Indian movies

Come to think of it, after two back-to-back hits [RANG DE BASANTI, FANAA], Aamir Khan could've given a positive nod to any masala flick and chosen to work with anyone he desired. But he preferred to make a film on a dyslexic kid, make him the focal point of the story and don three caps -- producer, actor and director.

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.

Those who somewhere nursed a grudge that the camera follows Aamir in all his films, will chew their words once they watch TAARE ZAMEEN PAR. Yes, Aamir has a key role to portray as an actor, but the camera captures the child's emotions like never before in a Hindi film. Also, let's also clear the myth about TAARE ZAMEEN PAR being a kiddie film. It's not! It's about children. Note the difference!

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.

On face-value, TAARE ZAMEEN PAR looks like a kiddie film, but as the story unfolds, you realize that the story peeps into the mind and heart of a kid, his interests, his hobbies, his strengths and weaknesses. The director opens the cards at the very outset, when you realize that the kid is just not interested in books/studies. And his interaction with his stern father, doting mother and lovable brother is straight out of life.

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!

Vikram Bhatt has often been accused of borrowing heavily from foreign films. In SPEED, he borrows from the Hollywood film CELLULAR, which, in turn, reminded you of PHONE BOOTH. Despite the similarities, SPEED is slick, has several compelling moments and isn’t as predictable as one thought it would be.

SPEED is an edge of the seat thriller and unravels at a feverish pace. The only problem is, there’re a few rough edges [a few questions unanswered, predictable climax], but the pros easily outnumber the cons here.

In a nutshell, SPEED is an engrossing fare, with moments that stay with you.

What do you do when you get a phone call from a stranger begging you to save her life? What would you do if your only ray of hope is your phone?

Zayed Khan comes to London to convince his girlfriend Tanushree Dutta to give him another chance to prove his love for her. Meanwhile, Sanjay Suri, an undercover agent, receives a CD from Aftab Shivdasani and Sophie Chaudhary, which contains the recording of his kidnapped wife, Urmila Matondkar, and is asked to follow the instructions.

He’s completely confused about what’s happening. Soon he realizes that he is being used as a weapon to assassinate the P.M. of India on the London tour. As he is still not agreeing to plans, Aftab finally decides to kidnap his kid.

Sanjay’s kidnapped wife, Urmila, starts trying to escape. Her only ray of hope is the telephone call she’s accidentally made to Zayed Khan. He’s in touch with her throughout, continuously talking with her and giving her moral support. As Zayed decides to help Urmila, his love of life, Tanushree gets annoyed and threatens to break up again. A happy-go-lucky brat Zayed, who never takes anything seriously, risks his own life to save an unknown family just because of a call.

Aashish Chowdhary, the super-cop of London, is in charge of security of the visiting Prime Minister. But as his girlfriend has her birthday the very same day, Aashish is caught between his personal life and duty. He obviously chooses the later. Will Aftab and Sophie succeed in their sinister plans?

Although SPEED borrows from CELLULAR, it must be mentioned that the Indian moviegoer has witnessed strikingly similar themes in the past. Yet, in all fairness, Vikram and his team of writers have Indianized the plot well. For, the film is absorbing in most parts, except for some glitches in the second hour.

The Aashish – Amrita track, for instance, should’ve been better developed. Also, the film gets slightly predictable towards the finale, although, frankly, you don’t really mind it since the culmination couldn’t be different.

Director Vikram Bhatt is in form this time. Thrillers have always been his forte and his handling of the subject material is commendable this time. It’s stylish and most importantly, it succeeds in keeping your interest alive. Pritam’s music is okay, although, given the genre, the makers have wisely restricted the songs in the narrative. Pravin Bhatt’s cinematography is topnotch. The locales of London are eye-filling and give the film the required sheen. Action sequences [Abbas Ali Moghul] are well executed.

SPEED belongs to two actors primarily -- Urmila Matondkar and Zayed Khan. Urmila handles her part with dexterity and adds freshness to the goings-on since she has cut down on her acting assignments. Zayed is cool and suits the role well. Aashish Chowdhary springs a surprise. In fact, the actor is getting likable with every release.

Sanjay Suri is a fine actor, but the spark is missing this time. Aftab too isn’t fiery enough and his look is a complete put-off. Tanushree Dutta needs to go easy on her makeup. Otherwise, she’s passable. Sophie Chaudhary makes her presence felt. Amrita Arora looks glamorous.

On the whole, SPEED is an interesting thriller that has the advantage of being a solo release. At the box-office, this reasonably priced fare should attract its share of viewers in its initial run.

It's like traveling back home. You know the route, you know the signal, you know the lane, you know the speed breaker and you know the destination.

That's applicable for LAAGA CHUNARI MEIN DAAG too. 10 minutes into the film and you know what the story is, you can even guess the twists and turns the story may take and you can [successfully] read what the climax would be. Predictability -- that bogs LAAGA CHUNARI MEIN DAAG down.

Sure, it isn't blasphemous if a new product bears a striking similarity to themes that have been translated on celluloid several times in the past. But the grip -- so vital in a film that has a story to tell -- is clearly missing here.

LAAGA CHUNARI MEIN DAAG appeals in bits and spurts. It's well shot and is backed by striking performances, but the graph of the film lacks uniformity. It holds your attention, then it doesn't.

To sum up, LAAGA CHUNARI MEIN DAAG fails because of its writing. It has an oft-repeated theme and coupled with inept writing, the chances are very dim!

Badki [Rani Mukerji] and Chutki [Konkona Sen Sharma] live a fun-filled life in Banaras, playing pranks, sneaking off to see a forbidden mujra [Hema Malini, in a special appearance] and soaking up all the excitement that goes on the ghats of the Ganga. Badki is aware that the family is in dire straits, but she and her mother [Jaya Bachchan] protect Chutki at all costs.

When things get worse, Badki decides to go to Mumbai and seek a living for the family. Alone and unsupported in the midst of the urban jungle of Mumbai, Badki battles with dark forces, keeping her focus on her purpose to support her family and continue Chutki's education. She deliberately morphs into someone else, leading a secret life full of murky compromises.

When Chutki comes to Mumbai to work, things take a dramatic turn. Badki's life turns into a minefield, as she has to hide her secrets from Chutki. Chutki finds success at work and love that delights her heart. Badki finds the magic of love, but lets it slip away before it can blossom, as she believes it's not in her destiny. She battles menace and blackmail alone, not letting these dark shadows fall on Chutki or her family.

