MOVIE REVIEW: Anjaana Anjaani

Till a few years ago, if a director approached a producer with a script that had just two characters from Scene A to Z, the producer would scoff at him and show him the door. After all, devoting an entire film on merely two characters is nothing short of a risk. That's not all, for the two characters aren't friends, acquaintances or lovers. They are strangers who meet accidentally on a bridge, since both have decided to commit suicide. If that's how your film begins, it's akin to taking another [giant] risk by Bollywood standards.

Okay, okay, before I begin dissecting ANJAANA ANJAANI, I need to clear a few misconceptions pertaining to this film. It's not a copy or adaptation or remake of Patrice Leconte's 1999 French film LA FILLE SUR LE PONT/GIRL ON THE BRIDGE, which starred Daniel Auteuil and Vanessa Paradis. The Twitterverse is also crammed with tweets speculating that ANJAANA ANJAANI bears a striking resemblance to the Telugu film ITLU SRAVANI SUBRAMANYAM [2001]. The only similarity between these three films is that two strangers meet on a bridge to commit suicide, that's it! ANJAANA ANJAANI is as diverse from these films as mangoes, apples and peaches. Now let's move ahead...

With ANJAANA ANJAANI, director Siddharth Anand accepts a big challenge. This one's a love story, but it doesn't follow the beaten path. It doesn't follow the rules laid out by the romantics in Bollywood. And that's where its strength lies. Generally, couples in love commit to die for each other, but in this film, romance blossoms much, much after the two meet at the bridge for the first time, when they are about to commit suicide. From strangers to lovers to strangers again is how the film explores the relationship between this couple.

ANJAANA ANJAANI works for two major reasons. The first being the powerhouse performances by its lead pair. Having watched their careers from the very onset, I would like to state that the two actors deliver career-best performances in ANJAANA ANJAANI. The second reason why ANJAANA ANJAANI works is due to the terrific moments in its second hour.

Final word? ANJAANA ANJAANI is worth a watch. If you are a romantic, or even if you are not, ANJAANA ANJAANI is a must-see for its interpretation of modern-day romance. Recommended!

ANJAANA ANJAANI is the story of Kiara [Priyanka Chopra], based in San Francisco, while Akash [Ranbir Kapoor] is a New York City boy. Akash has had a failed business, while Kiara has had a failed relationship. Fed up, they both decide to commit suicide by jumping off a bridge. However, both land up on the same bridge at the same time.

One thing leads to another and Akash and Kiara decide to end their lives on 31st December. With 20 days to go, they decide to fulfill their unfinished wishes and thus begins their journey.

Director Siddharth Anand has a fine sense of story and how to present his characters well. ANJAANA ANJAANI is no different. Of course, you don't take to the film instantly, primarily because it's not the usual prem kahani. In fact, there's hardly any movement in the story in the first hour. It's a collage of some wonderful, some okay moments, frankly. The sequence at the bridge and the various attempts at committing suicide stay with you and so does the sequence in the sea, when they go sailing and decide to swim. Also, the first hour unwinds at a leisurely pace and that's bothersome.

However, story writer Mamta Anand and screenplay writers Advaita Kala and Siddharth Anand reserve the best for the post-interval portions, when the story moves from New York to Las Vegas to San Francisco. The road trip and the varied experiences and emotions they share make it a compelling watch. Of course, the story tends to get a bit predictable towards the end, but come on, don't we like our love stories to have happy endings?

Siddharth Anand has handled the subject with flourish. Besides, the film is not merely rich in substance, but is equally alluring when it comes to style and overall look. The DoP [Ravi K. Chandran] plays a major role here. The film bears a magnificent look all through and the panoramic and exotic locales of America only make every frame stand out. The costumes - Mamta Anand for Ranbir and Manish Malhotra for Priyanka - are trendy.

Vishal-Shekhar's music has a lot of heart. Again, it won't be wrong to state that their compositions take the movie forward. The background score [Salim-Sulaiman] is top notch. In fact, the rich score compliments the mood of the characters beautifully. Dialogues are wonderful.

When two of the film industry's finest actors meet, it puts more pressure on the film. Ranbir is an actor with an infinite range and his dedication to his work is evident in every film. I have often stated that he is the finest actor of his generation and the fact comes alive yet again as you watch him donning a new character in ANJAANA ANJAANI. Priyanka sinks into the role beautifully, so much so that she forgets herself and starts becoming Kiara. When an actor kills his or her eminence and surrenders completely to the role is when the film really takes off. Priyanka has this unique quality. Zayed Khan is likable in a cameo. Tanvi Azmi is wonderful.

On the whole, ANJAANA ANJAANI is an unpretentious romantic saga that revels in the exuberance of newly found love. The film has everything going for it: top notch performances by two super-stars, good music, a sensitive director with a good track record, a simple yet absorbing story and of course, terrific moments [emotional as well as humorous]. Don't miss this one!

MOVIE REVIEW: Dabangg

The fight between good and bad has been the fodder of many a Hindi film of 1970s and 1980s. In fact, it wouldn't be erroneous to state that these films dominated the cinema of yore and a lot of us, who have grown up on masala films/wholesome entertainers, will vividly recall the serpentine queues outside cinema halls and a mad scramble to book the tickets of those films. Hardcore masala films were relished with glee by the audience then.

However, for some inexplicable reason, masala films became extinct or should I say, disappeared from the face of Hindi cinema over a period of time. GHAJINI and WANTED revived this genre, bringing back memories of the bygone era. Now DABANGG takes this genre one step ahead.

Be forewarned. DABANGG is rustic, has loads of action, harps on the age-old mother-son and varied relationships [half-brother, step-father], eventually turns into a vendetta fare, has a number of songs placed smartly in the narrative [including an item number]... but the packaging is slick and polished. Sure, it's old wine, but packed in a brand new bottle, with a new brand ambassador [Salman Khan] endorsing this masalathon.

Most importantly, it has Salman like never before. Breathing fire and venom, Chulbul Pandey aka Robinhood Pandey taps Salman's star power like no film has and the result is sheer magic. In fact, DABANGG stands on three pillars - Salman's star power, smashing stunts and super music.

Final word? Salman fans, rejoice! You walk in DABANGG with 100% expectations and you exit with 200% gratification. Entertainment guaranteed. This film will create a pandemonium of sorts, a mass hysteria, crushing old records and setting new benchmarks at the box-office.

Set in Uttar Pradesh, DABANGG is a story of Chulbul Pandey [Salman Khan], a totally fearless but corrupt police officer with unorthodox working methods. But even the most fearless at times face a tough fight with their innermost demons. Chulbul has had a bitter childhood. His father passed away when he was very young, after which his mother [Dimple Kapadia] married Prajapati Pandey [Vinod Khanna]. Together, they had a son Makhanchan [Arbaaz Khan].

Prajapati favors Makhanchan, which does not go down well with Chulbul. He decides to take control of his destiny and detaches himself from his step-father and half-brother. His sole attachment is his mother. However, after his mother's demise and an unsuccessful attempt to mend wounds, Chulbul snaps all ties with his step-father and half-brother.

Rajo [Sonakshi Sinha], with her unique perspective of life, enters his world and turns life upside down. Chulbul starts to see life more positively and also gets sensitized to the value of a family. But his detractors, especially the dubious Cheddi Singh [Sonu Sood], have their own vested interests and emerge as spokes in the wheels, putting one brother against the other. Makhanchan ends up carrying out an act oblivious to the consequences.

When Makhanchan realizes he has been used, he turns to Chulbul. Will Chulbul take his extended hand? Will the brothers be able to thwart their detractors?

The job of a promo is to give a gist of the film and prepare the audience well in advance about what to expect when they saunter into an auditorium. The promos of DABANGG have sent the right signals to the audience about it being a paisa vasool entertainer. Let's face it, DABANGG has nothing ground-breaking to offer as far as its plot is concerned. We've visited similar stories in the past, but what makes DABANGG shine, and shine brightly, is Salman's star power, which camouflages the aberrations wonderfully. The darling of the masses has been cast in a role that his fans love to see him in, which explains why this film works from start to end.

