hansika. He escapes from his prison cell after taking the murdered TV journalist's father [Raj Babbar] as captive. He has to find the actual murderer in one single day, or else his sweetheart will be married off to someone else.

AAP KAA SURROOR starts off as a love story, but gets into the thriller drive subsequently. A key factor that goes in its favor is that the events unfold at a feverish pace, giving no time to the viewer to think or break into a yawn. Besides, the film bears a stylish and glossy look and the viewer is enamored by the stunning locales of Germany as also the melodious musical score that has been filmed on some striking locations. This one's an eye candy!

But what acts as an eyesore is the screenplay; the way the writers have penned a script of convenience. Take for instance the climax. The villain's confession is telecast 'Live' after a deadly chase, so much so that even the dulhan [Hansika] and her father call off the saat pheras after watching the television that's placed next to the mandap. Even the auto-rickshaw sequence looks so weird. Besides, the writers should've kept the identity of the killer concealed right till the end, like it happens in Abbas-Mustan's movies. That's the hallmark of a thriller!

Prashant Chadha knows the technicalities right. The film bears a stylish look all through, but Prashant should've been a bit more real and believable as far as the scripting is concerned. Latching on to the tried and tested stuff doesn't do justice to the tagline of the film -- 'The Real Luv Story'. HR is in form as a composer and every song is a musical gem. However, 'Mehbooba' deserved a better placement. Cinematography [Manoj Soni] is superb. Dialogues are alright.

As mentioned earlier, HR looks confident all through, although he depicts emotions like anger, anguish and sadness far more effectively towards the post-interval portions. Of course, there's room for improvement, but for someone who's playing a 'hero' for the first time, it's a fine attempt.

Hansika is a powerhouse of talent. Although she's no stranger to movies [having done a few films as a child artiste], she makes her big screen debut with supreme confidence. She's extremely photogenic too. Mallika Sherawat is interesting, although her switchover [from negative to positive] looks abrupt and artificial.

Shravan [introduced in KUCH MEETHA HO JAYE], as HR's friend, excels. Bani is fair. Sachin Khedekar does well. Darshan Jariwala goes over the top at times.

On the whole, AAP KAA SURROOR has tremendous curiosity-value attached to it. And that, in turn, will ensure a fantastic opening for the film. The superb promotion [quality and quantity] has created tremendous excitement for the film, which will result in the box-office singing a glorious tune in the final tally. For its distributors, the fabulous opening will have them singing and laughing all the way to the bank. Critics be damned, this one's for the masses!

The story revolves around a family of 4 members, Aaditya (Father), Aarti (Mother), Ashu (8 year old son), Aditi (Father's Sister) and a maid (Gangubai). The parents of the boy are too involved in their daily lives and hence cannot give much time to the boy who always feels lonely. He would only get to be with the maid.

On one rainy day the boy saves a mouse from drowning and saves his life. He brings the small mouse home and tells the maid about it. She is very happy and tells the boy that he has saved Lord Ganesha's pet ride. The boy not being able to understand Gangubai explains to him the full episode of Lord Ganesha & Mushakraj and also that he is his friend.

Ashu gets sad and tells Gangubai that he is also alone and needs a friend on which she tells him that Ganesha can be his friend. The boy gets excited at this thought. It was a period where the Family was going through crisis & was coinciding with the forthcoming Ganesha Festival.

Gangubai somehow convinces everyone to bring Ganesha home this festival. Ashu is very excited, Ganesha comes in their home and things started turning around in their family. Ganesha becomes Ashu's friend and together with him solves various problems of their family. Together they have a lot of fun these 11 days.

It's an arduous task to make a film with kids. And much more difficult to inject a sport [read, cricket] in the plotline. 2007 has witnessed two films with cricket as the backdrop - HATTRICK and SAY SALAAM INDIA. In CHAIN KULII KI MAIN KULII, two tracks run concurrently -- an orphan's desire to have parents and his passion for cricket.

Made with noble intentions and with the motive of making a film that would appeal to kids from 6 to 60, CHAIN KULII KI MAIN KULII doesn't really measure up to the expectations of either adults or kids. That's because the film appeals in bits and spurts. The sequences on the pitch succeed in arousing the required emotions, but the emotional angle in the story [between Rahul Bose and his estranged father Nasser Abdullah] appears fake. Also, the romance between Rahul and Meera Vasudevan is half-baked. In fact, forced in the narrative.

In a nutshell, CHAIN KULII KI MAIN KULII isn't great cinema. Conversely, it's not a below-the-mark movie-going experience either. It floats somewhere in between.

CHAIN KULII KI MAIN KULII is a journey of a 13-year-old an orphan boy Karan [Zain Khan], who lives in a dilapidated orphanage owned by a stern, uncouth warden, John Kakkad [Rajesh Khera]. Karan has two dreams, one is to have parents and the other is to be a big cricketer. His inspiration is Kapil Dev since he has been brought up on the motivating stories of India's World Cup win by the orphanage caretaker, Bholu Dada [Susheel Parasher].

