* One, its one-of-its-kind sci-fi fare, with a big chunk of footage devoted to VFX.
* Two, the pre-release hype, the frenzy in the media, the various tie-ups/endorsements has kept LOVE STORY 2050 constantly in news.
* Three, LOVE STORY 2050 marks the debut of Harman Baweja, one actor who has been lapped up by industry bigwigs even before his debut vehicle has hit the screens. It's a hi-profile launch.
From the looks of it, LOVE STORY 2050 demands a dekho, but there's a hitch…
Special effects -- for that matter the trappings used to embellish a movie -- work only if a movie has a rock-solid base: Content. Unfortunately, LOVE STORY 2050 gives more preference to special effects, while the writing takes a complete backseat.
There's no denying that Harry Baweja's intentions are genuine and noble, but, seriously, did the veteran get carried away by special effects? No doubt, the basic idea sounds interesting and the viewer would love to be a participant in this time-travel film, but what comes across is amateurish.
Given a title like LOVE STORY 2050, the film ought to evoke strong emotions, mainly towards the second hour, when the lead man has a tough time convincing his lady-love. But technical wizardry and VFX dominate this hour, while the emotional moments fail to evoke any reactions. Actually, your heart does not pine for the lovers and that's why this love story hardly creates any impact.
Karan [Harman Baweja], a young, spirited, sporty boy lives life off the rules, while Sana [Priyanka Chopra], a petite, shy girl lives life by the rules. Opposites attract… and love blossoms. Karan's uncle, Dr. Yatinder Khanna's [Boman Irani] much developed time machine finally works. Sana expresses her wish to travel ahead in time to Mumbai. But there's an accident…
Mumbai 2050. Flying cars, 200 storey buildings, robots and sky rails have changed the face of Mumbai. Through a series of twists and turns, Karan finds himself separating from his love. Meanwhile, Dr. Yatinder and Karan are under threat from Dr. Hoshi.
You are mesmerized by the initial scenes in LOVE STORY 2050. And it's not the script that hooks and magnetizes you. Harman's skills as an actor and also a gymnast [watch him give the firangs a chase] makes you speechless. Note the cycle chase [wow!] or Harman wooing Priyanka on a roller coaster [superb… you sure have guts, Harman]. The film works in this hour because the chemistry between the lead actors is also piping hot.
But things go downhill in the post-interval portions. What takes precedence are special effects, robots, gizmos, the masked villain… In this melee, the writing is put on the backburner.
Harman Baweja has the potential to be a major star, a front-runner. No two opinions on that! He's an exceptional dancer and looks handsome as well. But most importantly, he knows the grammar of acting well. Watch out for this kid! Priyanka Chopra is immensely likable. She suits her part to the T. Boman Irani is efficient. Archana Puransingh is lovable. The kids don't contribute at all.
On the whole, LOVE STORY 2050 rests on a thin plot and that would curtail its reach to a major extent. Disappointing!
De Taali - Review
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.
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.
Haal-e-dil - Review
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.
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? 
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!
Mere Baap Pehle Aap - Review
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.
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.
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.
Jimmy - Review
One look at Mimoh and you know that given the right roles, he can work wonders. So why a tacky script in the first place? He deserved better! The screenplay of JIMMY is an assemblage of the numerous masala films we've visited since time immemorial. The main betrayer here is its concept that has already passed the expiry date. And even a majestic tower will fall if the very foundations are weak.
Look at the cinema being churned out these days. Newer concepts, newer ideas, newer stories are the order of the day. The multiplex era has taken over completely. There's just no room for mediocrity any longer. In such a scenario, JIMMY looks like a fish out of water, an obsolete product that stands no chance in today's times.
Sorry, you just don't feel like humming the popular Mithun track 'Jimmy Jimmy Jimmy, aaja aaja aaja' for this one!
