Jab We Met !!!

StarringKareena Kapoor .... Geet

Shahid Kapur .... Aditya

Director : Imtiaz Ali

Imtiaz Ali’s movie ‘Jab We Met’ has all the trappings of a romantic entertainer.
The film doesn’t boast of a very unique story. What makes it interesting is the way it has been presented by Imtiaz Ali . ‘Jab We Met’ tells the story of two contrasting personalities who develop an affinity while traveling together through the heartland of north India. Ali makes sure that something new happens in every reel of the film to keep you glued to the screen. However, the film is not without some low points.
But first, the story:
Aditya ( Shahid Kapur ), a young industrialist, is dejected with life because his girlfriend left him for another man. Aimlessly he boards a train on which he meets Geet ( Kareena Kapoor ) a chatterbox who annoys him with her constant talking. So much so that he gets down the train to avoid her. She follows him there too. And the two end up missing the train.
Stranded on a platform, Geet, the sikhni, tells Aditya in clear words that he would now have to get her to her home in Bhatinda. Thereafter begins the journey of Aditya and Geet through the scenic villages and towns of North India. And once they reach Bhatinda, Geet’s family thinks Aditya is her boyfriend. Deep within, Aditya too begins to like Geet.
But Geet has other plans. She has a boyfriend with whom she plans to elope. Aditya accompanies her to Manali from where he heads back to revive his business back in Mumbai.
Is it the final goodbye for Geet and Aditya or are they destined to meet again? The end is predictable, but the way Imtiaz Ali brings the story to its obvious conclusion makes ‘Jab We Met’ worth a watch.
Though a predictable love story, ‘Jab We Met’ is different because most of it is set outdoors. The romantic moments between Shahid and Kareena tug a string at your heart. Complementing the mush is the lighthearted humour that the film has in ample doses. If anything was left, the film’s music completes the delectable cocktail.
There can be no two opinions that Shahid and Kareena are the driving forces of ‘Jab We Met’. Shahid’s performance is composed and restrained. He brings about a gradual transformation in his character, as his journey with Kareena gets closer to destination.
On the other hand, Kareena is absolutely uninhibited. With the exception of a few scenes when she goes over the top, Kareena plays her role with conviction and credibility. She does manage to sound and look like a sikhni from Bhatinda.
In marginal roles, Dara Singh and Pawan Malhotra are good.
To sum it up, ‘Jab We Met’ is not a path-breaking film. But it is a fairly enjoyable entertainer with a dash of drama in the second half. In fact, for a few reels in the second half, the movie loses its momentum.
What makes ‘Jab We Met’ watchable is the chemistry between Shahid and Kareena. It is ironic that they no longer share the same chemistry in real life.

Dhan Dhana Dhan Goal ........

StarringJohn Abraham .... Sunny
Arshad Warsi .... Shaan
Bipasha Basu .... Rumana
Boman Irani .... Tony
Director : Vivek Agnihotri
Musician : Pritam





As the team’s captain puts it: “It is not about football”.

Yes, Vivek Agnihotri’s film ‘Dhan Dhana Dhan Goal’ is about everything else except football. It is about racism towards south Asians in Britain, and it is about the rise of the underdogs.
The director never makes an attempt to penetrate into the game. Rather, he is so obsessed with the idea of projecting racism that he pitches the entire plot of the movie on it. Not a single gora in the film is shown as a friend of the Asians of the Southall community. John Abraham’s character Sunny, who plays for a team of whites (Aston), is repeatedly warned by his dad and a Southall coach that a bitter reality awaits him. That reality strikes home when John, despite being one of the best players, is dropped from the Aston team just because of his skin colour.
Dear Mr. Agnihotri, admitted that racism exists in the UK. But you show it in extremes in your movie.
Without beating about the bush let me come to the point. ‘Dhan Dhana Dhan Goal’ is a pretty average film with just a few good sequences that come too late to save the sinking ship.
The movie does remind you of Chak De India in parts – a coach with a sordid past, a ragtag team of underdogs, ego clashes within the team, and the penultimate rise of the minnows. But ‘Goal’ fails to do even half of what ‘CDI’ did. ‘Goal’ doesn’t evoke a sense of patriotism, it doesn’t stir your blood, and it only manages to provide you with some wishy-washy entertainment.
Shaan ( Arshad Warsi ) is the captain of the Southall football club, comprising of Indian, Pakistani and Bangladeshi players. The club is only for namesake, its field being used for parties and weddings to earn the extra buck. There is no coach. The players are pot-bellied and flat-footed. No wonder, the club hasn’t won a tournament for decades.
Now, a bigger danger looms over the club. If they don’t pay their pending lease of the last seven years, the players risk losing the club to the greedy sharks who want to make money out of turning the place into a commercial complex. Their only hope is to win the Combined Counties Football League in England and save the club through the prize money of 3 million.
Shaan finds a new coach, Tony Singh ( Boman Irani ), for the team. In turn, Tony finds a new striker Sunny ( John Abraham ) who has been dropped from an English team because of his color. But Sunny and Shaan don’t like each other.
Aah…I almost forgot. There is also Shaan’s sister Rumana ( Bipasha Basu ) who has a soft corner for Sunny and joins the team as the physiotherapist.
As the underdogs of Southall pull up their socks and take on the field with renewed vigour, the club’s fortune begins to turn around. The end is predictable. The underdogs will eventually prevail, but not without crossing many a hurdle.
‘Dhan Dhana Dhan Goal’ has flaws one too many. Firstly, the movie lacks genuine humour (except a few moments). Secondly, the racist angle is stretched beyond credibility. The angst of the South Asians towards the whites is understandable, but the director harps on it time and again, unwillingly making the coloured ones look no less racist. For instance, check out the tirade of John’s sidekick after John is dropped from an English team.
Director Vivek Agnihotri needs a lesson in subtlety. His idea of subtlety is Tony’s wife saying how beautiful different flowers look in a pot when Shaan complains about Sunny being too English to be a part of the Southall team. And how ‘subtle’ was Agnihotri’s idea of showing the face of Sunny’s dad on the stadium’s big viewer-screen so that coach Tony can recognize the old man as the same person who saved him from a racist attack many years ago.
As far as performances go, John Abraham shows slight improvement in his acting abilities. The guy with a killer smile not just displays his natural flair at football, he also manages to emote well in good many scenes. Arshad Warsi is dependable as usual. His histrionics are in place. But his frame comes across a tad too stout to make him look like a footballer.
Bipasha’s role doesn’t put any great demands on her. Boman Irani is just about okay.
‘Dhan Dhana Dhan Goal’ does have a few engrossing and emotional moments, mostly in the second half. The music is pretty forgettable. The team’s anthem “Halla Bol” only arouses embarrassment for a viewer.
However, if you are a fan of either John Abraham or football, you will manage to sit through a viewing of ‘Dhan Dhana Dhan Goal’

Saawariya

Ranbir Kapoor ....

