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Bollywood Hungama: 2/5

It's a given that hi-voltage action thrillers enthrall and electrify viewers no end. The existing inclination within the industry is to opt for remakes [of South Indian films specifically], though Abbas-Mustan have continuously, in their three decade career, tilted towards western thrillers to be specific. PLAYERS, their latest offering, is the official remake of THE ITALIAN JOB. But it's not a scene to scene adaptation of the classic that was attempted twice in the West. The core conception remains the same, but the screenplay is amended significantly to suit the Indian sensibilities.

A recreation or adaptation always leads to comparisons with the original work. And Abbas-Mustan will have to pass this acid test, since THE ITALIAN JOB is no regular film. Made twice in Hollywood [first in 1969 and then in 2003], THE ITALIAN JOB is a heist film with a variation. Like I pointed out earlier, PLAYERS is an altered version of THE ITALIAN JOB, catering more to the desi sensibilities. It's about a gang of skillful, stylish and sharp players who join hands to carry out a heist. Prepare yourself for a masala film with ample twists and turns, stunning and gorgeous locales, stylized stunts and adrenaline-pumping chases, lots of style and attitude and of course, the mandatory songs and comic sequences... In that respect, PLAYERS is in a completely different zone when one draws parallels with THE ITALIAN JOB. 

One more clarification! When the promos of PLAYERS came on air, a lot of people felt that it seemed like an updated version of DHOOM. But let's spell this out at the very onset: There's no similitude between PLAYERS and DHOOM, apart from the fact that both belong to the action genre. DHOOM revolved around the cops-robbers face off, while the characters in PLAYERS are all thieves. 

Adventure movies made in Bollywood, by and large, stress on modish imageries, while the actual concept takes a backseat. That's precisely the trouble with PLAYERS. While a one-page synopsis of the film would evoke euphoric and ecstatic reactions, it's the screenplay, with a running time of almost 2.45 hours [20 reels], that lacks the power to keep you enthralled and enchanted. In short, PLAYERS has style and attitude, but what it lacks is soul and spirit! 

PLAYERS is about a team of skilled and sharp group of people -- Charlie [Abhishek Bachchan], Ronnie [Bobby Deol], Spider [Neil Nitin Mukesh], Riya [Bipasha Basu], Bilal [Sikander Kher] and Sunny [Omi Vaidya] -- who rob the gold bullion from Russia successfully. But one of them double crosses the players and the team sets out, with Naina [Sonam Kapoor] also included in their task now, to retrieve the booty and also settle scores. 

First things first! PLAYERS is an escapist fare, packed with ingredients that are considered mandatory in a Bollywood film. So if you are under the impression that Abbas-Mustan may have shunned the commercial trappings since it is an official adaptation of THE ITALIAN JOB, you're mistaken. PLAYERS doesn't imagine itself to be cinema that educates, enlightens or mollifies an academician. Furthermore, Abbas-Mustan's movies are never simplistic by nature. There are twists at the start, twists in the middle and twists towards the finale and just when you think that the movie's about to conclude, the director duo usually toss yet another twist in your face, leaving you startled for a minute or two. PLAYERS stays true to their style, but the twists here aren't the type that shock, amaze or astonish. One of the twists -- about the double crosser -- does catch you by surprise, but the remaining ones don't and that's where the screenplay falters. 

It's a screenplay of convenience. The manner in which the gang sets out to execute the heist in Russia seems like a cakewalk or child's play, which is so damn difficult to absorb. Common guys, you are talking of robbing a nation's assets in broad daylight and the convenience with which things fall into place makes the entire heist phony and fake. Ditto towards the finale, when the chase ensues. Though the train robbery [in the first hour] and the chase sequence [climax] leave you awe-struck, the approach with which the gang sets out to achieve the goal is what appears counterfeit. In fact, given the genre of the film [a hi-octane thriller], one would've expected the writers to integrate a dash of realism in the plot for the goings-on to look plausible and credible, but the haphazard screenplay and the excessive length only dilutes the impact generated by some wonderful moments that PLAYERS has to offer. 

It is accepted that Abbas-Mustan are forward-thinking directors. Not only do they opt for varied plots for their films, but also think out of the box when it comes to execution of the written material. Irrespective of how their films are received at the ticket window, you cannot turn a blind eye to the fact that they never pursue the trodden trail. But it's the screenplay that lets them down this time. Since a large part of the movie involves action and chase sequences [Allan Amin], the amalgamation of thrills and daredevil stunts keeps you on the edge. Also, the scale of the film is overwhelming. Filmed at the panoramic locales of Russia, Netherlands, New Zealand and of course, India, the DoP [Ravi Yadav] bestows the film with an international look. In fact, it's an incredibly good looking film! 

