Indian movies

Gautam as Abhay Narula
Born in upper middle class of Bombay Suburbs, Abhay is bratty, quick witted, very independent and only child of his parents. He has an absolute belief in his ability to tackle any situation, though his lack of practical experience may contradict such a claim. He turns his charm on in a jiffy, eases his way out with a smile and makes people believe in him. He believes in loyalty and forms very strong bonds.

Nisha Kothari as Vasundhra Dave
Neighbor of Abhay comes from a similarly affluent background. Pretty and knows it, naïve and does not know it. Sweet natured and really does not mind Abhay pulling her leg. She tries to pay back in same coin and succeeds mainly because of unbelievable simplicity in her way of thinking. Has utmost belief is in her relation with Abhay and she has never tried to question it. She has a romantic streak in her and believes in chocolates and flowers.

Rajpal Yadav as Kay Jagtap Tiwari
A chameleon like conman who believes that he can con anyone at anytime, this belief leads to his downfall more often than not. His cons are swashbuckling and his appearance in constant makeover. He tries to reinvent himself into a new character everyday. What he does not know yet is that it is cagier to con him than him conning anyone else.

Kay Kay Menon as Nagesh Rao
Through years of his service serving justice he has lost out on his sense of right and wrong. There is deep seated bitterness and resentment that his honesty and ability has not been recognized or rewarded. A ticking time bomb and he is about to change his tracks.

Ravi Kale as Arjun Patil
From son of a primary school teacher in rural Chandarpur to Chief Minister of Maharashtra it has been long and arduous journey for Arjun Patil. Now he has got the power and he would do anything to keep it. He knows the art of politics and understands the culpability of power.
Discretion is second nature to him and backstabbing a habit which he has developed through his meteorically rise in power.

Sherveer Shereyar Vakil as T. S. Ranganathan
Ranga is a gun for hire, he has been in service for Arjun Patil for quiet a few years and he has a grudge that his loyalty has never been rewarded. Simple minded and very dangerous, he is not really pursued by logic or morality.

SYNOPSIS
Tow lovers, Abhay & Vasu run away from home, little realizing that they will run into a whole bunch of colourful characters including: a rogue cop, a mean killer, a crafty conman and a chief minister who kills his own deputy. As the stakes get higher and the chase picks up, it’s up to Abhay to save the day. It’s a racy story which constantly collides with heady action, super scares and compelling humor. It’s a full speed entertainment right from the word GO!

Sometimes interesting stories run out of steam if stretched beyond a point. That's the problem with KAISAY KAHEIN, directed by Mohit Hussein.

KAISAY KAHEIN looks at the problems faced by two young professionals in a metro. Sure, you identify with the storyline since you do come across people who think from the mind, not heart. In fact, the last sequence -- when the guy realizes that he may've attained the riches, but riches can't buy happiness -- moves you since it depicts a harsh reality. But KAISAY KAHEIN takes a long route to get to this point.

On the plus side, debutante director Mohit Hussein has handled a few complex sequences well. On the flip side, the narrative should've been shorter and crisper. The film needs to be judiciously trimmed by at least 20/25 minutes.

KAISAY KAHEIN is a love story that pits romance against career. Aditya [Raajveer] is a young banker with a bright future. At the age of 25, he's earmarked as the one most likely to climb into the COO's chair. He doesn't have a personal life except his work and is happy about it. Till Radhika [Neha Julka] steps into his life.

Radhika is a TV journalist and loves her work. She has left her native Mangalore and is dead certain that nothing, but nothing is going to keep her away from being the hottest young property in journalism. On the job 24/7, she conducts a sting operation during which she encounters Aditya. They fall in love, deeply in love, but their careers remain the priority.

Aditya can't leave his burgeoning career opportunities when Radhika decides to take a much-awaited promotion that would take her to another city, away from Aditya. It's not easygoing for either, but they give the long-distance relationship a try.

Director Mohit Hussein, who along with Surindra Bhatia has penned the screenplay, never loses focus all along; they remain faithful to the core issue. But there's a major flaw in the writing: It's the girl who commits the mistakes most of the times, but the guy is made to feel guilty every time and even apologizes for it. In fact, the guy is at the receiving end all through, even in the finale. Why?

In terms of narrating the story, Hussein knows the technicalities right. The director and his D.O.P. [cinematographer: M. Sethuraman] have shot the film well [the locales of London are enticing]. Music [Pritam] is okay. The title track is interesting. So is the Yana Gupta track.

Rajveer Dutt has screen presence and exudes confidence. He has the potential to climb the ladder provided he gets the right roles. Some more attention to his dialogue delivery will only help. Neha Julka acts like a seasoned performer. She impresses in most parts. Kunal Kumar [Raajveer's friend] is good. Chavi Mittal [Kunal's wife] is first-rate. Meghna Malik [Channel head] is competent. Aditi Govitrikar looks enticing. Zarina Wahab gets less footage. Prakash Pange [Raajveer's boss] does well. Abhishek Bachchan's commentary at the start sets the ball rolling.