Sonam Kapoor ....

Salman Khan .... Special appearance

Rani Mukherjee .... Special appearance

Director : Sanjay Leela Bhansali

From a bird’s eye view, the dream world of Sanjay Leela Bhansali’s Saawariya looks like a vague cubist painting, with houses in hues of blue and green. And it is a world where the sun doesn’t shine. Not at least in the course of the story.
Based on Fyodor Dostoevsky’s short story ‘White Nights’, ‘Saawariya’ is like a dark and surreal fable that enchants you with its visual beauty, but doesn’t touch you where it matters the most – heart. And the reason for this is that Sanjay Leela Bhansali gives more importance to creating the right ambience rather than capturing the essence of the story.
To put it briefly, the film’s beautiful form obliterates the inherent love and pathos in the story. And ‘Saawariya’ ends up as a unique study in the art of cinematography, but an average film that falls short of providing what it promised.
The anonymous town of ‘Saawariya’ is like a dream world where houses and buildings stand beside wide canals with gondolas rowing by. Ranbir Raj ( Ranbir Kapoor ) , an amateur singer, cycles in straight into a red light area and sings a song that brings some cheer to the prostitutes. That is his character. A smiling handsome lad with hair falling over his forehead, he brings smiles on the faces of those he meets. Among them is prostitute Gulab ( Rani Mukherjee ) who begins to like, even love, him in the course of the story.
But Ranbir is struck by love for a gravely dressed mysterious girl whom he meets atop a bridge. He tries to cheer up the sombre girl, but only manages to make a faint acquaintance of her. She is Sakina ( Sonam Kapoor ).
In his next meeting with Sakina, our besotted hero comes to know that she is waiting for someone, a man (Salman Khan) she loves, a man who promised to return on the night of Eid.
The story of ‘Saawariya’ is about the test of love, about the pain of unrequited feelings and about the women in waiting. Be it Ranbir’s landlady (Zohra Sehgal), be it Sakina’s blind mother or be it Sakina herself, everyone is waiting for someone.
The film could have been a cinematic masterpiece if Bhansali had focused more on developing the characters in depth rather than resorting heavily to their dramatic presentation. The silhouette of a veiled girl waiting on a bridge is appealing to the eye, but it doesn’t make your heart flinch.
Music, by Monty, could have been another strong point of the film. But there, too, is overkill. Too many songs and heavy background score dominate the story.
Among the newcomers, it is Ranbir who handles his role with confidence. Sonam, though undoubtedly gorgeous, seems ill at ease with her part. In one close-up shot just after her introduction, her face – supposed to express sadness – is completely bereft of emotion. In the second half, however, she manages to sink her teeth better into her character.
Ranbir performs much better for a debutant. He is the quintessential charming boy who keeps smiling and tripping and unexpectedly showing a gift of gab.
Salman Khan plays his usual self while Rani is partly impressive. It is Zohra Sehgal, the ‘now-stern-now-mellow’ landlady who wins your heart over. Alas, she is kept only on the margins.
Despite the flaws of ‘Saawariya’, Sanjay Leela Bhansali ought to be praised for his technical finesse and his sense of visual representation. The look of the movie will be a subject of discussions and debate for students of cinematography and art direction. And it is for this overwhelming visual appeal that I chose to give the film more than two stars. Otherwise, ‘Saawariya’ is a film with emotional moments few and far between.

Aja Nachle...

Starring

Madhuri Dixit ....

Kunal Kapoor ....

Konkona Sen Sharma ....

Vinay Pathak ....

Jugal Hansraj ....

Director : Anil Mehta

Producer : Aditya Chopra

Music Album : Aaja Nachle

‘Aaja Nachle’ is a perfect example of how good actors can sometimes save a poor movie and make it watchable, at least once. The fault partly lies with the story, which is too damn plain and predictable. The script doesn’t even attempt to go into the finer points of the story. On top of it, the man with the megaphone, the director, Anil Mehta , fails to yoke together different elements of the story to create a unified, cohesive tale that not just entertains but also touches your heart. That, precisely, is the problem with ‘Aaja Nachle’.
Above all, the movie dashes the expectations that were had of a comeback vehicle of Madhuri Dixit . Not that she is to be blamed. She does full justice to the role she was given and proves that her dancing and acting skills have not waned during all the period she stayed away from films.
It is Madhuri and other actors of the film that make you sit through this elaborate musical, and at times boring, saga called ‘Aaja Nachle’.
Dia (Madhuri Dixit) returns from the US to be with her dying dance guru in his last moments. The man dies before she makes it to Shamli, the small town where she grew up, but he leaves for her a filmed message in which he urges her to revive the defunct dance academy Ajanta, the very school where Dia learned to dance, and to live.
A girl who eloped from Shamli with a foreigner and settled in the US, Dia doesn’t enjoy good reputation among the denizens of this small town.
Her dance school Ajanta is about to be razed down by people in powerful positions – an MP called Raja saheb ( Akshaye Khanna ) and a businessman named Faroukh ( Irrfan Khan ) – who want to build a shopping mall in the place of Ajanta.
Dia intends to resurrect Ajanta and bring back the culture of dance and theatre in Shamli. But for this she would have to win over the people of the town, which by no means is an easy task.
‘Aaja Nachle’ begins with a song after which no more than a few dialogues are spoken that another song follows. It is like an early warning that helps you brace up for the film. The story thankfully rises above this musical mire as several other characters are introduced.
Imran ( Kunal Kapoor ), a local ruffian who vandalizes the sets of Dia’s show, is literally handpicked by her to enact the lead part in her play. Anokhi ( Konkona Sen Sharma ), an uncouth girl with an ever-running nose and a crush on Imran, persists to get the part of the heroine. Mohan Sharma ( Ranvir Shorey ), a tea-stall owner nursing an old, unrequited love for Dia, decides to help her revive Ajanta. Mr. Chojar ( Vinay Pathak ), a respectable government servant, and Sanjeev Mehta ( Jugal Hansraj ), an insurance agent, also join Dia’s troupe.
Honestly, it is these characters and their idiosyncrasies that make the film somewhat interesting. If only a sound script had been there in the first place, ‘Aaja Nachle’ would have turned much better. Some of the sequences are so unimaginatively conceived: for instance, the scene where Dia convinces a local MLA (Akhilendra Mishra) to endorse Ajanta as the vote issue for the coming elections. Or the scene where the wife of Mr. Chojar vents out her pent up frustration. There are more such sequences in the story that are deliberately contrived to put across a point.
To their further convenience, the writers ( Aditya Chopra and Jaideep Sahni) and the director never make even a feeble attempt to go into the finer points of the story. For example, it is never shown how Dia manages to finance the lavish theatre production that she stages at the end.
The only thing worth watching in ‘Aaja Nachle’ is performances by the star cast. Be it Darshan Jariwala as Ajanta’s teacher, or Raghuvir Yadav as the academy’s old caretaker, the actors bring to life their characters.
Notwithstanding a few hints of ageing in her face, Madhuri Dixit just about manages to carry most part of the film on her shoulders. She is still beautiful, a terrific dancer and a competent actress. There is also a slight shade of accent in her Hindi, but that unwittingly suits her character in the film.
Konkona Sen is a killer when it comes to acting. She is a complete natural. So is Kunal Kapoor. He convincingly plays the toughie who softens up after heeding the call of love.
Vinay Pathak and Ranvir Shorey are dependable as usual. Akshaye Khanna is a delightful surprise of the film. Irrfan Khan and Divya Dutta, too, get their moments at the fag end.
And last but not the least, the driving force of the film, its music, is another saving grace for ‘Aaja Nachle’. Songs like “Show Me Your Jalwa” and “Aaja Nachle” are the best of the lot. The medley of songs in the finale lifts the movie up and takes it to a crescendo.
Watch ‘Aaja Nachle’ for performances.

