Partner (2007)

Some do's and don'ts you need to follow while watching PARTNER…

• Lock your brains in the almirah, before you head for the nearby movieplex to catch this zany entertainer.


• Don't look for logic. Don't ask questions. Don't raise eyebrows. .


• Don't argue with what the master chef David Dhawan serves on your plate. .


• Do carry some earplugs/earwax if you're allergic to noise. The cineplex will reverberate with high decibels of laughter, which could tax your ear-drums if you're overtly sensitive.
  

Welcome to PARTNER, David Dhawan's new comic caper. It's stylish, it's crazier, it's a bigger entertainer than David's last two laughathons, MUJHSE SHAADI KAROGI and MAINE PYAAR KYUN KIYA. Making people laugh is an art and David has mastered this art over the years. Like wine, he has only matured with time.

Let's come straight to the point. PARTNER is for those seeking non-stop entertainment. It's targeted at those who swear by masala films. Those who want to get transported to a world of make-believe in those 2 hours. It's definitely not for those who actually know what to expect, but pretend to rubbish escapist cinema. Also, it's not for certain critics [looking for art cinema in a masala entertainer] whose star ratings are a much bigger joke than the one David Dhawan pulls off with élan. The film works, and works big time.

In a nutshell, if you're into escapist cinema, if you're looking for laughter unlimited, if you're curious to watch the bonding between Govinda and Salman Khan, if you're a big fan of David Dhawan movies, if you believe in shelling out Rs. 150 for a ticket and expecting entertainment worth Rs. 200, PARTNER is just for you!

Prem [Salman Khan] is a 'date doctor' who, for a fee, has helped hundreds of men woo the women of their dreams. In his childhood, he understood a woman's likes and dislikes in food, clothes or men. His aim is to help those men who like or love women, not to take them to bed.

The ultimate professional bachelor, Prem discovers that his tried and tested tricks are no match for Naina [Lara Dutta], the one woman he truly loves, who works for a newspaper as a journalist.

He comes across Bhaskar [Govinda], who is in love with Priya [Katrina Kaif], the rich and famous daughter of a tycoon [Dilip Tahil]. Prem helps Govinda find his lady love and eventually also finds a soulmate in Naina.

Inspired by director Andy Tennant's likable Hollywood hit HITCH [2005; Will Smith, Eva Mendes, Kevin James, Amber Valletta], PARTNER is a true-blue David Dhawan film. It's glossy, has some stunning visuals, boasts of very catchy and hummable music and of course, hardly has any tense moment in those 16 reels.

What works is the casting of the two characters, who're as dissimilar as chalk and cheese. Although the romantic portions have the right chemistry between Salman and Lara and Govinda and Katrina, the USP is undoubtedly the terrific bonding between Salman and Govinda, whose on-screen escapades take the film to dizzier heights. Besides, the witty one-liners [Sanjay Chhel] are another ace that has the viewer in splits. The dialogues are truly funny and actually accentuate the impact of every sequence.

Any 'hitch'es? Yes, there's one! The track that leads to the misunderstandings in the climax looks unwarranted. Writer sahib [screenplay: Yunus Sajawal, David Dhawan], this track [Rajat Bedi, Aarti Chhabria] compels you to break into a yawn. Also, it adds to the length of the enterprise. But the subsequent portion [Govinda's honeymoon travails] is rip-roaringly funny.

David Dhawan gets it right yet again. He's on familiar ground and like a seasoned cricketer knows the game inside out. He hits a boundary yet again. Sanjay Chhel's dialogues are superb. Sajid-Wajid make a terrific comeback, with every song having the stamp of a chartbuster embossed on it. Even their picturizations [choreography: Bosco-Caesar] are excellent. Cinematography [Johny Lal] is first-rate. The film bears an opulent look all through. Costumes of Salman and Govinda [Alvira Khan Agnihotri] are stylish.

The question is, who steals the show? Actually both! Salman performs like never before. Sure, he looks dapper [one compliment he's heard umpteen times], but he packs in a solid punch whenever he's on screen. His fans will only multiply with this film. Govinda sets the screen blazing with an incredible performance. Although the actor has featured in a few films after a hiatus [BHAGAM BHAG, SALAAM-E-ISHQ], PARTNER is his comeback film. He has the viewer eating out of his hands actually. Those who felt that he's a spent force will have to eat back their words.

