Pirates of the Caribbean: At World's End (200&

Would you book passage on a doomed ship if you knew Johnny Depp, Keira Knightley, and Orlando Bloom would be along for the ride?

Millions of moviegoers will say "yes" and climb aboard for Pirates of the Caribbean: At World's End, the conclusion of Disney's pirate trilogy. Some will even go in hats, dreadlocks, and heavy eyeliner, cheering for their favorite scallywags. And they'll reward director Gore Verbinski and company with enough treasure to fund another whole franchise.

But that may be fool's gold they're spending. Not even a dozen Captain Jack Sparrows can save this overstuffed ship from sinking. If less really is more, Verbinski must have missed the memo. (In last summer's Dead Man's Chest, he proved that excess can be a good thing; it's hard to have too much fun with slapstick sequences as inspired as those. But here, it's just chaotic action, a lot of shooting and swordplay without character development to give it gravity.)

If you choose to join this rowdy cruise, plan to purchase a couple of meals' worth of popcorn and soda. Pirates of the Caribbean: At World's End packs more characters, more action, more surprises, and more metaphysical nonsense into 168 minutes—yes, that's right, almost three hours—than most adventure trilogies contain in their whole series. (I know, I recently said the same thing about Spider-Man3. But trust me: At World's End makes that movie look as simple as a Saturday morning cartoon.) And you'll have to sit through twelve minutes of closing credits to see the movie's predictable epilogue. But most moviegoers will have already walked the plank, emerging seasick, full of strange tales, and drunk on plot-twists, double-crosses, and baffling revelations.

Wait—I take back what I said about popcorn. Verbinski and the effects team work overtime to spoil your appetite. The previous Pirates movies have shown a flair for the grotesque, and this time, they pull out all the stops. In fact, they dismember them. Characters have a troubling tendency to snap off digits, gouge out eyes (and suck on them), rip brains out of craniums (and lick them), and yank out beating hearts (and maybe even stab them). It's like touring the popular "Bodies exhibit" (featured in Casino Royale), only to see the corpses come to life and dissect themselves.

And the film's mad revelry in violence reaches troubling extremes. After the opening scene of a child being hanged, impalings and shootings come at a dizzying rate.

You'll notice I haven't summarized the story yet. That's because it would take hours to diagram the crisscrossing currents of this narrative. Screenwriters Ted Elliott and Ted Rossio fail to rekindle the chemistry of the characters in Dead Man's Curse, and their turbulent pacing sinks the storyline's coherence rather spectacularly. We're left flailing about, grasping at pieces of the narrative's wreckage, while it all eventually goes down in a whirlpool of chaotic action as powerful as the Charybdis .

Here's a sketchy summary:

Manifesting the world's greatest evil—a corporation—the malevolent Lord Beckett (Tom Hollander) has obtained the still-beating heart of Davy Jones (Bill Nighy). In doing so, he's gained control of the fearsome, barnacle-skinned crew of Jones' ship, The Flying Dutchman. With this advantage, Beckett plans to cleanse the world of pirates.

Thus, our "heroes"—Will Turner (Orlando Bloom), Elizabeth Swann (Keira Knightley), the recently resurrected Captain Barbossa (Geoffrey Rush), and the mysterious Tia Dalma (Naomie Harris)—set out to rescue their only hope: that rascal, Captain Jack Sparrow (Johnny Depp).

Sounds like another famous third episode? Replace Jabba the Hutt with Chow Yun-Fat, and you've got the idea. Barbossa, Elizabeth, and Will must outwit Captain Sao Feng (Yun-Fat), a Chinese pirate, in order to free Jack from his underworld purgatory. Verbinski even pays tribute to poor Princess Leia, as Elizabeth is stripped to her skivvies. ("More steam," demands Sao Feng, but I think those were stage directions.)

Why do "the good guys" need Captain Jack so badly? Well, to ensure box office success, for starters. But Sparrow is also necessary for the reassembling of the Nine Lords of the Brethren Court—the world's foremost pirates. If the Nine can pool their resources, they can muster a mighty last stand against Beckett and his East India Trading Company.

Wait, the Nine what? What is this, The Lord of the Rings? No, not even close. The Nine pirate lords are even more culturally diverse than the fellowship of the ring, and show more personality than Yoda's Jedi council. But I'll take the Jedi, or the Middle-Earth fellowship, any day. The Jedi boasted in honor and ethics. And Frodo kept company with inspiring heroes. In this franchise, it's every man—and woman—for him or herself.

