Indian movies

Of late, the trend is to make entertainers that don't tax the viewers' brains. The mantra is simple: Plonk yourself on the cushy seat, munch popcorn, sip cola and enjoy the on-screen antics. Just don't ask questions. Just don't look for logic. No-brainer comedies are what the doctor ordered to keep the industry's heart live and ticking.

ONE TWO THREE, helmed by debutante Ashwani Dhir, follows the rules faithfully. But…

Like most films of its ilk, ONE TWO THREE rests on a waferthin plot. No issues with that, but after a point you don't react to the on-screen jhamela. Substituting a cohesive script with witty one-liners and funny situations has never been the shortcut to success and never will be.

Besides, the masti-mazaak works at times, but falls flat on several occasions. The on-screen characters try their level best to tickle your funny bone, to evoke mirth, but the viewer sits motionless and expressionless like a mannequin.

Comedy is serious business and Ashwani Dhir has proved his skills in the past [he had penned the immensely likeable OFFICE OFFICE], but cinema is a different medium altogether. Sure, Dhir has worked hard on wit-laden dialogues and individualistic sequences, but how one wishes he would've worked on presenting a tighter script.

It's like promising a sumptuous meal, but being offered just starters. The main course is conveniently forgotten!

Diamonds belonging to a Don [Manoj Pahwa] get stolen. The diamonds accidentally fall in the hands of Chandu [Upen Patel] and Chandni [Tanishaa], who hide them in a car. Papa [Mukesh Tiwari] and his henchmen [Vrajesh Hirjee and Sanjay Mishra] are desperately hunting for the diamonds, while hot headed police office Mayavati Chautala [Neetu Chandra] is on the prowl looking for offenders of any kind.

Enter the first Laxmi Narayan [Tusshar Kapoor]. He's from a khandani mafia family and his mother prays that with a few murders under his belt, he will be settled for life. He's got a final chance to redeem himself as a Bhai. He comes to Hotel Blue Diamond because he's taken a supari to bump off Papa.

Enter the second Laxmi Narayan [Suniel Shetty]. He is sent to Hotel Blue Diamond to collect a new car for his boss from Laila [Sameera Reddy]. The third Laxmi Narayan [Paresh Rawal] is a hawker who has made so much money selling under-garments on the footpath that he has set up a lingerie factory now. His son sends him to Hotel Blue Diamond to collect lingerie samples from upcoming designer Jiya [Esha Deol].

The three Laxmi Narayans are at the same place, at the same time. They get letters and photographs meant for the other. The first Laxmi Narayan gets lingerie designer Jiya's photo and goes to kill her, only to end up falling in love with her. The second Laxmi Narayan gets Papa's photo and goes to collect the car from him, only to be mistaken for a killer and gets beaten black and blue. The third Laxmi Narayan gets Laila's photo and asks her to show him the under-garments, only to be branded an old pervert.

Meanwhile, Chandu and Chandni are determined to stop anybody from buying the car where they have hidden the diamonds.

Lock your brains at home when you watch this movie, for ONE TWO THREE, like its predecessors, is more of a stress buster than anything else. Unfortunately, the absence of a strong screenplay evokes mixed reactions. You do laugh when you're supposed to laugh, but even those jokes are forgotten as you breeze out of the cineplex. You don't carry the story, the film, the gags and punches, the witty one-liners with you at the end of the show.

Ashwani Dhir is a far more accomplished dialogue writer than a screenplay writer. Directorially, the choice of actors is right and a few scenes are well canned. Raghav Sachar's music disappoints. Barring the title track, the remaining numbers are forgettable. Cinematography is inconsistent. It looks like a hurried job at times.

The film has a number of characters, but the one who actually makes you laugh the maximum is Sanjay Mishra, who impersonates the yesteryear villain Jeevan to perfection. Suniel Shetty too has his moments, but his 'Left-Right' dialogues, in scene after scene, tend to get monotonous. Tusshar does a decent job. Paresh Rawal is okay, but not the scene stealer -- something you've started expecting from him.

