Indian movies

A film like THODA PYAAR THODA MAGIC makes you nostalgic. It takes you back to the light-hearted, feel-good cinema made by directors of calibre like Hrishikesh Mukherjee and Basu Chatterjee. The focus was on narrating a simple story. A movie that put a smile on your face even if you walked in with a frown.

THODA PYAAR THODA MAGIC does exactly that!

Strangely, for some reason, the film lacks the hype associated with a biggie. Perhaps, the string of flops the premiere production house [YRF] churned out, indirectly, took a toll on this movie. But THODA PYAAR THODA MAGIC should reverse the trend.

A bit of MARY POPPINS. A dash of THE SOUND OF MUSIC. A sprinkle of ENCHANTED. THODA PYAAR THODA MAGIC may not be the most original script, but the sweet and tender moments in this enterprise elevate it to a watchable status.

That Kunal Kohli is a fine storyteller has already been proved [HUM TUM and FANAA were accomplished works]. Now watch him handle a simple, uncomplicated story with dexterity and you'd agree, Kunal has only matured with time.

To put a long story short, THODA PYAAR THODA MAGIC is a simple story, well told. It's one of those films you'd enjoy watching with your family, without feeling embarrassed or red-faced. It's sure to put a smile on your face when you exit the auditorium, which, frankly, is a rarity these days!

Ranbeer [Saif Ali Khan], a leading industrialist, is a loner, not by choice, but because he lost everyone he ever loved. He is now faced with a peculiar and uncomfortable situation. In a rare and landmark court verdict, he is to look after four orphan children. The orphans hate him and want revenge from him. The children do not want to live with a man they hate; he too cannot face them or look them in the eye for certain reasons. Their life together is very unhappy.

One day, the kids pray to God for help and He does help them. He sends his most mischievous, childlike, lovable angel to the rescue, with a mission to bring Ranbeer and the kids together. Geeta [Rani Mukerji] comes bicycling down a rainbow… and bursts into Ranbeer's house as the self-proclaimed new nanny.

And then starts the roller coaster ride of fun, emotions, magic and love. An angel who doesn't know what love is. A man who always lost love. Four orphans who need love.

Kunal Kohli opens the cards at the very outset. The car accident and the subsequent court judgment set the story in motion. But the first half isn't without its share of flaws. The pranks played by the kids to harass Saif fall flat. They're anything but funny most of the times. Ameesha's character is another sore point. Actually, the film could've done without this irritating character.

However, Rani's entry in the story adds magic to the goings-on. Her interaction with the kids and how she eventually wins them over is enjoyable. The kids, of course, are the actual heroes of this enterprise, but more on that later.

It's the second hour that takes the film to a different level. How Saif bonds with each of them and the turning point, an incident that makes the kids see Saif differently, is simply excellent. Ditto for the finale, which may seem Bollywoodish, but you don't mind it.

Kunal Kohli has worked with the best of stars [Aamir, Saif, Hrithik, Kajol, Kareena, Rani], but the real test is to extract performances from four unknown kids and that's where he deserves brownie points. It's easy to handle grown-ups, but kids can be really tough. Also, Kunal doesn't [thankfully] make the proceedings melodramatic with rona-dhona thrown in to make it a perfect 'family film'. The emotions are subtle, but nonetheless move you.

Shankar-Ehsaan-Loy's music is a letdown, barring just one track, 'Pyaar Ke Liye'. Sudeep Chatterjee's cinematography is perfect. The effects are eye catching at times.

Saif fits into the sauve millionaire part [Richie Rich - the poor little rich guy?] very well. And the best part is, he never 'acts'. He's a complete natural! It's a pleasure to watch Rani in a role that does justice to her talent. She's lovable. But why is she sporting the same outfit throughout? Ameesha doesn't work, mainly because her role looks like an add-on. And what is she wearing throughout the movie? But she sizzles in the 'Lazy Lamhe' track.

The four kids are adorable. Each of them is terrific, but the one who's bound to walk away with taalis is the cute Sikh kid called Iqbal. Watch him break into the 'Main Nikla Gadi Leke' song from GADAR; it's bound to bring the house down. Rishi Kapoor is likable in a cameo. Taraana is okay.

On the whole, THODA PYAAR THODA MAGIC is a simple story told very effectively and efficiently. At the box-office, it may be a slow starter, but should gradually gather momentum with a strong word of mouth. Business at multiplexes will be the best.

Go watch it, it's a treat for your entire family!

