Movie Reviews > Dil Kabaddi Movie

Producer	Shailesh Singh
Director	Anil Sharma
Music Director	Sachin Gupta
Cast	Irfaan Khan, Soha Ali Khan, Konkona Sen Sharma, Rahul Bose, Payal Rohatgi

Movie Reviews

Till sometime back, the three-letter word, sex, was considered taboo on the Hindi screen. But its out of the closet now. DIL KABADDI goes a step further -- it takes you inside the bedroom of two couples and makes you listen to the bedroom chat that they indulge in, bringing the sex lives out in the open.

Heavily inspired by Woody Allens 1992 film HUSBANDS & WIVES, DIL KABADDI is bold and piping hot for the Indian audiences. The question is not whether Indian audiences are ready for a theme like this. The question is, does the script hold your attention for the next 2 hours? Sadly, it doesnt!

DIL KABADDI has no plot as such and debutante director Anil Senior adopts an abstract style of storytelling. Its more of an assemblage of assorted incidents and individualistic sequences. At several times, the characters keep talking to the camera, talking of their feelings, fantasies and thoughts.

DIL KABADDI works in bits and spurts, but not in totality. The script suffers mainly because theres no beginning, no middle, no end. Just assemblage of assorted sequences!

DIL KABADDI is a marital comedy that delves into the lives of two couples who are caught in the web of post-marital boredom. How the couples deal with an irresistible temptation of lurking out of the relationship for some fun is what the film explores. Its essentially a take on some urban relationships.

Theres tremendous shock-value in DIL KABADDI. Just about everything related to the sex life is discussed in this film. A few sequences do register an impact, like the one when Irrfan goes out on a date with his office colleague and ends up doing shirshasana. Also, Rahul Boses student demanding a passionate kiss on her birthday. And the sequence at the party when Payal Rohatgi ends up giving aerobic lessons to some senior citizens... But after a point, the narrative gets monotonous and worse, verbose.

Music is strictly functional. Cinematography is striking, especially the hand-held camerawork, which is wonderful.

DIL KABADDI is rich in performances and thats because of the presence of such accomplished actors. Irrfan Khan is in terrific form. Soha Ali Khan is getting better and better. Shes excellent! Rahul Bose is fabulous. Konkona Sen Sharma is brilliant. Rahul and Konkonas scenes are amazing. Rahul Khanna is first-rate. Payal Rohtagi is good. Saba, as Rahuls student, is a complete natural.

On the whole, DIL KABADDI has shock-value, but not a strong plot to leave an impact. At the box-office, it caters to a niche audience. Its a film for a handful of multiplexes in a handful of cities. At most places, this Kabaddi will run out of breath. Strictly for adult viewing!

Movie Reviews > Ek Vivaah Aisa Bhi

Producer	Kamal Kumar Barjatya, Tarachand Barjatya, Rajkumar Barjatya, Ajit Kumar Barjatya
Director	Kaushik Ghatak
Music Director	Ravindra Jain
Cast	Sonu Sood, Isha Koppikar, Alok Nath, Smita Jaykar, Srivallabh Vyas, Anang Desai, Vishal Malhotra, Chhavi Mittal, Amrita Prakash, Kunal Kumar, Daman Baggan, Ritu Vasishtha, Jaya, Bhattacharya, Anand Abhyankar, Gargi Patel, Amrit Kaur Chawla, Prashant Kumar Amey Pandya, Baby Ishita Panchal, Mushtaq Khan

Movie Reviews
Some things can never change. And never will! One may have a very modern outlook towards life, but most of us continue to be very traditional at heart. Every Rajshri film is rich in emotions and mirrors the traditions and culture with utmost simplicity and understanding. EK VIVAAH... AISA BHI is no exception!

The present-day adaptation of Rajshris own classic TAPASYA [Raakhee, Parikshit Sahni], EK VIVAAH... AISA BHI is a simple story of sacrifice that aims at pulling your heart strings. Every Rajshri film works for two reasons -- the storyline and strong emotions -- and EK VIVAAH... AISA BHI follows the tradition well.