But her dual life is revealed and the two sisters are face to face, in a confrontation neither had expected. And when love beckons Badki again, the whole family is thrown in a tumultuous storm. Everything threatens to explode in their faces, destroying all of them.

LAAGA CHUNARI MEIN DAAG has a promising start. Portions depicting the financial difficulties plauging a family are convincingly depicted. Everything's in control till Rani decides to become an escort. The question here is, when Suchitra Pillai is giving Rani a makeover, why does she encourage her to become a high class hooker? Why not a model? Or why doesn't she goad her to hone her skills [learn English, computers et al, since those are the reasons why Rani is refused job after job]? Why encourage her to be someone when the pure soul is just not convinced about? Why? Doesn't it send out wrong signals to people who face roadblocks in life? Is that [prostitution] the only alternate profession you can take to in crisis?

The film dips further when Rani, now a polished, angrezi-speaking mem, meets Abhishek in an aircraft and the [one-sided] prem kahani begins. And then the treacherous cousin [Sushant Singh] arrives in Mumbai, blackmailing her. Hello, how did he, sitting in Benaras, know Rani's 'rate for a night' and her 'profession'. No explanations are offered!

The second hour is interesting in parts. The sequence when Konkona catches Rani red-handed is excellent. Also noteworthy are the portions when the two sisters return to Benaras. Things start looking up, but, suddenly, Abhishek re-emerges on the scene and the Abhishek - Rani prem katha re-ignites. Nahin, maza nahin aaya. Also, the treacherous jodi of Tinnu Anand and Sushant Singh comes back, but this track looks forced. The duo is used as mere props.

Pradeep Sarkar knows how to make the frames look beautiful, but how one wishes he would've opted for an absorbing story and most importantly, stuck to the principal characters, instead of adding sub-plots [romance, songs, relatives]. Cinematography is splendid. Dialogues deserve special mention. Shantanu Moitra's music is a mixed bag. 'Hum To Aise Hain Bhaiya' is the best of the lot.

Rani excels yet again. It's a pleasure watching her in an author-backed role yet again. Konkona is fantastic. In fact, she lends a lot of freshness to her character. Jaya Bachchan is superb. Her work is truly admirable. Abhishek Bachchan's extended special appearance makes no impact. Kunal Kapoor is likable. Anupam Kher is alright. Tinnu Anand and Sushant Singh suffer due to ill-defined roles. Kamini Kaushal, Murli Sharma, Harsh Chhaya, Tarana, Suchitra Pillai and Ninad Kamat enact their parts well.

On the whole, LAAGA CHUNARI MEIN DAAG stands on a shaky script and has all chances of slipping, not consolidating its position. At the box-office, given the inconsistent content on one hand and the poor opening on the other, the film will prove a major setback.

Love stories are beaten to death. The genre has been rehashed, visited and re-visited again and again and again. So much so that all love stories look, seem and sound alike. But JAB WE MET, helmed by Imtiaz Ali, takes a fresh look at love stories.

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.

As destiny would have it, he meets Geet [Kareena Kapoor] -- a beautiful but annoyingly talkative girl who is leaving Mumbai to go her hometown -- Bhatinda. Later, she has plans of eloping with her boyfriend [Tarun Arora].

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.

Opposites attract -- that's the essence of this love story. The journey of two individuals who cross each other's path one night and develop a deep bond is skilfully and convincingly depicted at the very outset.

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.

Both Shahid and Kareena vie for top honours. Shahid delivers his career-best performance in JAB WE MET. He goes for a complete transformation vis-à-vis his looks and attire to look the character he has chosen to portray and the understanding with which he enacts his part is worthy of lavish praises.

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!

The title should always summarize the content of a film. Besides, the promotion should always send out the right signals vis-à-vis what the film has to offer in terms of content. With a title like CHHODON NAA YAAR, you expect a film on male bonding, a la DIL CHAHTA HAI. Also, with songs like 'Kasak' and 'Talwar Re' being beamed on channels 24 x 7, you expect CHHODON NAA YAAR to be an entertainer with emphasis on music.

But the viewer is in for a surprise as CHHODON NAA YAAR belongs to the horror genre. Yes, the story is about a bhatakti aatma and how she continues to haunt a temple and the surrounding jungles.

To give the credit where's its due, director Dilip Sood does succeed in scaring the daylights out of you in a couple of scenes, especially at the intermission point [when the spirit appears in front of the three friends]. Also, a few sequences in the second hour do send a shiver down your spine.

But the problem is, CHHODON NAA YAAR is an incomplete film, in terms of writing. It leaves a vital question unanswered: What's the mystery behind the spirit? Does it ever get solved? There's a moment when you feel that Jimmy, Kim and the pujari of the temple will solve the mystery, but the end credits begin to roll abruptly. Kya hua, Director sahab?

In a nutshell, CHHODON NAA YAAR is letdown by its writing!

Ravi [Jimmy Shergill], Shiv [Kabir Sadanand] and Sunny [Farid Amiri], three final year students from a Delhi Mass Com College, decide to make their diploma film about a myth prevalent in the northern hills of India.

Against the wishes of his girlfriend Rashmi [Kim Sharma] and college professor, who think that the subject is too dangerous for a college project, Ravi plans the trip. But as they go deeper into the jungles, a startling incident changes their lives…

As mentioned above, the writing is the culprit here. Besides the questions that continue to haunt you vis-à-vis the aatma, the character sketch of the three friends is also weird. The film begins with the three posing as actors, then participating in an item song for a film and then, we're told, they're students who aspire to be film-makers. Really hard to digest!

The second problematic area is the inclusion of songs even when not required. Songs [Anand Raaj Anand], though tuneful, have been added to supplement the romantic track ['Kasak'] or increase the glamour quotient ['Talwar Re']. In fact, it wouldn't be erroneous to state that the popular tracks lose their sheen because of wrong placement in the narrative.

The technical aspects are much better. Pushan Kripalani's camerawork is eye-pleasing. The dense forests are well captured on celluloid. The background score is interesting as well.

Jimmy Shergill makes a sincere attempt and strikes a chord. Kabir Sadanand's dialect is jarring, although his performance is sparkling. Farid Amiri is miscast. Kim Sharma has no role. Vinod Nagpal is okay. Mahek sizzles in the item song. Vallabh Vyas [Kabir's father] is functional.

