[Movie Review] ~ Naye Film Ki Review ~

[Pukhtana_4_Lyfe]

Salam everyone.
Pukhtana here with a new thread . Aap ko title se pata chal gaya hoga.
Well in this thread we get to share film reviews . It will only be for film reviews ( Bollywood, Hollywood & Lollywood etc ).
So Lets Start.

Please avoid other conversations as this thread is only for Movie Reviews. Thanks.






Aaj Ki Film Review : U Me Aur Hum

The first time Ajay saw Pia, she served him drinks. She affected him more than the alcohol, and he found true love. He was a leading psychiatrist, but she messed up his mind.

The first time Pia saw Ajay, he had too much to drink. She watched him make a fool of himself, and was relieved when he passed out. She was a woman who followed her heart, but despite his claims of true love, she had made up her mind.

Thus began the story of Ajay and Pia.

A love story, that begins at sea. Ajay is on a cruise with his friends - Nikhil and Reena, unhappily married, and Vicky and Natasha, happily unmarried. Ajay is having a wonderful time dealing with martial strife, lots of bad language and huge hangovers, when he finds Pia, and time stands still. After a disastrous first meeting, Ajay tries everything to woo her. He wants her, by hook, crook or even her little private notebook. She's not an easy catch at all, but finally, by sheer perseverance, he dances his way into her heart.

Ajay and Pia develop a strong and special bond. In each other, they find an anchor. But the tide goes against them. Weighted down by lies and deceit, their boat is rocked, and their relationship drowns.

But even oceans cannot keep true love apart. Against better sense, Ajay waits for Pia. In Pia's case, better case prevails, and she comes back to him. With no doubt in their minds about the way they feel for each other, they rush into marriage, despite the advice and failing relationships of their friends.

Happy marriages begin when we marry the ones we love, and they blossom when we love the ones we marry. And Ajay-Pia, love each other dearly, and their marriage flourishes, setting an example for their friends.

But no marriages can be complete without problems, and Ajay and Pia have also have to face hurdles, some of which seem insurmountable. We are taught in school how to do sums, how to read and write, and how to conduct scientific experiments. But what do we really know about the greatest social experiment of all, namely our ability to keep the love alive in our marriage, especially in the face of crises?

But even as things get much worse, and sometimes unsolvable, Ajay and Pia don't give up. They realize that marriage is not a ritual or an end. It is a long, intricate, intimate dance together and nothing matters more than your own sense of balance and your choice of partner. And Ajay and Pia are used to dancing together.

So they battle all odds, and dance, and sometimes they fall. But every time they fall, they fall in love. And that's what a successful marriage requires. Falling in love many times, always with the same person.

This is the special love story of Ajay and Pia. There may be no monuments dedicated to them and perhaps their names will soon be forgotten. But in one respect they succeed as gloriously as anyone who's ever lived: They've loved each other with all their heart and soul; and in life and marriage, that has always been enough.

[Barbie Doll Jiya]

FILM REVIEW OF JODHA AKBAR

The timing of Ashutosh Gowariker’s Magnum Opus could not have been better. A love story set in the 16th century between the Mughal Emperor who ruled Hindustan (now India), Jalaluddin Mohammad Akbar, and a fiery young Rajput princess, Jodhaa. With love as the backdrop, and highlighting the Hindu-Muslim marriage of alliance culminating in love and respect for one another, a day after Valentine’s Day was an apt moment for its release. Moreover, with hate politics being on the agenda, the timing of its release could not have been better. JODHAA AKBAR surely comes as a soothing balm to every Indian. If watched closely, it sends a message loud and clear that country is above everything else, even self! For our warring politicians, for this message alone, this movie is worth many trips to the multiplex.
Viewed as a love story, it portrays beautifully, the defiance of Jodhaa, the Rajput girl who is asked to marry Akbar, a Muslim Emperor. Not one to bow down or suppress her voice, Jodhaa expresses two strong wishes to the Emperor. Only if he agrees will she marry him. The first being he will not force her to change her religion and the second; he will give her a place in his palace to have a temple of her own. Both wishes are granted!