Of course, a story like the one in this film may seem regressive to the multiplex junta of metros, but the fact remains that cinema is all about narrating stories and EK VIVAAH... AISA BHI has a strong story to tell. Besides, therere ample moments in this film that strike a chord, that touch the core of your heart, that make you moist-eyed. And thats where this film scores big time.

Its really disheartening to note that family sagas have actually disappeared from the face of Hindi movies. Come, watch EK VIVAAH... AISA BHI with your family and re-connect with your roots!

Chandni [Isha Koppikar] belongs to a middle class family, living in one of the tiny bylanes of Bhopal. She lives with her father and younger siblings -- Anuj [Master Amey Pandya/Vishal Malhotra] and Sandhya [Baby Ishita Panchal/Amrita Prakash]. Chandni, who is deeply attached to her school-going brother and sister, is trained in classical and folk music. During a stage performance, she falls in love with Prem [Sonu Sood]. Prem hails from a rich business family.

Life is picture perfect, until on the day of their engagement, Chandnis father [Alok Nath] passes away. Suddenly, she becomes the eldest in her family. On one hand, her mehendi adorned hands beckon her to the dream home of her fiancé. On the other hand are her younger siblings whom she cannot take along. Chandni decides not to marry, so that she can raise her little brother and sister with self respect.

Prem understands her and waits for Chandni for twelve long years, until she fulfils all the responsibilities as an elder sister.

Debutante director Kaushik Ghatak [a known name on television circuit] remains faithful to the subject material and most importantly, captures the sensitive moments well. The tale of sacrifice has been witnessed time and again, but it works only if the characters make you cry, even weep. In the latter part of EK VIVAAH... AISA BHI, you cant stop tears rolling down your cheeks at several points in the story, especially the Raksha Bandhan sequence and towards the end, when the brother returns with his wife. Rajshri has placed ample trust in Ghatak and the debutante doesnt let you down one bit.

On the flipside, the music [Ravindra Jain] couldve been better. Mujhme Zinda Hai Woh is the only track that merits a mention. Also, too many songs in the first hour put you off after a point. Dialogues are good at places.

Both Sonu Sood and Isha Koppikar vie for top honours. Sonu is restrained, mature and acts the part well. Isha is first-rate, exuding simplicity and strength that this character demands. Alok Nath is very good. Ditto for Vallabh Vyas and Smita Jaykar. Vishal Malhotra springs a surprise. Hes excellent. Chhavi Mittal is effective as the sister-in-law. Amrita Prakash doesnt get much scope. Anang Desai is okay.

On the whole, EK VIVAAH... AISA BHI is akin to a delicious Indian thali in times of Pastas and Pizzas. You may opt for international cuisine at times, but Indian food, for an Indian at heart, would never go out of vogue. At the box-office, expectedly, the film may start slow, but it has the merits to climb the ladder with each passing show. The strategy of releasing the film at single screens and that too at limited centres makes wise business sense, since EK VIVAAH... AISA BHI is not the multiplex kind of movie. Business at single screens of Gujarat, Uttar Pradesh, Rajasthan, Madhya Pradesh and Bihar should be the best.

Movie Reviews > Golmaal Returns

Producer	Dhilin Mehta
Director	Rohit Shetty
Music Director	Pritam, Vishal-Shekhar, Ashiesh Pandit
Cast	Ajay Devgan, Kareena Kapoor, Tusshar Kapoor, Shreyas Talpade, Anjana Sukhani, Arshad Warsi, Celina Jaitley, Amrita Arora,

Movie Reviews

Two years ago, Rohit Shetty came up with a breezy entertainer GOLMAAL, which, most people agree, is the capable directors finest work to date. The comic scenes hit the right notes and buttons. Perhaps, that mustve prompted its producers [Shree Ashtavinayak] and Rohit to continue with the GOLMAAL series.

But GOLMAAL RETURNS treats the viewer like a nitwit, with zero brains. No-brainer laughathons have worked in the past and people have catapulted these films to must watch again and again category. But GOLMAAL RETURNS is simply unbearable!