If you've watched the promos of DE TAALI, you'd expect a film with tremendous youth power. You'd expect gags, gimmicks, laughter-n-sunshine and lots and lots of fun. But DE TAALI is anything but this! On the contrary, it's a slow-paced love story, which depicts one of the actors as a modern-day Devdas who hits the bottle when his girlfriend walks out on him. There's a kahani mein twist as well -- the kidnapping episode -- but you don't feel giving a taali to that too.

Note another aspect. Two songs from the film have been heavily promoted -- the title track [which has lots of energy] and 'Maari Teetri' [plays to the masses completely] -- which might compel you to buy the ticket. The title track comes when the movie concludes [end credits], while the other number is just not there.

Most importantly, DE TAALI gets it wrong on the script level. Loosely inspired by a popular TV drama [DAWSON'S CREEK] is okay, but the material lacks the power to keep you hooked. Sure, DE TAALI has a few engaging and enjoyable moments, but it's akin to an oasis in a desert.

In one word, disappointing!

Paglu [Riteish], Amu [Ayesha] and Abhi [Aftab] are buddies, an integral part of each others lives. Amu is a girl amongst the two guys, though Paglu and Abhi don't treat her like one. Paglu is the one who makes her realize about her feelings for Abhi. Life, however, takes a serious turn when Abhi falls in love with Kartika aka Anjali [Rimi Sen].

DE TAALI starts off quite well and the bonding between the three friends is well established in the initial portions. Things perk up the moment Rimi Sen enters the scene and shows her true colors. Everything's fine till she's kidnapped -- the interval point.

But things only go downhill in the second hour. The entire kidnap drama, the Saurabh Shukla track [it can't get weird than this], the dejected lovers [Mukul Dev, Pawan Malhotra, Sanjay Narvekar] reaching the wedding venue and the family surfacing from oblivion, everything looks ludicrous. By the time you reach the finale, the viewer is already bored and has lost all interest in the enterprise.

E. Niwas doesn't get in right this time. He knows the job well, but if you've noticed his last few outings as well as DE TAALI, you'd agree that he needs to concentrate on the script than making the frames look alluring. Vishal-Shekhar's music is a mixed bag. Barring the above-mentioned two numbers, the remaining songs lack fizz.

Riteish is lovable and his range is finally being tapped by film-makers. Aftab lends his part the required class. Ayesha Takia is getting better and better with every film. Rimi Sen spices up the otherwise bland scenario with her performance as a gold digger. Anupam Kher is wasted. Ditto for Pawan Malhotra and Mukul Dev.

On the whole, DE TAALI is a poor show. It's an apt case of the promos looking great, not the film.

This common question is addressed to the producer [Kumar Mangat], director [Anil Devgan] and lead actors [Amita Pathak, Nakuul Mehta, Adhyayan Suman] of HAAL-E-DIL: What actually did you see in the script of this film? And the next question is for the writer [Dhiraj Ratan]: How could you pen this apology of a script? Sorry, let me alter the question: Do you know the basics of screenplay writing?

Really, if there was a 'Razzie' [it salutes the worst in movies] in Bollywood, the writer would've walked away with the statuette, stealing the march from contenders like TASHAN, JIMMY and HASTEY HASTEY.

HAAL-E-DIL suits the adage so well - Body beautiful minus soul. Filmed on some stunning locales, the film registers a strong visual impact. Add to it the popular musical score. Also, the two lead men show sparks and are sure to be noticed, irrespective of how badly this film fares at the ticket window. Sadly, the shoddy writing camouflages the positives completely. You expect to be served a sumptuous, seven-course meal, but the writer serves you a few crumbs.
All said, HAAL-E-DIL is a terrible waste of a terrific opportunity. This one, I am sure, would easily rank prominently in the 'Letdowns of 2008' when one compiles the facts as the sun sets on the year.

HAAL-E-DIL tells the story of Sanjana [Amita Pathka], for whom love is chaste and sacred. It's the story of Shekhar [Nakuul Mehta], who keeps tripping for every second girl and loves to be in the perennial state of love, not realizing that he is going to meet a girl who'll change his existence. It's the story of Rohit [Adhyayan Suman], who would fall so deep in love that resurfacing would be impossible.

Sanjana is at the crossroads of life where she has to choose between her perfect love and a perfect stranger.