Then comes the tough task of the Emperor trying to get close to Jodhaa. Slowly, she teaches him that winning battles is not everything... he learns to win her heart as well. For lovers, this is a beautiful rendition of a perfect love story.


Ashustosh Gowariker has outdone himself. This movie is a masterpiece, a complete interpretation of what the director has visualized. From costumes, to body language, to background score, to the songs, sets, manpower and lighting... Gowariker has everything spot-on. Cinematographer Kiran Deohans captures through his wide lens the glory of the Moghul Era recreated by Nitin Desai. A R Rahman uses the beat of huge drums to transport you to another era. Pure, acoustic delight. Ravi Dewan recreates the fights that have you on the edge of your seats, while Raju Khan, Rekha Chinni Prakash and Ash Kumar combine to give you some breathtaking dances to do justice to the costumes of Neeta Lulla. The choreography of the tracks Khwaja Mere Khwaja and Azeem-O-Shaan Shahenshah leave you awestruck.

Now, for the performances. The perfectionist that he is, Gowariker has taken pains to pick his entire cast and each one blends with the other to transport you back to an era gone by. Even the extras have been carefully picked.

Hrithik Roshan and Aishwarya Rai Bachahan in the lead role, contrary to beliefs, have come out looking super cool.
Both actors complement each other, and both have been given the space to build their characters. I would rate this as Aishwarya’s best performance to date. This is credit to a good director who knows how to extract a performance from his actor. As for Hrithik, he soaks in the moment and one can see him completely surrender himself to Gowariker. He has worked hard on his body language and dialogue delivery. He portrays well the qualities of Akbar. He may not be the perfect Akbar, but he does enough to relive the role of the Emperor; that of a gentle and tolerant ruler with a love for his subjects who even put his life on the line to save his country. His dialogue towards the end where he subjects himself to the might of Sharifuddin Hussain for a sword fight, 'Hum Hindustan ko galat haaton mein jaate nahin dekh sakta', draws a huge applause.

Considering the intricacies of the subject, I guess the three-hour plus length of the movie could not have been avoided.

TO GO OR NOT: Oh yes, politicians and lovers and all those interested in good cinema, a must watch. JODHAA AKBAR is sure to bag a host of awards at next year’s ceremonies.

[Inn0c3nt_Eyes]

Movie Review: One Two Three



One who has watched television serial 'Office Office' cannot easily miss a comedy coming from writer-turned-director Ashwini Dhir. His debut 'One Two Three' opened today at the box office. Being a tag of comedy the movie got quick response, but due to India - South Africa cricket match it has failed to get as much response as expected by the debutant director. Let's watch what special Ashwini Dheer brings to us with 'One Two Three'. This is indeed an improvement on other movies falling under this genre. The movie has both its originality and wit. In fact, it's mix of high as well as low quality of humor besides excellent performances from a number of the top star cast. So, the audience will certainly have a good time when watching it in theater and also for quite some time outside it.
'One Two Three' is a tale of three men from various parts of India, each having his own characterization and identity. It basically revolves around these very three men who share a common name Laxmi Narayan due to which various confusions start and the basic plot of the film is established. The story starts with the introduction of the three main characters as Laxmi Narayan 1, 2 and 3, wherein Laxmi Narayan 1 being played by Tusshar Kapoor is a young and aspiring emotional shooter from the underworld whose only aim is to fulfill his mother's dream of becoming the most popular don. Laxmi Narayan 2 being played by Suneil Shetty is an automobile salesman from Mumbai aiming in life to keep his boss happy> However, in the meanwhile he turns out a confused and annoying character.