In the dead of the night, a young woman's dead body is uncovered by the police. All leads point towards Jimmy [Mimoh Chakraborty]. A mechanical engineer in day and DJ by night, Jimmy works hard to pay off the debts his late father [Prithvi] left behind. While everybody is shocked, Jimmy owns up to the murder and is sentenced to death.
Why did Jimmy commit such a heinous crime? Only Jimmy knows the truth. In a sudden twist of fate, Jimmy realizes in jail that he has been drawn into a vicious conspiracy.
Frankly, nothing works in this fare, except, to an extent, Mimoh. Director Raj N.C. Sippy faces a major roadblock in the form of the written material. Music is strictly okay, with 'Marhaba' being the only track that demands your attention in terms of orchestration [foot-tapping] and also choreography [excellent]. Cinematography is fair.
All eyes are on Mimoh and right so. The youngster needs to take care of his styling and makeup, but let's give him the due -- he has the potential. Only thing, he needs a better vehicle to drive into the audience's heart. His expressions are okay, his dialogue delivery can be brushed up, he needs to lose weight. But there's something in this boy that makes you give him a second look, despite a pathetic script. He has the energy, but it needs to be tapped in the right direction.
New-find Vivana is a pretty face, but not an actor. Zulfi Syed hams to the hilt. Rahul Dev is wasted. And what did Shakti Kapoor see in this role? Ehsaan Khan and Vikas Kalantri do not perform either.
On the whole, JIMMY is a poor show all the way. The script disappoints, not the star-kid [Mimoh]. The film may not have a future, but the star-kid does!
Bhram - Review
Honestly speaking, BHRAM, helmed by Pavan Kaul, is engaging in parts. The film holds your attention intermittently, but the writing gets too predictable in the latter reels. The problem is, the incidents leading to the culmination appear to be a complete compromise from the writing point of view.
Let's explain. In BHRAM, director Pavan Kaul doesn't open the cards at the very outset. You've to be alert to grasp things since the past and present move concurrently in the first hour, which, let's face it, tends to get confusing at times. It's only at the interval point that you exclaim, 'Okay, got it' and you look forward to the second hour with enthusiasm.
Any thriller works if the culmination hits you like a ton of bricks. In BHRAM, it doesn't. The ending is so tame, so hackneyed that you know the answers even before they're spelt out on screen. That's when the impact evaporates into thin air!
Things take a dramatic turn when Antra is introduced to Devendra [Milind Soman], Shantanu's elder brother. The wounds re-open and the skeleton tumbles out of the closet…
Pavan Kaul has managed to lay his hands on an intriguing story, but the writers let him down. While the first hour isn't faulty, things go awry in the second hour. When Dino lands up in Manali to experience the truth, he meets a series of people who were present on the fateful day. Now note this: Everyone seems to be talking of the birthday party, but the incident never takes place then. It happens at a time when only the young kid is a witness. So how would the entire town know what really transpired?
The assorted people Dino meets in Manali are suddenly told to keep their mouth shut. Wait, a still photographer is murdered as well. The question is, how does the key culprit [name withheld] enjoy such clout in an altogether different state, when, in the first place, people blame him for the rape and death? Clearly, the writers [writer: Bhavani Iyer, screenplay-dialogue: Radhika Anand] don't know how to culminate matters. Incidentally, the dialogues are too hot to handle. Sure, it's right to change with the times, one doesn't argue that, but why so many words and terms which are in poor taste? Not required!
Milind Soman gives a decent account of himself. There wouldn't be a reason to dislike him. Dino Morea carries off his part with sincerity. The vulnerable look comes across well at places. Sheetal Menon fits the role. Simone Singh is first-rate. Chetan Hansraj is strictly okay. Sheetal Shah is hardly there. Ditto for Deepshikha.
On the whole, BHRAM has an interesting story to tell, but lack of hype, face-value and uninspiring promotion will hit the business hard.
My Name is Anthony Gonsalves - Review
Looking at the promos of E. Niwas' new outing MY NAME IS ANTHONY GONSALVES, it's difficult to comprehend the genre of the film. That's precisely why you wait for the reels to unfold, to understand what this boy next door called Anthony Gonsalves would be up to.
