[Movie Review] ~ Naye Film Ki Review ~

[82ROCKER]

I THINK ITS GONNA BE A GOOD MOVIE . PLUS ALOT OF PEOPLE GONNA WATCH IT FOR Prachi Desai AS YOU ALL MAY KNOW HER FROM KASAM SAY DRAMA..

Is ROCK ON!! DIL CHAHTA HAI 2, one is tempted to ask. DIL CHAHTA HAI was a trendsetter when you look back, paving way for storytellers who wanted a new story to tell. Now, the DIL CHAHTA HAI team of Ritesh Sidhwani and Farhan Akhtar with director Abhishek Kapoor deliver ROCK ON!!, a film that makes you understand the true meaning of friendship.

Put your hands together for one of the finest films of our times. Put your hands together for a director who pulls off a challenging subject with élan. Put your hands together for the actors who pitch in superlative performances.

ROCK ON!! is not just about music. It's about relationships. And relationships can get really complicated and messy as all of us would agree. ROCK ON!! captures it so beautifully, so sensitively, so effectively on celluloid.

Everything is in sync here, everything is just perfect. Flaws? Perhaps, the slow pacing. But come to think of it, you can't play with the edit in a film like this. ROCK ON!! also works because you can relate to the characters, you can relate to the moods, the egos, the highs and the lows...

In a nutshell, here's a film you just can't afford to miss. We've had our share of masala films week after week. Now have a look at a film that India can proudly showcase to the West. ROCK ON!! simply rocks!

ROCK ON!! is the story of four friends [Farhan Akhtar, Arjun Rampal, Purab Kohli, Luke Kenny] who put together the greatest band this country has ever seen, Magic, but never make it. Years later, fate conspires to bring them together again and set them on a journey back to where they left off... a soul-searching pilgrimage into their past.

ROCK ON!! bears some resemblance to the Hollywood film THAT THING YOU DO [Tom Hanks], but it could be a mere coincidence. Director Abhishek Kapoor sets it in the Indian milieu efficiently. Watch the bonding shatter into pieces for no fault of anyone in particular actually. It's the circumstances that play the villain here and Abhishek captures it on lens so beautifully. The fragile relationships, how piece after piece is put together and the journey to the climax… the narrative is so compelling, it makes you feel you're witnessing all of it first-hand.

Shankar-Ehsaan-Loy's music is perfect. It's completely in sync with the mood of the film. Connoisseurs of music have already showered the music with rave reviews and rightly so! Jason West's cinematography is fantastic. The screenplay and dialogues are commendable.

Every performance in the film deserves brownie points. Farhan Akhtar makes his debut as an actor and he displays rare maturity for a first-timer. Known as an accomplished director all along, Farhan will now be acknowledged as a mature actor as well. Arjun Rampal delivers his finest performance to date. Watch him emote those tough emotional moments and also as a failed person in the latter parts and you'd realize that he has only grown with the passage of time. Superb is the word!

Purab Kohli is tremendous and so is Luke Kenny. Purab has always delivered fine performances, but he's touched a new high this time. Luke is equally charged.

Prachi Desai scores in her very first feature. She has a challenging role and footage-wise too, it's substantial. Prachi brings in a lot of freshness and poise. Plus, she's a competent actor. Shahana Goswami is a talent to watch out for. Her performance is one of the most difficult ones for a newcomer and the confidence with which she carries it deserves to be lauded. Koel Purie has a brief role and she enacts it quite well.

On the whole, ROCK ON!! is an amazing experience. The highpoint is the emotional quotient, the skilful performances and the superb execution of the subject. At the box-office, this urban film holds tremendous appeal for metros and mini-metros. Business at multiplexes of Mumbai, Pune, Delhi and NCR, Kolkata and South in particular should be excellent. Very strongly recommended!

[82ROCKER]

MUNNABHAI M.B.B.S. started a trend of sorts. Gangsters with a heart of gold acting as modern-day Robinhoods. Robbing the notorious rich and helping the oppressed poor.

Writer turned debutante director Sachin Yardi borrows a leaf from MUNNABHAI M.B.B.S. and presents a tale that not only talks of Robinhoods, but also makes a scathing attack at news reporting hitting an all-time low [anything for TRPs], makes digs at Ekta Kapoor and her serials, also looks at the underworld-builder-cops nexus.
The story of three losers attaining power overnight makes for interesting viewing. But the problem is, C KKOMPANY lacks consistency. The comedy is truly hilarious at places, but there're times when you sit motionless, not reacting to the on-screen antics. If the first hour is a joyous ride, the second hour is akin to driving on a road full of potholes. The climax is also a letdown [in the mela], although the end sequence -- C KKOMPANY is now a movement -- was the right way to conclude the film.

All said, C KKOMPANY had the germs of being a cool entertainer, but it ends up being a one-time average watch.

C KKOMPANY is about three individuals, all living in the 'C' Wing of a middle class housing society: Akshay [Tusshar] is a crime reporter, Mr. Joshi [Anupam Kher] is a retired accountant trying to deal with his ungrateful son and Lambodar [Rajpal Yadav] is at loggerheads with his wife over his job. These three friends share their respective plight with one another and find solace in each other's company.

On one occasion, they play a harmless prank to tackle their problems. One thing leads to another and before they realize, the incident becomes big news. But things don't stop there. They put their new founded fame to good use and this in turn triggers off a series of incidents, which propel them to such heights that the three become the talk of the nation.

That Sachin Yardi has a flair for comedy was more than evident when he penned the thoroughly entertaining KYAA KOOL HAI HUM. C KKOMPANY also boasts of humour-laden sequences that keep you in splits at several points.