Like I pointed out earlier, DABANGG is special for two more reasons: S. Vijayan's stunts and Sajid-Wajid's music, with an additional song by Lalit Pandit. Talking of action scenes, Salman's introduction at the start and the fight-to-finish in the climax will send the masses in frenzy. To state that the action scenes are outstanding, especially the fight in the finale, would be an understatement. In the finale fight, when Salman's shirt tears apart and the rippling muscles and the bare-chest fight ensues, mark my words, it will lead to chaos at mass-dominated centres, especially at single screens. The climax will be one of the prime reasons for repeat viewing, for sure.

It's difficult to accommodate music in an action film, but Sajid-Wajid come up with a melodious score. The title track, 'Tere Mast Mast Do Nain' and 'Munni' [composed by Lalit Pandit] are the icing on the cake.

Director Abhinav Singh Kashyap is in his element. He's made an out and out entertainer with an eye at the masses and he succeeds in his endeavour. Doing justice to vintage formula is no cakewalk, let's not forget. Besides, the director stays away from going overdramatic while handling the dramatic and emotional moments. This explains why you don't exit the theatre with a spinning head. Mahesh Limaye's cinematography is perfect. I'd like to make a note of the editing [Pranav V. Dhiwar], which is super-slick in action scenes. Dialogue, especially those delivered by Salman, will be greeted with claps and whistles. Especially the one 'Itne chhed karunga'.

Salman Khan is the boss, when it comes to playing to the masses. This film reaffirms this truth. The role provides him ample opportunity to prove his star power and he does it with remarkable ease. Let me put it on record. DABANGG is yet another landmark film in his career, besides MAINE PYAR KIYA, HUM AAPKE HAIN KOUN, JUDWAA [tapping the funny side], TERE NAAM [tapping the emotional side] and WANTED.

Sonakshi Sinha looks fresh, acts confidently and pairs off very well with Salman. Most importantly, she delivers the right expressions and is not overpowered by the galaxy of stars in the cast. Arbaaz Khan is efficient. He underplays his part well. Sonu Sood is electrifying, matching up to Salman at every step. In fact, the fight in the finale between Salman and Sonu is awe-inspiring.

Vinod Khanna is excellent in a role that has grey shades. Dimple Kapadia is truly wonderful. Anupam Kher is, as always, good. Ditto for Om Puri. Mahesh Manjrekar doesn't get ample scope. Mahi Gill is alright. Tinnu Anand is effective. Murli Sharma is nice. Malaika Arora Khan sizzles in the 'Munni' track.

On the whole, DABANGG is a full on entertainer with three aces - Salman Khan like never before, stylish action and super music. It's a foregone conclusion that DABANGG will open huge. As far as the business prospects are concerned, the film will set new benchmarks, so much so that DABANGG will be one of the yardsticks to gauge the level of business in times to come. Sure to fetch an earth-shattering opening, the film will create a pandemonium at the box-office, cementing the status of Salman Khan as the darling of the masses and making the distributors laugh all the way to the bank. It has Blockbuster written all over it!

RATING: 4.5/5

MOVIE REVIEW: We Are Family

Okay, WE ARE FAMILY is the official adaptation of Chris Columbus' STEPMOM [1998] and lots of us have already watched this Julia Roberts - Susan Sarandon starrer. Even otherwise, the story of a woman, diagnosed with a terminal illness, entrusting her kids to the 'other woman' before she does the final salute, gives the feeling of deja vu. But WE ARE FAMILY is not a tear-jerker. Sure, it has dollops of emotions, but also integrates the light moments wonderfully in those 12 reels.

In the good old days, in the 1960s and 1970s specifically, well-made family films struck an instant chord with viewers across the spectrum. But with the changing times, the quantum of well-made socials made a rapid decline. WE ARE FAMILY belongs to the Rajshri gharaana and tells the story of a family facing two life-changing developments: The woman of the house is diagnosed with a terminal illness and two, there's a stepmom on the scene. A difficult subject to handle, without doubt.

But debutant director Siddharth P. Malhotra surprises you constantly. Casting the best available talent for two pivotal parts and doing complete justice to their roles is tough. Very tough. But the ease with which he handles the tense moments between the women and also the emotional finale shows he has learnt his lessons well from his peers.

Final word? WE ARE FAMILY is for the family. It is well acted, deftly written, entertaining and broadly appealing drama. Watch it with someone you love!

Maya [Kajol] is the perfect mother. Her life revolves around her three children, Aleya [Aanchal Munjal], Ankush [Nominath Ginsberg] and Anjali [Diya Sonecha]. Despite being divorced from her husband Aman [Arjun Rampal], Maya has ensured that everything runs smoothly in her house, under her watch, and that they continue to remain a happy family unit.

When Aman introduces his girlfriend, Shreya [Kareena Kapoor], a career-oriented woman, the situation takes an unexpected turn. However, Maya is diagnosed with a terminal illness and circumstances bring the two women under the same roof. Can two mothers make a home?

With a plot like this, you expect WE ARE FAMILY to be an out-and-out serious outing. However, the film has its serious moments, but the director ensures that it doesn't come across as a gloomy and serious fare. In fact, the generous dose of light moments in the narrative keeps the drama fluid. There's an inherent sensitivity that the director brings in, which keeps you involved for most parts.

On the flip side, the film tends to stagnate in the middle of the second hour. One expects the story to move forward, but there's not much movement here [thankfully, the film picks up wonderfully towards the penultimate reels]. Also, the music by Shankar-Ehsaan-Loy is a complete letdown. You feel it all the more because Dharma is synonymous with excellent music. The only redeeming track in the enterprise is 'Let's Rock', which is high on energy. S-E-L need to reinvent themselves by experimenting a little more.

Director Siddharth P. Malhotra handles the dramatic portions best. The tense moments between Kajol and Kareena, the confrontation between the two and also the cold stares that they exchange time and again have been captured very well. The gradual transformation in Kajol's looks, from striking and energetic to pale and morose, is also well projected. The finale is the best part of the enterprise and can be best described in one word: Outstanding. However, like I pointed out earlier, the writing could've been tighter towards the second hour.

Mohanan's cinematography is eye-catching and the locales of Australia only enhance the look of the film. Niranjan Iyengar's dialogue are decent at places, but a few lines are amazingly real. The background score [Raju Singh] is first-rate.

WE ARE FAMILY gives the two popular actresses an opportunity to sink their teeth into strongly drawn, juicy, challenging and interesting female roles that move beyond the normal stereotypes. The scene stealer is, without doubt, Kajol. She expresses the gamut of emotions brilliantly and speaks a million words even when silent. This is yet another incredible performance from an actor par excellence. Kareena excels yet again and her sequences with the kids are a delight. In fact, casting Kareena as the stepmom is just right, since she's the only actor who can stand up to Kajol in high-voltage scenes and that's because Kareena is a powerful actor herself. Arjun continues to surprise. ROCK ON, HOUSE FULL, RAAJNEETI and now WE ARE FAMILY indicates the growth of this actor. He handles the emotional moments well too. The kids - all three of them - are superb. In fact, the casting of the kids [done by Shanoo Sharma] is an ace.

On the whole, WE ARE FAMILY is a perfect family film with a good mix of emotions and humour. Plus, a brilliant climax, which will ensure that the film grows with a strong word of mouth. The last film which came close to being a family outing was PAA. Before that, the only quintessential family film was BAGHBAN. WE ARE FAMILY is the kind of film that should work instantly with ladies and when ladies watch such films, they bring their spouses and children along. Recommended!

RATING: 3.5/5

MOVIE REVIEW: Lafangey Parindey

Sometimes, your reputation precedes you. Pradeep Sarkar carries the reputation of making women-centric movies. Films like PARINEETA and LAAGA CHUNARI MEIN DAAG prove it. Who would've ever thought Sarkar would do a 360 degree turn in his third film by calling it LAFANGEY PARINDEY, set it in a chawl and make his characters speak tapori lingo? Hard to digest, isn't it? Frankly, the skilled storyteller takes you on a trip least expected from him.

