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Archives

Love Sex Aur Dhokha

Watch Hindi Movie Love Sex Aur Dhokha Reviews Online

Starring: Anshuman Jha, Shruti, Raj Kumar Yadav, and others.
Director: Dibakar Banerjee, Urmi Juvekar

love-lorn Raj & Simran in real life. Their obsession with the camera documents their love story 24/7. They elope and exchange vows before a god who could have been hired from a film city temple. The naive lovers even prepare to face the ire of the girls’ dangerous family, being blinded by filmy dialogues like ‘now that we are married, your father will accept us.’ Slow motion shots, romantic music swells and amusing simple-minded banter suddenly jump cut to brutal reality. Your eyes are left open, wide, like a live camera, for the rest of this triple loaded LSD trip. Welcome to the world of reality entertainment, where the star is you. Here, sex, betrayal and murder rate higher than Ekta Kapoor’s soap operas. With such easy access to the video camera, everyone enjoys voyeuristic real-life drama. CC tv & handheld camera’s peek shamelessly into the lives of three young couples. These stories are deftly intercut to tell an ironic tale of rose tinted love, lust that deceives and the ultimate betrayal; the realization that the viewfinder has replaced the soul. A desperate young man needs to pay nasty thugs who are out to recover a loan. He battles his conscience while setting up to shoot a sex video with a love struck colleague at a departmental store. To make a quick buck, he abuses his access to the closed circuit camera set up and takes advantage of the girl. A sting operation cameraman, fallen from grace before his drama hungry office, must convince a model to seek revenge from a tacky pop star. She films the arrogant singer as he abuses his position, by offering her work for sex. Interweaving stories cleverly, ‘Love, Sex Aur Dhoka’, holds a stark mirror up to society. And just when the content starts to get uncomfortable, it uses a zoom lens to shoot deeper into the dark recesses of the soul. As the line between personal and public blurs, you realize that this trip will be an unforgettable one. Writers Dibakar Bannerjee, Urmi Juvekar and Kanu Behl write a flawless script that is ‘ballsy’, ‘edgy’ and extremely poignant. The film is edited beautifully by Namrata Rao, whose awe-inspiring cut is supported by a great sound design by Pritam Das. The dialogue is crisp and witty and sincerely takes on the flavor of the North belt. The performances by the young cast are shockingly convincing. Watch out for Anshuman Jha and Shruti as the couple that elopes into ‘a not so Bollywood’ climax, Raj Kumar Yadav and Neha Chauhan as the couple in the store sex video are excellent as are Amit Sial and Arya Devdutta as the cameraman and model planning a sting operation. Henry Tangdias music video "king" Loki Local is hilarious. This last story takes it time to unfold as it delivers the films thought provoking closing message. This film clearly belongs to the unconventional craftsman that is Dibakar Banerji. He takes what must be the budget of three television episodes, works with a fresh, in-experienced cast and boldly takes sex into mainstream cinemas. Banerji scores a well-deserved hatrick after ‘Khosla Ka Ghosla’ and ‘Oye Lucky Lucky Oye’. Watch ‘LSD’ and tell your friends about it. This film may rely on your word of mouth publicity for its success. Warning. Do not expect conventional cinema. This LSD pulls you into a trip that you can love, you can hate, but you cannot escape

Courtesy: Chakpak.com                                     Albums I Trailers I

Lahore

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Starring: Aanaahad , Farooq Shaikh , Shraddha Das, and others.
Director: Sanjay Chauhan

The well designed poster of the movie giving the feel of a western flick, did attract many eye balls at the theaters before its release. And the numerous Awards mentioned on them in bold, were also able to create a certain level of curiosity for the project. But somehow the visual promos aired on the Television channels were not matching with all those good things being said and written about the movie. So, I had my own doubts before watching “Lahore” which more or less proved exactly the same as I had thought. Based on a sports subject, talking specifically about Kick Boxing and partly about Cricket, the movie revolves around the story of two real brothers trying to make a name in these two sports individually. But “Lahore” doesn’t start like a masterpiece as projected. Right from the beginning it looks like just another average product with ok performances and a seen before storyline. The reason being, it can easily be called an extended version of the Deol family’s “Apne”, where also the younger brother comes in to take the revenge for the defeat of his big bro in the ring. The only novelty added to it by the writers is the Indo-Pak peace mission angle handled in a very intelligent manner towards the end. In fact till the movie reaches its climax, you keep wondering why it was showered all that appreciation in the festival circuit when it has nothing in content as per those standards. May be all the Jury members were not aware of any other movie on the same subject called “Apne”. Amazingly, I also couldn’t find anyone else pointing towards the similarity between these two movies in the print. Anyhow, the tables get turned towards the end, when the movie delivers a brilliantly and sincerely directed climax sequence which successfully manages to win over the viewer, leaving him in tears. And after you have seen the concluding moments of “Lahore”, you get to understand why it was able to win hearts of all those Jury members in the festivals. The final sequence of the movie, very effectively gives out the message of peace to both India & Pakistan which should surely receive equal admiration from the two neighbors. The debutant director Sanjay Puran Singh Chauhan makes a sort of comeback in the end and hits a sixer. But if only he could create the same kind of impact throughout the movie, the results would have been far better. In short, “Lahore” is only watchable for its superb climax and is not able to impress with its overall content. There are many flaws in its screenplay and direction which restricts itself to move over an above average product. For instance, it’s not that easy for a player to shift to an altogether different game and that also on a National level representing the country. Also Kick Boxing is not such a famous game in India and Pakistan that people will find easy to relate to. Another fact which came to my mind while watching “Lahore” was that why Cricket looks like such a dumb game on the screen, whereas in real life it’s so thrilling and compelling? Why, no director has been able to bring the same magic of the game on the screen as it is on the actual field? Till date, the only movie which came close to the spirit of Cricket was “Lagaan” but that too dealt in a pre independence era of the game. There is another debut in “Lahore” of Aanahaad, who gives his best in the fight scenes but is just ok in the rest. Sushant Singh, Shraddha Nigam and the girl playing the Pak lady, act impressively. Mukesh Rishi looks tough and gives the right killing looks. Kelly Dorji, Saurabh Shukla and K. Jeeva play it low, but Nirmal Pandey, Nafiza Ali and Ashish Vidyarthi have nothing much to do. The most shining star of the movie is Farukh Sheikh who is simply superb as the National Coach fighting for his rights and students with the minister. The major asset of “Lahore” remains its Kick Boxing sequences canned skillfully by the cinematographer Neelab Kaul. Music by M. M . Kreem is not having any gem as always expected from the maestro, but the background music is effective. In all, if you love watching sports movies, then “Lahore” will satisfy you partially. I really wish the whole movie was as good as its climax. Still, the director, Sanjay Puran Singh Chauhan clearly gives us the glimpses of a great director in the making. Proving his fine vision of the medium, choice of subject and look of the project, he is sure going to be a huge asset in the hands of a big corporate house.

