Indian movies

Are you ready for an expose on the fashion industry? Where designers pass off 'Indira Market, Bangkok' stuff as their own creation. Where ad agency/fashion mag honchos call the shots. Wild lifestyles, backstage dramas, wardrobe malfunction, casting couch... ouch, ouch, ouch!

Madhur Bhandarkar, the undisputed king of realistic fares, comes up with yet another hard-hitting film that enlightens you, moves you, motivates and deflates you, even shocks and surprises you and of course, entertains you.

The solid reason why FASHION works is because Madhur brings alive everything you've read in newspapers or watched on TV as an outsider, to the big screen. And that works and how!

But let's not give the subject material all importance, for Madhur's handling of the subject is exemplary. Madhur dresses up his mannequins well, but most importantly, infuses life in those prime bodies. A number sequences leave you tongue-tied [more on that later].

But there's a hitch. And this problem tones down the impact considerably. The running tine of almost 2.40 hours makes you restless, especially the penultimate 25-odd minutes. Yet, all said and done, FASHION has all it takes to be the showstopper this Diwali!

FASHION tells the story of a small-town girl with a dream and the determination to make it a reality. Meghna [Priyanka Chopra] is ambitious, she wants to attain the status of a supermodel. She realises her dreams and rises to walk the ramps for leading designers across India.

But Meghna has to pay the price for her fame and her journey to the top. Her career starts sliding downwards. In this journey of Meghna, she encounters a number of people. Most importantly, Shonali [Kangna Ranaut] and Janet [Mugdha Godse]. Also, Abhijit Sareen [Arbaaz Khan], a tycoon who controls the fashion industry.

CHANDNI BAR, PAGE 3, SATTA, CORPORATE, TRAFFIC SIGNAL -- every Madhur Bhandarkar film has a new story to tell and he tells it most convincingly. In fact, Madhur strikes a fine balance between realism and entertainment in every film. Given the fact that FASHION is all about the fashion industry, the narrative is inevitably filled with lots of glam-n-glitz moments. The fashion shows, the stunning models, the superb styling, the vibrant colours and the behind the scenes drama is worth every penny spent on the ticket.

But it's not just ramp shows and style-n-fashion here. There's a story running concurrently -- of three models. One, the rise of an unknown into a supermodel. Two, the fall of a supermodel to dust. Three, the ambitious model not achieving success, but opting for a marriage of convenience.

While Madhur has handled the theme as if he were an insider, this review would be incomplete if you ignore two major sequences that are simply outstanding. One, Kangna's wardrobe malfunction and two, when Priyanka exposes Arbaaz to his wife [Suchitra Pillai].

Mahesh Limaye's cinematography captures every aspect of the fashion industry to the fullest. The screenplay [Madhur Bhandarkar, Anuradha Tiwari, Ajay Monga] is perfect, except for the penultimate portions. Niranjan Iyengar's dialogues are fantastic. Nitin Chandrakant Desai's production design is truly upmarket. The costumes and styling are top notch, a feast for the eyes. Salim-Sulaiman's music is well synchronised as well. 'Mar Jaava' and 'Jalwa' are lilting creations.

Madhur places immense trust on Priyanka and she is remarkable all through, more towards the second hour. Post AITRAAZ, FASHION is another medal that shines the brightest when you look at her body of work. But the real star is Kangna. Her role may not be as lengthy as that of Priyanka, but the actress pitches in an awesome performance. Her confidence at the very start is infectious and her overall performance deserves an ovation.

Mugdha Godse is, again, supremely confident. She has dum. Arbaaz Khan is first-rate. Arjan Bajwa does well. Harsh Chhaya, the gay designer, stands out with a realistic performance. Ashwin Mushran, Priyanka's confidante, is top notch. Samir Soni is good. Suchitra Pillai and Kittu Gidwani are effectual. Raj Babbar and Kiran Juneja are seasoned in such roles.

On the whole, FASHION has tremendous curiosity value and also shock value for the Indian audiences. Its subject -- the behind the scenes working and drama of the fashion industry -- is its USP. At the box-office, the pre-release hype and buzz will ensure a successful run for the film. Its business at multiplexes mainly should be bountiful. However, trimming the film will only help; not only will it enhance the film, but also its business. Must watch!

Two decades ago, the Mansoor Khan-helmed QAYAMAT SE QAYAMAT TAK, starring two newcomers [Aamir Khan, Juhi Chawla], focused on teenage love, with parental opposition acting as an obstacle. The story wasn't new, but the treatment was fresh and inventive. QSQT remains one of the finest reference films in this genre and rightly so!

JAANE TU… YA JAANE NA is a love story as well, but it's more of an Archie-Jughead-Veronica-Betty kind of a plot, set in the current milieu. We witnessed a gist of it a few years ago in the Shahid Kapur launch pad ISHQ VISHK.