The sad part is MY NAME IS ANTHONY GONSALVES appeals in bits and spurts. An ordinary idea seems to be stretched beyond a point and that's one of the reasons why MY NAME IS ANTHONY GONSALVES lacks the fizz.
Another aspect that goes against the film is that the first hour lacks the power to keep you hooked. There's no movement in the story, frankly. Yet, it must be said that E. Niwas' execution of the subject, in the second hour mainly, camouflages the defects. A few portions are extremely well handled, especially those when the gangsters get to know that Anthony is going to spill the beans.
Overall, a disappointing fare!
Sikander [Pawan Malhotra], Maqsood [Mukesh Tiwari] and Riyaaz [Dayashanker Pandey] are gangsters and the pub is a legitimate front for their illegal activities. Sikander is Anthony's benevolent benefactor and protector.
One fine day, Anthony inadvertently becomes a witness to a crime committed by the gang. Enters Inspector Khan [Jawed Sheikh], an honest, conscientious officer, investigating the murder of a dead colleague. Khan gets to know about Anthony being a witness to the crime.
Khan starts pursuing Anthony and the gang with dogged determination. Anthony has to choose between Sikander on one hand and his dream to become an actor, on the other.
Clearly, the fault lies in the writing. As mentioned at the outset, there's hardly any movement in the story in the first hour. Once the characters are established, instead of taking the story forward, it just stagnates. In fact, things start moving only at the intermission period. The second half holds a lot of promise and the wheels start moving at this stage, but the climax, again, is outright predictable, straight out of the 1970s.
Nikhil Dwivedi suits the character and handles his part confidently. He has the trappings of a fine actor, his expressions are perfect at most times. But he needs to better his dialogue delivery and work on his voice. Amrita Rao looks gorgeous, but her role isn't substantial enough. Mithun Chakraborty is alright. Anupam Kher is excellent. Pawan Malhotra is superb. Mukesh Tiwari and Dayashanker Pandey are first-rate as well. Lillete Dubey is wasted in a role that any other actor could've enacted. D. Santosh is competent.
On the whole, MY NAME IS ANTHONY GONSALVES is a dull fare. At the box office, it's a tough journey ahead for this film!
Welcome - Review
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.
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!
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.
Taare Zameen Par - Review
At the very outset, let's make one thing clear. TAARE ZAMEEN PAR isn't one of those films that merely entertains, but also enlightens. TAARE ZAMEEN PAR is one film that makes you peep into a child's mind and how some parents, in their pursuit to make them 'stronger' academically, forget that there's hitherto untapped talent that needs to be nourished and encouraged.
TAARE ZAMEEN PAR drives home a strong message, making you empathize with the kid, compelling you to draw parallels with your life, making one realize that some of the renowned geniuses were once scoffed at, but the world had to bow down to their intellect later.
Sure, TAARE ZAMEEN PAR boasts of a story that strikes a chord, but most importantly, it has been treated with such sensitivity and maturity that you're left shell-shocked in amazement by the sheer impact it leaves at the end of this 18 reeler.
TAARE ZAMEEN PAR heralds the birth of a topnotch storyteller -- Aamir Khan. To choose a story that's a far cry from the mundane stuff that's being churned out like factory products, requires courage and conviction and to execute it with panache is a rarity.
In a nutshell, TAARE ZAMEEN PAR serves as a wake up call for every parent or parent-to-be. Also, it heralds the arrival of a magnificent storyteller -- Aamir Khan. At the end of the day, it's not difficult to choose who's better -- Aamir, the actor or Aamir, the director. TAARE ZAMEEN PAR is a triumph all the way from the director's point of view.
Ishaan Awasthi [Darsheel Safary] is an eight-year-old whose world is filled with wonders that no one else seems to appreciate; colors, fish, dogs and kites are just not important in the world of adults, who are much more interested in things like homework, marks and neatness. And Ishaan just cannot seem to get anything right in class.