Courtesy: Chakpak.com                                     Albums I Trailers I

Shaapit

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Starring: Aditya Narayan, Shweta Agarwal, Rahul Dev, Shubh Joshi and others.
Director: Vikram Bhatt

Subrojeet Chakraborty (Sushant Singh) is given the assignment of enhancing the TRP of a TV serial consisting of 52 episodes by the queen of Indian television Ms. Anekta Kapoor (Jyoti Gauba). By watching the earlier episodes of the serial to incorporate a new track, he finds himself in a jam, since all the necessary tracks of the saas-bahu saga, extra marital affairs, dead man coming back, twenty year leap etc, etc have already been used several times by Anekta Kapoor. He is completely blank for new ideas, when he meets a bunch of people around him.

T V Mirchandani (Upasana Singh), an avid television viewer, Karuna Sindhu Jagatpati (Surendra Pal) an ex-forest officer and now the secretary of the building in which he lives, and of course Sumona Roychowdhary (Hrishitaa Bhatt) who hates everything related to TV. She becomes the girl of his dreams.

Success will give Subrojeet a secure job in Anekta's serial production company Lalaji Telefilms with a heafty pay package and failure will send him back to his home town Kolkata. What will Subrojeet do...? How he finishes the episodes going through unexpected situations is what the story all about...

Courtesy: Chakpak.com                                     Albums I Trailers I

IDIOT Box

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Starring: Hrishitaa Bhatt, Sushant Singh, Reema Lagoo, Surendra Pal, Milind Gunaji, and others.
Director: Sunanda Mitra

Subrojeet Chakraborty (Sushant Singh) is given the assignment of enhancing the TRP of a TV serial consisting of 52 episodes by the queen of Indian television Ms. Anekta Kapoor (Jyoti Gauba). By watching the earlier episodes of the serial to incorporate a new track, he finds himself in a jam, since all the necessary tracks of the saas-bahu saga, extra marital affairs, dead man coming back, twenty year leap etc, etc have already been used several times by Anekta Kapoor. He is completely blank for new ideas, when he meets a bunch of people around him.

T V Mirchandani (Upasana Singh), an avid television viewer, Karuna Sindhu Jagatpati (Surendra Pal) an ex-forest officer and now the secretary of the building in which he lives, and of course Sumona Roychowdhary (Hrishitaa Bhatt) who hates everything related to TV. She becomes the girl of his dreams.

Success will give Subrojeet a secure job in Anekta's serial production company Lalaji Telefilms with a heafty pay package and failure will send him back to his home town Kolkata. What will Subrojeet do...? How he finishes the episodes going through unexpected situations is what the story all about...

Courtesy: Indian Glitz                                    Albums I Trailers I

Na Ghar Ke Na Ghaat Ke

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Starring: Rahul Aggarwal, Paresh Rawal, Narayani Shastri, Om Puri, Ravi Kishan, and others.
Director: Rahul Aggarwal

A wide majority of Hindi movies look at urban issues. Right from the outfits to the lingo, there's no denying that Hindi movies also look at West for inspiration. In real life too, burgers, pizzas, sizzlers and colas have replaced sarson ka saag, dal-roti and sherbat-n-gola. But you do crave for desi food when you keep munching non-desi stuff all the while, don't you? Buzz up!The fact is, desi stories, with real characters, can never go out of fashion. In fact, a number of present-day film-makers often tell me that they look upon, besides other reputed names, Hrishikesh Mukherjee as an inspiration. On one hand you had Amitabh Bachchan, the reigning superstar of 1970s and 1980s, doing a Sholay and an Amar Akbar Anthony and on the other hand, doing a Bemisaal and a Chupke Chupke for Hrishi-da. Debutante director Rahul Aggarwal also, very respectfully, credits his inspiration to Hrishi-da and his first outing Na Ghar Ke Na Ghaat Ke mirrors the fact at several points of the narrative. The protagonist in the film is like any other non-descript person you set your eyes on the street, who is as helpless as you and me in a life-changing situation. A film like Na Ghar Ke Na Ghaat Ke ought to have a simple, uncomplicated plotline and actors who can pull off these roles without 'acting' those parts. While the writing is interesting at times and wobbly at places [the climax is weak], the set of actors are more or less believable. Final word? Na Ghar Ke Na Ghaat Ke may not be that small little gem that sparkles brightly even in the dark, but it's an earnest effort from a first-time storyteller [Rahul Aggarwal] nonetheless. Devki Nandan Tripathi [Rahul Aggarwal] is a simple, rustic man who decides to try his luck in the city of dreams, Mumbai. He gets a job at the Mausam Vibhaag. In the city, he comes across an array of people who often find his innocence amusing and comical, but Devki realises that they stick with him even in the thickest of bogs that his life hauls him in. The very first sequence of Na Ghar Ke Na Ghaat Ke sets the mood of the film and you instantly get drawn into the world of Devki Nandan Tripathi. While major portions of the first hour are plain ordinary, it's the second half that catches your eye. The sequences between Paresh and Rahul are the mainstay of the film and the subsequent arrival of the villagers to prove that Rahul and Narayani are indeed married brings a big smile on your face. But the smile transforms into a frown as the film nears its climax. The chase and the subsequent marriage in the police station premises appears filmi and a complete compromise from the writing point of view. A better culmination to the story would've only enhanced the impact. Debutante director Rahul Aggarwal knows the grammar of film-making right, but a little more emphasis on the screenplay would've helped enormously. Lalit Pandit's music is strictly okay. K. Rajkumar's cinematography is alright. Rahul Aggarwal enacts the pivotal part with conviction. Narayani Shastri does a decent job. Both Paresh Rawal and Om Puri are first-rate. Neena Gupta is wasted. Ravi Kishan carries off the loud character very well. Ananth Mahadevan is alright. On the whole, Na Ghar Ke Na Ghaat Ke is a simple film told in the most simplistic manner. Should appeal mainly to those who cherish the Hrishikesh Mukherjee movies of yore.