But keeping the humour alive from start to end is not everyone's cup of tea. Yardi's humour works till the beginning of the second hour, but things stagnate thereafter. Things get repetitive. There's not much movement in the story and the comic scenes also range from enjoyable to avoidable.

Music is quite okay, but the songs -- barring the Sanjay Dutt track at the outset -- show up without valid situations. The Tusshar-Celina track, although well shot, comes up from nowhere. Cinematography is alright.

C KKOMPANY gets its glory because of its three protagonists. Tusshar is only climbing the ladder with every film. He's excellent. Anupam Kher proves yet again that he's amongst the best in the business. Rajpla Yadav is efficient too.

Mithun Chakraborty is in command after a long time. The veteran is superb. Vinay Apte and Dilip Prabhavalkar do complete justice to their respective roles. Raima Sen is pleasant. Karan Johar, Mahesh Bhatt and Ekta Kapoor's appearances give the film that extra sheen.

On the whole, C KKOMPANY is funny in parts, not in totality. An ordinary fare!




82ROCKER added 6 Minutes and 4 Seconds later...

Kahani kabhi khatam nahin hoti… That's the catchline of CHAMKU. True, certain stories are timeless and ageless, they keep getting repeated year after year, with new faces obviously.

Vendetta -- one theme that's beaten to death in Bollywood. CHAMKU tackles the age-old theme of revenge, although director Kabeer Kaushik throws a twist at the outset, when a Naxalite is picked up by RAW and IB to work for them. Otherwise, CHAMKU is old wine presented in a new bottle. The only saving grace is Bobby Deol, who delivers his career-best performance in CHAMKU. But the sad part is that the script succumbs to predictability all through.

Besides, what's with a title like CHAMKU? Sure, the story is about a guy called Chandrama Singh aka Chamku, but in these fast changing times, when the multiplex audience holds the key, a title like CHAMKU will only dissuade them from buying the ticket. Also, a title like CHAMKU sends out signals that it's a comedy. It's not!

Another factor that goes against it is the violence/brutality depicted in this 2-hour film. Blood, gore, crudity and brutality is out, but Kabeer Kaushik still believes in the cinema of 1970s and seems to have given action director Tinu Verma a free hand to recreate the violence-laden atmosphere of 1970s. Pistols, guns, knives, swords, blood-soaked bodies, spare us the gore please.

To cut a long story short, there's hardly any chamak in CHAMKU.

CHAMKU depicts the journey of a male Naxalite from the interiors of Bihar, tutored under a covert government program to eliminate the anti-social elements. Chandrama Singh aka Chamku has no alternative. Kill them or we'll kill you, he's told by Kapoor [Irrfan Khan].

His life undergoes a dramatic change when he falls in love with Priyanka Chopra. He wants to lead a normal life, but is it so easy? Also, he comes face to face with his nightmarish past [Akhilendra Mishra].

A pertinent question that crosses your mind is, what did the Deols see in a script like this? The execution is fluid at places, but the written material is so predictable after a point that you lose interest as incident after incident unravels.

The first half does boast of a few interesting sequences. The transformation from a ruthless killer to a romantic is depicted beautifully. Also, a number of sequences are filmed with flourish. But the film goes downhill in the second hour, courtesy a screenplay of convenience.

Monty Sharma's music is below par. 'Aaja Milke' is the sole decent track. The item song [Rosa] looks like a hurried job. Gopal Shah's cinematography captures the various moods of the film well. Tinu Verma's action is too realistic. The blood and gore could've been tapered.

Bobby gets it right. He conveys a lot even when silent. This performance deserves all the praise. Priyanka is wasted. There's no scope for her actually. Ditto for Riteish Deshmukh and Danny Denzongpa. In fact, the two actors are hardly there in the movie. Irrfan Khan, as always, is competent. Rajpal Yadav does well as the informer. Akhilendra Mishra is supposed to act loud, which he does well. Arya Babbar gets no scope, not even a line to deliver. Ditto for Deepal Shaw.

On the whole, CHAMKU rests on an outdated plot and given the blood-gore-brutality in the film, will face an uphill task. Businesswise, it has some chances in the U.P.-Bihar region.

[sweetestgirl_safura]

Movie Review : 'Mukhbiir'