35 years ago, the Kiran Kumar - Radha Saluja comedy AAJ KI TAZAA KHABAR [1973] is the inspiration for GOLMAAL RETURNS. No issues with that, its an interesting concept. But screenplay writer Yunus Sajawal makes a mincemeat of the material, so much so that your head starts aching after a point and you want to tear your hair in disgust.

Seriously, what was the writer thinking when he came up with a pathetic screenplay? And how did a talented director like Rohit Shetty agree to ride on it? And how could an accomplished actor like Ajay Devgan green signal this enterprise? Questions, questions, questions...

GOLMAAL RETURNS was never meant to be a thinking mans film, but the attitude is, no-brainer comedies have worked and this one will work too. To give the credit where its due, a few jokes/sequences involving Tusshar and Shreyas do bring a smile on your face, but in the absence of a tight screenplay, the film falls like a pack of cards.

Final word? Golmaal hai bhai script golmaal hai!

Gopal [Ajay Devgan], who lives with his wife Ekta [Kareena Kapoor], sister Esha [Amrita Arora] and brother-in-law Lucky [Tusshar Kapoor], gets stuck in a yacht after saving an attractive woman Meera [Celina Jaitly] from some goons. Both end up spending the night on the yacht and when he comes home the next day, his painfully suspicious wife, who is also a hardcore fan of the saas-bahu serials, smell fish.

Gopal knows its going to be hard to quell her suspicion, so he concocts a cock-and-bull story about having stayed the night with a fictitious friend called Anthony Gonsalves. Ekta refuses to buy his yarn and writes to Anthony [on a fictitious address given to her by Gopal], asking him to visit her.

Gopal convinces his junior at work, Laxman [Shreyas Talpade], to pretend to be Anthony. Everything goes according to plan till the real Anthony turns up.

If that isnt complication enough for Gopal, a dead body is discovered at the location where he had saved Meera. The Investigating Officer, Madhav [Arshad Warsi], who is Eshas boyfriend and also who cannot stand the sight of Gopal, learns that the latter had been missing from home that eventful night and begins checking on him.

A sequel carries the baggage of humungous expectations. And you definitely expect GOLMAAL RETURNS to be a step forward. The makers had thundered, "GOLMAAL RETURNS is bigger, its better" and that raises the bar. But the film is such a put off.

Writer Yunus Sajawal takes an interesting premise, but instead of upgrading it, only downgrades it with lacklustre situations. The writing is so weak, so lifeless that after a point you sit motionless, looking at the goings-on mechanically, instead of being a participant.

A few sequences do entertain you, but theyre few and far between. Not enough to camouflage the defects. In view of the fact that the writing is so weak, theres not much that director Rohit Shetty can do to save the ship from sinking. However, the dialogues are howlarious. Music is not as inspiring. Tha Karke is the best track, while Tu Saala [well promoted] isnt there in the film and Meow comes during the end credits. And youre exasperated by then!

GOLMAAL RETURNS belongs to Tusshar Kapoor and Shreyas Talpade. Tusshar is terrific yet again, the real scene stealer, while Shreyas displays his comic side very well. Both, in fact, provide respite to the viewer. Ajay Devgan is likable. Kareena does the suspicious wife act well. Celina stays on your mind even after the show is over.

Arshad Warsi is relegated to the backseat. Amrita Arora is strictly okay. Anjana Sukhani gets no scope. Vrajesh Hirjee is alright. Sharat Saxena, Rakhi Vijan, Sanjay Mishra, Murli Sharma, Mukesh Tiwari and Ashwini Kalsekar fill in the blanks.

On the whole, theres tremendous curiosity to watch GOLMAAL RETURNS and the terrific promotion has only enhanced the excitement. But the film is a major letdown in terms of content. Barring a few jokes and gags, this GOLMAAL pales when compared to its first part. At the box-office, expect a terrific start for the film, but GOLMAAL RETURNS lacks the power to stand on its feet after the initial euphoria settles down.