On the whole, CHHODON NAA YAAR stands on a faulty script and with no face-value to magnetize cinegoers, it will find the going very tough.

The Yash Raj - SRK combo is back. No lush green fields here. No running around trees either. No chiffon sarees to make the ladies look their best. No melodrama, no parental opposition, no lovers defying their parents. CHAK DE INDIA, directed by Shmit Amin, charters a new territory.

Yash Raj is not really known to venture into unconventional lanes, barring a KABUL EXPRESS in the recent past. CHAK DE INDIA isn't unconventional as such, but it's definitely different and awe inspiring at times. Frankly speaking, CHAK DE INDIA doesn't boast of a path-breaking script, but execution of the subject material succeeds in making you find purpose and meaning and also arouses patriotic sentiments.

There's a flip side as well. Sports-based themes, barring a few, haven't really found many takers in India, especially with the aam junta. For various reasons. Sure, hockey is the national sport of India, but cricket gets more prominence in our dailies and also on news channels. The common man also keeps tabs on the Tendulkars and Dravids, when compared to those belonging to other sports. CHAK DE INDIA is about hockey, about women's hockey to be precise, but most of us haven't given more importance to this thrilling sport for no particular reason.

Also, from the business point of view, CHAK DE INDIA may be an engrossing fare, but not the ideal flick for an entertainment-seeking viewer. At best, it may attract attention initially thanks to the star power and the Numero Uno production house promoting it aggressively. But that's about it!

Kabir Khan [Shah Rukh Khan] knows what it's like to come back from the dead. The ex Indian Captain has now come back in the avatar of the Coach of the Indian Women's National Hockey team. A team that exists more on paper and less in reality.

The team is a bunch of girls with their own agenda. A bunch of girls who have forgotten what it is like to play for the love of the game. Of playing because you want glory for your country. Not because you want a pensioned job or a government flat. They have all forgotten the sharp thrill of just holding the hockey stick, keeping their eyes on the ball and playing for all they are worth. They have played every game but hockey to make sure they get selected every year in the Indian National team. But what does it really mean to play for the Indian National team? To play for India?

The girls have never known the thrilling energy of being Team India. Of giving their all to see their country's name on a trophy. But Kabir Khan, once a captain, now forgotten, does. He knows what it takes to get there. And what it means to return empty handed. This time, he wants to make sure that it's different. He knows there are no second chances. Despite his past, he believes that if only the girls played as one, anything would be possible.

Because Kabir Khan believes that it is not that we can't win. It's just that we have never believed we can.

CHAK DE INDIA is the story of a coach's fight of making his team, Team India by overcoming their diverse backgrounds, by learning to use everything that life hurls on them as a secret weapon.

The film has all the right elements mixed -- satirical comedy, seriousness and dollops of emotions. In fact, the first half is quite captivating and the expectations from the latter half are equally high. The post-interval portions don't disappoint, but the pace slackens and the goings-on take a long time to reach the finale. In fact, the narrative gathers steam only towards the climax, which is well handled.

Shimit Amin's choice of the subject as also the execution deserves to be lauded. But, as mentioned at the outset, it's not a film that would find universal patronage. People giving it a Thumbs Up would be limited to those who are into qualitative cinema.

Cinematography is first-rate. Music is strictly okay. Dialogues are interesting. A few lines are indeed amazing. Editing could've been tighter.

SRK is the soul of CHAK DE INDIA. What you see on screen would be half of what it is without this matchless actor. He makes you feel what you are supposed to feel. A performance that's sure to go down as one of his finest works so far. The girls are excellent and a few of them register a strong impact, especially Vidya Malvade.

On the whole, CHAK DE INDIA is a well-made product, but its fate at the ticket window wouldn't be as glorious as its intentions. With a slow start at places and not too exciting promotion [the promos], the film will face an uphill task in days to come.

“The greatest regret of my life…
Two people I could never convince --
My Muslim friend Mohammed Ali Jinnah and
My own son Harilal Gandhi.”

Making a film based on true events is difficult. Not only does it entail lots and lots of research, but to recreate the bygone era and get the right set of actors to enact the characters is another challenge.

It's all the more tough if the film is based on Mahatma Gandhi. And a far bigger challenge is to present the relationship shared by the Mahatma and his son Harilal.

Everyone knows about Mahatma Gandhi, the Father of the Nation, but not much is known about him as a father to his children. GANDHI MY FATHER tells the story of Harilal Gandhi and the relationship he shared with his parents, more particularly with his father, the great Mahatma.

GANDHI MY FATHER leaves an indelible impression on the viewer. Since the story of Harilal is not known to many, you absorb every incident like a sponge absorbs water. It's an enlightening experience… and also a moving one. Your heart goes out to Harilal and his plight, more so towards the sunset of his life, makes you moist-eyed.

GANDHI MY FATHER tells a story not told before and director Feroz Abbas Khan tells it very well. Put your hands together for one of the finest films to come out of India. This one deserves to be the official entry for the Oscars.

To sum up, GANDHI MY FATHER is a must watch for every Indian. Strongly recommended!

Somewhere in the shadows of a great man [Mahatma Gandhi] lived his son [Harilal Gandhi], roaming the streets of India like a beggar. Converting to Islam as a rebellion, reconverting to Hinduism as a penance and finally drinking himself to death.

Mahatma Gandhi could transform the soul of a nation, but could not save the soul of his own son. The film unfolds a personal tragedy about a principled father and an unfortunate son.

For most viewers, the story of GANDHI MY FATHER is an eye-opener, since it tells a rarely heard story and tells it exceedingly well. The storyteller recreates the era with flourish, not once deviating from the core issue. The story is not about the freedom movement and the pivotal role played by the Mahatma, but it highlights the sensitive relationship between a father and son.

As a cinematic experience, GANDHI MY FATHER unfolds in the most simplistic, but compelling manner. Since the director is talking history, he ought to do the balancing act well. He reproduces facts without resorting to cinematic liberties and at the same time, simplifies everything so that the viewer can decipher it well.

A landmark film in all respects, highlighting a scene or two would be doing gross injustice to the film. For, every sequence has the power to keep you hooked and most importantly, carries the stamp of a genius.