Karan's best buddy in the orphanage is Daboo [Deeptiman Chaudhary], who often lends his gentle ears to the aspirations which Karan lives on. His dreams take a turn when one day, he lays his hands on an old cricket bat which Karan is convinced is the bat that Kapil Dev used to win the World Cup, and for him the bat becomes a magic bat.

One day, by the stroke of luck, the coach of the Indian cricket team [Vijay Crishna] spots Karan and is highly impressed by his batting skills. This happens at a time when the Indian cricket team is going through a rough patch. Karan is inducted into the team as the opening batsman along with the captain, Varun [Rahul Bose].

Karan soon becomes the nation's heartthrob. Only one person hates him, Raghav [Raj Bhansali], the orphanage bully, who feels that if Karan did not have the magic bat, he would have never made it to the cricket team. Raghav now wants the magic bat at any cost.

At the final one-day match between India and Pakistan, events spiral out of control and Karan's magic bat is destroyed. Karan is a nervous wreck, but Varun makes him realize that faith in oneself counts beyond anything else.

Jay Shewakramani's story has the potential to strike a chord with moviegoers of all ages, but the screenplay [Nupur Asthana] vacillates between convincing and least convincing. In an effort to please the kids as also grown-ups, the film drifts away from the core issue.

Debutante Kituu Salooja's direction is simple and a few moments are deftly executed, especially those in the orphanage. But, as mentioned at the outset, the film works in bits and spurts, not in totality. Salim-Sulaiman's music is plain ordinary. The title track in the end credits is eye-catching. Cinematography [Promod Kumar H. Pradhan] is functional.

Rahul Bose takes a backseat since the focus is on Zain Khan, who's supremely confident all through. Ditto for the other kid, Raj Bhansali. Vijay Crishna is effective. Rajesh Khera's performance is impressive. But his shabby get-up resembles that of a male witch, not an orphanage warden. Meera Vasudevan gets no scope. Deeptiman Chaudhary is cute.

On the whole, CHAIN KULII KI MAIN KULII is an ordinary fare that might attract kids in its opening weekend. But the three tough oppositions next week will marginalize it completely.

Oldd Iss Goldd is a comedy film about the life of three old men trying to become young again.

The story starts with three old men (Kader Khan, Shakti Kapoor and Asrani) who are bored in life and want to have some fun to overlook the thought that they are old. They want to live life like a 25 yr old boy and do everything he does. The story develops when these three men go on vacation to Goa without their wives and have a gala time of their life. On reaching Goa, they happen to meet a young couple (Vikram and Madhurima) in the same hotel where they stay.

As this couple calls them uncle at times, these three old men get provoked to do a complete makeover to look younger. They start dressing differently and want to live life like young people. Shakti Kapoor already has an old crush in life whom he meets through the internet and fixes a date with that lady which turns out to be a disaster. Kader Khan and Asrani on the other hand get hooked by a sexy blonde girl. They both end up dating the same girl but hide it from each other. The girl on the other hand is a crook who is playing her cards very well to get maximum money out from them.

Then a situation arrives in Vikram and Madhurima’s life. They are financially broke which leads them to ask these oldies for money in the hotel but they knowingly refuse. That is when Vikram comes up with a plan to get money out of those oldies who are throwing money on that blonde chic.

Apne…is the story of a family…their relationship and their dreams…a father and his sons, each have their own desires…aspirations…and hopes…

Baldev Singh Choudhary (Dharmendra) won a silver medal in the Olympics and made India proud. His only dream was to make history by becoming India’s first World Heavy weight Champion. But sometimes dreams shatter before they can be realized and make the heart bleed forever…the same fate awaited Baldev.

When in the US fighting for the World Heavy Weight Championship, the betting mafia conspired against him and got doping charges leveled against him, which got him banned from Boxing.

For an athlete nothing can be worse then doping charges. He wanted to get rid of this stigma and pain by training his elder son Angad (Sunny Deol) in the sport of boxing and make him a World Heavyweight Champion and create history which eluded him, but…

Angad had some other dreams…some other aspirations…some other commitments… Karan (Bobby Deol), the younger son, a musician at par, inspite of wanting to fulfill his father’s dreams was helpless. What was this helplessness?

Inspite of loving and living for each other why were these two sons not able to work along with each other to achieve their father’s dream?

Will they ever succeed?

Will Baldev’s dream ever be achieved or will it die along with him?

As he has decided to end his life today………………..

Worldwide over, sex and thrills are a lethal combo. Vinod Pande's RED SWASTIK is about a woman who seeks revenge. She had been raped, her fiancé had deserted her, her kid had died in an accident… On paper, the theme sounds interesting. But, on celluloid, it's a script of convenience.

Pande has chosen interesting stories in the past [EK BAAR PHIR, YEH NAZDEEKIYAN] and to be fair, he has handled a few scenes well [especially the erotic ones] in his new outing, but the emphasis here is more on titillation rather than narrating an absorbing tale.

The film begins with a murder. A corporate honcho is murdered by a sexy siren [Menaka/Sherlyn Chopra] after they've made love. She draws a Swastik on his forehead with his blood.