Producer: Sudhish Rambhotla
Director: Mani Shankar
Cast: Sameer Dattani, Sunil Shetty, Om Puri, Rahul Dev, Jackie Shroff, Raima Sen, Sushant Singh, Alok Nath
Music: Kartik Raja, Pritam Chakraborty, Shashi Pritam, Sandeep Chowta
The biggest strength of this gritty espionage is also its primary weakness. So real and bleak is the world of espionage created by writer-director Mani Shankar, that you wonder if the sheer sexiness of being a spy that we saw Dharmendra and experience in 'Aankhen' and 'Mission Impossible' was a cinematic hoax created to hoodwink us into believing in the heroic hi-jinks of people who risk their lives for the sake of national security.
'Mukhbiir' creates a universe of continual searching and annihilation, where heroes are made and unmade with the passage of one bullet from gun to temple, and god help the temple.
The young protagonist Kailash (Sammir Dattani) is young, vulnerable and so brutally thrown from one ruthless organisation to another (legitimate or otherwise) that at the end of his anguished in search of a self-identity, we want him to be liberated of the pain that seems to be his only constant companion.
The characters come and go in episodic eruptions. Silence is Kailash's final ally.
What 'Mukhbiir' does to the spy genre is to turn it inside out. We aren't looking at James Bond's stirred-and-sexy world of the spy who loved the good life.
'Mukhbiir' takes us into the murkiest depths of the espionage business where survival isn't a craving. It's a option offered to a few lucky ones.
Luckily, for the gripping and gritty script, the protagonist is a boy-man constantly thrown into situations of severe uncertainty and terror. The tension never slackens.
The reluctant young spy survives by sheer instinct and guts. The screen time is segregated into various episodes from Kailash's life as a government informer in action.
The shoot-outs, somewhat amateurish in their chaotic eruptions, do not define the protagonist's life as much the human contact.
Every encounter written for Sammir's character creates a new level of existential summit in his doomed life until we come to the finale where on Kailash's life (and death) hinges the survival of a city.
The director fills up the awkward ill-defined spaces in the narrative with pockets of humour and bridled drama all signifying the dynamics of an individual life's relationship with a troubled and violent society.
The final dialogue on Islam and violence between Rahul Dev lingers after the film.
Mani Shankar's storytelling is highly original. There're no false moments in the discursive yet clenched drama of dissociation where Kailash becomes so distanced from his original identity that he eventually forgets who he is.
The powerful script lets us know there is no mercy for the weak in this grim and unsettled world of espionage and extremism. The two fatally-compatible worlds meet in strange eerie places where Kailash's masquerade as a man removed from his natural roots is so complete you wonder if he can ever go back to a 'normal' life.
Immense warmth and empathy are created in Kailash's interactions with people like his mentor Om Puri who first tutors Kailash into being a mean machine and then lets the poor boy loose in a world where death is the only certainty.
Alok Nath, Suniel Shetty, Raj Zutshi and Sushant Singh play various other characters, who come in and out of Kailash's life, with wonderful warmth or wickedness.
There's also a bit of diverting romance in Kailash's life when the pretty Raima Sen shows up for a while and departs, leaving the desolate protagonist to his own devices.
But it's the mentor-turned-tormentor Om Puri's relationship with the boy-man-misinformed-informer that holds the plot together providing it with a sensitive centre.
The sequence where the Mukhbiir must his mentor being tortured and then kill him with his own hands without giving the game away is devastating in its intensity and impact.
Mani Shankar's narration provides the hero's journey from disembodied salvation to abject doom and near-damnation with an energetic reined-in adrenaline that flows across the narrative's veins in restrained motions.
What you go away with is the protagonist's pain heartbreak vulnerability and an untraceable reserve of inner strength that he uses to survive in a constantly treacherous world.
The doom and the doomed eventually merge into one in 'Mukhbiir'

[82ROCKER]

Of late, debut-making directors are coming up with stories that defy the stereotype. Kunal Shivdasani is one of those. In his very first outing, he chooses a story not many debutantes -- even established names, for that matter -- would dare to tell: Hijack. Sure, YEH DIL AASHIQANA [Kuku Kohli] and ZAMEEN [Rohit Shetty] have traversed the path before, but HIJACK is more realistic, more believable.

HIJACK talks of terrorists and terrorism, but there's an undercurrent of emotions running all through. What limits can a father cross to save his child, is one question that Kunal Shivdasani raises in HIJACK.

The terrorism aspect isn't new, what with every third Hindi film having its take on terrorism. But Kunal's execution of the material places HIJACK in the watchable category. The high-octane drama inside the aircraft as also outside the aircraft [in the climax] makes a difference. HIJACK is very Hollywoodish in terms of execution, but Hindustani at heart.

However, Kunal could've done with a tighter script. The intro of sundry characters/passengers as also the rapid songs could've been avoided. Also, Shiney's character could've been less heroic, especially when he fights the gun-holding terrorists single-handedly. Besides, the passengers in the aircraft fail to create the panic atmosphere convincingly. Had Kunal cast better/stronger actors instead of amateurs, the impact would've been stronger.

All said and done, HIJACK is an engrossing experience. A riveting thriller!

Vikram [Shiney Ahuja] is a ground maintenance officer at Chandigarh Airport. His social life is limited to one friend, Rajeev, who is the Security Chief of the same airport. As luck would have it, the flight in which Vikram's daughter is travelling, from Delhi to Amritsar, is hijacked.

A group of five terrorists take control of the airplane to secure the release of Maqsood [K.K. Raina], who had been captured by the Indian police. The flight is forced to land at Chandigarh Airport for refuelling. The terrorists demand the release of Maqsood, else threaten to kill the hostages.

Vikram sneaks into the aircraft and with the help of the airhostess, Saira [Esha Deol], he starts plotting and killing the terrorists one by one. Some innocent passengers too become victims of the gunshots by ruthless terrorists in the process. Somehow, Vikram and Saira manage to save the day.

HIJACK is partly fact, partly fiction. The hijack of an Indian aircraft is still fresh in our memory and at the same time, the film picks up bits and pieces from Hollywood films as well. Nothing wrong with borrowing from real or reel, since Kunal merges fact and fiction well and narrates his story capably.

While the first hour is passable, the wheels catch speed only towards the second hour. The highpoint of the enterprise is the penultimate 20/25 minutes and it's in these portions that you realize how fine a storyteller Kunal is. Since Kunal is also credited with the editing, although the pace doesn't slacken, Kunal could've trimmed the non-actors' roles [playing friends] as also shortened the romantic song ['Yaad Mein'].

Justin-Uday's music is mediocre, barring one song, but the background score heightens the impact. Jehangir Chowdhary's cinematography is top notch. The sequences at the runway are expertly canned. Allan Amin's stunts are first-rate. Even though there's bloodshed, it's not gory. The interiors of the aircraft are authentic [Bijon Dasgupta's expertise shows yet again]. Also, in view of the fact that it's a moderate budget film, Kunal has spared no efforts to give the film the desired look.

