Action Replay Hindi Movie

 Action Replay

Hollywood and Bollywood, despite similarities in their names, hardly have anything in common. Except that the latter often borrows concepts from its older cousin. Yet, it manages to make something different from the original. ‘Action Replayy’ is an example of that.When proposed to, Bunty (Aditya Roy Kapoor) refuses to marry his girlfriend because he has seen his parents Kishan (Akshay Kumar) and Mala (Aishwarya Rai) fight since he was born. Even on their 35th marriage anniversary, they fight as if they were sworn enemies. A determined Bunty steals a ride on a time machine invented by his girlfriend’s grandfather to go back in time to make it all right.Doing this will be tougher than he had imagined as he finds his parents very different from what they are today. Parenting ones parents, Bunty would realise, is the toughest job in the whole wide world.The basic premise isn’t new. Even before ‘Back To The Future’ made it famous, travelling to the past to correct one’s present was staple food of science fictions. It is, after all, the ultimate human fantasy.What is new is how ‘Action Replayy’ lays bare the difference between two of the biggest commercial filmmaking centres of the world, Hollywood and Bollywood. While in ‘Back To The Future’ the stress is on science fiction and survival of the time traveller, here it is on human relations and the various emotions associated with it.Also the paper thin, cliched villains of the film shows that Bollywood is still in a time-wrap. But ‘Action Replayy’ can perhaps afford to, it being a time-wrap story and all.Lot of efforts have been made to get the sets right, and surprisingly it often works. Vignettes of ancient advertisements, painstakingly made a part of the set by the filmmakers, make it a thrill to watch, especially for those from that era.The costumes, however, try too hard to be retro. If you watch films of those period, they were not so flowery and jazzy as in this film. However, given the lighter vein in which the film is made, it is perhaps justified.

 

Aishwarya and Akshay are as good as Bollywood can get, which isn’t much. Pritam’s music is average and only when we do an action replay from the high plinth of the future, will we come to know the corners of the world he has plagiarised from.Few spoofs are hilarious, especially the one on the Gujarati band led by Mahesh Kumar whose brother can sing in two voices. The one where the son is desperately trying to make his retro father understand the concept of sex and uses the typical Hindi film analogy of two flowers meeting is a laugh-riot.Despite this the film misses many opportunities for gags that can easily be part of a time travel film. Just the inclusion of names common today like Obama, Mallika Sherawat, Saif Ali Khan etc., does not necessarily make it humorous.

Action Replayy’ despite its best intentions and few successes, fails in many others. Perhaps it will take someone else to say action-reply and better the present for Bollywood.

 

 

 

 

Source: Hindi Movie {www.radiomaska.com}

United Six Hindi Movie

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sing is king hindi movie

Singh Is King is one of the most hyped Bollywood movies in recent times. There are several reasons for the hype

1. Akshay Kumar, the superstar, is the biggest reason for all the hype surrounding the movie. Akshay’s fan following has increased tremendously in the past 2 years. Also his pairing with co-star Katrina Kaif has created box-office magic in the past.
2. The movie is directed by Anees Bazmee whose last two movies, No Entry and Welcome, were box office Blockbusters.
3. Producer Vipul Amruthlal Shah has left no stone unturned in promoting the movie. More than 5 crores has been spent just on promotion.

Is Singh Is Kinng worth all the hype it has generated over the past few weeks? Well to a certain extent, Yes.
First the story. Singh is Kinng is about Happy Singh (Akshay Kumar) a simpleton, from a village in Punjab, with a heart of gold. He always tries to do good, but exactly the opposite happens. He tries to help a villager and ends up ruining the whole village. Frustrated the villagers decide to send him far away to Australia, to bring back Lakhan Singh a.k.a Lucky, an underworld don in Australia.
But as always when Happy Singh sets out to do good, he does the opposite. Happy accompanied by his friend Tony land in Egypt instead of Australia. Here Happy meets Sonia (Katrina Kaif) and falls head over heels in love, at first sight.
Happy then makes his way to Australia. Without any money, Happy and Tony starve for days until Happy bumps into Rose Lady (Kirron Kher) who gives him a place to stay and food to eat. Happy then meets King Lucky, but due to an attack on the gang, Lucky is hurt and now cannot speak a word. After a lot of confusion, Happy is crowned the King (don) of the dangerous underworld gang. After a series of comical errors and misadventures, Sonia turns out to be Rose Lady’s daughter who returns to Australia with her boyfriend (Ranvir Shorey).
Does Happy end up with Sonia or does she marry her boyfriend? Does Happy succeed in taking Lucky back to his village in Punjab? Forms the rest of the hilarious tale.

Singh Is King Review

Singh is King is a perfect example of a great first half ruined by an average second. The pre-interval portions of the movie are filled with hilarious scenes.

• Happy chasing a chicken only to end up ruining the whole village is side-splitting.
• The scenes between Tony and Happy in Egypt and Australia. The dialogues are rib tickling, especially a few by Tony (Om Puri).
• The way Singh (Happy) becomes King is brilliantly written, enacted and executed.

After the extremely entertaining first half, you expect an even better second. Unfortunately, it pales in comparison. The song picturised on Javeed Jaffrey was unnecessary. Also the lack of scenes between Tony and Happy is a negative as their chemistry was brilliant. The climax seemed to be hurried up and before you realise the movie comes to an abrupt end.
Another aspect that could go against the movie is, at times it’s hard to understand the Punjabi dialogues. Also at times in the first half, the voice is not in sync with the lip movement. Wonder why such minor flaws are overlooked in an A grade bollywood movie.
The music is above average. Few songs like ‘Teri Ore’ and ‘Singh is King’ title track standout.
Singh Is King Performances
Akshay Kumar is a great entertainer, he puts his heart and soul into the character of Happy. His comic timing is as good as ever. Katrina Kaif does exactly what’s required of her; she manages to look great in every scene. Must say, her smile has a very pleasing effect on the viewer. She’s also looking better with each passing film. Om Puri is brilliant and his chemistry with Akshay Kumar is one of the reasons to watch the movie. Sonu Sood has improved a lot acting wise since his debut in B grade flicks. Neha Dhupia looks hot, does a decent job. Javeed Jaffrey is funny. The rest of the character actors are good.
Singh Is King Verdict
Overall Singh is King is a typical Akshay Kumar mindless entertainer which has a great first half, beautifully picturised songs and a gorgeous Katrina Kaif. But what makes Singh is King more worthwhile is Akshay Kumar, who holds the movie together, well supported by Om Puri.
If your are a die hard Akshay fan and enjoyed his movies like Welcome, Heyy Babyy last year, dont think twice.. Just go for it! Others can wait for the DVD.
Ill go with 3 on 5 for the most hyped movie of the year!
Post your comments and reviews on Singh is King below.
Other Notes – Many many trailers are out with the movie. Chandi Chowk to China, Kidnap (Dhoom director’s next), The Last Lear and many more. Dont forget to catch them during the interval.
Bachna Ae Haseeno and God Tussi Great Ho release next week, do visit Indicine to read the reviews.

Finally, If you have already watched Singh Is King, vote below. Be honest. If you havent watched the movie yet, dont vote. Watch the movie, come back and then submit your votes. If you decide not to watch the movie, choose the appropriate option i.e ‘No Plans of watching’.







Source: hindi movie {www.radiomaska.com}

Anjaana Anjaani, Hindi Movie Internet

Anjaana Anjaani

Anjaana Anjaani, the story of two strangers, Ranbir Kapoor (Aakash) and Priyanka Chopra (Kiara), who meet on a lonely street at midnight and turn into soul mates. They have a common goal to end their life and promise each other to complete experiences before they accomplish that.