Three hours is a long time to sit watching self-centered buffoons scrambling about the deck of an unsteady ship. For all of the talk about love and freedom, these "mateys" are as fickle and reckless as a cafeteria full of juvenile delinquents. Everybody lies to everybody. Understanding their motives and grudges is like trying to comprehend sectarian violence in the Middle East. The movie's most telling scene involves a super-sized Mexican standoff, in which the gunslingers can't decide who to shoot. Who can blame them? They're all losers. Moviegoers might as well root for Lord Beckett.

Thus, the movie ends up like Davy Jones himself—many-tentacled, full of bluster, and devoid of a beating heart.

Even Depp's Captain Jack can't rescue the waterlogged storyline. Sure, he's as entertaining as ever. The screenwriters give him some of the series' funniest lines—Shakespeare would have howled to hear Jack fumble that famous quip about "a woman scorned." But while Jack's moral dilemmas in Dead Man's Chest were a giant step toward meaningful storytelling, here he's not much more than a delusional wisecracker stumbling about on the edges of things. When Will and Liz come to the rescue, they find him lost in a delirium. And once they drag him back into the action, he never really recovers. He's too busy arguing with the voices in his head—or, hair, as the case may be. (And that gag isn't nearly as funny as Verbinski thinks it is.)

Most disappointing of all—what should have been a tragic romance of mythic proportions is little more than a footnote. We finally learn the truth about Davy Jones' broken heart, but that melancholy melody is lost in the din of battleship shootouts. And Jones, a magnificent specter in Dead Man's Chest, is just another action figure in the mob this time around. That deserves a resentful "Arrrrrrr" from all pirate fans.

If any of the stories actually tugs at the heartstrings, it's the story of Will Turner's desperate quest to save his father from slavery. Just as Sean Bean's supporting turn as Boromir in The Fellowship of the Ring rang out powerfully, so Stellan Skarsgård conveys remarkably poignant emotion in his role as "Bootstrap" Bill. And yet, even that melodramatic tale is overrun by the tidal wave of chaos turned loose by the special-effects team in the sea battle to end all sea battles.

Is there any reason to buy a ticket at all? Oh, yeah. The budget bought some remarkable imagery: the Black Pearl sailing an ocean of sand; an aerial view of a boat sailing through starfields; an underworld of doldrums full of despondent ghosts; and the awe-inspiring return of the goddess Calypso to the ocean. A couple of action sequences—including the intentional capsizing of a ship by its crew—achieve a certain mad brilliance. In the pandemonium of the pirates' climactic war for independence, you'll witness one of the big screen's most ludicrous love scenes. And the ships rock and roll to Hans Zimmer's score, which is as stirring as a storm at sea.

The special effects are on par with last year's spectacular Pirates of the caribbean: Dead Man`s Chest. (It's a shame that such life-like action feel so heart-less.) And the greatest special effect in the entire series isn't a special effect at all: It's Keith Richards's impossibly fantastic face. Yes, that's the Rolling Stones axe-swinger himself—the true inspiration for Depp's Jack Sparrow—playing a gravel-voiced veteran of the high seas.

In fact, Richards delivers one of the movie's best lines: "It's not about living forever; the trick is living with yourself." It's a flicker of meaningful thought in the madness. And it might have resonated more powerfully if the movie hadn't felt like "living forever" in an out-of-control amusement park.

Most moviegoers will agree: At World's End shivers our timbers far too much. "Close your eyes and pretend it's all a bad dream," advises Captain Jack. "That's how I get by." Not bad advice. But wait—the dream may not be over yet! The closing scenes suggest that at least one of the characters might live on … and on … and on …

Final rating:- 8/10

Source:- Christianitytoday

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Shootout At Lokhandwala (2007)

Shootout At Lokhandwala takes it plot from a six hour long battle between a horde of cops and a group of gangsters that actually happened years back on the lanes of Lokhandwala in Mumbai. It is based on one of the most long and drawn out encounters in the history of Mumbai police in which underworld don Dawood Ibrahim's henchmen Maya Dolas and Dilip Bua and few others were killed by the then commissioner of police, Aftaab Ahmed Khan and his team.

Shootout At Lokhandwala, directed by Apoorva Lakhia, is a multi-starrer with Amitabh Bachchan, Sanjay Dutt, Vivek Oberoi, Arbaaz Khan, Tusshar Kapoor and Sunil Shetty in pivotal roles. The movie also stars Abhishek in a guest appearance, Rohit Roy and Shabbir Ahluwalia in supporting roles. Dia Mirza, Neha Dhupia and Aarti Chabria are the female supporting roles. Rakhi Sawant makes a special appearance.