[IMG]http://images.sma****s.com/reviews/2008/mar/28/review0328_inside2_small.jpg[/IMG] Laxmi Narayan 3 being played by Paresh Rawal is a small dealer of undergarments, which he sells in a mobile car on the streets of Chandni Chowk in Old Delhi. The story proceeds with the three of them reaching a single destination called Pondy for their three different jobs. While Laxmi Narayan 1 (Tusshar Kapoor) reaches Pondy on a mission to shoot somebody, Laxmi Narayan 2 (Suneil Shetty) is there to buy a vintage car from a beautiful and sexy girl called Laila (Sameera Reddy) who runs a used-cars showroom and Laxmi Narayan 3 (Paresh Rawal) reaches Pondy to select the designs for his new lingerie for Valentine collection from sweet and simple girl Jiya played by Esha Deol; she is an undergarments designer and needs the cash badly to save her late father's hotel from being taken over.

[IMG]http://images.sma****s.com/reviews/2008/mar/28/review0328_inside3_small.jpg[/IMG] It is now that the entire confusion starts with an exchange of three different envelopes for their different jobs as all of them have a common name of Laxmi Narayan. So, all of them reach a place. Incidentally, there's also a priceless diamond that everyone wants to obtain and underworld kingpin Bhai (Manoj Pahwa reveling in some fantastic one-liners) sends Laxmi Narayan (Kapoor) to bump off a hilarious don D'Mello (Mukesh Tiwari) for the diamond. A lady cop (Neetu Chandra) doing a Haryanavi accent adds to the fun. Thus, identities get crisscrossed and sweet confusion maintains over next few sequences. The story now is full of fun, comedy and laughter leading to a climax most unexpected.

[IMG]http://images.sma****s.com/reviews/2008/mar/28/review0328_inside4_small.jpg[/IMG]While talking about the characters of Laxmi Narayan trio -- Suneil Shetty, Tusshar Kapoor and Paresh Rawal - Paresh Rawal scores number one status while Suneil Shetty and Tusshar Kapoor score number two and three positions, respectively. Among female characters, Neetu Chandra stands ahead of others with Sameera Reddy and Esha Deol following her as number two and three. The director has given due respect to them even without any demand from feminists. This is all the more important in a comedy like this which deals with relatively light subjects. Esha has succeeded as a Tamil-spouting hotel owner and Sameera Reddy as showroom owner. Neetu Chandra hasn't left any stone unturned to justify her character.

[IMG]http://images.sma****s.com/reviews/2008/mar/28/review0328_inside5_small.jpg[/IMG]Technically, the filmmaker has badly failed in following the latest techniques. So, the movie looks as old as if made some ten years ago. This is indeed shocking, especially in view of the presence of an eminent comedian as Ashwani Dhir. This is all the more irritating that the movie's songs which are excellent and listenable are rendered and ended abruptly. They lack the pace. Except the title track and one or two other songs all the other songs are boring and nothing to do with subject. Songs like Gotta Rock Mahiya and the title song One Two Three are most enjoyable. Similarly, music by Raghav Sachar is good and lyrics by Aditya Dhar and Munna Dhiman are excellent indeed. Cinematography is average though. The movie's USP is its star cast.
Being a writer of comedy script debutant Ashwini Dhir has done his job up to the mark and needs a big round of applause.

Overall, the movie is good and worth watching entertainer.

[82ROCKER]

Film scripts are like rubber band. Try stretching the band beyond a point and it's sure to give away. The script of ANAMIKA suffers for this reason!

Director Ananth Narayan Mahadevan presents every sequence with utmost care till the intermission point. You're hooked, you're transported to the world of Mrs. Anamika Sisodiya, the character who continues to haunt everyone in this film, even after she's gone. You eagerly look forward to the twist in the tale.

Alas! What eventually unfolds, though filmed with the same sincerity, lacks conviction. It also fails to surprise you because midway through the journey, you know what the outcome would eventually be. It doesn't keep you guessing. And that's bad news for any thriller!