Pritam's music is, to put it bluntly, a minus point. One misses a captivating soundtrack here. The music is deficient of the dynamism and passion that one witnessed in Pritam's preceding works in this variety [DHOOM, DHOOM 2 and RACE]. 

ZAMEEN was the first movie wherein Abhishek Bachchan's characteristic macho style was detected by the spectators. Movies like DHOOM, DUS, BLUFFMASTER and last year's DUM MAARO DUM strengthened his image further. The actor flaunts his popular style and attitude with panache in PLAYERS. Bobby Deol is wasted. Seriously, why is he sidelined in the plot? Bipasha enacts the role of a con artiste with super confidence. She looks fab and emotes with conviction. It's an image transformation for Sonam in PLAYERS. She has never done a full-on glamorous role before and PLAYERS should change the perception. However, the rawness, as an actor, shows in a variety of scenes. 

Neil Nitin Mukesh is entrusted with a challenging role, but he lacks the charisma and skill to carry off the part with dexterity. Sikander Kher has an insignificant role. As for Omi Vaidya, the less said the better. He irritates and hams incessantly. Vinod Khanna is not in his element either. Johny Lever is hilarious as the car dealer. Aftab Shivdasani appears in a cameo. 

On the whole, PLAYERS rides mainly on the clout of its credible director duo [Abbas-Mustan], daredevil stunts and stunning visuals. But, most importantly, it is deficient of a captivating screenplay. Also, the film could have done with judicious trimming for an enhanced impact. I for one went in with colossal expectations, but came out feeling downcast and disheartened.

Rating : 3/5

A Yash Raj film is interminably special for a movie enthusiast. Right from good looking stars styled most gorgeously, a fine plot, harmonious/foot tapping music, visually dazzling locales, loads of entertainment… it has it all, packaged well to cater to the desi sensibilities. The expectations, therefore, soar upwards when the triumphant team of BAND BAAJA BAARAAT bracket together for an altogether new motion picture -- LADIES VS RICKY BAHL. The query uppermost on everyone's minds is, will this prized team dish up a far superior and an enhanced entertainer for its patrons this time as well?

BAND BAAJA BAARAAT was an underdog with zilch expectations attached to it. It was the dark horse of 2010. But this time, there is hope, anticipation and of course, humungous expectations. 

Okay, so before we begin to 'dissect' LADIES VS RICKY BAHL, let's clear a few misconceptions. The rumor goes that LADIES VS RICKY BAHL seeks inspiration from JOHN TUCKER MUST DIE [2006; Jesse Metcalfe]. Incidentally, the same was said about Yash Raj's youth-centric banner, Y-Films' first venture LUV KA THE END. There's talk that LADIES VS RICKY BAHL also borrows from another movie, SPREAD [2009; Ashton Kutcher] and also from Jeffrey Archer's novel 'Not A Penny More, Not A Penny Less'. In the existing circumstances, making a bare-faced rip off would be blasphemous [read copyright issues]. However, I'd like to add, LADIES VS RICKY BAHL takes the same route as Yash Raj's earlier success BUNTY AUR BABLI. Actually, there's no commonality between BUNTY AUR BABLI and LADIES VS RICKY BAHL, except that both have the con angle as the wallpaper. But comparisons apart, it's a novel, contemporary tale [story: Aditya Chopra]. 

Dimple [Parineeti Chopra], a brash Delhi girl falls in love with Sunny, a fitness trainer. Raina [Dipannita Sharma], an independent and successful corporate woman in Mumbai, does business with an art dealer Deven. Saira [Aditi Sharma], a hard working widow in Lucknow, makes a new friend, the shy Iqbal. Three different girls who get taken for a ride by three different men. 

The problem is, it is actually one man -- Ricky Bahl [Ranveer Singh], a suave and charming con-man, who revels in the game and is only chasing money. 

