Movie Review: Sahi Dhandhe Galat Bande

EXPECTATIONS
One isn't quite sure what to expect from the music of Sahi Dhandhe Galat Bande. After all, the title doesn't quite convey a musical in the offing while the promotion has been on a lower side as well. However, with youngsters like Siddharatth-Suhas at the helm of affairs and Dhruv Dhalla (who is remembered till date for 'Chak De Phatte' - Khosla Ka Ghosla) chipping in as well, you hope to be surprised with a song or two that may have in it to be popular amongst the youth.

MUSIC
It's lounge, club and Punjabi mix coming together to create a lethal combination in the form of 'Naino Wali Whiskey' which could just have gone a long way had it been promoted aggressively. Shahid Maliya is the man coming behind the mike for this dance floor number that is just the kind of song that becomes hugely popular up North. Since this Parvin Dabas film too has a Delhi setting to it, it is surprising that the makers didn't go all out to bring this song to the audience. Anyways, this Kumaar written song is the kind that doesn't have a shelf life restricted to just the play of the film in theatres and can find itself in DJ's list of favourites, especially with it's 'remix' creating good enough heat.

Next to arrive is 'Mast Kalander' which starts with a sound similar to that of 'Chak De Phatte'. It isn't surprising though since the man behind it all is Dhruv Dhalla who creates another foot tapping number here. Rendered with aplomb by newcomer Brijesh Kumar with Seema Saini coming up with lyrics that are out and out massy, 'Mast Kalandar' is abound with 'dhol beats' and has in it to make you rush to the dance floors. Yet another track that arrives again in a 'remix version' and makes you wonder what made the makers lie low on this one.

Since the film is set in Delhi-Haryana belt, one gets to hear the rustic sound that one associates with the region. However, it is interesting to see how the rustic sound merges well into the Western sound with Punjabi beats, lyrics and mood finding good prominence, hence resulting in a good fusion mix for Kumaar written 'Desi Jat Posse'. In fact one is instantly reminded of 'Mehngai Dayain' from Peepli [Live] and let the fact be stated, this Siddharatth Suhas has a much better commercial appeal to it. Sung by Mahi with Suhas Shetty chipping in with English rap and lyrics, 'Desi Jat Posse' is yet another good track and deserves a 'remix' for itself.

Next to arrive is a Suhas Shetty solo, 'Door Na Jaana', which has an Indi-pop mood to it and brings in good variety in the album. Yet again it is Siddharatth-Suhas-Kumaar combo at work and together they ensure that despite the restricted scale and setting of the film, they do well in giving their all to come up with a love song that makes an impact in a standalone mode as well. Yet another song that is not dependent on the film's run and can find an audience for itself provided word of mouth takes it through.

Dhruv Dhalla and Seema Saini combine again for 'Barf Mein Tension' which takes forward the 'Kallu Mama' [Satya] legacy. A song where one can expect a bunch of friends to be getting together, partying, driking and making merry, 'Barf Mein Tension' is a situational number which has a fast paced appeal to it and sung well by Brijesh Kumar and Jaspreet Singh. Set as a conversational song, this one should make for an interesting view in the film's narrative.

The one that follows though is expected to play in the background at during some action sequences of the film, hence making one feel that perhaps it would be a Guy Ritchie kind of a narrative that Parvin Dabas would be adapting during his story telling. Put to tune by Siddharatth Suhas, written by Kumaar and sung by Master Saleem with additional vocals by Krishna, 'Thap Denge' is ferocious, passionate, high paced and high energy enough to ensure good momentum in story telling.

An out and out Haryanvi number, 'Oh Lalaji', wraps up the album and doesn't quite entice one to play it back all over again. Written by Late Lakmichand, it is sung and composed by Master Mahavir Chopra and makes one wonder what prompted Parvin into placing this song in an album which was otherwise maintaining a good momentum so far. It is surprising though to hear a 'remix version' for this one too.

OVERALL
Sahi Dhandhe Galat Bande is an above average soundtrack with majority of songs doing well as warranted by the mood, flavour and overall setting of the film. In fact there are a couple of dance numbers which have the potential to find good audience for them in a longer run as well. However, what is the need of the situation is to have far more aggressive promotion around the album since so far visibility hasn't been phenomenal. Siddharatth-Suhas have done well as they have been consistently doing for last few years. However they won't mind more commercial success coming their way as well.

OUR PICK(S)
Naino Wali Whiskey, Mast Kalander, Desi Jat Posse [Play Songs]

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Singham: Movie Review

Picture this...a bunch of cops openly kick the shit out of a high-profile politician (perhaps the film takes the term 'kick-ass' entertainment a little too literally). The honest police protagonist gives an extensive emotional speech on how the entire police force has gone corrupt, which instantly awakens the conscience of cops from across the state including the DGP, all of whom come to Singham's immediate rescue. A head constable on the brink of retirement mouths a monologue on how a police officer is supposed to be saviour of the society yet remains underpaid than janitor.