More murders take place. The police [Harsh Chhaya] is completely clueless. The murderer keeps in touch with the Editor of a woman's magazine [Deepshikha] since she wants her story to be printed. The truth behind her behavior is only revealed in the end.

The brutal murder at the very start sets the pace. You are hooked. The murderer behaves rather mysteriously and that only makes the goings-on fascinating. But the post-interval portions are a terrible letdown, thanks to inept writing [screenplay: Vinod Pande, Preeti Koppikar, Prerna Agarwal].

One of the cops [Deep Raj Rana] gets to know the murderer's identity [he spends some tender moments with her], but he too is murdered. That's when the writing falls to its lowest level. The cop had informed his seniors, yet they don't close in on the murderer. She suddenly becomes a nurse and her story is revealed by a journo who has been entrusted the job of unearthing her mysterious past. The climax is equally bizarre. What was that?

The only thing that goes in its favor is, expectedly, the 'hot' scenes that the masses may take a fancy for. The leading lady has exposed her anatomy all through and the erotic scenes will catch the eye of a section of moviegoers. The two songs [music: Shamir Tandon] are okay. Cinematography [Rakesh Kumar] is passable.

Menaka/Sherlyn Chopra does well in certain scenes. Also, she has a great body and she flaunts it without inhibitions. Deep Raj Rana is highly competent. Ditto for Harsh Chhaya, who enacts his part well. Deepshikha is alright.

On the whole, RED SWASTIK is an ordinary fare with good doses of sex and titillation as its saviors. A film for smaller centres basically.

Anuranan means 'resonance' in Bengali and this movie is about the story of two couples, each with their own struggles to survive as a couple and as individuals. These individuals can be distinctly seen as four separate entities, with their own dreams, desires and emotions. Fate and circumstances bring them together.

After living in London for a few years, Rahul and Nandita have recently moved back to Kolkata. The Kanchanjunga project is what brings Rahul and Amit together. Friendship eventually blossoms amongst both the couples - Rahul & Nandita and Amit & Preeti. As time flies, lot of events unfold and the relationship these friends share creates a resonance, a chord - that echoes through their present and future.

Rahul, Nandita, Preeti and Amit are seen walking through life, each of them going through a different phase. They bump into each other and their life takes a subtle turn. Rahul and Nandita strike a chord at a different level which continues to reverberate. They experience a unique bond and emotionally connect with each other in a significant plane of their journey in life.

The understanding between Preeti and Nandita at the end of the story when their individual worlds are broken to bits and pieces also signifies a new resonance that has been struck. It signifies a new beginning for two people who will grow and nurture each other meaningfully in days to come.

This movie shot in London with some brilliant photography, has very beautifully portrayed relationships. The sensitivity with which the emotions have been captured is commendable. The film contemplates how at various moments and thresholds of our life we experience different kinds of bonds and emotional attachments with different kinds of people.

Really big expectations? Oh yes! With the premier production house [Yash Raj] at the helm of affairs and Shaad Ali in the director's seat, JHOOM BARABAR JHOOM is expected to strike like a hurricane.

Let's come to the point straightaway. Don't look for a story in JHOOM BARABAR JHOOM. For, there's none here. What you get to see is a collage of interesting moments. It's not one of those conventional prem kahanis that have the lovers drifting apart or a misunderstanding creating havoc in their lives.

What goes against the film is the fact that you feel a vacuum at the end of the screening. Something is amiss. Sure, you are enamored by the gloss. You are awe-struck by the stunning locales of U.K. and France. You are hooked to the performances of Abhishek and Preity mainly. But, deep inside, it doesn't satiate you.

To sum up, JHOOM BARABAR JHOOM is all gloss, no substance. Body beautiful, minus soul. In desi lingo, unchi dukaan, phika pakwaan.

Busy London station. Delayed train from Birmingham. Two strangers waiting for the train... Rikki Thukral [Abhishek Bachchan], born in Bhatinda, living in London; and Alvira Khan [Preity Zinta], more Brit than the Queen herself, however with Lahori blood in her veins.

Crowded café. One table to share. Two hours to kill. Perfect setting for the start of a love-story. Hitch? Both Rikki and Alvira are engaged and have come to pick up their fiancés, who are coming by the same train. To kill time, they end up telling each other their “how I met my fiancé” stories.

Rikki met his fiancé Anaida [Lara Dutta] at The Ritz, Paris. Alvira discovers her prince at Madame Tussaud's. When a gigantic wax model of Superman falls from the ceiling, Alvira is a sitting target. But Steve [Bobby Deol], a lawyer by profession, saves her life, but steals her heart.

Stories unfold, time passes, the two strangers start enjoying each other. Actually, they have gotten alarmingly attracted to each other!

Director Shaad Ali has handled a number of sequences well. Actually, come to think of it, you do enjoy a few moments in this 14 reeler. But can you stretch a rubberband beyond a point? That's what the writer does.