When he gets into far more trouble than his parents can handle, he is packed off to a boarding school to 'be disciplined'. Things are no different at his new school and Ishaan has to contend with the added trauma of separation from his family.
One day a new art teacher bursts onto the scene, Ram Shankar Nikumbh [Aamir Khan], who infects the students with joy and optimism. He breaks all the rules of 'how things are done' by asking them to think, dream and imagine, and all the children respond with enthusiasm, all except Ishaan.
Nikumbh soon realizes that Ishaan is very unhappy and he sets out to discover why. With time, patience and care, he ultimately helps Ishaan find himself.
A number of sequences in the first hour leave you spellbound --
- Ishaan's altercation with the neighboring kid over a cricket ball;
- Ishaan's parents' decision of putting him in a hostel and Ishaan's constant pleas falling on deaf ears;
- Ishaan going into a shell in the boarding school, looking disinterested in life. Also, the art teacher punishing him for his inattentive behavior.
There are several moments in the first hour that make you moist-eyed. The bonding between the mother and son is remarkable. These moments effectively capture the special bonding, making you realize that a mother's mere touch can act like a soothing balm on a troubled soul.
Aamir takes the courageous stand of placing the story on Ishaan's shoulders right through the first hour and not once do you feel that the kid doesn't have the power to keep your attention arrested.
The second hour is equally challenging and most importantly, motivating. The introduction of Aamir's character, Aamir spotting the indolent Ishaan, Aamir traveling to Mumbai to meet Ishaan's parents and then citing examples of extra-ordinary men who were ridiculed by their contemporaries/peers -- these moments linger in your memory even after the show has concluded.But the best part is reserved for the finale -- the art competition in the penultimate twenty minutes. The emotions reach an all-time high as the kid regains his confidence. The finale would melt even the stone-hearted!
Directorially, Aamir Khan deserves distinction marks for extracting an exemplary performance from the kid and handling the plot with supreme sensitivity. In his debut film itself, Aamir proves that he's a gifted storyteller, someone who has the courage to swim against the tide and also convince the viewer that there's more to film-making than the mere masala entertainers. Bravo!
Setu's cinematography is mesmeric. The camera captures every minute detail, every emotion, every tear with precision. Shankar-Ehsaan-Loy's music is easy on the ears. 'Bum Bum Bole', 'Jame Raho' and the title track are first-rate compositions. Prasoon Joshi's lyrics in 'Maa' deserve special mention. Editing [Deepa Bhatia] does justice to the material. Only thing, the film, if trimmed [second hour], will only be more impactful. Animation and visual effects are fantastic.
TAARE ZAMEEN PAR belongs to Master Darsheel Safary. A performance that make the best of performances pale in comparison. A performance that deserves brownie points. A performance that'll always come first on your mind the moment someone mentions TAARE ZAMEEN PAR. A performance that's impeccable, flawless and astounding. A performance that moves you and makes you reflect on your growing years. A performance that merits a special award!
Aamir is excellent. Note his scenes with the father of the kid. First, when he visits their home. Next time, when he cites the example of Solomon Islands. Splendid! Tisca Chopra is outstanding. Here's an actress who needs to be lapped up in a big way by film-makers.Tanay Cheda [as Ishaan's friend Rajan Damodaran] is excellent. Vipin Sharma [Ishaan's father] is slightly theatrical. Sachet Engineer [Ishaan's elder brother] is apt. The teachers have performed well.
On the whole, TAARE ZAMEEN PAR is an outstanding work of cinema. To miss it would be sacrilege. It has everything it takes to win awards and box-office rewards!
Do yourselves a favor. Watch TAARE ZAMEEN PAR with your child. It will change your world. It will also change the way you look at your kids!
Taare Zameen Par - Preview
Darsheel Safary as Ishaan Nandkishore Awasthi
Ishaan is 8 years old. He loves colours, fish, shiny things, dogs, golas, spaceships and kites. He loves to draw and paint and be a bindaas boy. He does not want to go to boarding school.