Om Shanti Om

StarringShah Rukh Khan ...... Om Prakash Makhija / Om Kapoor

Deepika Padukone ................. Shantipriya / Sandy

Arjun Rampal ......................... Mukesh Mehra

Kiron Kher .............................. Bela Makhija

Shreyas Talpade .................... Pappu Master

Director : Farah Khan

Producer : Gauri Khan

Music Album : Om Shanti Om

Farah Khan’s film Om Shanti Om perfectly matches the festive spirit of the season. The movie is one of the best wholesome entertainers we have seen from Bollywood this year.
The best part about OSO is that it doesn’t pretend to be cerebral. Its humour, its corny sentimentality, and its music combine together to make a perfect recipe to drive your blues away.
On top of it are superb performances by the starcast helmed by the endearing Shah Rukh Khan who does the most corny things with such conviction that you end up liking them. Be it dressing like Rajnikant in the cowboy ‘Murugan’ avatar and fighting with a fluffy tiger. Or rescuing his ladylove from a raging fire and getting scorched above his butt.
To entertain the audiences, SRK doesn’t mind making himself the butt of a joke. And Farah Khan doesn’t mind going over the top if that brings a smile to your face. Yes, that is the intention of OSO – to entertain. And it succeeds in it in flying colours.
That the film is a hearty tribute to the cinema of 1970s becomes clear from its opening scene – Rishi Kapoor , all dressed in silver, dances to the song “Om Shanti Om” from Subhash Ghai’s film Karz . In the crowd is Om Prakash Makhija (SRK) one of the junior artists shooting for the song along with his sidekick Pappu Master ( Shreyas Talpade ).
Om has dreams in his eyes – dreams to become a superstar someday. And he is in love with popular actress Shantipriya ( Deepika Padukone ), to whose poster he often talks his heart out.
At home, Om’s mother ( Kiron Kher ) is sure her son’s dreams would come true one day. Well, they almost do.
Our smitten hero gets introduced to his ladylove through a series of remarkable incidences. Om’s love story seems headed in the right direction, but then, comes a revelation. There is another man in Shantipriya’s life and his intentions are not noble.
Without giving the story away, it can be safely said that Om and Shantipriya’s love story remains incomplete. It takes second birth and a new life for Om to finally settle the score with the man who took away his love.
‘Om Shanti Om’ is packed with one slammer of a scene after another throughout its running time. With its sheer joie de vivre, the film engages you and allows you no spare thought to pick plot-holes from a rational point of view.
The first half of the film is simply superb. The tongue-in-cheek spoofs on the superstars of the 70s – be it Manoj Kumar, Dev Anand or Dharmendra – are extremely funny. The chemistry between Om and his friend (Shreyas) has many charming moments. And it rends your heart to see how Om Makhija’s dreams are shattered and yet how he proves to be a true lover till his tragic end.
Lekin film abhi baaki hai, mere dost.
The second half doesn’t see much revival of the love story, but it does pack in a good dose of suspense and drama as the reincarnated Om Kapoor recalls his previous life in flashes and sets out to complete the story left incomplete in previous life.
In OSO, Shah Rukh Khan proves that he isn’t a superstar for nothing. His acting in the movie borders on a deliberate, filmi histrionic, in keeping with his character. SRK also proves his flair for comedy in many scenes – such as the cowboy Murugan sequence, or the opening song.
Deepika Padukone is very photogenic and she emotes well too. She has all the qualities of a superstar in the making.
In the side-roles, Shreyas Talpade and Kiron Kher are superb. But what is surprising is Arjun Rampal ’s brilliant portrayal of a cunning producer. Rampal is terrific in the film’s second half, when the ugly past catches up with his character.
Pakistani actor Javed Sheikh, as the reincarnated SRK’s father Rajesh Kapoor, is commendable. His performance is several notches better than what we saw of him in Namastey London .
Music by Vishal-Shekhar is another strong point of OSO. “Aankhon Mein Teri” plucks notes at your heartstrings. “Om Shanti Om” may have an average melody but the thirty celebrities in the song keep you glued to the screen.
Farah Khan has a very unique style of filmmaking. She follows no set formula and is not afraid to try anything and everything wacky just for the sole purpose of providing entertainment. She makes SRK dress up as a superman, as a dacoit, and as a gaudy cowboy. And she presents Akshay Kumar and Abhishek Bachchan in little cameos that will have you in splits.
Apart from the content, OSO is also a technically sound film. The cinematographer doesn’t try too many stylistic shot compositions but yet captures the gist of the story. The editing by Shirish Kunder is slick and tight. And the special effects – transposing Deepika Padukone with the likes of Sunil Dutt, Rajesh Khanna and Jitendra – are of super quality.
To put the curtains down, I wish to say that OSO delivers what it promises. It makes you laugh and makes you cry.
I came out of the theatre with a broad smile on my face. And ‘Om Shanti Om’ sounded like the perfect mantra of this Diwali for me. it was a movie involving love, passion and die hard determination. Thus it has been rightly commented by SRK" jab koi kisiko dil aur jaan se chahta hai to saare kainat uske saath deta hai............ " and the rest is history.
This movie is a must watch for all SRK fans not only for SRK and Deepika but for the storyline with a difference , the gaudy sets and above all the superb editing takinkg indian cinema through time travel to seventy's golden era.