ACP Aftab Ahmad Khan (Sanjay Dutt) picks the best police and constables to form ATS ? Anti Terrorist Squad. The squad includes Kaviraj Patil (Suniel Shetty) and Javed Shaikh (Arbaaz Khan) as Khan's best officers. The squad eliminates the violent and unpredictable gangsters in a residential locality of Mumbai. Dingra( Amithab Bachchan) is the lawyer who fights for these police officers when the police department and human rights commission files a case against them for the deadly encounter.

The story is about Maya (Vivek Oberoi) and Dilip Bhuwa (Tusshar Kapoor), who made extortion the buzzword in the early 90s. RC (Shabbir Ahluwalia), Fatim/ Fatoo (Rohit Roy) and Doubling (Aditya Lakhia) are others in the gang.

This group of gangsters was led by Maya Dolas, a 26 year old man, who had a rough persona and came from a troubled background. He was taught one thing by his mother and that is to hit back when threatened. Whether his upbringing as a criminal was just due to this fact may never really be known but the fact is that he made steady progress in underworld. In his gang was his loyal companion Buwa, who was next in power after Maya. Fattu's initial assignment didn't quite work the way it ideally should have and hence he was nicknamed 'fattu' [someone who gets scared quite easily]. Though Fattu did commit many a murders later on with complete confidence the name stuck to him. The gang had its comic element coming in the form of Doubling, a man who said everything twice. RC was constantly drunk and this is what kept him on his feet. Because whenever he was in conscious, he could sense the ghost of a family whom he had killed unintentionally.

ACP Khan believed that the best way to clear a police station's rack of records is by eradicating the criminal. Leading Anti Terrorist Squad, he was now on one of the toughest missions of his life as he guided his team to take the battle heads on. Inspector Kaviraj Patil had a dry sense of humor. As ruthless as his boss Khan, he too was heartless when it came to criminals. Constable Javed Sheikh was perhaps the most complex character of all. Turning pessimistic due to the kind of life a cop leads with limited earning and a difficult way of life, Javed was almost neutralized by the entire state of affairs.

And once the battle between these two sides of law commenced, the city saw one of the bloodiest encounter ever. Then in the form of enquiry commission, bloomed a different kind of battle, to figure out if the encounter done was right or wrong. Advocate Dhingra , former Chief Justice, his job was to hear the story from the heroes of the longest encounter in police history, solve the jigsaw puzzle and present it to the court of justice.

Meeta Mattoo (Dia Mirza) is a bold and beautiful reporter who covers the encounter live. Tannu (Aarti Chabria) is a bar dancer. Neha Dhupia is Sanjay Dutt's wife. Aai(Amrita Singh) is the proud mother of Maya.

Direction:
Apoorva Lakhia has given the right treatment the movie requires for its impact. It's a crude, raw and violent movie. The movie begins with spots of blood here and there on the streets and in the building of Lokhandwala and the movie end with blood-soaked gangsters being carried away. The movie plot construction is slightly complex as the movie progress with the questions posed by Dingra for understanding the case better to win the case for the police.

Acting:
Sanjay Dutt, as the Assistant commissioner, with his bold and strong personality suits the role best. His performance is marvelous throughout and is worth applause. Suniel Shetty, with a mixed personality of both gunda and a police officer, carry the role of a ruthless and heartless police officer excellently well. Arbaaz Khan is also competent enough. Vivek Oberoi is good in his role as a gangster. Being trained by a real gangster, he could have done more justice to the role. Tusshar Kapoor just doesn't suit the role a gangster. Shabbir Ahluwalia, Rohit Roy and Aditya Lakhia are ok. Dia Mirza, as a reporter, has performed well. Aarti Chhabria is mesmerizing as a dancer girl. Neha Dhupia is good. She has very few scenes and nothing to be judged in them.

Overall:
Positives: The raw and crude handling of the movie by the director is fantastic. The background scores where good.

Negatives: Two songs in the movie were unnecessary and also meaningless. Special appearance by Rakhi Sawant was an unwanted inclusion.

Shootout At Lokhandwala has curtailed its audience by its crude and violent theme. It's definitely not a family entertainer. Business will be good at multiplex and especially in Mumbai.
Final rating: 6/10

Source:- Nowrunning

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Ghost Rider (2007)

In the world of comic books, there are A-list titles and B-list titles. For the movie adaptations, it's easy to tell the two apart. The B-list films feature characters who are not universally recognizable, typically do not command huge budgets, and are released outside of the prime summer months of May through July. Ghost Rider is such a movie. Despite an incredibly silly premise, the comic was popular at one time, possibly because of the cool image presented by the title character. With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.