Shiney Ahuja fits the role well. He is efficient, but why is he looking untidy/shabby at places? He ought to take care of his looks and styling. Esha Deol has little to do. She's okay. K.K. Raina enacts his part convincingly. The main terrorist, Mushtaq Kak, leaves a mark. Kaveri Jha gets no scope, though she looks photogenic. The actor playing Kumar, Satyajeet, is efficient. Mona Ambegaonkar is competent. Ditto for the actor enacting the role of the Minister.

On the whole, HIJACK is an engrossing fare, more so towards its second hour. Also, the emotional undercurrent comes out well too. However, from the business point of view, the Ramzan period might make a dent in its business, despite strong merits.

movie got 3 stars

82ROCKER added 1 Minutes and 57 Seconds later...

A fable rarely gets its cinematic interpretation in Bollywood. But acclaimed cinematographer Santosh Sivan decides to do so for his new outing TAHAAN.

TAHAAN is a soothing experience. Also, amidst the story of a child's obsession for his pet donkey, it also opens your eyes to the fact that children can be soft targets for carrying out nefarious activities.

Agreed, a film like TAHAAN caters to a niche audience. But its simplicity is its USP. There's another reason to go for it: Child artiste Purav. You can't take your eyes off from this sensational discovery of Sivan.

Tahaan [Purav Bhandara] lives with his grandfather [Victor Banerjee], his mother [Sarika] and older sister [Sana Shaikh] in the serene meadows of Kashmir. They all live in the hope that someday Tahaan's father, who's been missing for over three years, will return.

The death of his grandfather prompts the local moneylender [Rahul Khanna] to take away the assets of the family, including their pet donkey Birbal. For Tahaan, bringing his favourite donkey Birbal back home becomes the sole purpose in life. Tahaan is devastated to learn that an old man, Subhan [Anupam Kher], has bought Birbal and taken him across the mountains. He traces Subhan and tells him about Birbal.

Subhan doesn't befriend Tahaan at first sight, but slowly warms up to this energetic and determined soul whose love for Birbal is paramount. On his way back home, Tahaan encounters a teenage lad ldrees, who convinces him that his efforts would never be sufficient to get Birbal back. Instead, he promises to get Birbal back for a favour. All Tahaan will have to do is carry a package across the mountains on his next journey. Seeing Tahaan's eagerness, ldrees hands him a grenade.

Tahaan sets off on his second journey with Subhan, the grenade and package tucked away under Birbal's saddle. What is the price that Tahaan will have to pay for Birbal?

Santosh Sivan travels a seldom travelled path in TAHAAN. Sure, he's telling a simple, uncomplicated story, but a simple story could be difficult to narrate. The film has its share of interesting moments, but the finale is, without doubt, the best part of the enterprise. However, the screenplay is not as convincing and gripping as one expects it to be.

TAHAAN belongs to the young actor -- Purav. Post Darsheel's act in TAARE ZAMEEN PAR, Purav's is the most confident act by a child actor. Anupam Kher also stays with you even after the show has concluded. Sarika is excellent. Rahul Bose doesn't deliver this time, mainly because the role lacks meat. Rahul Khanna has a miniscule role. Ditto for Victor Banerjee.

On the whole, TAHAAN is for a niche audience, more for the festival circuit.


TWO STARs

82ROCKER added 1 Minutes and 35 Seconds later...

Now this is a complete surprise. And an extremely pleasant surprise, must add. Newer stories are slowly finding their way into plexes of India. Two Fridays ago, PHOONK spoke about the power of Black Magic and last Friday, ROCK ON!! encouraged you to chase your dreams. Both PHOONK and ROCK ON!! didn't boast of A-list actors to lure the audiences in hordes, but the films let the powerful content do the talking.

It's a hat-trick now. The third Friday in succession witnesses the release of A WEDNESDAY. And mark my words, it's the most powerful film to come out of Bollywood in 2008.

Most promos mislead the viewer no end. They promise the moon, the viewer is hooked and very often, they fail to meet the expectations. In this case, the promos are just the tip of the iceberg. This movie has so much to offer than a few vital glimpses highlighted in the promos.

Here's another point that needs to be clarified. A WEDNESDAY is not about the train blasts, nor is it similar to MUMBAI MERI JAAN. Sure, terrorism is the wallpaper here, but A WEDNESDAY talks about the plight and power of the common man, the aam aadmi.

the year has witnessed some supremely talented storytellers make their debut, like Rajkumar Gupta [AAMIR], Kunal Deshmukh [JANNAT] and Abbas Tyrewala [JAANE TU… YA JAANE NA]. Now Neeraj Pandey joins the ranks of directors who, one is confident, will be one of those calling the shots in the future.

A WEDNESDAY works like magic because of its gripping plotline. The journey, right from start to end on a fateful Wednesday, keeps you on tenterhooks. And the culmination to this complex tale is what takes this film to dizzy heights.

In short, A WEDNESDAY is amongst the finest -- and bravest -- films to come out in 2008. Just one word to describe it: Remarkable!

A WEDNESDAY tells the story of certain events that unfold between 2 and 6 p.m. on a Wednesday in Mumbai. Events that do not exist in any record.

Flashback: Prakash Rathod [Anupam Kher], Commissioner of Police, Mumbai gets a call demanding the release of four militants in lieu of information on bombs that the man has planted in various parts of Mumbai. At first, Prakash suspects it to be a crank call, but his doubts are dispelled once he actually finds a bomb planted in the police station right opposite his Police Headquarters.

