Indian movies

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.

It started with PARTNER eight weeks ago. Then HEYY BABYY three weeks back. It's DHAMAAL now. Howlariously funny, Indra Kumar's latest outing completes the hat-trick of laughathons that succeed in entertaining you from start to end. Like its predecessors, DHAMAAL is abundantly rich in humor and most importantly, has the right set of actors to carry off those roles with aplomb.

DHAMAAL lives up to its title. It's non-stop dhamaal for the next two hours. Sure, there're inane situations and jokes that cater to the popular tastes, but when did Indra Kumar and his team of writers [Paritosh Painter, Balwinder Suri, Bunty Rathore] ever set out to challenge Einstein? The mantra is simple: Let the auditorium reverberate with laughter. And DHAMAAL succeeds in its mission!

Any hiccups? The post-interval portions aren't as funny as the first hour. More on that later! But the film works in totality and that's what matters at the end of the day. With MASTI, Indra Kumar proved that he knows how to tickle the funny bone. With PYARE MOHAN, he tripped and ended up bruising himself. With DHAMAAL, he sprints back to the junta's hearts.

So what's the final word then? Go, watch DHAMAAL and have dhamaal. But do carry a rumaal since this madcap comedy is quite kamaal in parts. You'd cry laughing!

Roy [Riteish Deshmukh] believes that he is the best detective in the world. Manav [Javed Jaffrey] actually happens to be the biggest idiot in the world, but is blissfully unaware about it. His brother Adi's [Arshad Warsi] half knowledge about everything only adds to the great expertise of this group. The final component is Boman [Aashish Chowdhary], who's Mr. Scared.

These four idiots live and work together. Their idea of work? Doing small-time con jobs! The thought of earning an honest living has never even crossed their minds. One day, while trying to save a dying man, Bose [Prem Chopra], they get their big break. Their life is made! Unfortunately for them, Inspector Kabir [Sanjay Dutt] has been chasing Bose for the last ten years. He finally finds him. Only dead!

Desperate for his promotion, he questions the suspicious-looking foursome he finds next to the body. Inadvertently, they blurt out the secret before managing to escape. Now begins a marathon chase.

DHAMAAL begins with gusto. The introduction of the four characters at the very start makes the viewer aware of what to expect from each of them. The sequences that follow [taking the horse painting at condolence meetings] are rip-roaringly funny. Ditto for the sequence when they're mistaken as gangsters and arrested by the cop [Murli Sharma]. Another sequence that's sure to bring the house down is Asrani's vintage car going up in flames and also Sanju tying the four to a tree. The first hour rocks big time!

The writers continue to inject humor in the second hour as well. Only thing, the jokes work at times, but look forced at places. Take, for instance, the track of the robbers inside a bus and their interaction with Ritesh. Non-happening! The aircraft portion [Asrani, Aashish] is excellent, but one should know where to end a joke. Never stretch it beyond a point, but the writers do. Resultantly, the impact gets diluted. Sanju's accident and the entire cliff track, again, is mediocre. The search for the 'Big W' in the park, beneath which lies the treasure, is funny, not hilarious.

Directorially, Indra Kumar is in form. Opting for a new team of writers this time around, he gets it right on most occasions. The two songs at the very start [Adnan Sami] are interesting. Vijay Arora's cinematography is nice. Dialogues are excellent.

The one performance that stands out from the rest is that of Javed Jaffrey's. He's magnificent in a role that seems tailor-made for him. What timing! The viewers are sure to go into raptures. Arshad Warsi is not in his element. Also, why is he looking so tired? Ritesh Deshmukh is dependable yet again, although his track suffers in the second hour because it lacks meat. Aashish Chowdhary is a revelation. Confident and easygoing, he shows a flair for comedy. Sanjay Dutt is alright. Asrani is mind-blowing. It's a treat to watch this veteran in a meaty role again. Suhasini Mulay, as the landlady, is first-rate.

On the whole, DHAMAAL is one joyride that should keep its investors smiling!

When one sits on the fence and analyzes movies, passing scathing and acidic comments on all and sundry, be it films or those associated with it, the same people you'd targeted are bound to examine your film with a magnifying glass, when they get an opportunity.

Sajid Khan is known for his funny-n-witty repartees and in his first major project HEYY BABYY, he not only merges funny situations and emotional moments with aplomb, but also makes a compelling, wholesome film.

HEYY BABYY is not completely THREE MEN AND A BABY. Sure, you draw parallels since both THREE MEN AND A BABY and HEYY BABYY revolve around a trio of confirmed bachelors who unexpectedly discover the joys of fatherhood when a baby is left at their doorstep, but the similarities end there. In fact, the promos in this case don't open the cards completely. There's more to this film than masti-mazaak and the three men chasing girls of all shapes and sizes.

HEYY BABYY also works because the script is believable and the journey from Scene A to Z is well structured. Of course, there're minor aberrations, but the finale packs in a solid punch.

Sajid Khan is a skilled storyteller. Although he's known for impromptu, funny one-liners, it's the handling of the emotional moments in the enterprise that catches you by complete surprise. Note another aspect where a director makes all the difference: Akshay, Fardeen and Ritesh have been a part of comic capers in the past, but after having watched this trio in HEYY BABYY, not once do you feel that they're repeating themselves.