Entertrianment One India                                     Albums I Trailers I

Right Yaa Wrong

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Starring: Sunny Deaol, Irrfan Khan, Konkonasen Sharma, Isha Khopikar, and others.
Director: Neerraj Pathak

A sunny overweight cop (Sunny Deol) with a funny overweight hairpiece is the Goa police force’s pride & joy. He sticks in a fake pair of buckteeth, speaks in a bad Marathi accent and lo and behold is their ultimate master of disguise. He believes that petty criminals should be given a second chance. He puts his money where his sunny mouth is when a thief sights his mothers eye operation as motive for a robbery & believe it or not, Funny Sunny lets him off the hook. Sunny's brooding underweight partner cop (Irrfan Khan) with a parallel cinema sulk, has the opposite belief. Criminals should be put in jail and prevented from further crime. He remembers the oath that he took to serve and to ‘arrest’, and even though he is goodie Sunny’s best friend, they are often at loggerheads. The set-up seems all Right doesn’t it? You couldn’t be more Wrong! Funny hairpiece cop busts his gut, fighting evil criminals with funny moustaches (Aryan Vaid in a hilarious 3 min appearance as ‘Boris’ the baddie). Meanwhile, Isha Khopikar, Sunny’s soulless & characterless wife, has a bed-breaking affair with his brother, the expressionless and uni-dimensional ‘Man Tits”. I must confess that what we thought were Khopikar's uncensored endowments were actually close up shots of ‘Man Tits’ bare chest. Enough horrific imagery; lets get back to the plot. So, one not so sunny day, funny Sunny gets shot in an encounter and is paralyzed waist down. Such a waste, because Funny’s facial muscles already seemed paralyzed as he delivers very few expressions. Now our hero with a ‘two and a half kilo hand' and ten kilo legs is wheelchair bound for the rest of the movie. ‘No Hope’ says the emotional doctor with a funnier wig and dentures. ‘I will walk again’ swears Sunny and he decides to live for his young son, who seems to be reciting poetry in an elocution competition every time he speaks. But as fate and boring/predictable screenplays would have it, Sunny is soon depressed and frustrated with his wheelchair condition. Even as ‘Wifey Stripiker’ and ‘Brother Man-Tits’ make whoopee in adjoining rooms, often filming their endeavors on the phone, funny is not suspicious. He sends his young son away to live with an aunt and engages the services of his wife and brother to kill him for a five crore insurance booty. Yes, you heard it right. ‘Kill him’. The ‘mercy killing’ must look like a break in robbery gone awry. ‘There is hope; you’re thinking, right? ‘Finally, the director might have mercy on the audience. Again, you couldn’t be more ‘Wrong’. The brother and cheating wife are found dead in a pool of blood with bullets leading to Sunny’s gun. It is an open and shut case of break in and self-defense. Sunny is let off the hook, but best buddy, the brooding Irrfan, senses something wrong and pushes to reopen the case against the ‘heroic’ Sunny. A wafer thin plot point (a surprising twist revealing funny haired cop’s devious mind) is stretched into a full length feature film, often making you cringe at the poor production design, some shoddy camerawork and a lack of chemistry between all the characters. The script is so poor that one is kept guessing about the identity of Konkana sen sharma who just lands up at the bereaved cops home to look after his son. ‘Who is she?’ I heard exasperated audience members asking aloud. But the suspense was stretched longer than required.

Courtesy-Chakpak.com                                     Albums I Trailers I

Hide and Seek

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Starring: Purab Kohli, Arjan Bajwa, Mrinalini Sharma, Sameer Kochhar, Ayaz Khan and others.
Director: Shawn Arranha