When you attempt something you haven't attempted earlier or ventured into before, you either fall flat on your face or walk with your chin up in air. Sarkar doesn't slip, although LAFANGEY PARINDEY does have its share of hiccups that show up intermittently. Unlike PARINEETA and LAAGA CHUNARI MEIN DAAG, Sarkar narrates a simple story this time around and though it has nothing to do with the Rajesh Khanna - Mumtaz - Meena Kumari starrer DUSHMUN, you can't help but draw parallels with it, which, frankly, could be a coincidence as well. Yet, to be fair to Sarkar, he ventures in an unknown territory like a seasoned player.

On the flipside, the film has a major flaw and that dilutes the impact to an extent: Casting Neil Nitin Mukesh as a tapori. He just doesn't look like one. Even if he tries very hard to get into the skin of the character, you just can't connect with him since the suave and dashing demeanor makes him look like a Harvard returned, not someone from the streets or wadis of Mumbai definitely.

Final word? Sure, it has its share of shortcomings, but is an engaging watch nonethess.

LAFANGEY PARINDEY is about a group of youngsters living in the backstreets of Mumbai. It is the love story of Nandu [Neil Nitin Mukesh] and Pinky [Deepika Padukone].

One-Shot Nandu takes boxing to a new level by knocking down his opponents - blindfolded. Needless to say, One-Shot lives life on his own terms and is a local hero amongst his friends. But all that changes when he meets Pinky.

Pinky works at a mall, but is a kickass dancer on skates. Strong-headed, talented and fiercely ambitious, she aspires to rise above all the 'losers' living in her locality and carve a niche for herself. Two different personalities. Two different lives. Destined to meet.

LAFANGEY PARINDEY starts with gusto! Also, it moves on a singular path, without diversifying into unwanted sub-plots and superfluous characters. In fact, the story takes off at the commencement of the film itself and how Neil and Deepika's lives get intertwined makes for interesting viewing.

The film has some truly engaging moments and most of them are in its first hour. Sequences between Neil and Deepika after the accident are wonderful and keep you hooked. However, things begin to slacken in the post-interval portions, when the love story takes over and Neil and Deepika realize that they share a deeper bond. Just when things are about to go downhill, the climax happens and LAFANGEY PARINDEY is back on track. In fact, the drama in the finale - when Deepika and Neil have to perform the final act for a television show - is the highpoint of this film. The skating sequences and choreography are stunning and awe-inspiring.

Blemishes? Oh yes! The love story is conventional and dreary. Also, the investigating officer's track is half-baked and looks like an add-on. Besides, the film is embellished with a mediocre musical score [R. Anandh]. Also, the Bambaiya Hindi has its limitations.

Like I pointed out earlier, Neil is the wrong choice for this part. Also, he lacks the fire to carry off the role with flourish. LAFANGEY PARINDEY clearly belongs to Deepika Padukone, who suits the character and enacts it with such competence that it leaves you amazed. The pretty lass is only getting better with every film. Piyush Mishra is first-rate. Kay Kay Menon is okay in a brief role. The friends, each them, leave a mark. Especially Namit Das, who's wonderful. Shiamak Davar, Juhi Chawla and Javed Jafferi feature in brief roles.

On the whole, LAFANGEY PARINDEY may be predictable, but is engaging and entertaining nonetheless. A decent watch!

RATING: 3/5

MOVIE REVIEW: PEEPLI [Live]

When Aamir Khan produces a film, or is associated with any film in the capacity of an actor, be prepared for the unpredictable. Films like TAARE ZAMEEN PAR and 3 IDIOTS took pot shots at the education system in India and PEEPLI [LIVE], directed by Anusha Rizvi, is a tongue-in-cheek satire on the farmers' suicides and the role of vote-hungry politicians and the over-enthusiastic, TRP-seeking desperate electronic media jostling for eyeballs.

Come to think of it, the concept [farmers' suicides] would instinctively translate into a serious, thought-provoking film. But PEEPLI [LIVE] takes a grim and solemn issue, turns it into a satire, garnishes it with populist sentiment and makes a far greater impact than a mere documentary, had it tackled the burning issue. In fact, like all Aamir Khan films, PEEPLI [LIVE] marries realism with a winning box-office formula most brilliantly.

A sad fact of our society is that bad news attracts instant attention. In PEEPLI [LIVE], an impoverished man offers to commit suicide so that his family can benefit from a government grant - a dark subject matter which is dealt with in a delightfully humorous manner. In fact, it's a terrific satire about a troubled India, the shining India, the industrialised India that's rarely depicted on the Hindi screen.

PEEPLI [LIVE] focuses on the poorest of the poor in India and it not only highlights the plight of a farmer in a tiny corner of a giant country, but also throws light on the varied people who exploit the situation to their advantage, right from the politicians to the bureaucrats to the television reporters to the local people. In fact, PEEPLI [LIVE] makes a scathing attack on the functioning of media in India and how media persons, depicted as vultures, generally stoop to the lowest levels to increase the ratings of their television channel/show.

The best part is that at no point does the film gets preachy or starts offering solutions to the grave issue. It's a mere tool that the makers have used to discuss bureaucracy, the rural and urban divide and lack of concern of the administration.

Final word? This tragi-comedy, a brilliant satire, is not to be missed.

Natha [Omkar Das Manikpuri], a poor farmer from Peepli village in the heart of rural India, is about to lose his plot of land due to an unpaid government loan. A quick fix to the problem is the government's program that aids the families of indebted farmers who have committed suicide. As a means of survival, Natha chooses to die. His brother [Raghubur Yadav] is happy to push him towards this unique honour.

Local elections are around the corner and what might've been another unnoticed event turns into a cause célèbre, with everyone wanting a piece of the action. Political bigwigs, high-ranking bureaucrats, local henchmen and the ever-zealous media descend upon sleepy Peepli to stake their claim. Natha's mother [Farrukh Jaffer] screams at his wife [Shalini Vatsa], while his young son urges papa to go through with the suicide so he can use the money to become a policeman.

One TV journalist, in a desperate search for a new angle, tries to examine Natha's faeces to determine his emotional state. Nobody seems to care how Natha really feels.

PEEPLI [LIVE] tells the story of today: Rural society, the games politicians play, the bureaucracy and the manipulative electronic media. It's a well penned and well executed film that deals with a serious issue in a witty and entertaining manner. Although very real, it creates a world full of vivid characters and incidents and keeps the viewer engrossed throughout.

First-time director Anusha Rizvi handles the subject material like a veteran. Her script is tight and witty and her handling of a difficult subject deserves kudos. What really sets the film apart is that it is unlike a typical Bollywood film. In fact, you can't draw parallels with any film, past or present. And that's what goes in favour of this film, since virgin subjects handled with utmost sensitivity and maturity is the order of the day. Even the finale is most appropriate and absolutely befitting the content of the film. In a nutshell, Anusha scores a sixer in her debut.

The music, composed by multiple artists, is Indian to the core and borrows heavily from folk music. The hugely popular - 'Mehangayee Daayan' - is the pick of the lot, without doubt. Cinematography is appropriate. Dialogue, laced with expletives, are truly fantastic and most importantly, real.

Manikpuri is brilliant as Natha. Raghubir Yadav shines as the opportunist brother. Malaika Shenoy [as the television reporter] is exceptional. Shalini Vatsa [as Natha's wife] is outstanding. Ditto for Farrukh Jaffer [Natha's bed-ridden mother]. In fact, the constant tu-tu-main-main between the saas-bahu is thoroughly enjoyable. Nawazuddin Siddiqui [as Rakesh, the local journalist] is natural. Vishal Sharma [as Kumar Deepak, the rival journalist] is top notch. Naseeruddin Shah is first-rate as the conniving, shrewd politician. The remaining cast - there're lots of actors in the film - pitch in believable performances.

On the whole, PEEPLI [LIVE] is sure to ride initially on the strength and credibility of its iconic actor/producer Aamir Khan and once that is achieved, the powerful content is sure to speak for itself. PEEPLI [LIVE] is a film that would not only appeal to Indians, but is sure to reach out to audiences beyond India. Simply brilliant!