On the surface the film has a noble message that life is beautiful and must be valued but there is something unconvincing the way movie unfolds, the characters on the verge of suicide appear far from depressed or worried. Anjaana Anjaani has a great star cast, great chemistry, a decent plot, a decent direction and a wonderful cinematography, what it lacks is a mature script. It appears as if the makers were in hurry to complete the script and in turn the movie, which is why director was dodging between a serious note and a comic undertone at the same time, which leaves audience confused and doesn’t seem entertaining at all.

 The story drags endlessly, the film has exotic locations, great costumes (Watch for Ranbir Kapoor and Priyanka Chopra’s stunning clothes) but no soul, it is a synthetic love story and probably the only romantic film with the most forgettable music, which is a big turn off at least for me, as we have come to expect something really great from Vishal Shekhar, who gave music to “Bachna Ae Haseeno”.

 Still my verdict will be that you should watch this movie only for the great performance of Ranbir Kapoor and Priyanka Chopra otherwise there is nothing much that you are missing; I give movie a 3 out of 5 stars.
Anjaana Anjaani is a story of two strangers who meet one another at what they think is the end of their lives. In attempting to die, they keep coming across reasons to live and inevitably fall in love.
Ranbir Kapoor plays Aakash (a failed Wall Street guy) and Priyanka Chopra plays Kiara (a damsel in distress). Interestingly, if the film would have released as originally planned on September 24th, it would have been competing with Wall Street: Money Never Sleeps, a far superior affair between a Wall Street guy and a journalist girl.
Anjaana Anjaani is a take on modern relationships. That proves to be a limiting factor. The audience that can relate to it is a young urban one that has been in a relationship. Outside of that bracket, it is prone to inciting disapproval.
There is humour in the film but it is inconsistent. The actors deliver good performances, the writing of their characters is confusing. The music is really good and you will be caught humming it. Cinematography, styling and production design is good too but not short of bloopers. Independently, the varied aspects of film-making may have their strengths. Put together, they fail, as is always the dilemma, at the screenplay level.
With the other options in cinema halls to choose from, one would only give Anjaana Anjaani a chance for its lead pai

Source: Hindi Movie {www.radiomaska.com}

Guzaarish Hindi Movie

Guzaarish

Guzaarish is the kind of film that demands that we create a separate category for it—a two and three-quarter rating perhaps. Because there is much to admire here: the film is beautifully shot by Sudeep Chatterjee. It has strong performances and there are several scenes, which genuinely move you. But there is just as much that is clumsy, including an unintentionally comical group-hug in the climax. Despite the many admirable elements, Guzaarish never becomes more than the sum of its parts.Co-written and directed by Sanjay Leela Bhansali, Guzaarish is cobbled together from many well-known movies. From Christopher Nolan’s The Prestige, Bhansali sources a world of magic and illusion in which rival magicians sabotage each other. So the protagonist, Ethan Mascarenhas played by Hrithik Roshan, is great magician who becomes a quadraplegic when a trick goes wrong. There are shades of Julian Schnabel’s The Diving Bell and the Butterfly and several scenes and characters lifted from the 2005 foreign-language Oscar winner The Sea Inside, in which Javier Bardem gives an astounding performance as a bed-ridden man who fights to die. Ethan makes a similar plea for euthanasia or as he calls it: ‘ethanasia’. To this busy canvas, Bhansali adds a beautiful nurse Sophia, played by Aishwarya Rai Bachchan; an apprentice Omar, played by Aditya Roy Kapur and a devoted lawyer, played by Shernaz Patel. The best part of the film is the beautifully etched relationship between Ethan and Sophia, who wearing floor-length Sabyasachi skirts and gorgeous earrings, seems to be channeling Frida Kahlo. She calls him Mr Mascarenhas and handles him with a tough love devoid of pity. So, when he pretends to be aroused, she tops it with some world-class moans of her own.

Bhansali is among the few directors who enable Aishwarya to shed her trademark artificiality. Looking stunning, she delivers her most heart-felt performance in years. Hrithik struggles and sweats with a difficult role. Ethan must be gloriously life-affirming even as he begs for death. But his character, like the film, is too over-wrought and obviously manipulative.Sanjay Leela Bhansali has positioned himself as Hindi cinema’s poet of pain. His movies are operatic and highly melodramatic. But over the course of six films, the worlds Bhansali creates have become increasingly sealed off and removed from any known reality. So even though the characters in Guzaarish ostensibly live in Goa, the milieu isn’t one that you would recognise. This fantasy would be effective if the writing was more organic and the emotions felt more authentic but Bhansali never gives us a chance to invest in these people. Characters just randomly appear and disappear. So Sophia’s abusive husband drops in for one scene as does Ethan’s rival who scars him for life. It’s clunky and strangely disjointed. Combining euthanasia with song-and-dance is a tough, tough feat and despite his prodigious talent, Bhansali can’t pull it off. Since we don’t have a two and three-quarter rating, I’m going with three stars

 

 

 

Source: hindi movie {www.radiomaska.com}

Yamla Pagla Deewana hindi movie

The trailers of Yamla Pagla Deewanagot tongues wagging and expectations from this Deol dramedy were sky high. The father and sons are sharing screen space after their 2007 family drama Apne,which was a hit.Canada. Family man Paramvir Singh (Sunny) lives happily with his Canadian wife Mary (Brown), two kids and mother (Nafisa). Mother misses Paramvir’s father who went absconding with their younger son Gajodhar (Bobby) to lead a life of crime and thievery. Paramvir promises his mother that he will bring his dad and brother from India to Canada.Cut to Benaras. Paramvir meets Gajodhar, and eventually Dharam, who chooses to live in denial and refuses to believe that Paramvir is his son. You marvel at the ease with which they find each other, something atypical of Hindi movies. The introduction by Ajay Devgn with scenes from Yaadon Ki Baarat, Amar Akbar Anthony, etc acknowledges the reality of the great Indian family reunion. You know a happy ending is just around the corner. Surprising how kin find each other, but petty thieves Dharam and Gajodhar never get caught. 

 

Cut to Punjab. Gajodhar’s love for Sahiban (Randhawa) takes the trio to Punjab and more madness follows with Sahiban’s brothers in tow. Eldest brother Joginder Singh (Kher) leads the bunch of eccentric Sardars, awed by the Canadian NRIs. Sunny and Dharmendra’s superb comic timing elicit most laughs and the humour clearly bears the Deol stamp. From Dharmendra’s Main Jat Yamla Pagla Deewana dance from Pratigya to Sunny’s hand-pump fight scene from Gadar, they mock it all. YPD is high on entertainment, never mind the mindlessness. If you’ve seen a few movies of the Deols, you will definitely enjoy YPD. To others the jokes might seem forced and unfunny.

The first half of YPD is a huge disappointment after all those promising trailers. But as the drama builds up, the fun gets better. The father and sons bravely take digs at one another; making the whole YPD experience enjoyable. It seems like director Samir Karnik had a lot of fun directing the Deols in this madcap comedy, but he could have done without the endless songs to cut short the running time. Age is catching up with Dharmendra, but he makes full use of this opportunity to reach out to his loyal fans. Bobby is so excited to be around family, he overdoes his dialogues and expression, sucking the fun out of them. Sunny is undisputedly the best of the lot.