The director has ensured that every department works in tandem. David Macdonald's cinematography is superb. Special mention must be made of the B & W, grainy frames that compliment the actual footage. The production design [Nitin Chandrakant Desai] is perfect. The ambience transports you to the early 20th century. Make-up [Penny Smith] is of international standard. The transformation of the characters as they age looks so real. Costumes [Sujata Sharma] suit the theme well. Background score [Piyush Kanojia] is appropriate.

Akshaye Khanna is extraordinary in the role of Harilal Gandhi. He portrays the varied emotions -- angst, sorrow, anger, frustration, love -- with great understanding and maturity and comes up with his career-best work. Darshan Jariwala as Mahatma Gandhi is another great performance you carry home. Although a number of seasoned actors have portrayed the part of Mahatma Gandhi on the big screen, Darshan's performance easily ranks amongst the best.

Shefali Shah is awesome. Note the sequence when Harilal converts to Islam and Kasturba Gandhi visits him. Or the final moments before she bids goodbye to the world. The actress deserves the highest marks. Why don't we see more of Shefali on the big screen? Bhumika Chawla is excellent. Her portions, with Harilal mainly, are well enacted.

On the whole, GANDHI MY FATHER is a treat for movie lovers. As mentioned at the very outset, it's a must-see for all Indians. At the box-office, it holds tremendous appeal for the multiplexes, where it should grow with a strong word of mouth. Strongly recommended!

Some do's and don'ts you need to follow while watching PARTNER…

• Lock your brains in the almirah, before you head for the nearby movieplex to catch this zany entertainer.


• Don't look for logic. Don't ask questions. Don't raise eyebrows. .


• Don't argue with what the master chef David Dhawan serves on your plate. .


• Do carry some earplugs/earwax if you're allergic to noise. The cineplex will reverberate with high decibels of laughter, which could tax your ear-drums if you're overtly sensitive. .

Welcome to PARTNER, David Dhawan's new comic caper. It's stylish, it's crazier, it's a bigger entertainer than David's last two laughathons, MUJHSE SHAADI KAROGI and MAINE PYAAR KYUN KIYA. Making people laugh is an art and David has mastered this art over the years. Like wine, he has only matured with time.

Let's come straight to the point. PARTNER is for those seeking non-stop entertainment. It's targeted at those who swear by masala films. Those who want to get transported to a world of make-believe in those 2 hours. It's definitely not for those who actually know what to expect, but pretend to rubbish escapist cinema. Also, it's not for certain critics [looking for art cinema in a masala entertainer] whose star ratings are a much bigger joke than the one David Dhawan pulls off with élan. The film works, and works big time.

In a nutshell, if you're into escapist cinema, if you're looking for laughter unlimited, if you're curious to watch the bonding between Govinda and Salman Khan, if you're a big fan of David Dhawan movies, if you believe in shelling out Rs. 150 for a ticket and expecting entertainment worth Rs. 200, PARTNER is just for you!

Prem [Salman Khan] is a 'date doctor' who, for a fee, has helped hundreds of men woo the women of their dreams. In his childhood, he understood a woman's likes and dislikes in food, clothes or men. His aim is to help those men who like or love women, not to take them to bed.

The ultimate professional bachelor, Prem discovers that his tried and tested tricks are no match for Naina [Lara Dutta], the one woman he truly loves, who works for a newspaper as a journalist.

He comes across Bhaskar [Govinda], who is in love with Priya [Katrina Kaif], the rich and famous daughter of a tycoon [Dilip Tahil]. Prem helps Govinda find his lady love and eventually also finds a soulmate in Naina.

Inspired by director Andy Tennant's likable Hollywood hit HITCH [2005; Will Smith, Eva Mendes, Kevin James, Amber Valletta], PARTNER is a true-blue David Dhawan film. It's glossy, has some stunning visuals, boasts of very catchy and hummable music and of course, hardly has any tense moment in those 16 reels.

What works is the casting of the two characters, who're as dissimilar as chalk and cheese. Although the romantic portions have the right chemistry between Salman and Lara and Govinda and Katrina, the USP is undoubtedly the terrific bonding between Salman and Govinda, whose on-screen escapades take the film to dizzier heights. Besides, the witty one-liners [Sanjay Chhel] are another ace that has the viewer in splits. The dialogues are truly funny and actually accentuate the impact of every sequence.

Any 'hitch'es? Yes, there's one! The track that leads to the misunderstandings in the climax looks unwarranted. Writer sahib [screenplay: Yunus Sajawal, David Dhawan], this track [Rajat Bedi, Aarti Chhabria] compels you to break into a yawn. Also, it adds to the length of the enterprise. But the subsequent portion [Govinda's honeymoon travails] is rip-roaringly funny.

David Dhawan gets it right yet again. He's on familiar ground and like a seasoned cricketer knows the game inside out. He hits a boundary yet again. Sanjay Chhel's dialogues are superb. Sajid-Wajid make a terrific comeback, with every song having the stamp of a chartbuster embossed on it. Even their picturizations [choreography: Bosco-Caesar] are excellent. Cinematography [Johny Lal] is first-rate. The film bears an opulent look all through. Costumes of Salman and Govinda [Alvira Khan Agnihotri] are stylish.

The question is, who steals the show? Actually both! Salman performs like never before. Sure, he looks dapper [one compliment he's heard umpteen times], but he packs in a solid punch whenever he's on screen. His fans will only multiply with this film. Govinda sets the screen blazing with an incredible performance. Although the actor has featured in a few films after a hiatus [BHAGAM BHAG, SALAAM-E-ISHQ], PARTNER is his comeback film. He has the viewer eating out of his hands actually. Those who felt that he's a spent force will have to eat back their words.

Lara Dutta looks gorgeous and pairs off very well with Salman. Katrina Kaif looks gorgeous and pitches in a natural performance. Rajpal Yadav is really funny. Puneet Issar is alright. Dilip Tahil is okay. Suresh Menon is excellent. Child artiste Ali Haji is wonderful. His confidence level is astonishing!

On the whole, PARTNER is a winner all the way. This one's a laugh-riot that will have the viewers laughing in the aisles and its distributors, laughing all the way to the bank. A sure-shot 'Hit'.

Watch the trailer

Assemble the best comedians on one platform, choose a script that gives them scope to display their inherent talent, garnish it with witty one-liners, borrowing names and references from real life to make it look contemporary. Presto, a comic caper is ready to be served!