RATING: 4.5/5

MOVIE REVIEW: Once Upon A Time In Mumbaai

The fascination with gangster movies has been immense worldwide. On this side of the Atlantic, several gangster films have left giant footprints on the sands of time. Films like DEEWAAR [Yash Chopra], DHARMATMA [Feroz Khan], NAYAKAN [Mani Ratnam], ANGAAR [Shashilal Nair], PARINDA [Vidhu Vinod Chopra], AGNEEPATH [Mukul Anand], SATYA and COMPANY [Ramgopal Varma], VAASTAV [Mahesh Manjrekar], GANGSTER [Anurag Basu], D [Vishram Sawant] and SHOOTOUT AT LOKHANDWALA [Apoorva Lakhia] have tremendous recall value to this day.

ONCE UPON A TIME IN MUMBAAI recreates an era that so many of us have left behind and for those who arrived on this planet post 80s, I am sure, they must have visited the era through some medium or the other, mainly movies and internet or during their academic careers.

ONCE UPON A TIME IN MUMBAAI is not part of history, but it attempts to portray on celluloid tales that are now considered legendary, that continue to make news to this date. Of course, the disclaimer claims that it bears no resemblance to a particular person, but you can't help but draw parallels with real-life characters. It could be a coincidence, though!

ONCE UPON A TIME IN MUMBAAI is a fascinating story that talks of how the mafia came into force for the first time in Mumbai. A thriller that depicts the crime scenario in Mumbai during the 70s and 80s. The rise to power of two young boys, in different age-groups, who grew up to 'rule' the streets of Mumbai.

Since there's tremendous speculation in the media that ONCE UPON A TIME IN MUMBAAI chronicles the lives of Haji Mastan and Dawood Ibrahim, the curiosity to watch the film increases manifold. Of course, I am no one to comment if it's actually based on their lives or merely borrows a few incidents from their lives or is pure fiction, but as a cinematic experience, I couldn't help getting transported to the bygone era, getting sucked into a world I had no clue of.

Besides the gangster chapter, one enjoys this film also because of its riveting drama and the power play. It could've been set anywhere, in the corporate world, in politics, in the film industry. Anywhere. The rise and subsequent fall of the King and the emergence of the Prince as the super power is what makes this film a compelling watch. The icing on the cake is the magical and lilting song compositions that are juxtaposed so beautifully in the goings-on. On the sidelines of the power play, a game of hearts is being played and that's what makes ONCE UPON A TIME IN MUMBAAI a wholesome movie experience.

Final word? ONCE UPON A TIME IN MUMBAAI is not to be missed. Set everything aside this coming weekend and watch this one. Strongly recommended!

The film, set primarily in 1970s Mumbai, follows the rise of Sultan Mirza [Ajay Devgn] and the conflict that ensues, when his protégé Shoaib Khan [Emraan Hashmi] challenges his supremacy and usurps power to rule the murky underbelly of Mumbai.

ONCE UPON A TIME IN MUMBAAI is a power-packed drama that makes you thirst for more. You rewind to an era of romance, smuggling, cabaret and mafia, but director Milan Luthria and writer Rajat Aroraa ensure that there's no sleaze or bloodshed-n-gore. In fact, there's hardly any violent sequence in the movie, except for one when Ajay hammers a cop during a naaka-bandi.

ONCE UPON A TIME IN MUMBAAI is not a biopic, but narrates the story through the eyes of a police officer [Randeep Hooda], who traces the changing face of the Mumbai underworld. The screenplay encompasses several moments that may compel you to draw parallels with real life, but talking strictly from the movie-going point of view, it satiates you completely. In fact, the writing is cohesive, smart and watertight and there's never a dull moment. Besides, there's no time to think whether it's factual or loosely based on someone's life or a work of fiction.

As I look back and recall the movie, a number of sequences flash across my mind. Note the sequence when Ajay divides the city amongst gangsters... The train sequence at the very start... The introduction of Emraan Hashmi's character... Randeep Hooda's landing on a film set and confiscating the equipment... The subsequent sequence, when Randeep is framed for accepting bribe... The romantic moments between Emraan and Prachi in the jewellery shop... Emraan starting his business and the confrontation that ensues between Ajay and Randeep... The showdown between Ajay and Emraan, with Ajay slapping Emraan in full public view... The conclusion to the story is equally novel. It stays in your memory and sets you thinking.

On the flipside, the story begins with Randeep attempting suicide, but the writer should've cited the reason that prompted him to take that drastic step. Sure, there's a mention at the start, but it doesn't register well. Also, you are keen to know the chain of events that drove Randeep to suicide. Also, the pace slackens in the middle of the second hour, but picks up dramatically when Ajay returns from Delhi and confronts Emraan. Besides, how I wish the film had a shorter, mass appealing Hindi title to attract more eyeballs and a big jump in footfalls [at single screens and smaller centres mainly] for a mass appealing subject like this.

This is director Milan Luthria's best work to date, no two opinions on that. Recreating the bygone era is tough and the director, the writer and the art director [Nitin Chandrakant Desai] deserve brownie points for giving the film that authentic feel. In fact, the film wears a chic retro look throughout. Even otherwise, Milan's handling of the subject material is exemplary. This film is sure to catapult him to the top league. Rajat Aroraa's screenplay is powerful and engaging. The writer marries heavy-duty drama and subtle and delicate emotions beautifully. I would like to make a special note of the dialogue, also penned by Rajat Aroraa, which are simply fantastic. In fact, the dialogue writing is such it elevates even an ordinary sequence to great levels. One rarely comes across such potent dialogue in today's times.

Pritam's music is another ace. Injecting songs and that too a terrific soundtrack in a gangster film is tough. He did it in GANGSTER. He does it again in ONCE UPON A TIME IN MUMBAAI. 'Pee Loon', 'Tum Jo Aaye' and the remix of APNA DESH track are super compositions, which are also placed appropriately in the plotline. Cinematography [Aseem Mishra] captures the look to perfection. Akiv Ali's editing is sharp.

ONCE UPON A TIME IN MUMBAAI is embellished with fantastic performances. Ajay Devgn is splendid as Sultan. The actor had enacted a similar role in COMPANY, but it must be said that his interpretation is so different in ONCE UPON A TIME IN MUMBAAI. He adds so much depth to the character, which only goes to prove his range and versatility. This is, without a trace of doubt, Ajay's finest work so far. Emraan Hashmi is brilliant as the power greedy, wildly ambitious rebel. He plays the dark character to perfection. He's incredible in the penultimate moments of the film in particular. Besides carrying the look to perfection, Emraan is sure to break-free from the lover boy, serial kisser image with this film.

Kangna Ranaut is extremely natural and performs very well. Also, she brings so much of sensuality and glamour to her character [an actress of the 70s]. In fact, Ajay and Kangna make a wonderful on-screen pair. Prachi Desai is a bundle of talent who proves her mettle yet again. She's proficient in emotional scenes and sizzles in the BOBBY song-sequence. Besides, the chemistry between Emraan and Prachi is exciting. Randeep Hooda is top notch. Even though the film belongs to Ajay and Emraan, Randeep makes his presence felt with a powerful performance. This film should prove to be the turning point in his career.

Avtar Gill [as Home Minister] is good. Naved Aslam [as Patrick, Ajay's trusted lieutenant] is perfect. Mehul Bhojak [as Emraan's friend Javed] is competent. Ravi Khanwilkar [as Vardhan] is satisfactory. Gauhar Khan sizzles in the remix track.

On the whole, ONCE UPON A TIME IN MUMBAAI is an extremely well-made film that lingers in your memory. The realism coupled with stellar direction, power-packed writing, exceptional performances and ear-pleasing tunes are its trump cards. An outstanding cinematic experience!

RATING: 4/5

MOVIE REVIEW: Khatta Meetha

When Priyadarshan and Akshay Kumar join hands, you expect the cineplex to reverberate with laughter. Let's not forget, the team has regaled us with some terrific entertainers in the past. Naturally then, you expect KHATTA MEETHA to take the legacy forward.

Unfortunately, KHATTA MEETHA is noise [the actors scream a lot in this movie], more noise [the great promotion] and only noise, while the content takes a complete backseat. Although KHATTA MEETHA shouldn't be compared to this combo's earlier works, since this one's a satire, I have to add that this is their weakest film to date.

The first question I asked myself once the movie got over was, what's the story? Okay, okay, neither did Priyadarshan's last few films had a story to tell, but when you attempt a satire, when one talks of the hardships faced by the common man, when one talks of corruption in society, there HAS to be a story in place. That goes without saying!