A chance encounter brings these three women together, who vow to track down Ricky Bahl and get their money back. The next step is the actual plan. Enter Ishika [Anushka Sharma], a young and ambitious girl. The game is set in Goa…

If the promos give an indication that it's just another con flick or an extension of BAND BAAJA BAARAAT, you're in for a bolt from the blue. It's not! What's common is that LADIES VS RICKY BAHL also has ingeniously written characters and some truly engaging moments. While the first story [involving Parineeti] stands out, the second story [Dipannita] is strictly okay, while the third [Aditi] is not as convincing. 

LADIES VS RICKY BAHL is a film of today and the women here are not abla naaris who will sit back and weep, but seek vengeance or at least get even with the offender. However, the screenplay [Devika Bhagat] isn't able to tap the potential that the plot provides. That's because the ploys that Anushka and her gang of girls employ to get even with Ranveer come across as preposterous and outlandish at times. Because the tricks played by the girls are unreal than sensible, even the youngsters may not really enjoy the drama in its entirety. Also, the film dips in the post-interval portions and tends to get sluggish as well. Fortunately, the director ensures that the film gets back on track and rounds off with a pounding culmination. 

Director Maneesh Sharma has handled a number of sequences expertly. The start [the Delhi episode] is most enjoyable and the concluding portions are equally captivating. It's the in between that vacillates between ordinary and absorbing. Coming from Maneesh Sharma, the director of one of the best films of 2010, one expected a lot more meat from the proceedings. Habib Faisal's dialogue are incredibly witty, with the humor delicately woven in the one-liners. Music composers Salim-Sulaiman and lyricist Amitabh Bhattacharya join hands to create high-octane, full-of-energy tracks. 'Aadat Se Majboor' and 'Jazba' are vibrant, while 'Thug Le', during the end credits, stands out for its choreography. Aseem Mishra's cinematography is top notch. 

LADIES VS RICKY BAHL projects Anushka in immaculate light, bestowing her the opportunity to ascertain yet another facet of her persona, which was hitherto unidentified by spectators. Exuding solid screen presence, Anushka wows you with her natural elucidation of the character. Ranveer is the scene stealer here. He's charismatic, spontaneous and glides into his character with amazing ease. He, most definitely, has the aptitude to go places if he chooses the right films and makes the accurate career moves. 

Parineeti Chopra springs a pleasant surprise. She has wonderful screen presence and acts freely. In fact, the viewers would take to her character instantly. Dipannita Sharma carries off her part with poise and grace, while Aditi Sharma is subdued, but natural to the core. The actor enacting the role of Parineeti's father is first-rate. 

On the whole, LADIES VS RICKY BAHL is, at best, a decent fare, which appeals in parts. The film starts well, even ends well. It's the in between that's plain ordinary. One definitely expected more from the director of the immensely likeable BAND BAAJA BAARAAT. Ideally, the film merits a two-and-a-half star rating, but that extra half star is for Ranveer and Anushka, who steal your heart with truly striking performances.

BollywoodHungama 4/5

Intermittently, real life is far more appealing and compelling than fiction. And a biopic -- which attempts to recount a person's life story or at least the most historically momentous years of his/her life -- is most demanding for not just the storyteller/s, but also the actors who bracket together with those films. Occasionally, a dash of some imaginary anecdotes are incorporated in biopics, since the moviegoer seeks some diversion and entertainment in a movie, besides enlightenment. 

Write your own movie review of The Dirty Picture Having said that I'd like to add that it's easier to take a recognizable route, to opt for the tried and tested, but it's frightfully difficult to be diverse. Producers Shobha Kapoor and Ekta Kapoor are known for accepting challenges and backing films like LOVE SEX AUR DHOKHA, RAGINI MMS and SHOR IN THE CITY and along with director Milan Luthria and writer Rajat Aroraa had successfully recreated the bygone era with flourish in ONCE UPON A TIME IN MUMBAAI. Now THE DIRTY PICTURE fires all powerful bullets to stir your mind's eye. 

The general feeling is, THE DIRTY PICTURE is a biopic on the life and times of Silk Smitha, a sought-after actress of the 80s. I personally feel that THE DIRTY PICTURE draws inspiration from the struggling female actors in the 80s, whose insurmountable and indomitable spirit made them emerge triumphant and create a distinctive space for themselves in the male-dominated industry. It's a recreation of an era, with the makers seeking motivation from a lot of characters to create this one woman. 

Let me clear this at the very outset. THE DIRTY PICTURE not only draws attention to the life of a sex goddess, but also makes us responsive of the catastrophe behind the facade. Silk -- the principal character in THE DIRTY PICTURE -- provides titillation to millions of viewers, but dies a forlorn and heartbreaking death. She battles fame, fortune and alcohol. Brave, daring and provocative, THE DIRTY PICTURE doesn't cross the line into impropriety and offensiveness. 

