Hindi Movie Reviews

Yet another sequel of a well-liked franchise makes it to cineplexes; this one’s helmed by Indra Kumar, the King of Melodrama. The challenge evidently lies in making DOUBLE DHAMAAL far more engaging, compelling and amusing than the first in this series. Right from DIL, his directorial debut, to DHAMAAL, his last outing, Indra Kumar has integrated a generous dose of light moments in all his films, irrespective of the genre. And he’s got it right most of the times!

The four jokers reunite to cause a comic riot in the much-anticipated follow-up DOUBLE DHAMAAL. DHAMAAL was a laugh-riot and was, in fact, one of the earlier films that gave an impetus to the trend of attempting madcap entertainers.

A word of caution, though. It’s outrageous and ridiculous… yet extremely funny and hugely entertaining. As we are well aware, the sole motive of a motion picture of the DOUBLE DHAMAAL variety is to entertain the viewer. Such nutty escapades are not fashioned to appease or mollify a miniscule minority of those viewers who are not in sync with the sensibilities and receptivity of a majority of moviegoers. DOUBLE DHAMAAL is also not for those who loathe and abominate desi masala movies and label them ‘brain dead’ or ‘cheesy, low-brow humor’. All Time Blockbusters like DABANGG, GOLMAAL 3, even 3 IDIOTS and GHAJINI and more recently READY were not spared by the skeptics, but the audience mandate proved the inflexible cynics wrong and how! Very evidently, DOUBLE DHAMAAL is targeted at the massive number of spectators who relish zany capers.

Packed with hilarious moments, amusing gags, witty one-liners and uproarious situational comedy, DOUBLE DHAMAAL lives up to its name and is in a league and genre of its own. It’s double the fun and double the guffaws this time. The humor here is poles apart when compared to the MUNNABHAI or GOLMAAL series, yet the objective of each of those films has been to woo lovers of desi masala movies.

DOUBLE DHAMAAL works for varied reasons… One, the jokes and gags are of a much enhanced quality. A few clutch-my-tummy-and-cackle situations are juxtaposed with the regular loud jesting without a glitch. Two, the presence of the glam quotient spices up the proceedings . In fact, both Mallika and Kangna are an integral part of the plot. Three, it appears superior in terms of visuals and also production design. The dazzling locales of Macau are pure eye-candy. Most significantly, the highpoint of DOUBLE DHAMAAL isn’t its script alone. Rather, it is also the imposing chemistry between the boys.

As a matter of fact, we’ve become so habituated to crudeness in the name of hilarity that we’ve forgotten to value uncontaminated comedies. Which is why I want to roll out the carpet for DOUBLE DHAMAAL, which is a genuinely witty, plot-driven comedy. Sure, there are few double entendres, but they aren’t detestable or distasteful. In fact, DOUBLE DHAMAAL is so asinine and goofy that you might want to forewarn people that they may fall off their chairs, guffawing at the most banal jokes.

All said and done, DOUBLE DHAMAAL is an epidemic of laughter which has all it takes to take the franchise to the next level.

The four good-for-nothing jokers from DHAMAAL — Roy , Adi , Manav and Boman — are back again! They are still as stupid and useless as before. Hard work is a strict no and the only work they have ever done in their lives is to lie down on their backside and dream about a good life where they have everything without doing anything!

And then suddenly they spot their enemy — the corrupt Insp. Kabir Nayak . But he’s no longer a cop and instead of chasing crooks, he’s chasing money — driving a Merc, has a posh office and a lavish villa. The four mad caps are green with envy and decide that come what may, by hook or by crook, they will share Kabir’s good fortune. And so they blackmail Kabir into making them his business partners.

What they don’t know is that soon their dreams are going to turn into nightmares because Kabir has his own hidden agenda, only shared by his sultry girlfriend Kamini and sister Kiya . And so starts a game of one-upmanship, with both sides having tricks up their sleeves and where sundry characters like Batabhai and King of Casino, Bonzola, turn up to make their life miserable.

DOUBLE DHAMAAL sets in motion with a speedy recap of the first part, to facilitate those who may have watched it but don’t recollect the film vividly or those who haven’t watched the first part and are clueless about the characters. That helps in getting acquainted with the basic plot and characters at the very outset. In fact, the film takes off from exactly the same point where the prequel concluded.

DOUBLE DHAMAAL works primarily because it’s an ingeniously written film that moves briskly from one gag to another, leaving no moment in between to contemplate. You may trace the jokes to some films of yore, but the manner in which these yarns are unified in the airtight screenplay merits an ovation.

Since the expectations are monstrous from this flick, Indra Kumar seems focused on meeting those expectations. The perfect execution of the script by the director combined with the brilliant comic timing of the actors assures you that the franchise is in safe hands. Also, I’d like to make a note of the witty, brilliant dialogues that spice up the proceedings well. Music has always played an integral part in Indra Kumar’s movies and though DHAMAAL didn’t have a great soundtrack, DOUBLE DHAMAAL has two sprightly and infectious tracks that compliment the movie well — the title track and ‘Jalebi Bai’. Aseem Bajaj’s cinematography is top notch. He captures the grandiose look on celluloid splendidly.