Murder mysteries and thrillers, taking hints from the Hit plot of “I Know What You Did Last Summer” have never been huge box office successes in the past. And the same can be said for “Hide & Seek”, the latest upgraded version of the story, which neither impresses you as a murder mystery nor enthralls you as a spooky thriller. If a movie starts with all amateur actors, capturing the screen for a good amount of time right at the start, then it clearly gives you an idea about the whole project, its grandeur and its expected box office prospects. That’s exactly the case with “Hide & Seek” which starts off with a very uninspiring flashback sequence, featuring the ages old Taj Mahal’s marble miniature as the symbol of love. The scene shows a group of college friends getting involved in a deadly accident, which later bounces back in their lives after many years. Throughout its duration of less than 2 hours, the movie keeps travelling between the past and present which becomes too confusing for the viewer because of its conflicting casting. It was indeed hugely surprising to see that there was no striking similarity between the different actors playing the characters in the past and the present. For instance it was very childish of the casting supervisor or director to choose a round faced girl to play the past of another beautiful girl having an oval face in the present. Also converting a teasingly fat & sheepish boy of the past, into a six pack actor of the present was quite unimaginable. Due to these extreme variations in the physical appearances of the characters, the viewer is simply not able to make out who’s playing who in the past (in its initial moments), which proves as the greatest drawback of the movie. And by the time it all becomes clear, the game is already lost. In real terms, the writer-producer Apporva Lakhia and his director Shawn Arranha remain confused between two genres, namely thriller and horror movies. They vaguely try to cater both types of audiences but in the process fail miserably. Their final outcome is not at all engrossing or spine-chilling as suggested by its promotional campaign. Though, the first time director shows his skill and does come up with some thrilling moments in the mid but overall it’s just another small budget project, more likely to do well in only the Home Video market. To be precise, there is no breath-taking or mind-teaser game being played between the characters as suggested by the title “Hide & Seek”. In fact it’s only a group of youngsters running & hiding from a killer dressed in Santa’s costume, in a famous Shopping Mall locked from all sides in a night and that’s it. Moreover, the underwritten climax further reduces the movies to only a below average attempt and nothing else. In the acting department, there is hardly anybody to write about in details. Only Purab Kohli playing the disturbed boy and Amruta Patki playing Gunita manage to stand out from the entire cast. Samir Kochhar, who was great in “Jannat” is completely wasted. Arjan Bajwa plays it fine but also becomes loud in few scenes. Mrinalini Sharma is just there to look cute and again there is no similarity between her and the girl playing Jyotika’s character in the past. The song “Tera Bina” which sounded good in the promos remains unnoticed. The movie also had another interesting song on “Santa” which probably couldn’t make it to the screen. Background music is fine and Cinematography is just ok, but they both are unable to help in absence of a highly interesting screenplay which was the first need of the subject. In few words, Moser Baer entertainment should soon come out with its DVDs to make the most out of it in this IPL season. If you are a die-hard fan of famous T.V. serials like “Aahat”, then you can still opt for watching it in the theaters. Otherwise, keep hiding from this and wait for its Home Video release in the market.

Courtesy-Chakpak.com                                     Albums I Trailers I

Atithi Tum Kab Jaoge?

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Starring: Ajay Devgan, Konkona Sen Sharma, Paresh Rawal, Satish Kaushik, Akhilendra Mishra, and others.
Director: Ashwani Dheer

At first the movie made a wrong impression when it came out with an inspired poster from the English Flick “License To Wed” as its first look. Later after the new posters came in, the makers couldn’t impress the viewers with their ‘Just OK’ promos on all the TV channels. As a result the comedy was not able to generate enough curiosity in the trade circles, despite of the presence of Paresh Rawal in its lead comic role.

And now after watching the so called comedy, it can be easily said that the final outcome is exactly similar to its average promotional campaign and nothing else. Though director Ashwni Dhir sincerely tries to revive the magic of those realistic and lovable films by Hrishikesh Mukherjee & Basu Chatterjee. But his ATKJ fails to make an overall impact on the viewer and misses the mark just like the recently released “Toh Baat Pakki”.

Based on the plot of an unwanted guest (Atithi) in the house, the movie starts off well and manages to impress the viewer with an appreciable climax too. But it’s between these two ends that it loses the grip over the subject and starts wandering into many predictable, uninteresting and repetitive sequences which unfortunately take away the beauty from its noticeable concluding 30 minutes. For instance how many times we have seen a married couple going to a hotel to spend few days and then being caught in a sudden police raid at the place.

Instead of writing some novel and fresh scenes in the script, the writers have gone for the usual comic punches involving the Police and Underworld Don seen many times before in similar other projects. To be precise the first scene of the movie itself is highly inspired from the famous Pakistani Stage Artist “Umar Sharif’s comedy play”. Apart from these, the overused farting sequences of Paresh also tend to go over the top after a while. The characters remain the part of a movie only and the viewer never feels empathy towards their circumstances.

However there are few worth watching moments in the flick, which are able to save it from being called a merely below average product. One is its beautifully directed final hour which gives you the glimpses of our rich traditional values and culture. Second are the highly enjoyable and well acted scenes of Satish Kaushik with Paresh Rawal, capable of moving you emotionally. And third are its two devotional tracks with their innovative western arrangements by Pritam especially the “Mata Ki Arti” track made on the composition of “Beedi Jaliye Le”

Performance wise, Paresh Rawal excels in the title role of an Atithi. He truly looks great and acts superbly as a village person visiting Mumbai after a long gap. Konkona is very natural and real in her portrayal of a lady trying to cope up between her home and work. But Ajay Devgan is strictly Ok with nothing exceptional to write about. Satish Kaushik is a delight to watch in his few scenes and from the rest of the cast Sanjay Mishra stands out as the watchman. The child artist playing the couple’s son doesn’t get much scope in the script. Musically the soundtrack is fine with a catchy title track from Amit Mishra, but it cannot sell as a Music CD alone in the market. Cinematography serves the purpose well and dialogues are good in some particular scenes.

In short, ATKJ is a sincere attempt but could have been much better with some fresh and hilarious sequences added into the script. Actually it’s a light comic drama and not a complete comedy as misleadingly projected by its makers. It fails to generate any laughter but is capable of making you smile at regular intervals. A simple and clean movie, which can be watched with the entire family on a weekend holiday.

According to the opening titles the movie is inspired from a short story or article by Late Sharad Joshi, but I also found the subject hugely similar to Satyajit Ray’s masterpiece “Agantuk” meaning Stranger, which had the great Utpal Dutt playing the unwanted guest in the house.