On the whole, KAISAY KAHEIN is a fair attempt, but it should've been promoted aggressively.

When one sits on the fence and analyzes movies, passing scathing and acidic comments on all and sundry, be it films or those associated with it, the same people you'd targeted are bound to examine your film with a magnifying glass, when they get an opportunity.

Sajid Khan is known for his funny-n-witty repartees and in his first major project HEYY BABYY, he not only merges funny situations and emotional moments with aplomb, but also makes a compelling, wholesome film.

HEYY BABYY is not completely THREE MEN AND A BABY. Sure, you draw parallels since both THREE MEN AND A BABY and HEYY BABYY revolve around a trio of confirmed bachelors who unexpectedly discover the joys of fatherhood when a baby is left at their doorstep, but the similarities end there. In fact, the promos in this case don't open the cards completely. There's more to this film than masti-mazaak and the three men chasing girls of all shapes and sizes.

HEYY BABYY also works because the script is believable and the journey from Scene A to Z is well structured. Of course, there're minor aberrations, but the finale packs in a solid punch.

Sajid Khan is a skilled storyteller. Although he's known for impromptu, funny one-liners, it's the handling of the emotional moments in the enterprise that catches you by complete surprise. Note another aspect where a director makes all the difference: Akshay, Fardeen and Ritesh have been a part of comic capers in the past, but after having watched this trio in HEYY BABYY, not once do you feel that they're repeating themselves.

HEYY BABYY promises entertainment unlimited and delivers it with aplomb. Do carry your kerchief along. It makes you laugh, it makes you moist-eyed. This Babyy rocks!

Three bachelors -- Aroush [Akshay Kumar], Tanmay [Ritesh Deshmukh] and Ali [Fardeen Khan] -- are having the time of their lives in Sydney. They flirt around, sleep around and have numerous 'gorgeous' conquests to their credit.

They suddenly find their dating and mating rituals irreparably destroyed when a dimpled little roommate lands up on their doorstep. Aroush, Tanmay and Ali know a thing or two about women, but when it comes to babies, they're total zeroes and this bouncing bundle of joy is anything but joyous. But then Angel works her charm and before long, the three lecherous bachelors have been transformed into loving, caring fathers.

But beautiful Esha [Vidya Balan] will have none of it. She has known heart break once and will do anything to avenge that betrayal. And if it means breaking the hearts of three men who've finally discovered they possess one, then too bad!

Sajid Khan wastes no time and comes to the point [the bachelors finding an abandoned baby at their doorstep] at the very start, immediately after their frivolous attitude is exposed in the title track. The sequences with the baby are entertaining, but it's the turning point -- when the baby gets critically ill and the guys realize their folly -- that's a master stroke from the writing and execution point of view. The viewer is in for another surprise at the interval point. It takes the story to another high altogether.

The second half starts off well, but loses its shine partly as Fardeen and Ritesh go to lengths to get the baby back. The sequence in the car [Fardeen] is hilarious, but not the entire track. The sequences in Wonderland and also when Akshay and Ritesh disguise themselves as Arabs in a restaurant fall flat. Fortunately, HEYY BABYY picks up in the penultimate reels again. The last few minutes make you forget the deficiencies as it races towards a fulfilling finale.

The writing [screenplay: Sajid Khan, Milap Zaveri] hits a high note in the first hour, but should've been as cohesive in the second hour as well. Yet, there are moments in this hour that you carry home. Dialogues [Milap Zaveri] are simple; they don't get flowery at any point. Cinematography [Himman Dhamija] is of superior quality. The stunning locales of Sydney look equally striking on screen.

Musically [Shankar-Ehsaan-Loy], it's a hit score. A mix of peppy and melodious numbers, the ones that stand out are the title track [with an array of actresses making fleeting appearances] and 'Mast Kalandar' [SRK rocks].

Akshay is in terrific form. This role offers him ample scope to go beyond the comic roles he specializes in. Sure, he makes you laugh, but he also makes you moist-eyed when he pines for his baby. One performance that should find a prominent place in his impressive repertoire.

Fardeen springs a surprise. He hasn't worked in as many comic capers, but handles his part confidently. Ritesh is dependable yet again. The youngster is so comfortable in light roles that even if he sleepwalks, he'd make you giggle. His usage of Marathi in a kiddie party will be greeted with cheers.

Vidya Balan is superb. Not only does she look bewitching, but also enacts her part with amazing ease. A highly competent actress, she's got all it takes to reach the top slot. Boman Irani doesn't get much footage, but makes his presence felt in the introductory sequence mainly. The baby is simply adorable.