KHATTA MEETHA raises a finger at the corruption in government establishments, but what it tries to say, or expose, has been witnessed over and over again. In fact, it's the writing -- sorry, the absence of it -- that makes matters worse. The beginning is good, the middle falters and the end is exasperating.

Final word? This one's far from being meetha. It's a khatta experience!

Struggling road construction contractor Sachin Tichkule [Akshay Kumar] is doomed. There is no chance that his dreams will ever come true, simply because he has no money to bribe. To make matters worse, the new Municipal Commissioner turns out to be his ex girl friend [Trisha], who now hates him.

The film reveals the extent of corruption and bribery rampant in the system and the ingenious means you have to adopt if you want to survive in today's times.

KHATTA MEETHA attempts to say a lot many things in those 2.40 hours. Oh yes, its running time is a problem, more so because the narrative lacks the power to keep you hooked to the proceedings. Okay, coming back to what I wanted to say, KHATTA MEETHA is more of a collage of isolated incidents encompassed in those 2.40 hours. The collapse of the bridge, the consequent murder of Tinnu Anand, the constant bickering in the house, the tu-tu-main-main between Akshay and Trisha, the sister's track, the corrupt netas and government babus, the payment issue of workers... several sequences are a repeat of what's you watched barely minutes ago or an hour ago.

While the romantic track is the weakest link [half-baked; the songs are forced down your throats, without valid situations whatsoever], the flashback portions, depicting Akshay Kumar as a college student [!!!], is just hard to digest. Even the end is worn out and doesn't give the feel of contentment that one expects at the conclusion of a film.

Priyadarshan's handling of the comic sequences is noteworthy, especially in the first half of the film. The repair-and-paint sequence at Asrani's mansion is sure to bring the house down. Ditto for the conversation that Asrani has with multiple people, in person and also on phone. Also, the road roller sequence is a laugh-riot and prior to that Johny Lever's sequence of repairing the road roller is truly funny. But a few isolated sequences aren't enough. The veteran storyteller ought to know the importance of a watertight screenplay by now.

Cinematographer V. Manikandan's lens captures the exteriors with flourish. Pritam's music is easy on the ears and at least two songs are extremely popular as well, but the placement of songs in the narrative acts as a roadblock. Dialogues are funny at times, especially the one-liners.

Akshay Kumar plays the common man with gusto. He looks his part and more importantly, not once do you feel that he's repeating himself. However, he goes over the top in a few sequences. Trisha carries the Plain Jane look well, but fails as an actress. The fiery attitude, so vital when you're enacting the role of the Municipal Commissioner, is missing. Rajpal Yadav is in terrific form yet again. What a splendid actor!

Urvashi Sharma is awkward. Makrand Deshpande is wasted. Tinnu Anand is hardly there. Even Aroona Irani is sidelined. Kulbhushan Kharbanda is first-rate. Asrani is excellent. Manoj Joshi screams so much. Ditto for Neeraj Vora. Milind Gunaji is okay. The actor playing the role of Urvashi's husband does a good job.

On the whole, KHATTA MEETHA is a major letdown from the accomplished director. It's not a full-blown comedy. It's not a full-scale satire either. Hugely disappointing!

RATING: 1.5/5

MOVIE REVIEW: Lamhaa

During the showcasing of LAMHAA at the recently held I.I.F.A. in Sri Lanka, I was compelled to ask director Rahul Dholakia about the catch line of the film: 'The untold story of Kashmir'. Obviously, I was curious. What was Dholakia going to narrate that we, the viewers, hadn't witnessed in films earlier or read in newspapers or watched on news channels? Dholakia gave a convincing response, justifying the catch line, but obviously not revealing much about the film.

As LAMHAA unfolds, you realize that Dholakia may've borrowed a few incidents from life, but as it moves forward, it comes across as a typical Bollywood enterprise that harps on being real, but ends up being a masala film that we have witnessed over and over again. The catch line, in my individualistic opinion, is quite misleading.

Dholakia seems to have researched extensively on the issue and LAMHAA does boast of some razor-sharp moments, but the viewer is keen to have an insider's viewpoint on Kashmir, something that we haven't read/seen [on news channels/films] earlier, which LAMHAA just doesn't provide.

Just one word for this film: Disappointing!

The Military Intelligence gets a whiff of a plot that is likely to disrupt and possibly paralyze Kashmir. Vikram [Sanjay Dutt] is sent to investigate this highly confidential mission and he assumes the identity of Gul Jehangir. The same day that he lands in the valley, Haji [Anupam Kher], a top separatist leader, survives a blast. Is there a connection between the blast and the operation?

To solve this conundrum, Vikram teams up with Aziza [Bipasha Basu], Haji's young, aggressive and outspoken protégé. The intensity of their beliefs and their will to survive against all odds creates a special bond between them. They embark together on a journey to uncover the truth.

First things first! LAMHAA has been filmed in Kashmir and you're awe-struck by its beauty, with DoP James Fowlds doing a splendid job in capturing the scenic locales on celluloid. The constant shaking of the camera also gives a real feel. Unfortunately, LAMHAA, though controversial in nature, merely touches the tip of the issue, instead of going all-out and narrating a story that offers reasons and perhaps, a solution to the crisis.

The problem clearly lies in its scripting, the written material [screenplay: Raghav Dhar, Rahul Dholakia]. Like I pointed out earlier, Dholakia should've stuck to realism, instead of trying to strike a balance between realism and make-believe. The viewer is told at the very outset, and also at regular intervals, that 'something big [read destructive] is going to occur'. But the entire conspiracy comes across as too trivial during the final moments of the film and therefore, the impact is missing.

Honestly, LAMHAA comes across as a disjointed effort, in terms of writing. It's more of a collage of several isolated incidents, which explains why the screenplay lacks the power to keep you engaged. Sure, a few sequences are attention grabbing, but showing the heroic side of Sanjay Dutt [rescuing Bipasha all the while - from the cops, from Rajesh Khera's henchmen, from a lecherous Yashpal Sharma] appears very filmy. Even the finale - Sanju busting the conspiracy - comes across as child's play.

One expects a lot from Dholakia, but he lets you down completely in LAMHAA. The politicians wanting a bigger piece of pie or children getting trained for jehad or their bodies being stuffed with bombs is not an eye-opener anymore. What one is keen to know is the mindset of Kashmiris, which, frankly, this film doesn't really project. In the end, if you recall the visuals, not the content, it means something is seriously wrong with the film and LAMHAA, sadly, is right intentions gone wrong. Even the dialogue [Sai Kabir, Ashwath Bhatt], like the screenplay writing, tries to strike a balance between real and filmy. Mithoon's music is easy on the ears, but acts as a speed breaker in the narrative.

Sanjay Dutt tries hard to look the character, but I just couldn't connect with it. The rugged look, the sunglasses and the trendy attire made me feel that Sanju had strolled into the sets from an ad film shoot. Bipasha, again, doesn't look her part, although I must add that she has put in a lot of effort to stay true to her character. The sequence when she's attacked by the women workers of Anupam Kher's political party is simply brilliant.

Kunal Kapoor is royally sidelined in the first hour, but has a few interesting scenes in the second half. His speech in the finale is flat and devoid of the required emotions. Anupam Kher is the lone actor who actually looks the character he has been assigned to portray.

Mahesh Manjrekar is wasted. Ditto for Yashpal Sharma. Vipin Sharma is effective. Jyoti Dogra stands out. Murli Sharma is perfect. Shernaz Patel is decent. Rajesh Khera, Yuri Suri, Vishwajeet Pradhan, Asif Basra, Denzil Smith and Ehsaan Khan are okay in their respective parts.

On the whole, LAMHAA just doesn't work.

RATING: 1.5/5

MOVIE REVIEW: Milenge Milenge

Freshly cooked, piping hot food is savoured instantly. Similarly, a film that radiates freshness catches your eye instantaneously. Conversely, if a film takes a really long time to hit the screens, it generally doesn't find a place in your things-to-do-this-weekend list, unless the word of mouth is electrifying. MILENGE MILENGE suffers for this reason. Even the man on the street knows that it's a dated product!