This comic-and-wit contest is so intense that it is unfeasible to single out any one actor as the scene-stealer. Arshad, Riteish, Jaaved and Aashish are no aliens to tomfoolery and each one of them carries off their scenes with aplomb. Each of them is a born-laugh-raiser, actually. Riteish is simply outstanding. It won’t be wrong to state that this is his career-best work. Arshad’s comic timing is amazing and it’s evident yet again. Jaaved is super. It’s a tough part to handle and he does it with amazing ease. Aashish is a complete revelation; he brings the house down with his act. The usage of prosthetics grants a lot of definition to this outrageously comical character. In fact, the four actors co-ordinate well to make the goings-on look flawless and unblemished. Also, the various getups and makeup of all the actors deserve a special mention.

Just as it’s impossible to imagine GOLMAAL without Ajay, it’s hard to think of DHAMAAL without Sanju. He’s not so much a part of the comedy as he is the catalyst for much of it… and he’s the best man for the job. Both Mallika and Kangna have key roles to play and don’t come across as mere props. Mallika is excellent and this film will make people realize that she can handle comic roles with effortlessness. Kangna is equally competent and her scenes with Riteish are sure to be noticed. Satish Kaushik is in top form. In fact, he’s bound to walk away with ceetees and taalis whenever he appears… also towards the end. Zakir Hussain is adequate.

On the whole, DOUBLE DHAMAAL is a seriously hilarious movie that lives up to its title — it’s double dhamaal all the way. If you are not looking for wisdom and rationale in a light-hearted entertainer, I am sure you will savor this carnival of claptrap. Sometimes, a good laugh is all you need to make your day. Try not to miss this one, it pledges hilarity in abundance… Carrying a positive vibe and a high degree of expectation, the film is tipped to be ‘hot’ amongst viewers and is likely to embark on a strong initial at the box-office. Here’s hoping that the first half of 2011 closes on a dhamaal note with DOUBLE DHAMAAL.

Am often asked about sequels… Do sequels ensure success? Are sequels a shortcut to victory? Are we exploiting a winning formula to triumph over troubled times? Is there a bankruptcy of ideas and is that the stimulus for resorting to sequels?

I genuinely feel that if a film-maker has created a triumphant trademark/brand name, why should he be apologetic about making wealth on it? But, very frankly, sequels don’t necessarily guarantee victory. Whether it’s a sequel or a prequel, or a recreation of a successful film, it works only if the spectator is able to relate to the goings on. Oh yes, the registered brand makes you connect to a film and its characters instantaneously and perhaps the marketing budgets get condensed in the process. But every film is judged in isolation and very significantly on merit.

BHEJA FRY 2 looks at the escapades of Bharat Bhushan, the idiot, who continues to deep-fry the viewers’ brains with his foolhardy and imprudent deeds. But there are some observable modifications. The most prominent one being, Kay Kay Menon is the next pivotal character, after Vinay and the setting is now a cruise liner. BHEJA FRY was based on the French comedy LE DINER DE CONS, which not only inspired this Bollywood remake but also a Hollywood film DINNER FOR SCHMUCKS. On the other hand, BHEJA FRY 2 comes across as a novel concept.

It’s a challenge for Sagar Ballary to make the sequel a far bigger sensation. Of course, the comparisons with the first part are inevitable. Regrettably, BHEJA FRY 2 doesn’t really reach there for varied reasons… One, the substance is lacking. Two, the hilarity quotient is lower than expected. Three, ideally, BHEJA FRY 2 should’ve had loads of uproarious moments and witty one-liners, but barring a few individualistic sequences, it lacks the bite to keep you enthralled and entertained.

Most importantly, you want the idiot to be more irksome, more exasperating, more dim-witted and more annoying this time. But he isn’t. He doesn’t take buffoonery to the next level. The kind of humor instilled in the narrative hardly evokes mirth.

The setting is bigger , but the absence of a defining screenplay leaves you squirming in your seat. You carry a few moments home, not the film in totality.

Good hearted but not worldly-wise, the roly-poly tax inspector Bharat Bhushan is back to fulfill his long cherished dream of becoming a singer. To further his ambition, he enters a game show hoping to win a cash prize with which he can make his music album. Eventually, Bhushan goes on to win the competition, which also gifts him a free stay on a cruise ship.

It is on this cruise that he meets Ajit Talwar , a corrupt business tycoon, who is taking sheath on the cruise to flee from the Income Tax department. Close on his heels is tax inspector M.T. Shekharan , who keeps disguising himself to reach to the culprit.

When Talwar learns of Bhushan’s profession, he alerts his subordinates to keep a watch on him and in due course, get rid of him. However, on being introduced to Talwar, Bhushan finds out of his media investments and is out to impress him. The cruise becomes a perfect rendezvous for Bhushan with the presence of Ranjini , a media executive who Bhushan had met on the game show.

Later, an unpleasant incident occurs and Talwar and Bhushan find themselves stranded on a deserted island. It is on the island that Talwar realizes what a pain Bhushan is. And if that isn’t enough, Bhushan’s folly lands them hostage in the hands of an eccentric .

The sole explanation why BHEJA FRY 2 works sporadically and intermittently is courtesy Vinay Pathak, who carries off the part of a bonehead with effortless ease. But the screenplay is devoid of exhilarating moments and the absence of a watertight screenplay is felt all the more towards the second hour, when Kay Kay and Vinay get marooned on an island. Right from the character of Amole Gupte to the sequence of events that lead to the culmination, the graph of the film only goes downhill. Even the dialogues are humdrum and lack wit.

BHEJA FRY 2 boasts of two spunky tracks, ‘Ishq Da Keeda’ and ‘Rahi Rahi’, but the first isn’t included in the narrative, while the other comes towards the fag end with the final credits.

