Indian movies

The Bhatts never run out of stories. In their new outing JANNAT, Mahesh and Mukesh Bhatt have yet another new story to tell. This time, it's all about match fixing and bookies. But wait! It would be erroneous to classify JANNAT as a cricket-centric film. Cricket is just the wallpaper here. The focus is on the love story, like GANGSTER which was, at heart, a love story.

What catches you by complete surprise is the fact that JANNAT has been helmed by a debutante director [Kunal Deshmukh] and penned by, again, a debutante wordsmith [story: Vishesh Bhatt; screenplay Kunal Deshmukh and Vishesh Bhatt]. You're surprised at the level of maturity, the command over the craft, the display of confidence in their very first outing.

Honestly, you don't take to JANNAT instantly. The initial portions - the love story - are strictly chalta hai stuff. But the best part is, JANNAT takes a step forward every 10 minutes. The film actually takes off when the characters reach Cape Town, South Africa. The portions thereafter are akin to a roller coater ride.

Right from the interval point to a hair-raising, pulse-pounding climax, JANNAT is another journey altogether. The end, especially, hits you like a ton of bricks [it wouldn't be right to reveal what happens to the characters].

You can't imagine JANNAT without Emraan Hashmi. Right from his debut film FOOTHPATH to JANNAT, the actor has only grown with the passage of time. The actor displays the gamut of emotions with aplomb, he changes expressions like a chameleon changes colors. JANNAT is yet another turning point in his career.

In a nutshell, JANNAT is one of the finest films to come out of Vishesh Films. Not to be missed!

Arjun [Emraan Hashmi] is a reckless young man with an obsession for making money at card games. A chance meeting with a girl in a mall, Zoya [Sonal Chauhan], gives him the reasons he was looking for to move out of his ordinary life. He steps up from playing small-time card games to becoming a bookie.

Stuck in a triangle of sorts between the woman he loves and his addiction to make a quick buck, Arjun steps into the world of match fixing. But his dizzy rise attracts the attention of the police [Samir Kochar].

Arjun has to now choose between Zoya and this new-found success and power. As Arjun struggles to choose between the two, the Don [Jawed Sheikh] offers the forbidden apple of limitless wealth in exchange of his soul and draws him into his core entourage of money spinners.

You may not be a cricket fan, but it's not difficult to decipher JANNAT. In fact, the makers have refrained from using any technical jargon in the movie. Portions depicting match fixing and Emraan's interaction with the cricketers are, in fact, amongst the high points of the film. The speed at which JANNAT unfolds and most importantly, the turn of events is the hallmark of this enterprise.

Vishesh Films has an eye for talent and this time the prolific production house pulls up two more aces - director Kunal Deshmukh and writer Vishesh Bhatt. Kunal is a storyteller to watch out for. In the past decade, the Bhatts have nurtured several talents, prominent among them being Anurag Basu and Mohit Suri. Now add Kunal Deshmukh to the list. If you understand cinema, you'd realize that every sequence in JANNAT is not only well-shot, but there's meat in those scenes too.

Vishesh Bhatt's writing is dew-fresh and doesn't take the tried and tested route. Note the intermission point or the twists in the second hour as also the climax, the writer's contribution looms large in those portions. Pritam's music is lilting. The film has a hit score, but you'd like to single out two numbers - 'Zara Sa' and 'Jannat Jahan' - for the sheer melody.

Manoj Soni's cinematography is first-rate. The stunning locales of Cape Town are filmed exquisitely. Sanjay Masoom's dialogues are excellent. A few dialogues, in fact, are refreshing to the ears. Background score [Raju Singh] is top notch.

You can't visualize JANNAT without Emraan Hashmi. If you loved him in MURDER, GANGSTER and AWARAPAN, you'd place his performance in JANNAT in the same league. Note the naughty streak as also the helplessness [at the interval point and towards the end]. An incredible performance indeed!

Sonal Chauhan looks pretty and though she's passable in the initial portions, she gets into the groove eventually. This girl has the potential. Jawed Sheikh is brilliant. This is his finest work so far. Samir Kochar is excellent. Vishal Malhotra is good. Shakeel Khan does very well. Abhimanyu Singh is competent. Vipin Sharma leaves a mark in a brief role.

On the whole, JANNAT is a well-made film with lilting music, gripping script and excellent performances as its mainstay. Coupled with an absorbing second hour and a brilliant climax, the film has all it takes to prove a success story in times to come. Its solo release coupled with good hype should overcome the strong opposition [IPL].

Choosing an interesting story is difficult. But doing justice to the story is nothing short of an achievement. AWARAPAN, directed by Mohit Suri, gets it right on both the levels -- on paper first, on celluloid later.