Laaga Chunari Mein Daag

StarringRani Mukherjee ...... Natasha

Konkona Sen Sharma ........... Chutki

Abhishek Bachchan .............. Rohan

Kunal Kapoor ........................ Vivaan

Jaya Bachchan ...................... Sabitri

Anupam Kher ....................... Shivshankar Sahay
Director : Pradeep Sarkar

Producer : Aditya Chopra

‘Laaga Chunari Mein Daag’ is a sentimental, tear-jerking saga with good performances and a few glitches.

If you have got a taste for extended soap operas, you would find Pradeep Sarkar’s movie eminently watchable. The film is packed with emotions – both pleasant and turbulent. The protagonist at the centre of the story is a woman who sacrifices her own good for the better of her family.

No, it is not one of those regressive tales of self-sacrificing Bhartiya nari. Rather, the movie is a fairly well told, well crafted, visually rich, and quite credible story which you can easily empathize with. The only thing is – it is tad depressing. And the director takes a few liberties with the screenplay in the second half (at the fag end), making the entire story look like a farce.
The movie begins with a song (quite expected of a Yashraj presentation) on the banks of Ganga in Varanasi. We are introduced to two laughing, joyfully dancing girls – Badki ( Rani Mukherjee ) and Chutki ( Konkona Sen Sharma ), and their retired, pension-less father ( Anupam Kher ) and glum mother ( Jaya Bachchan ).

Their once palatial haveli is now in shambles, gradually collapsing due to lack of maintenance. While the father spends his money on lottery tickets (hoping for a stroke of good luck), the mother is apparently resigned to her fate. She grinds herself on a sewing machine to make ends meet for the family.

The family has no son, and that is the father’s regret. If only Badki had been Bada beta, the family would not have been bullied by the dopey uncle (Tinu Anand) and his muscle-flexing son (Sushant Singh) who are fighting a legal battle over the haveli’s possession.
The family finds itself pushed in financial crisis when the father’s health goes down. Badki, a silent witness to her mother’s constant struggle, decides to go to Mumbai to search for a job.
In Mumbai, Badki finds herself not qualified for any good job. To make matters worse, she is under increasing pressure to send some money home. Then, she gets an indecent proposal. What follows is her descent into a whirlpool from which there seems no escape, not even returning back home.
‘Laaga Chunari Mein Daag’ can be called a story of three women. Of course, the focus is primarily on Rani’s character, Konkona and Jaya Bachchan too have ample footage in the narrative.

With Badki’s financial contribution, Chutki (Konkona) does her MBA and comes to Mumbai to work in a marketing company where she meets Vivaan ( Kunal Kapoor ). The two eventually end up falling in love.
On the other hand, Jaya Bachchan is shown as a mute spectator to the household’s newfound prosperity from Badki’s blood money. Her conscience is not at peace, knowing well Badki’s sacrifice and fall from grace.

The Abhishek Bachchan track seems deliberately squeezed into the narrative. His entry and disappearance in the first half is sudden. His re-entry in the second half is too coincidental.
Rani’s performance in the film is at par with her set standard, but she offers nothing stellar. Konkona Sen, on the other hand, is simply superb. She is a natural. In fact, there is a scene in the film where she even towers over Rani. It is when she learns Rani’s truth and breaks down in front of her.

Jaya Bachchan is a master of her craft. She speaks with her expressions. Kunal Kapoor is a delight to watch. His character is lighthearted, and Kunal plays it with conviction. Abhishek Bachchan is okay. Anupam Kher is passable. Sushant Singh is good.
To sum it up, ‘Laaga Chunari Mein Daag’ is a fairly watchable film. Its story has an emotive appeal, its music is non-intrusive and cinematography is enchanting.

However, director Pradeep Sarkar falters at many places in between. Firstly, he does not develop Abhishek’s character enough. Even the bad guys – Sushant Singh and Tinu Anand – make fleeting appearances in the narrative. And then, at the film’s fag end, the director twists the proceedings to the story’s convenience as he hastily brings a happy ending to the otherwise sad story.

