Indian movies

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 passé [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!

The name Priyadarshan is synonymous with comic fares. It instantaneously conjures up images of several entertaining films he has attempted over the years. Naturally, you expect his new outing MERE BAAP PEHLE AAP to be a joyride as well. Even the promos of the film, beamed round the clock on TV, give an impression that it's a laugh-riot.

Sure, MERE BAAP PEHLE AAP has its share of light moments that make you chuckle, even break into laughter, but it's not a laughathon from start to end. From the interval point onwards, right till the finale, the focus shifts to drama, making the goings-on serious at times.

One factor that goes against the film is its length. The concept is truly novel -- for the Hindi screen at least -- but how one wishes Priyan would've controlled its length. Movies of 2 to 2.15 hours duration are fine, but 2.40 hours [add to it the promos of new films, plus interval makes it a 3-hour outing] is strictly no-no in today's times. Priyan should've brought down the length for sure!

Despite hiccups, MERE BAAP PEHLE AAP has endearing moments that work to its advantage. In a nutshell, it had the potential to rise to the level of GARAM MASALA, BHAGAM BHAG and BHOOL BHULAIYA, but it eventually ends up being an average fare

Janaradhan [Paresh Rawal] has spent his life bringing up his two kids, Chirag [Manoj Joshi] and Gaurav [Akshaye Khanna]. Now when the duo has grown up, Gaurav takes up the responsibility of his father. They both manage the household chores and their business to the best of their abilities. Though he is the younger son, he treats his father like his son. Gaurav shouts, threatens, fights, even locks up his father occasionally so that his prankster-friend Madhav [Om Puri], who is desperate to get married, does not spoil him.

Madhav and Janaradhan, who are always in search of a bride for Madhav, forever land up in trouble and every time Gaurav has to bail them out and face the embarrassment.

Gaurav starts getting prank calls from a girl who turns out to be his old college friend Shikha [Genelia D'Souza]. Shikha is staying with her guardian Anuradha [Shobhana], who happens to be Janardhan's first love.

Gaurav and Shikha notice changes in Janaradhan and Anuradha's behaviors when they come face to face after many years. They come to know about their past. Now Gaurav wants his father to get married to his lost love. Of course, the path is not so smooth, there are obstacles.

MERE BAAP PEHLE AAP begins really well. Om Puri's roving eye, Paresh Rawal's timid nature, Om and Paresh's encounter with lady cop Archana Puransingh -- the sequences are truly very enjoyable. But Genelia's constant calls to Akshaye, though meant to be equally interesting, fall flat; they hardly evoke any mirth.

The twist in the tale -- when Paresh spots Shobhana -- increases your anxiety and you look forward to a gripping tale in the second hour. But it's a mixed bag again. Agreed, people may scoff at the idea of a 60 + man wanting to get married, even though his son [of marriageable age] is a bachelor, but it could've been presented more convincingly. Here, the writer is at fault. The Naseeruddin Shah track in the finale is fine, but his bowing down to Akshaye in a fraction of a minute is difficult to digest.

Directorially, Priyan knows the craft well, no two opinions on that, but he needs to judiciously trim the film by at least 30 minutes for a stronger impact. Vidyasagar's music is a major disappointment. Barring the title track, which runs on the end credits, the other tracks are strictly okay. Piyush Shah's cinematography is excellent and the stunning locales of Kerala act as icing on the cake. Dialogues deserve special mention. Some of the lines are truly well penned. Editing is the weakest link of the enterprise.

Both Akshaye and Paresh live their roles, though there's a possibility that a section of the audience may not really like the son bossing over his father. Acting-wise, Akshaye is, as always, very much with the character, essaying his part with incredible ease. Paresh gets a solid role yet again and he sinks his teeth into it. Again, a job well done!

Genelia looks fresh and pairs off well with Akshaye. She leaves a mark. Om Puri is lovable and a major asset for this movie. Archana Puransingh is excellent. Rajpal Yadav is wasted. Ditto for the powerhouse of talent, Shobhana. She deserved a better deal. Manoj Joshi is fair. Naseeruddin Shah is effective, as always.

On the whole, MERE BAAP PEHLE AAP is enjoyable in parts -- an entertaining first hour, a not-too-entertaining second hour. At the box-office, it's at best an average fare. However, the prospects should improve if the makers trim the film from 2.40 hours to 2.10 hours.

Of late, the trend is to make entertainers that don't tax the viewers' brains. The mantra is simple: Plonk yourself on the cushy seat, munch popcorn, sip cola and enjoy the on-screen antics. Just don't ask questions. Just don't look for logic. No-brainer comedies are what the doctor ordered to keep the industry's heart live and ticking.