Courtesy-Chakpak.com                                     Albums I Trailers I

Rokkk

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Starring: Udita Goswami , Shaad Randhawa , Nishigandha Wad , Tanushree Dutta , Sachin Khedekar , Ashwini Khalsekar, and others.
Director: Rajesh Ranshinge

What a brillliant horror movie that i have not seen before and by a new director [Rajesh Ransinghe], unbelievable. From the first scene upto the last scene this movie grabs your attention in all aspects and make you glued on to your seats within the whole movie.Thanks Rajesh Ransinghe for making this kind of horror film and without songs. In one word you are the best director who knows that songs can become interruption in horror movies and what a tight script and full of spine chilling scenes and best performance by Arif Zakaria who was wasted in [My Name Is Khan]and other casts such as Udita,Sachin,Ashwini,Tanushree,Murli,Shaad whose performances make this movie worth watch without any boring scenes and full of unbelievable special effects which will make your jaws down.Most of the recent horror directors must take a lesson from Rajesh Ransinghe to know how to make a horror film that will be best in all aspects. And the little girl [spirit] was fantastic.It is a kind of film which does not give you a single second to peep your eyes brows.

I also saw CLICK but that was not a perfect horror movie but a comedy. Now i can see that bollywood have some talented directors who can prove their best in their first effort and that example is Rajesh Ransinghe. Kuddos to you Rajesh Ransinghe for presenting this kind of fantastic horror film for all horror fans.

And there is also a chance of sequel of ROKKK which last scene indicates. So let`s wait and watch that the sequel will be better than this , we wish that.

Courtesy-Chakpak.com                                     Albums I Trailers I

Road

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Starring: Abhay Deol , Satish Kaushik , Tanishta Chatterjee , Mohammed Faisal Usmani , Virendra Saxena , Yashpal Sharma, and others.
Director: Dev Benegal

Once again, as seen in many of the current projects, the movie starts off brilliantly with an artistic feel and ambience. But right after the much publicized old truck comes in to the story, the film steps onto an escalator, slowly moving downwards. Abhay Deol, who is not interested in his father’s oil business, wakes up one morning and goes on to take an undisclosed assignment to drive an old truck to another unknown destination and keeps wandering in the deserts and plain regions with no living being in the sight. The viewer is never told in the narration that why he took up this job, what was the purpose of his voyage, what goods he had to deliver and what was the actual destination he was heading for. Also there is no explanation given for the fact that why he didn’t even know that there was a projector and whole equipment of showing a movie in the truck he was driving. Moreover he very unintelligently takes up the job of driving an old truck through the lonely roads of Rajasthan all alone without taking any cleaner or helper along with him as a helping hand. That was indeed very daring thought put in by the writers.

Besides all this confusion written in the script, a project with the title “Road, Movie” misses all those thrilling factors associated with a long road journey and its joy. The viewers who love travelling long distances through roads and enjoy the lengthy highways are sure going to be disappointed with the treatment given by the director to the theme. For instance, one strongly misses the highway chills, the roadside dhabas, the occasional stoppages, the view of wide barren lands along with great music running at the back, children waving from the roadsides and risky one nights stays in the cheap hotels while watching this weak movie on “Road theme”. There is nothing stated above in the entire movie.

In fact the director is more interested in emphasizing only on the outdoor cinema being arranged from the projector in the truck and its craze among the villagers in his vaguely written movie. Along with that, he also adds the plot of a confused romance between Abhay and a nomad girl, the tragic end of a good hearted mechanic and a silly sequence about a desert don running a water-mafia. But sadly none of these sub-plots works in the movie.

On the contrary each new development on the screen makes the viewer even more confused than before and he keeps wondering what the story or director actually wants to convey? Especially the sequence about the grand fair in the lonely desert coming out of nowhere. This particular part is the most confusing one in the entire movie and is also left unexplained by the director just like that. May be he wanted the festival people to make their own creative conclusion about the same. Likewise it was also quite puzzling to see the projector showing the movie with a great soundtrack too. The director never shows us any sound equipment being installed by anyone before screening the film in the outdoors. May be that was too a festival liberty taken by the director with style.

The other major question which came to my mind while watching “Road, Movie” was that why all the western filmmakers are still interested in showing the poverty, villages and rural areas of India in their movies more than anything else. Unfortunately the worldwide success of “Slumdog Millionaire” has contributed a lot in this direction and taking a clue from it, other film-makers have again started planning to make their new projects on this overblown underdeveloped image of India.

However, all these talented directors, making films around our rural India, simply forget the essence & culture of our country while shooting their intimate sexual scenes which seems to be quite funny. Like in “Road, Movie” too, at one end the director shows a nomad girl, who has never watched cinema in her life, taking lift in the truck. Yet in a later sequence he shows the same village girl smooching Abhay Deol in a pure western style and passion. Frankly speaking that was quite funny and amateur kind of direction from the experienced director.

Technically the film stands out with its stunning visuals and great cinematography. But the director seems to have taken care of his camera angles and locations more than his script and story. The film moves at a very lazy pace which forces the viewer to look at his watch repeatedly. The screenplay falls flat and has nothing exceptional in store for the thinking viewer. Talking about the performances, Abhay Deol fits to the role as a T, but the film would not prove to be another ace up his sleeve. His honest effort gets betrayed by a badly written script. Satish Kaushik is completely lovable. Mohammed Faizal Usmani shines with his witty dialogues and Tannishtha Chatterjee does her job well.

In a nutshell, “Road, Movie” is not at all exciting as suggested by its title and eye catching promotional campaign. Its neither a thought provoking artistic venture nor an interesting novel project made on a different theme. Its just a tiring, fruitless journey heading towards no-where.