JOURNEY BOMBAY TO GOA could've been a howlarious ride that starts off in Mumbai and concludes in Goa, but all you carry home are a few amusing sequences and the well-penned, laced-with-wit dialogues.

Problem kya hain? The screenplay. There are points in the narrative that prompt guffaws, chuckles, giggles and chortles, but the narrative is stretched to a point that you get restive and fidgety. Woh isliye, because monotony seeps in after a point. Another area that should've been controlled is its length. The climax especially is reminiscent of the chase in HERA PHERI and PHIR HERA PHERI. Interesting concept, but why go on and on?

In short, JOURNEY BOMBAY TO GOA is aimed at the hoi polloi, the masses, the aam junta and for them, the journey to laughterland may be worth it.

JOURNEY BOMBAY TO GOA is the story is of Lal [Sunil Pal] and Das [Vijay Raaz]. Lal is a dreamer who wants to become big in life and start his own business. Das is a driver, who used to work for a rich businessman, but an irritating boss' nagging habits force him to quit his job.

Lal wins Rs. 2 lacs by winning a contest and the duo plans to set up a business. Das comes up with an idea to start a travel agency. But they don't have enough money. So they go to Chor Bazaar. Using spare parts of old cars and imported cars, they create a bus. The next task is to search the passengers for a ride to Goa.

Lal finally manages to get 15-16 passengers by offering them a discount. But the bus is so tacky that the passengers demand their money back. Das comes up with an idea and states that this is merely a pick-up bus. The journey begins!

One of the passengers [Mac Mohan], who had been abducted but has now escaped, meets with an accident and dies midway. But before he breathes his last, he tells the fellow passengers about the hidden treasure…

With so many comedians around, the writing focuses on hilarious situations and one-liners. The motive is to make you laugh. A few sequences do succeed, a few don't. In an effort to pack just about everything on the shelf, the writer seems to have overlooked the fact that you need to tell your story in the shortest possible time. Sure, a few scenes are well penned, by why stretch the film unnecessarily? It dilutes the impact!

Comedy is serious business and not all storytellers can pull it off. In that respect, director Raj Pendurkar shows a flair for comedy. In fact, he has the potential to make aimed-at-masses entertainers in the future, but a tight script is all he needs to concentrate on. On the music front, there's just one song that stays in your memory -- the title track. Cinematography is okay.

The actors do well in their respective roles, but the ones who register an impression are Raju Shrivastava, Sunil Pal, Vijay Raaz, Sudhir Pandey and Aasif Sheikh. Tinnu Anand, Shakti Kapoor and Asrani don't get much scope. Mac Mohan is alright. Sanjay Mishra goes over the top.

On the whole, JOURNEY BOMBAY TO GOA is a fair attempt that may appeal to those with an appetite for comic capers. At the box-office, the extra-ordinary promotion [quality as well as quantity], especially on television, should attract footfalls at mass-dominated screens and centres.

Watch the Trailer

Hindi cinema is truly evolving. Diverse themes are being narrated on celluloid by dream merchants. Technology too is slowly being given importance these days. We aren't 'there', but the Hindi film industry has started taking baby steps. The process has begun!

In the past, BHAGGMATI - THE QUEEN OF FORTUNES and HUM TUM merged live characters and animation in the narrative. The success of HANUMAN triggered off the trend of animation films here. Now MY FRIEND GANESHA takes the story ahead.

Let's get one thing straight before you read further. When you switch on a kiddie TV channel, you know what to expect: Programs that cater to this segment of viewers. Similarly, when you saunter into the auditorium to watch MY FRIEND GANESHA, it would be foolhardy to expect path-breaking or ground-breaking stuff vis-à-vis its content.

MY FRIEND GANESHA knows its target audience -- kids and kid at heart. So don't wear your thinking caps to introspect every frame of the film. The film is watchable because it doesn't get preachy. Sure, the sub-plots running parallel with the main story should've been far more convincing, but the moment Lord Ganesha is introduced in the plotline, things only get better.

The final word on MY FRIEND GANESHA: If the kids loved HANUMAN, there's a possibility that they may take to MY FRIEND GANESHA as well.

The story revolves around a family of four -- Aaditya [father; Kiran Janjani], Aarti [mother; Sheetal Shah], Ashu [8-year-old son; Ahsaas Channa], Aditi [father's sister; Aarya] and a maid [Gangutai; Upasana Singh]. The parents of the boy are too involved in their daily lives and hence cannot give much time to the boy, who always feels lonely. He would only get to be with the maid.

On one rainy day, the boy saves a mouse from drowning. He tells the maid about it, who explains to him that he has saved Lord Ganesha's pet ride. Gangutai explains to him the full episode of Lord Ganesha and Mushakraj.

Ashu tells Gangutai that he feels lonely and needs a friend and she responds by saying that Lord Ganesha can be his friend. The boy gets excited at this thought. The family undergoes a crisis, but Gangutai convinces everyone to bring Ganesha home this festival.

Ashu is excited, Ganesha comes to their home and things start getting better for the family. Ganesha becomes Ashu's friend and also solves the various problems faced by the family.

You don't take to MY FRIEND GANESHA initially. A lonely, neglected child craving for love, attention and companionship -- these portions are plain ordinary. But things start moving the moment the animation track begins. The entire portion revolving around Lord Shiva, Lord Ganesha and Mushakraj, in animation format, not only enlightens the viewer, but takes the film to a different level. Also, the interaction between the kid and Lord Ganesha is wonderful. The only sore point is the writing. The father's problem at the bank, the mother's at her workplace and the bua being blackmailed by her lover, the writing is half-hearted.

Direction [Rajiv S. Ruia] is interesting in parts. Music is fair. 'O My Friend Ganesha' [music: Sameer Phaterpekar] and the aarti towards the end are nice. Cinematography [Jai Nandan Kumar] is fair. Animation is impressive.

Ahsaas Channa, the kid, is confident. Kiran Janjani does well. Sheetal Shah doesn't have much to do. Ditto for Aarya. Upasana Singh goes over the top, but the kids will like her. Mushtaq Khan, Aroon Bakshi and Anil Nagrath are adequate.

On the whole, MY FRIEND GANESHA is a decent attempt that's targeted at the kids. Businesswise, the film could've done with a far more aggressive promotion and a better release period [ideally, it should've released during the summer vacations. Not now, when the schools have re-opened]. Yet, in all fairness, if the kids take to the film, the numbers would only multiply.