Movie Reviews > Karzzzz

Producer	Bhushan Kumar, Krishna Kuma
Director	Satish Kaushik
Music Director	Himesh Reshammiya
Cast	Himesh Reshammiya, Gulshan Grover, Shweta Kumar, Bakhtiyaar Irani, Urmila Matondkar, Danny Denzongpa, Rohini Hattangadi, Dino Morea

Movie Reviews

Okay, so we all know what Subhash Ghais KARZ is all about, dont we? After all, its a film worth recollecting and recalling even after three decades of its first release. Ghai Indianised THE REINCARNATION OF PETER PROUD beautifully, packing just about every ingredient that makes a complete masala film. Satish Kaushiks interpretation of KARZ remains loyal to its predecessor.

Comparisons between the old and the new are inevitable. In fact, every aspect of KARZZZZ will be under a scanner, right from Rishi-Simi/Himesh-Urmila, the winning musical score by L.P./Himesh, the dramatic moments, et al. So lets come to the point right away, to the answer youve been waiting for. Is KARZZZZ worth the hype?

Lets get one thing straight. And this is very, very important and one shouldnt overlook this fact. This is a masala film; the makers never ever promised new-age cinema. Given the fact that KARZZZZ talks of punar janam, plus theres a dash of mythology, as also everything that goes into the making of an entertainer, just dont expect anything path-breaking from KARZZZZ. Also, dont expect KARZZZZ to pander to the tastes of the multiplex junta.


KARZZZZ is a hardcore masala film and if you relish the masala entertainers of yore, go ahead, you would relish Satish Kaushiks interpretation of KARZ as well.

KARZZZZ has the soul of KARZ, but theres a twist in the tale. You can say that writer Shiraz Ahmed hasnt picked up the script in entirety. He has added a new twist to the tale [the KARZ loyalists might call it tampering], which may find its share of advocates and adversaries.

Another reason why KARZZZZ works is the kind of energy and confidence Himesh radiates. In AAP KAA SURROOR, he played himself, Himesh Reshammiya. In KARZZZZ, hes Monty. He has to look the character, but most importantly, he has to act. And surprise, surprise, surprise, Himesh gets the demanding role right.

Himesh may not have the charisma of SRK, he may not be talented like Aamir, he may not be dashing and debonair as Salman and Akshay, but you cant turn your eyes away from the fact that he has oodles of confidence and that makes the job easier. Also, comparisons with Rishi Kapoor are inevitable. Well, Rishi Kapoor was matchless and KARZ continues to remain a shining medal to this date, but even the harshest of critics would agree that Himesh is here to stay.

Any shortcomings? Oh yes! The twist in the second hour may not work with those who swear by the original. Besides, a few characters, like Sir Juda and the one enacted by Raj Babbar have been royally ignored.

Yet, all said and done, KARZZZZ has the potential to strike gold, winning the hearts of the aam junta -- its target audience. Watch it as a homage to the cinema of 1980s and therere bright chances that you would root for the new Monty as well. Simply put, go for it!

Monty [Himesh Reshammiya] is an extremely successful Rock Star based in South Africa. During one of the many parties he attends, he meets Tina [Shweta Kumar]. For Monty, its love at first sight. Later, during one of his shows, Monty starts playing a tune and suddenly goes into a trance, with intense visual flashes -- a mansion, a temple, a beautiful girl... Monty collapses.

On further probe, he finds out that the mansion belonged to a certain Ravi Verma [Dino Morea], who died in a tragic accident. Another flash reveals that Monty was Ravi Verma in his previous life, married to a beautiful girl called Kamini. From here starts Montys new journey…

Satish Kaushik is a veteran when it comes to remakes. And Satishs expertise shows at several valid points. The sequence between Dino and Urmila at the very start makes you tighten your seat belts. Thereafter, the love story between Himesh and Shweta charters the predictable path, but you sit up once Urmila makes a re-appearance.