In a country already mired with multiple controversial corruption scams, where an average Indian remains a passive spectator, the implausible heroism of Singham attempts to exploit the suppressed sentimentality of the audience.

Bajirao Singham (Ajay Devgn) is an honest sub-inspector in his village with practically no case registered at his police station, since he solves most of them amicably. With a heart of gold, chest of steel and fists of iron, he qualifies as the elementary hero material. He just needs an excuse to flex his muscles and clench his claws, turning a one-man army at the drop of a hat, to battle an entire battalion of zombie-looking goons. The actual story initiates by the end of the first half when he clashes with an extortionist-cum-aspiring politician Jaykant Shikre (Prakash Raj) and a game of one-upmanship begins between the two.

An aftermath of the success of larger-than-life actioners like Wanted and Dabangg , Singham (officially remade from last year's Tamil hit by the same name starring Suriya) is clearly devised as an out-an-out action flick for the original action hero Ajay Devgn. The focus is clearly on action and perhaps Rohit Shetty's definition of full-blown action is his trademark blowing-up-cars phenomena. Jai Singh Nijjar's action direction involving mortal combats and car chases is quite unimaginative on that front and it's only thanks to Ajay Devgn's intensity and physical authenticity that the fight sequences look kind of convincing.

The obligatory romance track involving Kajal Aggarwal is predictably boring. The heroine fulfils the prerequisites for an action film where she has to get molested once to give the hero a chance to show his heroism. A couple of redundant love songs later, love is hurriedly established between the couple. The idea of casting real Marathi actors doesn't help much, since most of them are relegated to the backseat. And both Ajay Devgn and Prakash Raj who take the lead, struggle in forced Marathi dialect and accent.

Singham cashes in on the current scarcity of the once-popular hardcore action movie genre, which never relied much on the story but more on the constant clash between the hero and the villain. And like its genre, the film also brings back the vicious villain that has presently gone missing in most films. It's the revival of the age-old formula! So it's left up to Prakash Raj to firm up the film as a worthy opponent to the hero. And though the actor hams hysterically and repeats exactly the same act and character that he played in recent films like Wanted, Bbuddah Hoga Tera Baap or the original Tamil Singam , he is perhaps the only villain with an intentional humourous streak to him, which he brings out effectively every time in the climax. His unusual comic confrontation with the cops in the climax makes you laugh more than Rohit Shetty's entire Golmaal series.

But beyond that, this film is not only devoid of a believable screenplay but it also lacks wit and humour. Even Ashok Saraf's comic track seems forced for the effect. The film runs at 'breakneck' speed and attempts to overtake all loose ends coming out of its larger-than-life format. While the narrative isn't much inventive, the constant clash between the hero and the villain in the second half don't let you lose attention. And unlike most action films where the hero gains authority only towards the end, here he is poised with power through the runtime, thereby having a mass-appeal connect pretty early in the plot.

Ajay Devgn effortlessly revives his action-hero image and looks quite convincing in his role. Kajal Aggarwal doesn't get much scope other than showcasing a constant smirk. Sachin Khedekar hams. Ashok Saraf is his usual self. Sonali Kulkarni is wasted. Ashok Samarth has a commanding presence as the villain's sidekick. Prakash Raj is perhaps the only villain who would be credited for his amazing comic timing.

Ajay Devgn clenching his fists like a lion kind of reminds Mithun Chakravarthy doing a similar step, couple of decades back in a B-grader called Cheetah . Singham isn't much different from that film either. If an exaggerated action film still excites you, then go Sing-ham!

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Zindagi Na Milege Dobara: Movie Review

Actors: Hrithik Roshan, Farhan Akthar, Abhay Deol, Katrina Kaif

Director: Zoya Akhtar

Rating: ***1/2

First the good news. "Zindagi…" is one of the most nuanced, evenly paced and well executed films in commercial Indian cinema.

This cross between "Dil Chahta Hai" and "Sideways" is funny and honest, but it is marred by one fundamental flaw - it has nothing important to say.

Yes, to a select few, neo-rich one percent of its audience who find nirvana swimming under Spanish seas or for whom freedom is feeling the wind in your hand from a high speed car, the message is loud and clear - you only live once so live it full.

But one has to wonder, should a commercial film be made keeping just one percent of the audience in mind?

Yes, it is a message that everyone else needs as well, but should that message ride on a pleasure trip through Spanish landscape where there is beauty but no 'zindagi' or should it have been closer home, in the squalor and madness and 'life' of this nation.

Three old friends - Arjun (Hritik Roshan), Imran (Farhan Akthar) and Kabir (Abhay Deol) - go on a three-week bachelor's road trip through Spain before Kabir's marriage, only to come face to face with their own fears and insecurities.