Strangely, two of the three Hindi releases this week bear an uncanny resemblance to the immensely likable JAB WE MET -- HAAL-E-DIL and KHUSHBOO. In this case, the story fails to grab your attention from the very start. In fact, confusion prevails all through this misadventure, so much so that there're times when the viewer is forced to ask the person seated next to him: How did that happen? Or what was that?

The love story is completely lifeless and the train yatra is anything but enjoyable. The adventure in the jungles [where the couple bumps into a Veerappan look-alike] is equally sad. If the intention was to add a dash of thrill or adventure to the goings-on, sorry, it falls flat. Or if the intention was to raise a few laughs, sorry again, it's anything but funny.

The 7-day fast undertaken by one of the leads in the concluding reels in equally phika. Are we living in the 21st century? Why is the screen writing so regressive in Hindi movies? Prior to that, the viewer learns that one of the leads has passed away and you actually fall off your seat. Ab yeh twist kahan se aaya?

Director Anil Devgan is off the mark this time. Frankly, his RAJU CHACHA and BLACKMAIL appear as classics when compared to this one. Music is the only saving grace. Every track has been filmed on a panoramic locale and acts as an eye candy. Cinematography [Rajeev Ravi] is efficient.

Nakuul Mehta may subconsciously be inspired by SRK, but you don't mind it. In all fairness, he's very confident, a bundle of energy and knows his job well. His expressions are perfect at all times. Adhyayan Suman definitely deserved a better launch. What's he doing in this film? He has the talent, which, unfortunately, hasn't been channelized at all in this misadventure.

Amita Pathak is a fine actor, no two opinions on that. But there's a problem. She looks too plump and her makeup makes her look mature. Very frankly, she looks much better in real life than on screen.

On the whole, HAAL-E-DIL is a complete dil-breaker. This one's gonna sink at the box-office!

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.

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.

To recreate the bygone era is not only strenuous, but a challenging task as well. It's equally arduous to capture the essence of Bollywood of 1950s and 1960s with precision on celluloid. In that respect, Sudhir Mishra's KHOYA KHOYA CHAND succeeds in transporting the viewer to the golden era.

Although the story doesn't focus on any person in particular or highlight any incident or event, the director drops enough hints to draw parallels with real life characters. So far, so good!

Wait, you can't turn a blind eye to the deficiencies… KHOYA KHOYA CHAND looks like an assemblage of smartly executed sequences. You remember KHOYA KHOYA CHAND not because of its stirring and gripping storyline and the impact it creates in totality, but the recall value is thanks to the individualistic scenes.

Also, the pace dips at several points and what also goes against it is its length. The film goes on and on, testing the viewer's patience towards the second hour. Ideally, Mishra should've shortened the narrative by 20 minutes at least. Besides, the execution of the subject restricts its appeal to those who tilt towards offbeat cinema.

To sum up, KHOYA KHOYA CHAND does not hold universal appeal. It's for a niche audience with an appetite for unconventional movies, catering more to the festival circuit and a tiny section of moviegoers.

Set against the Hindi film industry in 1950s and 1960s, KHOYA KHOYA CHAND is the tumultuous story of Nikhat [Soha Ali Khan] and Zafar [Shiney Ahuja]. Nikhat, a fledgling actress, becomes a big star with the help of superstar Prem Kumar [Rajat Kapoor]. But in return of favours.

Zafar helps Nikhat get free from the iron grip of Prem Kumar. But the relationship is short-lived.

Sudhir Mishra captures the behavioural pattern of stars, budding actors and film-makers to perfection. Note the tantrum-throwing heroine or the finicky producer who's more of a 'Yes Man' to the superstar or the heroine's mother and her companion who live off the heroine's money -- only an insider who knows Bollywood inside out or has watched them from close quarters would get it right.

Mishra's execution of a number of scenes is exemplary. But the grip to keep you hooked non-stop, from start to end, is missing. The film dips at regular intervals in both the first and second hour. Also, the culmination to the story is abrupt.

Shantanu Moitra's music is in sync with the old-world charm. The title track is lilting, while 'Ye Nigahen' is equally exuberant. Sachin Krishn's cinematography is striking. The production design [Gautam Sen] is first-rate. Ditto for the costumes [Ashima Belapurkar and Niharika Khan].

It would be erroneous to give the credit to just one actor, when the fact is that all three -- Shiney, Soha and Rajat Kapoor -- deliver sterling performances. Shiney is a complete natural, expressing the anguish through his eyes. Soha is a revelation. This film exhibits her potential to the optimum. Rajat Kapoor is only getting better with every film. Sonya Jehan is effective. Saurabh Shukla is in terrific form. Sushmita Mukherjee deserved more footage. Vinay Pathak is excellent. Dipannita Sharma is okay.