Post interval, the sequences between Himesh and Urmila are worthy of note. Ditto for a few more sequences -- Himesh re-uniting with his mother; it brings tears to your eyes. Again, the penultimate 25 minutes [starting with the song Ek Hasina Thi] are excellent. Director Satish Kaushik walks on a tight rope and manages to pull it off. Shiraz Ahmed has updated the script well. Dialogues, especially those between Himesh and Urmila, are well worded. Manoj Sonis cinematography is striking. Also, the DOP does justice to the lush locales of South Africa and Kenya.

Its a Himesh show all the way. His music caters to the popular tastes. In fact, the songs are already a rage and the tracks are a visual treat as well. As an actor, Himesh strives to look the part and succeeds. He has lost weight, his styling [Roopa Chadha] is perfect and as an actor, he takes giant strides. Urmila is top notch. In two scenes mainly. One, at the very outset. Two, towards the end, when she confronts Himesh.

Shweta Kumar is a pretty face, but theres not much meat in her character since the story primarily revolves around Monty and Kaamini. Dino Morea leaves a mark. Danny Denzongpa is ideal for the part. Gulshan Grover is wasted. Ditto for Raj Babbar. Rohini Hattangadi and the actress enacting the role of the sister are good. Bakthiyaar Irani acts well. Asrani provides some light moments. Himani Shivpuri is alright.

On the whole, KARZZZZ is rich in entertainment. Himeshs tremendous popularity amongst masses, its chartbusting musical score and the fact that its a remake of a much-loved film will only lure masses in hordes. Besides, its an open ground for KARZZZZ at the ticket window, what with the euphoria of all past releases having dried up. At the box-office, the film should fetch a thunderous start and in due course, should be amongst the biggest achievers of the year in terms of business. Reincarnation themes have a super-successful track record, right from KARZ to KARAN ARJUN to OM SHANTI OM. Now add KARZZZZ to this list. Damn the pseudo critics who even rubbished KARZ three decades ago. Go by your instinct and have a blast!

Movie Reviews > Hello Movie

Producer	Paul Parmer, Funky Buddha Media
Director	Atul Agnihotri
Music Director	Sajid-Wajid
Cast	Sohail Khan, Sharman Joshi, Dalip Tahil, Suresh Menon, Sharat Saxena, Isha Koppikar, Gul Panag, Amrita Arora

Movie Reviews


Some stories are interesting to read. They may be bestsellers, no arguments on that. But cinema is a different medium altogether and not all stories are cut out for cinematic adaptations. Thats the problem with HELLO.

Wait, theres one more hiccup. The screenplay, credited to Atul Agnihotri and Chetan Bhagat, lacks the power to hold your attention from start to end, barring a few stray moments in the second hour.

Based on Chetan Bhagats book One Night @ The Call Centre, HELLO makes an attempt to peep into the lives of those working at call centres, but things are presented in such an amateurish manner that it fails to cut ice.

Perhaps director Atul Agnihotri wanted his second directorial venture to be a complete departure from stereotypical movies, but, believe it or not, theres hardly any story to tell in the first hour. Defining character sketches of the principal players should constitute maximum 15 odd minutes of the film. You dont devote your entire first hour to it.

Post interval, theres some movement in the story, but not enough to take the film to a different level. Even the culmination is so filmy. Suddenly, everything seems to be going right for the call centre personnel. Its a screenplay of convenience!

So whats the verdict then? There are good films and there are bad films. HELLO is neither good, nor bad. Its just boring!

HELLO talks of the events that happen in one night at a call centre. Shyam [Sharman Joshi] is losing his girlfriend because his career is going nowhere as he trudges his way around in a call centre. His girlfriend, Priyanka [Gul Panag], also works at the call centre, but her mother [Bharti Achrekar] wants her married to a wealthy NRI.

More people in the story: An aspiring model, Esha [Isha Koppikar], is hoping for the break that seems to be eluding her... Varun aka Vroom [Sohail Khan] loves Esha, but shes more focused on her career... Radhika [Amrita Arora] is constantly at the receiving end of her mother-in-law. Even her husband [Arbaaz Khan] is having an affair... A beleaguered grandfather, Military Uncle [Sharat Saxena], has been barred from interacting with his grandchild.

