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Phoonk - Review

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The great debate between science and superstition continues, but RGV's new film PHOONK tilts in favour of superstition. Surprising, isn't it?

The makers of the film had organized a contest. You'd be given a handsome reward if you've the courage to watch PHOONK all alone in a theatre, we're told. Honestly speaking, PHOONK isn't scary by any standards, but as a subject, it works big time because somewhere deep within us, we've heard of the power of the unknown.

Whether you're superstitious or not, you may've heard tales/experiences concerning jaadu tona. And you're all eyes and ears the moment someone comes up with an alibi.

PHOONK is easily amongst RGV's finest works [although BHOOTH was scarier] and it holds your attention all through. As a viewer, you're keen to know how RGV would culminate this story. The culmination, of course, would meet with extreme reactions. Some would rubbish it, but the believers might endorse the finale. In my individualistic opinion, it's outstanding!

All said, PHOONK is a fantastic experience. The subject -- black magic -- is its biggest star and that alone would ensure House Full boards outside plexes/cinemas.

Rajeev [Sudeep], a successful construction engineer, with a loving wife and two children, is an atheist to the core. He scowls at people who believe in the dark forces, till one day when an evil is let loose in his happy home, which threatens to destroy his family and shake up the very foundations of his convictions and beliefs.

Thanks to the hype and curiosity generated around the movie, you expect to be scared from Scene 1 itself. And RGV emphasises on lighting and artefacts, besides an eccentric woman [Ashwini Kalsekar], to create the right atmosphere.

Of course, you do get the jhatkas in a scene or two, but you don't clasp your hands tightly even once, nor does your heart goes dhak-dhak at a lightening speed. Gradually, RGV plays with the camera [excellent camerawork by Savita Singh] and sound [Kunal Mehta, Parikshit Lalwani] to heighten the impact. Like all RGV films, the camera angles bear the unmistakable RGV stamp, while the background score [Bapi-Tutul] takes an ordinary scene to the next level.

RGV is back with a bang. There's a certain consistency from start to end and this time, he gets the right subject to prove his detractors wrong. Every sequence bears the stamp of a genius that RGV is, hits and flops notwithstanding.

The performances are uniformly good. Sudeep impresses you with an excellent performance. Amruta Khanvilkar is efficient. Baby Ahsaas Channa makes a strong impression. Ashwini Kalsekar is top notch. Zakir Hussain's tantric act is superb. Ganesh Yadav lends good support. K.K. Raina and Lilette Dubey, both doctors, are competent. Kenny Desai, Anu Ansari and the actress enacting the role of Sudeep's mother are perfect.

On the whole, PHOONK is a fascinating cinematic experience on a subject that's rarely tackled by the dream merchants in Bollywood: Black magic. The subject itself is the biggest star of the film, which would ensure a flying start at the box-office and in turn, prove a jackpot for its producers who've distributed the film themselves.

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LOVE STORY 2050 has elicited tremendous response for varied reasons…
* One, its one-of-its-kind sci-fi fare, with a big chunk of footage devoted to VFX.
* Two, the pre-release hype, the frenzy in the media, the various tie-ups/endorsements has kept LOVE STORY 2050 constantly in news.
* Three, LOVE STORY 2050 marks the debut of Harman Baweja, one actor who has been lapped up by industry bigwigs even before his debut vehicle has hit the screens. It's a hi-profile launch.

From the looks of it, LOVE STORY 2050 demands a dekho, but there's a hitch…

Special effects -- for that matter the trappings used to embellish a movie -- work only if a movie has a rock-solid base: Content. Unfortunately, LOVE STORY 2050 gives more preference to special effects, while the writing takes a complete backseat.

There's no denying that Harry Baweja's intentions are genuine and noble, but, seriously, did the veteran get carried away by special effects? No doubt, the basic idea sounds interesting and the viewer would love to be a participant in this time-travel film, but what comes across is amateurish.

Given a title like LOVE STORY 2050, the film ought to evoke strong emotions, mainly towards the second hour, when the lead man has a tough time convincing his lady-love. But technical wizardry and VFX dominate this hour, while the emotional moments fail to evoke any reactions. Actually, your heart does not pine for the lovers and that's why this love story hardly creates any impact.

The silver lining is -- you've guessed it -- Harman Baweja. You may compare him with Hrithik Roshan [in terms of looks]. You may find his dialogue delivery similar to that of SRK. But the guy is a lambe race ka ghoda. Ranbir Kapoor now has tough competition. It's Harman Baweja, the new flavor of the season!

Karan [Harman Baweja], a young, spirited, sporty boy lives life off the rules, while Sana [Priyanka Chopra], a petite, shy girl lives life by the rules. Opposites attract… and love blossoms. Karan's uncle, Dr. Yatinder Khanna's [Boman Irani] much developed time machine finally works. Sana expresses her wish to travel ahead in time to Mumbai. But there's an accident…

Mumbai 2050. Flying cars, 200 storey buildings, robots and sky rails have changed the face of Mumbai. Through a series of twists and turns, Karan finds himself separating from his love. Meanwhile, Dr. Yatinder and Karan are under threat from Dr. Hoshi.

You are mesmerized by the initial scenes in LOVE STORY 2050. And it's not the script that hooks and magnetizes you. Harman's skills as an actor and also a gymnast [watch him give the firangs a chase] makes you speechless. Note the cycle chase [wow!] or Harman wooing Priyanka on a roller coaster [superb… you sure have guts, Harman]. The film works in this hour because the chemistry between the lead actors is also piping hot.