Envisage a junior artist who became the most sought after female protagonist of the early 80s. Chronicling the meteoric rise and steep fall of a screen sensation, THE DIRTY PICTURE is set against the colorful and entertaining setting of the South film industry of the 80s. 

The quintessential siren, Silk, knew her spectators and it didn't seem like anything would stop the intensely motivated starlet, till it did, in the shape of unrequited love. To the world, she was the queen of sensuality. But, at heart, Silk was just another woman craving for true love. An unfortunate encounter with deceit and infidelity led to dire consequences! 

First things first! Milan Luthria is brave and intelligent. Brave, because Milan steps out of the comfort zone to narrate the tragic story of an actress. Intelligent, because THE DIRTY PICTURE does not develop into a dry and depressing fare at any juncture. This one stresses on -- as Vidya puts it -- entertainment, entertainment and entertainment. Well narrated and wonderfully executed, THE DIRTY PICTURE is sure to strike a chord with the avid moviegoer. I'd like to give brownie points to Rajat Aroraa's dynamic script and razor-sharp dialogue. The riveting screenplay and power-packed dialogue will remain etched in our memory for a long, long time, eliciting a similar response like ONCE UPON A TIME IN MUMBAAI. The writing holds the spectators' interest and doesn't let you digress from the screen, except for a few minutes in the post-interval portions. The portions between Emraan and Vidya slows the narrative, though, I'd like to add, it picks up dramatically when Vidya gets conned by a maker of porn movies. The sequences thereafter, right till the finale, take the film to the crescendo again. 

THE DIRTY PICTURE is embellished with several powerful sequences. Note the sequence when Vidya convinces/seduces Naseeruddin Shah, after he refuses to work with her. It's remarkable. Also, the first encounter with Emraan Hashmi. Noteworthy! Much later, the volatile sequence at the awards ceremony [the intermission point] is amongst the highpoints of the enterprise. The second hour has its share of super moments as well. The one featuring Vidya outside Anju Mahendroo's mansion is super. Vidya's interaction with the two women [individual sequences, both] -- with Naseer's wife first and Shakila, the dancer, next -- packs a solid punch. Vidya's interaction with the maker of porn movies is another shocking twist. The finale, of course, moves you no end. 

Vishal-Shekhar deliver a good soundtrack. 'Ooo La La' is easily the song of the year [rendered brilliantly by Bappi Lahiri and Shreya Ghoshal], while 'Ishq Sufiyana' has long legs too. Another striking track is 'Honeymoon Ki Raat'. The choreography of these tracks [Pony Prakash Raj], especially 'Ooh La La', is straight out of the 80s. Bobby Singh's cinematography is magnificent. 

Vidya's sizzling show and dare-bare act is sure to seize the viewers by complete astonishment. It's a novel casting because it is nothing like what Vidya has done before and is completely diverse to her image. But let's give Vidya the due: She delivers an astounding performance, pushing the envelope yet again. It wouldn't be erroneous to state that Vidya will walk away with the awards for the sterling act in this film. Besides, she carries off the hot attire without making her character look vulgar or tasteless. In fact, Milan and costume designer Niharika Bhasin Khan have ensured that the sexy-looking persona is aesthetically depicted. Vidya had put on oodles of weight to get the look of the character right and the flabby body only adds a lot of authenticity to the character she depicts on the big screen. 

Naseeruddin Shah, who has been cast as an ageing South Indian superstar, sports wigs, dark glasses and painted moustache, reminding people of the stars of that era. He plays to the gallery, provoking claps, laughs and whistles, thus pulling off the role with élan. One has to credit Emraan Hashmi for willing to take on bold, aggressive characters. I actually wondered what prompted the actor to share screen space with Vidya, who has a meatier role and enacts the central character, but he walks his own path throughout the film. He plays the headstrong, hot-blooded, rebellious director to the hilt. Tusshar is wonderfully restrained in a significant role. His sequences with Naseer and Vidya, both are truly fantastic. 

Anju Mahendru is first-rate, reminding people of a real-life lady journo, who was hugely popular for her writings in the 80s. Rajesh Sharma, the film-maker who 'discovers' Silk, is outstanding. An actor to watch out for! Shivani Tanskale, enacting the role of Naseeruddin Shah's wife, is perfect. Mangal Kenkre [as Ratnamma] and Imran Hasnee are adequate. 