The girls enact their parts mechanically. The performances are in this order -- Sameera Reddy [okay], Esha [dull], Tanishaa [no scope] and Neetu Chandra [loud]. Manoj Pahwa excels. Mukesh Tiwari is alright. Ditto for Vrajesh Hirjee. And what is Upen Patel doing in this film? Murli Sharma doesn't deliver this time.

On the whole, ONE TWO THREE falls below the ordinary mark. At the box-office, don't expect much!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Since almost a decade, Priyadarshan has been specializing in comic capers. Priyan has tickled the funny bone of viewers time and again and in DHOL, the comic scenes override the thrill quotient. The comedy, like always, is targeted at those who appreciate the Priyan brand of humor -- irrational, but funny. The chemistry between the four pivotal characters is tremendous, especially Rajpal Yadav, who's bound to walk away with ceetees and taalis.

Let's look at the other side of the coin! The gangster portions remind one of the 1980s cinema, which has been beaten to death in film after film. These portions are an aberration and the accomplished director should trim them by at least 20 minutes so that the impact created by the comedy track remains intact, not getting diluted in the process.

Yet, in all fairness, DHOL has some hilarious moments to make you beat the dhol once the show has ended!

DHOL revolves around the lives of four friends -- Sam [Tusshar Kapoor], Pakkya [Sharman Joshi], Maru [Rajpal Yadav] and Goti [Kunal Khemu]. The guys are good for nothing with no motivation. But they're bound together by their child-like notoriety and aimlessness.

They all want to make it big in life with the least efforts possible. The four wish to live life on their own terms, leading everyone to nowhere. As a result, each one tries their hand at finding a short cut to success but ends up being in even deeper trouble instead. Things get worse as the four decide to take some desperate measures to end their misery once and for all.

According to them, the only way to get rich without working hard is to get married to a rich girl. Surprisingly, to unlock their fates arrives the rich girl Ritu [Tanushree Dutta] in their neighborhood. All four set out with their individual plans to marry Ritu, but end up discovering a chilling truth.

Inspired by PARDA HAI PARDA, which in turn was a remake of the Malayalam film HARIHAR NAGAR, DHOL has the by-now-famous Priyan stamp on the comic portions. Come to think of it, you expect laughter in generous doses and DHOL doesn't disappoint on that front.

DHOL has several funny moments, but most importantly, they make you laugh as well. The loan sequence at the start [when the four avail of a loan from Tiku Talsania in exchange of gold jewelry], followed by the four pushing Om Puri's car till it falls off a cliff, plus the four spraying water with hose pipes to douse the fire [actually, a havan is taking place inside the mansion] and Murli Sharma enquiring about the dhol from the four are sequences that bring the house down.

On the flip side, the flashback is a big yawn. Plus, Murli Sharma cornering Tanushree and Payal Rohatgi in the mansion is monotonous and only adds to the length. Looks like the editor forgot to use the scissors in those scenes.

Pritam's music is functional. 'Dhol Bajake' is a decent number, while the remaining songs are ordinary. Piyush Shah's cinematography is of standard. Dialogues are funny at times.

The four actors compliment each other very well. But the one who steals the show is Rajpal Yadav, who, with his dumbness, endears himself to the masses completely. He's brilliant! However, that doesn't mean the others are less impressive. Sharman Joshi has always had a great timing for comedy and he proves it yet again in DHOL.

Tusshar looks fresh and gets into the skin of the character skillfully. Kunal Khemu's role is in sharp contrast to his first two films [KALYUG, TRAFFIC SIGNAL] and he proves his versatility by attempting comedy now. Tanushree Dutta's role doesn't have the meat since DHOL is an all-boys show. Nonetheless, she's okay. Payal Rohatgi has a brief role; she's passable.

Om Puri is efficient. Tiku Talsania and Asrani have their moments. Rasika Joshi is in form yet again. She's too good! Farida Dadi [grandmother] does a fine job. Arbaaz Khan is fair. Murli Sharma is good.