Frankly, a suspense saga works only if it is backed by a solid climax. In ANAMIKA, the tension gradually builds up till the climax, but the end is so tame, so contrived that you exclaim, 'Gosh! What was that?'


As a storyteller, Ananth almost gets it right -- he has handled the complex theme like a pro, even extracted convincing performances from his set of actors, has worked hard on maintaining the mood of the film from start to end -- but he's letdown by the writing in the second hour.

ANAMIKA tells the story of an escort Jia [Minissha Lamba], who gets married to Vikram Sisodiya [Dino Morea] after a 2-day courtship. Before marrying Jia, Vikram confesses that his first wife, Anamika, had died under mysterious circumstances.

Vikram and Jia fly to Vikram's ancestral home in Gajmer in Rajasthan. The home, a palace to be precise, is being looked after by Vikram's childhood friend Malini [Koena Mitra]. Now begins the story… Everyone in Gajmer seems to be obsessed with Anamika and Jia starts sensing it. In fact, Jia is constantly compared to Anamika. Worse, she even sees Anamika's spirit in the palace.

In a turn of events, Anamika's dead body is discovered and the police [Gulshan Grover, Dino's brother-in-law] re-open the case. All fingers point towards Vikram. Is he the murderer?

Loosely based on the novel 'Rebecca', ANAMIKA is a difficult subject to make. But after the initial hiccups, the director succeeds in involving the viewer in the mysterious world of Anamika. The backdrop of Rajasthan, the isolated palace and the reference to Anamika at every point only deepens the mystery. So far so good!

Almost the entire first half is executed with élan by Ananth, who's only grown as a storyteller over the years. But, as mentioned earlier, the writing [in the second hour] acts as a spoilsport. Without wanting to reveal the climax, let's just say that it's one of those tame and predictable endings that we've visited time and again.

Anu Malik's music is pleasant, but the songs [the ones filmed in Thailand] and the choreography in particular of these tracks don't really gel with the mood of the film. Pushan Kripalani's cinematography is alright. The stunning locales of Rajasthan, the production design [Gayatri Marwah] as also the styling is commendable. Aadesh Shrivastava's background score deserves special mention. It's excellent.

Dino Morea surprises you with a controlled performance. Also, he carries the regal look convincingly. Minissha Lamba is a revelation. She's getting better and better with every release. Koena Mitra is first-rate. Gulshan Grover is effective. Achint Kaur is highly competent. Vishwajeet Pradhan and Jatin Grewal are okay.

On the whole, ANAMIKA is letdown by its writing in the second hour. At the box-office, the not-too-interesting face-value coupled with the ongoing cricket mania will only go against it.

82ROCKER added 31 Minutes and 28 Seconds later...

82ROCKER added 4 Minutes and 17 Seconds later...

mr. white mr. black movie review


It's tough to make a comedy. It's even tougher to make people laugh. With MR. WHITE MR. BLACK you realize that director Deepak Shivdasani's intentions may be sincere, to make a full-on entertainer, but the film fails to transport you to ha-ha-land. It takes off with gusto, but the vehicle runs out of gas suddenly, leaving you stranded midway.

MR. WHITE MR. BLACK borrows heavily from the tried and tested stuff. There's a bit of GOPI KISHAN [Suniel Shetty's double role won praise then]. Plus, the usual masala that worked at a point of time. However, despite its uninspiring content, there's no denying that a few scenes do make you flex your facial muscles, even though the jokes are quite childish. Unfortunately, things take a complete U-turn in the second hour, with this comedy proving more of a tragedy for the hapless viewer.


In short, MR. WHITE MR. BLACK is a half-baked fare that tries too hard to entertain, but fails.

Gopi [Suniel Shetty], a simpleton, arrives in Goa from Hoshiarpur. His mission - to hand over a piece of land to his childhood friend Kishen [Arshad Warsi]. Kishen swindles people with a little help from his accomplice [Atul Kale], to earn enough money to educate his sibling Divya [Mahima Mehta], who's studying in London. Kishen, however, has managed to hide his profession from Anuradha [Rashmi Nigam] by cooking up an alibi of a twin brother, Hari, who's the bad guy.