Remember the song Yaara O Yaara from Jeet and Sunny’s funny stomp dance? Yes, you watch him do it again! Also Dharmendra’s famous one-hand-raised-followed-by-the-other dance step The men overshadow the performances of the female cast. Randhawa is decent while Sucheta Khanna as Poli makes a mark with her Canada-crazy act. Nafisa doesn’t have much of a role.Happy endings are inherent to Hindi films and the Deols save the best for last. Don’t miss the dramatic beginning either.

 

 

 

Source: hindi movie {www.radiomaska.com}

Tanu Weds Manu hindi movie

Another new romantic comedy about a wedding, but also prove to be a party to remember. A London-based Delhi boy and his family arrive at a Kanpur household kicking off a vibrant ruckus of prattle and curiosity. Tanu Weds Manu is a colorful and playful wedding drama that suffers from a wafer-thin plot and lack of chemistry between the lead pair.Like his directorial debut STRANGERS, director Aanand L Rai opts for unconventional and unpredictable situations in TANU WEDS MANU. Of course, the fact that Tanu and Manu would tie the knot sooner or later is at the back of your mind, even before the reels have begun to unfold, but you want to experience their journey - their voyage from strangers to lovers. Meet Manu as R. Madhavan, a seedha saadha Doctor from London. Intelligent, temperate and from a respectable family, the perfect groom which every parent wants for their daughter. When he arrives in India, he realizes that India has changed and so have the people. The Indian women in particular are more attracted towards the Western lifestyle. Family pressure leads him to Kanpur to meet Tanu that’s Kangna Ranaut, the quintessential small-town girl who has studied in Delhi.Anand Rai’s Tanu Weds Manu is a colorful and playful wedding drama that suffers from a wafer-thin plot and lack of chemistry between the lead pair, but survives simply because it is an endearing film with a lovable supporting cast, and provides a delectable experience of small town India. Tanu (Kangana Ranaut) and Manu’s (Madhavan) tangled relationship kicks off on a shaky note with the scene where the all-too-simple NRI doctor groom falls in love with a sari-clad bride-to-be who has passed out after taking sedatives. Creepily, he even takes a photo of her unconscious state and steals a kiss. Thus begins Manu’s inexplicable infatuation for Tanu. His only reaction is to smile in front of her, while hers is to selfishly play games with his heart.The NRI male lead – Manu – is so shy and simple in his bespectacled niceness that he becomes a one-note character. Tanu, on the other hand, displays an intriguing package of character traits, even throwing in a fleeting hint of her bi-curious sexuality (cleverly handled by Rai). Yet her characterization also hits an extreme note and you’re left wondering why these two should ever be together The film works, oddly enough, because of its ambience. The people and places around Tanu and Manu make the film enjoyable. Deepak Dobriyal as Manu’s loyal buddy Pappi is a delight with his spontaneity. His reactions to the various situations evoke the most laughs. Eijaz Khan as buddy #2 Jassi also adds spunk to the goings-on, while his new bride Payal, played confidently by Swara Bhaskar, proves to be a much more interesting and dynamic character than her best friend Tanu. Tanu Weds Manu will be categorized in the same genre as other charming and revamped rom-com wedding flicks Jab We Met and Band Baaja Baraat. And for the most part, Rai succeeds in making the story and situations reflective of today’s India. But, unlike the other two films mentioned, this film lacks the crackling lead pair that would have made it a much better experience.

 Source: hindi movie {www.radiomaska.com}

VIVAH Hindi Movie

Urban themes with style and attitude are the order of the day. And with the multiplex junta in India as also NRIs zealously giving their mandate to these movies, metro-centric themes/issues are being dished out by dream merchants relentlessly. The tide tilts towards contemporary themes concerning the urban Indian, while paarivaarik issues are consigned to television soaps. That�s the trend of late!

Sooraj R. Barjatya�s VIVAH does a complete about-turn. It is reminiscent of the cinema of yore. It re-introduces you to a world many of us may have forgotten thanks to the barrage of modern themes. It re-introduces you to the traditional side, without getting orthodox. 

 VIVAH is very desi, very Indian at heart, seeped in Hindustani emotions. It talks of familial bonding. It packs in loads of desi sentiments in those 2.48 hours. It faithfully follows the tradition of Rajshri movies of providing unadulterated entertainment. But VIVAH is not without its share of blemishes. And since this is a Sooraj R. Barjatya film, you just can�t overlook the flaws: Its slow narrative [in the first half especially] and sub-standard music [Ravindra Jain].

Like all Sooraj R. Barjatya films, the best is reserved for the penultimate reels and VIVAH is no exception. Deep inside, you know that a storm is brewing and it explodes in the second hour. You have a nagging feeling that one of the characters might create problems. But the twist in the tale is completely unexpected. It�s unconventional, yes, and therein lies its strength.

To sum up, VIVAH is not in the league of Sooraj�s first two films [MAINE PYAR KIYA and HUM AAPKE HAIN KOUN] in terms of content and music. Nonetheless, it has a strong second half and an equally strong emotional quotient to appeal to the Indian junta that tilts towards paarivaarik films, especially the family audiences.

Prem [Shahid Kapoor] may be an eligible bachelor, but he is not yet ready for marriage. He agrees to meet Poonam [Amrita Rao] just to please his dad [Anupam Kher] and finds a woman he can really grow to love. 
An awkward, formal exchange of words grows into a deep, meaningful conversation as Prem and Poonam soon discover that they are soul mates. Poonam, an orphan, has grown up in a small town, where her Chacha [Alok Nath] has brought her up. Chachi [Seema Biswas], however, is jealous of Poonam�s beauty, simplicity and charm, as her own daughter Chothi [Amrita Prakash] is overshadowed.

Gentle, soft-spoken Prem, the scion of one of Delhi�s most prosperous business houses, may have studied abroad, but retains his respect for family traditions and values. Prem and Poonam are engaged and the marriage is scheduled to take place after six months.

Prem and Poonam now enter the most magical and romantic time of their lives. Just when everything is set for the wedding, a crisis puts their love through a trial by fire.

In terms of scripting, VIVAH is structured on the lines of HUM AAPKE HAIN KOUN. The first hour as well as the start of the second hour focuses on light moments and songs. But the film changes gears twenty minutes after the second half begins. While the light moments as also the songs of H.A.H.K. were magnetic, that�s not the case with VIVAH.

Sure, VIVAH starts off very well and the bonding between Alok Nath and the baby [Amrita Rao�s childhood] is indeed emotional. Everything is fine till Shahid and Amrita get engaged. Surprisingly, there�s no movement in the story thereafter. It wouldn�t be erroneous to state that the story comes to a grinding halt as the lovers indulge in romantic talk for the next 35 odd minutes. Besides, the songs are a complete distraction here. Not only are the tunes lifeless and belong to the fast-forward variety, even the placement of a couple of songs is inappropriate.  

hankfully, VIVAH strikes back in the post-interval portions. The twist in the tale is the highpoint of the enterprise and the dramatic events take the graph of the film to its peak. The emphasis is on emotions and the twists and turns in the concluding reels are sure to make you moist eyed. The sequence between Shahid and Amrita in the hospital is brilliantly executed. Note the dialogue that follows thereafter [delivered by Mohnish Bahl] -- that�s another clapworthy moment. 
Ravindra Jain�s music is archaic. Barring the �Mujhe Haque Hain� and to an extent �Do Anjaane Ajnabi�, the remaining tracks are listless. Cinematography [Harish Joshi] is plain mediocre. Dialogues [Aash Karan Atal] are wonderful and the emotional lines do tug at your heart strings.

Shahid Kapoor performs like never before. If he was super-cool in ISHQ VISHK and showed flashes of brilliance in FIDA, you�ve to watch him in VIVAH to see his growth as a tremendous actor. He is exceptional in emotional sequences. Amrita Rao also gets a new lease of life with VIVAH. She looks the character and is splendid all through.