HEYY BABYY promises entertainment unlimited and delivers it with aplomb. Do carry your kerchief along. It makes you laugh, it makes you moist-eyed. This Babyy rocks!

Three bachelors -- Aroush [Akshay Kumar], Tanmay [Ritesh Deshmukh] and Ali [Fardeen Khan] -- are having the time of their lives in Sydney. They flirt around, sleep around and have numerous 'gorgeous' conquests to their credit.

They suddenly find their dating and mating rituals irreparably destroyed when a dimpled little roommate lands up on their doorstep. Aroush, Tanmay and Ali know a thing or two about women, but when it comes to babies, they're total zeroes and this bouncing bundle of joy is anything but joyous. But then Angel works her charm and before long, the three lecherous bachelors have been transformed into loving, caring fathers.

But beautiful Esha [Vidya Balan] will have none of it. She has known heart break once and will do anything to avenge that betrayal. And if it means breaking the hearts of three men who've finally discovered they possess one, then too bad!

Sajid Khan wastes no time and comes to the point [the bachelors finding an abandoned baby at their doorstep] at the very start, immediately after their frivolous attitude is exposed in the title track. The sequences with the baby are entertaining, but it's the turning point -- when the baby gets critically ill and the guys realize their folly -- that's a master stroke from the writing and execution point of view. The viewer is in for another surprise at the interval point. It takes the story to another high altogether.

The second half starts off well, but loses its shine partly as Fardeen and Ritesh go to lengths to get the baby back. The sequence in the car [Fardeen] is hilarious, but not the entire track. The sequences in Wonderland and also when Akshay and Ritesh disguise themselves as Arabs in a restaurant fall flat. Fortunately, HEYY BABYY picks up in the penultimate reels again. The last few minutes make you forget the deficiencies as it races towards a fulfilling finale.

The writing [screenplay: Sajid Khan, Milap Zaveri] hits a high note in the first hour, but should've been as cohesive in the second hour as well. Yet, there are moments in this hour that you carry home. Dialogues [Milap Zaveri] are simple; they don't get flowery at any point. Cinematography [Himman Dhamija] is of superior quality. The stunning locales of Sydney look equally striking on screen.

Musically [Shankar-Ehsaan-Loy], it's a hit score. A mix of peppy and melodious numbers, the ones that stand out are the title track [with an array of actresses making fleeting appearances] and 'Mast Kalandar' [SRK rocks].

Akshay is in terrific form. This role offers him ample scope to go beyond the comic roles he specializes in. Sure, he makes you laugh, but he also makes you moist-eyed when he pines for his baby. One performance that should find a prominent place in his impressive repertoire.

Fardeen springs a surprise. He hasn't worked in as many comic capers, but handles his part confidently. Ritesh is dependable yet again. The youngster is so comfortable in light roles that even if he sleepwalks, he'd make you giggle. His usage of Marathi in a kiddie party will be greeted with cheers.

Vidya Balan is superb. Not only does she look bewitching, but also enacts her part with amazing ease. A highly competent actress, she's got all it takes to reach the top slot. Boman Irani doesn't get much footage, but makes his presence felt in the introductory sequence mainly. The baby is simply adorable.

On the whole, HEYY BABYY is an entertainer that has something for everyone. At the box-office, it has the potential to rock big time. The fantastic opening of the film has only proved sone pe suhaaga… Grab a ticket today!

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.

Cast
Akshay Kumar as Aroush
The confident, carefree 'man about town', who beds girls with abandon and then abandons them, But then one such causal encounter turns serious and he doesn’t know how to deal with the consequences.

Fardeen Khan as Al
Fardeen Khan is Ali popularly knows as Al. He loves to gamble. If his winning ratio with the girls is 100%, his losing ratio is equally good or bad, depending on which side he's betting on.

Riteish Deshmukh as Tanmay
Greatly in demand as Eddie Teddy, the party entertainer. He likes to play with the babes and the babies but that’s for work. He also loves to play with the babes and that’s strictly for pleasure.

Vidya Balan as Esha
She has no intentions of falling in love till she meets the man of her dreams. But the dream turns into a nightmare and she turns into an angry young woman thirsting for revenge.

The story
Three handsome Sydney bachelors Aroush Tanmay and Al - are having the time of their lives in Sydney. They flirt around, sleep around and have numerous 'gorgeous' conquests to their credit. Aroush's (Akshay Kumar) only grouse in life is that there are so many women. So little time since he's getting plenty of action in the nightclub where he works. If Tanmay (Riteish Deshmukh) has a blast playing Eddy Teddy at kiddy parties and playing around with the yummy mummies; then Ali - Al (Fardeen Khan) gambles for a living and grumbles that his biggest strength is his weakness for women!

They suddenly find their dating and mating rituals irreparably destroyed when a dimpled little roommate lands up on their doorstep - complete with her crib. Pacifier and dirty nappy, Aroush. Tanmay and Al know a thing or two about women; but when it comes to babies, they're total zeroes and this bouncing bundle of joy is anything but joyous. But then Angel works her charm and before long, the three lecherous bachelors have been transformed into loving, caring fathers.

But beautiful Esha (Vidya Balan) will have none of it. She’s known heart break once and will do anything to avenge that betrayal. And if it means breaking the hearts of three men who've finally discovered they possess one - then too bad!

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