Globally there are too many road-trip films for Zoya Akhtar to bring anything new to the cinematic table.

What she could have done was to have enough emotional pull for the viewer to empathise with the characters.

But would you empathise with the fatherly, marriage-related and heartbreak problems of three rich men who really have everything going for them? Besides its one percent audience, the rest would find the existential angst of these three men, a creation of their own vanity.

Yet, besides its many flaws, dishonesty is not one of them. It's an honest film about the type of people the filmmaker interacts with daily. Sadly, that is perhaps the only cross section of society that Zoya Akhtar has known in her urban living.

The problem with the film is thus the problem in the worldview of its maker, which is extremely limited in scope.

And that is a shame because Zoya is a nuanced and refined filmmaker. She could do wonders with a story that is real and about real men and women.

"Zindagi…" thus actually ends up being like a big-budget film with the heart and audience of a small-budget indie. And that mismatch will perhaps do the film in at the box office.

Cinematically though, Zoya does try desperately to transcend the obvious, to mean the message rather than say it, like say a "Sideways" or "Lost in Translation" does. And though she knocks on the door of this transcendence, she is unable to pass through.

Commercial filmmakers in the past, either came from the grassroots like a Mehboob or Guru Dutt, or were concerned about it like Raj Kapoor.

Their films hence reflected - sometimes directly - and often in the films written by Zoya's father Javed Akthar, allegorically, the angst, pain and the struggle for survival of the nation's teeming masses.

Sadly, as their world ended up becoming cocooned from life around, the connection their kids had with reality, became limited. The result are some really well made films, but ones with 'zindagi' only in their titles, not in their guts.

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Murder 2 Movie Review

We live in an era wherein brands and franchise have become the order of the day. When a movie works with the audience and also has strong recall value, the film-makers plan to keep the franchise breathing by either making a prequel or sequel. Though MURDER had released more than seven years ago [April 2004], it continues to linger in public memory for varied reasons and not only for its sizzle factor. MURDER had a spellbinding story, great music and proficient performances by its principal actors. In fact, MURDER catches the attention of spectators to this date and obtains high TRPs, despite several telecasts on TV. 'Tremendous repeat value', like they say in filmi parlance.

Mahesh Bhatt and Mukesh Bhatt choose not to make movies with big stars. Instead, they substitute stars with big initiatives and innovative concepts. In fact, their penchant to work with a new cast and crew is simply unstoppable. Besides, the success ratio indicates that their strategy has paid off rich dividends even with fresh talent. What sets apart their films, besides the above said reasons, is the fact that their films are high on sexual content. An innovative story with generous doses of eroticism has always proved a winning blend.

The Bhatts' new offering is the sequel to MURDER. This one's set in Goa during Christmas and New Year, when vacationers flock this hugely popular touristy destination. The bustling streets and beaches make it impossible for the authorities to keep tabs on everyone and everything.

Before I begin analyzing MURDER 2, let me clear a few misconceptions. The writer of this film may have drawn some inspiration from the Korean film THE CHASER [2008], but it's not a blatant rip-off. Nor is it a remake or adaptation of the American action film 12 ROUNDS [2009]. MURDER 2 deals with the crimes related to the flesh trade and exposes the murkier side of the society.

MURDER 2 offers edge of the seat entertainment, thus taking the MURDER brand forward. It's not a sequel in the true sense of the word. It has a completely new story to tell with fresh characters, is bolder and far more erotic, plus the clash between the good and the evil is one of the key components of the franchise.


Mohit Suri, who had directed the sequel to RAAZ [RAAZ THE MYSTERY CONTINUES], is also entrusted the responsibility of taking the MURDER series forward. Compared to what Anurag Basu did in MURDER, MURDER 2 is a dark film. Mohit is an efficient, stylish storyteller and he leaps notches above the prequel in every aspect. There are some scenes that may appear disturbing, but that's the strength of this movie. It's not for the weak-hearted. In point of fact, Mohit and writer Shagufta Rafique take the story to a heightened violent level.

Arjun [Emraan Hashmi] is an ex-cop who earns his bread doing the odd jobs for gangsters and flesh traders. Arjun meets Sameer, a Goan flesh-peddler, who has been suffering a huge loss as his hookers have been disappearing mysteriously. He assigns Arjun the responsibility of tracing the missing girls. Priya [Jacqueline Fernandez], a model, loves Arjun. However, he is hesitant to commit to this relationship.

Arjun realizes that the missing hookers are connected by one cell phone number. He decides that in order to catch the lion one must feed him the lamb. He devises a plan that involves sending a girl to the particular customer.