VIVAH has a host of characters, but the ones that stand out are Alok Nath [terrific], Seema Biswas [excellent], Anupam Kher [very good], Amrita Prakash [confident] and Master Ameya Pandya [first-rate]. Sameer Soni, Lataa Saberwal, Manoj Joshi and Dinesh Lamba are adequate. Mohnish Bahl [sp. app.] does well.

On the whole, VIVAH has an ordinary/routine first half, but the post-interval portions, notably the climax, compensate for the shortcomings. At the box-office, the rich emotional quotient [last 40 minutes] should appeal to ladies/families and help the film gather momentum slowly, but surely. The film may start on a slow note, but a strong word of mouth should help it consolidate its status in the traditional markets. Business may not be strong at multiplexes as much as in single screens, where the weekly run will compensate for the number of shows at multiplexe




Source: hindi movie {www.radiomaska.com} 
 

Ishqiya bollywood hindi movie

Get ready for tangy, pungent, sizzling and spicy stuff. Be forewarned, ISHQIYA isn't the fluffy, candyfloss, saccharine sweet story of lovers breaking into songs in mustard fields. In ISHQIYA, you just don't know what turn the story may take next. Not just the story, even the characters here are so impulsive and unpredictable.

You need to have a strong stomach to absorb ISHQIYA. It's high on drama, it's wild, it's real. But it's not dark, it's not sleazy, it's not crass. Frankly, you don't expect debutante director Abhishek Chaubey to make a stereotypical fare thanks to the tutelage by his guru Vishal Bhardwaj, who loves to swim against the tide and undertake risks in film after film. 
You could call ISHQIYA a distant cousin of OMKARA. Set in Gorakhpur in North India, the film has a rustic feel, depicts characters that may make you uncomfortable and is laced with saucy lingo. Yet, it's different than OMKARA.

Final word? You can't help but fall in ishq with ISHQIYA. Tired of sherbat? Try this spicy jaljeera for a change!

Two thieves, Khalujaan [Naseeruddin Shah] and Babban [Arshad Warsi], are on the run from their boss, Mushtaq. They seek refuge at a friend's house, but instead meet his widow, Krishna [Vidya Balan]. The time spent together draws the duo to her, Khalu with his tinted vision of old-fashioned love and Babban with his lustful eye. But the past catches up with all three!

There's no denying that the promos had prepared me of the journey ahead, yet it took me a good 15-odd minutes to get into the world of Khalujaan, Babban and Krishna. But once you get sucked into their world, the blurred images start getting clearer and clearer and you become an active participant in their journey.

The first hour passes in a jiffy, but the story actually gets dramatic and volatile in its second hour. It's at this stage that things start getting more and more unpredictable. The story does a somersault every 10 minutes and by the time it reaches its finale, you're curious to know how the debutante director would conclude this saga. The end, of course, will have its share of advocates and adversaries, but the fact remains that it's offbeat. 
Abhishek Chaubey is a welcome addition to the ranks of avid storytellers. His choice of the subject and also handling of the material is what makes this film so eminently watchable. Not once do you feel that ISHQIYA has been helmed by a first-timer. Note the change of events in the song 'Dil To Bachcha Hain Ji' or the kidnap drama and the heated argument that follows thereafter. Even the passionate lovemaking sequence between Arshad and Vidya has been dexterously canned.

However, Chaubey and his team of writers could've kept the writing simplistic towards the finale. It's complex and also lacks clarity. Yet, all said and done, screenplay writers Vishal Bhardwaj, Sabrina Dhawan and Abhishek Chaubey deserve kudos for coming up with a film that keeps you hooked for most parts.

Vishal Bhardwaj's musical score has his unmistakable stamp all over. The film is embellished with two lilting gems - 'Ibne Batuta' and 'Dil To Bachcha Hain Ji' - which are a rage with listeners already and have been juxtaposed beautifully in the plot. Mohana Krishna's cinematography is first-rate. Dialogues [Vishal Bhardwaj] are acidic and a few lines are indeed startling

Every actor in ISHQIYA delivers a sparkling performance! Naseeruddin Shah is superb as a romantic. He is matchless in the sequence when he learns the truth about Vidya and Arshad. Arshad packs in a bravura performance yet again. Post MUNNABHAI films, Arshad should be liked in this one the maximum. Vidya continues to surprise. It's a dynamic performance undoubtedly. PAA and ISHQIYA are two landmarks in her career.

The actors enacting the role of Jijaji, the kidnapped victim and Vidya's husband are all perfect. The child, who interacts with Arshad, is natural. In fact, every performance in ISHQIYA is worthy of mention.

On the whole, ISHQIYA is definitely worth a watch. The film has a riveting plot, great performances, soulful music, an absorbing story and skilful direction to make the viewer fall in ishq with it. It should appeal to the hardcore masses as also the multiplex junta. 








Source: hindi movie {www.radiomaska.com}



 

Utt Pataang Hindi Movie

Star cast: Vinay Pathak (double role), Saurabh Shukla, Mahie Gill, Mona Singh.

What’s Good: The acting.

What’s Bad: Not bad but the different narrative style will not be appreciated by too many people.

Verdict: Utt Pataang will go largely unnoticed at the ticket windows.

Loo break: Not really, but even if you take one or two, you won’t miss much as anyway, scenes are repeated.

Watch or Not? If you are totally free and have nothing worthwhile to d

Rash Productions and Warner Bros.’ Utt Pataang (UA) is a comedy thriller about the happenings of one night. Ram (Vinay Pathak) is on the brink of a break-up with his girlfriend, Sanjana (Mahie Gill), who now finds Lucky (Vinay Pathak again), a gangster who is obsessed with the French language, more desirable. Ram finds himself caught in a dangerous money deal gone terribly wrong. A bag containing some crores of rupees goes missing and, besides Ram, others involved in the missing bag game are his detective-friend, Nandu (Saurabh Shukla), gangster Lucky, a heartbroken woman, Koyal (Mona Singh), and Ram’s ex-girlfriend and Lucky’s present girlfriend, Sanjana.

The film begins with Nandu trying to set up Koyal for his friend, Ram. Even as Ram and Koyal become fond of each other, Sanjana storms into his house to take away all her belongings. Meanwhile, Lucky’s wife, Nimmi (Delnaaz Paul), transfers Rs. 5 crore into his bank account so that he can buy a house for them to live in. Lucky divides the money into two parts and wants to utilise half the cash for buying the house and pocket the other half.

Even as the deal for the house is about to be struck, Lucky’s bag containing the total sum of money goes missing. What follows is a dangerous cat-and-mouse game

The story, penned by Srikanth Velagaleti, is fairly interesting but not too novel. Saurabh Shukla has penned the screenplay in an unusual manner so that the same scene is shown from the angle of each character involved in it. Once all the scenes unfold, the audience gets to understand the relevance of a whole lot of things. While this narrative and writing style would hold appeal for a section of the audience, the same would also confuse many among the audience. What’s more, the entire drama looks more suited for the small screen rather than the big screen.

Having said this, it must be added that Saurabh Shukla’s screenplay is quite engrossing and his dialogues are also interesting.

Vinay Pathak does a very fine job of both the characters, Ram and Lucky. However, his character of Lucky will be appreciated by the city folk only. Mahie Gill does a confident job. Saurabh Shukla is natural to the core. Mona Singh is fairly nice.Sanjay Mishra, as Bholu, evokes laughter. Brijendra Kala plays Dholu effectively. Delnaaz Paul is cute. Murali Sharma leaves a mark as the police officer. Govind Namdeo makes his presence felt. Pawan Bhide is alright as Peter.