Prakash Rathod is not the type to give up easily. He gets a team of his best men together and taps all his resources. He even hires a young hacker to help his team trace the calls and also the location of the anonymous caller. Time passes by, but no concrete results are evident. Eventually, Prakash Rathod decides to hand over the militants to the anonymous caller. It is then that events take a bizarre turn.

Expect the unexpected in A WEDNESDAY. From the writing point of view to the execution of the written material, writer-director Neeraj Pandey never takes the been-there-seen-that route even once. It does take time to settle down [the multiple stories at the start are not too interesting], but once you do get the hang of things, A WEDNESDAY offers you twist after twist, throws challenge after challenge in those 1.30 hours [yes, it's a short film]. No sub-plots, no songs, no unwanted masala, no unnecessary tracks -- A WEDNESDAY has a story to tell and it tells most effectively.

On the execution front, the camera movement [Jimmy Jib], during Naseer's portions specifically, demands your attention. Cinematographer Fuwad Khan's output is top class even when he captures a chase [Jimmy Sheirgill] on a busy Mumbai street. The editor [Shree Narayan Singh] deserves lavish praises for giving shape to this thriller. During the finale specifically -- Anupam is driving towards the location, while Naseer is packing his stuff -- the parallel scenes are juxtaposed brilliantly. The background score [Sanjay Chowdhury] is stirring.

When your film has two of the finest talents sharing screen space, it only heightens the curiosity. Naseeruddin Shah has delivered several remarkable performances over the decades and the one in A WEDNESDAY easily makes its way into his Top 5 works when you recall his body of work. His outburst in the end -- when he talks about the plight of the common man -- is astounding. The entire audi, one is confident, would break into a deafening applause at this master sequence.

Anupam Kher is equally dynamic. Watch the cold look or catch him face-to-face with Naseer in the finale, if there's one actor who could stand up to a giant of an actor, it's Kher. An outstanding performance indeed!

Every performance in A WEDNESDAY is charged. Jimmy Sheirgill is first-rate as a volatile cop. Of late, the actor has been wasted in insipid roles and it's about time film-makers take a note of this talented actor. Aamir Bashir is superb. Again, this actor has never got his due in feature films. It's our loss, not his! Deepal Shaw plays her part confidently. Chetan Pandit, as the Chief Minister, is effective. Ditto for the actor who plays the main terrorist - Kali Prasad Mukherjee.

On the whole, A WEDNESDAY is cinema at its best. It may not be a Kinng-sized entertainer to lure the audiences in hordes and set the box-office afire, but A WEDNESDAY does pack in king-sized punch. Do yourself a favour: Watch A WEDNESDAY.


MOVIE GOT 4 Stars

[82ROCKER]

Vikram Bhatt visits the horror genre again, after RAAZ. Also, like RAAZ, 1920 talks of love, lust and paranormal forces. But unlike RAAZ, 1920 is set in the bygone era and that makes RAAZ and 1920 as diverse as chalk and cheese.

After a series of watchable and avoidable fares, Vikram Bhatt is back with a vengeance in his latest endeavour. It may not be the most eerie experience, but it has its share of terrifying moments that one expects from a film that talks of supernatural forces. The best thing about 1920 is that the culmination to the story is most compelling, which is so vital for a horror-mystery.

Any hiccups? The narrative slows down at regular intervals and that robs the film of its shine. Besides, the flashback -- the reason why the spirit seeks revenge -- could've been more impactful.

All said and done, the pros easily outweigh the cons here. Most importantly, 1920 delivers what it promises: Eerie and scary moments aplenty!

The year is 1920 and the house isolated in the wilderness has a secret. It is waiting for the curse to come true. For years, everyone who has tried to pull it down has died of mysterious circumstances.

Arjun [Rajneesh Duggal] and his wife [Adah Sharma] move into the house. He has been given the task of pulling it down and making a hotel there. The house has been waiting for them. Strange and inexplicable events start taking place…

The period look and the castle [located in Yorkshire in actuality], which is an integral part of the story, give the film a distinctive texture. From the writing point of view [story: Vikram Bhatt; screenplay: Vikram Bhatt, Dhiraj Ratan], the love story is well structured and the obstacles the couple face are well depicted.

But the film actually gallops when the spirit takes over the girl's body. Thereafter, incident after incident catches you unaware. Note the sequence at the nursing home, when the spirit talks to the doctor. Or recall the spirit's warning to the priest. The finale -- when Rajneesh chants Hanuman Chalisa -- is another highpoint.

Without doubt, 1920 is amongst Vikram Bhatt's finest works. In fact, it's after a really long gap that Bhatt seems to be in complete command. Pravin Bhatt's camera captures the mood splendidly. The beauty of the castle has been captured very well by the DOP. Adnan Sami's music strikes a chord. 'Bichua' [singer: Shubha Mudgal; filmed on Rakhi Sawant] caters to the masses, while 'Tujhe Main Pyaar Karu' [Kailash Kher] and 'Vaada' [Pt. Jasraj] are aimed at the heart.

Both Rajneesh Duggal and Adah Sharma go through their roles confidently. Adah gets the meatier part and she takes to it like a fish takes to water. She's excellent! Rajneesh has the trappings of a fine actor and though there's slight awkwardness at places, it can be overcome with the passage of time. He has the potential. Anjori Alagh looks beautiful and leaves an impression in the second hour. Indraneel does well. Raj Zutshi [as the priest] is top notch. Vallabh Vyas [doctor] is as usual.