On the whole, DHOL is a decent entertainer that has some really funny comic moments. At the box-office, the Priyadarshan brand should ensure impressive footfalls at cineplexes despite the dull period and coupled with its moderate pricing, DHOL should find a place in the director's successful films.

Go, have a laugh!

Obsession. The word has been a hot favorite of dream merchants in Bollywood. From Abbas-Mustan's DARAAR to Yash Chopra's DARR, to films made to this date, a number of storytellers have woven themes around the obsessive streak of individuals.

Ananth Narayan Mahadevan's AGGAR also does that. A number of thrillers have successfully explored the darker side of human personality with dexterity. AGGAR is a fine addition to the list, although the sole glaring flaw lies in the fact that the director has chosen to opt for an atypical end to the story.

When everything was so unpredictable from start till pre-climax [screenplay: S. Farhan], when layer after layer was peeled with such finesse, when the viewer was absolutely clueless vis-à-vis what lay in store, why Ananth why opt for a tame ending?

Yet, in all fairness, AGGAR keeps you involved in most parts. That's the hallmark of a good thriller, isn't it?

Becoming attracted to the wrong man can have deadly consequences. Janvi's [Udita Goswami] life seems ideal on the surface: she runs a thriving business and is married to Dr. Aditya Merchant [Shreyas Talpade], a psychiatrist. But a faint air of discontent begins to creep into her relationship when she begins suspecting her husband of having an extra-marital affair with Radha [Saadhika], an interior designer.

Janvi impulsively gets drawn into a steamy affair with Aryan [Tusshar Kapoor], who works in her company. But in a strange twist of events, she realizes that she has stumbled badly and tries to break off her affair. Aryan, however, is not willing to give her up so easily and his attraction to her soon becomes a dangerous obsession.

AGGAR has three interesting words below its logo -- Passion, Betrayal and Terror -- and AGGAR does justice to it in those 2 hours. There's never a moment that gives you the feeling of déjà vu. Not once do you feel that it's one of those been-there-seen-that kind of movie-going experiences.

Note the sequences: Sophie Chaudhary accidentally falling of from the rooftop mansion… The gradual attraction between Tusshar and Udita… Udita's outburst in the office. Ananth executes the written material wonderfully well.

But, as mentioned earlier, the culmination to the tale should've been equally unpredictable, not abstract mind you. A badly bruised Tusshar emerging from the pool and beating Shreyas black and blue is a complete cinematic liberty. Ditto for the end.

The other area where the film dips is Mithoon's music. The young musician showed promise in his earlier works, but the tunes in AGGAR sound similar to his recent work THE TRAIN [the songs of this film are still fresh]. Hello, why this need to repeat yourself? Have you exhausted your stock of tunes already? K. Rajkumar's cinematography is topnotch.

AGGAR rests on three characters mainly and each of them packs in a solid punch. Tusshar is a revelation. The actor has always come up with honest performances in the past, but he pitches his best work to date in AGGAR. We're used to watching actors hamming away to glory in roles of obsessed lovers, but Tusshar doesn't go over the top at all. Tremendous work!

Shreyas Talpade is in complete form. Enacting the role of a shrewd operator who's in search of a guinea pig to carry out his devious plan, the young actor proves his versatility yet again. His volte face will catch the viewer by surprise.

Udita Goswami is fantastic. She sinks her teeth in this challenging role and enacts it with gusto. AGGAR is one film that showcases her talent to the optimum. Excellent work indeed! Nauheed Cyrusi is adequate. Sophie Chaudhary makes her presence felt in a brief role. Saadhika is okay.

On the whole, AGGAR is a well-made thriller that should appeal to the multiplex junta primarily. But its business will get affected due to several vital reasons: The 20/20 cricket matches [the India-Pakistan match specifically], the commencement of the holy month of Ramzan and Ganeshotsav. Obviously, a large section of moviegoers will stay away from cineplexes in days to come. The poor opening will also tell on its business.