Source: hindi movie {www.radiomaska.com}

raajneeti Hindi Movie Online

It is said that the epic saga of Mahabharata contains all the stories that exist in this world, be it lies, deceit, lust for power, revenge. In short all those that can make a solid impact. Prakash Jha taking a cue from this has set his big canvass film Rajneeti against an Indian political backdrop. But then at the same time he has merged dollops of The Godfatherwithin it. Nonetheless, the end product makes a compelling watch.
Cousins Veerendra Pratap Singh (Manoj Bajpayee) and Prithvi Pratap Singh (Arjun Rampal) are heirs of a powerful political party. But when Prithvi is appointed to take the lead, an angry Veerendra teams up with the backward class leader Sooraj (Ajay Devgan) to plot against Prithvi and evict him from the party. Prithvi’s younger brother Samar (Ranbir Kapoor) who is studying abroad and has no political aspirations gets sucked into the political rivalry between the families. Under the mentoring of senior party and family member Brij Gopal (Nana Patekar), Samar takes charge of the conniving affairs of state to start their own political party, gather funds and get Prithvi contest against Veerendra. What unfolds next as the battle shifts ground to the elections forms the rest of the film.

Like mentioned above, as the film mixes in elements from the Mahabharat, Veerendra’s character is a modern day Duryodhan where as Sooraj is Karan, a valiant soldier but on the wrong side. Brij Gopal played by Nana Patekar is like Krishna, the passive participant of the war who takes Ranbir Kapoor’s Arjun like character to victory with his guidance.
The film is a valiant effort by the master story teller, the multi-time National Award winner filmmaker, Prakash Jha who is at his home ground while making films of political drama genre. Here he is as ably aided by script writer Anjum Rajabali weaving just the right story and screenplay packing in all the treachery and deceit involved with Indian politics. What makes Rajneeti an engaging watch is also the fact that the makers have succeeded in narrating the story like a thriller format.
Jha doesn’t waste time in showing lip synced songs and incorporates them well in the narrative playing them in the background. Camerawork by Sachin Kumar Krishnan is simply superb. The way he has captured those vast mass shots deserves a bow. Although the running time of the film is close to three hours, it doesn’t matter much while watching the film and the credit for it goes to the editor Santosh Mandal. The sound design carries a good impact as well.
Absolutely brilliant performances by every single actor of the mammoth cast, also including those with smaller parts. As expected Naseeruddin Shah, Nana Patekar and Ajay Devgan are at their best. Arjun and Ranbir manage to match up to them as well and deliver a power packed punch. Katrina impresses with her uninhibited act. Sara Thompson as Ranbir’s foreigner girlfriend also leaves an impact in her relatively smaller part. But a performance that may win some awards for sure has been delivered by Manoj Bajpai. He is menacingly good. Shruti Seth, Vinay Apte, Kiran Karmarkar, Chetan Pandit and Nikhila Trikha lend able support.
Rajneeti is an important film in today’s times. It is not to be missed by connoisseurs of good cinemas well as those who forever complain that Hindi cinema offers nothing different.




Source: hindi movie {www.radiomaska.com}

phir hera pheri hindi movie

Comedy is the flavor of the season. And sequels are rare in India. So if a dream merchant decides to make a sequel to an immensely popular laughathon, you fasten your seat belts and wait with bated breath for reels to unfold on the screen.

PHIR HERA PHERI is the sequel to HERA PHERI involving the famous trio -- Raju [Akshay Kumar], Shyam [Suneil Shetty] and Baburao [Paresh Rawal]. Only thing, the film has not been directed by Priyadarshan [who directed HERA PHERI], but Neeraj Vora, who has penned a number of Priyadarshan movies.

The question uppermost on everyone's lips is, Does PHIR HERA PHERI pale when compared to the predecessor? Or does it provide more laughs, gags and punches and lives up to the humungous expectations?

Before we answer the question on whether or not PHIR HERA PHERI works, let's get one thing straight. In keeping with the trend of laughathons that are the order of the day [NO ENTRY, GARAM MASALA, MALAMAAL WEEKLY et al], PHIR HERA PHERI also embarks on an identical route. Meaning, don't look for logic in the film, leave your thinking caps at home, never look for answers, rationale or reasons�

PHIR HERA PHERI doesn't promise to be different. It packs in ample laughs, illogical situations, rib-tickling sequences and witty one-liners in those 2.30 hours. In fact, writer-director Neeraj Vora borrows everything available on the shelf and comes up with a plot that may sound silly to a few, but nonetheless succeeds in its endeavor of making people laugh.
Comparisons with HERA PHERI are inevitable. However, since there has been a substantial gap between the two parts, PHIR HERA PHERI still stands out as a comic caper that's amusing and entertaining. Watch the frolics of the three buffoons [Raju, Shyam, Baburao] and how they goof up yet again and you'd agree, PHIR HERA PHERI is a sure-shot paisa-vasool entertainer!

HERA PHERI ended with the trio [Raju, Shyam, Baburao] receiving a hefty sum in the end. So what did the trio do with all the money? Did they live happily ever after? Or did they become greedy for more? PHIR HERA PHERI takes off from here�

Raju comes across a scheme of doubling his wealth in a matter of weeks. But for Raju's plan to materialize, he needs to invest a minimum of Rs. 1 crore with a chit-fund company [Bipasha Basu]. While Shyam and Baburao are initially reluctant, they give in subsequently. Raju, Shyam and Baburao contribute Rs. 10 lacs each, but there's a shortfall of Rs. 70 lacs now to complete the Rs. 1 crore figure.

Raju bumps into a street-smart goon [Rajpal Yadav], who also contributes Rs. 20 lacs. As for the remaining amount of Rs. 50 lacs, Raju sells the bungalow [owned by the three] to a Parsi gentleman [Dinesh Hingoo], thus fulfilling the criterion of the chit-fund company.

Three weeks later, Raju, Shyam and Baburao realize that the chit-fund company was actually a big scam and has duped a number of investors. The goon also finds himself in troubled waters since he had borrowed money from a dreaded gangster, Tiwari [Sharat Saxena], who will eliminate him if he does not pay up.
In their quest for more wealth, Raju, Shyam and Baburao find themselves in one big mess. They have already taken a big risk and are now on the run to save their lives.

It's not difficult to relate to PHIR HERA PHERI even if you haven't watched the first part [HERA PHERI]. Of course, Nana Patekar's voiceover at the outset gives you an insight and refreshes your memory, but the antics of the three principal characters and how they get conned by the scamster [Bipasha] keeps you focused all through the first hour.

In fact, the first part abounds in funny moments. Akshay trying to impress Rajpal Yadav at a tea stall and then at his mansion are such sequences. Later, Akshay, Suniel and Paresh's constant bickering and squabbling after they've gone bankrupt, keeps you thoroughly entertained. The jokes may seem juvenile at times, but the impact is very, very funny.

The post-interval portions aren't as amusing. The focus never shifts from the main plot, but with the writer involving more characters [Sharat Saxena, Milind Gunaji, Johny Lever, Manoj Joshi, Suresh Menon, Razzaq Khan] in the fracas, the pace of the film slackens intermittently in this hour. Also, the romantic track of Akshay-Rimmi as also the song ['Mujhko Yaad Sataye Teri'], even though an excellent composition, looks like a forced ingredient in the narrative.
However, the climax in the circus is the highpoint of the film. Even though the entire exercise looks unbelievable, it seems like an ideal culmination to the story. The buffoonery in the circus, where everyone's chasing everyone, is truly hilarious and side-splitting. It wouldn't be wrong to state that the climax works as a damage control exercise in the second hour.