On the whole, 1920 is an engrossing fare that meets the expectations. It has the potential to work at plexes and single screens, metros and mini-metros, catering to all audiences.


3 stars

82ROCKER added 1 Minutes and 55 Seconds later...

Rituparno Ghosh, one of the finest storytellers from Bengal, chooses Utpal Dutt's play 'Aajker Shahjahan' as the premise for his new endeavour THE LAST LEAR. The plotline [the story of an aging superstar] as also the execution of the subject is the type that holds appeal for a miniscule section of audience.

The problem with THE LAST LEAR is that there's too much Shakespeare in the movie, which, to put it bluntly, isn't everyone's cup of tea. Besides, certain themes may hold some appeal for those into theatre, but don't work on cinematic level.

Yet, there's no denying that THE LAST LEAR has its share of engrossing moments. A few individualistic sequences are noteworthy as also the portrayal of characters by some prominent names. But that's not enough!

In a nutshell, THE LAST LEAR fails to connect. At best, it may find some patronage at Festivals, but there's nothing for Indian moviegoers.

Harry [Amitabh Bachchan] lives for acting, loves theatre, adores Shakespeare and absolutely detests cinema. Enter Siddharth [Arjun Rampal], a movie director. He is smart, Harry finds out in the very first meeting. He is glad to have found a cerebral partner to have a conversation with.

Slowly, they bond over coffees, vodka and conversations. Harry decides to work in Siddharth's film. New relationships blossom. But an incident changes everything…

Director Rituparno Ghosh's choice of the subject has its limitations. It's good to think different, but THE LAST LEAR is abstract. From the writing point of view, a number of points remain unexplained and even if they are, it's difficult to decipher.

Like, for instance, Shefali Shah's hatred for Preity is unexplainable. Why does Shefali detest Preity? Her problem, in the first place, should've been with the director of the film [Arjun Rampal], not the co-actors. Also, the accident and the aftermath lack clarity. Why does Arjun want a retake? Why does he want Amitabh to perform the death-defying jump all over again? This, when he knows that Amitabh can't see without his glasses. Clearly, the writing has its share of loopholes.

That's not all, for THE LAST LEAR is too verbose, like Rituparno's earlier film RAINCOAT. It gets very talk-heavy after a point and that's quite off-putting.

Amitabh Bachchan is the life of THE LAST LEAR. But it's definitely not his best performance so far. The actor has delivered stronger performances in the past. He's good, not great. Arjun is evolving into a fine actor. After ROCK ON!!, this is another performance that would fetch Arjun laurels. Preity is very effective. Shefali Shah is superb. Divya Dutta is wasted. Prosenjit is alright. Jishu impresses.

On the whole, THE LAST LEAR has something for the Festival circuit, but nothing for the cinema-going audience in India. At the box-office, it caters to a minuscule section of moviegoers at select metros only. Disappointing!


1 and a half star

[82ROCKER]

Years ago, a popular TV series MALGUDI DAYS left an indelible impression on the minds of viewers. Now Shyam Benegal's WELCOME TO SAJJANPUR takes you back to a hamlet that has its share of assorted characters: a letter writer, a power-hungry goon, a eunuch, a short tempered army man and his widowed daughter-in-law, a compounder, a house wife who's husband, working in Mumbai, hasn't showed up for four Diwalis… These are characters you've seen, witnessed, might even relate to.

Actually, WELCOME TO SAJJANPUR is more on the lines of a Hrishikesh Mukherjee film. It's not heavy on your mind, even though there's ample drama happening every now and then. But everything is presented without going overboard.

WELCOME TO SAJJANPUR works because of its simplicity. Expect no glitz-n-glam here. In fact, it doesn't even have a strong plot since it's a character-driven film. Yet, WELCOME TO SAJJANPUR keeps your interest alive in most parts.

Final verdict? Watch WELCOME TO SAJJANPUR for its simplicity. Its strength lies in its story and how well a seasoned director like Shyam Benegal narrates it. Let's just say, WELCOME TO SAJJANPUR is certainly welcome!

Mahadev [Shreyas Talpade] is one of the few educated young men in Sajjanpur. His ambition is to be a novelist, but finds it easier to make a living by writing and reading letters sitting next to the post office. His ability to write persuasive letters makes him popular with the largely non-literate population of the town.

Aware of this power, he soon uses his talent to manipulate people with amusing and sometimes not such amusing results.

Shyam Benegal may be best known for intense films, but as you watch WELCOME TO SAJJANPUR, it dawns upon you that he's equally proficient when it comes to light entertainers. The character portrayed by Shreyas and his interaction with various people make the proceedings exciting.

Note his scenes with the goonda who's aiming to be a politician [Yashpal Sharma] or one of the orthodox ladies of the village [Ila Arun]. Even the romantic scenes with his childhood sweetheart [Amrita Rao], now married to someone else, are cute. The twists and turns in the second hour are the best part of the enterprise. Also, the end is very novel.

On the flip side, the unwarranted songs in the narrative spoil the show. Ideally, the film could've done without any song. Besides, the length should've been controlled.

Every actor in WELCOME TO SAJJANPUR delivers a sparkling performance, but the show belongs to Shreyas Talpade. This is his most accomplished performance since IQBAL. Amrita Rao is admirable. It's at par with VIVAH. Yashpal Sharma [terrific], Ila Arun [superb], Divya Dutta [effective], Ravi Kissen [wonderful], Rajeshwari [nice] and Ravi Jhankal [exceptional] are delightful. Kunal Kapoor's presence comes as a surprise.

