Indian movies

Comedies are the flavor of the season and more and more film-makers are following the formula re-invented by David Dhawan and Priyadarshan. Entertainment is the key word, while a logical story goes out of the window. Shashi Ranjan's new outing DHOOM DADAKKA tries to recreate the hungama and gets it quite right in the first hour as well, but it's on a slippery wicket thereafter.

Problem kya hain? Let's not look at the plotline, but the funny situations fail to evoke mirth. In fact, the entertaining moments don't work after a point. Unlike the first hour, which packs in quite a bit in terms of substance and laughs, things slide downwards soon after the intermission.

DHOOM DADAKKA could've created a mini-dhoom with its entertainment quotient, but the writers play the villain here!

An 'All Asian Bhai Meet' is being held in Bangkok. The agenda is to discuss and assess the falling sensex of 'Bhaigiri' in Asia. In the discussion, a rival Don of Mungi's [Anupam Kher], Fursat Lala [Gulshan Grover], proposes an ambitious plan for a piece of land in Alibagh and puts across a valid argument that it is important to have a waaris, the new generation, to improve matters. Since Mungi has no waaris, it is only logical that the next man, i.e. Fursat Lala should be made the new Don.

Mungi assures the syndicate that he has a waaris, who he will present before the syndicate and asks for a month's time to do the same. Now Mungi and his friend Jignesh [Satish Shah] set out to trace Mungi's estranged sister Angoori [Bhavana Balsawar], whom Mungi had thrown out years back because she wanted to marry a music teacher. One of the letters reveals that Angoori did give birth to Kamal. Mungi is thrilled and resolves to hunt his waaris in Mumbai, where he comes across a detective, Johnny English [Satish Kaushik], who promises to find Kamal.

Through his weird ways, Johnny English gets hold of an NRI [Sammir Dattani], who claims to be Kamal. Johnny takes him to Bangkok but, to his shock, finds another guy [Shaad Randhawa] there, who also claims to be Kamal. While this confusion is on, Shivani [Aarti Chhabria] arrives on the scene claiming to be the real Kamal.

A confused Mungi asks all of them to stay in the house till he arrives at a decision as to who the real Kamal is. In the ensuing drama enters the second girl Jiya [Shama Sikander], who claims to be a girlfriend of the NRI Kamal. Is one of them the real waaris?

That Shashi Ranjan has a flair for comedies is evident at several points in the first hour. Together with the dialogue writer Ashwani Dhir, Shashi succeeds in making you laugh at the funniest of situations and silliest of jokes. That's where the director triumphs. Note the portions involving Satish Kaushik and Deepshikha or the three youngsters claiming to be Anupam Kher's nephew. Shashi changes gears and uses the brakes like a seasoned driver.

But the car runs out of fuel as you munch popcorn and relish the samosa after the interval. In terms of script, a number of questions remain unanswered even after the show has concluded. Besides, the second hour is an exercise in boredom and gets unbearable after a point. The climax is also a major hotchpotch.

Roopkumar Rathod's music is unlike what he has composed so far. It's easy on the lips and quite catchy. The title track as also 'Ishq Ka Rog Laga' [filmed on the seductive Aarti Chhabria] stand out. Ashwani K's cinematography is perfect, although the director and the DoP haven't captured the beauty of Bangkok to the optimum.

DHOOM DADAKKA doesn't demand histrionics, but given the genre of the film, the two boys - Sammir Dattani and Shaad Randhawa - handle their parts well. Sammir also dances well in the title track, while Shaad mimics the top actors quite well. Aarti and Shama are more of eye candies.

Of the supporting cast, Satish Kaushik is excellent, while Deepshikha exudes tremendous confidence. Anupam Kher is, as always, first-rate. Satish Shah is equally convincing. Gulshan Grover does well. Newcomer Zac has an inconsequential role. Jackie Shroff is just okay. Razzak Khan does a fine job.

On the whole, DHOOM DADAKKA could've been a decent timepass flick, but it misses the bus.

Vijay Anand's evergreen classics TEESRI MANZIL and JEWEL THIEF have been inspirations for many a film-maker over the decades. A number of films have borrowed from these two classics that are rightfully acknowledged as textbooks in film-making. Director Rohit Shetty also seems like a big fan of TEESRI MANZIL, since the script of his third outing SUNDAY is structured on those lines. But, in actuality, SUNDAY is inspired by the Telugu film ANUKOKUNDA OKA ROJU [2005].

A lady is murdered at the very outset and the pieces of the jigsaw puzzle are fixed in an interesting and stylish way. Any whodunit works if and only if the needle of suspicion points at the various assorted characters all through the narrative. And SUNDAY has that quality, it keeps you guessing!