The gap between the commencement of this film and its eventual release is quite substantial and that's pretty evident when you look at its promos. Especially the way the lead actors look. The camera doesn't lie, right? Perhaps, that's a prime reason why MILENGE MILENGE doesn't propel you to rush to a nearby cineplex and grab a seat, despite the fact that its lead stars are at the prime of their respective careers and enjoy a solid fan-base.

But never judge a book by its cover. Sure, you march into the film with zilch expectations, expecting a dated product with a hackneyed plotline, but as the reels begin to unspool, you realize that it does have a story to tell. So what if MILENGE MILENGE borrows from the John Cusack - Kate Beckinsale starrer SERENDIPITY [2001]. The Indianisation by writer Shiraz Ahmed is quite engaging at places.

The 'recipe' for that perfect love story is simple [at least that's what most film-makers believe]: Cast a good looking pair, choose a tried-and-tested story [read, make a mix of EK DUUJE KE LIYE, Q.S.Q.T., MAINE PYAAR KIYA, D.D.L.J., KUCH KUCH HOTA HAI], garnish it with sweet/cute/romantic/delightful situations, add a couple of energetic songs [at least two/three Hit songs are a must] and shoot the muvie at panaromic locales. Presto, prem kahani tayyar ho gayee!

But MILENGE MILENGE has 'kismet' keeping the lovers apart. Imagine a love story where the lovers have already expressed love for each other, but some force beyond their control gets in their way and keeps them apart till the end of the film. The script indulges in bringing its leads together, but also makes sure that they stay far away from each other till minutes before the film is about to conclude. Sure, this thought sounds interesting on paper, but there's a flipside to it. With Facebook, Twitter, Google and also cellphones at one's disposal, is it difficult to trace anyone in today's times? Naah, not anymore!

Final word? MILENGE MILENGE may be dated, but watch it for the chemistry between its lead pair. Perhaps, this JAB WE MET jodi may never team up ever again!

Immy [Shahid Kapoor] and Priya [Kareena Kapoor] meet at a youth festival in Bangkok. Priya is a romantic at heart and expects her life partner to be a teetotaler, a guy who doesn't smoke and also, who doesn't lie. Immy is totally opposite of what Priya wants from her life partner. Their world collides when Immy lays his hands on Priya's personal diary and learns of her likes and dislikes. He poses as her dream mate by giving her a totally different picture of himself.

While preparing to return to Delhi, Priya discovers the copy of her diary in Immy's room. She realizes that Immy has made a fool of her and decides to confront him. In the meantime, Immy confides in his friends that although he has cheated Priya, he is truly in love with her. But Priya appears in front of him and all hell breaks loose. She decides to end the relationship.

Immy tries to regain her trust by telling her that they are destined to be together. Priya decides that if it is destined that they be together, then they will find each other in Delhi again, although both do not know each other's whereabouts in Delhi. Three years later, Immy returns from abroad, while Priya is now settled in Mumbai. Immy is engaged to a family friend's daughter [Aarti Chhabria], while Priya has also moved on in life. She is in a relationship with a pop singer.

Both of them are about to be married, but after all these years, they still have this nagging feeling that the other was his/her true love. Of course, fate conspires to bring them back together [after several near misses] as they simultaneously undertake one last attempt to find one another just before they get married to someone else.

MILENGE MILENGE starts off like one of those countless love stories, with mandatory songs and lovey-dovey scenes aplenty, but the twist minutes before the interval is so well executed that it suddenly raises the bar of the film. Naturally then, you expect the post-interval portions to charter a new path.

The second half has its share of engaging moments, but, very frankly, it tends to get repetitive and melodramatic as well. The entire track of a particular Rs. 50 currency note and the book with Kareena's name and phone number on it, although novel, hasn't been portrayed too effectively. Even the finale -- when Shahid reaches out to Kareena -- isn't convincing. Like I pointed out earlier, what binds the film together is the chemistry between the lead pair and a few charming moments.

Satish Kaushik's handling of a few sequences is commendable. Himesh Reshammiya's musical score is quite good. 'Kuch To Baaki Hai' and the title track are good compositions. Cinematography is okay.

Both Shahid and Kareena play the hopeless romantics to the hilt. Their [then] off screen chemistry comes across very well on screen. Although the film was shot several years ago and Shahid looks boyish all through, his performance is consistent and believable. Kareena is equally convincing. Aarti Chhabria has nothing to do. Delnaaz Paul [Kareena's friend] and Sarfaraz Khan [Shahid's friend] get ample scope and are noticeable. Satish Shah is hardly funny. Kirron Kher sparkles in a brief role. Himani Shivpuri is wasted.

On the whole, MILENGE MILENGE has the charismatic lead pair, who are very popular with the youth, as its USP. But the problem is its dated look. Having taken a long time to reach the theatres, it will have to rely on a solid word of mouth to lure the audiences into cineplexes. Business-wise, there's some hope in the Hindi belt, where traditional love stories and melodrama are accepted.

MOVIE REVIEW: I Hate LUV Storys

The first thing that attracts you to I HATE LUV STORYS is its title. Let's face it, we adore love stories... at least I do. We idolise the characters decades after the movies have come and gone. The songs that come on our lips instantly while playing a game of antakshri are romantic songs as well. In fact, the biggest moneyspinners, let's face it, have been love stories, right? So how can we 'hate' a love story?

No matter how mushy or cheesy they are, we find love stories irresistible because of the tremendous rush we experience at the end. Some of us are big suckers for love sagas, aren't we? That's precisely the reason why this title [I HATE LUV STORYS] nagged me no end every time I watched the promo of this film.

Helmed by first-timer Punit Malhotra, I HATE LUV STORYS is typical candyfloss romance with a story that's not jaw-droppingly different, let me forewarn you. But if you're young at heart or a diehard and hopeless romantic, you'd lap up I HATE LUV STORYS like a kid laps up his fav candy.

Now to the vital question: If I HATE LUV STORYS rests on a thin plot, what is it that drives the film for the next two hours? My answer to that is, four factors: The fresh pairing and chemistry between the lead cast, tremendous youth appeal, terrific music and magical moments that make a love story work.

Final word? The makers have never claimed that I HATE LUV STORYS will change the face of Hindi cinema. Nor did they ever claim that I HATE LUV STORYS will change the mindset of the viewer towards romantic films. So let's sit back and enjoy the fun ride. This one's by the youth, for the youth. It's this age-group that would come out smiling, cheering and rooting for this prem kahani.

'I hate love stories' is the maxim Jay [Imran Khan] lives by. But as an assistant director to Veer [Samir Soni], the most famous romantic film-maker of Indian film industry, Jay has little option but to live with larger than life, glossy, cinematic love on an everyday basis. Things only get worse when he is made to work under the new production designer on the film, Simran [Sonam Kapoor], with whom he shares the strangest first encounter.

Simran loves love stories, so much so that even her life has begun to resemble one. With her ideal job and the perfect boyfriend Raj [Samir Dattani], she lives a blissful, dreamy life. One that is rudely interrupted by Jay's cynicism.

Writer-director Punit Malhotra wins Round 1 by casting the right actors in the roles of Jay and Simran. In fact, it wouldn't be erroneous to state that the casting is the trump card of this film. But what Punit ought to know by now is that every story ought to have a strong grip to keep your attention arrested for the next two hours. In this case, the film rests on a waferthin plot, with not much movement in the story in the first hour. In fact, the story barely moves in the first part.

Yes, post-interval, the story does gather momentum and though you're well aware of the journey and what the culmination will be like, you don't mind the ride because you can't take your eyes off Imran and Sonam. Also, a love story works if one pines for the on-screen lovers and in I HATE LUV STORYS, you genuinely want the duo to sort things out, which means that you're involved in their lives. Even the finale - it won't be fair on my part to reveal how this movie concludes - may be filmy or cliched, but let's face it, it works.

Let me draw parallels with another love story, also starring Imran Khan. Recall the finale of JAANE TU YA JAANE NA, which had Imran riding a horse to reach his sweetheart [Genelia] at the airport. I distinctly recall, a lot of people found the end bizzare and rightly so. Can you imagine anyone galloping to the international airport in Mumbai? But I was truly surprised when I learnt that the youth were whistling and clapping all through. The finale is different here [no horses, please] and you exit the auditorium with a smile on your face.