For Hindi moviegoers, the story may remind you of Rakesh Roshan's KOYLA [SRK, Madhuri, Amrish Puri], but in actuality, AWARAPAN borrows from director Kim Ji-woon's Korean film A BITTERSWEET LIFE [2005; Korean title: DALKOMHAN INSAENG; starring Lee Byung-Hun, Kim Young-Cheol, Shin Mina]. Nothing wrong with being inspired, since every director has his way of interpreting a story. Also, Mohit adapts the content to suit Indian sensibilities.

AWARAPAN is as raw as a gash inflicted by a rod. A number of Hindi films have plunged into the underbelly of the underworld/mafia in the past, so how different is AWARAPAN from films of its ilk? AWARAPAN packs in all this and something extra in those 2 hours -- a love story and spirituality.

More than anything else, AWARAPAN marks the coming of age of one of the most under-rated actors on this side of the Atlantic -- Emraan Hashmi. Shunning and discarding his by-now-famous casanova image, Emraan enacts a role that every actor craves for in his heart since the opportunities are limited in the masala set-up. And the youngster interprets it with aplomb.

To sum up, AWARAPAN has style and substance, both. The film packs a solid punch in those 12 reels.

AWARAPAN is the story of man called Shivam [Emraan Hashmi], who searches for joy but finds pain and loneliness. It is the journey of a heartbroken lover who, in order to escape from the ghosts of his tragic past, dedicates himself to serve his gangster boss Malik [Ashutosh Rana], who runs a chain of hotels in Hong Kong.

One day, Malik asks Shivam to do an unusual job for him. He asks him to keep an eye on his young mistress Reema [Mrinalini Sharma] while he is away on a brief business trip. Reema is a young Pakistani girl who is a victim of human trafficking. Malik had 'bought' her in the flesh market in Bangkok.

The brief is clear: If Reema is found cheating behind Malik's back, Shivam has to eliminate her. From the moment Shivam sets his eyes on Reema, his frozen past begins to raise its head. He is reminded of his lost love [Shriya Saran] and how he had failed to save it from a catastrophe.

And then one night Shivam is shocked to discover that the innocent looking Reema has a secret boyfriend [Rehaan Khan], whom she has tucked away and is planning to run away with. Does Shivam remain loyal to Malik and execute his orders or does he take on his wrath by daring to go against him?

Frankly, you need to have a strong stomach to absorb a film like AWARAPAN. The film is dark, serious and violent. The romance, therefore, is minimal, but whenever injected in the plotline acts as a coolant.

Director Mohit Suri continues to grow as a storyteller. Note the sequence when Shriya's father catches Shriya and Emraan red-handed and the confrontation that ensues, leaving Emraan's life devastated. Note another sequence: Emraan walking up to Ashutosh Rana and after a verbal duel, fires at him from point-blank range. There're more sequences that only illustrate the fact that Mohit is amongst the finest storytellers today.

But, on the flip side, the excessive violence can be off-putting for a section of viewers. Emraan being buried alive or the constant gunshots and gore can compel you to take your eyes off the screen. This film is definitely not for the faint-hearted.

Pritam's musical score is refreshing. The tunes are fresh and so are the voices. Cinematography [Raaj Chakravarti] is good, although a few sequences could've been better lit in some scenes. The background score [Raju Singh] is excellent. Dialogues are a highpoint. The dialogue between Ashutosh Rana and Mrinalini, drawing parallels with a sick puppy, is superb.

As mentioned at the outset, Emraan delivers a magnificent performance. When the year draws to a close and the 'Best Actor' nominations are being formalized, including this performance would only be appreciating and acknowledging qualitative work.

Ashutosh Rana is splendid and all you want to ask the actor is, aap kahan thhe itne mahine? Shriya Saran has a small role, but she sparkles every time she appears on screen. Mrinalini is a talent to watch out for. She's outstanding!

Purab Kohli is superb as the eccentric nephew of Ashutosh Rana. Ashish Vidyarthi is wasted. Salil Acharya is a welcome addition to the list of talented actors. Shaad [introduced in WOH LAMHE] is very good. Rehaan Khan [introduced in JAANA] is hardly there. Atul Parchure is nice.

On the whole, AWARAPAN is a well-made product that should appeal to its target audience -- the youth, especially those who appreciate genuinely hatke themes. At the box-office, the film will be affected due to multiple releases in a week. Releasing the film in an open week, without oppositions, would've only helped. However, AWARAPAN should grow with a strong word of mouth.