Neeraj Vora's writing and direction are aimed at the masses. Besides, Vora has been faithful to HERA PHERI by making the characters look and behave exactly the way they were in the first part. Only thing, as a writer, he could've packed in more gags in the second hour. Vora's dialogues, as always, are outstanding!

Himesh Reshammiya's music is of the popular genre. 'Yaad Sataye Teri' and the title track are first-rate compositions. The filming of the two tracks is also lavish. Cinematography is alright.

PHIR HERA PHERI belongs to Paresh Rawal from Scene A to Z. The actor is at his best yet again and all actors in the radius, even though they come up with competent performances, get eclipsed in front of this towering performance. If Rawal stole the thunder in HERA PHERI, he walks away with accolades yet again in PHIR HERA PHERI, no two opinions on that.
Akshay Kumar is fantastic, but the only thing is he's repeating the same act in film after film. GARAM MASALA, DEEWANE HUYE PAAGAL and PHIR HERA PHERI have him playing similar roles, of a street-smart guy. Suniel Shetty is quite good. In fact, he compliments Paresh and Akshay beautifully. Both Bipasha and Rimmi are hardly there. Rajpal Yadav excels. Sharat Saxena and Johny Lever are able. The remaining actors enact their parts satisfactorily.

On the whole, PHIR HERA PHERI has ample masala to keep its target audience -- the masses mainly -- more than happy. At the box-office, the film has opened to a thunderous response and in view of the fact that there's no major opposition for the next two weeks, the film will prove a money spinner for its distributors. Has all it takes to attain the 'Hit' status due to the huge, record-breaking initial and patronage from the masses.







Source: hindi movie {www.radiomaska.com} 

latest hindi movie

Second time in consecutive weeks we have a children's film which is about running away from home. Last week Kaccha Limboo was about an early teenager running away from home and discovering life. And this week's Satrangee Parachute is about some children running away to get parachute, which will help them fly, and in the process gets some militants caught. Sadly, like Kaccha Limboo, Satrangee Parachute too has the director confused on who he wants to cater. Both films have innocent starts, targeted at spoon feeding it target audience - kids. And then both lose their way trying to deal with complex situations.

The problem with Satrangee Parachute is that the crux of the story - the kids running away - comes only in the second half. And within no time the film is over, posing serious questions on the validity of the title of the film. And before this happen the director Vineet Khetrapal wastes the entire first half just to convey that his protagonist Pappu is smart and that he really cares for his visually impaired friend Kuhu.

We would have understood the director taking his own time to unfold the story so that he could keep it simple enough for the kids. But the terror elements in the second half go over the top. He also decides to leave the screenplay too loose, and let go reasoning. The terrorist are not even confirmed before the police shoot them dead. When you have smart kids as protagonists in your film, you really cannot afford to think that your audience would be as dumb!

One good thing about the film is the location. Shot in beautiful Nainital the cinematographer captures the hill station beautifully. Splendid locations attract. The music too, though drags the movie, is very soulful.

Coming to performances, the director fails to extract performances from the kids. He however has a very established adult cast, who do their jobs beautifully. Zakir Hussain, Kay Kay, Rupali Ganguly are good.

With all its faults Satrangee Parachute ends up being another disappointing watch. If at all, it will appeal to kids below 10 years of age.

Sagar Ballary wanted to make a kids film with Kaccha Limboo. And he almost did. The first half of this film is adorable and takes you right back into your school days, be it remarks on your calendar or assembly halls or fights with classmates. But oh, what a tragedy he creates out of the second half... almost killing the film and everything beautiful he had managed to develop with it!

Ballary's intention was to bridge the gap between children and adults. That's what he had said during the promotions of the film. But he clearly tried too hard to keep up on the thought as he introduced unnecessary complications towards the end of the story.

Kaccha Limboo is about 13 year old Shambhu. He is fat and his classmates make fun of him for that. He keeps landing up in trouble, not always for his own fault. He desires to belong to a group of friends but they don't want him. He also likes a girl and tries calling her on her mobile phones but he cannot go meet her in person as he lied that he is from a senior class. At home his mother is pregnant and hence the attention that he used to get has diminished. The situations only make him more aggressive and he decides to run away from home. When he does, he meets Vithal, who is younger and a complete reverse of what he is. And they both decided to run away.

As mentioned earlier the film is filled with cute moments, which probably the director had to work hard to get right. And then he falls prey to the same old 'love for his own hard work' phenomenon. So he includes a whole lot of such moments and as an audience you would not complain till you realize that the story is not moving anywhere. What happens much after the interval should have happened by interval. And even then things tend to go on a continuous loop till the director realizes that he needs to end the film and he uses an axe to chalk out a very smart end - so smart that it leaves you confused!

Technically the film is just about passable be it cinematography, editing of music. Screenplay could have been worked on.

But the pluses in the acting department take care of a lot of negatives that the film has. Taher Sutterwala is very impressive as Shambhu while Chinmay Kamle scores as Vithal. Sarika sparkles.

Overall, Kaccha Limboo demands a watch for those moments and the performances. But these apart it falls back as a mediocre project. Don't expect it to keep you entertained all the while.

Source: hindi movie {www.radiomaska.com}

patiala House Hindi Movie

Patiala House is a film about the Kahlon household of Southall. The family is headed by orthodox Sikh Gurtej Kahlon (Rishi Kapoor) who expresses every emotion with a little moustache dance. His bitter past of witnessing certain racist exploits has him utterly disregard everything British. Consequently, his giant family of 12-14 people are refused to pursue their dreams (since that is very British?). So most of them resign to Indian versions of their dreams. The Kahlon who wants to be a chef starts frying 'jalebis', the one who wants to be a filmmaker finds himself behind the wheel of a taxi and one of the sisters (Hard Kaur) who wants to be rapper is forced to croon bhajans (the only thing worse than her rap).
While most Kahlons are caustic about their miserable lives, Gurtej's own son, Parghat Singh aka Gattu (Akshay Kumar) is completely indifferent. The 43-year-old actor plays a 34-year-old (passable for a 50-year-old) who could've been in the England team 17 years back if it wasn't for his father yelling at him and to a crowd of 100 people (?), "Tu England ke liye cricket nahin khelega!"
While Gattu plays an obedient son who has forsaken his dreams to moo the way his father instructs him to, Akshay Kumar decides to play it up a notch (to prove he can do such roles and for delirious fun). So obedient becomes borderline spastic, emotionally bankrupt and at times just down-right demented. The way he interacts with his childhood friend, neighbour and love-interest Simran (Anushka Sharma) is nothing short of challenged. The result, Gattu has glimpses of Taare Zameen Par, My Name is Khan and even Paa.
Anyway, this dreary story takes another ludicrous turn when Mr Bedi (Tinu Anand), the (minority) cricket selector who gets Southhall Sikhs represented in the England team, decides to give Gattu another chance. Why? Because he's seen him bowling at the empty field opposite his house for 17 years. Really? That is it? How about starting with County or a club even? Where the film goes from here would hardly make a contest question.
With cricketers like Symonds, McCullum, Gibbs, Pollard etc making an appearance, the most dramatic one is by ex-England captain Nassir Hussain who tries his mouth at Hindi and manages to sound like a robot speaking in Japanese. Another unintentional comic element in the movie is Hard Kaur fashioned as a Punjabi aunty which can be equated to Ozzy Osbourne dressed as a Sikh.
The film's music is predictably bhangra with no surprises. The dialogues seem to be written on the spot, so obvious lines are being chanted in a grave style, hoping to sound philosophical? While logic and Bollywood formula films have been eternally divorced, this script could've been far more sensible if not believable if re-visited in time. None of the cast members deserve a mention, as they're hardly any better or worse than each other. Akshay Kumar proves that he's best suited to his regular genre of screaming-punching-running-laughing films.
When you exit after watching Patiala House, your only parting visual is of Akshay Kumar's slow-mo run-up towards the wicket, with not-so-subliminal endorsement shots of Brand Reebok (jersey, bat, helmet, trouser, field and every surface possible). Actual ads rarely present as many logo close-ups! But what's terribly disappointing for anyone who understands the game even a bit, is that our Punjab express chucks every single time (check bowling action!).
Wonder what this film would be called if it were based in the US? Patel House





