Indian movies

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!

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.

Each film has a twist in the tale. And with 12 writers, eight composers, six directors and 25 actors, this sure is one wholesome cinematic journey. Sunday MiDDAY tells you the who's who in each story and what it's all about


Rice Plate
Cast: Shabana Azmi and Naseeruddin Shah

A Hindu woman and a Muslim man's journey over a rice plate. It is about the challenge that the woman faces when a strange man claims her plate of rice. Will she place her hunger before her beliefs? A sensitive story with the most awaited performances; this is something everyone is waiting for.

Sex on the Beach
Cast: Dino Morea and Tareena Patel

Dino picks a worn out book on the beach and its character comes alive into a breathtaking woman. They have a great time together but suddenly everything changes. The mystery woman has some surprises in store for Dino. Dino has to pay a price for his dream coming true.


Love Dale
Cast: Anupam Kher, Aftab Shivdasani and Neha Oberoi

Neha meets an old woman in the train who is wearing only one earring. She finds that strange and that chance meeting strikes the change in her life. A story about fate, destiny at play and the notion that one moment can change your entire life.


Matrimony
Cast: Mandira Bedi, Arbaz Khan and Sudhanshu Pandey

Mrs. & Mr. Sarin are a happily married couple. Living in their paradise the devoted wife goes and meets her ailing aunt every Thursday. But is she really meeting her aunt? A story about betrayal and faith. It talks about how love makes a fool of all of us.


Gubbare
Cast: Anita Hasnandani, Nana Patekar and Rohit Roy

After an argument with her husband in the bus, Anita sits next to an intriguing man holding 14 red balloons. This story written by Gulzar unfolds a journey within a journey into this man's past uncovering the key to one of the most important lessons in life.


Pooranmashi
Cast: Amrita Singh, Minisha Lamba and Parmeet Sethi

Adapted from writer Kartar Singh Duggal's short story, Pooranmashi is about the mother-daughter bond. A mother's only daughter is about to get married and she would do anything to make her daughter happy. Pooranmashi is a story of women whose unconditional love makes for a tale of unforgettable emotional power.

Strangers in the night
Cast: Neha Dhupia, Mahesh Manjrekar

Every anniversary, they told the other a secret; this year it's the wife's turn. She begins narrating an interesting encounter with a stranger at the railway station waiting room. From there is revealed a secret that changes their lives. Maybe she should have never shared this secret.

High on the highway
Cast: Jimmy Shergill, Masumeh


The highway symbolised their companionship and their unspoken love. Its unpredictable and volatile turns define this story of two people who discover the boundaries of freedom and the recklessness of life.

Zahir
Cast: Manoj Bajpai, Dia Mirza


This is a story about friendship, love and mystery. After discovering something startling about his lover, a writer is driven to madness. The one step he takes gives this story its required twist. The mysteries of love are explored and the consequences analysed. The trademark Sanjay Gupta style that will grip you in your seats.

Rise and fall
Cast: Sanjay Dutt, Suniel Shetty

This is a story of dreams and their bitterness on fulfillment. Two parallel stories run together to meet one end. It is a story about two gangsters, their friendship and subsequent betrayal. Rise and Fall is a story of two friends united as brothers but divided by power.

Last Friday, RGV received flak from all and sundry for attempting a remake of SHOLAY. The venom spewed in views, opinions, reviews, sms-es… everywhere. RGV has lost it, was the unanimous feedback.

Yet another RGV offering hits the marquee this Friday -- DARLING -- but this one is no remake, although it does bring back memory of two films mainly, GHOST [which, in turn, inspired a slew of Bollywood movies] and Bhatts' RAAZ. Though dissimilar, flashes of BHOOT also cross your mind as you watch DARLING.

It's difficult to slot DARLING in any one category. It's eerie, it's humorous, it has the song-n-dance routine [well knitted in the plot], it doesn't belong to any particular genre. Actually, DARLING is a novel experience since Hindi films have rarely combined horror and comedy -- two diverse ingredients -- in one film. Trust RGV to think out of the box and fortunately, it works!

The eerie moments before the ghost appears don't make you break into a cold sweat, but they do make your heart beat faster. Similarly, there're ample moments in the narrative [Fardeen, Isha visiting the hospital to meet Zakir Hussain; also Isha wanting to make love to Fardeen on their anniversary and the ghost is watching it all] that are thoroughly interesting. The final scene, of course, is a brilliant stroke, with the viewer not being prepared for the turn of events.

In a nutshell, RGV can heave a sigh of relief this weekend. Last weekend was dark and depressing, this weekend should bring in sunshine for this maverick film-maker.

Aditya [Fardeen Khan] is living every man's dream. He's got a beautiful, traditional wife [Isha Koppikar] at home and a stunning wildcat girlfriend [Esha Deol] at work. Balancing the two women with clever lies, he gets to experience the best of both worlds.

The going is good. Till his girlfriend shocks him with the news that she is pregnant. Aditya is cornered. He has to confess to her that he cannot leave his wife as he has been promising her all along. His girlfriend is devastated. She flies into a rage. A brutal fight ensues, in which she accidentally dies.

Terrified, Aditya disposes off her body and returns home, thinking that the worst is behind him. But he couldn't be more wrong. For the nightmare has only just begun. His wild girlfriend is back as a ghost…

The USP of DARLING is its unpredictability. Had it been an out-and-out horror flick, you'd have guessed the sequence of events sooner or later. Had it been the story of a man torn between two women, again, it wouldn't have taken much time to guess what's in store next. But RGV steers clear of predictable stuff from the start itself.