Kishen avoids Gopi like he's bad news. He's not going to give up his flourishing business and travel to Hoshiarpur just to take possession of a measly piece of land. Meanwhile, diamonds worth Rs. 25 crores have been stolen by three girls, who are now holed up in Goa. Kishen traces the three girls and succeeds in robbing the diamonds. But the diamonds actually belong to a don, Laadla [Ashish Vidyarti], who has also reached Goa.

That Deepak Shivdasani has an eye for style is visible at the very outset, when the three girls perform a heist in broad daylight. The film actually starts off with a bang! A few portions thereafter are equally interesting, but the writing suddenly deviates into unwanted territories in the second hour.

Take, for instance, Suniel's character. He wants Arshad to return to Hoshiarpur to fulfill a promise, but the reasons don't come across strongly. Note another point. When the three girls realize that the diamonds have been robbed from their locker and they begin a search for Arshad, the story suddenly shifts to various sub-plots: The love interest, followed by the mandatory songs, another 15-20 minutes are devoted to Arshad's sister's marriage and much later, the original owner of the resorts [Sadashiv Amrapurkar] re-appears on the scene. The three girls eventually show up in the climax. Truly, the second half is chaotic!

Deepak Shivdasani shows a flair for comic fares, but is letdown by a hotchpotch screenplay. Music is equally ineffective. 'Samundar' and 'Gopi Kishan' are average compositions, but the remaining tracks are lackluster. Thomas Xavier's cinematography, surprisingly, lacks sheen.

Suniel Shetty repeats his act without any variation. Ditto for Arshad, who is livewire in some portions only. Amongst ladies, Anishka Khosla [resembles Preity Zinta from some angles] is an okay actress. But what is the talented Sandhya Mridul doing in a film like this? Rashmi Nigam looks pretty, that's it! Sharat Saxena is the only actor who stands out. Ashish Vidyarthi is loud. Shehzad Khan is funny. Vrajesh Hirjee and Upasana Singh's track is half-baked. Manoj Joshi deserved a better role. Sadashiv Amrapurkar and Atul Kale are passable.

On the whole, MR. WHITE MR. BLACK promises only a few moments of laughter, which isn't enough. At the box-office, an also-ran!

[Pukhtana_4_Lyfe]

Banner
B R Films

Status
Released

Color
C

Release Date
May 9, 2008

Language
Hindi

Genre
Drama / Children

Shooting Studios
Mehboob Studio

Producer
Ravi Chopra

Director
Vivek Sharma

Star Cast
Amitabh Bachchan...... Bhoothnath (Kailash Nath)
Juhi Chawla...... Anjali Sharma
Shahrukh Khan...... Special appearance
Aman Siddiqui...... Banku (Aman Sharma)
Priyanshu Chatterjee
Rajpal Yadav...... drunkard Anthony
Satish Shah...... Principal Irani
Neena Kulkarni
Aashish Vidyarthi
Nauheed Cyrusi...... Guest Appearance
Aashish Chaudhary...... Guest Appearance


Singers
Amitabh Bachchan
Armaan Malik
Koushtuv Ghosh
Aparnaa Bhaagwat
Shravan Suresh
Sneha Suresh
Sukhwinder Singh
Hariharan
Juhi Chawla

Lyricist
Javed Akhtar

Music Director
Vishal Dadlani
Shekhar Ravjiani
Salim Merchant
Sulaiman Merchant


Teaming two superstars [Amitabh Bachchan, Shah Rukh Khan] in your directorial debut is as good as impossible. Opting for a novel story -- the relationship between a spirit and a mortal -- is an equally big challenge. Really, it requires courage to make a film that defies the stereotype, yet is seeped in emotions that work with the Indian junta. Vivek Sharma's first outing BHOOTHNATH is a simple story, well told and that's why it works!