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 few decades ago, the Dilip Kumar starrer RAM AUR SHYAM worked big time due to its novel premise, among other things. The concept of a seedha-saadha guy and his street-smart twin brother and the incidents that follow kept you thoroughly entertained.

GOOD BOY BAD BOY bears an uncanny resemblance to RAM AUR SHYAM, since GOOD BOY BAD BOY is also about the sharif [Tusshar] and the not-so-sharif [Emraan] and how the confusion of names brings the best out of the two in the end.

Unfortunately, this good idea is highly under-nourished, which results in a fare that's pointless, emotionless, dramaless, humorless and impactless. Honestly, the concept had tremendous scope to entertain since the film is set in a college campus. But the screenplay is so dull and dreary that barring a few laughs in a scene or two, you actually leave with a frown on your face.

It's indeed surprising that someone as talented as Ashwini Choudhary, who helmed the sensitive DHOOP, is at the helm of affairs here. To cut a long story short, GOOD BOY BAD BOY has nothing worth recalling!

Rajan Malhotra [Tusshar Kapoor] and Raju Malhotra [Emraan Hashmi] are poles apart.

Rajan is a proverbial bookworm, forever lost in studies and completely oblivious to the frolicking of a college dude. He hails from a well-to-do background and his parents [Rakesh Bedi, Navni Parihar] are constantly worried due to his somber nature and his lack of interest in any extra curricular activities.

Raju has absolutely no time for studies as playing notorious pranks on others takes up most of his time on a daily basis. His father [Anang Desai, mother: Prabha Sinha] constantly ridicules him for his wayward ways. As fate would have it, the identity cards of Rajan and Raju get swapped.

The one thing you look forward to in GOOD BOY BAD BOY is ample laughs. But what unfolds is anything but a fun ride. The film has a young look, but not once do you feel the youthful energy flowing out of the screen.

The confusion of names is so confusing itself. Okay, the identity cards get changed since both have the same initials [R. Malhotra], but when they're addressed with different names in the college auditorium by the principal, even in front of their parents, not once does anyone raise an eyebrow. How come?

Besides a tacky script, GOOD BOY BAD BOY also lacks a foot-tapping score to uplift the goings-on. The music is so unlike Himesh Reshammiya this time around. What happened, Himesh?

Ashwini Choudhary is saddled with a poor script, so expecting him to infuse life with his execution is asking for the moon. Cinematography [Manoj Soni] too lacks the sheen that films of today boast of. Dialogues are funny at places.

Emraan has a flair for comedy and that shows on the screen. He is quite likable. Tusshar is pleasant, but how one wishes the writer would've offered him better scenes. Isha Sharvani wears a set of two expressions all through. Tanushree Dutta doesn't work. Also, why is her makeup so dark? Paresh Rawal is a letdown. Kabir Sadanand is expressive. Sushmita Mukherjee is wasted.

On the whole, GOOD BOY BAD BOY disappoints big time.

What happens when you give into temptation?

What happens when you cross the lines?

The Train is the story of Vishal Dixit, whose boring, ordinary life changes when he meets a beautiful woman, catapulting him into a world of romance, lust and temptation.

Vishal Dixit (Emraan Hashmi), a regular 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 at a point 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 now realizes that the game will never end till he finds a permanent solution and that would be to eliminate the enemy.

But how does one find an enemy who has no identity? Can he protect his family? Will he be able to save both the women in his life? All Vishal is sure of is that time is running out…..

Is it too late? For Vishal? For Anjali? For Roma?

Awarapan is the story of man called Shivam (Emraan Hashmi) who searched for joy but found nothing but pain and loneliness. It is the journey of a godless heartbroken lover who in order to escape from the ghosts of his tragic past dedicates himself to serve his gangster boss Malik who runs a chain of hotels in Hong Kong.

One day Malik asks Shivam to do an unusual job for him. He asks him to keep an eye on his young mistress Reema while he is away on a brief business trip. Reema is a young Pakistani girl who is a victim of human trafficking. Malik had ‘bought’ her in the flesh market in Bangkok.

The brief is clear if Reema is found cheating behind Malik’s back Shivam has to eliminate her. From the moment Shivam sets his eyes on Reema, his frozen past begins to raise its head. He is reminded of his lost love and how he had failed to save it from a catastrophe.

And then one night Shivam is shocked to discover that the innocent looking Reema has a secret boyfriend, whom she has tucked away and is planning to run away with. Does Shivam remain loyal to Mallik and execute his orders, or does he take on his wrath by daring to go against him. Will Shivam find redemption and faith or will this Godless vagabond remain shackled to his faithless dead past are the questions which is the life blood of this haunting tale.