JAANE TU… YA JAANE NA doesn't dare to be different. Basically a simple tale about a group of friends, it focuses on one couple that's in love, but is in a state of denial. Haven't we watched similar love stories in the past, you may ask. Sure, we have, but the execution of the subject makes all the difference.

Large portions of JAANE TU… YA JAANE NA have been executed well by debutante director Abbas Tyrewala, but the problem lies in the second hour when the film gets lengthy and also, a few tracks throw a spanner in the otherwise smooth proceedings. Even the climax, although well shot, is passé [very filmy in an otherwise real film], since a number of films have had similar endings.

Yet, despite the shortcomings, JAANE TU… YA JAANE NA works for a number of solid reasons and that's what the viewer carries home. A decent fare that takes you back to your adolescence, when friends seem to be the be-all and end-all.

Jai [Imran Khan] and Aditi [Genelia] are buddies. In fact, they hang out with their group of friends, but have eyes for each other only. Their friends know that Jai and Aditi are perfect for each other. Their parents know this as well. Everybody knows this. But the couple doesn't. So when do they realize its love?

Don't expect fireworks or melodrama in this prem kahani. It's an extremely simple, uncomplicated tale that never goes over the top. The bonding amongst friends is well established. So is the relationship that Ratna Pathak Shah shares with her deceased husband's portrait [reminds you of Ashok Saraf-Priya Tendulkar relationship in the popular comedy show HUM PAANCH].

Besides, the two [popular] songs that come in the initial reels -- 'Kabhi Kabhi' and 'Pappu Can't Dance' -- only spice up the proceedings. The arrival of the 'third angle' in this love story [Manjari Phadnis] is perfect. Everything is faultless in the first hour.

But the second hour lets you down. The Ayaz-Genelia relationship is, again, well developed, but the second hour gets a tad lengthy. But what looks completely out of place in this light and breezy entertainer is the Rajput connection and how it saves the lead man from the cop [Paresh Rawal]. This track irritates!

Also, the climax, set in an airport, is beaten to death. There's no novelty in it, since we've seen the same ending in film after film.

Abbas Tyrewala has the makings of a fine director. A.R. Rahman's music is already a rage and the two songs at the start are superb compositions. Cinematography is excellent.

Every member of the cast stands out, but the film belongs to Imran and Genelia. Imran has been presented as the boy-next-door and that works in his favor. He has screen presence and acts very well for a first timer. Most importantly, he looks the part. Genelia adds freshness to her scenes. What makes you take to Genelia is her spontaneity. Also, the mischievous look in her eyes conveys sorrow with equal ease. Wish to see more of her in Hindi movies! Manjari is a complete natural. She is very effective.

The group of friends -- Karan [as Rotlu], Alishka [as Bombs], Nirav [as Jiggy] and Sughanda [as Shaleen] -- are excellent. Each compliments the other well. Ratna Pathak Shah is highly competent. Jayant Kripalani and Anuradha Patel [as Genelia's parents] are sweet. Pratiek Babbar [as Genelia's brother] springs a pleasant surprise. He is flawless in an unconventional role. Ayaz Khan [as Genelia's fiancé] registers a strong impact. A good actor!

Rajat Kapoor and Kitu Gidwani [as Manjari's parents] are fair. Naseeruddin Shah is in terrific form. Paresh Rawal, again, is wonderful. Arbaaz Khan and Sohail Khan irritate, mainly because the roles don't work.

On the whole, JAANE TU… YA JAANE NA is a breezy entertainer which will be loved by its target audience -- the youth. At the box-office, business at multiplexes should ensure a speedy recovery for this moderate budget film. A profitable venture!

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.

Comedies are the flavor of the season and RAMA RAMA KYA HAI DRAMAAA follows the rules and guidelines earnestly. But let's not mistaken this film to be an offshoot of PARTNER and WELCOME. The idea is to recreate the Hrishikesh Mukherjee and Basu Chatterjee kind of cinema by handling a serious topic [marital problems] in a humorous format.

Although the topic it touches is serious in nature, debutante director S. Chandrakant weaves humor in the plot so that the goings-on don't get heavy at any point. Also, you don't really expect the moon from the film, so you aren't disappointed either.

To cut a long story short, RAMA RAMA KYA HAI DRAMAAA isn't a great comedy by any chance. But you continue to smile, not squirm, as the reels unfold!

The story revolves around three married couples -- Prem [Aashish Chowdhary] and Khushi [Amrita Arora], Santosh [Rajpal Yadav] and Shanti [Neha Dhupia] and Mr. and Mrs. Khurana [Anupam Kher and Rati Agnihotri]. Santosh marries Shanti, a small-town girl, and later realizes that Shanti is not the 'perfect wife'. Petty differences start popping up and Santosh starts day-dreaming and imaging other women as his wives.