Reshma [Sulagna Panigrahi], a college student, takes to prostitution to support her family. She becomes the innocent prey and is sent to the antagonist Dheeraj's [Prashant Narayan] house. The unexpected happens. In the meantime, Arjun and Dheeraj cross paths. Arjun gets into a tiff with Dheeraj and they both land up at the police station. Dheeraj admits to a crime so heinous that even the police are stunned by his outrageous behavior.

Now it's all up to Arjun. He has just one night to find proof against Dheeraj and also trace Reshma.

Director Mohit Suri and writer Shagufta Rafique come to the point at the very start, when a gruesome murder takes place. Thereafter, we are introduced to the varied characters in the plot and what makes it all the more interesting is that all characters are either grey or black. Also, the identity of the serial killer is never concealed, but the motive is, which one realizes much later. It comes as a jolt, honestly!

While the screenplay gives you no time to ponder since it unravels at a feverish pace, the assorted characters and their tracks keep you on tenterhooks throughout. The victim finds herself cornered, the ex- cop is looking for evidence, the serial killer finds himself being shielded by a powerful and influential person... the sequence of events that lead to the culmination are truly nail-biting.

On the flip side, the story stagnates slightly towards the beginning of the second hour. The sequence between Emraan and Jacqueline at the former's home, with Jacqueline in an inebriated state, appears like a forced add-on. Also, one misses the chartbusting 'Bheege Honth Tere' kind of track in this hour, since the two songs that are hugely popular have been placed in the first hour.

Director Mohit Suri reignites the flicker that he illustrated in his early films. He's a skilled, competent storyteller and this film reiterates the fact yet again. Ditto for writer Shagufta Rafique, who's supremely talented as well. Though she may seem inspired from a source, Shagufta gives MURDER 2 her own color and shade. Both Mohit and Shagufta push the limits in terms of the characters and the situations that have been created. You just can't guess what's up in store next, which has ample scenes that would leave you startled and dazed. The Bhatts have always had a good track record as far as music goes and MURDER 2 is no exception. If one avoids comparing the soundtrack with the prequel, this film has a rich soundtrack that works well. 'Haal E Dil' [music: Harshit Saxena] and the track filmed on Yana Gupta at the onset, 'Aa Zara' [music: Sangeet Haldipur-Siddharth Haldipur], are first-rate compositions. Ravi Walia's cinematography is top notch.

Both Emraan and Prashant Narayanan vie for top honors. Emraan delivers a spirited performance, playing the angry guy to perfection. He's so with the character. In fact, this would rank amongst Emraan's most accomplished performances. Prashant is a dynamic actor -- a fact that has been proved time and again. This film is sure to make people sit up and notice this wonderful talent. Stepping into Mallika's shoes in the sequel is Jacqueline. Like Mallika, she takes the boldness quotient to the next level with her sexy avatar. She should grab a lot of eyeballs for the oomph factor, while her performance is decent. In fact, she gets little scope to display histrionics, but she makes a sincere attempt to portray her character with care.

Sulagna Panigrahi is a talent to watch out for. She's first-rate. Sudhanshu Pandey enacts his part with a lot of confidence. Sandiip Sikcand surprises with a stellar act. Though a brief part, his performance adds a lot of spice to the proceedings. Shweta Kawatra shines in that lone sequence. Yana Gupta sizzles in the opening track.

On the whole, MURDER 2 is one of the finest crime stories to come out of the Hindi film industry. Also, as a film, it lives up to the expectations that you may associate from a sequel of a smash hit. This one's bolder, more erotic and has a story that will astound and astonish you. The Bhatts have a winner on hand!

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Review: ‘Ready’ ends up being a cheesy comedy!

After the humongous success of ‘Wanted’ and ‘Dabangg’, Salman Khan is enjoying the best of times in his Bollywood innings. In Anees Bazmee’s ‘Ready’, a remake of Telugu blockbuster, Salman Khan once again plays himself with élan. Starring Asin, Paresh Rawal and Arya Babbar, despite all its stale gags, below-the-belt humour and struggling wit, the film belongs to one and only Salman Khan.

In ‘Ready’, Prem (Salman) is the son of industrialist Rajveer Kapoor (Mahesh Manjrekar), a rich spoilt brat who loves playing a perfect matchmaker for distressed souls, while his father struggles with a rare amnesia, whose dialogues and gestures are replete with double entendre.

One fine day, Sanjana (Asin) enters Prem’s life and his weird family is completely smitten by her. However, Sanjana does not reciprocate their feelings for she is not what Prem’s family thinks about her as she has her own agenda. Sanjana is on the run from her wily uncles who are desperate for her wealth.

Talking about the film, ‘Ready’ is not even remotely close to the brilliance of ‘Wanted’ and ‘Dabangg’. It is full of corny dialogues and adult humour. In fact, ‘Ready’ should have been named ‘Salman Khan’ because without the actor, there is nothing in this film, the script terribly lacks imagination, the humour is stale and the jokes are completely no-brainer.

