Movie Reviews > Chal Chalein

Producer	Mahesh Padalkar
Director	Ujjwal Singh
Music Director	Illaiyaraja
Cast	Mithun Chakraborty, Mukesh Khanna, Anoop Soni, Shilpa Shukla, Tanvi Hegde, Priyesh Sagar, Saket Sharma, Pratham Sadh, Dhairya Oza, Karan Arora, Chirag Ruia, Darshan Jariwala, Shrivastav, Jaya Bhattacharya, Kanwaljeet Singh, Rati Agnihotri, Iklaq Khan, Reshma Modi, Vishwajeet Pradhan, Kumkum, Bhagwan Tiwari, Sujata Thakkar, Padam Singh, Anand Abhyankar

Movie Reviews

Making an effective film that makes a social statement is a task which not many are able to master. It either creates ripples like TAARE ZAMEEN PAR or goes horribly wrong. CHAL CHALEIN attempts to tackle a new and interesting topic - parental pressure on children - but doesn make much of an impact due to reasons...

* First being that the writer goes overboard and creates a non-believable situation.

* Second, the screenplay is repetitive in the first half. Post-interval too, once the court sessions start, its repetitive again. The fare moves along at snails pace. The biggest drawback is that the climax tries hard to throw a hard punch, but comes across as disarranged.

A group of eight boys and girls studying in the eleventh standard, playful, witty, yet rational are jolted when one of their friends Navneet commits suicide because of his parents [Rati Agnihotri and Kanwaljeet] pressure, as he is interested in literature, but his father wants to see him as an engineer. The friends are worried about children committing suicide. They decide to do something to stop the suicides: They start a movement against parents and government.

A lawyer [Mithun Chakraborthy] helps these kids in their movement. The parents are annoyed obviously. The entire nation supports the children in this movement. Now its the law that has to react.

Although the film has noble intentions, the film could have been a gripping fare had director Ujjwal Singh tackled the subject more realistically. Barring a few sequences, the film lacks the power to keep you engrossed. Mithun is good enough in his part. Mukesh Khanna, Anoop Soni and Shilpa Shukla enact their parts well. The kids are okay.

On the whole, CHAL CHALEIN is a dull fare with slim chances.

Movie Reviews > Perfect Mismatch

Producer	Dalip Singh Sethi, Harbinder Brar
Director	Ajmal Zaheer Ahmad
Music Director	Josh
Cast	Anubhav Anand, Nandana Sen, Anupam Kher, Boman Irani, Ranjita Chakravarty, Sheel Gupta, Rashmi Rustagi, David E. Webb, Susan Smythe

Movie Reviews


Meet the Fockers. Oops... Meet Mr. Patel and Mr. Bhalla. They have a problem with each other. One is a Gujarati, the other is a Punjabi. Agreed, there are people who don believe in marrying outside their community, but stories like these are passé. They no longer make for interesting experiences on celluloid.

PERFECT MISMATCH, honestly, is a complete mismatch. The story is just not convincing and what makes matters worse is the fact that the lovers don do a thing to bring the two warring papas together. Frankly, this ones an amateurish attempt.

Final word? Imperfect!

Aman [Anubhav Anand], an architect, bumps into Neha [Nandana Sen]. Love blossoms. But sparks fly when their families meet. The differences between hyper-vibrant Mr. Bhalla [Anupam Kher] and the rigidly-conventional Mr. Patel [Boman Irani] are apparent in their very first meeting.

Disapproval inevitably comes when the two fathers lock horns, but the lovebirds, true to their feelings, must find a way to bring their families together...

Perfect Mismatch Baring a few individualistic sequences, nothing works in PERFECT MISMATCH. The differences between the two fathers are too trivial and flimsy. The lovers realise that their respective fathers don see eye to eye, but they don do a thing to iron out their differences.

Most importantly, most lovers of today wouldn sob, sulk and go into a shell if their parents were against their match. They would defy all odds to get together, right? In this case, they reconcile to their fate and remain passive spectators all through.

Ajmal Zaheer Ahmads direction is bad and so is the writing. The cinematography is just about okay.

Anupam Kher is the sole actor who has a well-defined role. Boman Irani gets limited scope. Also, his change of heart couldve been more convincing. Anubhav Anand sparkles in a scene or two, while Nandana Sen is passable.

On the whole, PERFECT MISMATCH has no scope.

Movie Reviews > Luck

Producer	Dhillin Mehta
Director	Soham Shah
Music Director	Salim Merchant, Sulaiman Merchant
Cast	Sanjay Dutt, Mithun Chakraborty, Danny Denzongpa, Imran Khan, Ravi Kishan, Neha Oberoi, Rati Agnihotri, Shruti K. Haasan, Chitrashi Rawat, Snita Mahey

Movie Reviews

Fasten your seat belts and get ready for hardcore stunts and thrills, Hollywood ishtyle. Come to think of it, Bollywood hasn churned out stylised action movies as regularly as it churns out comedies and rom-coms. Theres a vacuum for sure. But LUCK fills that lacuna. Be rest assured, you haven watched such thrills since DHOOM 2.

LUCK is more of a hi-concept film. Three decades ago, Krishna Shahs SHALIMAR narrated the adventures of a billionaire who assembles/invites criminals/gangsters from across the globe to perform the heist of a precious diamond that he possesses. The concept isn similar here, but in this case too, a gambler assembles people from across the globe for a concept called human betting.

LUCK may not be high on story, but the concept and at least four stylised thrilling sequences make a big difference. Simply put, it makes LUCK lucky.

LUCK may have loads of thrills, but director Soham Shah ensures that the grand canvas and stylised thrills appeal to every strata of movie-going audience. Only thing, had screenplay writers Soham Shah and Rensil DSilva worked doubly hard to come up with a watertight script, it wouldve only worked wonders.

After weighing the pros and cons, it can be said that LUCK rides on star power, its concept and adrenaline-pumping thrills primarily. If you e into thrillers or have been missing one, LUCK holds the key.

LUCK tells the tale of mafia kingpin Musa [Sanjay Dutt], who has one obsession: To revolutionize the betting industry. For him, life is a gamble and what better way to skew the odds than play with those with luck on their side.