Writer Habib Faisal's screenplay is as taxing as driving in monsoons on a road full of potholes. When you realize the film offers no story, you sit motionless, flexing your facial muscles at times, but remaining indifferent to the goings-on generally. The director and writer have substituted the script with stunning visuals. But that's no compensation. Shankar-Ehsaan-Loy's music is quite good. 'Ticket To Hollywood' is the track you carry home. The title track is another foot-tapping composition. Cinematography is exceptional. The film is a visual treat. Choreography [Vaibhavi Merchant] is different, but Abhishek carries it off very well. Aki Narula's costumes are smashing.

JHOOM BARABAR JHOOM belongs to Abhishek first and Preity next. Abhishek is in terrific form. It wouldn't be erroneous to state that his performance makes the goings-on watchable at times. A lesser actor would've fallen flat on his face in the absence of a cohesive script.

Preity is lovely and takes to her character like a fish to water. In fact, the two actors make an attractive pair. Bobby is relegated to the backseat. Also, would someone please tell Mr. Deol to chop off those locks? Lara Dutta is confident, though she's not in the forefront either. Amitabh Bachchan adds to star-value. He only appears in one song, flashed throughout the movie.

On the whole, JHOOM BARABAR JHOOM is no patch on Yash Raj's illustrious films. The film is all gloss, no substance. Body beautiful, minus soul. At the box-office, the all-powerful Yash Raj brand coupled with the lack of biggies will ensure substantial revenue for its producers/distributors in the initial days, proving that sometimes, a bad film also makes money.

Nandu (Bobby Deol) an orphan turned assassin somehow gets wrongly accused of a politician's murder and is on the run. On his escapade on a train he meets Shekhar (Pradeep), who is homebound after fourteen years, they get chatting and Nandu finds all about his joint family and the wedding of Shekhar's cousin that he is going to attend.

However the police catch up with Nandu on the train and shoot at him but Shekhar shields Nandu and dies on the spot. Nandu goes to Shekhar's family home in his village to return his grandfathers watch and also to break the news of his grandson's death to him. However it turns out that Shekhar's family mistakes Nandu for Shekhar and makes him a part of the celebration at home.

Preet (Shriya Saran), who is the daughter of Shekhar's grandfather's friend is in awe of Nandu and falls in love with him. CBI Inspector Rane (Nana Patekar), is given the responsibility of tracking down the killer and is after Nandu.

Will Nandu be able to come out of the crisis a winner? Will the family come to know about his truth? What would be the fate of Nandu and Preet's love story? Who was the real killer?

Character Sketch

Clayton Rodgers as Bradley

Nobody understands me. I hate my life, my work, my family all I want is to play my music. Yes, I want out!

But if you think that means I’m going to let them in… think again! No one messes with my home. The boy who wants out but won’t let them in!

Neha Dubey as Anne

My alcoholic husband beats me I have a son who silently witnesses it everyday. Yes, I am in love with another man but can you blame me?

But if you think I’m going to leave and run away in fear of my husband… you’re wrong! No one messes with my home. The girl who will never give up despite the odds!

Victor Banerjee as Peter the Cheater

Yes, that’s me. A bit of a player a bit of a drinker a bit of a cheater but don’t get fooled by what you see!

Warning: don’t judge a book by it’s cover! The old trumpet player who can cheat you out of anything… but try cheating him out of his home!

Lilette Dubey as Emily Lobo

People line up outside my house for wine and cake but all I do is line up outside a telephone booth everyday to talk to my son in London!

I love my son but will I leave bow barracks for London? Never! No one messes with my home. The woman who will never leave… not even for her son!

Moon Moon Sen as Rosa

I made a mistake! I walked out on my marriage but I’m only human Will I ever be able to walk back in?
Will my people ever take me back?

I was torn between two men but not anymore. I want my life, my home back! No one messes with my home.

The woman who left never to return… but came back for good!

Rupa Ganguly as Rita

I think my husband is having an affair. He hasn’t been home in months but I’m sure he’ll come back if not for me, for his daughter. But I have a question – am I not a good wife?

My family is all I have. No one takes that away from me! No one messes with my home. The woman who will forgive anything… only to protect her home!

Sabyasachi Chakravarty as Tom

I am a smuggler. I tend to do things the wrong way. My marriage is on the rocks and I’ll probably go to hell but that’s me. And this is my home nobody tells me what to do!

There is only one way I know to live life and protect my home! No one messes with my home. The man who will kill to safeguard his home!

Sohini Pal as Sally

All I know is that I’ve always loved him and that he’s always loved someone else! Will this be my last chance?

I know I don’t stand a chance. But will I give up? Not just yet! No one messes with my home. The girl who always knew she never stood a chance!

Storyline

Bow Barracks Forever is the real life story of a tiny but resolute Anglo Indian Community right in the heart of bustling North Kolkata trying desperately to keep alive its hopes, dreams, aspirations -- and its identity, as the world around them changes swiftly and tries to impose that change on them and their lives. It is a tale of heart breaking loneliness and immense courage.

The ultimate story of the triumph of the human spirit!

Marigold is a musical romantic comedy about a young American woman who travels to India and finds that her life is transformed in the most unexpected ways by her experiences and adventures there.