Okay, the music is groovy and the songs are infectious, especially ‘Dhinka Chika’ and ‘Character Dheela’, but overall, the film lacks class and craft.

A big disappointment for Salman Khan fans; ‘Ready’ is one time watch film.

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Movie Review: Shagird

Starring: Nana Patekar, Mohit Ahlawat, Rimi Sen, Anurag Kashyap

Written & Directed by Tigmanshu Dhulia

Rating: 2.5/5

There is this utterly delightful action sequence where Nana Patekar, playing a belligerent corrupt but effectual cop in a crime-infested small town of Uttar Pradesh run by the political mafia, barges on to a nefarious hide-out. He peeps into the room where the goons are watching a vintage black-and-white song on television. Then they switch to a channel airing a Himesh Reshammiya song.

Patekar slams into the room and shoots them all down.

“This is what happens when you listen to the wrong songs. ”

The savage humour of the above sequence stays with you in a film that could have made a much more forceful impact had Shagird come four years earlier.

Given today’s jaded political scenario with politicians of both genders perpetrating the most obnoxious deeds of corruption on the national exchequer, the Bunty Bhaiyas and the Shakeel Bhais of this film appear to be relatively harmless creatures of the underworld.

Like the cops in the films of earlier millennium this film arrives a little late after the action is over. The film exudes the scent of jadedness. That could also be because of the characters who are so steeped in corruption and debauchery they seem born for hell. However the feeling of experiencing something decadent seeps deeper into the narrative.

Much of the goings-on fall into the realm of ‘realistic’ cinema located in the cow-belt that has been a staple of a certain breed of directors like Vishal Bhardwaj, Anurag Kashyap and Tigmanshu Dhulia.

The absence of an inspiring budget repeatedly takes its toll on the narrative’s claim to credibility. There are innumerable sequences which jump out of nowhere, and not in a startling but annoying show of unpredictability.

The kidnapping of the tv journalist Rimi Sen and her two colleagues by militants looks so staged you wonder how seasoned professionals could fall for it.

What works are some of the dialogues and Nana Patekar’s wry cynical cop’s part. He brings in that familiar yet engaging element of intrepid defiance into the theme of corruption and compromise.

Here again, the role suffers from a sense of staleness. Patekar and his shagird from the police department were far more warmly portrayed in Shimit Amin’s Ab Tak Chappan by Patekar and Nakul Vaid.

Shagird is not devoid of merit. The Patekar characters affinity to vintage film songs gives a centre to an otherwise-doddering tale of desperate corruption.

They don’t make songs like they used to. Neither do the contemporary cops thrillers like Dum Maro Dum and Shagird match the brutal persuasive powers of past cops flicks like Zanjeer and Ardh Satya.

Khakee is a fading colour in our movies. The hero in Shagird doesn’t even bother to wear it.

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Movie Review : Haunted 3D

Cast: Mahaakshay Chakraborty, Tia Bajpai, Achint Kaur, Arif Zakaria, Sanjay Sharma


Director: Vikram Bhatt


Rating: 3/5

The best thing one can say about this rivetting romp into the kingdom of the eerie is that it really didn't need the 3D format to make an impact. "Haunted" works just as effectively without the 3D. It takes the horror genre in India as far as it can go. And then it goes that extra mile in search of the shivery feeling that most films in India from the genre seem to give the miss.

Vikram Bhatt reinvented the horror genre eight years ago. In its intuitive amalgamation of Hindu mythology with horror "Raaz" was a threshold-crosser. In "Haunted" Bhatt goes full-throttle in search of that language of supreme scares that somehow we furtively enjoy even when we pretend not to.

"Haunted" brings back some of Bhatt's patent horror motifs… The scenic Ooty landscape shot with panoramic panache by Pravin Bhatt. The tranquil location perpetually secretes untold terror and horror. And here, if the terrible truth be told, the terror is untold. The fear of the unknown is explored to the hilt, as the screen explodes into a series of episodes where the boy and girl try to escape Satan's latest reincarnation, a piano teacher with lust on his mind. Aarif Zakaria as the ghoul has little playing-time on screen. But his eerie sordid imprint is all over the plot.

In the tradition of Vikram Bhatt's other horror films there are very few incidental characters claiming our attention. Brent Robinson's screenplay restricts itself to the predicament of the main characters. There's an interesting attempt to play with time passages as the hero Rehaan (Mahaakshay) goes back 80 years to save the dainty damsel from the perverse pianist.

Mahaakshay Chakraborty shows a certain composure for the camera, his eyes telling tales that you just can't afford to miss. Being the mythic Mithun Chakraborty's son has its advantages. In a cleverly-written sequence Mahaakshay gets a chance to dance.

The narrative flows smoothly and some of the special effects are to die for. If you are a fan of the horror genre you really can't afford to miss this one.