Although the screenplay is captivating and keeps you hooked to the proceedings, the only time it takes a dip is in the post interval portions. Otherwise, the sequences involving the cop [Upendra Limaye] and his colleague [a lady called Malati] are excellent. Also, the sequence when Esha's father breaks down in front of Fardeen is incredible.

DARLING may not be amongst RGV's finest works, but it does rank among his better films. With a music company [T-Series] producing the flick, it ought to be embellished with a good score and at least two songs have already grown popular -- 'Tadap' and 'Aa Khushi se Khudkhushi Karle'. Amit Roy's cinematography is splendid yet again. The background score [Prasanna Shekar] is effective.

Fardeen Khan is a revelation. The actor catches you with complete surprise as he enacts a difficult role with panache. Esha Deol is excellent in a role that's nothing short of a challenge. It would've boomeranged had it been entrusted to any inferior actor, but Esha is in terrific form here. This should be the turning point in her career. Isha Koppikar doesn't have much to do in the first half, but more than makes her presence felt in the second hour.

Upendra Limaye is fantastic. And so is his colleague [a character called Malati]. Zakir Hussain is superb.

On the whole, DARLING is a well-made product that will find flavor with the multiplex audience mainly. Has the merits to grow with word of mouth!

Okay, Anubhav Sinha unleashes his heist saga today -- CASH. Come to think of it, CASH is very similar to DUS. A plethora of stars, stunning locales/visuals, an energetic musical score and stylized action. CASH goes a step further -- it has animation too!

Sinha has mastered the craft and garnishes CASH well, but as you begin to savor the taste, you realize that the recipe isn't perfect. Perhaps, writers Yash-Vinay had the right intentions of making a chor-sipahi kahani, but the writing is just not convincing.

Where does the problem lie? Not with Anubhav Sinha, for the director is, without doubt, one of the most stylish narrators in Bollywood. The choice of subject is also right, but the writing lacks the meat to mesmerize the viewer. Clearly, the screenplay is the villain here!

To sum up, you expect a sangam of style and substance in CASH, but what you eventually get is style, style and only style!

CASH is a thriller set in Cape Town, South Africa.

The film revolves around an ace con artist [Ajay Devgan], who hires a set of topnotch robbers [Esha Deol, Zayed Khan, Dia Mirza and Ritesh Deshmukh] to steal a set of priceless diamonds in South Africa.

The group also faces a threat from underworld don [Suniel Shetty], who is after the same diamonds and also the Head of Security [Shamita Shetty]. How these three groups manage to thwart each other forms the rest of the story.

CASH bears an uncanny resemblance to some films. The concept of a guy hiring professionals to execute a plan brings back memories of SHOLAY. There's an uncanny resemblance with DHOOM 2 as far as the stylish stunts are concerned. Also, a number of individuals wanting to lay their hands on the priceless diamonds take you to SHALIMAR.

It's not blasphemous to be inspired by any film, past or present, but what the writers ought to know by now is that there has to be a riveting story at the end of the day. What you take back as a viewer is only style. The writing is unenergetic in the first hour, but the second hour, you've to admit, is far more absorbing. The marked currency notes and also the chase by the cops [Ritesh, Esha, with Zayed atop the speeding car] are pulse-pounding.

Director Anubhav Sinha does make a 'good looking film', but the writing curtails it from being called an engrossing saga. If Sinha deserves brownie points for making a visually enticing movie, all you want to remind him is that the viewer wants to listen to an absorbing story at the end of the day. As the captain of the ship, he should've ensured that Yash-Vinay gave him a smart screenplay that compliments his skills.

Anthony Stone's stunts are topnotch. A never-seen-before experience on the Hindi screen. Vishal-Shekhar's music is trendy and the visuals and choreography supporting the tracks make you exclaim 'Wow'. Ravi Walia's cinematography is mesmeric. The film bears a striking look all through. Dialogues are well-worded at times.

Ajay Devgan is not in form this time around. He looks unenergetic… something is missing! Suniel Shetty gets to play a role he has visited a few times in the past. Zayed Khan is strictly okay. The real scene stealer is Ritesh Deshmukh. Very confident and easy-going, he's sure to walk away with ceetees and taalis.

Shamita Shetty stands out. Esha suffers due to sketchy characterization. Also, her make-up makes her face look hard. Dia is far more appealing and enacts her part well. Ayesha Takia adds to the star-value.

On the whole, CASH has style, but rests on a thin plot and that is its biggest flaw. At the box-office, the film might attract the audience in its initial weekend, but a weak script will throw a spanner.

Aditya (Fardeen Khan) is living every man’s dream. He’s got a beautiful, traditional wife (Isha Koppikar) at home and a stunning wildcat girlfriend (Esha Deol) at work. Balancing the two women with clever lies, he gets to experience the best of both worlds.

The going is good. Till his girlfriend shocks him with the news that she is pregnant. Aditya is cornered. He has to confess to her that he cannot leave his wife as he has been promising her all along. His girlfriend is devastated. She flies into a rage. A brutal fight ensues, in which she accidentally dies.

Terrified, Aditya disposes of her body and returns home, thinking that the worst is behind him. But he couldn’t be more wrong. For the nightmare has only just begun. His wild girlfriend is back as a ghost. And she will stop at nothing till she gets her revenge…

Watch the Trailer