Lara Dutta looks gorgeous and pairs off very well with Salman. Katrina Kaif looks gorgeous and pitches in a natural performance. Rajpal Yadav is really funny. Puneet Issar is alright. Dilip Tahil is okay. Suresh Menon is excellent. Child artiste Ali Haji is wonderful. His confidence level is astonishing!

On the whole, PARTNER is a winner all the way. This one's a laugh-riot that will have the viewers laughing in the aisles and its distributors, laughing all the way to the bank. A sure-shot 'Hit'.

Final rating:- 8.5\10

source:- Indiafm

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Naqaab (2007)

Considered master thrillers in the film industry here, director duo Abbas Mustan's latest Naqaab has been touted as a shocking thriller. Laced with exotic locations, beautifully picturised songs, a good looking cast and some twists and turns, the film is a good package, an honest effort. There are a few minus points but the film can't be called disappointing.

Sophiya (new comer Urvashi Sharma),a lonely girl in Dubai wins over multi millionaire Karan (Bobby Deol) and finds acceptance in his mansion and heart. When Karan proposes, Sophiya accepts and goes out with her friends to celebrate the engagement. Its there that she meets the dashing Vicky (Akshaye Khannna) who is there along with his two side kicks ( Vikas Kalantri and Vishal Malhotra). Sparks between the two fly and in spite of trying ,the engaged Sophiya fails to ward off the charmer. A few clandestine meetings later, the two fall for each other hook, line and sinker. There are a couple of elements thrown in the first half like Urvashi's stalker, her ghosts of the past, hidden cameras recording the activities of the lovers, Akshaye's anonymous calls and Bobby Deol's too benevolent and sugary lover of a character which comes across as deceptive.
The nail of suspicion points towards everybody. In fact there are so many things happening in the first half that it's really hard to comprehend what's going on.

It's towards the second half that the film actually takes off when Sophie spurns Karan on their wedding day at the altar, his supposed 'suicide' and the actual revelation. Here too there are a few loose ends in the screenplay like lack of conviction but it's the climax of the film which sparkles when one comes to know how the love birds staged the perfect act to get rid of their exploiter. This revelation towards the end is something novel which the directors have obviously experimented with. This should appeal to the multiplex audiences but chances are, the masses might not be able to grasp this. The saving grace is the fact that the film is not too long, only about two hours.

As for the performances, Akshaye Khanna is scintillating and is at his natural best. Bobby Deol is good too, though in most parts of the film he plays second fiddle. Junior Deol is no doubt a stylish guy but minus his long unkempt locks he can look even better (wish he had started taking this advice seriously). Urvashi Sharma is unconventionally beautiful and has a great body which she flaunts, sporting everything from a swimsuit to western wear to sarees. She has a flexible body and her dance moves are really nice (especially in the salsa and the Arabian style song). She tries to do well and does look like a Catholic character. But the fact that she has not too many expressions on her face serves as a negative quality considering the fact she is the leading lady of the film. Only if the brilliant Akshaye had given her some more tips! Of the two side kicks, Vishal Malhotra suits his role and Vikas Kalantri tries to do so but unfortunately appears irritating at times. No wonder he could never make it as a leading man in spite of slogging hard. Raj Zutshi doesn't have anything much to do.

The film has been shot well in beautiful foreign locations and also edited well. In fact somewhat of an international feel has been given. The lovemaking scene between Urvashi and Akshaye has been artistically picturised and doesn't look awkward.

The music is melodious but inferior compared to the earlier films of the men in white (including the first Bobby -Akshaye starrer 'Humraaz'). Except for a few points here and there, Naqaab is a not too bad fare after all especially since it has some innovativeness.


Final Rating:- 4/10

Source:- Entertainment.oneindia


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Apne (2007)

With Shraddhanjali, his directorial debut, Anil sharma proved that he could make you moist-eyed. With Hukumat, he proved that he could pull off a vendetta fare with gusto. With Gadar, he proved he could handle a love story with two neighboring countries as the backdrop with remarkable ease.
Apne, his new endeavor, is all about familial bonding. In a way, the storyteller goes back to his roots in his new outing -- emotions.

Apne casts a father [Dharmendra] and his two real-life sons [Sunny,Bobby], in roles that suit their personalities. Besides, the backdrop of boxing makes the conflict in the story look convincing.
Apne is rich in emotions and a number of sequences, especially those between Dharmendra and Sunny, are electrifying. Also, the boxing matches [Chris Anderson] are pulse-pounding and you clench your fists tightly due to the tension that's depicted on screen.