Vinay is wonderful as the dimwit and tries to restructure the magic all over again. Minissha looks gorgeous and enacts her part well. Kay Kay is efficient, as always. Amole Gupte disheartens. Also because he’s saddled with an inconsequential part. Suresh Menon is too good. In fact, the entire South Indian-North Indian bickering between Vinay and Suresh is a highpoint of the enterprise. Rahul Vohra leaves a mark. Rukhsaar is wasted. Ditto for Aditi Gowitrikar. Rahul Singh gets no scope. Virendra Saxena suffers due to a poorly sketched role. Amit Behl is good. Kishwer Merchant acts well.

On the whole, BHEJA FRY 2 rides on a triumphant brand, but one expects a laudable follow up in terms of hilarity and entertainment. Besides, it should’ve taken the movie-watching experience to the next level. Sadly, it doesn’t!

The Hindi film industry’s fixation with gangster movies continues. Right from DEEWAAR, DHARMATMA, DAYAVAN, ANGAAR, PARINDA, AGNEEPATH, SATYA, COMPANY, VAASTAV, BLACK FRIDAY, GANGSTER, D, SHOOTOUT AT LOKHANDWALA to the recent ONCE UPON A TIME IN MUMBAAI, the city’s sleazy underbelly has been depicted most convincingly in these films. Just makes me wonder at times, how much will film-makers milk a genre? But, I guess, every film-maker has his/her distinctive approach of narrating a story. Also, it all boils down to how taut the written material is.

Unlike some of the names I mentioned above, BHINDI BAAZAAR INC. doesn’t really open the X-files of the disreputable and tarnished, but it makes you revisit the dark alleys where shady men execute shady deals. The game of one-upmanship, the power-hungry gangsters, the scene of carnage and massacre … BHINDI BAAZAAR INC. packs just about everything that we’ve come to correlate with gangster movies. Yet, what keeps you absorbed is its engaging screenplay and of course, some nail-biting moments.

Director Ankush Bhatt equates the games gangsters play with a game of chess and that’s what sets it apart. The story is narrated in episodes and though, at first, you don’t really comprehend the goings on, you gradually start getting a hang of proceedings as you get acquainted with that world and those sundry characters. Let me add, however, that BHINDI BAAZAAR INC. isn’t for the faint-hearted or lily-livered. In this story, the human life is cheaper than perhaps a bottle of beer, the spoken language is acidic and at the same time loaded with expletives and the games gangsters and their women play is scandalous and contemptible. You need a strong stomach to absorb this one!

So does it belong to ‘watchable gangster flick’? Yes and no! Yes, because it’s gritty, hard-hitting and bold. No, because the director knows not where to stop. A more concise version would’ve only enhanced the impact.

Mamu is the title of the mafia-head of Bhindi Baazaar. Years ago, the reigning Mamu snatched it from someone and may be someone has to do the same to be the next Mamu, but you never know who it will be.

The film begins with a game of chess between Shroff and Tez , each move of which unfolds the story. It starts with Fateh and Tez getting enrolled in Mamu’s gang. How Fateh backstabs Mamu and grabs the title is the crux of the story. But the journey from a small-time crook to Mamu isn’t easy. Betrayals, deceits, treachery and vengeance are a part of this expedition.

Strangely, BHINDI BAAZAAR INC. brings back memories of ONCE UPON A TIME IN MUMBAAI, which also spoke of the chela overpowering the guru in a game of power-play. The setting and characters are as real as real can be and that’s what makes the proceedings watchable. But the film stagnates towards the post-interval portions, more so towards the finale. Ideally, the film should’ve ended the moment Gautham becomes Mamu. Bluntly put, the subsequent portions are redundant. Also, the Jackie Shroff track is far from convincing.

Ram Shreyas Rao and Viraj Singh’s cinematography captures the atmosphere well. Though there’s no scope for music, the titillating song in the bar is well choreographed.

Director Ankush Bhatt has executed the plot well and the writing has the power to engage and alarm you consistently. Besides, the choice of actors is most appropriate. Kay Kay is a seasoned player and he gets it right yet again. Pavan Malhotra is first-rate. Prashant Narayanan is natural and the scene stealer. Newcomer Gautham springs a pleasant surprise with a supremely confident performance.

Deepti Naval is wonderfully restrained. Vedita Pratap Singh is excellent. Piyush Mishra pitches in a power-packed performance, as always. Shilpa Shukla doesn’t get much scope. Shweta Varma is wonderful. Jackie Shroff is wasted. The actor playing the role of the corrupt cop is first-rate.

On the whole, BHINDI BAAZAAR INC. doesn’t offer anything novel in this beaten-to-death genre. But it makes for a compelling watch due to several nail-biting moments.

Youngistan rules! Bollywood has realized the potential of this segment of moviegoers — the teen market — which explains why movie-makers are attempting to wow Gen-X with films that appeal to their sensibilities. Actually, the social networking generation can make or break a film in a span of minutes. It is this aspect that keeps a storyteller on his/her toes. Unconventional, out-of the box themes, but contemporary by nature are being attempted. Luring the youth to cineplexes is the prime motive of the film fraternity today.