American Actress Marigold Lexton (Ali Larter) arrives in India with no luggage and a bad attitude. Stranded in Goa when financing for her low budget Hollywood movie falls apart, Marigold finds herself cast in a small role in a Bollywood musical. Eager to prove herself, she enlists the aid of Prem (Salman Khan), the film's choreographer. After several false starts – Marigold is most definitely not a natural dancer – she experiences renewed confidence and growing love for Prem.

In rapid succession, Marigold discovers that Prem is not only descended from royalty but is also paced in rapidly – approaching arranged marriage to a beautiful India girl Janvi (Nandana Sen). Unable to deal with this development, Marigold angrily departs Prem's family estate. But she is urged back by Janvi who confesses that Prem doesn't love her and never will. Another complication – in the form of Marigold's boyfriend, Barry (Ian Bohen), who arrives in India unexpectedly - finds Marigold emotionally drained but still very much in love with Prem.

Love does ultimately triumph as Marigold and Prem are brought together and Janvi and Barry embark upon a romantic journey of their own.

A film like SWAMI takes you back to the cinema of 1960s and 1970s. A simple story with simple characters, captured on celluloid in the most simplistic fashion. Come to think of it, a subject like SWAMI is a rarity today. In an era where commercial trappings, spell-binding visuals and technical wizardry are used as tools to garnish a film, SWAMI is as fresh as the morning dew.

On the flip side, SWAMI has not much to offer to viewers shelling out Rs. 150 / Rs. 200 for a ticket at multiplexes to watch larger-than-life movies. A story of a middle class family, with songs playing in the background, no great visuals / sets, no masala, no sub-plots, SWAMI caters to a really tiny sect of viewers that has an appetite for this kind of cinema. For the wide majority, it's akin to treating oneself with boiled food, with no spices to tempt the taste buds.

Yet, all said and done, SWAMI marks the birth of a sensitive storyteller -- Ganesh Acharya. The film is rich in emotions and that's one thing that can never go out of fashion.

Swami [Manoj Bajpai], Radha [Juhi Chawla] and their kid [Siddharth] shift to Mumbai after selling off their ancestral home in a village. In Mumbai, they get their kid admitted to a school that's patronized by children belonging to affluent families.

Everything is going fine until Radha falls ill and is diagnosed with a life-threatening illness. Swami starts working overtime to raise funds for the operation, but Radha spends the entire amount on a chair that Swami wants to possess so dearly.

Radha passes away with just one desire: The kid should settle down in America some day. How Swami works towards that dream is the remainder of the story.

SWAMI has an absorbing first hour. The simple story with simple situations gets finely tuned due to Manoj, Juhi and child actor Siddharth's true to life performances, besides Ganesh's execution. In fact, a number of scenes make you moist eyed in this hour and you can't help but reach out for your kerchief.

But the second hour plays truant. The story stagnates in this hour as a few new characters are injected -- the friends at the park. These characters are a complete put off and only act as a spoke in the wheel. In fact, this portion should be trimmed instantly to keep the movie on the right track.

The writing [screenplay: Bhavani Iyer, Muazzam Beg] is interesting in parts. If the first hour is taut, there's not much to look forward to in the second hour. This half has two incidents mainly -- the daughter-in-law selling off the chair and the son's trip to America. Besides these, the writers should've incorporated a few more dramatic moments to keep the interest alive.

Ganesh Acharya has handled the emotional scenes very well. Also, he has drawn wonderful performances, not just from seasoned actors like Manoj and Juhi, but also from debutante Maninder and also the child artist. There's no scope for music [Nitin Arora, Sony Chandy] in the film and the song or two in the background are strictly okay. Cinematography [Lenin] is alright.

Manoj Bajpai is tremendous yet again. This is yet another performance he underplays beautifully. Juhi Chawla is effective enough, though one misses her in the second hour. Maninder is first-rate. The newcomer holds his head high despite scenes with Manoj. Neha Pendse is okay. Siddharth is adorable. The kid is sheer magic on screen.

On the whole, SWAMI is for a miniscule section of moviegoers only. At the box-office, it'll have to rely on a strong word of mouth to stand on its feet.

Extra-marital affairs aren't new for Hindi moviegoers. So how different is THE TRAIN from films that have hit the screens in the past? Well, it tackles this issue and garnishes it with murder, lies, deceit, treachery, rape, blackmail… perfect ingredients for a thriller.

Inspired by the Hollywood film DERAILED [2005; Clive Owen, Jennifer Aniston], the film also bears a striking resemblance [coincidental] to BEZUBAAN [Shashi Kapoor, Reena Roy, Naseeruddin Shah], about a blackmailer making the life of a married person miserable.

For those who haven't watch DERAILED, THE TRAIN is a novel experience for sure. The Indianisation of the plot as also the twists-n-turns in the narrative keep the film going. Besides, the film is embellished with lilting music [Mithoon], which acts as the perfect topping on the pudding.

All said, THE TRAIN is very much on track and succeeds in reaching its destination without hiccups.

Vishal [Emraan Hashmi], a middle class man, is settled in Bangkok with his wife, Anjali [Sayali Bhagat] and their 5-year-old daughter Nikki. Anjali and Vishal are trying to hold on to their deteriorating marriage, which is already under tremendous pressure.