On the whole, KHOYA KHOYA CHAND has some interesting moments, but the impact it ought to create as also its slow pacing and excessive length dilute the effect. At the box-office, the film caters to a tiny section of moviegoers, but that's not enough!

A 'comeback' film always holds significance. Dilip Kumar [KRANTI], Amitabh Bachchan [MRITYUDAATA], Vinod Khanna [INSAAF], Dimple Kapadia [SAAGAR], Mumtaz [AANDHIYAAN] and Kajol [FANAA] are names you cannot erase from your memory since the celebrated actors returned to the big screen after a hiatus.

With AAJA NACHLE, Madhuri Dixit, who reigned supreme, is back to the studios with the Numero Uno production house of the country. Does the actress still possess the charisma to ignite fire in water? Also, does the vehicle she chooses to make a comeback with, have the fuel to reach the winning post?

Sadly, AAJA NACHLE is below the mediocre mark and doesn't meet the humungous expectations that you associate with the Yashraj - Madhuri combo. What's the problem? Without a doubt, the script! What starts off as a story that seems real and identifiable becomes a fairy tale in the latter hour. Also, with a title like AAJA NACHLE and the story harping on music, the songs had to be chartbusters. That's just not the case here!

In short, AAJA NACHLE fails in the two vital departments -- writing and music. The film doesn't make your heart go dhak-dhak, nor does it prompt you to break into a nach at the end of the show.

After nearly a decade, an unexpected phone call shakes Dia [Madhuri Dixit] out of her dance rehearsal in New York. Makarand [Darshan Zariwala], her guru, is dying and she must return to Shamli, a town in India. The town where she grew up, the town where she learnt to live and to dance. Also the town she left on an impulse, severing ties with her parents and her people.

It is a poignant and troubled return; not only has her guru passed away but the institution that he so lovingly nurtured is in decay and under threat of demolition. Ajanta theatre, the once vibrant hub of the community, the place where Dia's fondest memories are embedded, must now be brought down because the local political authorities feel it a waste of prime real estate.

With the help of Doctor [Raghuvir Yadav], the caretaker of Ajanta, Dia sets out on a mission to prevent the destruction and resurrect the spirit of Ajanta. In an atmosphere of mistrust, ridicule and active hostility, Dia picks up the gauntlet and agrees to achieve the near impossible task of putting together a theatrical production. She must also ensure that every member of the production is from Shamli town. She has only two months to prove her point or the bulldozers will be waiting.

Bearing a striking similarity to the Brazilian film XUXA REQUEBRA, Jaideep Sahni's screenplay is the biggest culprit here. The protagonist [Madhuri] knows that there would be hurdles galore on her way, as she embarks on a journey to realize her guru's dreams. But she hardly struggles to achieve the impossible. Even the corrupt politician [Akhilendra Mishra] or the shrewd businessman [Irrfan], who could've proved to be tough nuts to crack, give in so easily.

Besides, the goings-on get too unbelievable. The first question that crosses your mind is, how does Madhuri raise the funds to put up this spectacular event [the set design in the penultimate song is marvellous]? Okay, that's a cinematic liberty, but, seriously, there should've been at least some reference to where the money would flow in to fund this mammoth, lavish and extravagant event. What starts off as a 'real' film, drifts into a 'surreal' world as it moves ahead.

Debutante director Anil Mehta knows the importance of frames/visuals since he's an accomplished cinematographer. But Mehta ought to know by now that it's the content that does the talking eventually. The writing is too commonplace to make any impact whatsoever. In an effort to strike a balance between believable and make-believe, AAJA NACHLE falls like a pack of cards.

Salim-Sulaiman's music is another minus point. You expect the songs to linger in your memory even after the show has ended… that's what makes a musical tick, right? It's not the case here. Dialogues are wonderful at places, especially the ones delivered by Akshaye Khanna and Madhuri. Cinematography [Mohanan] is splendid.

Madhuri has always delivered qualitative performances and the fire continues to burn to this date. She's top notch, but how one wishes the script would've done justice to her talent. It doesn't offer her a pedestal to take that big leap. The loyal Madhuri fans would surely feel disillusioned and saddened.

Akshaye Khanna is tremendous. In fact, it's a treat to watch Madhuri and Akshaye together, after a hiatus. Kunal Kapoor is likable; he enacts his part with natural ease. Konkona is nice, but when compared to her previous work, it's definitely not in that league.