These call centre agents see their worlds crumbling around them. And then theres a call from God...

The screenplay tends to get so amateurish at times that you actually want to ask the writers, Hello, do you know the basics of screenplay development? Also, the call centre personnel look more like a bunch of college kids, while the Americans, calling up call centre executives to sort out their problems, come across as nincompoops.

Saddled with a poor screenplay, theres not much that director Atul Agnihotri can do to salvage the show. Sajid-Wajids music is pleasant. The Salman song at the very outset, Bang Bang, and Karle Baby Dance Dance are energetic. Sanjay F. Guptas cinematography is alright.

Talking of actors, Sharman and Sohail are the pick of the lot. Sharman stands tall even in a tacky script like this, while Sohail is gradually getting into the groove. Amrita, Isha and Gul are okay. Arbaaz Khan is hardly there. Sharat Saxena is wasted. Dalip Tahil is unintentionally funny. Suresh Menon is unbearable.

Salman Khan looks haggard, as if he has been woken up from his sleep. The eye bags and double chin are too evident. Besides, the actor has been given main prominence in posters/billboards, but the fact remains that hes hardly there for a song and scene at the start, a brief scene at the interval and a scene and promotional video at the end. Katrina Kaif looks angelic, but even she has a 5-10 minute role.

On the whole, HELLO is a poor show. At the box-office, it has no chances whatsoever!

Movie Reviews > Heroes Movie

Producer	Hiroo Johar, Karan Johar
Director	Bharat Shah, Sameer Karnik, Vikas Kapoor
Music Director	Monty Sharma, Sajid-Wajid
Cast	Salman Khan, Sunny Deol, Bobby Deol, Dino Morea, Rekha, Riya Sen, Vatsal Seth, Mithun Chakraborty, Preity Zinta, Sohail Khan, Amrita Arora

Movie Reviews

og your memory a bit. Samir Karniks first two movies [KYUN HO GAYA NA, NANHE JAISALMER] have been critical and commercial disasters. But Samir has assembled an impressive cast for his new outing HEROES. The billboards look really impressive. You think, chalo, dekhte hain, will Samir deliver this time? Will his fortunes change for better? Come to think of it, you saunter into the auditorium with zilch expectations. HEROES is an underdog.

Before we delve any further, lets clear a few misconceptions pertaining to this film. Just because the promos highlight the men in uniform, it doesnt mean HEROES is a war film. Sure, it talks about love for the nation, but HEROES is not anti-Pakistan, is not jingoistic either, is nowhere close to BORDER, LOC and the likes, in terms of content.

HEROES talks about a journey undertaken by two boys and the three letters theyve to deliver to the families of the deceased. HEROES is more of an emotional experience, how each family copes with life after their beloved has become a martyr.

Besides evoking strong emotions, HEROES also arouses strong patriotic feelings. Therere moments in the film that compel you to salute those who guard our nation, so that we can sleep in peace. At the end, the message it delivers is simple -- You dont have to be a soldier to love your country.

Back to the two pertinent questions we raised at the outset. Question 1, Does Samir deliver? HEROES is a revelation. Cinema is all about narrating stories and Samir proves that hes a proficient storyteller. Question 2, will he prove lucky this time? Well, HEROES has all it takes to strike a chord, with family audiences mainly. The moments linger in your memory much after the show has concluded.

Final verdict? HEROES salutes the heroes who guard our nation. Its a powerful film. A moving experience!

HEROES is the story Sammy [Sohail Khan] and Ali [Vatsal Sheth] who travel a thousand miles to deliver three letters as a part of their film school assignment. But little do they know that the journey they have embarked upon will give a new meaning to their life.