On the whole, HEYY BABYY is an entertainer that has something for everyone. At the box-office, it has the potential to rock big time. The fantastic opening of the film has only proved sone pe suhaaga… Grab a ticket today!

A word of caution: BUDDHA MAR GAYA is piping hot stuff! You haven't watched something like this before. Be prepared for a bagful of adult jokes that's sure to leave you gaping in shock. At the cost of repeating oneself, let's also add that you need to lock your brains at home when you enter the cineplex to watch BUDDHA MAR GAYA.

Rahul Rawail goes all out this time. His new endeavor touches almost every topic under the sun -- from extra-marital affairs to gay relationships to incest to 'corpse selling'... Most importantly, it mirrors a sad reality: Money is the be-all and end-all.

BUDDHA MAR GAYA is aimed at the masses, those who swear by nonsensical entertainers. It's not for the faint-hearted. You ought to have a strong stomach to absorb a film like BUDDHA MAR GAYA since it shocks you at regular intervals. It's not for those with an appetite for meaningful cinema or for critics, who run down masala/mass appealing films since it's fashionable to do so.

Be forewarned, if you're ready for shocks, BUDDHA MAR GAYA is just for you!

Laxmikant Kabadiya aka LK [Anupam Kher] is one of India's richest industrialists, a self-made man. His conglomerate is on the verge of a 5000 crore IPO that should make them one of the largest companies in the country. LK's family comprising of his spinster twin sister [Mahabanoo Mody Kotwal], his two sons Ranjeet [Bobby Parvez] and Sameer [Mukesh Tiwari], their wives Shruti [Mannat Kaur] and Anju [Mona Ambegaonkar], respectively, Ranjeet's daughters Sanjana [Heenaa Biswas] and Namrata [Madhvi Singh] and Sameer's son Pawan [Jay Soni] can't stop salivating at the thought of all that money.

Unfortunately for all of them, fate displays a wicked sense of humor. On the night before the IPO opens, LK dies while copulating with a starlet [Raakhi Sawant], who's aspiring to become the heroine of a film that LK plans to produce. The family is distraught and horrified. Not because a loved one has died, but because now no one will buy their shares. So, on the advice of their family guru Vidyut Baba [Om Puri], the family decides to hide the death of LK for a period of two days till the shares are all sold out.

Hiding the death of a man as famous as LK is a Herculean task. To make matters worse, every time they're ready to announce LK's death, fate intervenes, forcing them to keep his death hidden for another couple of days. Which results in them having to announce the death of a fictitious friend or relative of LK's. And stage fake funerals. Which, of course, means generating dead bodies and worse, getting the dead LK to make appearances at these funerals.

Complicating matters further are an inquisitive and greedy servant [Paresh Rawal], the Minister's fixer [Murli Sharma], a procurer of dead bodies [Ranveer Shorey], the paparazzi and for good measure a couple of cops. And of course internal jealousies, greed, rivalries within the family only add spice to the goings on.

The tagline of BUDDHA MAR GAYA is, 'You will die laughing', and the film remains faithful to this statement at most times. Of course, you don't break into laughter in every scene, but the fact is that you cannot control your laughter on several occasions. Sure, you may find the brand of humor juvenile and a few jokes obscene, especially the Raakhi Sawant track, but the masses will simply love these portions. In fact, BUDDHA MAR GAYA is hot, steamy and spicy with tremendous shock-value.

Director Rahul Rawail steps into a new territory with BUDDHA MAR GAYA and as a storyteller, narrates an interesting plot successfully. Agreed, a film like BUDDHA MAR GAYA is not everybody's idea of entertainment, but Rawail knows his fundas right. He uses everything on the shelf to make a black comedy. Yet, it must be mentioned that the writing could've been tighter. The screenplay isn't too convincing at times, like the Murli Sharma track or the Manoj Joshi episode in the climax. The writing goes awry on these occasions.

Rawail's idea of using popular tracks in the background, like 'Beedi' [OMKARA], 'Cheeni Kum' [CHEENI KUM] and 'Chak De Phatte' [KHOSLA KA GHOSLA] add to the enjoyment. Dialogues [Anand Sivakumaran] are dipped in sarcasm at times and are saucy at places. However, a film like BUDDHA MAR GAYA signifies that the censors have become quite lenient these days, which is a welcome sign.

BUDDHA MAR GAYA doesn't demand histrionics as such, but the ones who stand out are Om Puri [terrific], Mukesh Tiwari [able], Mona Ambegaonkar [competent], Bobby Parvez [nice], Jay Soni [confident] and Mahabanoo Mody Kotwal [fantastic].

Anupam Kher, the narrator and also the corpse, is very good. Paresh Rawal deserved better lines and situations. Rakhi Sawant is in top form. Ranveer Shorey is okay. Murli Sharma is efficient. Prem Chopra is perfect.