But Apne has its share of shortcomings as well. Ideally, the film should've had a concise format of 2.15 hours, instead of 2.54 hours. Besides, the screenplay, although tight at most times, succumbs to mediocrity at places. Music too is another aspect that should've had a lingering effect, since it's not everyday that the three Deols come together.

To sum up, Apne is desi at heart and holds appeal for those who swear by desi flicks. A worthy effort nonetheless!

Baldev Singh Choudhary [Dharmendra] won a silver medal in the Olympics and made India proud. His only dream was to make history by becoming India's first World Heavyweight Boxing Champion. But sometimes dreams get shattered before they can be realized.

When in the U.S., fighting for the World Heavyweight Championship, the betting mafia conspires against him and gets doping charges leveled against him, which gets him banned from boxing.

For an athlete nothing can be worse than doping charges. Baldev wants to get rid of this stigma and pain by training his elder son Angad [Sunny Deol] in the sport of boxing and make him a World Heavyweight Champion and create history which eluded him.

Apne Trailer

But Angad has some other dreams, other aspirations, other commitments... Karan [Bobby Deol], the younger son, a musician, in spite of wanting to fulfill his father's dreams, is helpless. But the story takes a turn when Karan decides to live his father's dream. The situation spirals out of hand subsequently.......

Apne grips you gradually. Anil Sharma and writer Neeraj Pathak open the cards at the very outset. The uneasy relationship shared by the father and son [Dharmendra, Sunny], Dharmendra's failed ambition, the turning point in the tale [when Bobby steps in to fulfill his father's dreams] make the goings-on watchable. The narrative only gets absorbing when the focus shifts to the boxing ring and the opponent [Luca] steps into the picture.

But there's a flip side too. The choreography of these sequences [in the boxing ring] is so real that it can be off-putting as well, especially for the faint-hearted. Also, the climax is well crafted, but, ideally, it should've ended when Sunny overpowers the opponent. The subsequent portions [Bobby's liver problem] only add to the excessive length.

Director Anil Sharma handles the emotional sequences brilliantly. In fact, a number of scenes bear the stamp of a solid storyteller. The screenplay [Neeraj Pathak] is taut, except for a few loose ends. Himesh Reshammiya's music is a complete letdown. Barring the title track, the remaining songs are uninspiring. Kabir Lal's cinematography is topnotch. The lush green fields and locales of North India give the film a rich texture.

Apne belongs to Dharmendra. No two opinions on that. The veteran roars like never before and proves yet again that he's a magnificent actor. Sunny is first-rate. Bobby is alright, but the one complaint that you hold against him is, why didn't he work on his physique when he accepted this role? If he's playing a boxer, he can't afford to show his flabby chest and stomach.

The leading ladies don't have much to do. Shilpa at least gets a few scenes, while Katrina is there to shake her booty only. Kirron Kher is superb yet again. In fact, she has a far meatier role than the two ladies. Divya Dutta is wasted. Victor Banerjee is natural. Jawed Sheikh gets minimal scope. Aryan Vaid is alright. Luca is excellent.

On the whole, Apne is rich in emotions and has the potential to strike a chord with families. Those who love emotional fares are bound to take a liking for its theme. At the box-office, it has the power to grow with a strong word of mouth. Business in North India will be the best. However, trimming the film will only elevate its status.

Final rating :- 8/10

Source:- Entertainment.oneindia


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Die Hard 4.0 (2007)

Finally, my curiosity was satisfied and for the first time in a long time, my high expectations were more than met. I watched Die Hard 4 last night and…. WOW!! I couldnt watch first few mins because my dig peed on my lag (ewwww!!) When I got in, Bruce Willis was having an argument with his daughter at 3:00 a.m. with her boyfriend in the middle, then he gets a call from the police chief telling him to escort some computer hacker to the FBI. Apparently, the FBI were not the only ones after this kid. So, as usual, Willis is at the wrong place at the wrong time (yeah!). And that was when the movie and the “Die Hard” theme began. Starting that moment till the very end of the movie, the action does not stop, things blowing up left and right, bullets flying around all over the place, people flying off buildings, people being kicked out of windows, crazy car chases, and much more. You would think that Willis is old and not up for a movie like this, but he did an awesome job. He was able to keep the “Die Hard” feeling alive, you know how he ends up all bloody and bruised, yet kicks the shit out of everybody; he succeeded.