The most shocking thriller of the year. With a tagline like that, the expectation from Abbas-Mustan's new thriller rises ten-fold. Fortunately, NAQAAB lives up to the hype and hoopla, to an extent.

For any thriller to strike a chord, it ought to follow three simple rules: [a] It should boast of actors who can carry off their parts with dexterity, [b] The twists-n-turns should catch you by complete surprise and [c] The climax, when the veil of secrecy is unveiled, should come as a jolt from the blue.

NAQAAB gets it right on two of the three vital fronts. The only time the film begins to stagnate is in its second hour, when the knots begin to disentangle. The film dips in the second hour, but the climax does a volte face again. The suspense catches you by surprise!

Abbas-Mustan have mastered the art of making thrillers and although NAQAAB isn't as compelling as their earlier products, there's no denying that the highs outnumber the lows in this case. One thing is for sure, the screenplay could've been tighter in the second hour.

To sum up, NAQAAB is a watchable fare with the twists-n-turns being its highpoint. Of course, with an end like the one presented in this film, it's sure to meet with varied opinions, having its share of advocates and adversaries. But what goes in its favor is the fact that it's at least different. Terms like 'predictable' and 'monotonous' are non-applicable in this case!

NAQAAB tells the story of Sophie [Urvashi Sharma], a young girl from a middle-class family. She is engaged to millionaire Karan [Bobby Deol]. When she meets Vicky [Akshaye Khanna], she's attracted to him and problems begin to surface.

The focus of the film also shifts to the past of the three characters, with some unexpected elements thrown in. Who does Urvashi choose?

The general perception is, the story bears a striking similarity to the recently released RAQEEB [which, in turn, was inspired by MURDER BY NATURAL CAUSES [1979] -- a lesser known English film]. Not true! In fact, the concept of NAQAAB is completely fresh.

NAQAAB begins with gusto! The relationships are established at the very outset. The moments between Akshaye and Urvashi are superb, beginning with the song, 'Ek Din Teri Raahon Mein'. The chemistry is sizzling, so vital for sequences that are to follow.

NAQAAB holds your interest in the first hour. You are hooked. But the second half has its share of loose ends. The motive of one of the protagonists isn't too convincing and when the story moves further on this track, it, somehow, doesn't look too convincing.

All this while you're under the impression that this protagonist has a hidden agenda. Or, perhaps, he wants to settle a score. You're led to believe that there's a strong motive behind his actions. And when this character reveals it all, it doesn't hit you like a ton of bricks. In fact, the finale, when the story again takes a U-turn, takes you by surprise.

This may not be Abbas-Mustan's best script, but every sequence bears the stamp of the master storytellers. Stylishly shot with some great moments, the storytellers at least have the courage to walk a seldom-used path. Shiraz Ahmed's screenplay is interesting. He builds up the suspense beautifully, but the post-interval portions could've been tighter.

Pritam's music gels well with the mood of the film. In terms of melody, 'Ek Din Teri Raahon Mein' stands tall on the list. Its picturization is also topnotch. Editing [Hussain Burmawala] is perfect. The film has the right length [16 reels; 2 hours], with no unnecessary moments.

NAQAAB belongs to Akshaye, who delivers yet another powerful performance. He's splendid, the real scene stealer, the soul of the enterprise. Bobby is relegated to the backseat in the first hour, but manages to make his presence felt in the second half. Urvashi Sharma gets a dream launch and she utilizes the golden opportunity completely. A confident debutante, she enacts her part like a seasoned professional. Also, she looks bewitching all through. Vikas Kalantri and Vishal Malhotra are adequate. Raj Zutshi is hardly there.

On the whole, NAQAAB is engrossing in parts, with the suspense really catching you by surprise. At the box-office, the film should find acceptance in big cities mainly. It may've started slow, but it should pick up over the weekend. Overall, a decent fare!

Choosing an interesting story is difficult. But doing justice to the story is nothing short of an achievement. AWARAPAN, directed by Mohit Suri, gets it right on both the levels -- on paper first, on celluloid later.

For Hindi moviegoers, the story may remind you of Rakesh Roshan's KOYLA [SRK, Madhuri, Amrish Puri], but in actuality, AWARAPAN borrows from director Kim Ji-woon's Korean film A BITTERSWEET LIFE [2005; Korean title: DALKOMHAN INSAENG; starring Lee Byung-Hun, Kim Young-Cheol, Shin Mina]. Nothing wrong with being inspired, since every director has his way of interpreting a story. Also, Mohit adapts the content to suit Indian sensibilities.

AWARAPAN is as raw as a gash inflicted by a rod. A number of Hindi films have plunged into the underbelly of the underworld/mafia in the past, so how different is AWARAPAN from films of its ilk? AWARAPAN packs in all this and something extra in those 2 hours -- a love story and spirituality.

More than anything else, AWARAPAN marks the coming of age of one of the most under-rated actors on this side of the Atlantic -- Emraan Hashmi. Shunning and discarding his by-now-famous casanova image, Emraan enacts a role that every actor craves for in his heart since the opportunities are limited in the masala set-up. And the youngster interprets it with aplomb.

To sum up, AWARAPAN has style and substance, both. The film packs a solid punch in those 12 reels.

AWARAPAN is the story of man called Shivam [Emraan Hashmi], who searches for joy but finds pain and loneliness. It is the journey of a heartbroken lover who, in order to escape from the ghosts of his tragic past, dedicates himself to serve his gangster boss Malik [Ashutosh Rana], who runs a chain of hotels in Hong Kong.

One day, Malik asks Shivam to do an unusual job for him. He asks him to keep an eye on his young mistress Reema [Mrinalini Sharma] while he is away on a brief business trip. Reema is a young Pakistani girl who is a victim of human trafficking. Malik had 'bought' her in the flesh market in Bangkok.

The brief is clear: If Reema is found cheating behind Malik's back, Shivam has to eliminate her. From the moment Shivam sets his eyes on Reema, his frozen past begins to raise its head. He is reminded of his lost love [Shriya Saran] and how he had failed to save it from a catastrophe.

And then one night Shivam is shocked to discover that the innocent looking Reema has a secret boyfriend [Rehaan Khan], whom she has tucked away and is planning to run away with. Does Shivam remain loyal to Malik and execute his orders or does he take on his wrath by daring to go against him?