As a storyteller, Shetty whitewashes his previous highly competitive works [ZAMEEN, GOLMAAL] and comes up with his most watchable experience so far. Oh yes, there are glitches [in the second hour specifically] and Shetty should've taken care of them, but let's not fuss over trivial matters.

To sum up, SUNDAY strikes the right balance between the two diverse genres [suspense, comedy]. It's a film that holds appeal more for the aam junta, not for the hard-nosed critics. SUNDAY can be summed up in four words: Engaging, engrossing, entertaining and enjoyable!

A dead body found floating in a lake… Unexplained scratch marks on her neck… Supari killers out to kill her… A taxi driver who yells 'bhoot, bhoot' every time he sees her…

Sehar's [Ayesha Takia] world turns topsy-turvy when she gets a clue about the missing Sunday of her life, which points to a possible violent attack on her. A.C.P. Rajveer [Ajay Devgan] takes up the case to sort out the complicated and jumbled up threads of Sehar's life.

In the process of solving Sehar's case, it comes to light that on Sunday, different people interacted with her and amongst them, one could be the accused. The lot included Ballu [Arshad Warsi], the taxi driver and his friend Kumar [Irrfan Khan], a struggling actor, Ritu [Anjana Sukhani], Sehar's close friend, a scary and suspicious character [Murli Sharma], who resides in Sehar's society and the group whom she had come across while partying at the discotheque.

Rajveer is convinced that Sehar is innocent, but he is also equally sure that she is linked to everything. Is Sehar really as innocent as she claims to be?

Even though the two genres [suspense, comedy] move concurrently, the suspense element isn't heavy on your mind and nor are the comic portions of the nonsensical variety that one laughs at the spur of the moment and forgets all about them the very next moment. The funda is clear: Make a wholesome entertainer that works for an avid moviegoer.

Although the story isn't path-breaking, the screenplay [K. Subhaash, Robin Bhatt and Tushar Hiranandani] holds your attention all through the first hour. The writing is highly competent in this hour. It's only in the second half that things slow down. Reason? There's an unwanted song ['Pyaar To Hona Hi Hai'] and an unrequired, long-drawn chase [with cars somersaulting in the air], that tapers the impact. Even the climax should've been more convincing. The shock-value -- so vital when the murderer's identity is unveiled -- is missing in the end. Also, a more prominent actor would've only enhanced the impact.

The screenplay writers should've worked harder on the second hour, since that's the most important aspect of any whodunit. Yet, all said and done, director Rohit Shetty steers the film through turbulent waters with his expert execution.

The songs -- by various music composers -- give the film a varied sound. 'Kashmakash' [Shibani Kashyap] is the best of the lot. Filmed on Esha Deol [excellent], the song boasts of an imaginative picturization. 'Manzar' [Raghav Sachar] is another winner. This one's filmed on Tusshar [dances very well]; it has a catchy beat and an equally arresting choreography. The stunts [Jai Singh] are stylishly executed. Aseem Bajaj's cinematography is topnotch. He proves yet again that he's amongst the best in the business. Dialogues [Sajid-Farhad] are admirable; very much in snyc with the mood of the film. The sets, especially in the Esha Deol track, are awesome.

The performances are likable! Known for intense roles, Ajay Devgan shows a flair for comic moments and gets it right. SUNDAY would only multiply his fan-following since the actor has started deviating into areas that he seldom visited as an actor. As always, Arshad Warsi is in terrific form. It's a treat to watch him essay his role with such precision. Irrfan is another actor who surprises you all the while. In fact, this combo -- Arshad and Irrfan -- compliment each other very well.

Ayesha Takia is a complete natural. The best thing about her is, she never makes you feel she's acting. She just slips into her role so well. Her introduction -- her dubbing for an animation film -- is excellent. Anjana Sukhani doesn't get any scope. Mukesh Tiwari is first-rate. Murli Sharma, Vrajesh Hirjee and Ali Asgar are alright.

On the whole, SUNDAY is a well-made entertainer that has the potential to click with moviegoers. It also has the advantage of having open weeks ahead, with no major opposition till 15th February. Should end the drought that the industry is facing after a flurry of flops.

Think of sports-based films made in India and visuals of LAGAAN and CHAK DE INDIA flash across your mind. Will DHAN DHANA DHAN GOAL fall in the same league as these immensely popular flicks, is one vital question that crosses your mind as the reels of UTV's new sport-based film [their second this year, after HATTRICK] DHAN DHANA DHAN GOAL are about to unfold.