One ordinary day, on his way to work, Vishal meets Roma [Geeta Basra], a beautiful, captivating woman. The attraction between them is instantaneous. As Vishal gets to know her better, he realizes that she too is a loner, trapped in a loveless marriage. The attraction between them reaches a peak and they decide to give in to an adulterous affair.

As Anjali starts getting suspicious of Vishal's erratic behavior, his romance with Roma deepens. He is torn between the two loves of his life. Just when Vishal thought life could not get more complicated, he realizes that his secret liaison is known to someone, an unknown elusive enemy who is bent on using the knowledge to destroy all three lives.

Vishal realizes that the game will never end till he finds a permanent solution and that would be to eliminate the enemy.

The twists-n-turns in the screenplay keep you guessing what the next step would be. Starting out with an extra-marital affair, the story changes gears and shifts to blackmailing, murder and eventually, the husband-wife relationship.

The screenplay is smartly penned, since the sequence of events jump from one situation to another in those 14 reels. For any thriller to strike a chord, it ought to shock the viewer when the veil of secrecy is lifted and the face that comes to the fore does catch you by surprise.

Raksha Mistry and Hasnain Hyderabadwala's direction is commendable. In fact, the duo has only climbed the ladder as storytellers. But the director duo shouldn't have stretched the blackmailer's portions to such an extent. That's the only time when the film actually stagnates. Mithoon's music is a major asset. 'Woh Ajnabee' is a superb composition, while the other two compositions are equally nice. Cinematography [K. Rajkumar] does justice to the stunning locales of Bangkok and Pattaya.

Emraan Hashmi is very much in form this time around. The actor carries the film on his able shoulders and contributes enormously in making the on-screen action riveting. Geeta Basra is a surprise. The girl has evolved into a fine actor. She looks alluring too. Sayali Bhagat looks pretty, but needs to polish her acting skills.

Aseem Merchant does very well. In fact, his face lends freshness to the character. Rajat Bedi is competent. Suresh Menon provides some laughs. Ananth Mahadevan is good.

On the whole, THE TRAIN is an entertaining fare that lives up to the expectations. At the box-office, it will carry the passengers [read distributors] to safety for sure.

A love story set in a school is a rarity in Bollywood. MP3 - MERA PEHLA PEHLA PYAAR, as the title suggests, is about the first crush, the first love, which one cannot erase from memory.

MP3 is different from films of its ilk. The lovers here face no parental opposition, nor is there a rich / poor divide. The problems they encounter are pretty trivial, so common amongst adolescents.

MP3 isn't great cinema, it promises no path-breaking story either, but it succeeds in taking you back to those years in life when even holding a girl's hand was a big high. There's a certain innocence that this film captures effectively: the rawness that the characters exude, the shortcuts that teens undertake to impress their friends…

All said, MP3 has soul, something that's missing in most movies these days.

The film opens up with Rohan [Ruslaan], the male lead, catching a little more than the usual forty winks. As he wakes up just on time to scuttle away on his bicycle to school, en route his close friend Sudhir joins in.

Enter Ayesha [Hazel], a bright young fresher on her first trip to school, who ends up having this bizarre first-time experience with Rohan. While the latter is bunking class, he uses her as a shield to protect himself from the seething school principle. The meet ups thereafter are full of drama and gradually, the two fall in love.

But a misunderstanding ensues and an upset Ayesha leaves for France. Rohan desires to meet his Lady Love again. But how does he cross the umpteen hurdles to reach the Eiffel Tower?

There have been school / college romances in the past. Some worked, some didn't. MP3 doesn't attempt to make the bachchas behave like grown-ups and that's one of the reasons why it works.

The pranks are childish, but in sync with the mood of the film. While there's not much of a story to look forward to, the wheels start moving towards the penultimate reels, when the boy flies to Paris to meet his girlfriend. The last 20 odd minutes, when he asks her to reach the Eiffel Tower, and their respective journeys to the monument, is the best part of the enterprise.

Any shortcomings? Oh yes! For any love story to strike a chord, it ought to be embellished with a lilting musical score. In this case, the music is a letdown. Worse, the song that has been publicized the maximum, 'Mera Pehla Pehla Pyaar', is missing from the film. Strange, isn't it?

Robby Grewal shows a definite growth as a storyteller. His second outing has a cohesive script and the execution of a few scenes is just perfect. The climax, especially, is noteworthy. Cinematography is up to the mark. The locales of Prague and Paris are enticing.

Ruslaan does very well. Good-looking, camera-friendly and confident, he has the potential to be the new kid on the block. Hazel looks pretty and compliments Ruslaan. Ruslaan's friends and also the actor playing Shantu are natural. Kanwaljeet Singh is nice. The actors playing Hazel's mom and aunt pitch in fine performances. Manoj Pahwa is spontaneous. Gaurav Gera does a fine job.

On the whole, MP3 is a cute film that succeeds in its mission of pleasing its target audience -- the teens. At the box-office, the patronage from its target audience should see the film through to the safety mark.