'Bhool Bhulaiyaa

Akshay Kumar .... Dr. Aditya Shivastav

Vidya Balan .... Avni Chaturvedi

Shiney Ahuja .... Siddharth

Amisha Patel .... Radha

Paresh Rawal .... Batukshankar Upadhyay

Rajpal Yadav .... Chhote Pandit

Director : Priyadarshan

Malayalam movie ‘Manichitrathazhu’, of which ‘Bhool Bhulaiyaa’ is a Hindi remake, you will like the suspense as well.
Priyadarshan slithers out of his usual style and comes up with an interesting but exhausting movie. ‘Bhool Bhulaiyaa’ is not a typical Priyan comedy. It is a suspense thriller with doses of a horror film. The humour is understated, but sufficient enough to tickle the spine already chilled by spooky turns.
The combination of horror and comedy is a bizarre one. But it works well for ‘Bhool Bhulaiyaa’.
From the USA, Siddharth ( Shiney Ahuja ) returns to his hometown in India with his wife Avni ( Vidya Balan ). The couple get a resounding welcome from Siddharth’s extended family that includes his uncles Batukshankar Upadhyay ( Paresh Rawal ) and Badrinarayan Chaturvedi (Manoj Joshi). Also part of the household is Radha ( Amisha Patel ), the adopted daughter of the family who once harboured a secret love for Siddharth.
Tension builds up when Siddharth insists on staying in the family’s ancestral home, which is believed to be haunted. The family opposes Siddharth’s decision, but he has a rational mind. No matter what his uncles or other members of the family believe, he is adamant on staying in the ancestral mansion.
Thereafter begin a series of inexplicable incidents as they move into the mansion. Strange noises, mysterious sounds and eerie happenings convince Siddharth that something is amiss. He calls upon his friend Dr. Aditya ( Akshay Kumar ), a psychiatrist who takes the challenge of unraveling the mystery.
In all fairness, Akshay is the backbone of ‘Bhool Bhulaiyaa’. From the moment he steps into the frame, the movie gathers momentum. Before that, the first half drags. The actor’s comedy is simply impeccable. And his introduction, just before the first half, makes the wait worthwhile.
After Akshay it is Vidya Balan who impresses with her incredible performance. Vidya is in her elements again. And the last half hour of the movie solely belongs to her.
Shiney Ahuja is plain average. Amisha Patel manages not to ham. Paresh Rawal and Manoj Joshi are their usual impressive selves. Rajpal Yadav chips in a few slapstick moments with his portrayal of a pandit.
Priyadarshan gets many things right in ‘Bhool Bhulaiyaa’, but he stretches the story needlessly. The first half could surely have been chopped by a good 15 minutes. The second half holds your interest because of the shifting needle of suspicion.
The movie’s music is catchy and ear pleasing. The cinematography is fine.
All in all, ‘Bhool Bhulaiyaa’ is an interesting maze with unexpected bends. The unraveling of the movie’s suspense is its high point.
Watch it for Akshay (even though he is hardly there in the first half).

The Train

==================================
Emraan Hashmi .... Vishal

Geeta Basra .... Roma

Sayali Bhagat .... Anjali

==================================

The winding twists and turns in the plot of ‘The Train’ make it a good ride for passing your time.
Director duo Raksha Mistry and Hasnain Hyderabadwala seem obsessed with Hollywood. After rehashing ‘Collateral’ as ‘The Killer’, the duo now comes up with ‘The Train’, inspired from the Clive Owen, Jennifer Aniston starrer ‘Derailed’. However, the directors have Indianized the plot by making their own additions and alterations at the movie’s fag end.
There is a very apparent attempt to cash in on Emraan Hashmi’s image as a serial kisser. Lip locks there are sufficient in the film. There is also a dash of glamour and exposure, thanks to the gorgeous and well-endowed Geeta Basra. Newcomer Sayali Bhagat, a former Miss India, leaves an impression because of her looks and not because of her acting.
‘The Train’ is a tale of love, lust, adultery, murder and deceit all rolled together into one. The story takes place in Bangkok, Thailand.
Vishal Dixit (Emraan Hashmi) is in an unhappy marriage with his wife Anjali (Sayali Bhagat). The two have a 5-yr-old daughter who is a diabetic. There is hardly any spark of love left between the married couple.On a train ride, Vishal bumps into a beautiful woman named Roma (Geeta Basra) who, like him, is also in a marriage of compromise. She is neglected by her husband (wonder what kind of a moron would neglect a woman like her).
Anyway, there is mutual attraction between Vishal and Roma. They indulge in a passionate extramarital affair. Just when they reach the point of crossing the forbidden line, a nightmare happens. There is a rape, followed by blackmailing and murder.
‘The Train’ begins as an ordinary tale of extramarital romance but it changes track with a twist that turns the life of the protagonist topsy-turvy. Thereafter, focus shifts to a blackmailer (Aseem Merchant), and the movie becomes a thriller with a twist in the tail.
Emraan Hashmi proves a dependable actor in ‘The Train’. He knows the art of not going over-the-top and shows control and restraint in enacting his character. He doesn’t look bad either.
Geeta Basra is beginning to show the making of a good actress. There are glimpses of refined histrionics in her performance. Sayali Bhagat doesn’t have many expressions. But she does look gorgeous.
On the sidelines, Aseem Merchant fails to rise above a mediocre performance. At times he tries to play a cool cat, but there is no conviction in his act.
Mithoon’s music is another strong point of the film. Songs like Woh Ajnabee and Beete Lamhe take to your lips easily. The cinematography is visually striking.
Director duo Raksha Mistry and Hasnain Hyderabadwala have made a fairly watchable rehash of ‘Derailed’.

Naqaab - The thriller

To call ‘Naqaab’ ‘The Most Shocking Thriller Of The Year’ (as its tagline says) would be a gross overstatement. Without exaggeration, the movie can be described as an engaging romantic thriller revolving around characters with disguised intentions.
For years, director duo Abbas-Mastan have honed their skills of making thrillers through movies like Baazigar, Ajnabee and Humraaz . Their latest work, ‘Naqaab’ is nowhere near their previous thrillers in which suspense came out like a bolt from the blue.
In ‘Naqaab’, one part of the suspense is not hard to guess. But there are many twists and turns before the film’s climax. The unmasking of the secret is indeed unexpected, but it lacks enough conviction. If the movie’s plot has ample knots and tangles, it also has its holes.
To cut to the chase, ‘Naqaab’ isn’t exactly a nail-biting, edge-of-the-seat experience. It is a fairly decent thriller you wouldn’t mind watching once.
The movie brings together the ‘Humraaz’ team of Akshaye Khanna and Bobby Deol .
Bobby plays a millionaire, Karan, in love with a middle-class girl Sophie ( Urvashi Sharma ) who, despite her rich boyfriend, works in a burger joint. Enters Vicky (Akshaye Khanna), a struggling actor out of work. Vicky’s charm, charisma and eloquence wins the affection of Sophie. Sparks fly, and the two find getting drawn towards each other.
Hidden from all this, there is someone who is watching and filming the three characters.
As the love story gets more complex and contrived, hidden intentions of the characters are unmasked.
The first half of the movie is breezy but clichéd. Story picks up just before the interval and from there on it develops in the second half. There are surprising revelations and interesting bends in the plot. The director duo have tried to add the shock element with force, rather than wit. And there is too much beating around the bush before coming to the point in the climax.
Among performances, Akshaye Khanna’s stands out most prominently. His chemistry with Urvashi is superb. Bobby Deol manages his part well but offers nothing impressionable. Newcomer Urvashi Sharma acts as if she has the experience of many films behind her. She is comfortable and confident in playing her part before the camera.
The film’s cinematography is gripping and its editing is slick. Pritam’s music is passable.
Abbas-Mastan’s direction is tight and there are indeed sequences in the film that pump your adrenalin. But the director duo fail to create the hard-hitting impact in the second half, despite the twists and turns.
To sum it up, ‘Naqaab’ doesn’t turn out to be a riveting thriller, but it is engaging enough to be seen once.