On the whole, THE DIRTY PICTURE banks heavily on shock-value, sex-value and most importantly, script-value. It's an exceptional portrayal of an ordinary person's rise from scratch to extraordinary heights and her subsequent fall. Without doubt, it is one of the most comprehensive scripts to come out of the Hindi film industry in 2011. A film with a universal theme and terrific mass connect, it has remarkable potential to set the cash registers ringing for one more valid reason -- entertainment, entertainment and entertainment. 

After regaling and entertaining moviegoers with GARAM MASALA six years ago, Akshay Kumar and John Abraham reunite in DESI BOYZ. Helmed by first-timer Rohit Dhawan, son of the badshaah of entertainers David Dhawan, this one goes a step further. Serious issues such as recession, unemployment and economic crisis have been integrated into the plotline, which compels the boyz, Akshay Kumar and John Abraham, to choose an alternate job -- join a male escort agency run by Sanjay Dutt.

Male strippers, gigolos and male escorts aren't new for Bollywood. A few years ago, Deepak Tijori made a full-fledged film on youngsters taking to the profession with OOPS!. Of course, DESI BOYZ is not entirely on male strippers or escorts; there's more to the film actually. 

Write your own movie review of Desi Boyz DESI BOYZ has a bit of THE FULL MONTY and a bit of DEUCE BIGALOW: MALE GIGOLO. First things first! Is the moviegoer of today ready for a film that depicts the protagonists taking to this undesirable profession to make ends meet? Well, these things are common place in reality, so approval shouldn't be an issue. The tastes have evolved and Rohit Dhawan ensures that the subject matter is treated prudently, paying enough heed to not impairing the sensibilities of the conventional viewers. 

Come to think of it, DESI BOYZ is a lot of fun as the male protagonists take to pleasing their female clientele. The first hour, frankly, is akin to a roller coaster ride with lots of fascinating developments unfolding at a feverish pace. The best part is that a tinge of realism [economic crisis] has been injected to the plot, which makes the motives appear convincing on screen. In fact, it's pretty evident that this is not a no-brainer rom-com. But it's the second half that does a complete somersault. 

Let me explain. Watching the second hour of DESI BOYZ is akin to watching an entirely different film. The problem clearly lies in the fact that the screenplay doesn't hold and it tries to balance drama and fun, but with not much success. Akshay's story in the University isn't plausible, while John attempting to woo back Deepika lacks muscle. The courtroom sequence, with Akshay fighting to seek custody of his adorable nephew, is bizarre, while the finale is not compelling at all. In short, the second hour is a complete downer, diluting the impact generated by the first hour. 

The year is 2009. The world has been struck by the financial meltdown. But Nick Mathur [John Abraham] and Jerry Patel [Akshay Kumar] don't feel a thing in their comfortable pad in London. Nick feels smug with his successful investment banking job, the new bonus in his pocket and the beautiful Radhika [Deepika Padukone] by his side, while Jerry is used to living off his best buddy Nick. But life has a way of pulling the rug from under our feet. 

Nick and Jerry stop smiling the day Nick's company decides to downsize and unceremoniously fires him. And Jerry is informed by the Social Services that his nephew Veer, whose local guardian Jerry is, will be placed in a foster home unless he gets a steady job. DESI BOYZ is the story of two men who are forced to do something extremely bizarre which gives them instant gratification, but the repercussions tear them apart. 

DESI BOYZ is unlike the atypical Akshay starrers that we have witnessed in the recent past. But Rohit Dhawan, who is also credited for the written material, ought to have ensured that the post-interval portions are equally riveting and absorbing. However, a few moments in the second half are well executed, but it's not like the first half. A film of this nature ought to entertain and the comic scenes ought to have the power to make you laugh, which is clearly lacking here. 

Milap Zaveri's lines are witty and sharp. Natrajan Subramaniam's cinematography is eye-filling. The production design is top notch. Pritam's music compliments the mood of the film. The choreography is striking. 

Akshay has transformed into an actor who can handle comic scenes proficiently and DESI BOYZ is proof enough that he has indeed come a long way. Like always, he pitches in an earnest performance, making you notice the loads of effort he puts into his roles. John is a revelation in a role that demands him to look dashing as well as carry off the light scenes effortlessly. The role required a star with a debonair persona and charisma to match Akshay and John seems the most apt choice. The camaraderie between Akshay and John is piping hot. 