Very rarely does one come across a film that makes the other films look so trivial in comparison. DHARM is one of those films!

In which genre does one classify / place a film like DHARM? It talks of religion. It talks of communal harmony. It also looks at the parent-child bond. Most importantly, DHARM is one of those thought-provoking films that touch the core of your heart.

Certain films are beyond box-office. It would be blasphemous to evaluate their potential on the basis of how they fare at the turnstiles. That holds true for DHARM.

An outstanding film in all respects, this one deserves the highest praise and of course, the highest award. Do yourself one favor. Watch DHARM.

DHARM is about a Hindu priest, Pandit Chaturvedi [Pankaj Kapur], who's revered in Benaras. One day, his daughter gets an infant home. The mother of this infant had disappeared and was untraceable. The priest's wife [Supriya Pathak Kapur] requests him to allow her to raise the child [Krish Parekh], instead of sending him to an orphanage. The priest hesitates initially, but agrees later. Gradually, the child wins everyone's heart, including that of the priest.

The story takes a turn when the child's mother, a Muslim, resurfaces and claims her child. The entire family is shocked…

Director Bhavna Talwar deserves kudos for not only choosing a daringly different story, but also presenting it with rare maturity and honesty. A lot of hard work and detailing has gone into this film and it's evident in each and every frame.

To pinpoint a sequence or two would be doing gross injustice to the film, but a few sequences do leave you spellbound. Take, for instance, the intermission point, when the mother of the child surfaces or the climax, which deserves an ovation.

Bhavna Talwar's direction deserves distinction marks. The writing [script: Vibha Singh; dialogues: Varun Gautam] is flawless. Only thing, the chaste Hindi is difficult to comprehend at places, but goes well with the mood of the film. Cinematography [Nalla Muthu] is superb. Sound [Dileep Subramaniam] is of international quality. Costumes [Shehnaz Vahanvati] are authentic.

The performances are award-worthy. Like always, Pankaj Kapur delivers an astounding performance. It's akin to a textbook in acting. Supriya Pathak Kapur excels. Krish Parekh is first-rate. Hrishita Bhatt is good. K.K. Raina is top class. The actor enacting the role of Raina's son, Pankaj Tripathy, is effective. Dayashanker Pandey is superb.

On the whole, DHARM is one of the finest films produced in India. A film that deserves to be seen by every lover of qualitative cinema. A film that's bound to create ripples!

Director duo Abbas-Mastan is back with another thriller Naqaab, which is being dubbed as a 'triangular love story with a twist'. Naqaab brings together the Humraaz team of Bobby Deol, Akshaye Khanna and Abbas-Mustan. Here, too, the two men are pitted against each other, vying for the attention of the same girl.

Character Sketch

Akshaye Khanna as Vicky Malhotra
Vicky is an out-of-work young man, who is willing to forsake all in his quest to become an actor.

Urvashi Sharma as Sophie
Sophie is confident enough of embarking on a live-in relationship with a millionaire, but wants her slice of true love too when it beckons in the shape of Vicky.

Bobby Deol as Karan Khanna
Karan is a millionaire with flowing locks and dressed in smart-cut suits.

Storyline

Naqaab tells the story of Sophie (Urvashi Sharma), a young girl from a middle-class family. She is engaged to millionaire Karan Khanna (Bobby Deol). When she meets Vicky Malhotra (Akshaye Khanna) her affections shift to him and problems begin in her relationship with Karan.

The focus of the film also shifts to the shady past of all three characters, with some unexpected elements thrown in.

Who does Urvashi choose?

Who does she really want?

What are their shady pasts?

Expect a rocking thriller once again from the masters of this genre- Abbas-Mustan.

Some rules you need to follow before you embark on a journey called FOOL & FINAL…
One, don't wear your thinking caps. Here's why: The film defies logic.
Two, don't ask questions. Here's why: It's all about entertainment, not enlightenment. Three, don't look for answers. Here's why: The motive is to keep you in splits.

FOOL & FINAL is all about transporting you to a world of make-believe. The sole intention is to offer you loads of entertainment in those 17 reels / 2.20 hours.

But, wait, there's a hitch…

The execution of the material is done most stylishly, it's akin to watching a comic book on screen. But the effort falls flat since there's no script in the first place. The film packs in too many characters and too many incidents in those 17 reels. No issues with that, but director Ahmed Khan and his team of writers [Umesh Shukla, Abbas Hierapurwala] should've mixed, merged and unified the assorted characters and incidents skillfully so that the entire experience would be worth cherishing. Unfortunately, what happens here is that you root for a few individualistic sequences only, not the film in entirety.

What redeems FOOL & FINAL are the portions between Johny Lever and Paresh Rawal and a few splendid stunts in the narrative -- Shahid's bike chase at the start or Sunny's fight to finish combat in the finale. But as you walk out of the auditorium, you strongly feel that Ahmed hasn't utilized the golden opportunity of creating a paisa vasool entertainer.

To sum up, FOOL & FINAL disappoints!