HEORES unfolds in three chapters. But before that you get to see the wild side of two misled youth who dont take life seriously. The first chapter, Salman-Preity, is the highpoint of the film. The emotional moments in this chapter are worth applauding. Note the moments between Salman-Preity and also between the kid [Dwij Yadav] and the two youth. The scene at the Indo-Pak border -- the fence dividing the two nations -- is amazing. Watch Preity missing her husband and also embracing his uniform. Another brilliant stroke! This chapter deserves a 10 on 10 for its high emotional quotient and captivating performances.

Chapter 2 is slightly less impactful than Chapter 1. The portions between Sunny and Bobby are well executed, but the writing isnt as compelling. Yet, the fight sequence -- when a group of hooligans act smart with Sunnys girlfriend [Hrishitaa Bhatt] -- is superb. Sunnys dhai kilo ka haath and the way it shatters the tiles on the floor leaves a strong impact. Watch this sequence with the masses and youd only hear whistles and claps. Another scene from this chapter -- Sunny paying his last respects to Bobby -- is moving.

The third chapter [Mithun, Dino] is the softest link. Nothing wrong with the writing or its execution, but something is missing, the pace suddenly dips. The match in the end works mainly because it has been edited well.

Samir Karnik takes giant strides as a storyteller. Binod Pradhan and Gopal Shahs cinematography is top notch. The DOPs have done complete justice to the panoramic locales of North India. Sajid-Wajids music is a major asset. Mannata is the pick of the lot. What a soothing composition! Ditto for Makhana [filmed on Sunny, Bobby]. Dialogues are magnificent at places.

The ones who leave the maximum impression in this multi-starrer are, in this order, Salman [superb; one of his finest works], Preity [outstanding; has spoken Punjabi so fluently], Sohail [pleasant surprise; evolving into a very fine actor], Sunny [very likeable] and Mithun Chakraborty [mature]. Bobby is effective in a cameo. Wish he wouldve got more footage. Vatsal Seth is decent. Dino is just about okay. Dwij Yadav is first-rate. Prateeksha Lonkar is fair. Amrita Arora and Ria Sen are passable.

On the whole, HEROES is a genuinely well-made film with strong emotions as its trump card. At the box-office, the pre-Diwali dull phase notwithstanding, it has the merits to climb the ladder with a strong word of mouth. The film deserves to be tax-exempted for its noble theme and noble intentions.

Movie Reviews > Welcome

Cast	Akshay Kumar, Katrina Kaif, Nana Patekar, Anil Kapoor, Feroz Khan, Paresh Rawal & Mallika Sherawat.
Producer	Firoz A. Nadiadwala
Director	Aneez Bazmee
Music Director	Himesh Reshammiya, Anand Raj Anand

Movie Reviews

Welcome to the crazy, mad, funny, outlandish, outrageous, zany world of WELCOME, directed by Anees Bazmee, who gave us the rib-tickling NO ENTRY. Bazmee is a veteran when it comes to leave-your-brains-at-home comic capers, having penned and helmed non-stop laughathons in the past.

The question is, does WELCOME make you break into guffaws? The question is, does WELCOME measure up to the mammoth expectations surrounding it? The question is, will WELCOME be as big a hit as NO ENTRY?

WELCOME follows the same path as David Dhawan and Priyadarshan movies. The mantra is simple: Lock your brains at home, throw your worries out of the window for the next 2 hours and get ready to embrace a world where logic and sense have no place… In short, WELCOME remains faithful to the genre from start to end. Bazmee borrows a bit from the likable Hugh Grant starrer MICKEY BLUE EYES [also bears an uncanny resemblance to SHAADI SE PEHLE] and adds loads of Indian masala to make the proceedings spicy and tangy. Lo and behold! WELCOME succeeds in tickling your funny bone at most places. The humour is basic and even absurd, but it works well in a film like this.

To cut a long story short, WELCOME is one of those entertainers that deliver what it promises: Funny sequences, super performances and loads and loads of laughter. Without doubt, WELCOME will be welcomed with open arms by the aam junta!

Uday Shetty [Nana Patekar], Majnu [Anil Kapoor] and their boss, Sikander [Feroz Khan], are basically three Hong Kong-based serio-comic mobsters, who are keen to get Uday’s sister Sanjana [Katrina Kaif] married into a respectable family.