GOAL is a simple story that packs not just the sport, but also dabbles with issues like racism and fanaticism associated with this sport. Issues that Westerners can relate to more than Indians, especially racial discrimination.

As a film, GOAL has its share of highs and lows. If the first hour is strictly okay, the pendulum swings in its favour in the second hour -- in the last 20 minutes, to be precise. The sport succeeds in arousing patriotic feelings, besides involving the viewer in the fight-to-finish finale.

Conversely, there are times when you feel that the film falls back on the predictable, tried-n-tested mundane stuff. And packs in something ['Billo', the song] that's just not in sync with the mood of the film.

To sum up, GOAL is a simple story, well told. Notwithstanding the hiccups, this film hits a goal, courtesy its brilliantly executed finale.

Southall United Football Club is facing its deepest crisis ever. Bankrupt, with no stars, no coach, no sponsors, no takers, no spectators and most importantly, no owner. After the City Council sends an eviction notice, it's the last chance to save the ground, the club and their honour. Shaan [Arshad Warsi] takes up the challenge to save the club from extinction. After a disesteemed ex-player, Tony Singh [Boman Irani], joins them as the coach, Shaan and he begin work to gather the worn out team.

Sunny's [John Abraham] dreams to play for England crashes after his club does not select him. The reason is apparently not his game, but the colour of his skin. Sunny and Shaan never see eye to eye. Adding to their personal chaos is Shaan's cousin sister Rumana [Bipasha Basu], who is in love with Sunny.

Tony manages to convince Sunny to play for Southall United. It takes a while before Shaan and the team warms up to Sunny. With Sunny joining Southall United, the team gradually starts climbing the points tally. The City Council is worried. Johny Bakshi [Dalip Tahil], a commentator and a frontman of the Council, plans to lure Sunny away from Southall United.

Director Vivek Agnihotri combines style and substance in his second outing GOAL. Take the sequence at the very start, when an English woman and her frontman [Dalip Tahil] reveal their plans of coming up with a shopping complex on the ground. The director opens the cards at the very outset. But the narrative dips, rises, hits a low and ascends unfailingly till the first hour ends. The sequence prior to the intermission -- at the Manchester United Stadium -- leaves you awe-struck and makes you look forward to a powerful second hour.

Fortunately, the drama only gets exciting in the post-interval hour. The cold vibes that Arshad and John share as also John's volte-face, when he decides to abandon his club for the riches, give the film that extra dimension, camouflaging the defects that raised their head not too long back. The film dips at times in this hour too, but the journey to the finale is well structured. Yes, John's change of heart is slightly filmy and clichéd, but the climax is astounding. The penultimate 20 minutes in the stadium are awe-inspiring and that's what you carry back home.

Vivek Agnihotri knows what he's talking and though you know that he got swayed by technique in his very first film CHOCOLATE, in GOAL, he never lets technique overpower content. The story is simple, but absorbing and presented stylishly. He's truly evolved into a fine storyteller.

There're just two songs in the narrative -- the anthem 'Dhan Dhana Dhan Goal'/excellent and 'Billo'/well-tuned, but the mujra doesn't go well with the mood of the film. Attar Singh Saini's cinematography is striking. The camera movements -- so difficult in a film like this -- are exemplary.

Both John and Arshad are the 'Men of the Match'. John is a revelation. Wrongly dubbed as a clotheshorse in his earlier films, he hits a goal in GOAL. John lends the right texture to his character. He not only looks right for the part, but also plays the sport like a pro. GOAL should occupy the top slot in his body of work!

Arshad Warsi is superb. An incredibly talented actor whose versatility speaks volumes. Cast in a sober, serious role this time, Arshad enacts the part with as much ease as he portrayed Circuit. Bipasha Basu may not have a lengthy role, but she adds zing to the goings-on as and when she appears. Her love story with John is really cute.

Boman Irani is top notch. Note his roar at the intermission point or the uneasiness he displays whenever his team locks horns with the rivals on field. It's a flawless performance. Raj Zutshi is first-rate. Dalip Tahil carries the venomous part well. The actor enacting the role of Arshad's wife does a commendable job.

On the whole, DHAN DHANA DHAN GOAL has an ordinary first hour, but the post-interval portions, especially the exhilarating climax, makes up for everything. At the box-office, the producers [UTV] have already recovered the cost of production from various sales and in-film advertising. The theatrical business will only add to the booty, considering the film has the merits to work with moviegoers. Another factor that goes in its favour -- and it's an important one -- is the fact that the moviegoers haven’t seen a new release post-Diwali. That should reap dhan for DHAN DHANA DHAN GOAL.