I dont want to ruin the movie for anyone but to give you a brief. Basically, it is a group of cyber terrorists who pretty much hack the whole country and end up controlling pretty much everything. Their aim is to cripple the country and do so by disrupting traffic, gaining control over a chemical factory, and shutting down the electricity. Why they do that and who is behind it are two things you need to watch the movie to know. If I say anything more, I might ruin it for you, although it is known people dont watch Die Hard for the story but for the action it packs in.

One thing for sure is the action is intense and Luckily, there was only one small kiss, which was naturally cut off. You see cars blowing up and flying around like they were paper bags or something, cars blasting through buildings and other things, a battle between a 12-wheeler and a fighter jet hovering in the middle of a multi-story bridge, fighting scenes that make you think you are watching the Matrix or X-Men. I am trying to think of any moment when I was bored during the movie…… I cant!! I highly recommend you to watch it and do NOT, I repeat do NOT, waste such an incredible movie by getting it on DVD and watching it as home, this is a must see at the cinema. There is a trailer in between this review, check it out. . Enjoy!! And as Willis’ signature line in all Die Hards: “Yippie Kay Yay Motherfucker” woohoooo.

Final rating:- 9.5/10

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Oceans Thirteen (2007)

Brad Pitt doesn't really act in Ocean's Thirteen, he just glides through the third chapter in Steven Soderbergh's heist-flick annuity on the magic carpet of his own unimpeachable cool. Don't knock it. Genuine star power is rare -- just watch Colin Farrell, Jude Law and Orlando Bloom struggle to attain it. Pitt has it in spades -- all aces.

Like Dean Martin did with Rat Pack capo Frank Sinatra in Ocean's Eleven back in the Pleistocene era (1960), Pitt, 43, damn near holds his own with George Clooney, 46, the current go-to icon for effortless charm. That they both rolled craps in 2004's Ocean's Twelve, the self-satisfied ringer in the series, seems to have taught a hard lesson: Do not overplay the arrogance card. While co-stars Matt Damon, Don Cheadle and Al Pacino, as the scrappy villain of the piece, knock themselves out to add juice to the movie, Pitt, following Clooney's lead, never breaks a sweat. And yet we're grabbed, drawn in by something beyond looks.

Despite the tabloid scrutiny that follows Pitt and Angelina Jolie on their merry rounds of film and baby making, Pitt has become increasingly comfortable in his own skin. His newfound ease becomes him. As Rusty Ryan, chief wingman for Clooney's Danny Ocean, Pitt takes the same light-fingered approach to robbing a casino as he does to stealing a scene. "Are you crying?" Rusty asks, catching Danny sniffling at an Oprah giveaway show on the tube. The setup evokes the kind of banter that Frank and Dean thrived on. But Pitt turns Rusty's amusement into a deeper curiosity. Is he being played, or did he detect a twinge of sincerity in Ocean? Feelings are dangerous in a gambler and a thief. No wonder Rusty's on the lookout.

Still, it's feelings that kick-start Ocean's Thirteen, written with beyond-the-call-of-duty panache by Brian Koppelman and David Levien, renowned in my house for the poker cult classic that is Rounders. The only person who can get Ocean tearier than Oprah is his pal Reuben Tishkoff (Elliott Gould in top form), who has just been royally screwed out of his stake in the Strip's newest hotel-casino, the Bank. In a burst of Trump-like hubris, Pacino's Willy Bank has named the place after himself. To revenge Reuben, the boys -- including the priceless Carl Reiner as Saul Bloom -- decide to take down Willy and his Bank.

The movie is all heist, which Soderbergh carries off in high style. Is the Oscar-winning director of Traffic slumming with this piffle? You bet. But this time he doesn't let it show. His only misstep is the subplot involving Damon trying to seduce Willy's number two (Ellen Barkin). Barkin, reunited with Sea of Love co-star Pacino, is too smart and sexy to be the butt of cheap cougar jokes lobbed by the boys.

Otherwise all is well, especially the sparring between Pitt and Clooney. "Keep the weight off," Rusty teases Ocean, referring to the pounds Clooney packed on for Syriana. "Settle down, have a couple of kids," Ocean winks back in a real-life reference no one could miss. It takes skill and experience to erase the line between actor and character without turning off the audience. We know Clooney can do it. But Pitt is the real surprise. Top performances in Fight Club, Seven, 12 Monkeys and last year's Babel have erased the self-consciousness of his days as a stud muffin. In Ocean's Thirteen, Pitt is not out to prove himself. He's a star, baby, and in the highest praise one gambler can pay another in this class act of a caper movie, he's worthy to shake Sinatra's hand.