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Toh Baat Pakki

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Starring: Sharman Joshi , Tabu , Uvika Chaudhary , Vatsal Seth , Ayub Khan , Sharat Saxena, and others.
Director: Kedar Shinde

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Aakhari Decision

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Starring: Anant Jog , Nagesh Bhonsle , Mushtaq Khan , Navni Parihar , Amar Sidhu , Sumona Chakravarti, and others.
Director: Deepak Bandhu

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Click

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Starring: Shreyas Talpade , Sada , Sneha Ullal , Chunky Pandey , Rehan Khan, and others.
Director: Sangeeth Sivan

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My Name is Khan

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Starring: Shaharukh Khan, Kajol, and others.
Director: Karan Johar

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Striker

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Starring: Aditya Pancholi, Anupam Kher, Siddarth Narayan, Padma Priya, Vidya Malvade, Seema Biswas, and others.
Director: Chandan Arora

The story hits off in a North Mumbai ghetto and cuts frequently between the 70’s, the 80’s and 1992- when the communal riots break out in Mumbai. Chandan Arora’s ‘Striker’ is dark and original cinema but seems somewhat lost in translation. A lower middle class boy from Malvani, Surya’s (Siddharth) childhood is marred by an episode where on losing a carom bet, his elder brother, Chandrakant (Anoop Soni) is beaten up by local goon Jaleel (Aditya Pancholi). Chandra stops playing the game but he secretly coaches the young Surya, who plays truant from school to pursue the game and become a champion. As a young man, Surya is conned of all his money by a Dubai employment agency making him an angry youth on the loose. Surya’s childhood buddy Zaid (Ankur Vikal), a cocaine addict who works for the feared Jaleel, re introduces a 'desperate for money' Surya to Jaleel and Surya is forced to play the game for Jaleel’s betting den. The fiercely independent Surya refuses to be controlled by Jaleel and the two find themselves at loggerheads. When the communal riots break out, Jaleel takes on a more sinister and bloody role, and Surya suddenly finds himself embroiled in the mess way deeper than he or his family can afford to be.

Chandan Arora captures a terrific atmosphere, deftly recreating the Mumbai of the 1980’s and bringing forth several sincere performances. P.S.Vinod’s evocative lighting and camerawork play an important part in the telling of this unusual tale and the carom sequences are slickly cut together bringing forth to celluloid a somewhat unsung sport. Aditya Panscholi in a career-reprising role is scary as the twisted Jaleel but the real villain of the story is its weak screenplay. Using long-winded tracks to make a small point and adding multiple characters that appear and disappear, the story seems confused and too long for its two hour play.

The brooding Siddharth who made an impact with Rang De Basanti brings a refreshing earnestness to his character but sadly plays the part angry and shouting through most of the film. One often wonders during the narration what Surya’s motives could be as they don’t seem compelling enough for him to be driven to play the game, then to stop playing it, to want to take off to Dubai and then to play the game again.

Ankur Vakil (Slumdog Millionaire) is a good performer, playing the junkie thug Zaid who’s only redeeming factor is his loyalty to his childhood friend Surya. Seema Biswas delivers a competent performance as Surya’s mother but seems unchallenged by her role. Anupam Kher plays a sincere cop trying hard to broker peace during communal tension and refrains from the usual clichés that one can expect from a Muslim Mumbai cop in films.

Inspite of the high strung drama played out by the angry young Surya and the rest of the cast, the carrom matches have very little dramatic effect on the film. The game doesn’t really have much to do with the resolution of the story and this leaves you disappointed and frankly, a little carom ‘bored’.

Yet, the power of the story is strong and the honesty of the film shines through the sagging screenplay. The leading man is not a 2D hero and comes across as a real human being. His silent romance with the burkha clad neighbor Noorie, that is abruptly halted by her moving away, brings a loveable shade to the intense Siddharth. Delivering a heartfelt message and underlined with some beautiful music pieces by an ensemble of music directors including Vishal Bharadwaj, Chandan Arora’s ‘Striker’ pockets the queen but sadly misses a deserving cover.

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Rann

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Starring: Amitabh Bachchan, Ritesh Deshmukh, Mohnish Behl, Paresh Rawal, Neetu Chandra, and others.
Director: Ram Gopal Verma

Ram Gopal Verma has tried to show the hardcore reality of media industry with Amitabh Bachchan starrring Runn. This film was a complete blend of terror, politics and journalism. Through Runn the director has tried to bring out the unethical issues of the electronic media. In this multi starrer film each character is presenting the negative and positive factors of a particular profession. Ram Gopal Verma has once again picked up a very good issue and has presented it very well. Amitabh Bachchan, Riteish Deshmukh, and Sudeep have stood out with there performance. This is the story of Vijay Harshwardhan Malik (Amitabh Bachchan) the owner of private news channel named India 24X7. He is a man with ethics who knows about the loyalty towards his profession. Maliks company starts dropping down and his rival company owned by Mohnish Behl (Amrish Kakkar) gets good TRP and success. Thats when Malik's US returned son Jai Malik (Sudeep) joins his buisness. Jai believes in making profit and does not bother about the morals and ethics unlike his father. Ritesh Desh Mukh (Purab Shashtri) is a true journalist like Malik. This leads to a fight between father and son. Paresh Rawal (Mohan Pandey) is a politician who dreams of becoming a Prime Minister and can go to any extent to fulfill his dream. And Maliks son-in-law Naveen Shankalya (Rajat Kapoor) who wants to be the top most industrialist join hands with Mohan. There is an ad filmaker Nandita Sharma (Gul Panag) who has appeared as the selfish youth of today. This film brings light on lot of ethical and unethical issues. Presence of Rajpal Yadav in this serious flick makes it a bit hillarious and soothing. The actor has created great humor along with Gul Panag. Sudeep's performance is worth acknowledging. It was realy surprising to see the comic actor Ritesh playing such a serious role. He has showed a diffrent side of his acting and proved his versatality. Even Paresh Rawal and Rajat Kapoor played there part really well. And even Suchitra Krishnamurthy (playing the programming head of India 24/7) and Neetu Chandra (the Muslim fiancée of Jay) were good. Rohit Banawlikar has penned down amazing dialogues for the film. It is a serious film which will show you lots of hidden relities of politics and media industry.