ONE TWO THREE, helmed by debutante Ashwani Dhir, follows the rules faithfully. But…

Like most films of its ilk, ONE TWO THREE rests on a waferthin plot. No issues with that, but after a point you don't react to the on-screen jhamela. Substituting a cohesive script with witty one-liners and funny situations has never been the shortcut to success and never will be.

Besides, the masti-mazaak works at times, but falls flat on several occasions. The on-screen characters try their level best to tickle your funny bone, to evoke mirth, but the viewer sits motionless and expressionless like a mannequin.

Comedy is serious business and Ashwani Dhir has proved his skills in the past [he had penned the immensely likeable OFFICE OFFICE], but cinema is a different medium altogether. Sure, Dhir has worked hard on wit-laden dialogues and individualistic sequences, but how one wishes he would've worked on presenting a tighter script.

It's like promising a sumptuous meal, but being offered just starters. The main course is conveniently forgotten!

Diamonds belonging to a Don [Manoj Pahwa] get stolen. The diamonds accidentally fall in the hands of Chandu [Upen Patel] and Chandni [Tanishaa], who hide them in a car. Papa [Mukesh Tiwari] and his henchmen [Vrajesh Hirjee and Sanjay Mishra] are desperately hunting for the diamonds, while hot headed police office Mayavati Chautala [Neetu Chandra] is on the prowl looking for offenders of any kind.

Enter the first Laxmi Narayan [Tusshar Kapoor]. He's from a khandani mafia family and his mother prays that with a few murders under his belt, he will be settled for life. He's got a final chance to redeem himself as a Bhai. He comes to Hotel Blue Diamond because he's taken a supari to bump off Papa.

Enter the second Laxmi Narayan [Suniel Shetty]. He is sent to Hotel Blue Diamond to collect a new car for his boss from Laila [Sameera Reddy]. The third Laxmi Narayan [Paresh Rawal] is a hawker who has made so much money selling under-garments on the footpath that he has set up a lingerie factory now. His son sends him to Hotel Blue Diamond to collect lingerie samples from upcoming designer Jiya [Esha Deol].

The three Laxmi Narayans are at the same place, at the same time. They get letters and photographs meant for the other. The first Laxmi Narayan gets lingerie designer Jiya's photo and goes to kill her, only to end up falling in love with her. The second Laxmi Narayan gets Papa's photo and goes to collect the car from him, only to be mistaken for a killer and gets beaten black and blue. The third Laxmi Narayan gets Laila's photo and asks her to show him the under-garments, only to be branded an old pervert.

Meanwhile, Chandu and Chandni are determined to stop anybody from buying the car where they have hidden the diamonds.

Lock your brains at home when you watch this movie, for ONE TWO THREE, like its predecessors, is more of a stress buster than anything else. Unfortunately, the absence of a strong screenplay evokes mixed reactions. You do laugh when you're supposed to laugh, but even those jokes are forgotten as you breeze out of the cineplex. You don't carry the story, the film, the gags and punches, the witty one-liners with you at the end of the show.

Ashwani Dhir is a far more accomplished dialogue writer than a screenplay writer. Directorially, the choice of actors is right and a few scenes are well canned. Raghav Sachar's music disappoints. Barring the title track, the remaining numbers are forgettable. Cinematography is inconsistent. It looks like a hurried job at times.

The film has a number of characters, but the one who actually makes you laugh the maximum is Sanjay Mishra, who impersonates the yesteryear villain Jeevan to perfection. Suniel Shetty too has his moments, but his 'Left-Right' dialogues, in scene after scene, tend to get monotonous. Tusshar does a decent job. Paresh Rawal is okay, but not the scene stealer -- something you've started expecting from him.

The girls enact their parts mechanically. The performances are in this order -- Sameera Reddy [okay], Esha [dull], Tanishaa [no scope] and Neetu Chandra [loud]. Manoj Pahwa excels. Mukesh Tiwari is alright. Ditto for Vrajesh Hirjee. And what is Upen Patel doing in this film? Murli Sharma doesn't deliver this time.

On the whole, ONE TWO THREE falls below the ordinary mark. At the box-office, don't expect much!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hold on! The moment someone mentions BHOOL BHULAIYAA, images of a comic caper conjure up in front of your eyes. After all, accomplished storyteller Priyadarshan has successfully delivered laughathons in the past that made the viewer go ha-ha-hee-hee-ho-ho.