Coming of age films aren’t new. But there’s definitely a dearth of movies that look at school students. Mansoor Khan’s JO JEETA WOH SIKANDER stands tall in this list. First-time director Roshan Abbas attempts to mirror the lives of four youngsters in ALWAYS KABHI KABHI, Class XII students all. Today’s kids have a mind of their own and ALWAYS KABHI KABHI makes an attempt to make adults realize what goes on in a kid’s mind. Bridging the generation gap, did you ask? Oh yes! Making adults — parents, teachers, elders — understand the kids better. The intentions are right, but the interpretation isn’t.

ALWAYS KABHI KABHI is based on Roshan Abbas’ 1999 play ‘Graffiti’. Though Roshan may claim that he has developed and modified the play to suit the moviegoers’ tastes, the fact is that the subject material is thoroughly unexciting and comes across as a hollow attempt to drive home a message. Actually, the screenplay tries to pack too much stuff, but the manner in which everything is spread out on the table makes you squirm in your seat. Seriously, one wonders after a point, what were the director and his team of writers trying to say? The writing is not merely humdrum and dreary, but also amateurish and ridiculous at the same time.

Moreover, the director knows not how and when to conclude the film. For, the movie goes on and on and on… it tests your patience, after a point. Too many songs are forced in the narrative, the relationship between parents and kids is handled most haphazardly , the theatre portions are insipid and boring and the conclusion, which could’ve been a solid wake up call for parents of teenagers, fails to strike a chord. ALWAYS KABHI KABHI just doesn’t work!

Four students of St. Marks School. Each one going through a difficult time in his/her life due to enormous expectations from their parents. Tariq is expected to be a topper… Sameer has to arrange for money after he’s cornered by two corrupt cops… Ash has an over-ambitious mother who’s keen that she join ad world/movies… Nandini is someone who has a major attitude and it stems due to her relationship with her parents.

How they overcome all odds and make their folks realize the folly forms the crux of the story.

Like I pointed out at the outset, the intentions may be right, but the writers haven’t been able to translate their thoughts well on paper and also on celluloid. I must add, despite the shortcomings, Roshan Abbas has executed a number of sequences well. Also, Roshan gets the casting right and each one of them makes an earnest effort to deliver natural, likeable performances.

The songs are are a mixed bag, with the sole exception of ‘School Ke Din’ at the outset. Cinematography is eye-catching.

Giselle Monteiro, who made her debut in LOVE AAJ KAL, gets ample screen time here and though she’s awkward at places, she has handled a few moments well. Satyajeet Dubey, the geek, is a complete natural and makes the most ordinary sequence watchable with his effortless performance. Zoa Morani, playing a spitfire rebel, reminds you of Kareena’s ‘Poo’ act from K3G. She makes a confident debut! But it is Ali Fazal who’s the showstopper, who pitches in a super performance and stands out at the end of the day.

Lillette Dubey, Navneet Nishan, Manoj Joshi, Mukesh Tiwari and Satish Shah are passable. Vijay Raaz gets no scope.

On the whole, ALWAYS KABHI KABHI disappoints!

New talent ought to be encouraged. I genuinely believe — have written this time and again — that new talent is ready to take on risks and challenges, a quality I admire most. And it’s important that new talent makes inroads into the industry.

Almost every production house/studio is producing films with new talent. Viacom18′s Tipping Point Films has released SHAITAN, Yash Raj’s Y-Films has released LUV KA THE END and has a slew of projects on floors, Balaji’s ALT Entertainment has produced LOVE SEX AUR DHOKHA and RAGINI MMS successfully, UTV’s UTV Spotboy has a number of films to its credit… Subhash Ghai goes a step further. He mentors fresh talent and lets them make their first film for his production house. More than ten people from WWI have been involved in the making of this film, I am told. In the past too, Ghai had introduced many a talent who became sought-after names subsequently.

Today’s films are not just about big stars, mega budgets, panoramic locales, but content. Several low cost films have delivered great content in the past, without the so-called big names backing them. It’s all about narrating an interesting story and keeping the viewer’s interest alive, isn’t it? First-time director Sunny Bhambhani chooses a refreshingly different concept and packs just about everything to woo the moviegoers, but the screenplay is patchy and amateurish and therefore, it fails to register an impact. Of course, the film boasts of a few endearing moments, but the cons outnumber and outweigh the pros in this enterprise.

A train generally carries passengers towards their destination, but this time when it leaves the station, it not only takes the passengers but also carries two love stories to their destiny.

A marriage between two young people, Ashneet and Kanav, is about to take place and their loving Punjabi families are in full swing and turn the train journey into a celebration. But the families are not aware that Ashneet and Kanav do not want this marriage to happen. Both of them set a plan to sabotage their own wedding because they feel they are not meant for one another.

On the other hand, Priyanka and Chiragh, two lovers from the past, meet again, after their split. The two pairs discover the true meaning of love during the course of this journey.

To give credit where it’s due, the light moments in LOVE EXPRESS, especially those between Om Puri and his wife, hold your attention sporadically. But the overall writing is frail and fragile, which explains why the two love stories don’t work. While the portions between Ashneet and Kanav are at least tolerable, the other story is most irritating due to two reasons – half-baked characterizations and poor acting. Also, the story is stretched beyond a point in its second hour, when Ashneet and Kanav discover true feelings for each other.

One definitely expects a good musical score from LOVE EXPRESS since the man behind the project has served us some lilting melodies in the past. But barring one track , the remaining songs don’t leave a mark. Kabir Lal’s cinematography is ordinary.

Sahil Mehta is the sole newcomer who stands out with a fine performance. Mannat Ravi is strictly okay. Vikas Katyal is wooden. Priyam Galav suffers due to weak characterization. Om Puri is sure to walk away with the laurels. He’s adorable! The remaining actors are mere caricatures.