Different characters from different parts of the world, each with Lady Luck in their favour, are brought in to play the game of death. With millions at stake, how far will each of them go in courting danger and deceit?

The very start of the film transports you to a different world. The viewer is drawn into a world where bets are placed on humans and death-defying stunts are the order of the day. The train sequence at the very start says it all. Its a sequence that not only introduces you to the plot, but also makes a hammer-strong impact. You haven watched something like this on the Hindi screen before.

The game of death is far more dangerous than those witnessed in the reality shows. The revolver sequence [the first challenge], the helicopter jump, the underwater sequence with sharks and the train sequence in the climax give you goose bumps and remain etched in your memory. Theres a scene involving a lighter too, which is sure to draw whistles and claps.

But the film slips due its ineffectual writing. It gyrates from engrossing to bas-theek-hain towards the second hour. The romantic track, to be specific, is flaccid. Also, the climax shouldve concluded the moment Imran wins the jackpot money of Rs. 20 crores. Wasn that his motive when he entered the game with his eyes wide open? So why this sudden urge to confront Sanjay Dutt after the game is over? Had the prize money doubled to Rs. 40 crores, it wouldve made sense. Or, for that matter, if he had a personal score to settle with Sanju, the game of death wouldve looked plausible. Theres no motive in the first place.

Moreover, the sequence in the hospital, towards the end, may be true, medically speaking, but the question is, was it necessary in a film of this genre? Frankly, it robs the film of its seriousness and even compels you to break in a full-throated roar, a reaction that is completely unwarranted. Even Shruti Haasans double role doesn cut ice.

Soham Shah has made a stylish film and the fact remains that he has an eye for visuals. But Soham shouldve stuck to the spirit of the film, instead of getting into diversions [romance and the penultimate scene]. Salim-Sulaimans music is vibrant and Aasma is easily the pick of the lot. The background score [Amar Mohile] is electrifying. Santosh Thundiyils cinematography matches international standards. Ditto for the sound design by Dwarak Warrier. Allan Amins stunts and thrills are a major USP.

Sanju is perfect for this part and enacts it with natural ease. Actually, heres one role that only he couldve portrayed so effectively. Imran is getting better with every film. Watch his helplessness at the start or his confidence when he takes to the stunts. Even towards the latter reels, hes very much in sync with his character.

Shruti Haasan is a star, no two opinions on that. The confidence with which she carries off this role just cannot be overlooked. Ravi Kishan is another scene-stealer. You are under the impression that he may get lost in the crowd, but he stands tall. The masses will love him.

Mithun Chakraborty is controlled and delivers a truly fine performance. Danny Denzongpa is, as always, so perfect. Very few actors have that ability to stand out in a crowd. Hes one of them. Chitrashi is excellent. The sequence in the hospital is superb. Rati Agnihotri gets no scope.

On the whole, LUCK rides on star power, adrenaline-pumping thrills and a concept thats novel for the Indian screens. Despite some loose ends, these three factors primarily would ensure a Lucky journey at the box-office.

Movie Reviews > Love Aaj Kal

Producer	Saif Ali Khan, Dinesh Vijan
Director	Imtiaz Ali
Music Director	Pritam Chakraborty
Cast	Saif Ali Khan, Deepika Padukone, Neetu Singh, Rishi Kapoor, Rahul Khanna, Vir Das

Movie Reviews

Come to think of it, if the film carries the urden of humungous expectations, its imperative that it goes beyond those expectations. The reaction after watching the film has to be similar to a child who has laid his hands on his fav toy. The joyous smile would say it all. The question is, does LOVE AAJ KAL live up to the hype and hoopla surrounding it? Or does it go beyond that?

LOVE AAJ KAL is not an easy film to write and execute. Sure, its a love story, but its not one of those mundane love stories that talks of love and heartache. Here, the two stories, set in different eras, run parallel, but have a similar end.


To be brutally honest, it takes time to grasp the plot, since the past and present run concurrently. If you aren attentive, chances are youd lose the plot. Also, if you aren aware by now that Saif enacts dual roles in the film -- playing his part as also the part of young Rishi Kapoor -- the goings-on would confuse you no end, when the transition occurs.

LOVE AAJ KAL is a directors show entirely. The relationships here are complex because the couple in love lives in complete denial. It is to Imtiaz Alis credit that he has penned an offbeat story, developed a complex but comprehensive screenplay and extracted sensitive performances from the principal cast. At the same time, the writing isn the type that would appeal to all sections of movie-going audience. Besides, the execution of the subject and also the pacing in the first hour are deterrents.

Final word? LOVE AAJ KAL makes you fall in love with love all over again. Makes you value your loved ones all the more. This film is special!

Love Aaj
London, San Francisco, Delhi - 2009.
Jai [Saif Ali Khan] and Meera [Deepika Padukone] is a modern-day couple in London. They are very happy together, but do not believe in tying each other down. So when life pulls them in different directions, they decide to call off their relationship, since long-distance relationships, in their opinion, don work.

Love Kal
Delhi, Calcutta - 1965.
Veer Singh [Rishi Kapoor] is struck by a thunderbolt when he sees Harleen for the first time. He travels a thousand kilometers by train to stand under her balcony, only to have a glimpse of her face. And yet not speak a word with her.

Love Aaj Kal
Veer does not understand how Jai can treat matters of the heart without passion. Jai does not understand how Veer Singh could have been so naive and silly about Harleen in his youth. But as both stories unfold, we realize that the process of relationship might be different in different eras, but the experience of being in love remains the same.

LOVE AAJ KAL travels multiple continents and different eras. The subject matter is novel, never attempted before, but the material, the characters [Saif and Deepika especially] as also its execution is targeted at the youth in big cities mainly. As they say in filmi lingo, this ones a hardcore multiplex movie.

Another area where Imtiaz Ali experiments is by depicting Saif as the young Rishi Kapoor. Its a novel concept, no two opinions on that, but the question is, will it cut ice universally? Will people tend to get confused when the sequences turn sepia?

The film captivates in bits and spurts in the initial portions. Partly because the writing is so different. But the writing breaks new grounds in the second hour. Its in this hour that the film grips you completely, when the fragmented pieces are put together and a mesmeric picture emerges.