The marriage of Prem and Khushi is also not smooth-sailing, since Khushi is too demanding as a wife. How the two couples make up in the end forms the crux.

A simple plot with equally simple execution -- that's the right way to sum up RAMA RAMA KYA HAI DRAMAAA. The arguments and tiffs between the newly-married couple [Rajpal, Neha] seem real at times. Also, Rajpal's over-active imagination -- of imagining other's wife as his -- make the goings-on interesting.

On the flip side, the writer hasn't spelt the reasons that put Rajpal and Neha in the war zone. Why are they constantly bickering? The other couple's [Aashish, Amrita] relationship is also not well-developed. Aashish is an excellent husband, but Amrita seeks divorce in the end. It should've been the other way round.

Debutante S. Chandrakant shows a flair for comedies. But he could've done with a tighter script. Siddharth-Suhas' music is a plus point. The songs are easy on the lips. Dialogues are funny at places.

RAMA RAMA KYA HAI DRAMAAA doesn't demand histrionics, so everyone's over the top, in keeping with the mood of the film. Rajpal Yadav is the scene stealer. Neha too acts well. Aashish has a Salman Khan hang-up. He ought to be natural. Amrita Arora gets minimal scope. Anupam Kher and Rati Agnihotri are adequate.

On the whole, RAMA RAMA KYA HAI DRAMAAA is a fair entertainer.

Nagesh Kukunoor is back to the genre he began his career with -- a light entertainer. In his new outing, BOMBAY TO BANGKOK, he goes a step further and incorporates every ingredient available on the shelf that constitutes atypical Hindi film. This one's not 'same-same, but different' from Kukunoor's earlier films!

But all's not well in Kukunoor's BOMBAY TO BANGKOK. The plot, though interesting, isn't fine-tuned into a gripping screenplay. What holds promise at the start turns out to be a below-ordinary exercise midway through the film.

Of course, Kukunoor's expert execution of the material makes a difference and a few sequences are elevated to the watchable level, but the impact the film ought to make in totality is missing.

In short, BOMBAY TO BANGKOK lacks the solid punch of a solid storyteller!

Shankar [Shreyas Talpade], a petty thief, in desperate need of money, steals from the local don [Naseeruddin Shah] and escapes his way into a team of doctors heading for relief work to Bangkok. Unfortunately, he loses the all-important money bag in the chaos.

In Bangkok, his world turns upside down at a massage parlour where he bumps into Jasmine [Lena]. The hitch is, she is all Thai and he can't converse with her at all. A ray of hope comes his way the next day when Jasmine turns up desperately in need of a doctor!

Shankar, posing as a doctor along with the Sardar buddy Rachinder, jumps into this whirlpool, while Jasmine soon gets pulled into his bumbling adventures while running away from the don and his son [Vijay Maurya].

Kukunoor's films have well etched characters and the ones in BOMBAY TO BANGKOK are no exception. There's a seedha-saadha cook turned thief - perfect; there's a Thai woman who works as a volunteer in the day and at the massage parlour in the night - perfect again; there's the don's son who wants the money back, but is more focussed on being a Rapper - great. But great characters don't really make a great film!

The problem? A few individualistic scenes [Shreyas' first encounter in a massage parlour, his prescribing Viagra to all patients and the sequence with Lena's uncle, a hardcore Bollywood buff] do raise a chuckle, but when viewed in totality, the zing is missing. It's a screenplay of convenience. And that's why you feel sad since Kukunoor gets it right with the characters, but not the script.

Clearly, Kukunoor is letdown by the writing. Yet, it must be mentioned that Kukunoor's comedies aren't the leave-your-brains-behind types, but inclined towards the Hrishi-da-Basuda variety, which is always welcome. The songs are soothing, with 'Same Same But Different' and 'Mausam Suhana' being well-tuned tracks. Cinematography is alright, although one feels that Kukunoor should've set the film in Bangkok, not at a secluded spot outside Bangkok. The viewers do miss the beauty of the metropolis.

Shreyas is a fine actor and he proves his abilities yet again. Lena, the Thai actress, is equally competent. The actor enacting the role of Rachinder is good. Vijay Maurya is excellent. Yateen Karyekar is alright. Naseeruddin Shah is there for just one scene.

On the whole, BOMBAY TO BANGKOK has a few enjoyable moments, but that's about it. At the box-office, not much to look forward to!

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

With SHRADDHANJALI, his directorial debut, Anil Sharma proved that he could make you moist-eyed. With HUKUMAT, he proved that he could pull off a vendetta fare with gusto. With GADAR, he proved he could handle a love story with two neighboring countries as the backdrop with remarkable ease.

APNE, his new endeavor, is all about familial bonding. In a way, the storyteller goes back to his roots in his new outing -- emotions.