Irrfan, in a brief role, is okay. Divya Dutta too is relegated to the backseat. Ranvir Shorey is first-rate. Ditto for Raghuvir Yadav. Darshan Zariwala does a fine job. Yashpal Sharma is alright. Vinay Pathak and Sushmita Mukherjee are adequate. Akhilendra Mishra is as usual. Jugal Hansraj gets no scope. Vinod Nagpal and Uttara Baokar, as Madhuri's parents, have nothing much to do. Felix D'Alviella [as Steve -- Madhuri's lover] is passable.

On the whole, AAJA NACHLE disappoints big time. At the box-office, the film has embarked on a poor start and coupled with weak merits will only emerge as one of the major disappointments of the year.

Mumbai Salsa is a funny look at the fast emerging dysfunctional relationships that exists within the young corporate India. There was a time when an average Indian was laidback, content and with plenty of time for love, life & relationships. But the economic liberalization, foreign investments, BPOs etc changed all that. An average Indian does not have time for love life or relationships and romances do not blossom in parks anymore. In fact an average Indian spends more time in pubs and night clubs apart from offices and home. Mumbai Salsa is one such pub in Mumbai, where the lives of our principal characters change forever.

Virdas plays Rajeev Sharma. An advertising executive, Rajeev is a hopeless romantic but none of his relationships last. He is come about being really confused about women. Now, finally it seems that he has met the woman of his dreams…. But will the dream shatter?

Indraneil SenGupta plays Karan. A merchant banker Karan is the epitome of deviousness. For Karan women are just to have fun with. No serious commitments for him…. But will that change?

Dilip Thadeshwar plays Subramanium. Also works in the same Advertising agency as Rajeev. Subbu as he is better known is a traditionalist. He is conservative to the core. He hates everything that is progressive especially in the lifestyle department…. But it seems his outlook is in for a big jolt.

Raymond Irani plays Shahji. He is a gym instructor. He is more brawn than brain. He likes to have a good time but for him it takes a while for the penny to drop. It seems he is going to meet his match in the libido department.

Manjari Fadnis play Maya. Maya works as the head of the Human Resources department of a leading Bank. Maya is Miss proper. For her, everything has to be perfect. And she also seeks a similar perfection in love. But we all know that love knows no perfection. Will Maya understand this?

Amruta Khanvilkar plays Neha. She owns a beauty and tattoo parlor. She loves the good life and especially the good sex life. She calls herself hypersexual. She secretly desires the permanence of love but for that she will have to face the ghosts for her past.

Linda Arsenio plays Pamella. Pamella is an expatriate who works in the same Advertising firm as Rajeev. She loves India and everything Indian. For her the final sign of acceptance in this country is to find love here. Will she?

Neelam Chauhan plays Xenobia. She owns a Salsa class and also teaches there. She comes from a broken home and has always wanted to feel like she belonged to someone. She knows that true love will give her that feeling of security that she desires. Will she find true love?

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.

It's difficult to strike a balance if you sail in two boats. APNA ASMAAN tries to do that and ends up being neither here [appealing to lovers of serious cinema], nor there [appealing to those with an appetite for commercial fares].

Debutante director Kaushik Roy chooses a serious theme to begin with and you expect him to stick to realism as the story unfolds. But somewhere, in between, the film changes lanes and moves away from the core issue. What it sets out to narrate [a moving story of a young boy] and what it eventually narrates [the ills of wealth] come across as two different stories packed in one film.

In a nutshell, it's the writing that lets the film down, yet again. How one wishes Roy would've stuck to the serious issue, instead of spicing up the proceedings in the second hour.

The movie is about today's urban aspirations as represented by a young couple living in Mumbai. The wage earner [Irrfan Khan] works in the field of plastics. His wife [Shobhana] gives up her early promise as a classical dancer in order to settle into marriage, which is threatened when their only son [Dhruv] turns out to be autistic.

His condition distances the parents, the father torn with guilt and the mother craving success points from him. But a drug works wonders on the boy, but at a severe cost.

APNA ASMAAN mirrors certain truths. You identify with the goings-on initially. The portions involving the child and the anxiety of his parents are captivating. The sequence of events that lead to an angry Irrfan Khan injecting the 'Brain Booster' to his son is the highpoint. But things deteriorate the moment the son opens his eyes and become a genius within minutes. Now what was that?