Deepika continues to evolve as an actor and proves her mettle yet again. Chitrangda, who has been seen in middle of the road cinema/offbeat films so far, enters the plot much later [in the second half] and though she looks stunning and acts well, her character isn't convincing. Sanjay Dutt is winsome in a cameo. Anupam Kher is wasted. Omi Vaidya provides good laughs. The child actor is really cute. Mohnish Bahl is just about okay. 

On the whole, DESI BOYZ has an entertaining first half and decent performances as its plusses, but a tedious and least compelling second hour stands out like a sore thumb. Leaves a lot to be desired! 

Loot (2011) Movie Review

By Taran Adarsh

Click Here To Watch  Video Movie Review

Some films take a long time to hit the screens. Resultantly, the story appears obsolete, the gags fall flat and the outcome, therefore, lacks fizz. LOOT, directed by Rajnish Raj Thakur, is a been-there-seen-that kind of a ride that had everything going in its favor had it arrived a few years ago, but the time lapse seems to have played spoilsport here.

As the reels of LOOT unfold, you realize the film doesn't stand on its feet after you are introduced to the four protagonists. Reason: The perennial problem that ails most films -- slapdash screenplay. In reality, it's not merely a screenplay of convenience, but the writing is so disjointed at times that even the fine acting and some witty lines get overlooked in the route. 

Write your own movie review of Loot LOOT tells the story of Pandit [Govinda], Builder [Suniel Shetty], Akbar [Jaaved Jaaferi] and Wilson [Mahakshay Chakraborty], who are entrusted with the responsibility of carrying out a robbery in Pattaya, Thailand. But, as luck would have it, they rob a wrong address and find themselves in a mess, with a dreaded don [Mahesh Manjrekar] thirsting for their blood. 

On paper, the concept of LOOT may have evoked super reactions by those reading it, but on celluloid, the film abounds in cinematic liberties, which gets hard to absorb after a point. Of course, LOOT is a hardcore masala film and one doesn't question the logic behind such plots. But the screenplay is so messy and with too many characters in the fray, the deficiencies loom large at every step. 

The main culprit is the sloppy script and hence, there's not much director Rajnish Raj Thakur can do to salvage the show. There's no scope for songs in the movie, hence the track in the dance club in Pattaya and also towards the end credits [Rakhi Sawant number] doesn't add to the goings-on. 

Govinda's comic timing is impeccable and he carries off some witty lines with amazing ease. Suniel Shetty is the best of the lot. He stays true to his character and handles his part like a pro. Like Govinda, Jaaved Jaaferi too has a flair for comic roles and he does a fine job. Mahakshay doesn't cut ice. Mika does well, given the fact that it's his debut film as an actor. Shweta Bhardwaj and Kim Sharma only add to the glam quotient. 

Prem Chopra is passable. Mahesh Manjrekar doesn't evoke fear, though he's supposed to be a dreaded don. Ravi Kishen is getting typecast. Dalip Tahil and Deepraj Rana are just about okay. Shehzad Khan and Razzaq Khan are as usual. 

On the whole, LOOT is an 80s style masala fare that lacks smart writing and slick direction. At best, it may find some patronage from spectators who relish typical masala fares. 

Miley Naa Miley Hum (2011) Movie Review

By Taran Adarsh

Click Here To Watch Video Movie Review

Generally, a film designed as the launch vehicle for a new face always happens to be a love story. But romance is merely one chapter in MILEY NAA MILEY HUM. It's all about a son's tryst to bring his estranged parents together, in this case. Besides, writer-director Tanveer Khan integrates a sport [tennis] in the plotline, which, frankly, sets the film apart from the customary prem kahanis.

MILEY NAA MILEY HUM may not be the most engaging movie, but it has moments that tick. And it is these moments that elevate it to the watchable movie-going experience. The portions between the estranged parents [Kabir Bedi, Poonam Dhillon] hold your attention, while the under-nourished romantic track and a predictable climax [why do all films depicting a sport -- PATIALA HOUSE, SPEEDY SINGHS and now this -- have a happy reunion on the pitch/field?] are a compromise, from the writing point of view. 