Aimed at kids between 6 and 60, BHOOTHNATH relies on the belief that has been passed on to us through generations: Aatma amar hain.

Let's get a few things straight at the very outset. BHOOTHNATH is not an eerie experience [it does have a few moments though]. It's more of a kiddie film with a strong undercurrent of emotions. In fact, the bonding between the spirit and the kid makes you smile, even laugh at times and most importantly, makes you moist-eyed at two vital points of this 2.08 hour film.

One of the prime reasons why BHOOTHNATH works, besides the above-mentioned reasons, is due to the right casting. The story rests on two shoulders -- the experienced [Bachchan] and the raw talent [Aman Siddiqui] -- and both shoulder the responsibility beautifully, both compliment each other wonderfully well and make it a must-see experience.

You forget most films the moment you step out of the cineplex. But there're films that remain etched in your memory for their simplicity. BHOOTHNATH is one of those films. Go for it!

[82ROCKER]

Comedies are the flavor of the season and more and more film-makers are following the formula re-invented by David Dhawan and Priyadarshan. Entertainment is the key word, while a logical story goes out of the window. Shashi Ranjan's new outing DHOOM DADAKKA tries to recreate the hungama and gets it quite right in the first hour as well, but it's on a slippery wicket thereafter.

Problem kya hain? Let's not look at the plotline, but the funny situations fail to evoke mirth. In fact, the entertaining moments don't work after a point. Unlike the first hour, which packs in quite a bit in terms of substance and laughs, things slide downwards soon after the intermission.

DHOOM DADAKKA could've created a mini-dhoom with its entertainment quotient, but the writers play the villain here!

An 'All Asian Bhai Meet' is being held in Bangkok. The agenda is to discuss and assess the falling sensex of 'Bhaigiri' in Asia. In the discussion, a rival Don of Mungi's [Anupam Kher], Fursat Lala [Gulshan Grover], proposes an ambitious plan for a piece of land in Alibagh and puts across a valid argument that it is important to have a waaris, the new generation, to improve matters. Since Mungi has no waaris, it is only logical that the next man, i.e. Fursat Lala should be made the new Don.

Mungi assures the syndicate that he has a waaris, who he will present before the syndicate and asks for a month's time to do the same. Now Mungi and his friend Jignesh [Satish Shah] set out to trace Mungi's estranged sister Angoori [Bhavana Balsawar], whom Mungi had thrown out years back because she wanted to marry a music teacher. One of the letters reveals that Angoori did give birth to Kamal. Mungi is thrilled and resolves to hunt his waaris in Mumbai, where he comes across a detective, Johnny English [Satish Kaushik], who promises to find Kamal.

Through his weird ways, Johnny English gets hold of an NRI [Sammir Dattani], who claims to be Kamal. Johnny takes him to Bangkok but, to his shock, finds another guy [Shaad Randhawa] there, who also claims to be Kamal. While this confusion is on, Shivani [Aarti Chhabria] arrives on the scene claiming to be the real Kamal.

A confused Mungi asks all of them to stay in the house till he arrives at a decision as to who the real Kamal is. In the ensuing drama enters the second girl Jiya [Shama Sikander], who claims to be a girlfriend of the NRI Kamal. Is one of them the real waaris?

That Shashi Ranjan has a flair for comedies is evident at several points in the first hour. Together with the dialogue writer Ashwani Dhir, Shashi succeeds in making you laugh at the funniest of situations and silliest of jokes. That's where the director triumphs. Note the portions involving Satish Kaushik and Deepshikha or the three youngsters claiming to be Anupam Kher's nephew. Shashi changes gears and uses the brakes like a seasoned driver.

But the car runs out of fuel as you munch popcorn and relish the samosa after the interval. In terms of script, a number of questions remain unanswered even after the show has concluded. Besides, the second hour is an exercise in boredom and gets unbearable after a point. The climax is also a major hotchpotch.