Uday, who accidentally meets the handsome bachelor Rajiv [Akshay Kumar], gets convinced that the latter would be an appropriate match for Sanjana. Meanwhile, Sanjana, who is totally unaware of her brother’s plans, also meets Rajiv separately and they fall in love. She has the acceptance of Dr. Ghunghroo [Paresh Rawal], Rajiv’s uncle, who is unaware of the fact that she is Uday’s sister.

When Dr. Ghunghroo realizes his faux pas, he decides against the marriage. The entire plot takes a U-turn when a stunning bombshell [Mallika Sherawat] arrives on the scene and claims to be Rajiv’s wedded wife, which only adds to the hullabaloo and chaos.

You realize you won’t need your thinking caps at the very outset. Note the introductory sequences of Nana Patekar, Paresh Rawal and Anil Kapoor. They set the mood of the film. Also, the first hour has several humorous moments and you enjoy the one-liners that the characters keep delivering every now and then.

The director makes sure to open three more surprises in the post-interval hour -- Feroz Khan, Mallika Sherawat and Vijay Raaz, who is introduced in the first half, but gets scope only in the second half. The sequences between Nana and Mallika and also between Anil and Mallika are truly funny. Also, the marathon portion at the funeral is sure to bring the house down.

Of course, there’re loose ends. The pace dips in the second hour, a few jokes seem repetitive and therefore, don’t evoke the required mirth. Also, the music could’ve been better. Only two songs come easy on your lip [the ones that are promoted], but the chartbusting quality is missing.

Bazmee’s direction does justice to the material. The director and his team of writers [Rajiv Kaul, Praful Parekh] don’t deviate from the core issue and pack the script with inane stuff, but the impact is so funny that you break into a hysterical laughter at places. The Kaul and Parekh jodi, known for writing a number of David Dhawan and Indra Kumar films in the past, are back in true form after a long time.

As mentioned earlier, the music is a mixed bag. ‘Uncha Lamba Kadh’ and ‘Tera Sarafa’ [Anand Raaj Anand] are the best tracks of the enterprise and the choreography of these numbers take them further, but the remaining songs are below average. Dialogues are laced with wit and enjoyable, especially those delivered by Nana, Paresh and Anil. Sanjay F. Gupta’s cinematography is striking. The locales of Dubai and South Africa give the film a grandiose look. The effects [especially in the climax -- the house collapse sequence] are tacky.

Although WELCOME boasts of a formidable star cast and every actor handles his/her part with effortless ease, the one who registers the maximum impact is Nana Patekar. Nana is in terrific form, the real scene-stealer. It’s a treat to watch this accomplished actor essay a role that’s in stark contrast to the ones he’s known for [intense, hard-hitting characters]. His comic timing is fantastic!

Akshay is equally competent. He looks every inch the seedha-saadha guy, who is torn between his lady love on one hand and the two factions [Paresh versus Nana, Anil & Co.] on the other. This film should find a prominent place in his repertoire.

Anil Kapoor comes up with yet another dhamaka. The actor compliments Nana beautifully and handles his role with precision. Paresh Rawal is superb yet again. He continues to make people laugh, even though he has consistently starred in umpteen funny movies.

Although the meatier scenes are reserved for the men, there’s no denying that Katrina gives her role the freshness that it demands. Also, she looks bewitching. Mallika Sherawat is electrifying. Although she makes an appearance in the second half, the confidence with which she carries her part is what works in her favour.

Feroz Khan is in form. Vijay Raaz is first-rate yet again. Supriya Karnik, Snehal Dhabi, Adi Irani, Mushtaq Khan and Sherveer Vakil are adequate. Suniel Shetty is there for a scene only; he’s okay.

On the whole, WELCOME is a fun ride all the way. The tremendous hype for the film has resulted in a tremendous start at the ticket window and the 5-day weekend as also the lack of biggies in the subsequent weeks will help WELCOME reach the ‘Smash Hit’ status in days to come.