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Movie Review: F.A.L.T.U : Movie Reviews by Taran Adarsh

F.A.L.T.U. banks heavily on the formula that the youth loves. It's funny, energetic and has a big ace in its smash hit musical score. I would go to the extent of saying that the movie works because it doesn't pretend to be path-breaking. It offers what the audience desires: Entertainment!

Rating : 3.5/5

Young, lively and satirical. That, in short, summarizes F.A.L.T.U., helmed by director Remo D'Souza [his first Hindi film; he had directed a Bengali film before].

F.A.L.T.U. is a story of coming of age of today's youth. They don't choose a different path, but create one. It tells the story of a group of friends who are considered a total waste. Thanks to their terrible grades, Jackky, Angad and Pooja don't get admission in a college. That's when Jackky gets a brainwave: Why not start a University with the help of his friends? That's how Fakirchand And Lakirchand Trust University [F.A.L.T.U.] takes shape.


Jackky seeks help from a friend, Arshad Warsi, who in turn gets Riteish Deshmukh, a school teacher, to play the part of the Principal. Jackky's plans go kaput when several academic rejects show up at the door, hoping for an education.

There have been several college comedies in the past and though times have changed, not much has changed when it comes to films set in college campus. And let me add, F.A.L.T.U. doesn't claim to be an innovator too. It's a full-on masala film, more of a fun ride, with the real drama setting in only towards its penultimate moments. Sure, one does feel that F.A.L.T.U. is mired in seen-it-all-before situations, but what saves the film is the masala quotient that doesn't let you take it seriously.

But the film falters at places. Though it thrives on jokes, some of the yarns fall flat and aren't as enjoyable. Besides, like I pointed out at the outset, the film abounds in cinematic liberties. How do the friends raise money to set up a University in a single day? Everything is taken care of in mere 24 hours - right from finding a huge mansion that can pass off as a University, to renovating it, to getting the required furniture, to funding for the accommodation of the students, food, booze et al. Now that seems too hard to digest!

Also, the character of Arshad Warsi comes across as unreal. I mean, how does he have a solution [and money] for every problem?

Director Remo D'Souza's fundas are clear: Let's entertain! In fact, the film is targeted at the youth and it is this segment that will identify with it more than any age-group. One of the aces of the film is, without doubt, its musical score. Generally, a film-maker considers himself lucky if even one track hits the top charts, but in this case, not one or two, but four songs have become hugely popular with the youth. 'Chaar Baj Gaye' [the anthem of the youth], 'Bhoot Aaya', 'Fully Faltu' and 'Le Ja Tu Mujhe' only prove how skilled and proficient young music composers Sachin-Jigar are. This one's a smash hit score. Besides, Remo's topnotch choreography enhances the impact of the songs. Vijay Arora's cinematography is up to the mark. I'd like to make a special note of the dialogue, which are very well worded at places.

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Dhobi Ghat : Movie Review By Taran Adarsh

DHOBI GHAT is an imposing and vibrant cinematic portrait, appending itself to the new wave of independent Indian cinema which I am extremely pleased to applaud. It is art house cinema with European sensibilities, embellished with a well thought out story that's devoid of cliches. This ingenious motion picture caters more to the intelligentsia and connoisseurs of world cinema and will therefore garner more patronage and benefaction from the metropolitan audience in India chiefly and global spectators predominantly.

Rating: 4/5 (Must watch movie)

What catches one's attention is the fact that DHOBI GHAT tells four different stories in those 95 minutes in the most pragmatic manner. The characters are real and so are their stories, their emotions, their relationships, their smiles, their tears, their dreams, their desires, their fears and their tragedies. It comes across as factual and authentic as your eyes would observe and witness in real life. Sure, we got a flash of the assorted people of this city in SLUMDOG MILLIONAIRE, but DHOBI GHAT doesn't follow the conventional route. It is far more subtle and restrained.

DHOBI GHAT [Mumbai Diaries] is the story of four people from very different backgrounds, whose worlds intersect and leave them forever altered. As they find themselves drawn into compelling relationships, the city finds its way into the crevices of their lives, separating them even as it brings them closer...

Fragments of their experience -- seen through a naive video diary, black and white photographic images and painting -- form a portrait of Mumbai and its people bound together as they journey through longing, loneliness, loss and love.

Like I pointed out earlier, Kiran Rao encompasses emotions, dreams and aspirations most convincingly. In fact, every sequence of DHOBI GHAT tells a story, every image matters and that, in my opinion, makes this first attempt by Kiran nothing short of an achievement. Filmed in guerrilla style, with hand-held cameras and moving shots, DHOBI GHAT captures the real flavor of this populous city. Generally, film-makers try to stick to the right frames and procure permissions for the most eye-catching location, but not here. From opulent and classy apartments to the slums, DHOBI GHAT is anauthentic piece of work.