Source: hindi movie {www.radiomaska.com}

3 idiots hindi movie

3 Idiots
Director: Rajkumar Hirani
Cast: Aamir Khan, Kareena Kapoor, R Madhavan, Sharman Joshi and Boman Irani
Rating: 4.5
: Bring out the bugles for the biggest celluloid celebration in a long, long time. God bless Rajkumar Hirani for ending an otherwise mediocre Bollywood year on a smashing note.

You go in to see 3 Idiots expecting the genius combination of Hirani and Aamir Khan to weave magic on screen.

But despite the mental conditioning, the impact of the film is so overwhelming that it leaves you spellbound for hours after it has ended.

Based on Chetan Bhagat's novel, Five Point Someone (though only a miniscule part has been adapted from the book; the rest is all original), here's a story of three friends studying in an engineering college Rancho (Aamir Khan), Farhan (R Madhavan) and Raju (Sharman Joshi).

Rancho is the rebel among them always questioning things and believing that learning is more than just the usual mode of education.

He encourages his friends to look beyond the ordinary and soon earns the wrath of the college director Viru Sahasrabuddhe (Boman Irani).

Despite his fun and frolic, Rancho always surprises everyone by topping the class. He even manages to win the affections of the director's daughter Pia (Kareena Kapoor). But Rancho's greatest contribution lies is making his friends realise their true calling.

The twist comes when on Graduation Day. After being awarded the Student Of The Year title, Rancho mysteriously disappears into oblivion.

Years later, Farhan and Raju, finding a common thread, embark on a journey to find their friend. 3 Idiots is a story of friendship, hope, aspirations and most importantly, the goodness of life.

With 3 Idiots, Rajkumar Hirani proves beyond doubt that there's no better storyteller than him in the present generation.
This isn't an easy film to make the interplay between characters and the narrative is interestingly woven.

The film switches from present to flashback mode often but not once does Hirani lose the momentum. The medley of emotions that he brings forth as he establishes the film's structure is indeed commendable.

Like the peppy Aal Izz Well song drawing towards a tragic climax it's so cleverly done that it has the desired effect. There are scenes that'll make you laugh, they'll make you cry and they'll make you think.

Hirani does it all so beautifully that you want to go back to college and relive all those moments.

The falling in love, the harassment by professors, the secret drinking sessions, the ragging of fellow students it's all there.

Hirani also sends across a message on student pressures but there's no preaching here it's all done in his inimitable style.

Most films have their own set of 'highlight' scenes.

3 Idiots is different because every scene is special and brings with it something that's out of the ordinary.

But there are a few that have a far lasting impact the entire ragging sequence; the camaraderie between Rancho and Pia; Chatur's (the 'brainy' student) hilarious speech; the entire black-and-white depiction of Raju's family; most of the scenes between Rancho and Viru; the sequences that lead to Raju's recovery in the hospital and many more. After a point, you just stop counting.

Dialogues are snappy and totally effective ("In India, you get a pizza in 30 minutes guaranteed but not an ambulance"). The soundtrack, background score and cinematography is top class.

Among the performances, Madhavan delivers his most retrained act ever. He takes the film back and forth with his narrative and is splendid even with comedy.

Sharman Joshi is brilliant, especially in his breakdown scenes. Boman Irani is sincere as expected, with his lisp act getting all the right nuances.

Kareena Kapoor gives her finest portrayal in recent times as Pia. Her "dhokla, fafda, thepla, khandwa, khakra" scene is simply too delicious. Here's a performance that proves why she's indeed the best we have.

The life and soul of 3 Idiots is of course Aamir Khan. His perfection lies in the fact that he makes everything look so easy and spontaneous.

And at all the right moments, he brings the film alive with his sheer brilliance. From his look to his walk to his manner of speech, Aamir breathes life into Rancho and that's what stays with us.

If you thought Aamir Khan couldn't get any better than he is, think again. Aamir is the heart and soul of 3 Idiots and he proves why he's simply a class apart.





Source: hindi movie {www.radiomaska.com}

latest hindi movie satrangee parachute

Pulakesh Bhowmik’s story is too childish to be true. His screenplay is dull and fails to build either excitement or tension. The kids are tight-lipped when Rhino asks them questions but reveal all the moment his senior comes on the scene, without any real effort on his (senior’s) part. Again, the action-filled climax is tame and looks too hurried.

The biggest problem with the script is that nothing about the drama seems believable. Even the track of the police subedar and his dominating wife looks forced and fails to evoke laughter or even a smile because the jokes are so silly. Dialogues (Anupama Mishra) are commonplace.

Master Siddhartha Sanghania is fair. Zakir Hussain does a reasonably good job. Rupali Ganguly is alright. Jackie Shroff gets hardly any scope and is average. Kay Kay Menon does a fair job. Sanjay Mishra doesn’t quite impress because his scenes are quite weird. As his wife (Soma Rathore) fills the bill. Rajpal Yadav has been wasted. Liliput overacts. Baby Rajvi Suchak is alright as Kuhu. As her parents, Sanjay S. Swaaraaj and Minal Kapoor pass muster. Ashraf-ul-haq is so-so as the terrorist leader. Rajvi Patel, Shabnam Sharma, Azaan Shah and the rest lend ordinary support.

Vineet Khetrapal’s direction may be okay but his narration would not find takers among the kids or the youth or older generation. Of course, he is handicapped by the weak script. Music (by Kaushik Dutta and Shamir Tandon) is, at best, functional. Rajeev Barnwal and Pinky Poonawala’s lyrics are okay. Soumik Haldar’s camerawork, Kaushik Datta’s background score and Tarun Agasty’s sets are average. Parvez-Feroz’s action scenes are routine. Editing (Sanjib Dutta and Pranav V. Dhiwar) is far from sharp.

Source: hindi movie {www.radiomaska.com}

tees maar khan hindi movie

Farah Khan knows exactly what she wants (rather what she can get) from her cast and employs them to that effect. With her trademark film-inside-film setting, when she wants someone to play the role of a boisterous, atrocious and artificial actor in her film, the natural choice is Akshaye Khanna.

Katrina is cast as the quintessential Bollywood actress who has to wear more makeup and less clothes and do practically nothing in the film. The biggest novel (rather navel) factor she brings to the film is her super-sexy midriff and her hip-hot gyrations. With Akshay Kumar coming into picture, Farah seems to leave behind her Manmohan Desai masala method and adapts her film to brother Sajid Khan’s slapstick sensibilities.

Ten minutes into the film and Tees Maar Khan (Akshay Kumar) is introduced in the league of two other chindi chors, though he makes claims of being an international crime master. His latest assignment is to loot a locomotive loaded with valuables worth crores. Since the booty is in bulk, he would need help from many hands.