On the whole, LOVE EXPRESS has precious little to offer.

The lives of the affluent and illustrious have often been chronicled in newspapers and television. The achievements get as much prominence as the heinous crimes they commit. Recall the number of drunken driving cases that led to fatal accidents and causalities or abduction of moneyed kids to make that extra buck. SHAITAN too borrows from real life. It maps out the lives of five youngsters — three of them belonging to the upper crust — and how the ‘uber cool’ youngsters commit felony after felony to smokescreen the dreadful offense they have committed. This motion picture brings to the fore the shaitan that skulks within us.

It’s heartening to observe diverse genres being attempted fruitfully week after week and I genuinely feel that a varied variety of movies can co-exist happily in the cinematic milieu. In fact, it’s imperative to be more acquiescent and embrace new genres of cinema. SHAITAN, again, is something the Indian audiences will experience for the first time. It emulates an actuality and the makers have tried to keep it as bona fide as possible, and it is this realism, edginess and awkwardness that stay with the spectator after the curtains fall. The fact that one feels distressed and distraught by the turn of incidents in the film only goes to prove that the writers and director have done their jobs proficiently.

SHAITAN narrates the story of five youngsters who are out to have an irresponsibly reckless escapade, but get involved in a botched crime. Also, there’s talk that SHAITAN incorporates the infamous Adnan Patrawala kidnap-and-murder case in its plot, which isn’t true at all. Sure, there’s abduction and also a spate of murders, but it doesn’t borrow from that episode in any way. The film drives home a reality that the youngsters are aggressive, sexual, brutal, edgy and well aware of everything happening around. They like to investigate the darker side and push the envelope till they can be brought in check by power and command.

Anurag Kashyap’s films have often been labeled ‘dark’ and though I oppose this jargon, I do harmonize with the fact that his films have a certain constituent of wickedness and iniquity that SHAITAN also encompasses. What really makes SHAITAN stand out from films of its ilk is that it captures the pragmatism or matter-of-factness characteristic most compellingly. The circumstances in life when the inner demons come to the fore and people are forced to react in farthest method have been depicted intelligibly and most eloquently. Also, what makes it all the more interesting is the fact that the film is very well shot — the novel angles and high speed shots make it an exhilarating cinematic experience.

SHAITAN is the story of five youngsters set in the urban scape of Mumbai. Amy , Dash , KC , Zubin and Tanya — young, intelligent, good looking and ‘uber cool’. With no hang ups and no boundaries, excitement is what they seek till a moment changes everything. An accident and their actions to cover up lead them through a series of incidents across the roads, streets and bylanes of Mumbai and into the dark side that lurks within all of us.

Inspector Mathur , entrusted with the unenviable task of chasing the youngsters down, exposes the underbelly of the police system and crime while grappling with his inner shaitan.

Watching SHAITAN is like experiencing a tasteful David Fincher movie that’s set in our neighborhood and helmed by an Indian film-maker. First-time director Bejoy Nambiar marries form and content magnificently; it’s wielded with technical fastidiousness, while the various pulse-pounding episodes lead to a striking culmination. It’s without doubt an intelligent offering with a poignant insight into the lives of five youngsters. The beauty lies in the fact that Bejoy not only takes into custody the erratic behavior of the youngsters, but also attempts to delve into their psyche. Also, the film explores how the addictive world of drugs and alcohol is corrupting and devastating the youth, although it restricts itself from getting into the sermonizing mode. In fact, it’s a manifestation of what’s happening around us in the current scenario.

I am tempted to mention all the sequences that gave me goose bumps, but that would be unfairly giving away too much. However, I wish to state that the sequence that changes the lives of the five youngsters — the car chase and the crash — is spine chilling. Your heart is in your mouth in this particular sequence. Beyond doubt, this is one of the most stimulating and intense films to come out of the Hindi film industry and Bejoy is unquestionably one of the most alluring discoveries of the year. He is far superior to a lot of established film-makers in the business.

I’d like to make a special mention of the spectacular cinematography , novel, hard-hitting and forceful dialogues and marvelous background score . The chase sequence towards the second hour specifically is simply remarkable. Ditto for the sound design , which is top notch.

On the flip side, the first hour isn’t as persuasive. Perhaps, the motive was to reserve the best for the second hour. Also, the Rajeev Khandelwal track — his marriage is on the rocks — looks like a forced and unnatural add-on in the scheme of things. Without beating around the bush, the narrative could’ve done without the scenes of marital discord. Also, with such hard-hitting, uncompromising and dynamic content, SHAITAN could’ve easily been a songless film, though the soundtrack is wonderful.

The beauty of the film is that there are no heroes in the conventional terms. The protagonists are all victims who face the consequences of their decisions and assessments. Also, SHAITAN has an ensemble cast and offers ample scope for each character to perform. Rajeev Khandelwal, playing a cop who’s fighting his inner demons, nails the role, giving a tight, focused performance. Kalki is excellent. She’s sure to wow and shock the audiences with her act. Neil Bhoopalam is first-rate. Especially towards the latter moments of the film. Shiv Pandit gives a good account of himself. Kirti Kulhari is super efficient. Gulshan Deviah is top notch. The peculiar behavior comes across very well in several sequences. Rajat Barmecha appears in an interesting cameo.