Final rating:- 8.5/10

Source:- Rollingstone


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Bheja fry (2007)

Gen X film-makers are brimming with ideas. Stories that were considered abstract, experimental and out of the box are finding an audience and most importantly, an outlet [multiplexes]. BHEJA FRY is one such film.

Ideally, the plotline of BHEJA FRY is best suited for a stage play [theatre], but director Sagar Ballary makes an attempt to garnish it with interesting twists to suit the 35 mm format. Only thing, a concept like BHEJA FRY, even though it packs in ample laughs in 12 reels, is strictly for the multiplex junta. Again, not all multiplexes, but select ones. With a title like BHEJA FRY, you expect a wacky fare and it does meet your expectations at times. The incidents take place in one night and unlike IS RAAT KI SUBAH NAHIN [different genre, but incidents unfold in one night], BHEJA FRY stresses on humor.

Whether it's the rift between a married couple [Rajat Kapoor, Sarika] or the other people involved in their lives [Milind Soman, Bhairavi Goswami] or a man finding out that his wife is cheating on him [Ranveer Shorey], Ballary injects humor in every situation. Serious moments? Don't look for it in BHEJA FRY.

In a nutshell, BHEJA FRY is a time pass fare that doesn't tax your bheja. It has its limitations since it caters to a select audience, but the film dares to push the envelope further.

Ranjeet Thadani [Rajat Kapoor], a music company executive, hurts his back the night he has found a prize catch for a weekly bring-your-idiot talent dinner hosted by his friends and him. He ends up spending the evening with this idiot, Bharat Bhushan [Vinay Pathak], who tries to help him get his wife [Sarika] back, who left him earlier that day. The result is utter chaos let loose by the idiot, who cannot do a single thing without messing it up further.

The plot turns around to be a series of mini disasters that leave Ranjeet's comfortable life in ruins.

It's difficult to make people laugh and director Sagar Ballary walks a difficult path in his directorial debut. But what bails him out are a fairly interesting screenplay [Sagar Ballary, Arpita Chatterjee] and most importantly, an actor who gets it right in every scene -- Vinay Pathak.

There are times when you truly enjoy the jokes, but there're also times when you refuse to flex your facial muscles since the humor appears forced. The best moments are those when Vinay calls up various people [Milind, Bhairavi, Ranveer, Sarika], but ends up messing things. From the writing point of view, the track between the couple [Rajat, Sarika] is the weakest since on one hand they seem like a perfectly normal couple [the husband gifts his wife a swanky car] and minutes later, the wife walks out of the house. Kya hua? Pata nahin!

The film relies on humorous lines and one-liners and the dialogues are enjoyable at most times. There's no scope for music in the film, but the lone track is strictly okay.

Vinay Pathak is the star of the show. He looks every inch a simpleton who's ready to become the bakra. He says everything with a straight face, that's one of the reasons why this performance works. His timing is simply fantastic.

Rajat Kapoor is alright. Sarika doesn't get much scope. Milind Soman enacts his part well. Ranveer Shorey goes over the top this time. Bhairavi Goswami exudes oomph, but needs to work on her facial expressions. Tom Alter, Harsh Chhaya and Ikhlaque Khan get limited scope.

On the whole, BHEJA FRY has its enjoyable moments, but it's the type of cinema that would appeal to the multiplex junta of a few cities only. An effort like this will find more patronage on DVDs/Satellite TV than the ticket window.


Final rating:- 4/10

Source:- Indiafm


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Life In a... Metro

The trend of narrating multiple stories in Hindi films continues. Salaam-E-Eshq, Just Married: marriage was only the beginning and Life Mein Kabhie Kabhiee, all 2007 films, tackled multiple stories in those 2.30/3.30 hours. Metro charters a new path because the multiple stories run concurrently. Also, the characters are, in some way, linked with each other.

With Metro, director Anurag Basu proves for the third time [after Murder and Gangster] that he's an incredible storyteller. The complexities in relationships, the shortcuts one adopts in life to attain the goals and the corrosion of ethics and values have been depicted most convincingly. Yet, Metro is no landmark film. It doesn't sweep you off your feet...
If Anurag Basu, the director, deserves brownie points as a storyteller, Anurag Basu, the writer, is just not in terrific form this time around. Reason: The culmination of a few stories, besides the unique concept of using the 'Metro Band' in every song, prevent the film from reaching dizzy heights.