Comic books and theology rarely mix and, when they do, it's usually not a comfortable m�lange. This is the case with Ghost Rider, in which the unlikely scenario occurs whereby a servant of Satan becomes the apparent weapon of God. To further muddle things, the Devil isn't really that bad, at least when compared to his son, Blackheart. Most of the time, stories about characters who sell their souls to Mephistopheles have a moral. In this case, it's that God gives second chances to those who save the human race from supernatural annihilation. Daniel Webster he isn't.

As a young man, Johnny Blaze (Nicolas Cage) makes a pact with the Devil (Peter Fonda). It's a simple deal: Johnny gives up his soul and Prince of Evil cures Johnny's father of cancer. Years later, Johnny is the world's top stuntman, a modern-day Evel Knievel - except he emerges alive and unscathed from even the most insane motorcycle jumps. He can't die - the Devil owns him. For decades, Mephistopheles leaves Johnny alone. But when Satan's son, Blackheart (Wes Bentley), decides to make Earth his dominion, Johnny becomes Ghost Rider - a leather clad biker with a flaming skull for a head. His duty: defeat Blackheart and his three minions, save Johnny's old flame, Roxanne (Eva Mendes), from the clutches of evil, and return balance to the world.

By now, anyone reading this has probably gotten the idea that Ghost Rider isn't in the same league as Spider-Man, The X-Men, Superman, or Batman (unless we're referring to the Man of Steel in Superman IV or the Caped Crusader in Batman and Robin). Maybe this "origin story" worked in the pages of the Ghost Rider comic book (I never was much of a fan, truth be told), but it's laughable on screen. Admittedly, one expects a certain level of preposterousness from a superhero story, but this film is far too silly to be taken seriously on any level. And the pedestrian predictability of the action sequences isn't a saving factor. Watch as Ghost Rider battles the minions one-by-one before facing off against Blackheart at the climax.

Trailer

Nicolas Cage plays Johnny with an off-kilter intensity that makes for a strangely sympathetic portrayal. Eva Mendes is effective in the girlfriend role, although it doesn't take much to satisfy the requirements: act amazed when confronted with the truth, get captured and need rescuing, and have a sexy/macho shot that will cause heart palpitations for teenage male viewers. These two don't have the chemistry of a Peter Parker and Mary Jane or a Lois and Clark, but they'll do in a pinch. Meanwhile, Peter Fonda wears makeup that causes him to look embalmed while providing a voice that sounds like a bad Clint Eastwood impersonation. And Sam Elliott has a small part that would take about five paragraphs to explain. His most notable contribution is that he has the perfect voice for the voiceover narration.

This is director Mark Steven Johnson's second foray into the realm of Marvel B-list heroes. He previously directed Ben Affleck in 2003's Daredevil, another February release. The earlier movie had fewer special effects, which is probably a good thing since what's on display in Ghost Rider isn't impressive. With new Spider-Man and Fantastic Four movies are out, superhero fans don't have to rely on this feature for their fix. That's fortunate because Ghost Rider is an unholy mess.


Final rating:- 5/10

Source:- Reelviews

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Hannibal Rising (2007)

That old cash-whore Dino De Laurentiis is at it again, taking his most lucrative franchise and milking it ‘til its nipples are red raw and everyone has become thoroughly bored of their once favourite cannibal. Hannibal Rising sells itself as the story of Hannibal Lecter’s origin, going behind the mask, as it were, to discover what made him.

We first meet Hannibal as a young boy in Lithuania during the war. When his parents are killed, he and his sister take refuge in the woods but are soon found by some local men who are tight with the SS. Freezing and starving, they kill and eat his sister as their only option for survival.

Eight years later he manages to escape from the orphanage he ended up in and make his way to France and the home of his wealthy Japanese aunt (Li). Here he learns combat and becomes a medical student, all the while devoting himself to tracking down and killing the men who killed his sister.

What should have been a keen psychological insight into Lecter’s mind and development is unfortunately nothing of the sort. We get the “how” of him becoming who he is, but never really the “why”, other than the fact that his sister was murdered. Other characters continually refer to him as a monster, but really he’s just a particularly vicious vigilante, albeit one who enjoys a nibble on his victims’ cheeks. Hannibal Rising therefore turns out to be little more than a tawdry revenge fantasy, as Lecter slices his way across Europe, disposing of his targets in ever more bloodthirsty ways.