The supporting cast also delivers fine performances. Pavan Malhotra is first-rate. Rajit Kapur leaves an impression. Nikhil Chinnappa is good. Rukhsar makes her presence felt. Rajkumar Yadav gets it right yet again.

On the whole, SHAITAN is bound to raise eyebrows thanks to its contemporary, thrilling, hard-hitting and forceful content. One of the most ingenious and entertaining thrillers I’ve seen in a long time. Also, it’s one of the most stimulating and intense films to come out of the Hindi film industry. I am sure everyone would be able to connect with SHAITAN. Try not to miss this one!

HAUNTED. RAGINI MMS. Now A STRANGE LOVE STORY talks about supernatural forces. Though the first two films merged the lethal combo of sex and horror adroitly, A STRANGE LOVE STORY relies more on suspense to create that eerie impact. Unfortunately, the writing is ludicrous and the direction, amateurish. Hence, it fails to register any kind of an impact.

There are some things that science can’t explain, there are some events that can’t be understood. It tells the story of a young photographer named Kabeer . His dream was to show the world something it had never seen before. In doing so he unleashes a being not of this world. A being that will stop at nothing to get at the one thing that Kabeer really cares for. A beautiful girl named Jennifer .

They start seeing things, people around them start getting murdered and all the evidence points towards Kabeer and Jennifer. With the police in hot pursuit, they must somehow defeat the enemy and prove their innocence.

Carelessly scripted and shoddily directed, A STRANGE LOVE STORY has nothing fascinating to offer, except for a few eerie moments when the dead come to haunt Eddie, especially at the interval point. Nothing works really — not the romance , not the one-sided love affair , not the supernatural aspect towards the pre-climax. One genuinely hopes that the wheels would move with the emergence of Yashpal Sharma, but the culmination is so childish that it shocks you no end.

If the writing is woefully terrible, the direction is equally lackluster. The murder mystery is solved in the end in the most childish manner and wonder of wonders, the directors drop a hint of a sequel by showing Ashutosh flash a wicked smile in the end. Even the cinematography is non-appealing, although portions of the film have been filmed in Shimla.

Ashutosh Rana is an efficient actor, but he fails to make an impact. Oh yes, he does prove his credentials in a few sequences, that’s about it. Eddie needs to learn acting pronto. Ditto for Riya, who just doesn’t deliver. Raj Zutshi, Yashpal Sharma and Snehal Dhabi don’t get much scope. Milind Gunaji is wasted. Gunjan Bakshi and Ehsaan Khan are strictly okay.

On the whole, A STRANGE LOVE STORY is indeed a strange love story.

So are you ready for the first biggie of the season? Who isn’t, actually? Love him, loathe him, but you can’t overlook him. Salman Khan is, without doubt, the sweetheart of the masses. No two opinions on that!

But here’s a word of caution. READY is NOT for the rigid detractors or counterfeit scholars of Hindi cinema who masquerade as messiah of meaningful cinema. They rebuke masala films, ridicule big stars, detest anything and everything associated with ‘commercial cinema’ — a genre cherished by a wide majority of audiences. They wrote off DABANGG , pulled down the super entertainer GOLMAAL 3, scoffed at YAMLA PAGLA DEEWANA , even panned the iconic 3 IDIOTS , but these films had the mandate of the junta and that’s what matters eventually. Isn’t it?

Remake of a Telugu hit, READY is a traditional, Southern-flavored family drama that we thought had gone out of vogue in the 1980s. But let’s not forget that ingeniously crafted masala entertainers remain the first choice of an average Indian moviegoer to this day. And READY serves the same dish with a fresh tadka. Pack in humor, stir some peppy music and add the star power of Salman… the outcome is one delicious, scrumptious, yummy dish called READY.

In fact, READY re-invents the much revered formula in contemporary idiom. Plot-wise, there’s not much to talk about, you may call it behind the times, but it’s a vehicle that showcases the star charisma and magnetism of Salman and the actor hits the bull’s eye yet again. He has a ball on screen and makes sure the viewer joins the festivity as well.

READY is a full-on entertainer, a paisa vasool film that has just one motive — entertainment — and it succeeds in its endeavor absolutely. This is a Salman show all the way and even those who don’t hero-worship him will be forced to admit that like WANTED and DABANGG, Salman’s dynamic presence and powerhouse performance translates into great entertainment. He’s comical, wicked, aggressive, besides larger than life and yet warm and real.

As a film, READY is one of the easiest watches of our times. It transports you to a world that’s dreamlike. It packs one gimmick after another. Also, the dialogues are totally mass appealing; they are simply mazedaar — humorous and impactful, both at the same time. Frankly, it’s a film that guarantees ceetees, taalis and cheers aplenty. It’s a film that lets you into its world without hesitation and gives you a thoroughly entertaining time during your two-hour visit.

Final word? If you are ready to discard logic and rationale and have a good time at the movies, if you consider yourself being a part of the mob, then READY would be the right experience for you. Go on people, go enjoy your annual dose of Salman Khan. The star performer plays to the gallery from start to finish. READY is outlandish and bizarre, but it’s tremendously entertaining.

Prem lives with his father and two uncles . Sanjana , an orphan, lands in India to be with her mamas , who are greedy and want to usurp her property. Prem, who falls in love with Sanjana, decides to teach her mamas a lesson. Both the mamas, who are sworn enemies, want Sanjana to get married to their respective brothers-in-law, so that they can lay their hands on Sanjana’s property. But Prem makes a fool of them by getting friendly with them and making his family pose as billionaires.