But BHOOL BHULAIYAA, a remake of the Malayalam hit MANICHITRATHAZHU, is a complete departure from Priyan's films. How, did you ask? Here's why… There's comedy, but in minimal doses. There're songs, but only when the situations warrant. In BHOOL BHULAIYAA, it's all about suspense and spirits. It's eerie and [certain] portions of the film are not for the faint hearted.

A good looking film with superior performances and a stunning suspense, BHOOL BHULAIYAA is not the usual run-of-the-mill fare. It would be interesting to see how the viewer reacts to the film.

But there's a flip side too! Those expecting a laughathon from the Priyan - Akki combo would be caught unaware. Two factors that can't be ignored are its length [it tends to get taxing in the second hour] and the placement of the chartbusting track 'Hare Krishna Hare Ram' [in the end credits].

From America to his hometown in the interiors of India, it was a long journey indeed for Siddharth [Shiney Ahuja]. But nothing could match the mind-boggling journey that now lay in front of him. For, it was a journey into an astounding maze in which each step meant mystery, discovery, surprise, shock and revelation.

With open arms, his large extended family welcomes the U.S.-based Siddharth and his newly-wed wife Avni [Vidya Balan], when they come home. But what the family resists is Siddharth's insistence on staying in his royal ancestral mansion during his stay. His uncle Badrinarayan Chaturvedi [Manoj Joshi] particularly has no qualms about voicing his displeasure. For, it was that very mansion that held in its realm a deadly secret that had repeatedly destroyed the family for generations.

The scientifically inclined Siddharth pays no heed and starts staying at the palatial mansion with Avni, who is equally modern in her thinking... But, soon enough, the couple is forced to rethink their decision. Unforeseen happenings, mysterious elements, horrific indications and life-threatening incidents swarm their path. Suddenly, it becomes a situation that urgently had to be dealt with before it got too late.

Siddharth instinctively finds the solution in his dynamic Doctor-friend Aditya [Akshay Kumar]. When Dr. Aditya finds his way into the mansion, he is a man on a mission. He just had to find the cause of all the upheaval before the effects caused more harm than could be imagined. Where did the answer lie?

You can't overlook the fact that BHOOL BHULAIYAA is an extremely well-shot film. Right from the production design to the styling of the film to its overall look, BHOOL BHULAIYAA is a visually attractive film.

Priyan spells out the genre at the very start itself, when Paresh Rawal visits the haunted ancestral home and an eerie calm welcomes him. The mystery only deepens in the first hour and with the introduction of Akshay's character in the narrative [a bit late entry, though!], things only get better. Expectedly, you look forward to an exhilarating second hour.

Although the screenplay isn't too convincing in the latter half, you have to admit that the suspense does come as a jolt. The flashback that follows is equally interesting. But what ensues thereafter isn't as convincing. Actually, the length is also to blame in this hour. One strongly feels that the story should've concluded when Akshay solves the mystery.

You also await, with bated breath, the chartbusting song that's taken the nation by storm to make an entry. And when it eventually does arrive [in the end credits], it doesn't make the impact that it should've.

BHOOL BHULAIYAA is glossy, stylish and well executed, technically speaking. But Priyan treads a difficult path. As mentioned at the outset, BHOOL BHULAIYAA is not the atypical fare with laughs and more laughs. Here, Priyan opts for horror, not humor and that may have its share of advocates and adversaries.

Music composer Pritam is in top form this time around. 'Hare Krishna Hare Ram' is splendid, while 'Zindagi Ka Safar' comes easy on the lips. The flashback song is excellent in terms of choreography. Cinematography [Thiru] is excellent. Production design [Sabu Cyril] is topnotch.

Akshay enacts his part with effortless ease. A role with comic shades comes easy to him and he's on familiar ground in BHOOL BHULAIYAA. Vidya is splendid, especially in the second hour. Shiney gets scope initially, but is sidelined the moment Akshay arrives. Amisha Patel is efficient in a substantial role.

Paresh Rawal and Rasika Joshi are first-rate. Rajpal Yadav manages a few laughs in a brief role. Manoj Joshi is very much with the character. He performs well. Vikram Gokhale doesn't work because his role comes across as an unwanted track. Asrani is fair. Vineeth and Tareena Patel are average.

On the whole, BHOOL BHULAIYAA has two solid factors going in its favor -- the Priyadarshan - Akshay combo and the chartbusting 'Hare Krishna Hare Ram' track -- which have resulted in tremendous hype. Although the reactions to the film will vary, the Idd period coupled with the two factors will ensure a terrific start for the film, in turn making it a profitable venture for its investors.