‘Dhol – Kiska Bajega’ revolves around the lives of four friends – Sam (Tusshar Kapoor), Pakkya (Sharman Joshi), Maru (Rajpal Yadav) and Goti (Kunal Khemu). The guys are good for nothing with no motivation. But they’re bound together by their child-like notoriety and aimlessness. They all want to make it big in life with the least efforts possible. The four wish to live life on their own terms, leading everyone to nowhere. As a result, each one tries their hand at finding a short cut to success but ends up being in even deeper trouble instead. Things get worse as the four decide to take some desperate measures to end their misery once and for all.

According to them, the only way to get rich without working hard is to get married to a rich girl. Surprisingly, to unlock their fates, arrives the rich girl Kanchan (Tanushree Dutta) in their neighborhood. All four set out with their individual plans to marry Kanchan but end up discovering a spine-chilling truth.

This leads to much confusion, creating hilarious twists and turns, along with an element of thrill, crime, murder and suspense.

A few decades ago, the Dilip Kumar starrer RAM AUR SHYAM worked big time due to its novel premise, among other things. The concept of a seedha-saadha guy and his street-smart twin brother and the incidents that follow kept you thoroughly entertained.

GOOD BOY BAD BOY bears an uncanny resemblance to RAM AUR SHYAM, since GOOD BOY BAD BOY is also about the sharif [Tusshar] and the not-so-sharif [Emraan] and how the confusion of names brings the best out of the two in the end.

Unfortunately, this good idea is highly under-nourished, which results in a fare that's pointless, emotionless, dramaless, humorless and impactless. Honestly, the concept had tremendous scope to entertain since the film is set in a college campus. But the screenplay is so dull and dreary that barring a few laughs in a scene or two, you actually leave with a frown on your face.

It's indeed surprising that someone as talented as Ashwini Choudhary, who helmed the sensitive DHOOP, is at the helm of affairs here. To cut a long story short, GOOD BOY BAD BOY has nothing worth recalling!

Rajan Malhotra [Tusshar Kapoor] and Raju Malhotra [Emraan Hashmi] are poles apart.

Rajan is a proverbial bookworm, forever lost in studies and completely oblivious to the frolicking of a college dude. He hails from a well-to-do background and his parents [Rakesh Bedi, Navni Parihar] are constantly worried due to his somber nature and his lack of interest in any extra curricular activities.

Raju has absolutely no time for studies as playing notorious pranks on others takes up most of his time on a daily basis. His father [Anang Desai, mother: Prabha Sinha] constantly ridicules him for his wayward ways. As fate would have it, the identity cards of Rajan and Raju get swapped.

The one thing you look forward to in GOOD BOY BAD BOY is ample laughs. But what unfolds is anything but a fun ride. The film has a young look, but not once do you feel the youthful energy flowing out of the screen.

The confusion of names is so confusing itself. Okay, the identity cards get changed since both have the same initials [R. Malhotra], but when they're addressed with different names in the college auditorium by the principal, even in front of their parents, not once does anyone raise an eyebrow. How come?

Besides a tacky script, GOOD BOY BAD BOY also lacks a foot-tapping score to uplift the goings-on. The music is so unlike Himesh Reshammiya this time around. What happened, Himesh?

Ashwini Choudhary is saddled with a poor script, so expecting him to infuse life with his execution is asking for the moon. Cinematography [Manoj Soni] too lacks the sheen that films of today boast of. Dialogues are funny at places.

Emraan has a flair for comedy and that shows on the screen. He is quite likable. Tusshar is pleasant, but how one wishes the writer would've offered him better scenes. Isha Sharvani wears a set of two expressions all through. Tanushree Dutta doesn't work. Also, why is her makeup so dark? Paresh Rawal is a letdown. Kabir Sadanand is expressive. Sushmita Mukherjee is wasted.

On the whole, GOOD BOY BAD BOY disappoints big time.