Ulliel is fine as Lecter, nothing more - he doesn’t have to say too much and he does a nice line in maniacal leers. For some reason, most of the supporting cast are Brits, rather than the usual rent-a-Euro suspects of Tcheky Karyo or Peter Stormare. They all make a good impression, particularly West as the sympathetic cop who wants the men brought to justice almost as much as Lecter wants to barbecue them.

The production design oozes gothic beauty, but the direction is pedestrian and chills are nowhere to be found, while there isn’t even the slightest flash of dark humour to liven the proceedings. One visit to the Lecter well too many it would seem, although it is still better than Ridely Scott`s Hannibal.

Final rating 7/10

Source:- Futuremovies

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Aap Ka Surroor - The Movie (2007)

Television producer. Music composer. Singer. And now actor. Oh yes, Himesh Reshammiya wears many caps. Literally! Everyone's curious to know how HR is as an actor? Is he a fine actor? Or has he strolled into the wrong alley?

Don't expect miracles. HR is no Dilip Kumar, Amitabh Bachchan, SRK or Aamir Khan when it comes to histrionics. He's not the best looker in town either, not anywhere close to Salman Khan, Hrithik Roshan or Akshay Kumar.

But you've to hand it over to HR for being the most courageous and confident person around. Can you ever imagine actors like Amitabh Bachchan or SRK turning music composers overnight? It's difficult to take risks, especially when you're under a scanner constantly. Like the famous lines go, every step you take, every move you make, the world'll be watching you…

Let's get one more thing straight. AAP KAA SURROOR is no amar prem kahani. The love story is the type we've watched a zillion times on the screen before. But what saves the ship from sinking is the fact that the turn of events unfold at a feverish pace and before you realize you've been there, seen that, you're already watching the next link to this story.

So what's the verdict on AAP KAA SURROOR? It's crystal clear. The curiosity to watch HR 'act' will ensure his fans and foes making a beeline for movieplexes at least once. HR is sure to have his share of bouquets and brickbats. Bouquets, because the musical score of AAP KAA SURROOR is tremendous. Besides, he has handled a few emotional moments without trying to ape any actor. He's natural. Brickbats, because the film rests on a thin plot. Plus, the writing gets so filmy that you know exactly what the film is all about, at the start itself.
All said, watch it for Himesh Reshammiya take a giant leap. At least he has the guts to chase his dreams!

AAP KAA SURROOR begins with a dead body of a TV journo, Nadia Merchant, being found in a remote area, somewhere in Germany. Soon after, HR is arrested after a concert for murdering the television journalist. HR is put behind bars and the incidents begin to unravel as the movie goes into a flashback.

While on a concert in Germany, HR meets the event organizer [Darshan Jariwala] and his partner [Mallika Sherawat]. He also meets the event planner [Hansika Motwani] and its love at first sight. Love blossoms. After initial reservations, Hansika's father [Sachin Khedekar] approves of the match.

Things take a turn when HR is arrested. He asks Mallika, also a lawyer, to bail him out. But hell hath no fury like a woman scorned. Mallika is in love with HR, but the rockstar loves Hansika. He escapes from his prison cell after taking the murdered TV journalist's father [Raj Babbar] as captive. He has to find the actual murderer in one single day, or else his sweetheart will be married off to someone else.

AAP KAA SURROOR starts off as a love story, but gets into the thriller drive subsequently. A key factor that goes in its favor is that the events unfold at a feverish pace, giving no time to the viewer to think or break into a yawn. Besides, the film bears a stylish and glossy look and the viewer is enamored by the stunning locales of Germany as also the melodious musical score that has been filmed on some striking locations. This one's an eye candy!

But what acts as an eyesore is the screenplay; the way the writers have penned a script of convenience. Take for instance the climax. The villain's confession is telecast 'Live' after a deadly chase, so much so that even the dulhan [Hansika] and her father call off the saat pheras after watching the television that's placed next to the mandap. Even the auto-rickshaw sequence looks so weird. Besides, the writers should've kept the identity of the killer concealed right till the end, like it happens in Abbas-Mustan's movies. That's the hallmark of a thriller!

Prashant Chadha knows the technicalities right. The film bears a stylish look all through, but Prashant should've been a bit more real and believable as far as the scripting is concerned. Latching on to the tried and tested stuff doesn't do justice to the tagline of the film -- 'The Real Luv Story'. HR is in form as a composer and every song is a musical gem. However, 'Mehbooba' deserved a better placement. Cinematography [Manoj Soni] is superb. Dialogues are alright.