Characters

Akshay Kumar as Dr. Aditya Shivastav
Restrained, practical, serious... That is what being a Doctor is about! And that is exactly what Dr. Aditya is not!! Radical, eccentric, unpredictable... none of these are the hallmark of Doctors... And that is exactly what Dr. Aditya is all about! No wonder when he is faced with a case like none other, his brilliant brain comes up with a solution like never before.

Vidya Balan as Avni Chaturvedi
She is every man's dream come true. Simple & beautiful to look at and easy - going to be with. No wonder Avni is a wife Siddharth is proud to have. She walks shoulder to shoulder with her husband sharing the good times and the bad. But this time what the two have to combat is beyond comprehension. Now it is time for Avni to share the biggest anxiety her husband can ever face...

Paresh Rawal as Batukshankar Upadhyay
He carries fear in his pocket, apprehension in his eyes and suspicion in his gait. He is Siddharth's uncle whose very presence is enough to guarantee laughs - Even at a time when things happen, that are certainly of no laughing matter.

Shiney Ahuja as Siddharth
Mind caught in a mythical situation! His predicament was peculiar! Should he trust his own sensibilities or believe what his eyes see? The US based Siddharth is comfortable with his royal lineage. But while this face is a matter of quiet pride, it soon proves to be his biggest undoing.



Amisha Patel as Radha
The petite and demure Radha is so loved by the whole family that it is hard to believe that she has been adopted into their fold. She has a special place in her foster father's life, but could never find a place in her childhood love Siddharth's heart. Even as she is dealing with this dejection, she finds herself embroiled in a web that threatens to entangle them all... Is she a mere spectator to this or something more?

Rajpal Yadav as Chhote Pandit
He is a local priest who is also the local all-over-the-place man. He is here, there, everywhere - Not only physically but even mentally. You find him where least expected and do not find him when expected. Hardly surprising, that the most unexpected things happen to him.



Manoj Joshi as Badrinarayan Chaturvedi
He is the perfect opposite of his brother-in-law Batukshankar Upadhyay. The eldest uncle of Siddharth, Badrinarayan is a solid man who carefully gauges situations and never ignores the slightest doubt that enters his astute mind. Serious in his demeanor and serious about what he believes in, Badrinarayan knows when something is too serious to be overlooked

Synopsis

From racy America to his hometown in the interiors of India, it was a long journey indeed for Siddharth (Shiney Ahuja). But nothing could match the mind-boggling journey that now lay in front of him. For it was a journey into an astounding maze in which each step meant mystery, discovery, surprise, shock and revelation.

With open arms, his large extended family welcomes the US based Siddharth & his newly wed wife Avni (Vidya Balan) when they come home. But what the family resists is Siddharth's insistence on staying in his royal ancestral mansion during his stay. His uncle Badrinarayan Chaturvedi (Manoj Joshi) particularly has no qualms about voicing his displeasure. For it was that very mansion that held in its realm, a deadly secret that had repeatedly destroyed the family for generations.

The scientifically inclined Siddharth pays no heed and starts staying at the palatial mansion with Avni who is equally modern in her thinking... But soon enough the couple is forced to rethink their decision... Unforeseen happenings, mysterious elements, horrific indications and life threatening incidents swarm their path. Suddenly it becomes a situation that urgently had to be dealt with before it got too late.

Siddharth instinctively finds the solution in his dynamic Doctor friend Aditya (Akshay Kumar). When Dr. Aditya finds his way into the mansion, he is a man on a mission. He just had to find the cause of all the upheaval before the effects caused more harm than could be imagined... Where did the answer lie??? The Scientific world or the Mystical one??? The puzzle had to be solved... It is not long before Dr Aditya discovers that nothing is what it seems and what seems, is not... and that the devastating reality was enough to shatter all truths.

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!

Money corrupts and a humongous amount of money corrupts humongously.
That's the take off point for Buddha Mar Gaya - a black comedy about dead bodies, mucho moolah and funerals.

Laxmikant Kabadiya aka LK, is one of India's richest industrialists, a self made man who's risen from selling scrap to become a construction magnate. 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 Prerna, his two sons Ranjeet and Sameer, their wives Shruti and Anju respectively and Ranjeet's daughters Sanjana and Namrata, and Sameer's son, Pawan, can't stop salivating at the thought of all that money.