Director Punit Malhotra is heavily inspired by Mills & Boon novels and several Bollywood films... love stories all. But like I pointed out earlier, Punit needs to polish his writing skills, although the director in him bails the writer out and takes the film to a different level. The sequences between Imran and Sonam are well penned, but the ones between Sonam and her parents or Sonam and Samir Dattani are half-baked. Directorially, Punit shows super-confidence in moulding the two actors in their respective parts, so much so that you get sucked into Jay and Simran's world after a while.

A love story ought to be embellished with a lilting score - that's a compulsion - and Vishal-Shekhar are in true form this time. The score is trendy, energetic and beyond fantastic and what's more, it's already a rage. In fact, the musical score only takes the movie a step ahead. Ditto for Salim-Sulaiman's background score, which matches the mood to the T. Ayananka Bose's cinematography is awesome. The ace DoP proved his credentials in KITES recently and with I HATE LUV STORYS, he should find himself entrenched in the top bracket. The styling [Manish Malhotra] is top notch.

Imran enacts his part effortlessly. Though the role doesn't demand histrionics, you keep reacting to Imran because of the magnetism he radiates. The devilish streak in his character is sure to appeal to the youth. Besides, Imran has been photographed and presented very well. Sonam is a revelation. From salwars [SAAWARIYA, DELHI 6] to skirts in I HATE LUV STORYS, Sonam finally gets a role that does justice to her as an actress. The ease and class with which she carries off the glam look is fantastic. She's like a whiff of fresh air and you actually wonder, is she the same girl from SAAWARIYA and DELHI 6? In fact, I HATE LUV STORYS will only multiply Imran and Sonam's fan base manifold.

Samir Dattani is decent, although his role gets sidelined as the story moves forward. Samir Soni's character reminds you of a certain hi-profile director and he plays the part extremely well. Kavin Dave, as Imran's buddy, is first-rate and steals the show in several scenes. Aamir Ali is perfect, while Pooja Ghai doesn't get scope to deliver. Bruna Abdullah looks sensuous and adds to the glam quotient. Ketaki Dave [Sonam's mother] is wasted. Anju Mahendru [Imran's mother] is adequate.

On the whole, I HATE LUV STORYS is a young and vibrant love story with tremendous appeal for the yuppies. The fresh pairing and the on-screen electrifying chemistry, the lilting musical score and the magical moments in the film should attract its target audience - the youth - in hordes. If you're young or young at heart, this one's for you!

RATING: 3.5/5

Movie Review: Raavan

It's time for the modern-day version of 'Ramayana' to unfold this Friday, exactly two weeks after 'Mahabharata'. The very thought of watching an epic in the present-day milieu only enhances the curiosity for the film. And if the present-day adaptation of 'Ramayana' is helmed by a master storyteller [Mani Ratnam], the moviegoer should, and must expect the moon. Nothing less would suffice. After all, a Mani Ratnam film is not merely an experience, it's an event!

Mani Ratnam, who has penned the screenplay of RAAVAN, models his characters on the lines of 'Ramayana':

• An upright cop, the punisher, the law/Lord Rama [Vikram];
• His doting wife/Goddess Sita [Aishwarya Rai Bachchan];
• The lieutenant he befriends in the forest/Hanuman [Govinda];
• His confidante/Lakshmana [Nikhil Dwivedi];
• The antagonist's sister, who triggers off the war/Surpanakha [Priyamani]
• And, of course, the antagonist, the Robinhood turned Raavan who kidnaps the top cop's wife and keeps her in his custody, in his Lanka/Raavan [Abhishek Bachchan].

Mani Ratnam has also included the part where Goddess Sita was banished from the kingdom of Ayodhya due to the gossip of kingdom folk. It was agni pariksha then, but in the film, the husband [Vikram] asks the wife [Aishwarya] for a polygraph test to prove her chastity/fidelity. At the same time, RAAVAN brings back memories of a movie that, coincidentally, had a similar storyline -- JUNGLE [Ramgopal Varma].

You've come to expect scintillating visuals in the master film-maker's films and RAAVAN is no exception. But RAAVAN falters in narrating the story with dexterity. In fact, this one's a game of see-saw, with a dull and lifeless first hour, an absorbing second half and a weak, lacklustre climax.

Final word? RAAVAN comes with the baggage of humungous expectations, mainly for the one name attached to it: Mani Ratnam. Even though comparisons with the genius film-maker's earlier accomplishments like MOUNA RAAGAM, NAYAGAN, AGNI NAKSHATRAM, GEETHANJALI, ANJALI, ROJA, BOMBAY and GURU are sacrilegious since all belong to diverse genres, RAAVAN is nowhere close to those epics. The benchmarks only get higher and higher every time Mani Ratnam makes a film and RAAVAN, unfortunately, is a step down. Sorry, several steps down!

Dev [Vikram] falls in love with Ragini [Aishwarya Rai Bachchan], a spunky classical dancer who is as unconventional as him. They get married and he takes up his new post in Lal Maati, a small town in northern India. A town where the world of law is not the police, but Beera [Abhishek Bachchan], a tribal who has, over the years, shifted the power equation of the place from the ruling to the have-nots of the area.

Dev knows that the key to bringing order to any place is not to vanquish the big fish; in this case -- Beera. In one stroke Dev manages to rip open Beera's world and set in motion a change of event which will claim lives. Beera, injured but enraged, hits back, starting a battle that draws Dev, Beera and Ragini into the jungle. The forest becomes the battleground. The battle between good and evil, between Dev and Beera, between Ram and Raavan.

Mani Ratnam's adaptation of 'Ramayana' begins with the wife getting kidnapped and her husband launching a massive hunt to track down his wife and nail Raavan aka Beera. The reason why Beera takes this extreme step is revealed much, much later, towards the post-interval portions, which means that Mani Ratnam follows the nonlinear pattern to narrate his story.

Let's talk about the factors that pull this film down. First and foremost, when you've a title like RAAVAN, the demon king, who couldn't be vanquished by Gods, demons or spirits, you expect Raavan aka Beera to be equally powerful, who could send a chill down your spine, who spells terror and fear. But, in RAAVAN, Beera comes across as a psycho. The streak of madness in his character makes a mockery of the character itself.

Also, his makeup and also the shabby avtaars of his family/henchmen is not something that makes them looks menacing. In fact, it makes the entire gang look repulsive.

Even the finale leaves a lot to be desired. Ideally, the film should've ended after the fight on the bridge, but the entire track thereafter seems like an add-on, which is forced into the screenplay. Ash having a change of heart for Abhishek is equally unpalatable and makes you wonder, how and when did she develop such strong feelings/emotions for Beera? The writing is flawed, no two opinions on that!

On the plus side, the track, which starts from Nikhil's kidnap to the entire flashback portion, is attention grabbing. The factors that prompt Beera to spell havoc in Dev's life are apt, although Beera's sister's portions, while narrating the atrocities committed on her, aren't easy to comprehend in entirety. What was she trying to say, frankly? Yet, the impact of the flashback portions is worth noting.

The fight on the bridge -- between Abhishek and Vikram -- is astounding. One hasn't watched something like this on the Hindi screen yet, I'm sure. In fact, the execution of each and every stunt [Shyam Kaushal, Peter Hein] is exceptional. Every Mani Ratnam film is embellished with stunning visuals and RAAVAN boasts of mind-boggling visuals as well. Shooting the film at tough locales isn't easy and Santosh Sivan and V. Manikandan's vision creates magic on screen. Every frame is worth admiring and applauding.

A.R. Rahman's music is excellent and the visual appeal only enhances the impact. I'd like to single out 'Behne De' and 'Thok De Killi', two tracks that I'd like to hum even after the show has concluded. In fact, the latter is very energetic in terms of choreography. Vijay Krishna Acharya's dialogue hit you like a sharp object at times, which is in sync with the mood of the film.

I've admired Abhishek's work in Mani Ratnam's earlier films YUVA and GURU, but despite putting his best foot forward, for some strange, inexplicable reason, Abhishek doesn't look convincing for the part. Also, the dialogue delivered by him aren't coherent at times. Aishwarya is wonderful, looking ethereal and enacting her part with conviction. Vikram is first-rate, although the role isn't substantial enough. Govinda fails to create any impact whatsoever. Amongst the plethora of actors, Nikhil Dwivedi [a revelation; very good], Ravi Kishan [nice] and Priyamani [perfect] stand out.