APNE casts a father [Dharmendra] and his two real-life sons [Sunny, Bobby] in roles that suit their personalities. Besides, the backdrop of boxing makes the conflict in the story look convincing.

APNE is rich in emotions and a number of sequences, especially those between Dharmendra and Sunny, are electrifying. Also, the boxing matches [Chris Anderson] are pulse-pounding and you clench your fists tightly due to the tension that's depicted on screen.

But APNE has its share of shortcomings as well. Ideally, the film should've had a concise format of 2.15 hours, instead of 2.54 hours. Besides, the screenplay, although tight at most times, succumbs to mediocrity at places. Music too is another aspect that should've had a lingering effect, since it's not everyday that the three Deols come together.

To sum up, APNE is desi at heart and holds appeal for those who swear by desi flicks. A worthy effort nonetheless!

Baldev Singh Choudhary [Dharmendra] won a silver medal in the Olympics and made India proud. His only dream was to make history by becoming India's first World Heavyweight Boxing Champion. But sometimes dreams get shattered before they can be realized.

When in the U.S., fighting for the World Heavyweight Championship, the betting mafia conspires against him and gets doping charges leveled against him, which gets him banned from boxing.

For an athlete nothing can be worse than doping charges. Baldev wants to get rid of this stigma and pain by training his elder son Angad [Sunny Deol] in the sport of boxing and make him a World Heavyweight Champion and create history which eluded him.

But Angad has some other dreams, other aspirations, other commitments… Karan [Bobby Deol], the younger son, a musician, in spite of wanting to fulfill his father's dreams, is helpless. But the story takes a turn when Karan decides to live his father's dream. The situation spirals out of hand subsequently…

APNE grips you gradually. Anil Sharma and writer Neeraj Pathak open the cards at the very outset. The uneasy relationship shared by the father and son [Dharmendra, Sunny], Dharmendra's failed ambition, the turning point in the tale [when Bobby steps in to fulfill his father's dreams] make the goings-on watchable. The narrative only gets absorbing when the focus shifts to the boxing ring and the opponent [Luca] steps into the picture.

But there's a flip side too. The choreography of these sequences [in the boxing ring] is so real that it can be off-putting as well, especially for the faint-hearted. Also, the climax is well crafted, but, ideally, it should've ended when Sunny overpowers the opponent. The subsequent portions [Bobby's liver problem] only add to the excessive length.

Director Anil Sharma handles the emotional sequences brilliantly. In fact, a number of scenes bear the stamp of a solid storyteller. The screenplay [Neeraj Pathak] is taut, except for a few loose ends. Himesh Reshammiya's music is a complete letdown. Barring the title track, the remaining songs are uninspiring. Kabir Lal's cinematography is topnotch. The lush green fields and locales of North India give the film a rich texture.

APNE belongs to Dharmendra. No two opinions on that. The veteran roars like never before and proves yet again that he's a magnificent actor. Sunny is first-rate. Bobby is alright, but the one complaint that you hold against him is, why didn't he work on his physique when he accepted this role? If he's playing a boxer, he can't afford to show his flabby chest and stomach.

The leading ladies don't have much to do. Shilpa at least gets a few scenes, while Katrina is there to flutter her eyelashes only. Kirron Kher is superb yet again. In fact, she has a far meatier role than the two ladies. Divya Dutta is wasted. Victor Banerjee is natural. Jawed Sheikh gets minimal scope. Aryan Vaid is alright. Luca is excellent.

On the whole, APNE is rich in emotions and has the potential to strike a chord with families. Those who love emotional fares are bound to take a liking for its theme. At the box-office, it has the power to grow with a strong word of mouth. Business in North India will be the best. However, trimming the film will only elevate its status.

Apne…is the story of a family…their relationship and their dreams…a father and his sons, each have their own desires…aspirations…and hopes…

Baldev Singh Choudhary (Dharmendra) won a silver medal in the Olympics and made India proud. His only dream was to make history by becoming India’s first World Heavy weight Champion. But sometimes dreams shatter before they can be realized and make the heart bleed forever…the same fate awaited Baldev.

When in the US fighting for the World Heavy Weight Championship, the betting mafia conspired against him and got doping charges leveled against him, which got him banned from Boxing.

For an athlete nothing can be worse then doping charges. He wanted to get rid of this stigma and pain by training his elder son Angad (Sunny Deol) in the sport of boxing and make him a World Heavyweight Champion and create history which eluded him, but…

Angad had some other dreams…some other aspirations…some other commitments… Karan (Bobby Deol), the younger son, a musician at par, inspite of wanting to fulfill his father’s dreams was helpless. What was this helplessness?

Inspite of loving and living for each other why were these two sons not able to work along with each other to achieve their father’s dream?

Will they ever succeed?

Will Baldev’s dream ever be achieved or will it die along with him?

As he has decided to end his life today………………..