The second hour is the soul of the film. Right from the time Deepika decides to marry, till the last reunion, the film touches an emotional high. The sequence of events that lead to the culmination is incredible. Saifs interaction with Deepika at the marriage, or the gradual change in Saifs behaviour in the U.S. in the course of a song, or the realisation that marriage was a big mistake... moments like these take LOVE AAJ KAL to dizzy heights.

Imtiaz Ali is a genius. The film bears the stamp of an accomplished storyteller. This is a forward-thinking film that handles the new-age relationships with complete understanding. The songs compliment the goings-on beautifully. This is amongst Pritams accomplished works. Twist [already a rage], Aahun Aahun [foot-taping], Chor Bazaari [melodious] and Dooriyaan [melancholic], each song is a gem. N. Natarajan Subramaniams cinematography is fantastic. Editing [Aarti Bajaj] is wonderful.

Both Saif and Deepika come up with their career-best performances in LOVE AAJ KAL. Saif carries the most difficult parts with remarkable ease. Sure, weve seen him as the cool, urban guy in several films, but this ones the most demanding role and only a seasoned actor couldve delivered it with such precision.

Deepika looks ethereal. Most importantly, in LOVE AAJ KAL, she acts very, very well. Matching up to Saif is no mean achievement and she does it in several scenes. This should be the turning point in her career. Rishi Kapoor is top notch. The actress enacting the role of Harleen is pretty. Rahul Khanna does well in a small, but significant role. Watching Neetu Kapoor in the end sequence is truly astonishing. Shes so graceful.

On the whole, LOVE AAJ KAL is for the young and romantic at heart. Sure, its not perfect, but the terrific performances, melodious music and stirring emotional moments [last 35 odd minutes] more than compensate for the hiccups. At the box-office, the film should start with a bang for four factors -- its novel cast, super music, great promotion and yes, Imtiaz Ali, a name that commands respect amongst moviegoers. Released extensively [approx. 1800 screens worldwide], LOVE AAJ KAL will have one of the biggest first weeks in India and also in the international markets. In India, the business will be superb across multiplexes, while single screens might not behave as energetically. But the business at multiplexes will ensure a fantastic recovery of the investment. Internationally, it has the potential to emerge one of the biggest grossers in recent times.

Movie Reviews > Jashnn

Producer	Kumkum Saigal
Director	Raksha Mistry, Hasnain S Hyderabadwala
Music Director	Toshi Sabri, Sharib Sabri
Cast	Adhyayan Suman, Anjana Sukhani, Shahana Goswami, Humayun Saeed

Movie Reviews

The Bhatts have often told stories that seem straight out of everyday life. Their new outing JASHNN also mirrors the thoughts of zillions of hopefuls. Its about a nobody who wants to achieve success in life, wants to live his dreams, wants to become a somebody some day. In that respect, JASHNN, with director duo Raksha Mistry and Hasnain Hyderabadwala in the driving seat, drives home the point convincingly.

You can deny the fact that JASHNN brings back memories of the immensely likable ROCK ON!!, for JASHNN is also about a boy band, about dreams, about defeat and about success. Like ROCK ON!!, JASHNN also looks at relationships, but the relationships here are poles apart.

In this case, the protagonist [Adhyayan Suman] is living off his sister [Shahana Goswami], who is reduced to being the mistress of a wealthy entrepreneur [Humayun Saeed] and who loathes the protagonist. Actually, the relationship between the siblings and also the volatile relationship between Adhyayan and Humayun are the mainstay of the film. Sequences between them expose the stark reality of life.

But JASHNN is not without its share of hiccups. The romantic track couldve been as intense as the volatile ones. Also, it gets long drawn towards the second hour and robs the film of its sheen to an extent. But the climax more than compensates for the blemishes. Thankfully!

All said and done, JASHNN is yet another compelling tale from the house of Bhatts. Super music coupled with bravura performances from its principal cast makes JASHNN an interesting watch.

Akash [Adhyayan Suman] thirsts to become a singing icon. But though he has dreams in his heart, he is unable to find that distinctive voice that he can call his own, that will propel him to the top. Only when he confronts a bitter truth - that he is freeloading off his elder sister Nisha [Shahana Goswami], who, in order to offer him a decent lifestyle, has become the mistress of a rich businessman Aman Bajaj [Humayun Saeed] - is he is able to touch his inner core.

Jashnn Call it irony or a twist of fate, but the person who sees him through this dark night and mentors him when hes down and out is none other than the sister of the person who he hates most in the world - Aman Bajaj. It is Sara [Anjana Sukhani], Amans sister, who makes him realize that he is an extremely talented man and is simply going through a bad phase.

In the end, he not only touches his inexhaustible potential and becomes an overnight star, but also humbles his biggest detractor Aman Bajaj and in the process, lives up to the faith that his sister and Sara had in him all along.

Director duo Raksha and Hasnain step into a different domain [emotions], after attempting thrillers. And the relationships here are too complex. Some instances...

* Watch out for the tiff between Adhyayan and Humayun, when the latter abuses Shahana. The subsequent sequence, when Adhyayan apologises to Humayun at his office, is heart-breaking.

* Heres another. Adhyayan and Shahana enter Anjanas party and the confrontation that ensues with Humayun there. Another master stroke!

* Note another sequence. In the post-interval portions, Adhyayans demo is rejected by the music company baron and his outburst at this point. It breaks your heart!

* The same night, he takes refuge in drinks and even robs money from another guest at the hotel. What happens thereafter is astonishing.

* In the climax, Adhyayan calls his sister on stage and makes her accept the trophy from Humayun. Clapworthy, but deeply emotional!

But, as mentioned earlier, JASHNN loses its grip during the romantic sequences. The film dips in the second hour, which is long drawn and half as convincing at times. The low phase that Adhyayan goes through couldve been more effective and shorter.

Jashnn Director duo Raksha and Hasnain show sparks of brilliance in the above-mentioned scenes and they get solid help from writer Shagufta Rafique, whose screenplay is watertight, barring the portions mentioned above. You expect every Bhatt movie to be embellished with melodious and soulful music and the songs in JASHNN are seeped in melody, especially the final track. Dialogues are powerful and dipped in acid at times. Camerawork is up to the mark.