Frankly, you need to have a strong stomach to absorb a film like AWARAPAN. The film is dark, serious and violent. The romance, therefore, is minimal, but whenever injected in the plotline acts as a coolant.

Director Mohit Suri continues to grow as a storyteller. Note the sequence when Shriya's father catches Shriya and Emraan red-handed and the confrontation that ensues, leaving Emraan's life devastated. Note another sequence: Emraan walking up to Ashutosh Rana and after a verbal duel, fires at him from point-blank range. There're more sequences that only illustrate the fact that Mohit is amongst the finest storytellers today.

But, on the flip side, the excessive violence can be off-putting for a section of viewers. Emraan being buried alive or the constant gunshots and gore can compel you to take your eyes off the screen. This film is definitely not for the faint-hearted.

Pritam's musical score is refreshing. The tunes are fresh and so are the voices. Cinematography [Raaj Chakravarti] is good, although a few sequences could've been better lit in some scenes. The background score [Raju Singh] is excellent. Dialogues are a highpoint. The dialogue between Ashutosh Rana and Mrinalini, drawing parallels with a sick puppy, is superb.

As mentioned at the outset, Emraan delivers a magnificent performance. When the year draws to a close and the 'Best Actor' nominations are being formalized, including this performance would only be appreciating and acknowledging qualitative work.

Ashutosh Rana is splendid and all you want to ask the actor is, aap kahan thhe itne mahine? Shriya Saran has a small role, but she sparkles every time she appears on screen. Mrinalini is a talent to watch out for. She's outstanding!

Purab Kohli is superb as the eccentric nephew of Ashutosh Rana. Ashish Vidyarthi is wasted. Salil Acharya is a welcome addition to the list of talented actors. Shaad [introduced in WOH LAMHE] is very good. Rehaan Khan [introduced in JAANA] is hardly there. Atul Parchure is nice.

On the whole, AWARAPAN is a well-made product that should appeal to its target audience -- the youth, especially those who appreciate genuinely hatke themes. At the box-office, the film will be affected due to multiple releases in a week. Releasing the film in an open week, without oppositions, would've only helped. However, AWARAPAN should grow with a strong word of mouth.

Television producer. Music composer. Singer. And now actor. Oh yes, Himesh Reshammiya wears many caps. Literally! Everyone's curious to know how HR is as an actor? Is he a fine actor? Or has he strolled into the wrong alley?

Don't expect miracles. HR is no Dilip Kumar, Amitabh Bachchan, SRK or Aamir Khan when it comes to histrionics. He's not the best looker in town either, not anywhere close to Salman Khan, Hrithik Roshan or Akshay Kumar.

But you've to hand it over to HR for being the most courageous and confident person around. Can you ever imagine actors like Amitabh Bachchan or SRK turning music composers overnight? It's difficult to take risks, especially when you're under a scanner constantly. Like the famous lines go, every step you take, every move you make, the world'll be watching you…

Let's get one more thing straight. AAP KAA SURROOR is no amar prem kahani. The love story is the type we've watched a zillion times on the screen before. But what saves the ship from sinking is the fact that the turn of events unfold at a feverish pace and before you realize you've been there, seen that, you're already watching the next link to this story.

So what's the verdict on AAP KAA SURROOR? It's crystal clear. The curiosity to watch HR 'act' will ensure his fans and foes making a beeline for movieplexes at least once. HR is sure to have his share of bouquets and brickbats. Bouquets, because the musical score of AAP KAA SURROOR is tremendous. Besides, he has handled a few emotional moments without trying to ape any actor. He's natural. Brickbats, because the film rests on a thin plot. Plus, the writing gets so filmy that you know exactly what the film is all about, at the start itself.

All said, watch it for Himesh Reshammiya take a giant leap. At least he has the guts to chase his dreams!

AAP KAA SURROOR begins with a dead body of a TV journo, Nadia Merchant, being found in a remote area, somewhere in Germany. Soon after, HR is arrested after a concert for murdering the television journalist. HR is put behind bars and the incidents begin to unravel as the movie goes into a flashback.

While on a concert in Germany, HR meets the event organizer [Darshan Jariwala] and his partner [Mallika Sherawat]. He also meets the event planner [Hansika Motwani] and its love at first sight. Love blossoms. After initial reservations, Hansika's father [Sachin Khedekar] approves of the match.

Things take a turn when HR is arrested. He asks Mallika, also a lawyer, to bail him out. But hell hath no fury like a woman scorned. Mallika is in love with HR, but the rockstar loves Hansika. He escapes from his prison cell after taking the murdered TV journalist's father [Raj Babbar] as captive. He has to find the actual murderer in one single day, or else his sweetheart will be married off to someone else.

AAP KAA SURROOR starts off as a love story, but gets into the thriller drive subsequently. A key factor that goes in its favor is that the events unfold at a feverish pace, giving no time to the viewer to think or break into a yawn. Besides, the film bears a stylish and glossy look and the viewer is enamored by the stunning locales of Germany as also the melodious musical score that has been filmed on some striking locations. This one's an eye candy!

But what acts as an eyesore is the screenplay; the way the writers have penned a script of convenience. Take for instance the climax. The villain's confession is telecast 'Live' after a deadly chase, so much so that even the dulhan [Hansika] and her father call off the saat pheras after watching the television that's placed next to the mandap. Even the auto-rickshaw sequence looks so weird. Besides, the writers should've kept the identity of the killer concealed right till the end, like it happens in Abbas-Mustan's movies. That's the hallmark of a thriller!

Prashant Chadha knows the technicalities right. The film bears a stylish look all through, but Prashant should've been a bit more real and believable as far as the scripting is concerned. Latching on to the tried and tested stuff doesn't do justice to the tagline of the film -- 'The Real Luv Story'. HR is in form as a composer and every song is a musical gem. However, 'Mehbooba' deserved a better placement. Cinematography [Manoj Soni] is superb. Dialogues are alright.

As mentioned earlier, HR looks confident all through, although he depicts emotions like anger, anguish and sadness far more effectively towards the post-interval portions. Of course, there's room for improvement, but for someone who's playing a 'hero' for the first time, it's a fine attempt.

Hansika is a powerhouse of talent. Although she's no stranger to movies [having done a few films as a child artiste], she makes her big screen debut with supreme confidence. She's extremely photogenic too. Mallika Sherawat is interesting, although her switchover [from negative to positive] looks abrupt and artificial.