FOOL & FINAL is all about a diamond that's robbed by Chunkey Pandey in Mumbai and smuggled to Dubai. Chunkey's uncle [Gulshan Grover], a don based in London, asks Chunkey to sell the diamond to his accomplice in Dubai, Asrani.

Arbaaz Khan, a don based in Dubai, gets to know of the diamond and also of Chunkey's weaknesses -- guns and gambling. Arbaaz asks Paresh Rawal to get on to the job. Paresh plans to carry out the robbery with his niece [Ayesha Takia], her boyfriend [Shahid Kapoor] and a cabbie [Johny Lever].

Viek Oberoi owes money to a don [Zakir Hussain], who conducts illegal boxing matches in Dubai. Meanwhile, Chunkey cannot resist the urge for guns and calls Arbaaz, who in turn asks Chunkey for a favor: Chunkey should bet on his behalf at Zakir's illegal den. On Arbaaz's instructions, Paresh, Shahid, Ayesha and Johny decide to kidnap Chunkey.

Sunny Deol has an altercation with Vivek's fighter. Zakir asks Vivek to bring Sunny for the big fight. Sunny knocks down Zakir's fighter. Zakir is seething with anger. In the meanwhile, Arbaaz walks away with the diamond. Subsequently, Zakir walks in and demands the diamond from Paresh and gang. Gulshan and Asrani also land up at Paresh's place with Jackie Shroff and ask for the diamond.

FOOL & FINAL is meant to be a laughathon, but it excites in bits and spurts. The first half offers rich visuals and a few interesting gags, but the entertainment quotient isn't high enough. It's only when Johny Lever enters the frame that things intensify. The sequence in the car, with Ayesha's dog swallowing the mobile, is hilarious and every time Paresh and Johny interact with one another, the smile on your face only widens.

But too many cooks spoil the broth. In this case, with so many characters around and so many stories running concurrently, the writer duo hasn't been able to do justice to each of them. As a result, the viewer feels dejected because every sub-plot isn't as interesting as the Paresh - Johny track.

Director Ahmed Khan tries to pack just about everything in those 2.20 hours. His fundas may be, let's give the viewer a dash of everything that they expect from a masala movie. It's like offering twenty well-garnished dishes to a foodie, but [a] most of the dishes [read, sub-plots] aren't delicious and [b] the appetite doesn't permit you to relish each and every dish in your plate.

Himesh Reshammiya's music is in sync with the mood of the film. 'Yeh Dooriyaan' and 'Tere Layee' are visually enticing as well as superb in terms of choreography. Cinematography [Johny Lal] is excellent. The D.O.P. does complete justice to the eye-filling, glamorous locales of Dubai. Dialogues are witty at places.

FOOL & FINAL has a host of actors, but the ones who stand out are Johny Lever and Paresh Rawal. No two opinions on that! Johny is in form after a long, long time and the funster is the soul of the enterprise. The masses will simply love him. Paresh is excellent yet again and together with Johny, elevates the film to a major extent.

Shahid Kapoor is noticeable because he's with Johny and Paresh all through. Even otherwise, he leaves a strong mark in dances. Ayesha Takia pairs off well with Shahid, but doesn't have much to do really. Sunny Deol is okay, although his mukka will be liked by the hoi polloi. Vivek Oberoi hams in the little role that he has.

Sameera Reddy has no role either. Sharmila Tagore is wasted. Om Puri deserved a better deal. Jackie Shroff is hardly there. Chunky Pandey is passable. Ditto for Arbaaz Khan. Zakir Hussain does well. Gulshan Grover, Asrani, Vijay Raaz, Razzak Khan and Suresh Menon are mere gap fillers.

On the whole, FOOL & FINAL is all gloss, no substance. At the box-office, given the hype for the film as also the fantabulous promotion embarked by the magnanimous producer [Firoz A. Nadiadwala], the film will attract footfalls in the initial days, but the weak content will tell on the business in the initial weekend itself. Its sustaining power at the ticket window, therefore, is doubtful.

Get Set GOAL is a story of that great optimistic trait – hope. The characters in this drama fight the battle of hope through relationships, pride and their dreams.

Southall United is a football club going through a major crisis. The team has no stars, no sponsors, no spectators and most importantly, no coach. Yet, it nurtures the hope that is will win the cup this time.

The head of the city council, Anne, collaborates with Johnny Patel, a sports commentator, to acquire a large tract of land that is with this club. Together, they highlight the club’s lackluster performance and threaten to have the land taken from them, unless things change. Their biggest hope? That the team will lose, yet again.

Sir Devi Dayal Dhariwal, owner of the club, hopes to save the land from the greed of Anne and Johnny Patel.

Hanif, the captain of Southall United, hopes to win by playing the last card the club has. He brings in a celebrated ex-player to coach them.

And then, there is Sunny Bhasin (John Abraham) who hopes to become a member of a top team and play first division football – a dream every aspiring British footballer yearns for.

Will the coach manage to pull his team together? How does Sunny become a part of this team? And most importantly, will the club win the title and retain the ground?

Get Set GOAL is a contemporary story of the Asian community in UK told through the dynamic prism of professional football.