DHOBI GHAT catapults Kiran Rao alongside the likes of accomplished storytellers like Mira Nair and Deepa Mehta with her intensely intelligent script. Besides throwing light on the daily routine of these characters, DHOBI GHAT juggles a recent past and the present time skillfully. Also, this one's a love story inherently; not a triangle, but a square. In fact, each of the characters is vividly sketched and each of them long or aspire for that someone special. Thanks to a watertight screenplay and eye for detail, Kiran's characters feel, look and sound genuine.

Cinematographer Tushar Kanti Ray shoots the film as if one were watching the story unspool live in front of one's own eyes. Academy Award winning Argentine composer Gustavo Santaolalla's [BROKEBACK MOUTAIN, BABEL] background score is captivating, also non-Indian, yet fits the varied moods, from melancholy to elation, admirably. The sole area where the film fumbles is its pacing at places. The results would've been even more impactful if the film was tightened a bit on the editing table.

The film marks the debut of Monica Dogra and Kriti Malhotra, who are exceptional and deliver natural performances. As for Prateik, the ease with which he speaks the slum lingo or converses with his pal or the gentle tone while speaking to the woman he loves [the urbane and classy Shai] proves what a dependable actor he is. The most memorable sequence for me is the concluding one when Prateik chases Shai's car. There's no doubt that he's a complete scene-stealer and a star in the making. His unconventional looks and captivating personality only adds to this performance.

Very much like his performance in TAARE ZAMEEN PAR, Aamir Khan very willingly lets his co-actors eclipse him. Sure, he's super as a cloistered artist, but this film is not about Aamir Khan, the superstar. It's primarily about four stories, with Aamir merely enacting one of the four pivotal characters. In fact, he underplays his part magnificently and munificently allows his fellow cast to be conspicuous in their respective parts. In actuality, not many actors in moviedom would dare to even think that way!

Kittu Gidwani is alright. The actor enacting the role of Prateik's friend does a fine job.

On the whole, DHOBI GHAT is an imposing and vibrant cinematic portrait, appending itself to the new wave of independent Indian cinema which I am extremely pleased to applaud. It is art house cinema with European sensibilities, embellished with a well thought out story that's devoid of cliches. This ingenious motion picture caters more to the intelligentsia and connoisseurs ofworld cinema and will therefore garner more patronage and benefaction from the metropolitan audience in India chiefly and global spectators predominantly.

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All you wanted to know about 'Tees Maar Khan'

After delivering two blockbusters namely Main Hoon Na and Om Shanti Om, Farah Khan is back with her third directorial venture Tees Maar Khan. The film re-unites the super-hit jodi of Akshay Kumar and Katrina Kaif. Ever since the first promo was out, it has been quite the hot topic of discussion. The music of the film especially the 'Sheila Ki Jawani' track is already topping all the popularity charts.

With Tees Maar Khan having a grand Christmas release on Dec 24, we at Bollywood Hungama bring you all that you wanted to know about the film in this exclusive section. Enjoy!

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KNOCK OUT : Movie Review by Taran Adarsh

KNOCK OUT is a watchable fare, but its English title and also Sanjay Dutt's box-office pull, which is minimal currently, will act as deterrents. Therefore, the film will require a very strong word of mouth to find a foothold.

Several factors compel you to ponder over your decision whether or not to watch KNOCK OUT...

* There's talk that KNOCK OUT is a blatant copy of PHONE BOOTH. If you've watched the original, why watch its clone?

* You rush to a nearby cineplex only if the film excites you and in this case, the buzz is missing.

* Sanjay Dutt - the lead actor - hasn't been a part of a worthy film, post MUNNABHAI. That automatically robs the sheen from the film.

You can't turn a blind eye to the fact that KNOCK OUT borrows from PHONE BOOTH. Even otherwise, a man held hostage in a telephone booth by a sniper automatically compels you to think that PHONE BOOTH is the prime source of inspiration, but what follows after a point bears no resemblance to that film. In fact, KNOCK OUT also bears an uncanny resemblance to A WEDNESDAY, although the two films are as diverse as chalk and cheese in terms of how the storyline progresses.

KNOCK OUT is a thriller that keeps you hooked at regular intervals. The best thing about the film is that it remains focused to the plot and there are no deviations [thankfully!] in terms of songs, comedy or any other parallel track. Of course, there are hiccups, but the finale and the message it conveys camouflages the defects largely.

Final word? If one goes with minimal expectations, chances are you may like this film.

KNOCK OUT takes place almost entirely inside a public phone booth on a busy street. Bachchu aka Tony Khosla [Irrfan] uses the phone booth to carry out all the odd jobs he's into. After one such call, when Irrfan is about to leave the phone booth, the phone rings and he instinctively picks it up. On the other end of the line is a menacing caller [Sanjay Dutt].