Shravan [introduced in KUCH MEETHA HO JAYE], as HR's friend, excels. Bani is fair. Sachin Khedekar does well. Darshan Jariwala goes over the top at times.

On the whole, AAP KAA SURROOR has tremendous curiosity-value attached to it. And that, in turn, will ensure a fantastic opening for the film. The superb promotion [quality and quantity] has created tremendous excitement for the film, which will result in the box-office singing a glorious tune in the final tally. For its distributors, the fabulous opening will have them singing and laughing all the way to the bank. Critics be damned, this one's for the masses!

It's an arduous task to make a film with kids. And much more difficult to inject a sport [read, cricket] in the plotline. 2007 has witnessed two films with cricket as the backdrop - HATTRICK and SAY SALAAM INDIA. In CHAIN KULII KI MAIN KULII, two tracks run concurrently -- an orphan's desire to have parents and his passion for cricket.

Made with noble intentions and with the motive of making a film that would appeal to kids from 6 to 60, CHAIN KULII KI MAIN KULII doesn't really measure up to the expectations of either adults or kids. That's because the film appeals in bits and spurts. The sequences on the pitch succeed in arousing the required emotions, but the emotional angle in the story [between Rahul Bose and his estranged father Nasser Abdullah] appears fake. Also, the romance between Rahul and Meera Vasudevan is half-baked. In fact, forced in the narrative.

In a nutshell, CHAIN KULII KI MAIN KULII isn't great cinema. Conversely, it's not a below-the-mark movie-going experience either. It floats somewhere in between.

CHAIN KULII KI MAIN KULII is a journey of a 13-year-old an orphan boy Karan [Zain Khan], who lives in a dilapidated orphanage owned by a stern, uncouth warden, John Kakkad [Rajesh Khera]. Karan has two dreams, one is to have parents and the other is to be a big cricketer. His inspiration is Kapil Dev since he has been brought up on the motivating stories of India's World Cup win by the orphanage caretaker, Bholu Dada [Susheel Parasher].

Karan's best buddy in the orphanage is Daboo [Deeptiman Chaudhary], who often lends his gentle ears to the aspirations which Karan lives on. His dreams take a turn when one day, he lays his hands on an old cricket bat which Karan is convinced is the bat that Kapil Dev used to win the World Cup, and for him the bat becomes a magic bat.

One day, by the stroke of luck, the coach of the Indian cricket team [Vijay Crishna] spots Karan and is highly impressed by his batting skills. This happens at a time when the Indian cricket team is going through a rough patch. Karan is inducted into the team as the opening batsman along with the captain, Varun [Rahul Bose].

Karan soon becomes the nation's heartthrob. Only one person hates him, Raghav [Raj Bhansali], the orphanage bully, who feels that if Karan did not have the magic bat, he would have never made it to the cricket team. Raghav now wants the magic bat at any cost.

At the final one-day match between India and Pakistan, events spiral out of control and Karan's magic bat is destroyed. Karan is a nervous wreck, but Varun makes him realize that faith in oneself counts beyond anything else.

Jay Shewakramani's story has the potential to strike a chord with moviegoers of all ages, but the screenplay [Nupur Asthana] vacillates between convincing and least convincing. In an effort to please the kids as also grown-ups, the film drifts away from the core issue.

Debutante Kituu Salooja's direction is simple and a few moments are deftly executed, especially those in the orphanage. But, as mentioned at the outset, the film works in bits and spurts, not in totality. Salim-Sulaiman's music is plain ordinary. The title track in the end credits is eye-catching. Cinematography [Promod Kumar H. Pradhan] is functional.

Rahul Bose takes a backseat since the focus is on Zain Khan, who's supremely confident all through. Ditto for the other kid, Raj Bhansali. Vijay Crishna is effective. Rajesh Khera's performance is impressive. But his shabby get-up resembles that of a male witch, not an orphanage warden. Meera Vasudevan gets no scope. Deeptiman Chaudhary is cute.

On the whole, CHAIN KULII KI MAIN KULII is an ordinary fare that might attract kids in its opening weekend. But the three tough oppositions next week will marginalize it completely.

Worldwide over, sex and thrills are a lethal combo. Vinod Pande's RED SWASTIK is about a woman who seeks revenge. She had been raped, her fiancé had deserted her, her kid had died in an accident… On paper, the theme sounds interesting. But, on celluloid, it's a script of convenience.

Pande has chosen interesting stories in the past [EK BAAR PHIR, YEH NAZDEEKIYAN] and to be fair, he has handled a few scenes well [especially the erotic ones] in his new outing, but the emphasis here is more on titillation rather than narrating an absorbing tale.

The film begins with a murder. A corporate honcho is murdered by a sexy siren [Menaka/Sherlyn Chopra] after they've made love. She draws a Swastik on his forehead with his blood.

More murders take place. The police [Harsh Chhaya] is completely clueless. The murderer keeps in touch with the Editor of a woman's magazine [Deepshikha] since she wants her story to be printed. The truth behind her behavior is only revealed in the end.

The brutal murder at the very start sets the pace. You are hooked. The murderer behaves rather mysteriously and that only makes the goings-on fascinating. But the post-interval portions are a terrible letdown, thanks to inept writing [screenplay: Vinod Pande, Preeti Koppikar, Prerna Agarwal].

One of the cops [Deep Raj Rana] gets to know the murderer's identity [he spends some tender moments with her], but he too is murdered. That's when the writing falls to its lowest level. The cop had informed his seniors, yet they don't close in on the murderer. She suddenly becomes a nurse and her story is revealed by a journo who has been entrusted the job of unearthing her mysterious past. The climax is equally bizarre. What was that?

The only thing that goes in its favor is, expectedly, the 'hot' scenes that the masses may take a fancy for. The leading lady has exposed her anatomy all through and the erotic scenes will catch the eye of a section of moviegoers. The two songs [music: Shamir Tandon] are okay. Cinematography [Rakesh Kumar] is passable.

Menaka/Sherlyn Chopra does well in certain scenes. Also, she has a great body and she flaunts it without inhibitions. Deep Raj Rana is highly competent. Ditto for Harsh Chhaya, who enacts his part well. Deepshikha is alright.

On the whole, RED SWASTIK is an ordinary fare with good doses of sex and titillation as its saviors. A film for smaller centres basically.