All four actors shine in their respective roles. Adhyayan Suman takes giant strides. Note the helplessness, the sorrow, the dejection and the eventual exhilaration. This is Adhyayans showreel. Humayun Saeed, from across the border, is brilliant. This film makes you wake up to this talent, which gives the film a rich texture. Heres an actor to watch. Shahana Goswami is already going from strength to strength and JASHNN only proves that shes matchless. She handles her part with amazing understanding. Anjana Sukhani is a revelation. Again, this film should act as a showreel for her. Shes excellent.

On the whole, JASHNN is a moving tale with three USPs - its music, the emotional quotient and the performances by its four actors. Despite some loose ends, it should slowly and steadily win over cinegoers based on these three factors.

Movie Reviews > Sankat City

Producer	Anubhav Sinha
Director	Pankaj Advani
Music Director	Ranjit Barot
Cast	Kay Kay Menon, Anupam Kher, Rimi Sen, Chunky Pandey, Dilip Prabhawalkar, Rahul Dev, Yashpal Sharma, Hemant Pandey, Virendra Saxena, Srivallabh Vyas, Manoj Pahwa, Sanjay Mishra, Sunita Rajwar, Gurpal Singh, Kurush Deboo, Jehangir Khan

Movie Reviews

Sometimes, big things come in small sizes...

SANKAT CITY may not boast of stars to lure the audiences, it may not have a colossal canvas [on the contrary, the making is very basic], it may not have a terrific musical score to act as a hook [there are hardly any songs here], but SANKAT CITY succeeds, and succeeds largely, in its endeavour: Make the viewer laugh at the right places.

One walks in with zilch expectations [the promos don do justice to the product], but when you make an exit from the audi, its with the feeling that the 2 hours were well spent.


Comedies, today, can be segregated into two categories -- Brain-dead entertainers and intelligent comedies. Films like JAANE BHI DO YAARO, BHEJA FRY and SANKAT CITY fall in the latter category.

Lets be honest. Not all of us can think whacky or come up with a crazy madcap comedy like SANKAT CITY. It requires a wild and imaginative mind to come up with one and most importantly, execute it with panache. Debutante director Pankaj Advani gets its right on both the counts. Sure, there are glitches in the narrative, but Advani compels you to sit and listen to the story he intends narrating.

Final word? Don give SANKAT CITY a miss just because the film doesn star the Khans or Kumars. This City is worth a visit!

Guru [Kay Kay Menon] is a small-time car thief. Ganpat [Dilip Prabhawalkar], who owns a dilapidated garage, is his partner-in-crime. Guru robs cars and Ganpat gives them a make-over in order to sell them for tidy profits.

One night, Guru chances upon a swank Mercedes parked outside a brothel, unattended. He steals the car and takes it to Ganpat. While working on the car, they discover a sum of Rs. 1 crore in it. They are delirious with joy at the unexpected turn of events. Little do they know whats in store, for the car and the money belong to a gangster/loan shark called Faujdaar [Anupam Kher]. What happens next?

It takes time to get a hang of things, but once the characters and their traits are introduced at the very outset, the goings-on become one joyride. The assorted characters and the way they are integrated in the storyline, as also the way they e inter-connected, makes the film stand out.

If the first hour is akin to a roller coaster ride that you enjoy to the optimum, its the middle of the second half that bothers you. Thats because things stagnate and even get monotonous for a few minutes, before the climax strikes again.

SANKAT CITY is more like a relay. One incident leads to another, so on and so forth and it keeps you involved and entertained for most parts. But the most stunning sequence is reserved in the pre-climax when a bulldozer runs over a bagful of currency. A brilliant sequence!

SANKAT CITY is embellished with super performances by each and every member of its cast. Anupam Kher [terrific], Kay Kay Menon [excellent], Rimi Sen [first-class], Dilip Prabhawalkar [splendid], Chunky Pandey [very good], Manoj Pahwa [effective], Yashpal Sharma [first-rate], Hemant Pandey [perfect], Rahul Dev [good], Virendra Saxena [wonderful], Srivallabh Vyas [nice], Sanjay Mishra [decent]… every actor deserves praise. Its as if the roles were tailor-made for them.

On the whole, SANKAT CITY is a small little gem that deserves a watch. Yes, theres a bombardment of new films week after week and chances are that this film may get sidetracked thanks to the invasion of biggies, with the multiplexes sidelining it to embrace the biggies. But heres a request to all cine lovers and also multiplexes, from this writer. Give this one a chance. Lets nurture it well, so that genuine efforts like SANKAT CITY don go unnoticed.

Movie Reviews > Short Kut-The Con is On

Producer	Anil Kapoor
Director	Neeraj Vora, Roshan Andrews
Music Director	Shankar Mahadevan, Ehsaan Noorani, Loy Mendonca
Cast	Akshaye Khanna, Arshad Warsi, Amrita Rao, Simi Garewal, Sanjay Dutt, Anil Kapoor, Chunky Pandey, Ali Asgar, Haider Ali, Siddharth Randeria

Movie Reviews

Till quite some time back, remaking a successful film was considered a safe bet. In fact, the most reliable, foolproof way at hitting paydirt. But lets not forget, not all stories have the potential to strike gold.

SHORT KUT, a remake of the Malayalam film UDAYANANU THANAM, written by Anees Bazmee and directed by Neeraj Vora, arrives a bit too late. Actually, it shouldve hit the screens a couple of years ago. Thats because it abounds and relies completely on clichés and which, in turn, makes you break into a big yawn.

Sad, since the basic story of SHORT KUT had the potential to keep your attention arrested. It even starts off well, but runs out of breath soon after. In fact, the graph of the film only goes down as reel after reel unfolds.

Seriously, you want to ask something vital to Anees Bazmee and Neeraj Vora, who have penned, even directed laughathons successfully: What kind of cinema is this? Did Bazmee and Vora lose interest while writing this one? Or did they decide to take the viewer for granted?

In short, SHORT KUT is meant to be a comedy, but is actually a tragedy for the viewers.

Set in Bollywood, SHORT KUT - THE CON IS ON tells the story of two strugglers, one who makes it big as a superstar [Raju - Arshad Warsi] after stealing a script and the other whose struggle as a director [Shekhar - Akshaye Khanna] continues after his script gets stolen.