As mentioned earlier, HR looks confident all through, although he depicts emotions like anger, anguish and sadness far more effectively towards the post-interval portions. Of course, there's room for improvement, but for someone who's playing a 'hero' for the first time, it's a fine attempt.

Hansika is a powerhouse of talent. Although she's no stranger to movies [having done a few films as a child artiste], she makes her big screen debut with supreme confidence. She's extremely photogenic too. Mallika Sherawat is interesting, although her switchover [from negative to positive] looks abrupt and artificial.

Shravan [introduced in KUCH MEETHA HO JAYE], as HR's friend, excels. Bani is fair. Sachin Khedekar does well. Darshan Jariwala goes over the top at times.

On the whole, AAP KAA SURROOR has tremendous curiosity-value attached to it. And that, in turn, will ensure a fantastic opening for the film. The superb promotion [quality and quantity] has created tremendous excitement for the film, which will result in the box-office singing a glorious tune in the final tally. For its distributors, the fabulous opening will have them singing and laughing all the way to the bank. Critics be damned, this one's for the masses!

Final rating :- 7/10

Source:- Indiafm


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Fantastic 4: Rise of the Silver Surfer (2007)

Superhero fans have got it made these days: You want dark and gloomy, you head for the newest Batman movie. You crave earnest and wholesome, you pick one of the three Spider-man flicks. Whatever mood you happen to be in, there's now a superhero movie (or series) to pick through:Hulk,Daredevil, hellboy, Superman, Ghost rider, you name it. Just about all the classic superheroes are now available in cinematic form, some good and some bad, some "dark and gloomy" and others all "touchy feely" ... but where's the "family friendly" superhero movie? The one that doesn't deal with tortured psyches, metaphysical angst or some form of anguished misery? Well heck, here's one: It's called Fantastic Four: Rise of the Silver Surfer, and while it's often a pretty goofy little movie, it's also a perfect flick for young dads and their 9-year-old sons.

To call FF2 an improvement over its predecessor would be damning the sequel with faint praise. Aside from a few editorial missteps and a leading lady who still couldn't act warm if you set her hair on fire, there's quite a lot to enjoy in Fantastic Four 2: The actors seem a lot more comfortable with their strange roles, the jokey material is a lot less dorky, and (best of all) the sequel has an actual STORY that's both cohesive and surprisingly compelling. Sometimes it's OK to enjoy a mindless piece of popcorn escapism, one that's as broadly silly as it is colorfully exciting -- and maybe it's just a case of "lowered expectations" (seeing as how I didn't much care for the first FF entry) -- but there's something strangely infectious about the Fantastic Four sequel. (Plus, the flick clocks in at 91 minutes and is firmly PG-rated, which should be double good news for the movie-hoppin' parents out there.)


The plot is, of course, pure comic-book nuttiness: Reed Fantastic (Ioam Gruffudd) and Sue Storm (Jessica Alba) are planning to wed, but as two of the planet's only "outed" superheroes, their mega-celebrity status prevents anything close to "private and personal" from taking place. Every time Reed and Sue line up for their nuptials, something (literally) explosive takes place. This time around it's the unexpected arrival of an interstellar mystery man dubbed "The Silver Surfer." Turns out that wherever the shiny alien being goes, crazy stuff happens: Snow in the desert, giant craters popping up all over the globe, massive power outages, stuff like that.

Without spoiling too much I can tell you that The Surfer is not actually a malicious villain, but is actually an extra-terrestrial herald for a being called, well, the head villain sometimes goes by the nickname "Eater of Planets" -- so obviously the Fantastic Four has got their work cut out for them. Not only do they have to deal with the freaky alien dude and his slow-arriving mega-boss, but also a bunch of gung-ho military types who are more interested in blowing things up than in befriending invincible shiny aliens. Of course it will take a complete team effort to save the world this time around, which means that Reed's powers of "stretchiness," Sue's inviso-force field talents, Johnny's flaming skills and The Thing's brute force are going to come in very handy indeed. (Ah, and nasty ol' Dr. Doom is back too!)