On the whole, BUDDHA MAR GAYA has terrific title-value, abundant shock-value and strong entertainment-value as factors going in its favor. At the box-office, this one's for the masses completely!

We often criticize Bollywood for churning out movies that make no sense. But after you've watched MARIGOLD, you'd agree that Hollywood churns out bigger turkeys.

MARIGOLD, directed by American director Willard Carroll, is as off-putting as a week-old omelette. In fact, MARIGOLD has nothing to keep your eyeballs glued to the screen. An apology of a story, a powerless screenplay, shoddy visual effects, poor music and nightmarish direction, that's the ideal description of MARIGOLD. No redeeming aspects? Nothing, except for a pretty looking Ali Larter.

Seriously, what were the makers thinking when they okayed this amateurish piece of writing? Look at the kind of cinema being churned out in India today. Good, bad, whatever, it's better than MARIGOLD.

In a nutshell, MARIGOLD is a classic case of 'Bad Cinema'. This one deserves to be watched by every director for understanding what not to make. One big yawn!

MARIGOLD is 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 [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. Marigold is most definitely not a natural dancer, but she experiences renewed confidence and growing love for Prem.

In rapid succession, Marigold discovers that Prem will be marrying a beautiful India girl Janvi [Nandana Sen]. Unable to deal with this development, Marigold angrily departs from Prem's family estate. But she is urged back by Janvi who confesses that Prem doesn't love her and never will.

Another complication arises in the form of Marigold's boyfriend, Barry [Ian Bohen], who arrives in India unexpectedly and finds Marigold very much in love with Prem.

MARIGOLD disappoints on Level 1 itself. The storyline brings back memories of the forgettable stuff that dominated Hindi cinema in the 1970s. Thanks to a poor plotline, what unravels in the next 2 hours is as spiceless as boiled food. There's not a single moment in the film that makes you jump with joy or pine for the lovers.

The writing is so inane and amateurish that you actually pinch yourself, Is this for real? Are you actually watching a film or watching a bad dream? That's applicable for Willard Carroll's direction as well. Without doubt, 'The Razzie' for 2007 should be awarded to Mr. Carroll. Shankar-Ehsaan-Loy's music is of fast-forward quality. Anil Mehta's cinematography is alright, although the D.O.P. isn't in form here. The production design/sets are tacky.

Salman Khan is terrible and so is his dialogue delivery. What were you saying in the movie, Mr. Khan? Were you chewing beetle nut? His lines are hardly audible. Also, he tries hard to ape the American accent, but falls flat. Ali Larter is as fresh as Marigold, the flower, not the movie. Her performance is quite interesting.

Vikas Bhalla is pure teakwood. So is Roopak Saluja -- absolutely wooden. Suchitra Pillai does well. Nandana Sen is unintentionally funny. Rakesh Bedi makes you laugh, for the right reasons. Vijayendra Ghatge and Kiran Juneja seemed to have walked out of the sets of DHARAM-VEER. And what was Gulshan Grover doing in this film? Ian Bohen adds to the list of non-actors.

On the whole, MARIGOLD is a terrible film with gloomy prospects. A sure-shot disaster!

Homage to the noir genre, Manorama Six Feet Under is about an amateur detective in a small town who finds himself caught in a web of lies, deceit and murder.

SV (Abhay Deol) is a government engineer but his real ambition has always been writing detective fiction. Unfortunately, his maiden attempt, a novel called Manorama, sank without a trace and he has been reduced to writing for cheap pulp magazines.

Stifled by the dreariness of small town existence and frustrated by his failure, SV's life takes a turn when the wife of a powerful local politician arrives at his doorstep with an irresistible offer; the chance for SV to play a real life detective by spying on her husband. Intrigued and tempted by the opportunity to redeem his self worth, SV accepts.

Upon completion of his assignment, things take a turn when SV discovers that the woman is not who she claims to be. The situation get further complicated when she is killed in a mysterious accident.

Sensing foul play, SV begins investigating her death only to discover that nothing is what it seems to be and that redemption doesn't come easy….

Illegal immigration/human trafficking is a global issue. We've read newspapers and watched news-reports on news channels highlighting the plight of millions of people who, in the hope for a better future, entry a country illegally.

Some get arrested, some get killed, some end up at the wrong place, some go missing, some eventually make it. KAAFILA, directed by Amitoj Maan, bares this issue on celluloid, besides clubbing a real-life, shocking incident [Malta Boat Tragedy] with the main plotline.

In KAAFILA, the story begins in Delhi, moves to Russia, then the surrounding nations, then Afghanistan and finally, Pakistan, before returning to India once again. Besides presenting the stunning landscapes, KAAFILA also looks at the various hardships people encounter when they decide to enter England unlawfully.