On the whole, WELCOME TO SAJJANPUR is an interesting watch. At the box-office, the film has the potential to go from strength to strength with a positive word of mouth.

[82ROCKER]

Kiddie films, aimed at kids between 6 and 60, are slowly making inroads in Bollywood. HARI PUTTAR - A COMEDY OF TERRORS is the newest entrant in this family.

Now let's set the record straight. HARI PUTTAR - A COMEDY OF TERRORS is not remotely inspired by HARRY POTTER, but it actually borrows from HOME ALONE. Unfortunately, directors Rajesh Bajaj and Lucky Kohli make a complete mess of what could've been a great kiddie fare.

Seriously, what were the directors thinking when they okayed this apology of a script? The directors seem completely clueless about how smart today's kids are. And the kind of stuff they have an access to [television, cinema, games]. They've witnessed far better stuff than what's dished out in this misadventure.

Hari Prasad [Zain Khan] or Hari Puttar, as he is fondly called, is a bright 10-year-old who has recently moved from India to U.K. with his parents. His father, Prof. Dhoonda, is assigned to work on a secret project with the Defence Forces at a remote location in U.K. He has access to confidential information that is stored on a chip and safely kept at his house.

Within days of their arrival in London, Hari's aunt [Lilette Dubey] and uncle DK [Jackie Shroff] visit the Dhoonda residence with their own as well DK's boss' children. Suddenly, the house is filled with the effervescence of no less than ten kids.

At this point, everything goes for a spin for Hari Puttar. Not only is he thrown out of his room to accommodate the girls, he is also ragged and ridiculed by all the other kids for being too naïve. Hari Puttar suddenly feels unwanted, undermined and unappreciated.

The family takes off for a holiday, leaving Hari Puttar and Tuk Tuk [Swini Khara], his cousin, behind, who confront the two goons [Saurabh Shukla, Vijay Raaz] out to rob the chip.

Even if you're inspired by a hugely popular English film, the challenge lies in Indianising it well enough. But HARI PUTTAR - A COMEDY OF TERRORS is an amateurish attempt all the way. Here, the goons exchange the choicest of expletives [beeped obviously]. Here, the villain [Mr. Blue Contact Lenses with an Ajit hangover; zero expressions] and his cronies [Saurabh Shukla in a hideous wig and Vijay Raaz in outlandish outfits] are more of buffoons. Here, in a kiddie film, you get to watch a sexy Shamita Shetty gyrating to a promotional track.

The scripting is amateurish and hence, whatever unfolds on screen makes no impact whatsoever. Any redeeming aspect? The penultimate 15 odd minutes when the kids try their best to keep the villains at bay. Also, the animation is quite good.

Zain Khan does a decent job. Swini Khara, seen in CHEENI KUM, gets no scope. Sarika looks disinterested. Also, she looks ill at ease delivering Punjabi lines. Lilette Dubey is miscast. As for Jackie Shroff, the less said the better. It's also sad to see actors like Saurabh Shukla and Vijay Raaz being reduced to such roles. They ham!

On the whole, HARI PUTTAR - A COMEDY OF TERRORS is a poor show all the way.

[82ROCKER]

When you carry the baggage of super-successful films like DHOOM and DHOOM 2, the expectations from your subsequent outing is bound to be gargantuan. Unfortunately, KIDNAP falls short of expectations. You expect a seven course meal, but you're served mere crumbs.

Let's introspect. Where does it falter? The boy versus man concept holds tremendous scope and writer Shibani Bathija could've come up with an enthralling revenge drama. But KIDNAP fumbles, stumbles and falls on its face. The cat-n-mouse game is hardly enticing and that is its biggest drawback.

KIDNAP comes close to ZINDA in terms of plotline. There're similarities between the two films. But KIDNAP isn't as dark and gruesome as ZINDA. Also, KIDNAP loses focus after a promising start.

The hallmark of any revenge fare is the suspense quotient. In this case, there's a motive behind what Imran does. And money is definitely not the motive here. So far, so good. But the purpose of kidnapping the billionaire's only daughter as also the chain of events that lead to the culmination is such a put-off. Things keep deteriorating as they reach the finale.

The culprit? Obviously, the writer of this lifeless, unexciting and tedious drama. Shibani seems to think that the audience is pea-brained.

Silver lining or just dark clouds? Imran Khan's splendid act acts as a soothing balm, but if the pudding is tasteless, no amount of dressing can salvage the situation, right?

When Dr. Mallika [Vidya Malvade] asks her daughter Sonia [Minissha Lamba] what she wants for her 18th birthday, Sonia tells her she wants to meet her dad, Vikrant Raina [Sanjay Dutt]. The mother and father of this kid have separated, we're explained at the very outset. After a spat between the mother and daughter, Sonia walks off in a huff and doesn't return.

Mallika panics when she gets a call from a stranger that he has kidnapped Sonia. The kidnapper, Kabir [Imran Khan], has only one demand -- he will negotiate with nobody but Sonia's father, Vikrant.

Reluctantly Mallika brings Vikrant back into their lives to save Sonia. But Vikrant chokes at the thought of taking orders from a criminal. But Kabir holds the trump card -- he holds Sonia -- and Vikrant knows he has no option but to toe the line.

Kabir tells him they are going to play a game -- just the two of them. Vikrant has to play by the rules set by Kabir and he has to play alone. He has to play to save his daughter. If he even utters the words 'Hello Police', it will be Bye Bye for Sonia!

Because his daughter's life is at stake, a reluctant Vikrant agrees to obey Kabir's orders…

Never judge a book by its cover. This adage suits KIDNAP to the T. One look at its promos and you know what the story is, but the screenplay is so amateurish, even lifeless at times, that you scream, no, no, no, no, no!