Unfortunately for all of them fate displays a wicked sense of humour. On the night before the IPO opens, LK dies while copulating with a starlet 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, the family decides to hide the death of LK for a period of two days till the shares are all sold out. Little do they realize the crazy series of events that will follow on account of this duplicity.

After all, 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, the Prime Minister's fixer, a procurer of dead bodies, 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.

Buddha Mar Gaya takes you on a rip-roaring ride into a world littered with dead bodies, body parts, unending greed, corruption, funerals, ice cubes and a femme fatale.

Statutory Warning: You'll Die Laughing.

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.

Hindi movies are getting more and more real. Till sometime back, certain themes were kept locked inside the almirah, but delicate and sensitive issues and relationships are slowly stepping out of the closet. On celluloid.

R. Balki's CHEENI KUM talks of two consenting adults wanting to spend the rest of their lives together. But there's a hitch… The groom-to-be is elder than the prospective father-in-law. This relationship is highly objectionable to the bride's father!

Contrary to general perception, CHEENI KUM is not similar to RGV's NISHABD. Like NISHABD, CHEENI KUM looks at the relationship between a much older man and a young woman, fit to be his daughter. But, unlike NISHABD, CHEENI KUM stresses on humor to drive home the point. Also, the culmination -- so vital in a film of this genre -- is not difficult to gulp since the sequence of events that lead to the climax are believable.

On the flip side, CHEENI KUM tends to get verbose, talk heavy at times. Besides, the first hour tends to stagnate. It only sprints towards the second hour when Amitabh pops up the question. More on that later!

In a nutshell, a film like CHEENI KUM signifies the winds of change in Bollywood. An effort like this is sure to find its share of bouquets and brickbats. The elite wouldn't mind the film, the commoners might.

The boy is actually a 64-year-old man, Buddhadev Gupta [Amitabh Bachchan]. The girl is a 34-year-old woman, Nina Verma [Tabu].

Buddhadev is the chef cum owner of London's top Indian restaurant. He lives with his 85-year-old mother [Zohra Sehgal] and his only friend and confidante is his 9-year-old neighbor -- Sexy [Swini Khara]. Buddhadev is an arrogant, egoistic, pompous man with a singular passion in life -- cooking. A confirmed bachelor who has never been in love. Until Nina walks into his restaurant and life.

Nina is a beautiful, charming, Indian woman. Cool, calm, quiet, always smiling, but independent and strong willed. Two extremes, in age, character and attitude, meet and against all odds fall in love. They decide to get married. And, like any Indian man, Buddhadev respectfully comes to ask Nina's father, Omprakash Verma [Paresh Rawal], living in Delhi, for her hand.

But there's just one problem… Nina's father is 58 years old, 6 years younger than Buddhadev, his would be son-in-law.

Let's get into the analyzing mode and find out what works and what doesn't… The sequences between Amitabh and Tabu at the restaurant are involving. The relationship that Amitabh shares with his mother does raise eyebrows, since it's not conventional. Nonetheless, it's amusing. The moments between Amitabh and the child bring to fore another aspect of the protagonist's personality, which is welcome.

What doesn't? A number of sequences have been stretched for no reason. They tend to get repetitive. As someone who's watching the story from the sides, you want it to proceed in some direction, but there's not much movement in the first half. It takes its own sweet time to reach its destination. Besides, since the film is set in London and the setting is urban, the humor depicted in CHEENI KUM is directed at the elite. That, in turn, robs the film of universal acceptance.

Director Balki shows a flair for light entertainers and the execution of certain sequences is commendable. The portions between Amitabh and Paresh [before Amitabh asks for Tabu's hand] as also the climax [Amitabh's monologue] prove Balki's competence as a storyteller. But at the same time, the writing leaves something to be desired. There are times when boredom sets in.

P.C. Sreeram's cinematography is splendid. Ilaiyaraaja's musical score is soothing. The title track is soft on your ear drums. Chandan Arora's editing could've been sharper. Ideally, a few repetitive moments can be done away with.

Amitabh Bachchan proves his supremacy yet again. Playing an arrogant chef, the actor is natural all through, but his performance in the finale makes the character all the more believable. Tabu stands on her feet despite a formidable co-star's domineering presence. She's excellent. Paresh Rawal is only adding to his credibility with every film. Zohra Sehgal is adorable. Swini Khara is supremely confident.

On the whole, CHEENI KUM is absorbing in parts. A lackluster first half gets a boost with a much energetic second half and that elevates the film to the watchable level. At the box-office, CHEENI KUM is targeted at the multiplexes mainly. Clever promos and feel-good vibes should ensure a positive run at the multiplexes.