Hey babby !!!

The music score of Sajid Khan’s first full-length feature film (as director) ‘Heyy Babyy’ is yet another testimony to the talent and versatility of Shankar-Ehsaan-Loy.
‘Heyy Babyy’ is essentially a feelgood comedy about three men and a baby. Akshay Kumar, Fardeen Khan, Ritesh Deshmukh and Vidya Balan comprise the film’s cast.
The title song Heyy Babyy is a moderately paced dance number with groovy beats. Despite an ordinary melody, the song has a very catchy bass line. And the singers, Pervez Quadir, Neeraj Sridhar, Raman and Loy, never try to infuse any superficial energy into their vocals. This, along with the song’s chorus, makes it an eminently hearable and danceable track. It would also turn out to be an eye-candy track in the film as it features as many as 20 actresses.
DJ Whosane infuses some extra zing into this number in the Big 'O' Remix version, which is high on tempo and spunk.
Shankar-Ehsaan-Loy step into a different mould altogether in the rustic Dholna – a very simple composition with a delectable blend of tabla, dhapli, harmonium and guitar. On top of it Sherya Ghoshal’s soothing voice, coupled with Sonu Nigam’s evocative vocals, lend a subtle and unassuming appeal to this song.
DJ Whosane again gives a different twist to this track in Dholna - Love is in the Air Remix. Without altering the tempo much, Whosane embellishes the track with a sprinkling of piano notes and hip-hop sounds.
Jaane Bhi De has a rhythmic feel but a mediocre melody. The song’s lyrics convey a feeling of taking things easy. Sample this: Gustakhi maaf kar de, Ab to insaaf kar de, Apna dil saaf kar de…Kehna toh maan le…Jaane bhi de, Jo bhi hua, Jaane bhi de. Shankar Mahadevan’s soft but vivacious singing brings a breeziness into this otherwise passable track.
Jaane Bhi De – Hip hop Hiccup Remix has more hiccups than hip-shaking hops.
Temperature rises with Mast Kalandar, originally a traditional song paying ode to the 13th century Sufi master Lal Shahbaaz Kalandar (literally translated as Red Falcon). The song, sung by Salim Shehzada, Rehan Khan and Shankar Mahadevan, is a high-energy, powerful number that sets your blood rushing and feet tapping.
Australian ‘Girl Band’ gives a peppy flavour to the title song Heyy Babyy in its English version. The quartet, comprising of singers Renee Bargh, Renee Armstrong, Jessica Smith and Patrice Tipoki, bring a buoyant feel to this techno-savvy version of the title track.
And then comes the best song of the album – Meri Duniya Tu Hi Re. The lyrics of the song are not directed towards a lover but towards a kid. The song has a lilting, soothing and sentimental melody. Singers Sonu Nigam, Shaan and Shankar further bring tenderness into the number with their gentle singing.
All in all, the music score of ‘Heyy Babyy’ may not be of chart-busting standards, but it has a few songs that remain with you even after a single hearing. Songs like Meri Duniya, Heyy Babyy and Dholna fall into this lot.

Chakde India Chakde !!!

Chak De India’ is a beautifully made film that makes you laugh, makes you cry, gives you goose bumps, and stirs up patriotism inside you. It is a film that every lover of good cinema must watch.
It is heartening to see Yashraj Films move away from their stereotypical mushy romances and sentimental family dramas. Sports, in itself, is not a popular genre in Bollywood. On top of it, ‘Chak De India’ has no love angle even though it has Shah Rukh Khan playing the leading man alongside 16 new girls. Despite so many odds, ‘Chak De India’ turns out to be a riveting film. Reason – excellent writing (by Jaideep Sahni), well etched-out characters, brilliant performances (by Shah Rukh, Shilpa Shukla, Sagarika Ghatge and Chitrashi Rawat) and, last but not the least, superb direction by Shimit Amin .
I cannot recall a single dull moment in the film. From the word go, the movie grips you like a vice and keeps you riveted until the end credits roll. During this ‘Chak De’ ride, you go through myriad emotions. You empathize with the pain of the protagonist, cherish the clashes and camaraderie of the girls, and you are filled with an uplifting, charged-up feeling as you see the underdogs rise to the occasion.
To cut to the chase, ‘Chak De India’ keeps you on the edge of your seat, even though it is a sports-based film and not a thriller.
The film’s story is simple and yet it carries so many undercurrents.
Kabir Khan (Shah Rukh), the best centre-forward in Indian hockey team, misses the crucial, last-minute penalty stroke against Pakistan and is blamed for the Indian team’s defeat in the finals. So much so, he is labeled gaddar (betrayer) by his own fellow countrymen. Disgraced and dishonored for one momentary failure, Kabir Khan leaves his parental house with his mother and disappears into oblivion.
Seven years later he appears again, not as a player but as a coach of a bunch of girls in whom even the Hockey Federation has no confidence. Kabir Khan has just three months to coach and train these girls for the Hockey World Cup in Australia.
The girls come from all over India – Haryana, Chandigarh, Punjab, Jharkhand, Andhra Pradesh, North East and other states.
On the outside, Kabir Khan is very strict with the girls. Through his toughness he wants to instill discipline and integrity in the team, something which is significantly missing.
Within the team, there is hardly any camaraderie. There are usual girlie fights and arguments. Somebody is egoistic, somebody too self-centered, somebody is hot-tempered and somebody is simply naïve.
Using very unconventional methods, Kabir Khan manages to create a team spirit among the girls. But some differences remain, only to be sorted out in the World Cup tournament in Australia, which the team must win to make India proud. But Kabir Khan is fighting for more than pride for India. For him the victory would bring redemption (for his momentary failure 7 years ago) and reclamation of his lost honour. And when that moment of reckoning does come, he looks on with disbelief in his teary eyes.
‘Chak De India’ is not just a sports film. It is replete with myriad emotions. And the best part is that Shimit Amin tells the story very realistically, making it all the more believable. He also doesn’t bring any unnecessary dramatization into the story.
The movie has a number of intelligently conceived sequences. For instance, a sequence when the girl’s hockey team has to prove their mettle against the men’s team. The girls lose by a narrow margin, but they get an applause and salutation from male players. Or another sequence when the girls bash up a bunch of eve teasers. These sequences and the last portions of the second half – when the crucial matches are played – evoke a flood of emotions inside a viewer.
A constant thread of humour runs through the film’s narrative. The humour is vernacular, and genuinely funny at that. The funniest of the lot is the rustic Haryanavi girl Komal (Chitrashi Rawat) and the hot-tempered Punjabi girl Balbir Kaur (Tanya Abrol).
After a long time – perhaps since Swades – Shah Rukh gives a substantial reason to write something about his acting. The superstar doesn’t go overboard in his performance in ‘Chak De’– there is no quivering of lips and no heavy breathing. Using his facial expressions and intense eyes to his advantage, with utmost conviction SRK plays a man simmering and seething within. Undoubtedly, this one is a praiseworthy performance from the King Khan.
SRK isn’t the sole focus of the film. Ample footage is given to the girls. Shilpa Shukla (as the egoistic Bindia) delivers a laudable performance. She maintains a snooty, high-headed demeanor throughout the film. Sagarika Ghatge (as the attacking forward player Preeti Sabarwal) is convincing. Vidya Malvade (as the goalie) plays her part well.
To conclude this review, let me say objectively that ‘Chak De India’ surpasses the expectations that I had begun to have from Yashraj Films of late. A great deal of credit for this gripping film should go to director Shimit Amin, who never lets the technicalities, the cinematic style (or still better the visual beauty) overtake the essence of the story.
At the end of the day, ‘Chak De India’ is a deeply touching film that offers plenty for you to carry home with.
Do yourself a favour, go and see this film. It is a must-watch.