The title should always summarize the content of a film. Besides, the promotion should always send out the right signals vis-à-vis what the film has to offer in terms of content. With a title like CHHODON NAA YAAR, you expect a film on male bonding, a la DIL CHAHTA HAI. Also, with songs like 'Kasak' and 'Talwar Re' being beamed on channels 24 x 7, you expect CHHODON NAA YAAR to be an entertainer with emphasis on music.

But the viewer is in for a surprise as CHHODON NAA YAAR belongs to the horror genre. Yes, the story is about a bhatakti aatma and how she continues to haunt a temple and the surrounding jungles.

To give the credit where's its due, director Dilip Sood does succeed in scaring the daylights out of you in a couple of scenes, especially at the intermission point [when the spirit appears in front of the three friends]. Also, a few sequences in the second hour do send a shiver down your spine.

But the problem is, CHHODON NAA YAAR is an incomplete film, in terms of writing. It leaves a vital question unanswered: What's the mystery behind the spirit? Does it ever get solved? There's a moment when you feel that Jimmy, Kim and the pujari of the temple will solve the mystery, but the end credits begin to roll abruptly. Kya hua, Director sahab?

In a nutshell, CHHODON NAA YAAR is letdown by its writing!

Ravi [Jimmy Shergill], Shiv [Kabir Sadanand] and Sunny [Farid Amiri], three final year students from a Delhi Mass Com College, decide to make their diploma film about a myth prevalent in the northern hills of India.

Against the wishes of his girlfriend Rashmi [Kim Sharma] and college professor, who think that the subject is too dangerous for a college project, Ravi plans the trip. But as they go deeper into the jungles, a startling incident changes their lives…

As mentioned above, the writing is the culprit here. Besides the questions that continue to haunt you vis-à-vis the aatma, the character sketch of the three friends is also weird. The film begins with the three posing as actors, then participating in an item song for a film and then, we're told, they're students who aspire to be film-makers. Really hard to digest!

The second problematic area is the inclusion of songs even when not required. Songs [Anand Raaj Anand], though tuneful, have been added to supplement the romantic track ['Kasak'] or increase the glamour quotient ['Talwar Re']. In fact, it wouldn't be erroneous to state that the popular tracks lose their sheen because of wrong placement in the narrative.

The technical aspects are much better. Pushan Kripalani's camerawork is eye-pleasing. The dense forests are well captured on celluloid. The background score is interesting as well.

Jimmy Shergill makes a sincere attempt and strikes a chord. Kabir Sadanand's dialect is jarring, although his performance is sparkling. Farid Amiri is miscast. Kim Sharma has no role. Vinod Nagpal is okay. Mahek sizzles in the item song. Vallabh Vyas [Kabir's father] is functional.

On the whole, CHHODON NAA YAAR stands on a faulty script and with no face-value to magnetize cinegoers, it will find the going very tough.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The film begins with a disclaimer, stating that RETURN OF HANUMAN is not a sequel to any film made before. But is it really possible to watch the new experience forgetting all about the first part?

As someone who thoroughly enjoyed HANUMAN, you expect an encore with RETURN OF HANUMAN, although the makers, for reasons best known to them, have decided to alienate the new film with the first animation film on Lord Hanuman. The makers may have their reasons, but for the viewer, the comparisons are inevitable.

Honestly speaking, one shouldn't compare the two films for a very valid reason. While HANUMAN was a pure mythological film, RETURN OF HANUMAN merges mythology with the present-day kalyug ki duniya. In this film, there's Gabbar Singh, plus voice-over clones of, hold your breath, Shah Rukh Khan, Sanjeev Kumar and Raaj Kumar. What's more, Baby Hanuman handles a volley of bullets like Keanu Reeves handled them in the MATRIX series.

RETURN OF HANUMAN begins with the battle between the gods and rakshas. The focus shifts to a small kid, Minku, in a small village in present-day India, who's ridiculed by his friends. Lord Hanuman requests Narad Muni to convince Lord Brahma to send him to earth. Lord Brahma agrees, but Lord Hanuman is made to sign a contract, which has several do's and don'ts.

It's innovative to merge mythology with the contemporary and a number of sequences do make an impression, especially in the first hour. But the film drags in the post-interval portions and a long-drawn climax only dilutes the impact of several interesting sequences.

One of the prime reasons why HANUMAN worked was because Baby Hanuman was very cute, very lovable. The Baby Hanuman in RETURN OF HANUMAN is equally adorable. Sequences depicting his voracious appetite as also with his timid friend Minku are quite enjoyable.

Technically, the animation quality is okay. But it's still not at par with the animation movies made in the West. At best, RETURN OF HANUMAN is enjoyable in parts. If you're a kid or have a kid hidden in you, this one's for you!