The voice demands that Irrfan stay in the phone booth or else, the caller would destroy his marriage [Rukhsaar plays Irrfan's wife] and ruin his reputation of an investment banker. Irrfan tries to hang up the phone, but the voice on the phone threatens to kill him. Stuck in the phone booth, he's forced to ward off anyone who tries to get him out, including a drug addict.

The drug addict is shot dead by the caller and the police as well as the media arrive on the scene. The caller makes Bachchu dance to his tunes for a valid reason.

Come to think of it, KNOCK OUT is a difficult film to execute because the two characters - Sanju and Irrfan - never cross paths, except for a fleeting moment towards the end. In fact, they are constantly talking to each other over phone. Now watching a man trapped in a phone booth [for the entire film] could make the viewer restless. But the engaging screenplay and the energetic pacing keeps the viewer on toes. You just don't know what to expect next, since the story doesn't follow the beaten path.

What sets it apart from not just PHONE BOOTH, but also other films [including LIBERTY STANDS STILL] is the fact that Sanju is not out to settle personal scores with the wrongdoers [Irrfan, Gulshan Grover]. He wants to book those who have cheated India by stashing unaccounted money across various banks abroad. In fact, the finale is the best part of the enterprise and stirs up patriotic feelings.

On the flipside, the film tends to get repetitive at times. The middle of the second hour stagnates, albeit for a few minutes. Also, there's a reference to a woman that makes Sanju extremely emotional. One assumes that the woman is linked to Sanju is some way, but that remains a mystery all through.

On the whole, KNOCK OUT is a watchable fare, but its English title and also Sanjay Dutt's box-office pull, which is minimal currently, will act as deterrents. Therefore, the film will require a very strong word of mouth to find a foothold.

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We Are Family : Movie Review by Taran Adarsh

WE ARE FAMILY is a perfect family film with a good mix of emotions and humour. Plus, a brilliant climax, which will ensure that the film grows with a strong word of mouth. The last film which came close to being a family outing was PAA. Before that, the only quintessential family film was BAGHBAN. WE ARE FAMILY is the kind of film that should work instantly with ladies and when ladies watch such films, they bring their spouses and children along. Recommended!

Okay, WE ARE FAMILY is the official adaptation of Chris Columbus' STEPMOM [1998] and lots of us have already watched this Julia Roberts - Susan Sarandon starrer. Even otherwise, the story of a woman, diagnosed with a terminal illness, entrusting her kids to the 'other woman' before she does the final salute, gives the feeling of deja vu. But WE ARE FAMILY is not a tear-jerker. Sure, it has dollops of emotions, but also integrates the light moments wonderfully in those 12 reels.

In the good old days, in the 1960s and 1970s specifically, well-made family films struck an instant chord with viewers across the spectrum. But with the changing times, the quantum of well-made socials made a rapid decline. WE ARE FAMILY belongs to the Rajshri gharaana and tells the story of a family facing two life-changing developments: The woman of the house is diagnosed with a terminal illness and two, there's a stepmom on the scene. A difficult subject to handle, without doubt.

But debutant director Siddharth P. Malhotra surprises you constantly. Casting the best available talent for two pivotal parts and doing complete justice to their roles is tough. Very tough. But the ease with which he handles the tense moments between the women and also the emotional finale shows he has learnt his lessons well from his peers.

Final word? WE ARE FAMILY is for the family. It is well acted, deftly written, entertaining and broadly appealing drama. Watch it with someone you love!

Maya [Kajol] is the perfect mother. Her life revolves around her three children, Aleya [Aanchal Munjal], Ankush [Nominath Ginsberg] and Anjali [Diya Sonecha]. Despite being divorced from her husband Aman [Arjun Rampal], Maya has ensured that everything runs smoothly in her house, under her watch, and that they continue to remain a happy family unit.

When Aman introduces his girlfriend, Shreya [Kareena Kapoor], a career-oriented woman, the situation takes an unexpected turn. However, Maya is diagnosed with a terminal illness and circumstances bring the two women under the same roof. Can two mothers make a home?

With a plot like this, you expect WE ARE FAMILY to be an out-and-out serious outing. However, the film has its serious moments, but the director ensures that it doesn't come across as a gloomy and serious fare. In fact, the generous dose of light moments in the narrative keeps the drama fluid. There's an inherent sensitivity that the director brings in, which keeps you involved for most parts.

On the flip side, the film tends to stagnate in the middle of the second hour. One expects the story to move forward, but there's not much movement here [thankfully, the film picks up wonderfully towards the penultimate reels]. Also, the music by Shankar-Ehsaan-Loy is a complete letdown. You feel it all the more because Dharma is synonymous with excellent music. The only redeeming track in the enterprise is 'Let's Rock', which is high on energy. S-E-L need to reinvent themselves by experimenting a little more.

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