Not wanting to turn it into a dry, grim and disturbing movie, Amitoj Maan packs in songs and glamour to strike the right balance between enlightenment and entertainment. And that's where KAAFILA falters.

The portions depicting reality are watchable since the issue hasn't been highlighted in detail on the Hindi screen. But the romantic track [Sunny - Polina and Amitoj - Monalisa] stands out like a sore thumb. Also, the narrative tends to get lengthy in the second hour as the kaafila moves aimlessly from one country to another. A shorter duration would've only helped.

To sum up, KAAFILA is watchable in parts. The issue it highlights is its USP, but the writing as well as the length could've been controlled.

KAAFILA is about a group of people, not remotely associated/connected with each other, opting to leave their motherland in search of their utopian dreams of a better life abroad in the developed countries. These people put their careers, families and even lives at stake to reach their desired destinations even when they can be better off in their own countries without all the hardships and sufferings.

KAAFILA also exposes how innocent people are duped by a worldwide nexus of agents showing them dreams of a comfortable life, close to heaven, in foreign lands and making them sell their lands, homes and livelihoods here in a futile pursuit of that dream.

The general feeling is, KAAFILA is about the Malta Boat Tragedy, while the fact is that the boat tragedy forms a small, but significant part of the story. In fact, the tragedy is depicted realistically and since it features in the initial reels, you expect the graph of the film only to go higher and higher.

But the writing could've been tighter. As pointed out at the outset, the romantic track of Sunny - Polina and Amitoj - Monalisa doesn't work. The Russian mafia track is also not convincing.

Director Amitoj Maan has handled a few scenes well, but he should trim the film judiciously in the latter half. Sukhwinder's music is easy on the ear drums. 'Jaana Hain' and 'Humraks' are already popular. Cinematography [Nazir Khan] is of standard and the stunning landscapes sweep you off your feet. Action scenes [Hanif Sheikh] are alright. Varun Gautam's dialogues are nice.

Sunny Deol does well. Amitoj Maan dominates in a few scenes. But the real surprise is Pakistani actress Sana. This being her debut-making Hindi film and despite the fact that she's pitted against experienced names, Sana succeeds in making her presence felt. Sudesh Berry does well.

The film has a host of characters, but those who stand out are Paramveer Singh, Girish Jain, Chandan Anand, Sardar Sohi and Ashish Duggal.

On the whole, KAAFILA is made with noble intentions, but is partly letdown due to its writing and length. Fair.

Pure and unadulterated -- two words that do justice to Vishal Bhardwaj's cinematic adaptation of Ruskin Bond's novella THE BLUE UMBRELLA. That Vishal is an adept storyteller is known by now. In THE BLUE UMBRELLA, he goes back to his directorial debut. If MAKDEE was about a village girl and a witch, THE BLUE UMBRELLA is about an umbrella that becomes the object of envy in a hamlet in Himachal Pradesh.

Stories like the one narrated in THE BLUE UMBRELLA are a rarity today, since the focus is on a large canvas and larger than life stars. THE BLUE UMBRELLA is set in a hamlet and essentially revolves around an umbrella, a kid and a tea stall owner.

The handling of the subject material is interesting, but the fact remains that the film has its limitations. It caters to a small section of moviegoers, the connoisseurs of cinema, thereby restricting its appeal to select multiplexes in select cities.

The story unfurls with the discovery of a vibrant blue umbrella by Biniya [Shreya Sharma], an eleven-year-old girl from an idyllic mountain village in North India. She has never seen anything more striking and beautiful. Neither has Nandkishore Khatri [Pankaj Kapur].

Khatri runs a small tea stall in the village. He is a miser who has a fondness for pickles and swindling kids off their little possessions. Khatri is smitten by the beauty of the umbrella and goes to remarkable lengths to acquire it, but fails miserably.

However, Khatri is not the only one to covet the umbrella. The umbrella's arrival disturbs the tranquility and harmony of the village. Biniya's secret weapon gives her an enviable power over the small town, as the umbrella assumes mythical status.

One fine day, the umbrella goes missing…

As a storyteller, Vishal Bhardwaj has a knack of narrating a story well and also extracting wonderful performances from the cast. In THE BLUE UMBRELLA, the director succeeds in conveying a message [greed can ruin the best of relationships] forcefully towards the end, when the entire village boycotts Pankaj Kapur for robbing the umbrella. The second hour, in particular the concluding reels, are highly absorbing.

However, the film can do with some trimming in the second hour. Cinematography is inconsistent. Why is the lighting too dark at times, especially during indoor sequences? Otherwise, the outdoor work is remarkable.

Pankaj Kapur is in top form yet again, although, at times, his dialogues aren't audible. Shreya Sharma is a terrific discovery. She stands on her feet, despite being pitted with a towering performer like Kapur. The remaining cast is alright.