Gadhvi and Shibani open the cards at the very outset. The sketches at the very beginning as also Minissha's kidnap within 10 minutes of the start compels you to think that the follow up should be equally exhilarating. But things start going wrong from this part onwards.

Imran's clues for Sanju, the first in a train and later at an engagement ceremony, make no sense. Later, Sanju and Vidya Malvade's entry in the jail is bizarre. This part takes you back to the cinema of 1970s and 1980s, when nonsense dominated. Later, when Sanju refuses to take Imran's call, Imran lands up at his house. Which kidnapper, in his right senses, would ever do that? Even the flashback -- Imran's childhood portions -- are just not impactful. Ditto for the climax. The shootout at the New Year party is ridiculous. Seriously, the writing is pathetic!

Sanjay Gadhvi is letdown by a script that easily ranks amongst the worst of 2008. Pritam's music is another sore point. Barring the 'Mit Jaaye' track, the remaining songs are lacklustre. Bobby Singh's camerawork is first-rate.

KIDNAP belongs to Imran Khan. Watch this youngster take giant strides and you know that he has arrived. He carries the cold look effortlessly. Sanjay Dutt looks disinterested, as if he is about to break into a yawn. Minissha Lamba is miscast. She doesn't look like a 17-year-old in the first place. Also, the generous dose of skin show doesn't gel with someone who's held captive. Vidya Malvade is efficient. Reema Lagoo is a mere prop. Rahul Dev's character looks forced.

On the whole, KIDNAP fails to grip you and that is its biggest flaw. At the box-office, KIDNAP being teen sensation Imran Khan's immediate release after the blockbuster hit JAANE TU… YA JAANE NA would ensure a strong opening weekend, but the poor merits are sure to take a toll once the initial euphoria subsides. Disappointing!




82ROCKER added 1 Minutes and 19 Seconds later...

DRONA is a big film in all respects -- big stars, big canvas, big expenditure on SFX, big ad spend, big expectations. Sadly, it's a big, big, big letdown as well.

Fantasy/adventure films are a rarity in Bollywood. Actually, you want to laud Goldie Behl for being courageous, for venturing into a lane that's rarely visited by dream merchants here. But the screenplay is a complete mess. In fact, if at all there would be Razzies in Bollywood, the three writers of DRONA -- Jaydeep Sarkar, Rohini Killough and Goldie Behl -- should be nominated proto for coming up with a sloppy and slipshod screenplay.
What saddens your heart is the fact that the Lullas of Eros and Shrishti Arya, the producers of DRONA, have spared no efforts in giving DRONA a spectacular look. The vision is perfect, but how about narrating an absorbing and attention-grabbing story? You remember DRONA for its striking visuals, not storyline. It's like embellishing priceless and precious jewels on a mannequin.

What's wrong? Goldie Behl and his writers can't decide if DRONA is a superhero film or fantasy. Although the makers have been maintaining all along that it's not about a superhero, the fact is, it is. In DRONA, the protagonist does everything that a superhero does. However, the lead character would only look more powerful if the anti-hero is equally authoritative. Surprisingly, the negative force here [Kay Kay Menon] is more of a buffoon than a villain.

More minusses! Dhruv Ghanekar's music is a big yawn. The tunes are listless and the placement of songs is equally jarring. Also, the length is a problem. You wouldn't mind a 3-hour film even today, provided it has the power to keep you glued to the screen. In this case, the 2 + hours seem never-ending. The film goes on and on and after a point, you actually want to scream, 'Enough!'.

In a nutshell, DRONA disappoints and how!

Little Aditya has never known love. Brought up by a foster family, all he knows is taunts and humiliations. Aditya [Abhishek Bachchan] grows up. Enter an evil sorcerer Riz Raizada [Kay Kay Menon], a descendant of the Asuras. He is desperate for a precious secret -- the amrit. But to lay his hands on the amrit, he will have to defeat Drona. Problem is he doesn't know who Drona is.

One fateful day, Aditya and Riz come face to face. Riz notices the kada that Aditya is wearing and recognizes him as Drona. Riz's men chase him, but he's saved by Sonia [Priyanka Chopra], who makes Aditya realize his true identity.

Sonia takes Aditya to his birthplace, to his mother, Queen Jayati Devi [Jaya Bachchan]. Aditya gets to know his roots, but Riz and his army catch up with him. Thus begins Drona's journey…

Given the fact that DRONA rests on a thin plot, there's not much that director Goldie Behl can do to salvage the show. Yet, Goldie has executed two sequences with style. In fact, these two sequences stand out like an oasis in a desert. The first, when Kay Kay turns Jaya Bachchan into a statue. The second, the train sequence. Awe-inspiring sequences!

DRONA is also high on VFX and a couple of sequences are well implemented. Note the petal storm towards the latter part and also the one when Kay Kay drags Priyanka into his yacht. Sameer Arya's cinematography is, quite surprisingly, inconsistent this time. The lighting is too dark at places. The production design [Tania R. Behl] is innovative.

Jaya Bachchan is grace personified. The only regret is, she gets less footage. Abhishek does very well. He plays his part most convincingly. Priyanka's introduction is fantastic, but her 'Babuji kehte hain' dialogue gets on your nerves after a point. Kay Kay fails to impress. Navneet Nishan hams.

On the whole, DRONA lacks soul. At the box-office, the publicity blitzkrieg might ensure good returns in its opening 4-day weekend, but the cracks should start appearing sooner than expected, since the film fails to keep you hooked. Its fall is imminent!