Vipin Sharma as Nandkishore Awasthi
Nandkishore Awasthi is Ishaan’s father. He gets very angry when Ishaan’s teachers from school complain. Nandkishore is of the view that only Boarding school can teach discipline to Ishaan.
Tisca Chopra as Maya Awasthi
Maya is Ishaan’s mother. She makes good food and looks after Ishaan when he gets hurt. She is very sad that Ishaan has to go to boarding school but she thinks it will be for the best.
Sachet Engineer as Yohaan Awasthi
Yohaan is Ishaan’s Dada. Dada is a very good student and also plays tennis and cricket. He also looks after Ishaan and loves him.
Aamir Khan as Ram Shankar Nikumbh
Nikumbh sir doesn't scold Ishaan like the other teachers. He sports a very nice smile and he likes colours and fish and dogs and painting too!
Tanay Chheda as Rajan Damodaran
Rajan is Ishaan’s best friend. He is very smart and intelligent and a good student and always knows the answers to all the questions. He always tries to be helpful to Ishaan.
Synopsis:
When he gets into far more trouble than his parents can handle, he is packed off to a boarding school to ‘be disciplined’. Things are no different at his new school, and Ishaan has to contend with the added trauma of separation from his family.
One day a new art teacher bursts onto the scene, Ram Shankar Nikumbh, who infects the students with joy and optimism. He breaks all the rules of ‘how things are done’ by asking them to think, dream and imagine, and all the children respond with enthusiasm, all except Ishaan. Nikumbh soon realizes that Ishaan is very unhappy, and he sets out to discover why. With time, patience and care, he ultimately helps Ishaan find himself.
Mumbai Salsa - Preview
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.
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?
Jab We Met - Review
Frankly, the story isn't new. It has traces of the Abhishek - Ash starrer DHAAI AKSHAR PREM KE [2000; which, in turn, was inspired by A WALK IN THE CLOUDS] and Govinda - Urmila starrer KUNWARA [2000; which, in turn, was a remake of a Telugu film BHAVANAGARU BHAGUNNARA], but director Imtiaz Ali's execution of the subject takes it to another level altogether.
Also, for any love story to work wonders, it ought to have the germs to make the viewer jump with joy and participate in the goings-on. And the principal characters here -- Shahid and Kareena -- are so real, so natural, so believable and so winsome that the viewer gets absorbed into their world as minutes pass by.
To sum up, JAB WE MET is as refreshing as an ice-cold watermelon juice in scorching heat. Imtiaz Ali's expert storytelling coupled with Shahid and Kareena's sparkling performances make this film a must-watch!
Aditya [Shahid Kapur], an industrialist, is heartbroken as the girl he loves is getting married to someone else. Unable to muster up the courage to return home, he drifts out of the gathering and aimlessly boards a train, bounding away into the night.
Geet irritates Aditya to the point of getting him to leave the train. As she tries to get him back on the train, she ends up missing it and the two find themselves stranded on a desolate station with no luggage or money.
Begins the idyllic journey through the exuberant North Indian heartland in which this odd couple make their way through buses and taxis and camel-carts to reach her house in Punjab.
On arrival, Geet's family mistakes the two for lovers. Before this misconception can be cleared, Geet escapes to her boyfriend in Manali. Aditya leaves with her, confirming the suspicion that they are lovers. In Manali, Aditya feels empowered to return to Mumbai and resurrect his ailing business.
Life takes a positive turn and Aditya begins to do well. One day, Geet's family, who think that she is with him, confronts Aditya. He is shocked to learn that Geet has not returned home. He takes it upon himself to find her.
He finally tracks her down in a Himalayan town and begins another journey to reach Bhatinda and flow into the colors and conceptions of a loud and happy North Indian family. How their separate journeys become one, forms the remainder of the story.