On the whole, THE BLUE UMBRELLA is a well-made film, but it's for a handful of viewers in a handful of cities. More for the Festival circuit.

The Yash Raj - SRK combo is back. No lush green fields here. No running around trees either. No chiffon sarees to make the ladies look their best. No melodrama, no parental opposition, no lovers defying their parents. CHAK DE INDIA, directed by Shmit Amin, charters a new territory.

Yash Raj is not really known to venture into unconventional lanes, barring a KABUL EXPRESS in the recent past. CHAK DE INDIA isn't unconventional as such, but it's definitely different and awe inspiring at times. Frankly speaking, CHAK DE INDIA doesn't boast of a path-breaking script, but execution of the subject material succeeds in making you find purpose and meaning and also arouses patriotic sentiments.

There's a flip side as well. Sports-based themes, barring a few, haven't really found many takers in India, especially with the aam junta. For various reasons. Sure, hockey is the national sport of India, but cricket gets more prominence in our dailies and also on news channels. The common man also keeps tabs on the Tendulkars and Dravids, when compared to those belonging to other sports. CHAK DE INDIA is about hockey, about women's hockey to be precise, but most of us haven't given more importance to this thrilling sport for no particular reason.

Also, from the business point of view, CHAK DE INDIA may be an engrossing fare, but not the ideal flick for an entertainment-seeking viewer. At best, it may attract attention initially thanks to the star power and the Numero Uno production house promoting it aggressively. But that's about it!

Kabir Khan [Shah Rukh Khan] knows what it's like to come back from the dead. The ex Indian Captain has now come back in the avatar of the Coach of the Indian Women's National Hockey team. A team that exists more on paper and less in reality.

The team is a bunch of girls with their own agenda. A bunch of girls who have forgotten what it is like to play for the love of the game. Of playing because you want glory for your country. Not because you want a pensioned job or a government flat. They have all forgotten the sharp thrill of just holding the hockey stick, keeping their eyes on the ball and playing for all they are worth. They have played every game but hockey to make sure they get selected every year in the Indian National team. But what does it really mean to play for the Indian National team? To play for India?

The girls have never known the thrilling energy of being Team India. Of giving their all to see their country's name on a trophy. But Kabir Khan, once a captain, now forgotten, does. He knows what it takes to get there. And what it means to return empty handed. This time, he wants to make sure that it's different. He knows there are no second chances. Despite his past, he believes that if only the girls played as one, anything would be possible.

Because Kabir Khan believes that it is not that we can't win. It's just that we have never believed we can.

CHAK DE INDIA is the story of a coach's fight of making his team, Team India by overcoming their diverse backgrounds, by learning to use everything that life hurls on them as a secret weapon.

The film has all the right elements mixed -- satirical comedy, seriousness and dollops of emotions. In fact, the first half is quite captivating and the expectations from the latter half are equally high. The post-interval portions don't disappoint, but the pace slackens and the goings-on take a long time to reach the finale. In fact, the narrative gathers steam only towards the climax, which is well handled.

Shimit Amin's choice of the subject as also the execution deserves to be lauded. But, as mentioned at the outset, it's not a film that would find universal patronage. People giving it a Thumbs Up would be limited to those who are into qualitative cinema.

Cinematography is first-rate. Music is strictly okay. Dialogues are interesting. A few lines are indeed amazing. Editing could've been tighter.

SRK is the soul of CHAK DE INDIA. What you see on screen would be half of what it is without this matchless actor. He makes you feel what you are supposed to feel. A performance that's sure to go down as one of his finest works so far. The girls are excellent and a few of them register a strong impact, especially Vidya Malvade.

On the whole, CHAK DE INDIA is a well-made product, but its fate at the ticket window wouldn't be as glorious as its intentions. With a slow start at places and not too exciting promotion [the promos], the film will face an uphill task in days to come.

Victoria No. 203 is a story about a diamond heist and how the lives of so many different people get intertwined in the search for lost diamonds.

The movie takes off with a display of diamonds worth 300 crores. Bobby Bombata (Javed Jaffery) who is a rich industrialist and his moll Devyani (Preeti Jhangiani) are smitten by the diamonds. Bobby is willing to do anything to acquire them. When the diamond owner denies his offer to buy the diamonds, his ego is hurt. He hires the services of a cat burglar, Tora (Tora Khasgir) to steal the diamonds.

Tora performs a daredevil heist and escapes with the diamonds. She has an agenda of her own though and plans a double cross with her brother Karan (Rajesh Khera). Just as she is about to escape, she bumps into the infamous Ranjit (Kamal Sadanah) who stabs her. She escapes though, and falls next to Victoria No. 203 in which she hides the diamonds. The Victoria driver Raman offers to take her to the hospital and in the process gets caught by the police who suspect him for attempted murder.