That's not all! He becomes a great mathemagician and starts indulging in all kinds of vices. He even disowns his parents. That's where the writing goes haywire. How and why does he get such negative traits are left unexplained.

The end too is bizarre. The culmination to Anupam Kher's character, plus the son being administered the antidote and the sequences thereafter are difficult to absorb. Actually, it seems quite bizarre.

Director Kaushik Roy knows the technicalities right, but it's the writer in him that lets the director down. Music is strictly okay. Cinematography [Barun Mukherjee] is alright.

Irrfan Khan is good, not excellent -- something that's expected from him, keeping his body of work in mind. Nonetheless, he's brilliant in the sequence when he loses his temper and injects the booster. Shobhana does a fine job. Anupam Kher's character is half-baked. Rajat Kapoor is sidelined. Dhruv is loud.

On the whole, APNA ASMAAN has precious little to offer.

Powerful. Thought-provoking. Disturbing. That sums up DHOKHA, directed by Pooja Bhatt.

After attempting PAAP and HOLIDAY, Pooja charters into a new -- and most difficult -- terrain with DHOKHA. With terrorism raising its ugly head in Hyderabad recently, a film like DHOKHA is all the more topical. In this case, the suicide bomber is the cop's wife. Whew, piping hot stuff indeed!

What sets DHOKHA apart from films of its ilk is that the film never takes sides. It doesn't blame any particular community, in fact it's not pro or anti any religion. It blames the people who spread terror in the name of religion. Also, it denounces terrorism in very clear words. DHOKHA hits where it hurts. You want to know the reason why people turn into jehadis. DHOKHA probes into the issue and provides the answers.

To sum up, DHOKHA is one of the finest and powerful films to come out of the Bhatt camp. This one dares to unruffle a few feathers!

Zaid [Muzamil Ibrahim] is a Muslim police officer in Mumbai. On the night of a deadly bombing at the New Century Club, he works tirelessly to help the shocked and shattered patients brought to the hospital. But this night of turmoil and death takes a horrifying personal turn. His wife's body, the beautiful Sara [Tulip Joshi], is found amongst the dead. Things turn even more horrific when the police coldly announce that Sara's injuries were typical of those found on fundamentalist suicide bombers.

As evidence mounts that his wife, Sara, was responsible for the catastrophic bombing, Zaid is torn between cherished memories of their years together and the inescapable realization that the beautiful woman he loved had a life far removed from their comfortable existence together. DHOKHA is two creative minds at their best -- director Pooja Bhatt and writer Shagufta Rafique. Sure, a film like this is not everyone's idea of entertainment, but let's get real. Cinema isn't only entertainment, but enlightenment. With terrorism raising its ugly head time and again, in Mumbai, Delhi, Hyderabad, New York and London, you cannot shut your eyes to all that's happening around us.

DHOKHA tells the story well. The director and her competent writer open the cards at the very outset, within 10 minutes of the start. But it's the second hour that's a complete eye-opener. The ugly past, narrated by Anupam Kher, shakes you completely. Brilliantly penned and executed, you're stunned by the atrocities committed by the men in uniform.

The writing wobbles at times. Take the end, for instance. Ashutosh Rana getting caught for his misdeeds looks too sudden. Prior to that, the confrontation between Munish Makhija and Muzamil, although interesting, is long-drawn and tends to get preachy. However, the climax at a Mumbai Railway Station -- the culmination to the horrific tale -- is spell-binding.

DHOKHA is Pooja's third and also her finest work so far. She has handled the disturbing issue with utmost maturity. Shagufta Rafique's writing packs a solid punch. Music [M.M. Kreem] is soothing and the best part is, it's smartly woven in the narrative. Anshuman Mahaley's cinematography is topnotch.

Muzamil Ibrahim is a discovery to watch. Sure, there're rough edges [at times] that he needs to work on, but considering it's his debut film, he pitches in an incredible performance. A real surprise, a pleasant surprise! Tulip Joshi looks gorgeous and although she hardly has any lines to deliver, she makes it up with the right expressions.

Anupam Kher is first-rate. Only a veteran with a terrific range could've essayed the part with such understanding. Gulshan Grover is perfect. He looks the character. Ashutosh Rana is menacing; very effective. The actor enacting the role of Tulip's brother is good. Bhanu Uday is admirable. Aushima Sawhney does a fine job. Anupam Shyam is alright. Munish Makhija is competent.

On the whole, DHOKHA is a well-made film. At the box-office, it's for multiplexes of big centres mainly.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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