Theres a twist in the tale when reigning actress Mansis [Amrita Rao] romantic involvement with Shekhar gets culminated into marriage. To add to the chaos, destiny again brings Raju and Shekhar face to face, when Shekhar is set to direct his first film with Raju. What follows now is a clash of egos.

As mentioned at the very outset, SHORT KUT couldve turned out to be an insiders view on the film industry. The two aspirants, their struggles, the hardships that they face to get their first break... SHORT KUT couldve explored all that and more beautifully. In fact, a few moments do try to capture that at the very start.

But the moment the romantic track sets in, things go for a toss. The plot, suddenly, makes you feel you e watching a diluted version of ABHIMAAN [Amitabh, Jaya]. Then, suddenly, another unexciting track surfaces -- of the superstar throwing his weight on the sets. The film starts losing grip.

The post-interval portions are simply unbearable. You expect things to brighten up, but the writing is so pathetic and the climax so childish and absurd that you e shocked. Looks like the writers mustve gone on a vacation and entrusted the responsibility of writing the climax to some amateur types who has zilch knowledge of screen writing. Its the worst climax undoubtedly!

Director Neeraj Vora gets its wrong completely. The writing as also the execution are archaic and outdated. Mr. Vora, which era do you belong to? As for cinematography, the DoP tries hard to make the bad product look enticing. Musically, nothing to hum about.

Akshaye Khanna puts up a sincere act, but what can the best of actors do when saddled with shoddy scripts? Arshad gets better lines, also gets a role that the masses would take to instantaneously, but hes getting typecast. Amrita Rao exposes her anatomy freely. Chunky Pandey manages to make you smile at places. Ali Asgar looks fake. Haider Ali is alright. Siddharth Randeria is theatrical.

On the whole, SHORT KUT - THE CON IS ON is a poor show all the way. A major disappointment.

Movie Reviews > Dekh Bhai Dekh

Producer	Vivek Sudarshan, Ashok Chauhan
Director	Rahat Kazmi
Music Director	Nayab, Shahdaab Bhartiya
Cast	Gracy Singh, Siddharth Koirala, Raghuveer Yadav, Vijay Raaz, Asrani, Virendra Saxena, Aroon Bakshi

Movie Reviews

Some stories seem very interesting on paper, but lose their sheen on celluloid. Thats the problem with DEKH RE DEKH. The idea couldve translated into an engrossing fare, but the story development as also its execution leaves a lot to be desired. Even its short running time doesn salvage the situation.

Bablis marriage in a rich family has already turned into a nightmare and she is back home after getting divorced. But a robbery involves her childhood friend Shyam into her plan; Shyam also is in need of money to bribe the minister for a government job. At this juncture, one more character joins them, Yadav, a struggling politician in need of money for his party fund to get ticket for election. Since they have no experience of robbery, they plan to involve a professional thief in the mission: Charan.

DEKH RE DEKH establishes the characters well, but the screenplay unravels in such a casual manner that it becomes the biggest drawback as it moves further. One can never tell when the film rolls into flashback mode and back. Its only later that you realize that there actually were flashbacks and by that time, youve already lost track of where the story is headed.

The films tagline states laughter behind darkness but neither does the film make you laugh, nor is it a dark subject from any angle. The comedy just doesn evoke mirth. Music is irksome.

Vijay Raaz is the best of the lot. Hes excellent. Gracy Singh is plain average. Siddhartha Koirala is just about okay. Raghubir Yadav does a fine job.

On the whole, DEKH RE DEKH is not the type that would catch the viewers eye.

Movie Reviews > Kambakkht Ishq

Producer	Sajid Nadiadwala
Director	Sabir Khan
Music Director	Anu Malik, RDB
Cast	Akshay Kumar, Kareena Kapoor, Aftab Shivdasani, Vindu Dara Singh, Amrita Arora

Movie Reviews

Bizarre has a new meaning and its called KAMBAKKHT ISHQ.

Of late, Akshay Kumar has earned the reputation of making you laugh in film after film. You expect KAMBAKKHT ISHQ, his new outing, to transport you to ha-ha-land, given the smart-n-chic promos of the film.

KAMBAKKHT ISHQ belongs to the same family of films which have wooed the masses, such as MUJHSE SHAADI KAROGI, WELCOME, SINGH IS KINNG and GOLMAAL RETURNS. The prime motive is to entertain you for the next 2 hours, logic be damned.

Yet, KAMBAKKHT ISHQ is different because it depicts the battle of the sexes, a theme thats rarely depicted on the Hindi screen. The lingo is poles apart, so is the attitude. In fact, this is a modern take on relationships, with the two hours divided between laughter and emotions, frivolous and reality.

Lets get this straight. KAMBAKKHT ISHQ works in most parts thanks to the kind of star power and energy that the two actors pack in -- Akshay Kumar and Kareena Kapoor. It wouldve been difficult to hold the film from falling apart had the two actors not been competent enough to carry off their respective parts. Also, the presence of Hollywood stars -- Sylvester Stallone, Brandon Routh and Denise Richards -- the first on the Hindi screen, is an added bonus. 1 pe 2 ka offer; Bollywood stars ke saath Hollywood free!

The focus is on the entertainment quotient. There are moments when you laugh so uncontrollably that it gets embarrassing and there are times when you continue smiling, even during the most ordinary scenes.

But KAMBAKKHT ISHQ dips in its second hour because you expect it to be as frivolous as the first hour, but it changes tracks and gets emotional. Things wouldve gone wrong had the end stumbled and fumbled, but it doesn . The finale, in fact, takes the film back to the level that one expects from a film of this magnitude.

To sum up, KAMBAKKHT ISHQ offers you value for time and also, value for money. It offers loads of entertainment in those 2 + hours, loads of glamour in those 130 odd minutes, from start to end. Sure, there are blemishes, but they e trivial when you look at the larger picture.

KAMBAKKHT ISHQ explores the relationship between two individuals who are as different as chalk and cheese. Viraj [Akshay Kumar] is a stuntman in Hollywood, who lives by the mantra women are only good for two things. Simrita [Kareena Kapoor] is a firebrand who is more than able to stare down the most arrogant male with her caustic wit and sardonic tongue.