One of the uncles of Prem poses as the manager from the World Bank, who reveals to the mamas that Sanjana’s father owed the bank millions of dollars. Either they sell their property or disown the girl. Circumstances prompt the mamas to accept Prem as the prospective husband of Sanjana. But Prem’s game plan gets exposed on his wedding day.

READY is boisterous, crazy, wacky, irrational, comic book type, totally make-believe with the desi tadka of songs and dances. So those questioning its makers, Where’s the story?, ought to shut up since the question is simply irrelevant. READY was never expected to have a ground-breaking story. The only thing it was supposed to have is Salman, Salman, more Salman… and only Salman. So just relax and savor the antics of Salman, who communicates with the viewer like never before. He knows the rules of the game and is a master at it.

READY may not boast of an inventive or pioneering story, but director Anees Bazmee packs loads of entertainment in those two hours. In fact, you hardly get time to ponder on anything else but the goings-on. Like I pointed out at the very outset, it’s a wholesome entertainer, absolutely in sync with what one would’ve expected after one watched its first promo a few months ago.

Any flaws? Yes, the screenplay isn’t gripping in the first hour. There are sequences that don’t work, while a few do manage to make you laugh not because they are funny, but because they are extremely ludicrous and farcical. In fact, this movie celebrates bizarre conduct and kitsch, which may give an impression that the writing is outmoded and obsolete at places.

READY has the sort of music one would expect from an entertainer. Tracks have a larger-than-life feel and gel well with the content. The action sequences, not many though, are done in an enticing mix of masti and mayhem. Especially the chase in the end and the sequence when Salman shows off his exceptional physique – the viewers are sure to go into frenzy.

Salman Khan continues his super act with gusto. He’s the soul of the film and the reason why READY works. Asin convinces in parts. At times you feel that she’s got it right, but there are sequences where she looks ill at ease. Paresh Rawal is excellent and compliments Salman beautifully. I’d like to single out one more actor – funster Sudesh Lehri – who makes a solid impact. He’s exceptional and brings the house down with his style of comedy.

The film has a number of actors in supporting roles and the ones who stand out are Akhilendra Mishra, Mahesh Manjrekar, Anooradha Patel and Sharat Saxena. Sanjay Dutt, Ajay Devgn, Kangna, Zarine Khan, Chunky Pandey and Arbaaz Khan appear in cameos.

On the whole, READY is strictly for the masses and for those who relish typically formulaic masala entertainers. The film prides itself with super music , gags and gimmicks aplenty and of course, Salman Khan, the beloved of the masses and the mainstay of this film. If you hero-worship Salman, you cannot afford to miss this one. Even if you don’t hero-worship him, watch READY as a stress-busting therapy that makes you smile, laugh and break into guffaws in those two hours.

Love, ishq, pyaar, mohabbat is in the air. And Bollywood seems enthralled by it. LUV KA THE END and LOVE U… MR. KALAKAAR! have released, PYAAR KA PUNCHNAMA opens this Friday, while KUCCH LUV JAISAA, A STRANGE LOVE STORY and LOVE EXPRESS are slated for release in the coming weeks. In my career spanning three decades, I have never witnessed so many movies with similar sounding titles releasing in such a short span. Oh yes, Bollywood is incomplete without love stories, but the frequent usage of the word ‘Love’ has been a rarity. These films, at least those that have released , were aimed at enticing the youth — their target audience. PYAAR KA PUNCHNAMA does that as well.

Deemed as the most dependable genre , PYAAR KA PUNCHNAMA is amusing, witty, sharp and contemporary, but it does some serious talking as well. Oh yes, it arrives with zilch expectations , but the efforts are worth it and the time, well spent. First-time writer-director Luv Ranjan ensures that there are wild-whacky moments aplenty, but he also smartly integrates heavy-duty drama towards the concluding moments that camouflage the rough ends in the narrative.

PYAAR KA PUNCHNAMA is young at heart and contemporary. Having said that I’d like to add that it’s not for those who relish the conventional rom-coms. The conservative and old school types may find the portions blasphemous and sacrilegious. Also, the film may be perceived as a sex comedy on the lines of AMERICAN PIE, but there’s more to it. It’s actually a satire on love and relationships.

PYAAR KA PUNCHNAMA packs a solid punch, but you can’t overlook the hiccups in this journey as well. Firstly, it takes a really long time to reach the finale. The creators of this film may argue, there are three stories to be told, but let’s look at it objectively. The story stagnates in the middle of the second hour. Had the writer-director used restraint by narrating the three stories in a concise format, I am very sure, the impact would’ve only been razor-sharp and far more compelling that what it is.

Rajat , Chaudhary and Liquid are stuck in their boring jobs and crave for women to add some spice into their lives. The unfortunate Rajat soon finds one in Neha . It is all so good and rosy till Rajat moves in to live with her. Chaudhary meets Riya , but she’s still stuck with Varun , her boyfriend of five years. Liquid and Charu become friends at work. Charu likes him, but only as a friend. She is already committed to her long-distance beau, Abhijeet . Liquid takes his best friend role very seriously, only to end up being used in the process. This is the story of three guys and the tumultuous relationships they share with the women in their lives.