Roopkumar Rathod's music is unlike what he has composed so far. It's easy on the lips and quite catchy. The title track as also 'Ishq Ka Rog Laga' [filmed on the seductive Aarti Chhabria] stand out. Ashwani K's cinematography is perfect, although the director and the DoP haven't captured the beauty of Bangkok to the optimum.

DHOOM DADAKKA doesn't demand histrionics, but given the genre of the film, the two boys - Sammir Dattani and Shaad Randhawa - handle their parts well. Sammir also dances well in the title track, while Shaad mimics the top actors quite well. Aarti and Shama are more of eye candies.

Of the supporting cast, Satish Kaushik is excellent, while Deepshikha exudes tremendous confidence. Anupam Kher is, as always, first-rate. Satish Shah is equally convincing. Gulshan Grover does well. Newcomer Zac has an inconsequential role. Jackie Shroff is just okay. Razzak Khan does a fine job.

On the whole, DHOOM DADAKKA could've been a decent timepass flick, but it misses the bus.

[82ROCKER]

Nowadays, with corporate houses being in the spotlight for their multiple films, one begins to think - whatever happened to producers who built an empire in the 1960s, 70s and 80s? One of the prolific production houses of the era re-emerges on the scene with the Mithun starrer DON MUTHUSWAMI.

To put it blatantly, it is a complete rip-off of the Sylvester Stallone starrer, the English comedy OSCAR. But our real concern is does it work as well? To answer that simply - Mithun can never be doubted. The film does entertain and the credit goes to Mithun mainly. He is the life in the film and honestly, there's nothing to look forward to except him.

Muthuswami's father is on the deathbed and Muthu [Mithun] comes to see him and pay his last respects. The father slaps Muthu and tells him that he has brought shame to the family by being a gangster and that he would die an unhappy man. The Don asks his father what he could do to bring his father peace. He extracts a promise from his son that he should go straight. Thus begins the drama of the Don trying to change into a gentleman. From Don Muthuswami to Sir Muthuswami.

Muthu tells his henchmen to continue working for him, but instead of being gangsters, they have to work as domestic help. He engages an Urdu/Hindi teacher Jaikishan [Mohit Raina] to improve his language. To add to the confusion is his daughter Sanjana's [Hri****a Bhatt] marriage. The best match, according to him, was his good friend Don Vardhan's son Pradhan, but Sanjana refuses. In fact, she lies that she is pregnant.

Muthu's manager Preetam [Rohit Roy], who wants to marry Muthu's daughter, is another angle of this story. He had been stealing regularly from Muthu, to make himself a millionaire. There's also Ranjana [Anusmriti], who tells Muthu that she loves his accountant Preetam. Meanwhile, Sanjana and Jaikishan fall in love and make things more complicated.

There are two sides to every coin, so let's not forget the negative aspects here. Minus Mithun, there's not much to look forward to in this film. Also, look keenly on the screen and you instantly notice the lackluster look of the film. The look, in fact, reminds you of the 1980s era. Ashim Samanta's direction is passable. Music [Anu Malik] is hardly appealing. Cinematography [Harish Joshi] is appropriate.

As mentioned earlier, Mithun is the sole saving grace. Rohit Roy also gets good marks. Shakti Kapoor is okay. Hri****a Bhatt is a bit loud. Mohit Raina is fair.

On the whole, this Don doesn't have the capability to rule the hearts.

[82ROCKER]

The reason why a majority of films go unnoticed is courtesy the weak storyline first. The other factors come later. HASTEY HASTEY - FOLLOW YOUR HEART also suffers for this reason. The story idea, credited to one Rohit Batra, is so tacky, so banal, so obsolete, so lifeless that you break into a big yawn 10 minutes into the film. Seriously, you actually pinch yourself. Are you watching a film produced in 2008? Clearly, the writer is the villain here.

Let's look at the plusses first. The first-time producers have left no stone unturned to give the film an upscale look. Sure, a nu