So what happens when the two people who hate each other the most meet at Simritas best friend Kaminis [Amrita Arora] and Virajs brother Luckys [Aftab Shivdasani] wedding? A wedding that both Viraj and Simrita are violently opposed to and desperate to stop. Sparks fly... the battle of the sexes in on.

Director Sabbir Khans motive is simple: Entertain for the next 2 hours. The entire first hour moves at a lightening speed, making you enjoy the war of words between Akshay and Kareena at regular intervals.

The first half abounds in terrific moments, but Id like to single out at least three...

* One, the church wedding of Aftab and Amrita. When the battle lines are drawn.

* Two, the sequence at the operation table, when Akshay spots Kareena.

* Three, the interval point. The pendant connection. Howlarious sequences all!


The post-interval starts with a bang, with Akshay hearing the Om Mangalam chant just about everywhere -- while sleeping, in the shower, in the rest room, even at an award function. The award function sequence is a double whammy. You get to watch Stallone and also the scene is superbly structured, executed and enacted.

Things are smooth sailing till the emotional angle comes up. The narrative dips in those 20 odd minutes. The mood suddenly shifts from laughter to sadness. The makers may argue that a twist in the tale is justified from the writing point of view, since the emotional track is vital for any love story, but the fact remains that one does miss the entertainment quotient here. In fact, the dip in the second hour erodes, to a large extent, the impression that the first half had built so magnificently.

Director Sabbir Khan picks up a theme that may catch you by complete surprise, but marinates it in entertainment, garnishes it well and presents it like never before. The review would be incomplete if we failed to highlight the grandiose look and the lavish production values thanks to the no-holds-barred expenses by producer Sajid Nadiadwala. Each frame looks ostentatious and glitzy.

Music is up to the mark, with three interesting tracks -- Om Mangalam [RDB], Lakh Lakh and Bebo [Anu Malik]. Cinematography [Vikas Sivaraman] is magnificent, with the DoP doing complete justice to the production values.

KAMBAKKHT ISHQ belongs to both, Akshay and Kareena. Akshay is dynamic this time. He received a lot of flak for CHANDNI CHOWK TO CHINA and there was this nagging feeling that the negativity would spill over to KAMBAKKHT ISHQ. But Akshay is in terrific form here and delivers, without a shred of doubt, a bravura performance. If you loved him in NAMASTEY LONDON and SINGH IS KINNG, youd fall in love with Akki and his comic timing all over again this time.

Kareena left an indelible impression in JAB WE MET and creates a similar impact, albeit in a different role. Her role has shades of Poo in K3G, but the glam looks combined with that rare confidence takes this performance to dizzy heights. Clearly, Kareena is miles ahead of her contemporaries as far as talent goes and this film proves it yet again.

Aftab and Amrita are perfect for their parts. Vindu Singh supports well. Javed Jaffrey doesn make a mark because the role has no connection with the main plot. Kirron Kher is getting typecast. Boman Irani is hilarious in that lone sequence. Stallone, Brandon Routh and Denise Richards are well integrated in the narrative.

On the whole, KAMBAKKHT ISHQ will strike a chord with the youth and those who relish zany and madcap entertainers. The first half is tremendous, while the second half takes a dip, with the film picking up towards the climax. At the box-office, the film will see an earth-shattering opening weekend and a historic Week 1. It remains to be seen how this film fares in its second weekend/week, given the massive number of screens it has opened globally [2,000 +]. However, the timing is most appropriate [the viewer is thirsting for a biggie] and the hype is tremendous, which should prove very advantageous for the film.

Movie Reviews > New York

Producer	Aditya Chopra
Director	Kabir Khan
Music Director
Cast	John Abraham, Katrina Kaif, Neil Nitin, Mukesh, Irrfan Khan

Movie Reviews
Myth: NEW YORK is about 9/11.
Fact: Its not. But it reflects the mood thats prevalent across the globe, post 9/11. The world is divided today. No two opinions on that!

Myth: NEW YORK bears a striking similarity to KHUDA KAY LIYE.
Fact: Nope. KHUDA KAY LIYE and NEW YORK may belong to the same family, of an innocent person being picked up for questioning after the WTC catastrophe, but the similarities end there. In fact, KHUDA KAY LIYE and NEW YORK are as diverse as chalk and cheese.

NEW YORK, helmed by Kabir Khan, attempts to be as real as possible. A tale of friendship, with terrorism as the wallpaper, NEW YORK hits you like a ton of bricks at several points in the narrative. In fact, there was a possibility that NEW YORK may turn out to be a dry experience, a documentary perhaps, but the drama is so well structured and so gripping that you get sucked into the world of Sam, Omar and Maya from its inception.

NEW YORK is a triumph for Kabir Khan, who deserves distinction marks for handling the subject with remarkable maturity. Also, this film should be a turning point for John, Katrina and Neil. More on that later...

The verdict? NEW YORK is, without doubt, one of the finest films produced by this premier production house, Yash Raj. Grab a ticket today!

Omar [Neil Nitin Mukesh] has gone abroad for the first time in his life and soon enough, he begins to see and love America through the eyes of his American friends, Sam [John Abraham] and Maya [Katrina Kaif]. But an incident changes the world round them.

At this point enters Agent Roshan [Irrfan], an FBI agent, who sets the ball rolling for a series of tumultuous events that turn the lives of these friends upside down.

NEW YORK affects you like no other Hindi film has done so far [on 9/11]. In fact, there are portions that give you goose bumps, especially towards the second half of the film, when John recounts his past.

One of the reasons why NEW YORK works is because not once does Kabir Khan borrow from the past or tilt towards predictable stuff. You just can guess what and where the story is headed and what the culmination would be. The director and his team of writers establish the plot and characters beautifully, but the real action is reserved for the second half. The nightmarish experience that John undergoes is disturbing, but lifts the film several notches up.

But NEW YORK has its share of loose ends. The film dips in the second hour. It tends to gets lengthy before it reaches a powerful, brilliantly executed climax. Also, a few sequences only add to the length of the film, which couldve been curtailed in the writing stage itself.