Raman's daughter Sara (Sonia Vinod Mehra) is forced at this stage to ride the Victoria in order to earn money for her father's trial. She is unaware that she is riding around Bombay with diamonds worth 300 crores in her Victoria. Jimmy (Jimmy Joseph) an expert on diamonds, takes a ride on the Victoria and instantly falls in love with Sara.

The story also entails Raja (Anupam Kher) & Rana (Om Puri) - two small time crooks who are recently released from jail. They hear about the diamond heist and are extremely impressed, hoping one day they will be able to do something of the sort.

All the characters meet in an unbelievably hilarious climax and none of them know where the diamonds actually are.

Will they ever be found, or will they just disappear in the fog??

Okay, Anubhav Sinha unleashes his heist saga today -- CASH. Come to think of it, CASH is very similar to DUS. A plethora of stars, stunning locales/visuals, an energetic musical score and stylized action. CASH goes a step further -- it has animation too!

Sinha has mastered the craft and garnishes CASH well, but as you begin to savor the taste, you realize that the recipe isn't perfect. Perhaps, writers Yash-Vinay had the right intentions of making a chor-sipahi kahani, but the writing is just not convincing.

Where does the problem lie? Not with Anubhav Sinha, for the director is, without doubt, one of the most stylish narrators in Bollywood. The choice of subject is also right, but the writing lacks the meat to mesmerize the viewer. Clearly, the screenplay is the villain here!

To sum up, you expect a sangam of style and substance in CASH, but what you eventually get is style, style and only style!

CASH is a thriller set in Cape Town, South Africa.

The film revolves around an ace con artist [Ajay Devgan], who hires a set of topnotch robbers [Esha Deol, Zayed Khan, Dia Mirza and Ritesh Deshmukh] to steal a set of priceless diamonds in South Africa.

The group also faces a threat from underworld don [Suniel Shetty], who is after the same diamonds and also the Head of Security [Shamita Shetty]. How these three groups manage to thwart each other forms the rest of the story.

CASH bears an uncanny resemblance to some films. The concept of a guy hiring professionals to execute a plan brings back memories of SHOLAY. There's an uncanny resemblance with DHOOM 2 as far as the stylish stunts are concerned. Also, a number of individuals wanting to lay their hands on the priceless diamonds take you to SHALIMAR.

It's not blasphemous to be inspired by any film, past or present, but what the writers ought to know by now is that there has to be a riveting story at the end of the day. What you take back as a viewer is only style. The writing is unenergetic in the first hour, but the second hour, you've to admit, is far more absorbing. The marked currency notes and also the chase by the cops [Ritesh, Esha, with Zayed atop the speeding car] are pulse-pounding.

Director Anubhav Sinha does make a 'good looking film', but the writing curtails it from being called an engrossing saga. If Sinha deserves brownie points for making a visually enticing movie, all you want to remind him is that the viewer wants to listen to an absorbing story at the end of the day. As the captain of the ship, he should've ensured that Yash-Vinay gave him a smart screenplay that compliments his skills.

Anthony Stone's stunts are topnotch. A never-seen-before experience on the Hindi screen. Vishal-Shekhar's music is trendy and the visuals and choreography supporting the tracks make you exclaim 'Wow'. Ravi Walia's cinematography is mesmeric. The film bears a striking look all through. Dialogues are well-worded at times.

Ajay Devgan is not in form this time around. He looks unenergetic… something is missing! Suniel Shetty gets to play a role he has visited a few times in the past. Zayed Khan is strictly okay. The real scene stealer is Ritesh Deshmukh. Very confident and easy-going, he's sure to walk away with ceetees and taalis.

Shamita Shetty stands out. Esha suffers due to sketchy characterization. Also, her make-up makes her face look hard. Dia is far more appealing and enacts her part well. Ayesha Takia adds to the star-value.

On the whole, CASH has style, but rests on a thin plot and that is its biggest flaw. At the box-office, the film might attract the audience in its initial weekend, but a weak script will throw a spanner.

Come to think of it, who'd be interested in watching a film that first released 50 years ago? There're chances that people may've caught it on TV or DVDs. Or, to be brutally frank, they might want to give the film a skip. But NAYA DAUR, even after 50 years of its first release, has the magnetism to keep your eyeballs focused to the silver screen.

Sure, rural themes are rarely attempted these days and storytellers have moved on to greener pastures [read urban themes]. Also, the film lacks the visual appeal to entice the viewer of today, but despite the oddities, NAYA DAUR works for several reasons…
[a] It depicts the triumph of the human spirit, which can never go out of fashion;
[b] The relationships [Dilip Kumar-Ajit, Dilip Kumar-Vyjayantimala] are so human and believable;
[c] O.P. Nayyar's lilting score is unforgettable;
[d] The man versus machine race in the penultimate reels is astounding.