Those who've grown a little weary of the angst-laden superhero stories may find themselves surprisingly captivated by FF2. It's not nearly in the same league as the very finest Marvel adaptations, but it seems pretty clear to me that series director Tim story paid close attention to most of the complaints surrounding his first entry ... and actually fixed those problems for the sequel! True that FF2 suffers from some really choppy editing (particuarly near Act III) and yet another one-note performance from the curvy-yet-vacant Ms. Alba, but just about all my other complaints on Fantastic Four have been addressed and remedied in FF2: The humor is just a little less dorky, the flick moves forward like a shot, the special effects (especially the Surfer) are really quite nifty, and it feels like Story and his screenwriters have finally struck a solid balance between high-end heroics and light-but-amusing sitcom-style humor.

In a move that might strike some of the FF purists as heresy, the filmmakers figured out a way to bring Julian McMahon back (without the Dr. Doom helmet), but it's a decision that helps the movie a whole lot. In only a few scenes, McMahon delivers a smoothly diabolical performance that'll leave you wanting more. Chris Evans is still a lot of sarcastic fun as the girl-crazy Johnny Storm -- while leading man Gruffudd seems to have really settled in to a comfort level with his Mr. Fantastic character. In the first flick I found the guy too stiff and robotic; here he cuts loose a little and makes for a mega-smart super-hero we can actually get behind.

So, no, it sure isn't brain surgery, but if you're looking for a superhero movie that doesn't take itself too seriously, is perfectly safe for family viewing, and capably blends action, sci-fi and comedy into one colorful concoction, you could do a whole lot worse than FF2. Plus it's got one action scene that's cooler than anything offered up in Spider-Man 3 -- and I never would have expected THAT!

Final rating:- 8/10

Source:- Cinematical

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The Train

The Train is a copy of Hollywood flick ‘Derailed’, the script is not very innovative and even the screenplay is a verbatim copy of the English film but nonetheless the twists and turns in the thriller portions are average and manage to hold one’s interest for a while. The Train is a film that almost seems to be lifted from an English film and merely translated into Hindi. The storyline, script and screenplay including the characters have not been fine tuned to suit Indian audiences tastes. The film revolves around an extra-marital affair which then turns into a thriller with blackmail, rape and a murder mystery following. The parallel plots running alongside are interesting at some points but after a while they lose steam. The film opening with a premiere at Iifa in Yorkshire may however be a good idea for promoting the film. The performance by Emraan Hashmi is average but the actresses deliver lackluster performances and hence the film turns out to be just average.

The film has been produced by Narendra Bajaj and directed by Raksha and Hasnain. It stars Emraan Hashmi as Vishal Dixit, Geeta Basra as Roma and newcomer Sayali Baghat as Anjali. The music has been composed by Mithoon.

Vishal (Emraan) is married to Anjali (Sayali) and they are settled in Bangkok. He is a middle class guy who works in Bangkok and the couple even has a five year old daughter, Nikki. Their marriage was a happy one until various problems started developing cracks within it. Vishal is trying to save up money for the treatment of his sick daughter. Apart from the pressure of working hard, boredom too sets in within their marriage and Vishal is drawing away from his wife. At the same time Vishal meets Roma (Geeta) on the train while he is on his way to work. There is an instant attraction between Vishal and Roma. Vishal learns that Roma too is married but she is lonely and unhappy. Vishal loves his wife but the attraction is drawing him towards Roma and he finally decides to give into temptation.

However now that Roma and Vishal have decided to have an affair, a new course of events take place. Suddenly there is another person who knows about their clandestine affair and is blackmailing Vishal for money. And the affair only seems to turn into a further nightmare when rape and murder become a part of the plot. Who is the blackmailer and who is the murderer? Will Vishal’s marriage fall apart completely? What about Roma’s marriage?

Directors Raksha and Hasnain manage to engage one for a while with the thriller aspect when the blackmailing and murder takes place. However the suspense only lasts for a while as audiences are soon able to guess the answers and direction that the film is heading towards. The extra-marital affair is not a novel concept especially with Emraan Hashmi at the helm of things. Although the screenplay has several sequences which are a copy of the English original, the execution seems pretty average and the build up of events is interesting. The change from an extra-marital affair to a suspense thriller is a good move however the suspense should have been maintained till the end. The parallel plots of the husband-wife relationship, the blackmail, the murder, rape etc helps the narrative move forth at a brisk pace.

However there are certain portions which seem unconvincing like the blackmailing portion and others. Also since there are so many sub-plots, none of the angles are explored in depth but are dealt with in a hurried manner. The climax too does not come as a surprise. Overall the film has not been scripted well but instead everything is just thrown in together to make a juicy, masala film with all the works. The music of the film though by Mithoon is fairly good and the song ‘Woh Ajnabe’ is foot tapping and peppy. The cinematography is fare but nothing to rave about. Performances range from fare to below average.