Director Kabir Khan picks up a real incident -- innocent civilians being suspected as terrorists, soon after 9/11 -- and weaves a brilliant tale around it. The screenplay is its biggest star, without a doubt. Given the fact that NEW YORK isn one of those routine masala fares, Kabir has injected songs only when required. Cinematography is striking.

Now heres another surprise. John, Katrina and Neil, all actors, deliver their career-best performance. If the first half belongs to Neil, John takes over the second hour completely. John is superb when he recalls the past. You can feel his pain, that effective is his performance. Also, note his expressions towards the end. This is a different John, for sure. Just one word for his performance -- fabulous!

Neil was remarkable in JOHNNY GADDAAR, but disappointed in AA DEKHEN ZARA. Fortunately, hes in top form this time around. Katrina gives you the biggest surprise. Known for her glamour roles, Katrina proves that she can deliver if the director and writer offer her a role of substance. Shes outstanding. In fact, people will see a new, different Katrina this time. Irrfan is, as always, first-rate.

On the whole, NEW YORK is amongst the finest films produced by Yash Raj. At the box office, theres no stopping this one. Go for it now!

Movie Reviews > Runway

Producer	Reeta J Shukla
Director	Sunil Tiwari
Music Director	A R Rahman
Cast	Amarjeet Shukla, Tulip Joshi, Lucky Ali, Deepal Shaw, Shahwar Ali, Sharat Saxena, Rauf Lala, Ishrat Ali, Vida Samadzai, Dayanand Shetty

Movie Reviews

Been there, seen that, moved on. RUNWAY doesn have anything new to offer, its a run of the mill action love story recited in the most routine manner. It reminds you of the Emraan Hashmi starrer AWARAPAN, but it is too ordinary and hardly has anything going in its favour.

Allan [Amarjeet] becomes a contract killer to save his love Melvyna [Deepal Shaw]. Melvyna had unfortunately fallen prey to drug addiction and was now battling for life, getting treated for drug addiction and other complications which had raised their ugly head due to prolonged drug abuse.

Allan wants her to live and wants to save her at any cost. He requires money for her treatment and takes the contract of killing the billionaire casino owner Victor.

The problem is, RUNWAY is handicapped by poor direction [Suniel - Praful]. Besides, the screenplay is too weak since the story wastes valuable time in ineffective emotions and scenes, whereas the encashable portions have been cut short. Especially the climax, which has been altered so severely that it gives an incomplete feeling. The beautiful locales of Mauritius too haven’t been explored completely.

Music by Shamir Tandon is dull, except the hit track Khuda Kay Liye, which is consistently repeated in the film.

Amarjeet is okay as an actor, but does well in action scenes. Tulip Joshi under-performs. Deepal Shaw is below average. Sharat Saxena has a minimal role. Shawar Ali puts on an act. Lucky Ali is adequate.

On the whole, RUNWAY is saddled with a weak script and therefore, has limited chances.

Movie Reviews > Paying Guests

Producer	Subhash Ghai, Raju Farooqui
Director	Paritossh Painter
Music Director	Sajid, Wajid
Cast	Shreyas Talpade, Javed Jaffrey, Ashish Chowdhry, Celina Jaitly,Chunky Pandey, Riya Sen, Sayali Bhagat, Neha Dhupia, Vatsal Sheth, Delnaz Paul, Johny Lever, Paintal, Asrani, Viju Khote, Inder Kumar

Movie Reviews
Never judge a book by its cover. But we do! We tend to get carried away by eye-catching promos that a film-maker unleashes prior to a films release. We act in haste, rush to a nearby cineplex and soon realise that the best parts were actually highlighted in the promos itself.

Thats exactly what you feel when you watch PAYING GUESTS, helmed by first-timer Paritosh Painter.

Comedy is serious business and Paritosh Painter ought to know this by now, since he has successfully directed a number of plays in the past. Sadly, PAYING GUESTS stands on a waferthin plot, although Paritosh tries hard to add meat to the skeletal body. The film doesn have the power to hold your attention for the next 2 hours, although it does [intermittently] make you smile or break into a guffaw.

Earlier too, weve had our macho men getting disguised as girls [Rishi Kapoor and Paintal in RAFOO CHAKKAR were hilarious], but PAYING GUESTS tries so hard to tickle your funny bone, but falls flat.

Final word? This comedy is more of a tragedy... for its viewers!

What happens when four fun-loving boys [Shreyas Talpade, Jaaved Jaffrey, Ashish Chowdhry and Vatsal Sheth] begin a crazy house hunt? In the search for a new accommodation, these crazy friends manage to convince their crazier landlord Ballu [Johny Lever] to keep them as paying guests, but Ballu has one condition, i.e. he wants only couples.

PAYING GUESTS may be a remake of a play, but it also bears a striking resemblance to Sachins super-successful Marathi film ASHI HI BANWA BANWI. PAYING GUESTS starts off very well, but runs out of fuel in its initial 30 minutes itself.

You do laugh aloud initially and expect to wear a smile on your face all through the film, but the smile turns into a smirk gradually. Actually, the on-screen characters laugh all the while, not the audience.

PAYING GUESTS fails to deliver thanks to a poor screenplay. Barring the four heroes and the landlords [Johny Lever and Delnaaz Paul], the remaining characters in the film just don work. The four leading ladies have nothing worthwhile to do and even the negative forces here [Chunkey Pandey and Inder Kumar] are wasted.

The climax - in a theatre, with every character doing a spoof - is a straight lift from JAANE BHI DO YAARO.

Paritosh Painter had an interesting idea on hand, but the writing plays the villain here. Sajid-Wajids music is a ear-sore. Barring Jack & Jill, the remaining songs lack energy. Visually, the film looks good, with the locales of Bangkok and Pattaya adding freshness to the enterprise.

Of the cast, Shreyas is the best, followed by Javed, then Ashish and then Vatsal - in that order. The leading ladies don have much to do, but Celina and Neha are most noticeable. Riya and Sayali Bhagat don get any scope. Johny Lever is in form and so is Delnaaz Paul. Chunkey Pandey is alright, while Inder Kumar is wasted. Asrani stands out, while Viju Khote and Paintal are okay.

On the whole, this paying guest is just not welcome!