Khan hatches a plan to shoot a fictitious film in a village from where the train passes and use the oblivious villagers to rob the train. He lures superstar Aatish Kapoor (Akshaye Khanna), who aims for an Oscar Award, into his mock movie and casts his wannabe-actress girlfriend Anya (Katrina Kaif) as the leading lady.

Remade from Vittorio De Sica’s 1966 film ‘Caccia Alla Volpe’ (After the Fox) starring Peter Sellers, the only major innovation that Tees Maar Khan shows is to shift tracks to train theft from the ship in the original. While the climactic train heist could have worked as a smart suspense element in the favour of the film, the entire fabricated film formula is revealed at the very onset, leaving nothing to your imagination.

Also it appears too far-fetched that a filmstar like Aatish Kapoor won’t comprehend that this one-take shoot, filmed by a single handheld camera is a hoax for heist. Unfortunately the audiences are not as gullible as the villagers in this film.

The Academy Awards and its Bollywood aspirants (from Aamir Khan to Anil Kapoor) seem to be the butt of most jokes here. The film emphasizes and also employs the widespread sentiment of how a poverty-stricken India has become a perfect recipe for Oscar wannabes.

Farah however takes things a little too far with a literal Oscar Award setting in the final reels. Also this time around Farah Khan seems to have gone slack on her signature spoofs, which were a highlight of both Main Hoon Na and Om Shanti Om. Even her trademark end credits are not much inventively conceptualized or different from her earlier attempts.

On the contrary, the film retains a more fervent feel and flavour of Akshay Kumar brand of loud and slapstick comedy. Akshay’s gags are dreary and add to it the other Akshaye’s antics are deafening. And if that is not enough there is a recap of all these histrionics in the climax as a part of the film inside the film setting.

Akshaye Khanna could win the Ham Scene of the Year award for getting possessed by his character in the bank robbery sequence. Then there’s a headless horseman’s anecdote which could make you feel ‘sleepy’ for its ‘hollowness’.

The dialogues written by Shirish Kunder and Ashmith Kunder in synchronized stanzas try too hard to be funny but fall flat at most instances and are repeated too often without much repeat value. Vishal Shekhar’s music has mass appeal. Farah Khan’s raunchy choreography to Sheila Ki Jawani has Katrina Kaif at her sexiest best. One expected some action in the train robbery sequence but there’s none over here.

The role is custom-made for Akshay Kumar and while he plays it effortlessly, he is clearly getting repetitive in his comic act. Katrina Kaif is categorically hired for her sex-appeal and she exudes loads of it. Akshaye Khanna is expected to act terribly and he does that with such perfection that it gets on your nerves.

Apara Mehta makes up as a cheap imitation of Kirron Kher. Arya Babbar gets no scope. You never get to know whether Avatar Gill’s character is a spinoff on A K Hangal from Sholay or he plays a blind man for no good reason. Aman Verma hams. Salman Khan invites whistles and claps in his cameo.

To sum up in Tees Maar Khan’s trademark style of dialogue delivery, Akshay Kumar se zara hatke comedy expect karna aur Akshaye Khanna se kuch bhi expect karna bekaar hain. Tees Maar Khan doesn’t even guarantee thirty good laughs in its three hour runtime. 




Source:  hindi movie {www.radiomaska.com}

saat khoon maaf hindi movie

Cast: Priyanka Chopra, Naseeruddin Shah, John Abraham, Neil Nitin Mukesh, Irrfan Khan, Annu Kapoor, Vivaan Shah, Aleksandr Dyachenko, Usha Uthup
Producers: Vishal Bhardwaj and UTV Motion Pictures
Director and Music Score: Vishal Bhardwaj
Lyrics: Gulzar
Genre: Action/Thriller
Release Date: 18 Feb 2011
Even before its release, the first look of movie “Saat Khoon Maaf” is grabbing lot of eyeballs that features the leading lady Priyanka Chopra absolutely in a different role with negative shades. Adapted from Ruskin Bond’s book – Susanna’s seven husbands, the movie revolves around Susanna portrayed by Priyanka Chopra and her desire to search for true love. Playing Susanna in Saat Khoon Maaf is indeed one of the challenging roles in Priyanka’s career as her role undergoes various transitions in terms of appearance.
After portraying negative shades in her earlier movies- Yakeen and Aitraaz, Priyanka is once again donning the garb of an enigmatic woman named Susanna whose charm is hard to resist. The movie also features dynamic versatile actors Naseeruddin Shah, John Abraham, Neil Nitin Mukesh, Irrfan Khan, Annu Kapoor, Vivaan Shah and Russian actor Aleksandr Dyachenko as seven husbands. After success of Kaminey, Priyanka is teaming up again with director Vishal Bharadwaj and UTV motion pictures hoping to recreate the magic with the upcoming dark thriller “Saat Khoon Maaf”.
Even the soundtrack of this movie is receiving outstanding responses from masses all over. Slated to release on 18th Feb 2011, Saat Khoon Maaf will be really a different visual treat to discover the real intention of Susanna and her motive behind killing her seven husbands.



Source: hindi movie {www.radiomaska.com}

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The season of marriages is not over yet and Tanu Weds Manu makes it just in time. Of course it is a love story. And like every other love story this has its clichéd moments. Plenty of them actually! But then you really can't help it considering love stories are bound to be predictable. After all it is about a guy and girl falling in love. Tanu Weds Manu could hence remind you of films such Dilwale Dulhaniya Le Jayena and Jab We Met.

TWM is about two people - both extremes in attitude - and them accepting each other in love. Manu (Madhavan) is a London based doctor who comes to India, on insistence of his parents, to get married. Contrary to regular stereotypes of NRIs Manu is docile, a Mohd. Rahi lover and quite rooted in Indian values. Manu, along with his parents and friend Pappi, reaches Kanpur to meet Tanu. He approves the bride only to realize soon after that she never intended to marry him. And that Tanu is a complete reverse of whatever Manu is. While Manu would go by what is conventionally right, Tanu is rebellious. She hates the concept of arranged marriage. Rather she intends to elope. Anything that is rejected by her parents is just what she wants to do. She makes Manu back out of the marriage. But as fate could have it the two bumps into each other again within days at their friends' marriage. There is a twist in the tale too as Tanu plans to get married to her boyfriend.

Tanu Weds Manu starts well. The director does not lose any time in establishing characters and settings. The characters and settings are in fact the highlights of this story. The story takes us through UP and Punjab and you have delightfully colorful personalities everywhere. And these characters are brought to life with some very lively dialogues and scenes. The settings are explored best by the Chirantas Das's cinematography. The music too fits the settings. The song 'Kajra Mohabbat Wala' is blended very well into the scene.


Thanks to the characters the first half works beautifully. But then, like most other filmmakers, Aanand L Rai loses his way in the second half! He falls prey to desire to create tense dramatic moments to keep up the interest. He does create drama but this time it does not heighten your experience but exhaust the audience.

Performances, except Kangna, are top class. Madhavan and Jimmy Sheirgill show their potential as actors. Deepak Dobriyal is delightfully spontaneous. Eijaz Khan fits right into the character. Swara Bhaskar is dynamic and leaves a mark. Kangna however is a complete misfit. She is clearly uncomfortable in dialogue delivery when it comes to comedies and we saw that in No Problem too. But she does get her expressions right.

Overall TWM turns out to be an average film because of the weak second half. It has a feel-good factor to it, which should work with some part of the audience. And then there are some dialogues which just stay with you. 

Source: hindi movie {www.radiomaska.com}