Rahul [sharma joshi] works as a call centre executive in Mumbai. He silently loves his colleague Neha [Kangna Ranaut]. A smart young woman who has climbed the ladder in a very short time. And hard work is not her only secret. Because her boss, Ranjeet [Kay Kay Menon], loves her and is willing to shower her with gifts and opportunities... only if she is willing.

In his 30s, Ranjeet is married to Shikha [Shilpa Shetty] with a 6-year-old daughter. They had decided that she should stay back at home and take care of the house and the kid. Ranjeet ventured out on his quest for money and success... and forgot his family somewhere on the way. And bitterness and boredom crept into their relationship. Soon he found solace and a fresh lease of life in Neha.

Neglected by an indifferent husband and bogged down by family chores, Shikha is soon attracted to Akash [Shiny Ahuja], a struggling theatre artist whose wife divorces him because she cannot stand his failures anymore. Akash and Shikha's love blossoms and she almost crosses her limits.

Amol [Dharmendra] is a 70-year-old man who returns to India after 40 years. To spend the last few years of his life with his first love, Vaijanti [Nafisa Ali]. The lady lives in an old-age home and is Shikha's aunt who gives moral strength to Shikha.

Shikha's sister and Neha's room-mate, Shruti [Konkona Sen Sharma], works at 'Radio Mirchi'. In her 30s and still a virgin, she's desperate to get married. She is dreamy eyed about her RJ, Wishy K [Gautam Kapoor]. She also meets Debu [Irrfan Khan] through a matrimonial site. She hates him. But Debu doesn't.
Director Anurag Basu's handling of a few dramatic and emotional moments is exemplary. Dharmendra's introduction at the railway station, the tense moments between Kay Kay and Shilpa, the entire track featuring Irrfan and Konkona Sen Sharma including the sequence on the rocks [after they've shopped for Irrfan's wedding] and the sequence when Shiney and Shilpa are about to get physical are portions that register a strong impact. Also, the handling of the multiple stories concurrently is praiseworthy, for not once does confusion prevail since so much is happening to so many characters.

On the flip side, the culmination of a few stories looks hurried and half-baked. The Dharmendra - Nafisa Ali story deserved a better conclusion. The one depicted in the film is so filmy! Similarly, Kangana suddenly realizing that she needs to be with Sharman in the end [she leaves Kay Kay stranded] looks unbelievable.

The culmination to the Shilpa - Kay Kay story is ludicrous. Shilpa is about to leave her home when the door bell rings and she finds her husband [Kay Kay] staring at her. He seems repentant and one assumes he has returned home on a rebound [Kangana has dumped him]. Surprisingly, Shilpa goes back to the heartless guy, bidding goodbye to Shiney, who genuinely loves her. Wrong ending!

Another area where the film suffers is that each and every song has the Metro Band coming up from nowhere and humming the lines. Agreed, they are good singers and using the Band in a song or two would've been okay, but every song? They're such a terrible put-off! Besides, the films music [Pritam] is strictly okay.

Metro is embellished with superior performances, with Shilpa, Kay Kay Menon, Irrfan and Konkona vying for top honors. Shilpa delivers her finest performance thus far, much better than her work in Phir Milenge. In fact, this performance needs to be remembered when the 'Bests of 2007' are compiled during the year-end. Kay Kay Menon is exceptional. You hate him, detest his very sight, all thanks to a terrific portrayal.

Actor Irrfan Khan is the life of the show. You're bound to run out of adjectives to describe this performance. He's sure to appeal to every strata - elite, intellectuals, classes, masses, kids... Konkona compliments Irrfan beautifully all through. A brilliant performance yet again. Veteran actor Dharmendra is simply superb. He makes you moist-eyed at several places. Sharman Joshi underplays his character beautifully.

Kangna Ranaut is not in form this time. Shiny Ahuja is passable. He deserved a few more meaty scenes. Nafisa Ali is grace personified. Gautam Kapoor is adequate. Manoj Pahwa is okay.

On the whole, Metro could've been a path-breaking experience, but the faulty writing throws a spanner. At the box-office, the film caters to the multiplexes of big cities mainly. The initial weekend business will be encouraging at select Metros, but things might get shaky eventually.


Final rating:- 6.5/10

Source:- Entertainment.oneindia

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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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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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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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