Movie Reviews > Lets Dance

Producer	Dr. Arvind Patel
Director	Aarif Shaikh
Music Director	Vipin Mishra, Tarali Sharma
Cast	Gayatri Patel, Maser Aabhaas, Paras Arora, Aquib Afzal, Ajai Chowdhary, Nikunj Pandey, Anjan Srivastava, Sugandha Garg, Asif Basra, Abhaas Yadav

Movie Reviews
Just last week, Vashu Bhagnani showcased his son Jackky Bhagnanis acting skills in KAL KISSNE DEKHA. This week, another father - Arvind Patel - attempts to showcase his daughter Gayatri Patels dancing skills in LETS DANCE, directed by Aarif Sheikh. Come to think of it, such launch pads often act as a showreel for furthering the career in Bollywood. In that respect, LETS DANCE succeeds... to an extent.

But theres a hitch! The film bears an uncanny resemblance to Ramgopal Varmas immensely likable RANGEELA and Yash Rajs utterly forgettable AAJA NACHLE. No issues if LETS DANCE seeks inspiration from elsewhere [coincidence?], but in an effort to showcase Gayatris dances, the remaining aspects take a backseat. The dances appeal, but the love story doesn . And the crime angle, injected in the plotline, is a big bore.

Lets be specific. Gayatris dances are a treat [she dances exceptionally well], but her love interest cuts a sorry picture. The street childrens connection with a crook also seems unwarranted.

In a nutshell, LETS DANCE will be best remembered for Gayatris exuberant dances. Thats it!

LETS DANCE is about a girl who gives direction in life to a group of street kids. Young and peppy, she is a dancer who runs her own dance school and plays the catalyst in the story. She comes in contact with a bunch of street kids and hence, begins a journey she believes in.

Editor-turned-director Aarif Sheikh has shot the film well, but he couldve done with a tighter script. Music is a plus point, but what stays with you is the choreography of all songs, especially Taare Todh Ke La.

Gayatri Patel is a fine actress and her dancing skills catch your attention. The two heroes don cut ice, but the kids do, mainly the eldest kid who talks and behaves like a real tapori.

On the whole, LETS DANCE is too ordinary, with its share of limitations.

Movie Reviews > Kal Kissne Dekha

Producer	Vashu Bhagnani
Director	Vivek Sharma
Music Director	Sajid, nWajid
Cast	Jackky Bhagnani, Vaishali Desai,Rishi Kapoor, Archana Puran Singh, Irrfan Khan, Javed Jaffrey, Juhi Chawla, Shahrukh Khan Sanjay Dutt, Abhishek Bachchan, Rachna Shah, Kunal Kumar, Nushrat Bharucha, Akshay Kapoor

Movie Reviews
If you could see the future, wouldn you first use it to your advantage? It seems like many are thinking futuristic nowadays, which is a good thing. But the irony is, be it AA DEKHEN ZARA or 8 x 10 TASVEER, the genre wasn well exploited on screen. KAL KISSNE DEKHA too falls short of expectations.

KAL KISSNE DEKHA walks on a tight rope. The writers couldve explored the concept to the optimum, making their imagination run wild. But what eventually unfolds is just not exciting. It catches your attention at times, but gives away later.

KAL KISSNE DEKHA is meant to be the launch pad of Jackky Bhagnani. Yes, he can act. And as we know by now, he can dance exceptionally well too. But how one wishes the debutante had the backing of a solid script.

Nihal Singh [Jackky Bhagnani] from Chandigarh is a seemingly simple yet unconventional boy. He talks too much, questions everything and builds complicated gadgets in his spare time. He has a brilliant mind and an oddball sort of charm. He adores his mother, has dreams of studying in the most elite institute of science and always looks for big ideas in small things.

But Nihal has a secret...

When Nihal is accepted into his dream college in Mumbai, he is over the moon, College is a whole new world, full of color, new people and new challenges to be met. Initially, nobody takes him seriously. He is ragged by his seniors, insulted by the girl he likes and so on.

Nihal, however, slowly wins them over. The girl Nihal likes is Meesha [Vaishali Desai]. She is the spoilt brat of the college. She is proud, rude and rolling in money. And she cannot accept that Nihal is managing to charm everyone. Including Professor Verma [Rishi Kapoor], the warden of the college.

Professor Verma is fascinated by Nihals unique mind and agrees to become his mentor. Suddenly Nihals world is rudely interrupted. Nihal gets visions of Meesha being in danger. He saves her life and his secret is revealed. The media and TV channels are all buzzing with only one news: Nihal can see the future.

Meesha softens towards him and love blooms. But how long will the peace last? What Nihal doesn know is that someone is trying to use his gift against him. In his innocence, he is manipulated and his visions become a tool.

Director Vivek Sharma showed tremendous promise in his debut film BHOOTHNATH, but hes not in form in KAL KISSNE DEKHA. The reason is simple. The film just doesn hold your attention in most parts. Too many things seem to be happening here, but not all excite. Whats more, several questions remain unanswered till the end, by the writers.

The film lacks the fun that one normally associates with a campus fare. Even the climax leaves a lot to be desired. Further, the bullies who befriend Nihal Singh disappear after their stint. Why? Moreover, Ritesh is wasted. His characters aim was to evoke laughter, which just doesn happen. If the initial portions at least look interesting, the film slides downwards towards the second half.

Sajid-Wajids music caters to the popular variety. The score is very energetic. At least three tracks are worth humming. The picturisation of every song is eye-catching, with the makers going out of their way to give the film a grand look. Cinematography [Johny Lall] is excellent. All the eye-pleasing locales have been perfectly exploited.

Jackky is a debutante to watch. Given the right script, this boy can work wonders. The chemistry between Jackky and Vaishali is perfect. Vaishali is a confident debutante, who acts her part well. Rishi Kapoor is, as always, in form. Ritesh Deshmukh is wasted, although he seems to have acted with a lot of sincerity. Rahul Dev is alright. Akshay Kapoor disappears suddenly. Archana Puransingh and Satish Shah justify their parts well. Sanjay Dutts surprise appearance goes unnoticed.

On the whole, KAL KISSNE DEKHA has a great body [grandiose production values], but lacks soul. Given its slow start, the film will have to rely on word of mouth to attract the youth, its target audience, during its opening weekend.