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ISHQIYA

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Starring: Naseeruding Shah, Vidya Balan, Arshad Varsi, and others.
Director: Abhishek Chaubey

Vishal Bhardwaj initiated his offbeat Tarantino style movement in India with the much acclaimed “Maqbool” which also had many commercial elements incorporated in it. But with “Omkara” & “Kaminey” he revealed his clear intentions of following a different path altogether on the similar lines of Quentin Tarantino & Guy Richie kind of cinema. And with “Ishqiya” directed by his associate Abhishek Chaubey, Vishal comes up with another movie contributing in the said movement following the same formula of surprising the audiences with its realistic characters, on-screen abuses, bold language and expressive sexual sequences. In real terms, “Ishqiya” straight away won over the viewers before its release, with its brilliantly compiled, earthy and sexual promos supported by few well composed songs, just as “Kaminey” did a few months ago. But as seen in the case of “Kaminey”, due to some major serious issues, “Ishqiya” may also witness a divided box office result between its critical acclaim and the actual universal response in the coming weeks. The movie revolves around the story of two conmen who are running to save their lives from their boss and find shelter in the house of a young and attractive widow. During their extended stay, the lady starts flirting with both the men, as she has a hidden agenda to get a task done by the two, which is revealed to the viewers after a good one hour in the film. So, “Ishqiya” does have an intelligently chosen and interesting story plot, told in an amusing style with some soothing and melodious songs to enjoy. And no doubt, it’s well directed by the debutant director Abhishek Chaubey who never gives you any glimpse of a first time project. But the main drawback in the movie is that its starts too slow and picks up too late. In fact it actually starts coming to the point just before the intermission and till then the viewer desperately keeps waiting for something explosive to happen on the screen as expected. Surprisingly, the real interesting plot of planning the kidnapping of a rich industrialist starts right after the interval. In other words the film shows everything in store for the viewer only post intermission and that too in such a hurried pace which further leads to many confusions and chaos towards the climax. The love triangle plot in the script, left with an open end in the last scene, also may find less takers among the viewers in the smaller centers. However, the best part of the movie remains its performances, where every character enacts his part in a highly realistic and amusing way with just the right lingo, style and attire. Naseeruddin Shah gives a splendid performance as a lonely one sided lover and impresses the most. Arshad Warsi is simply brilliant with his earthy language and freaking out style. Vidya Balan once again delivers a winning act after “Paa”. She also dares to give her most intimate kissing scene on the screen with Arshad which is a well directed one too. The rest of the cast is also a treat to watch with everyone playing their parts with great conviction. Musically, it has a great soundtrack to enjoy with gems like “Ibne Batuta” and “Dil To Bachha Hai Re” in the incomparable style of Vishal Bhardwaj. Still, I felt the song picutrisation could have been better. Cinematography adds value to the project and the overall earthy look of the movie has been well worked upon. But the project leaves many question unanswered as: Why the movie was promoted as a Vulgar Language movie when there are hardly any dialogues of such sort? Why it was projected as a witty and interesting comic venture when in fact it was not a comedy but a dark and slow crime thriller? Why the actual interesting kidnapping plot starts after the intermission, where as the film has nothing great to showcase in its first hour? Has Vishal Bhardwaj decided that all his produced or directed films will always have a pre- release hype dependent on vulgarity, abusive language and sexual scenes? In short, if you are expecting to see a highly entertaining or light comic movie as projected by the well designed promos of the movie then you are going to be disappointed to a great extent. All the humorous and enjoyable comical scenes which were there in the promos of “Ishqiya” are scattered here and there in the film which fail to generate a collective entertaining impact as seen in the 3 minute trailer of the movie before its release. On the contrary it’s a slow paced and dark thriller which will surely get appreciation from the section of viewers who loved Vishal’s “Kaminey”. But a unanimous appreciation from all the centers is quite questionable. To sum up, from a film-maker or film student point of view, “Ishqiya” is not perfect but still good work done. But from a common man’s viewpoint, who is there in the theater to get entertained as promised by its trailer, the movie leaves him unattended.

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Veer

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Starring: Salman Khan, Zarine Khan, Mithun Chakraborty, Jackie Shroff, Sohail Khan, Lisa Lazarus, Bianca Van Varenberg, and others.
Director: Anil Sharma

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Cance Pe Dance

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Starring: Shahid Kapoor, Genelia D’Souza, and others.
Director: Ken Ghosh