PYAAR KA PUNCHNAMA isn’t ground-breaking or pioneering cinema, but I have to state, it puts the fun quotient back into the movies due to its unsullied take on relationships, which snowballs into heavy-duty drama as it reaches the finale. Let this not mislead you that it’s a sex-comedy with lewd jokes, sensual scenes and colorful lingo. It’s not. As a matter of fact, the lingo is straight out of life, laced with some crackling and witty one-liners. Exactly the way the metropolitan youth communicate in their everyday tête-à-tête.

What also works in its favor is the fact that it’s not the boy-meet-gal-and-they-live-happily-thereafter kind of beaten to death plot. It’s a fresh take on relationships — the relationships blossom, guys become puppets, but break free eventually. Besides, the choice of actors — new faces all — makes you relate to the characters even more. After all, they arrive without the baggage of an image.

Luv Ranjan knows the grammar of film-making right. Everything that you see seems straight out of life. He strikes the right balance between fun-n-frolic and somber-n-serious moments. Particularly noteworthy are the sequences in the finale, when the three boys have terrible heartaches and break down inconsolably. Prior to that the sequences that lead to the drift are well penned and dexterously executed. The film has an energetic musical score, complimenting the genre of the film. ‘Ishq Na Kariyo Kaake’ and ‘Kutta’ are youth-friendly tracks and both have been lapped up by viewers. Sudhir K. Chaudhary’s cinematography is first-rate.

Now to the performances. The newcomers, all actually, are confidence personified. The show-stealer is the plain looking Divyendu; you take to his character and also his performance instantly. He is simply outstanding! Kartik is a bit awkward initially, but his performance grows on you gradually. He’s incredible during the final moments of the film. Raayo is confident, polished and completely in sync with his character. He conveys a lot through his eyes, which is the hallmark of a fine actor. The camaraderie between these three guys is superb. Amongst the girls, it’s Nushrat who walks away with a powerful role and a power-packed performance. Ishita is efficient, especially in the sequence when she lashes out at Divyendu. Sonalli is perfect for her part.

On the whole, PYAAR KA PUNCHNAMA has a single-point plan of engaging and amusing the spectators by telling a story which is unusual, yet relevant. It’s radiantly good cinema that needs to be lauded and encouraged. Strongly recommended, go for it!

2011 seems like the year of experimentations, in terms of content chiefly. Look at the stories being churned out this year. Irrespective of how these films fare at the box-office, you cannot turn your face away from the fact that these films at least made an earnest and honest attempt to narrate innovative stories, which were hitherto untold on the Hindi screen. In a momentous departure from the tried and tested stuff, a number of films lined up for release are hi-concept films made in low budgets, devoid of star support. 404, directed by Prawaal Raman, is one such film.

After making a number of films that didn’t really make much of an impact, Prawaal makes an effort to defy the stereotype. 404 is a suspense thriller with a twist in the end that blows your mind. Unlike those who borrow from DVDs and re-work on characters and locales, 404 is fresh, daring and most importantly, original. 404 is perhaps the first film that depicts bipolar disorder. It’s a tough choice. You have to remain factual while depicting this disorder and at the same time, keep the audience interest alive while narrating a story. It’s a challenge!

404 isn’t a horror film, but there are moments that send a chill down your spine. In fact, it is these moments that elevate the stature of the film. More specifically, the presence of the dead person in the room, in the campus, in the vicinity… gives you goose bumps. Also, the twists and turns in the narrative keep you on tenterhooks; you just can’t guess what’s in store next. But the best is reserved for the finale. It’s shocks, stuns and makes a spectacular impact.

On the flipside, 404 has an abstract title, which suits the plot , but it doesn’t give an inkling of what the film is all about. Besides, the film, though well made, caters to a niche audience. In fact, a few portions of Nishikant Kamat, the professor, may come across as mumbo-jumbo to the average moviegoer, besides the slow pacing of course.

A prime Medical Institution. A world renowned Professor . A new student Abhimanyu , who defies his seniors and the practice of ragging. A secret that is locked forever. Professor Aniruddh is impressed with Abhimanyu’s rationality and tenacity when he decides to dispel all rumors and moves into a room that has been forbidden for years.

What follows is an intriguing story about a Professor who denies the paranormal and believes only in Science, and a bright young student who battles with his conflict of illusion and reality. Is what Abhimanyu sees real or is his mind playing tricks?

404 marks the ‘re-birth’ of director Prawaal Raman, who effectively psyches your mind. His choice of the story and also the execution of the written material deserve to be lauded. In fact, he has handled a number of individualistic scenes with precision. I’d also like to make a special mention of the cinematography . The lighting of several sequences only creates the mood for what is to follow. There are no songs in the film, but the background score is most appropriate.

404 is embellished with excellent performances, with each actor infusing life in his/her character. Nishikant Kamat is brilliant, a revelation. Though a number of directors have tried their hand at acting recently, Nishikant seems to tower above them with a striking, natural performance. Watch him break down in the finale. Imaad Shah is wonderful. Wonder why this talented actor is limiting himself to few films. Tisca Chopra delivers yet another powerful performance. She’s easy on the eyes. Satish Kaushik is endearing and likeable. But it is new-find Rajvvir Aroraa who catches you with complete surprise. It’s an incredibly complex role for a newcomer. One of the pre-requisite demands is to convey through silence and facial expressions and the youngster steers through rough waters with alarming ease. The remaining actors, students all, are perfect in their parts.

On the whole, 404 is yet another innovative story with a taut screenplay, riveting direction and applaud-worthy performances as its strong points. Original in content and radical in approach, this new-age thriller is yet another step in the right direction of content over stars. Get ready to psych your mind!