The highpoint of JAB WE MET is its story. Although the story bears an uncanny resemblance to some films, it never gives you the feeling of déjà vu. The sequence of events in the first hour is akin to a roller coaster ride. The journey that the couple undertake to reach Bhatinda first and Manali later is mesmerizing.
But the pace slackens in the second hour. Partly because the goings-on get dramatic and serious. Also, things seem to be stretched in this hour. The love story takes its own sweet time to reach its destination, when the fact remains that it could've [and should've] reached the finale earlier. Thankfully, the end is expertly executed and takes the graph of the film higher.
Imtiaz Ali deserves brownie points for handling the subject with such maturity. The fun-laden scenes are truly funny and the emotional ones make you moist-eyed. Striking the right balance between light and heavy moments is akin to walking on a tight rope and Imtiaz handles the two extremes with remarkable ease. An accomplished storyteller undoubtedly!
Pritam proves his versatility yet again. 'Poochho Na Poochho' and 'Tumse Hi' are seeped in melody, while 'Mauja Mauja' and 'Nagada' are racy, foot-tapping and easy on the lips. N. Nataraja Subramanian's cinematography does justice to Imtiaz's vision. The indoor look as well as the exteriors are dexterously captured by the lensman. The writing [Imtiaz Ali] is almost foolproof. Also, the ambience and setting in the Punjabi household are excellent.
Kareena is in top form as well. JAB WE MET is a turning point in her career [personally as well as professionally]. Fantabulous -- that's the right word to describe her work this time. The confidence with which she handles the contrasting characterization speaks volumes. This film should do for her what KUCH KUCH HOTA HAI did for Kajol.
Pawan Malhotra is excellent as Kareena's uncle. His diction as also the body language is perfect. Dara Singh is good. Tarun Arora is awkward, but that gels with his role.
On the whole, JAB WE MET is one of the finest [romantic] films to come out of Bollywood in 2007. At the box-office, it has the merits to work big time. Strongly recommended… Go with your family!
Bhool Bhulaiyaa - Review
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].
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?
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.
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.
Jab We Met - Preview
As destiny would have it, on the train he meets Geet (Kareena Kapoor) – a beautiful but annoyingly talkative girl who is leaving Mumbai to go her hometown – Bhatinda (Punjab). Later, she has plans of eloping with her boyfriend.
Geet irritates Aditya to the point of getting him to leave the train. As she tries to get him back on the train, she ends up missing it and the two find themselves stranded on a desolate station with no luggage or money.
Begins the idyllic journey through the exuberant North Indian heartland in which this odd couple will make their way through buses and taxis and camel-carts, crossing Highways and deserts and lakes, meeting all kinds of people, to reach her house in Punjab ……. On arrival, Geet’s family mistakes the two for lovers. Before this misconception can be cleared, Geet escapes to her boyfriend in Manali. Aditya leaves with her, confirming the suspicion that they are lovers. In Manali, Aditya feels empowered to return to Mumbai and resurrect his ailing business.
Life takes a positive turn and Aditya begins to do well. One day Geet’s family who think that she is with him confronts Aditya. He is shocked to learn that Geet has not returned home. He takes it upon himself to find her. He finally tracks her down in a Himalayan town and begins another journey to reach Bhatinda and flow into the colors and conceptions of a loud and happy North Indian family!
How their separate journeys become one, forms the destination of JAB WE MET, a beautiful and captivating saga of made-for-each-other love. Lilting, musical, amusing and packed with mischievous contrivances – this breezy fun-filled romantic comedy set in cultural North India looks like it’s ready to recreate the magical era of the 90s, in the form of Aditya and Geet, being essayed by real-life lovebirds, Shahid Kapoor and Kareena Kapoor.
Bhool Bhulaiyaa - Preview
Characters
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
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
Amisha Patel as Radha
Rajpal Yadav as Chhote Pandit
Manoj Joshi as Badrinarayan Chaturvedi
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.
Dhamaal - Review
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.
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.
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.
On the whole, DHAMAAL is one joyride that should keep its investors smiling!