Write your own movie review of Miley Naa Miley Hum Chirag [Chirag Paswan] comes from a broken family. His father, Siddharth [Kabir Bedi], a vineyard owner and mother Shalini [Poonam Dhillon], a business magnate, had parted ways when he was a kid. Chirag's heartfelt desire is to bring his parents together. Now an adult, Chirag continues to live one month with his father and one month with his mother just to make them realize the pain he goes through. 

Shalini wants Chirag to get married to Kamiah [Sagarika Ghatge], while Siddharth wants Chirag to settle down with Manjeet [Neeru Bajwa], his friend's [Dalip Tahil] daughter. To get out of this sticky situation, Chirag tells his parents that he loves somebody and randomly points out at a model on an advertising hoarding. The model happens to be Anishka [Kangna Ranaut], who has no clue who Chirag is. 

Both Siddharth and Shalini trace Anishka and convince her, in their own way, to let go off Chirag. In the meanwhile, Chirag offers Anishka a deal she can't refuse.

The plot may not be novel or inventive, but the film unfolds briskly and has a consistent tone. The film works because the director doesn't manipulate us with unnecessary rona-dhona [a norm in movies that focus on warring parents] and even the sub-plots with Sagarika and Neeru get over before the viewer feels exhausted. 

Like I pointed out earlier, the romance between Chirag and Kangna could've been handled with a lot more care. The climax too could've made an impact, although the scene when the parents wave out to their son is indeed touching. Sajid-Wajid's music is easy on the ears. Baba Azmi's cinematography captures the vineyard beautifully. 

Of the cast, Chirag grabs your attention with his piercing eyes. He has screen presence and can do with that extra polish in acting. However, in view of the fact that this is his maiden attempt at movies, he does a fine job. Kangna is, as always, dependable, but why is she wearing minimal or no makeup in films these days? Earlier RASCALS and now MILEY NAA MILEY HUM… the 'natural' look doesn't work with moviegoers in India, who like to see their fav actors at their glamorous best. Especially in this case, when she's enacting the role of a model.

Both Kabir Bedi and Poonam Dhillon fill the spaces well. In fact, their sequences are well penned and well enacted too. Sagarika looks alluring, while Neeru is noticeable in a brief role. Kunal Kumar is proficient. Dalip Tahil and Suresh Menon are as usual. Shweta Tiwari dances well in the item song. 

On the whole, MILEY NAA MILEY HUM is an absorbing fare with decent merits. A light-hearted entertainer that's an easy watch. 

Ra.One (2011) Movie Review

By Taran Adarsh

Rating : 4.5/5

I've often heard people say, film-making is nothing short of a gamble. And as any gambler will tell you, you've got to gamble huge to triumph huge. Going by this logic, Shah Rukh Khan is The Supreme Gambler of the year.

What's at stake, beside the big money invested in RA.ONE of course, is a dream, a vision, an aspiration to make a film which appeals to kids and kids at heart. In short, attempt a film that appeals to the universal audience. At the same time, it ought to raise the bar for Hindi films. Also at stake is SRK's once-unchallenged supremacy as the reigning idol of Bollywood and that elusive thing called reputation. When you invest your repute in your dream project and stick your neck out, you expect nothing short of a mega-success. 

Movies like KRRISH and ROBOT initiated the trend of superhero films in India, with fantasy making deep inroads into mainstream Hindi cinema. Now RA.ONE raises the bar, takes not a step or two, but a giant leap and adheres to international standards, in terms of execution. But the soul, I wish to add, is very desi. That's precisely the reason why RA.ONE emerges trumps. RA.ONE is beauty [read good looking film] with brains [read content]. 

What characterizes a stunning superhero movie? I have narrowed it down to three precise constituents that I deem are absolutely necessary for an alluring superhero flick. The first is that the motion picture must encompass spectacular action and edge-of-the-seat thrills. Secondly, a magnificent superhero movie must also boast of luminous performances from the protagonists, which in turn should make these characters appear credible and relatable. Thirdly and most importantly, superhero films must have a narrative that keeps us yearning for more. All of these are indispensable factors in making a superhero movie that will be both acclaimed and adored by fans. Fortunately, RA.ONE emerges triumphant in all the three departments. 