Partner !!!

Salman Khan .... Prem

Katrina Kaif .... Priya

Govinda .... Bhaskar

Lara Dutta .... Naina

Director : David Dhawan

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It makes you laugh now and then, but it falls short of being a laugh riot. David Dhawan’s movie ‘Partner’ works because Govinda shows traces of his old comic self once again. One would be stupid to expect some sense out of a David Dhawan flick. He is the man who can give a humorous twist to hogwash. His brand of comedy is strictly slapstick, and pretty enjoyable at that. And ‘Partner’, his comeback film after a gap of one-and-a-half years, does carry a good dose of comedy. But it is certainly not among Dhawan’s best works. Govinda remains the backbone of the film. Salman Khan, sharing almost equal footage, provides him good support. Besides their performances, it is the script that makes the movie click. The plot may be flimsy, but the dialogues are far from banal.

The comedy in the dialogues is in rhyme. For instance when Govinda finds Salman with his (Govinda’s) girlfriend on a boat, he says Tu meri girlfriend ka saiyaan ban ke, naiiya ke upar, chaiyya chaiyya kar raha hai. Or in another scene when Govinda forgets to wear his pants, Salman says: “Dude, you’re practically nude”. The film has many more hilarious dialogues like these with rhyming words.

‘Partner’ tells the story of a Love Guru and his chela. Prem (Salman Khan) was born to be a love guru. He was born among girls, grew up among girls and now he gives advice and guidance to people about how to woo girls.

Enters Bhaskar (Govinda), a chubby, bespectacled dreamer who is in love with his stunningly beautiful boss, Priya (Katrina Kaif), a multi-millionaire heiress of Jaisingh group of industries. When Bhaskar asks Prem for tips to win Priya’s heart, the love guru laughs off and tells Bhaskar to forget her.

After a bit of persuasion and a series of minor misadventures in Phuket, Prem agrees to guide Bhaskar.

On a different front, Prem falls for Naina (Lara Dutta), a journalist who keeps bumping into him while running away from the underworld’s ‘dreaded’ Chhota Don (Rajpal Yadav).
The two love stories move ahead. With more than a little help from Love Guru, Bhaskar is able to make a notable impression on Priya and win her affection. On the other hand, Prem makes his advances on Naina.

Things take a turn when Priya’s father fixes her marriage with a foreigner. This is when Bhaskar arrives on the marriage scene to win her hand. And just when it seems that both Bhaskar and Prem’s respective love stories would have a happy ending, there comes another twist. Their secret is exposed.

The comedy in ‘Partner’ is not cerebral. It is not so high on wit as on slapstick. The jokes and the gags have a desi, street flavour. And there are some dialogues that are indeed hilarious.
When gangster Chhota Don (who speaks in cricket lingo all the time) gets wet by a kid’s urine in a loo, he says: pitch geeli kar di. Or whenever Govinda gets too happy he begins weeping and exclaims: Itni Khushi!.

There is no doubt about the fact that the chemistry between Govinda and Salman is groovy. There is not a single scene in the film in which either of them tries to outdo the other. Despite this, Govinda dominates the proceedings simply because of his superb comic timing. The actor is rediscovering his old magical touch again. Salman, too, gives a few moments of laughter, but he is no match for his chubby partner.

The ladies don’t have much to do in this film. Yet, Katrina Kaif looks mesmerizingly beautiful. Lara Dutta plays her part well. Rajpal Yadav is strictly okay.

‘Partner’ could have done without the Chhota Don track (featuring Rajpal Yadav in a spoof on SRK’s ‘Don’). Even Rajat Bedi’s character (that of a womanizer) is half-baked, though it has some significance in the plot. And there are certain sequences that are completely out of sync. For instance, Salman on a motorboat, dodging a killer rocket. Or Salman getting bullied by a little kid.

‘Partner’ may be heavily inspired from the Hollywood film ‘Hitch’ but the comedy in it is very desi. The music by Sajid-Wajid is funky and goes well with the film’s theme.

All said, the best sequence of ‘Partner’ comes in the end, when both Govinda and Salman are having their honeymoon in adjacent rooms. In this final sequence comes the comedy that will have you in splits.

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Music Album : Partner

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It would be foolish to expect anything serious from a film’s music if David Dhawan happens to be its director and his two favourites Salman Khan and Govinda, the lead actors. ‘Partner’ is a film that promises Dhawan’s trademark kitsch, slapstick and wit, all rolled together in an enjoyable comedy.

The opening track, ‘Do You Wanna Partner’ is high on techno quotient but low on melody. The song, sung by Udit Narayan and Shaan, is a dance track with a heady cocktail of Latino Lambda and elements of qawwali. Sanjay Chel’s words are banal but nicely sequenced to lend a frivolity to the track. An enjoyable number, all in all. Its remix version is high on tempo and bass.