On the whole, RAAVAN is a king-sized disappointment, in terms of content. From the business point of view, a Mani Ratnam film might ensure a healthy opening [at plexes mainly], but the weak script on one hand and the heavy price tag on the other will make RAAVAN see red.

RATING: 1.5/5

MOVIE REVIEW: Badmaash Company

Actor turned debutante director Parmeet Sethi made a startling confession on my show, a few days ago. He said, he had completed the entire script, with dialogue, in six days flat. I was apprehensive initially, but not once does BADMAASH COMPANY give you the feeling that it's a hurried job or the debutante writer-director, in a bid to start his first film, had left blanks incomplete.

The earth provides enough to satisfy every man's need, but not every man's greed. The adage holds true for the youth of today, who wish to attain the riches overnight and take an easy route/shortcut to climb the ladder of success. Just when you start thinking that you've conquered it all, that you're God, a stroke of bad luck brings you back to Ground Zero, to experience the harsh realities of life.

Parmeet walks the tight rope of handling a complex subject and offering entertainment simultaneously, in his very first film. To his credit, the film has several poignant and enjoyable moments that catch you by complete surprise. While the film has it all -- the writing has the power to keep the viewer hooked -- the film has a handicap in the form of its second hour, especially the penultimate 25-odd minutes.

Let me specify! With a running time of approx. 2.30 hours, the extra footage in the end -- Shahid and friends trying to salvage his uncle's business -- only adds to the length of the enterprise. Ideally, the film should've ended when the friends forgive each other and shake hands, after a series of personal and professional setbacks.

Final word? BADMAASH COMPANY is a decent attempt, with several captivating moments and power-packed performances by each and every member of its cast. We often grudge that entertainment-laden films make no sense these days, but this one entertains and also makes sense. Watch it!

BADMAASH COMPANY is set in the 1990s in middle class Mumbai, of four ordinary youngsters [Shahid Kapoor, Anushka Sharma, Meiyang Chang and Vir Das], who came together to start an import business of things longed for by yuppie Indians. What made their venture such a stupendous success was the fact that they found a way to beat the system and soon became the undisputed kings in their business, realizing their one dream of making quick money is by doing all the wrong things the right way.

Living the life of champagne wishes and caviar dreams, the four friends discover that to make a business successful, you don't need big money. All you need is a big idea. All is well and hunky dory till one day the four maverick entrepreneurs are forced to shut shop.

The best thing about BADMAASH COMPANY is that you identify with the mindset of those who aspire to reach the pinnacle of success using shortcuts. The scams and the con games the youth indulge in are easy to decipher and least complicated, which works in its favour. Another strong point is the camaraderie that the four actors share on screen. The film would've fallen flat if the chemistry was missing, but the bonding looks so real that you forget that they are merely enacting those roles.

BADMAASH COMPANY has some terrific moments. The sequences in Bangkok are enjoyable. Ditto for the showdown between the friends in the post-interval hour. The transformation in Shahid's persona is also beautifully depicted. But, like I pointed out at the outset, the second hour tends to get repetitive and the penultimate 25-odd minutes are a strict no-no.

Pritam's music is foot-tapping and almost every song has been filmed very well. Sanjay Kapoor's cinematography is just right.

Every actor puts his best foot forward in BADMAASH COMPANY. Shahid gets it right yet again. It wouldn't be erroneous to say that this is amongst his finest works. Watch him blow his lid in the restaurant sequence and also in another sequence, when he meets a pregnant Anushka. He is confidence personified in those sequences.

Anushka is a revelation. She looks stunning, her performance is livewire and the chemistry with Shahid is electrifying. Strangely, she took a backseat after her debut in RAB NE BANADI JODI, but BADMAASH COMPANY will bring her back in public eye. Vir Das is another surprise. He's in terrific form here. The film marks the 'birth' of another talent -- Meiyang Chang -- who adds a lot of freshness and zing to his character. Anupam Kher is wonderful. Kiran Juneja makes her presence felt. Pawan Malhotra is extremely likeable.

On the whole, BADMAASH COMPANY is a watchable experience for various reasons, the prime reason being it offers solid entertainment, but doesn't insult your intelligence. Recommended!

RATING: 4/5

MOVIE REVIEW: Prince

Hollywood has come up with so many movies on memory loss, while Bollywood too has had its share of films which depicted the protagonist losing his memory, GHAJINI being the most recent example. But what if someone robs your memory? Quite an interesting thought, isn't it?

One of the advantages of having a GenNext director is, he's ready to take risks, ready to tread the untrodden path, ready to go where no one has been before. But there's a disadvantage too: Visuals and technique take precedence, while story takes a backseat. PRINCE has a terrific first half, where technique and content go hand in hand, but technique overpowers the content in its post-interval portions.

What surprises you is that PRINCE is penned by the writer of RACE [Shiraz Ahmed] and like RACE, PRINCE too has several twists and turns every 15 odd minutes. But the twists and turns are a mixed bag here - captivating at times, not captivating at some places. More on that later!

On the brighter side, PRINCE has great stunts and chase sequences [Allan Amin], fantastic visuals [South Africa] and of course, a chartbuster musical score [Sachin Gupta]. And these three factors, coupled with Vivek Oberoi's convincing performance, should take the film to safety!

One of the savviest thieves in the world [Vivek Oberoi] commits the biggest heist of his life. He wakes up next the morning to realize he has a gunshot wound on his arm that he doesn't remember getting. In his quest to find answers, he discovers his name is Prince, he used to work for a man named Sarang and his girlfriend's name is Maya.

He is being hunted by the secret service of India, the CBI and the biggest white collared criminals in the world. He is the most wanted man in the country because only he knows the whereabouts of the heist, which contains a secret that is linked not only to his loss of memory, but threatens the future of the human race.

Every day he meets a new girl claiming to be Maya. He doesn't remember where he has hidden the Heist. He has just dive days of his life. Time is running out...

Although PRINCE stands on a novel premise, flashes of the Dev Anand starrer JEWEL THIEF do cross your mind. PRINCE starts off with a heist and soon after, Vivek realises that his memory has been 'erased'. The mystery only deepens when he meets three different women, all posing as Maya and all having a new story to tell. So far, so good!

But the difficult part is to keep the viewer's interest alive till the finale and that's where PRINCE starts crumbling. The second hour - the entire journey of Prince and the real Maya going on a wild chase to trace the coin and also regain Prince's memory - is exciting in bits and spurts.

The concept of erasing a person's memory and then inserting it back with chips and gizmos sounds wow, but the way it has been projected in the film is ludicrous and far from convincing. Ditto for the climax, when Prince traces the villain to the Afghan-Pakistan border. He does so after he had hidden a device in the villain's shoes, while he was being bashed in the earlier sequence. Also, showing Prince having the same qualities as Spiderman [he can cast a web anytime he's in distress] makes you wonder, is he an ordinary mortal or a super human?

Director Kookie Gulati has an eye for visuals and that's evident from the very start of the film itself. The film looks magnificent and wears an international look as well. Shiraz Ahmed's screenplay is watertight in the first hour, but leaves a lot to be desired in the latter portions. Dialogues [Mayur Puri] are well worded. Cinematography [Vishnu Rao] is top notch and the eye-filling locations are a visual treat. Allan Amin's stunts and chases are mesmeric. Sachin Gupta's musical score is trendy and catchy.

Vivek is super in a rather difficult role. He is excellent in dramatic portions especially and carries off the stunts with remarkable ease. Nandana is effective. Neeru doesn't get much scope. Aruna is the best of the lot. Sanjay Kapoor enacts his part well. Dalip Tahil is alright. Isaiah has screen presence and looks ferocious on screen. Rajesh Khattar is hardly there.

On the whole, PRINCE has great music, super stunts, Vivek Oberoi's bravura performance and terrific promotion as its trump card, but where it falters is in its writing [in its second half mianly]. Yet, all said and done, the film has the merits to strike a chord with the youth and lovers of masala movies.