RA.ONE is the most ambitious, most expensive and the most technologically complex Hindi film ever made. It pushes the envelope further. It's not merely a film, but an experience, an event. It's a film that will rewrite the textbook of computer graphics in Hindi cinema. At the same time, it is very Indian at heart. The relationship between SRK and the kid is the highpoint of the enterprise. But, at the same time, there are ample clap-trap moments that will send the viewers in frenzy. The chase sequence, when Ra.One finally zeroes on Lucifer, and the subsequent 'entry' of the superhero is awe-inspiring. The train sequence in the second hour is exceptional and a cinematic feat. The presence of Rajnikanth in a crucial sequence will be greeted with deafening claps and whistles. And, of course, the climax of the film; it's simply jaw-dropping. 

Besides these factors, the 'Chammak Chhallo' number is already a rage and so are the sequences involving visual effects. In a nutshell, it's an entertainer that works big time. You haven't experienced something like this ever before, on the Hindi screen! 

A father tries hard to fit into his son's world. While Shekhar [Shah Rukh Khan] tries every trick in the book to woo his son, his son had given up on him. Just when the father-son duo hit a deadlock, Shekhar strikes gold when he designs one hell of a game. Finally, it all starts falling in place. But the happiness is short-lived. All hell breaks loose when the game that was meant to be played with, starts playing them. 

We are spoilt by cinema's ability to create on celluloid anything that can be imagined, therefore we have raconteurs making endeavors to bestow us with movies that you wouldn't have ever envisioned even in your mind's eye. You realize this as you watch RA.ONE, which is a visual spectacle from start to end. 

Director Anubhav Sinha along with co-writers David Benullo, Kanika Dhillon and Mushtaq Shiekh may be inspired by international flicks as far as the concept is concerned, but they ensure that they serve the right masala to moviegoers in those 2.30 hours. What actually takes you by complete surprise is not just the money spent on visual effects or the stunning chase and action scenes, but the twists and turns in the screenplay that unravel at a feverish pace. 

Besides, the moviegoers have certain expectations and notions about superhero flicks and they expect such characters to perform audacious aerobatics to save someone's life or a nation. But this one's different. Visually arresting and dramatically just what the doctor ordered, the film boasts of relatable characters, which makes this superhero movie for kids as well as grown-ups. In fact, I'd like to add, RA.ONE is not only skillfully directed, but also visually dynamic and entertains from commencement to conclusion. 

The album of the film lives up to the grand expectations. Vishal-Shekhar deliver a striking score with 'Chammak Chhallo', 'Dildaara' and 'Raftarein' being the pick of the lot. The background score, also recorded by them, is equally electrifying. V. Manikandan and Nicola Pecorini's cinematography is top notch. Same goes for the stunts and chases [Andy Gill and Spiro Razatos]. Dialogue [Kanika Dhillon and Niranjan Iyengar] are hardly ever commonplace. What I found most interesting is that, whether humorous or thoughtful, the channel of communication appears very credible. The Ra.One and G.One suits, designed by Robert Kurtzman, are super. 

RA.ONE is a perfect vehicle that does justice to the talent of Shah Rukh Khan. He seems to have found a story and character that work in perfect sync and tandem with manic energy. SRK steers this physically challenging lead role with high-spirited self-belief. He's endearing as the father and magnificent as the superhero with a heart. Kareena Kapoor is a delight to watch. She effortlessly glides into the character. Besides, she looks ethereal in the 'Chammak Chhallo' song and her wit is infectious. Arjun Rampal pulls his act with effortlessness and style. Also, Arjun's well-designed look is admirable. 

I'd like to make a special mention of Armaan Verma, the kid who has a pivotal part to portray. He stands shoulder to shoulder with SRK and Kareena all through the film and delivers a super-confident performance. The film has a number of actors in key roles [Shahana Goswami, Dalip Tahil, Satish Shah, Suresh Menon, Mushtaq Shiekh and Tom Wu] and each of them fit well in their respective parts. Sanjay Dutt and Priyanka Chopra add to the glam quotient, while Rajnikanth proves yet again that he's a scene stealer. 

But the man who warrants the actual round of applause is director Anubhav Sinha himself. For bringing out the best of SRK, Kareena and Arjun. For the amazing screenplay. For the speedy yet smooth stream of the narrative. And for the fantastic unfolding of the written material. He merits top admiration for every act of his. 

On the whole, RA.ONE is a solid entertainer, no two opinions on that. It's not merely a great looking film, but also has soul, which is so essential to strike a chord with the avid moviegoer. As for the business prospects, RA.ONE is sure to shatter all previous records and set new ones, in India as well as internationally. The film will be the new yardstick for measuring success. It has Blockbuster written all over it! 

Rating : 4.5/5