This movie Ken Ghosh’s dance-drama takes no chance in experimenting with storytelling style and ends up being an extended version of the music videos that he used to direct before making feature films. Chance Pe Dance is stuff legendary Bollywood biographies are made of. Sameer Behl (Shahid Kapoor) comes to Bombay with Bollywood dreams, struggles through the day as a courier boy and keeps failing in auditions for advertisements. More stereotypes are stuffed in as he refuses to take help from his dad in Delhi (Parikshit Sahni almost repeating his Idiot act), is thrown out from his rented flat by the landlord (Kurush Deboo still unable to surpass his Parsi performance) and comes away with his calculative companion (Vikas Bhalla making his comeback). Soon Sameer is signed as the male lead in a film and friend Tina (Genelia D’Souza) is selected as the choreographer on the same project. The characterizations kinda remind of Naach ; Ram Gopal Varma’s film on dance, if you have heard of it by any chance. Both homeless and jobless now, Sameer sleeps in his car (yes, he could afford one after doing one lungi ad) and works as a dance teacher in a school. Regardless of the references it derives from Jack Black’s The School of Rock , the film fails to rock till the end credits roll. Subsequently Sameer loses his film and is disillusioned. Tina encourages him to participate in a television talent-hunt show, the winner of which will win the same role that Sameer was to play. In his screen-test, Sameer dedicates his monologue to his mother in the same mould with which most Miss India participants mouth their monotonous thanksgiving speech. The film starts on a promising note with smoothly synchronized opening credits but by its sixth scene you sense where it’s heading. The screenplay by Ken Ghosh and Nupur Asthana is conventional to the core, has predictable plot-points and lacks any dramatic graph. Kiran Kotrial’s dialogues lack depth and additional writing help by Manu Rishi ( Oye Lucky Lucky Oye ) doesn’t add any value to the narrative. Ken Ghosh’s direction lacks as much conviction as his writing and it’s easy to comprehend how he hurries and fabricates the storytelling in the second half. The story had enough scope to be humourous but the treatment is lame and laughable. Sameer’s training and team-building sessions with the school kids is rushed through a transition song and does not contribute to the central plot in any way. Though Shahid and Genelia make a cute couple on screen, their chemistry is concocted at the same dull and dreary speed with which Genelia rides her two-wheeler in those two hilarious scenes of the film. Sadly by the time she picks up pace in the climax, it’s a bit too late. For a dance-driven film like this, the music should have been catchy beyond comparison. Though Adnan Sami and Pritam’s tunes don’t disappoint, it isn’t mind-blowing material. Choreography is a clearly the highlight of the film. Dance directors Ahmed Khan and international artist Marty Kudelka give challenging steps to Shahid Kapoor that he performs with effortless grace, panache and attitude. But too much of song-n-dance is detrimental to the film’s flow. Finally the entire burden of carrying off this film lands on Shahid Kapoor’s shoulders and his chiseled flashboard abs prove of no help in this respect. He dances fabulously and acts convincingly but isn’t able to salvage the sinking ship. Genelia D’Souza is delightful and appealing. The kids try too hard to be cute. Zian Khan esp. has lost his childish charm. Sadly, scripts are written for reality shows today but there is no real good scripting involved in feature films. So in times when dance talent-hunt shows on television promise more drama and entertainment, you find no good reason why to give this dance a chance.

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Dulha Mil Gaya

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Starring: Fardeen Khan, Ishita Sharma, Sushmita Sen, Shaharukh Khan, and others.
Director: Mudassar Aziz

Dulha Mil Gaya literally breaks new grounds with taking a Bollywood plot to Trinidad and Tobago. But beyond that this marriage miscarriage movie moves east of West Indies to introduce India for the zillionth time as nothing more than a small village in pastureland Punjab. So you are supposed to believe that Tej Dhanraj (Fardeen Khan) is a billionaire-bachelor-playboy and to retain all these adjectival attributes he has to agree to his late father’s will. Ruefully, Randhir Kapoor is resurrected as the late father but is reduced to a retro portrait that does nothing other than subtly suggesting that the story dates back to his 1975 film Ponga Pandit . As per the will, Tej has to marry his father’s friend’s daughter to inherit the assets. That brings the NRI protagonist to Punjab through the regular route traversed by almost every romance flick from Dilwale Dulhaniya Le Jayenge to Dil Bole Hadippa and several Namastey London in between. Tej registers a court marriage with gaon-ki-gori Samarpreet Kapoor (Ishita Sharma) for formality sake and runs away, never to return back. The gori takes it on herself to trace her husband in Trinidad only to realize she was conned. Enter supermodel Shimmer (Sushmita Sen) who gives a facelift to Samarpreet revamping her to Samara so much so that Tej doesn’t recognize her real identity. Evidently its Rab Ne Bana Di Jodi revisited with a gender reversal where the girl substitutes shaving-off-the-moustache gimmick with dropping-her-spectacles for an image makeover. Sadly that doesn’t give any new perspective to the narrative. If that wasn’t indicative enough, Shahrukh Khan makes an appearance towards the end of a karwa chauth song and how one wishes at least he could have forestalled the foreseeable resemblance between his two consecutive releases. Candyfloss continues with a tinge of forced patriotism as the heroine counterattacks the illusion of Indian woman not being career-oriented saying, “ India ki ladkiyan sau karod ghar chalati hai ”. New director Mudassar Aziz comes from the old school of filmmaking who puts no lateral thinking in his conventional-to-the-core writing and direction. And though he doesn’t resort to toilet humour, Mudassar (literally) employs latrine thinking in scripting a couple of scenes where cupid strikes when the couple is heading towards lavatory. The characterizations are as much clichéd as their conflicts. The village belle gives way for some standard broken English jokes but the dialogues are far from being funny, forget witty. And when everything else fails to incite emotions, the background score struggles hard to achieve that. Choreographer Howard Rosemeyer almost replicates the ‘ Bole Chudiyan ’ dance steps in the karwa chauth song number. Leena Chanda’s tackily designed set doesn’t pass off as a cruise liner. Lalit Pandit’s music is plain average. Sushmita Sen carries a fake accent, occasionally does an Archana Puran Singh, has inconsistent comic timing but looks absolutely gorgeous. Ishita Sharma shows potential which remains untapped in a hackneyed film like this. Fardeen Khan is passable. Shah Rukh Khan doesn’t rise above the regular in his extended cameo. Mohit Chadda doesn’t get much scope. Tara Sharma shouldn’t act without using a dubbing artist. Or better Tara Sharma shouldn’t act. Johnny Lever is wasted in an inconsequential serious role. Howard Rosemeyer’s acting is more animated than his choreography. “Say yes to a relationship’ reads the tagline of the film. But if you don’t relate to a predictable plotline like this, rather say no to the film.

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3 Idiots

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Starring: Aamir Khan, Kareena Kapoor, Rajeev Ravindranathan, Sharman Joshi, Madhavan, Akhil Mishra, Boman Irani, Mona Singh, and others.

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