But things go downhill in the post-interval portions. What takes precedence are special effects, robots, gizmos, the masked villain… In this melee, the writing is put on the backburner.

Director Harry Baweja is letdown by the script. The idea is exciting, but what comes across is off-putting. Anu Malik's music is tuneful. 'Sach Kehna' and 'Milo Na Milo' stand out, also because Harman's dance movements are exceptional [kudos to the choreographer]. Cinematography [Vijay Arora] is first-rate. Sound quality [Dwarak Warrier] is top class. Dialogues [Mayur Puri] suit the mood of the film. Sets [Omung Kumar] deserve special mention. They're truly imaginative! Special effects are topnotch, matching international standards. Costumes and styling are avant garde.

Harman Baweja has the potential to be a major star, a front-runner. No two opinions on that! He's an exceptional dancer and looks handsome as well. But most importantly, he knows the grammar of acting well. Watch out for this kid! Priyanka Chopra is immensely likable. She suits her part to the T. Boman Irani is efficient. Archana Puransingh is lovable. The kids don't contribute at all.

On the whole, LOVE STORY 2050 rests on a thin plot and that would curtail its reach to a major extent. Disappointing!

Jaane Tu... Ya Jaane Na Review

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Two decades ago, the Mansoor Khan-helmed QAYAMAT SE QAYAMAT TAK, starring two newcomers [Aamir Khan, Juhi Chawla], focused on teenage love, with parental opposition acting as an obstacle. The story wasn't new, but the treatment was fresh and inventive. QSQT remains one of the finest reference films in this genre and rightly so!

JAANE TU… YA JAANE NA is a love story as well, but it's more of an Archie-Jughead-Veronica-Betty kind of a plot, set in the current milieu. We witnessed a gist of it a few years ago in the Shahid Kapur launch pad ISHQ VISHK.

JAANE TU… YA JAANE NA doesn't dare to be different. Basically a simple tale about a group of friends, it focuses on one couple that's in love, but is in a state of denial. Haven't we watched similar love stories in the past, you may ask. Sure, we have, but the execution of the subject makes all the difference.

Large portions of JAANE TU… YA JAANE NA have been executed well by debutante director Abbas Tyrewala, but the problem lies in the second hour when the film gets lengthy and also, a few tracks throw a spanner in the otherwise smooth proceedings. Even the climax, although well shot, is passĂ© [very filmy in an otherwise real film], since a number of films have had similar endings.

Yet, despite the shortcomings, JAANE TU… YA JAANE NA works for a number of solid reasons and that's what the viewer carries home. A decent fare that takes you back to your adolescence, when friends seem to be the be-all and end-all.

Jai [Imran Khan] and Aditi [Genelia] are buddies. In fact, they hang out with their group of friends, but have eyes for each other only. Their friends know that Jai and Aditi are perfect for each other. Their parents know this as well. Everybody knows this. But the couple doesn't. So when do they realize its love?

Don't expect fireworks or melodrama in this prem kahani. It's an extremely simple, uncomplicated tale that never goes over the top. The bonding amongst friends is well established. So is the relationship that Ratna Pathak Shah shares with her deceased husband's portrait [reminds you of Ashok Saraf-Priya Tendulkar relationship in the popular comedy show HUM PAANCH].

Besides, the two [popular] songs that come in the initial reels -- 'Kabhi Kabhi' and 'Pappu Can't Dance' -- only spice up the proceedings. The arrival of the 'third angle' in this love story [Manjari Phadnis] is perfect. Everything is faultless in the first hour.

But the second hour lets you down. The Ayaz-Genelia relationship is, again, well developed, but the second hour gets a tad lengthy. But what looks completely out of place in this light and breezy entertainer is the Rajput connection and how it saves the lead man from the cop [Paresh Rawal]. This track irritates!

Also, the climax, set in an airport, is beaten to death. There's no novelty in it, since we've seen the same ending in film after film.

Abbas Tyrewala has the makings of a fine director. A.R. Rahman's music is already a rage and the two songs at the start are superb compositions. Cinematography is excellent.

Every member of the cast stands out, but the film belongs to Imran and Genelia. Imran has been presented as the boy-next-door and that works in his favor. He has screen presence and acts very well for a first timer. Most importantly, he looks the part. Genelia adds freshness to her scenes. What makes you take to Genelia is her spontaneity. Also, the mischievous look in her eyes conveys sorrow with equal ease. Wish to see more of her in Hindi movies! Manjari is a complete natural. She is very effective.

The group of friends -- Karan [as Rotlu], Alishka [as Bombs], Nirav [as Jiggy] and Sughanda [as Shaleen] -- are excellent. Each compliments the other well. Ratna Pathak Shah is highly competent. Jayant Kripalani and Anuradha Patel [as Genelia's parents] are sweet. Pratiek Babbar [as Genelia's brother] springs a pleasant surprise. He is flawless in an unconventional role. Ayaz Khan [as Genelia's fiancé] registers a strong impact. A good actor!

Rajat Kapoor and Kitu Gidwani [as Manjari's parents] are fair. Naseeruddin Shah is in terrific form. Paresh Rawal, again, is wonderful. Arbaaz Khan and Sohail Khan irritate, mainly because the roles don't work.

On the whole, JAANE TU… YA JAANE NA is a breezy entertainer which will be loved by its target audience -- the youth. At the box-office, business at multiplexes should ensure a speedy recovery for this moderate budget film. A profitable venture!