Emraan Hashmi has done the same extra-marital kind of roles several times and hence he delivers a fare performance. Unfortunately though both the actresses are a disappointment. Geeta Basra’s look is over the top and neither is her acting satisfactory. Newcomer Sayali Bhagat looks fine but needs to work hard on her performance. The rest of the actors are fare.

In spite of several glitches like a poor script and screenplay with various loopholes the film comes across as average due to the execution. At the box-office, Emraan Hashmi fans may help the film to make an average mark.

Final rating:- 4.5/10

Source:- Bollywoodmantra

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Shrek the Third

PLOT: Shrek the Third finds the big, green ogre and his lovely wife Fiona filling in for her parents due to her father, King Harold and his deteriorating health. As Harold gets weaker and weaker, he asks Shrek to take over as king of Far Far Away. Not wanting to leave behind the good life of living in his humble swampy abode, he searches for the only other heir that could take his place, an awkward teen named Arthur. Meanwhile, that devilish Prince Charming has plans of his own as he gathers all the evil characters he can find to take over and create his own happily ever.

REVIEW: In this second sequel of the Shrek franchise, I found much of what worked in the first two films to be proudly on display. The big green ogre voiced by Mike Myers and the oftentimes hilarious relationship he has with Donkey (Eddie Murphy) and Puss In Boots (Antonio Banderas) is still comic gold. And thankfully, we get more of that smooth kitty the third time out, and Mr. Banderas brings out Puss’ rico suave like the champ he is. The many other characters that populate Far Far Away still make for some witty and laugh out loud humor, especially the Gingerbread Man. He makes me feel bad for eating his relatives. And as with the third in any franchise, there are many more characters that have supporting roles. Some of the most clever involve Snow White (Amy Poehler), Cinderella (Amy Sedaris), Rapunzel (Maya Rudolph) and Sleeping Beauty (Cheri Oteri) who puts her narcolepsy to good use, while Snow White enjoys a little song with a bit of a twist. Prince Charming (Rupert Everett) is back and he’s still looking to get rid of Shrek once and for all. His opening moments in the film really shine and he almost garners some sympathy for his pathetic self. I always thought there must be something wrong with this guy.

Shrek 3 trailer

As for the look and sound of the film, the third is truly a sight to behold. The animation was stunning with several moments that felt as real as any live action flick. You can’t take your eyes off it. Visually, it is very compelling and it gives the animated characters depth. This is probably the best looking of all three movies. And add to that a very well-placed soundtrack including Paul McCartney and Wings addition to the 007 series, “Live and Let Die” (albeit, it context, it’s a little twisted) and the Dionne Warwick and friends sappy love fest, “That’s What Friends Are For” courtesy of Merlin (Eric Idle). This series has always used music to its advantage… it still holds true here. And it’s always nice to hear Donkey performing classic Harry Chapin; seriously, this is funny stuff.

Even though I enjoyed many of the additions to the cast, they did seem to take away from the Shrek charm a bit. The story tends to get a bit bogged down with unnecessary cameos and too much going on. I appreciated all the fun that this star-studded cast brings, but at times it didn’t work. Emphasizing all the side characters took a little bit of screen time from the more developed characters over the past two movies. This left me wanting more of the folks I’ve grown to love in Far Far Away. One of the most notable additions is Justin Timberlake who plays a supposed loser named Artie. Even the animation made this guy look pretty. So it was lacking in credibility when the Dungeons and Dragons dorks pick on him as does everyone else. Yet he does do a nice enough job that for awhile, I forgot the dude used to be in N’Sync.

While Shrek the Third doesn’t live up to the first, it rates close to the second. It is still an oftentimes hilarious kid’s flick that has plenty to keep the adults happy. The many references to movies and pop-culture are still fast and furious (one film NOT referenced) including a very odd mix of “It’s Alive” and “Porkys”… trust me, it’s damn funny. This is a smart, sweet story with fantastic animation and a few moments of sheer comic brilliance. All the while it delivers a positive message for children about being yourself no matter what others think, even if it is a bit clichéd. It kept a smile on my face and my foot tapping with the inspired soundtrack. This is a great summer movie that you can take the kids too without regret; it’s almost worth seeing for the “croaking” scene alone. You’ll know it when you see it. And if you’ve seen the first two, there’s not a reason in the world you shouldn’t go for thirds.

Final rating 8\10

source:- Joblo

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