It's very difficult to review a classic. But even at the cost of sounding repetitive, let's say that they don't make films like NAYA DAUR anymore. Besides, over the years, we've seen a lot of clones of Dilip Kumar, Vyjayantimala and Ajit. Watching the originals is a different experience altogether!

Dilip Kumar lives the role of Shankar, an upright villager who revolts against the city-bred Jeevan. There were no acting schools then, no dubbing theatres to enhance your performance, not much technical support to make you look smashing. Yet, Dilip Kumar's performance strikes a chord even today. Commendable performances come in from Vyjayantimala [natural], Ajit [fiery], Johny Walker [exceptional], Nasir Hussein [first-rate] and Jeevan [nice].

Although B.R. Chopra made movies before and after NAYA DAUR, NAYA DAUR will always remain one of the finest cinematic works to come out of B.R. Films. The power of a storyteller looms large as the reels of NAYA DAUR unfold. Technically, the colorization is proper and the sound quality is sharp.

To sum up, NAYA DAUR is a classic and will always remain one. To skip the film would be sacrilege. Go, relive the experience!

“The greatest regret of my life…
Two people I could never convince --
My Muslim friend Mohammed Ali Jinnah and
My own son Harilal Gandhi.”

Making a film based on true events is difficult. Not only does it entail lots and lots of research, but to recreate the bygone era and get the right set of actors to enact the characters is another challenge.

It's all the more tough if the film is based on Mahatma Gandhi. And a far bigger challenge is to present the relationship shared by the Mahatma and his son Harilal.

Everyone knows about Mahatma Gandhi, the Father of the Nation, but not much is known about him as a father to his children. GANDHI MY FATHER tells the story of Harilal Gandhi and the relationship he shared with his parents, more particularly with his father, the great Mahatma.

GANDHI MY FATHER leaves an indelible impression on the viewer. Since the story of Harilal is not known to many, you absorb every incident like a sponge absorbs water. It's an enlightening experience… and also a moving one. Your heart goes out to Harilal and his plight, more so towards the sunset of his life, makes you moist-eyed.

GANDHI MY FATHER tells a story not told before and director Feroz Abbas Khan tells it very well. Put your hands together for one of the finest films to come out of India. This one deserves to be the official entry for the Oscars.

To sum up, GANDHI MY FATHER is a must watch for every Indian. Strongly recommended!

Somewhere in the shadows of a great man [Mahatma Gandhi] lived his son [Harilal Gandhi], roaming the streets of India like a beggar. Converting to Islam as a rebellion, reconverting to Hinduism as a penance and finally drinking himself to death.

Mahatma Gandhi could transform the soul of a nation, but could not save the soul of his own son. The film unfolds a personal tragedy about a principled father and an unfortunate son.

For most viewers, the story of GANDHI MY FATHER is an eye-opener, since it tells a rarely heard story and tells it exceedingly well. The storyteller recreates the era with flourish, not once deviating from the core issue. The story is not about the freedom movement and the pivotal role played by the Mahatma, but it highlights the sensitive relationship between a father and son.

As a cinematic experience, GANDHI MY FATHER unfolds in the most simplistic, but compelling manner. Since the director is talking history, he ought to do the balancing act well. He reproduces facts without resorting to cinematic liberties and at the same time, simplifies everything so that the viewer can decipher it well.

A landmark film in all respects, highlighting a scene or two would be doing gross injustice to the film. For, every sequence has the power to keep you hooked and most importantly, carries the stamp of a genius.

The director has ensured that every department works in tandem. David Macdonald's cinematography is superb. Special mention must be made of the B & W, grainy frames that compliment the actual footage. The production design [Nitin Chandrakant Desai] is perfect. The ambience transports you to the early 20th century. Make-up [Penny Smith] is of international standard. The transformation of the characters as they age looks so real. Costumes [Sujata Sharma] suit the theme well. Background score [Piyush Kanojia] is appropriate.

Akshaye Khanna is extraordinary in the role of Harilal Gandhi. He portrays the varied emotions -- angst, sorrow, anger, frustration, love -- with great understanding and maturity and comes up with his career-best work. Darshan Jariwala as Mahatma Gandhi is another great performance you carry home. Although a number of seasoned actors have portrayed the part of Mahatma Gandhi on the big screen, Darshan's performance easily ranks amongst the best.

Shefali Shah is awesome. Note the sequence when Harilal converts to Islam and Kasturba Gandhi visits him. Or the final moments before she bids goodbye to the world. The actress deserves the highest marks. Why don't we see more of Shefali on the big screen? Bhumika Chawla is excellent. Her portions, with Harilal mainly, are well enacted.

On the whole, GANDHI MY FATHER is a treat for movie lovers. As mentioned at the very outset, it's a must-see for all Indians. At the box-office, it holds tremendous appeal for the multiplexes, where it should grow with a strong word of mouth. Strongly recommended!