‘Dupatta Tera Nau Rang Da’ continues the upbeat mood with its lively, vibrant spirit that combines Punjabi pop with techno. Both Sonu Nigam and Kunal Ganjawala render this song with full gusto. Sajid Wajid’s musical arrangement gives this number a pepped up feel.

Hip Hop meets Reggae meets desi filmi music in You’re My Love. The song’s rollicking mood stands in sharp contrast to its average melody and unimpressive singing by both Shaan and Shweta Pandit. Hip Hop rap by Earl D'Souza's lends a bit of vigour to this otherwise bland track. The remix version of ‘You’re My Love’ has an added thump.

‘Maria Maria’ weaves a feeling of déjà vu with its folksy Goan feel. Sounds of guitars, drums and violin blend together to create an atmosphere of a party while singers Sonu Nigam and Sunidhi display their vocal dexterity. A strictly passable number.

The album steers back into Punjabi mood with ‘Soni De Nakhre’. Sajid-Wajid muffle the Punjabi bhangra effect with an electronic treatment of this track. Labh Janjuwa’s vocals are earthy and have a rustic flavour.

All in all, the music of ‘Partner’ is no great shakes despite the fact that it offers many dance tracks. The songs in the album do manage to create a mood of fun and frivolity. But there is nothing that makes a place in your heart.

Cash !!! Steal the diamond if u can !!!

Starring
Ajay Devgan .... Karan
Ritesh Deshmukh .... Lucky
Esha Deol .... Pooja
Zayed Khan .... Danny
Sunil Shetty .... Angad
Dia Mirza .... Aditi
Shamita Shetty .... Shania

Director : Anubhav Sinha

Stylish cinematography, slick editing and classy stunts cannot make a film. And that is all Anubhav Sinha’s ‘Cash’ has got.

Anubhav Sinha takes a couple of zany characters, a bunch of thieves and thugs, and he throws in a common motive for them – a set of priceless diamonds. He twists and turns his camera from every conceivable angle. He throws in an ample dash of stunts (supported by sloppy animation). Doing so, Sinha comes up with a film that is visually appealing, not a notch more than that.

In a nutshell, ‘Cash’ is all style and no substance.

The film tells the story of an ace conman Karan or Doc (Ajay Devgan) who hires a bunch of robbers to carry out a perfect heist of priceless diamonds in South Africa.

Each of these thieves has his or her specialty.

Danny (Zayed Khan) loves to battle the waves. He is a surfer. Lucky (Ritesh Deshmukh) is a skateboarder, and Pooja (Esha Deol) is the get-away girl. None can catch her once she is behind the steering wheel of a car.

On the other hand, there is a vengeful underworld don (Sunil Shetty) who is hell-bent on getting his hands on the diamonds. And there is gorgeous Aditi (Dia Mirza), a girl who believes in love, trust and loyalty.

And then there are also those who have been given the responsibility of the security of the diamonds. Shania (Shamita Shetty) is the feisty Head of Security.

What follows is a heist. But things go horribly wrong after that. There is double cross and treachery. Things boil to such a point that the winner will take the diamonds but the loser may have to lose his or her life.

Admitted that ‘Cash’ has its fair share of stunts and action. But with the exception of a few scenes the movie hardly sets your adrenalin rushing. On top of it is the ridiculous animation of the characters. Each character is sort of given a designer makeover in the cartoon version.

Only performances by actors could have saved the film, but there, too, ‘Cash’ falters. Ajay Devgan is wooden. He just doesn’t put his heart into the performance. Sunil Shetty, as before, remains expressionless (despite putting in his heart). Zayed Khan and Ritesh Deshmukh are strictly okay.

Interestingly, it is the leading ladies who score better. Shamita Shetty is impressive and Dia Mirza is eye candy. Esha Deol is neither of the two.

At the end of the day, ‘Cash’ turns out to be a senseless action thriller. It is like a rollercoaster heading nowhere. Music by Vishal-Shekhar may hold some interest, but a lack of engaging script cannot be overlooked.

Bong Connection !!!

Director:Anjan Dutt

Writer:Anjan Dutt (script)
Genre:Drama

Plot Summary:

The first cross-over feature film in 'Benglish' from Moxie Entertainments. Directed by Anjan Dutt and produced by Joy Brata Ganguly.

The film is based on the lives of Bengali's across the world, especially on those settled abroad. It attempts to delineate the pain and dilemma of Bengali's estranged from their places of origin. It seeks to explore sensitive souls singing to the tunes of Tagore.

A story about two youths, Andy and Apu, having cross-cultural issues. Andy is a Bengali American and Apu is a Bengali-Indian residing here in Kolkata, leading their usual lives.
Fate takes a fortunate turn and both the boys are offered jobs in the countries that they always dreamt of residing in. They shift base to the foreign country and the cross-cultural adjustments start taking place.

The film stars Shayan Munshi, Raima Sen, Peeya Rai Choudhuri, Victor Banerjee, Soumitra Chatterjee, Parambrata Chatterjee, June Maliah, Mamata Shankar, Junie Hong, Jordan Graham, Travis Ammons, Josephine John, and a host of other American and international actors.

Fantastic-4- Rise of the Silver Surfer

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 (Ioan 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!

Jhoom Barabar Jhoom

Directed by Shaad Ali Sahgal; written by Habib Faisal; director of photography, Ayananka Bose; edited by Ritesh Shivalkar; music by Shankar-Ehsaan-Loy; choreography by Vaibhavi Merchant; art directors, Sukant Panigrahy and Andrew Munro; produced by Aditya Chopra; released by Yash Raj Films.. Running time: 138 minutes.
WITH: Abhishek Bachchan (Rikki Thukral), Preity Zinta (Alvira Khan), Lara Dutta (Anaida), Bobby Deol (Steve) and in a special appearance, Amitabh Bachchan.



If Bollywood has a credo, it might be that everything is possible. The corollary is just as important: Nothing is too big or too obvious. A character is in Paris? Fine. He must dance with his love in front of the Louvre, the Eiffel Tower, the Arc de Triomphe and the Obelisk of Luxor. The song they sing? "Ticket to Hollywood" of course.
That’s just one sequence in "Jhoom Barabar Jhoom," a giddy romantic comedy with star power (the father-son team of Amitabh and Abhishek Bachchan; Preity Zinta; Bobby Deol; Lara Dutta), wanderlust and a charming can-do, why-not-the-kitchen-sink spirit.
"Jhoom" begins in Waterloo Station in London with Bollywood’s restless éminence grise Amitabh Bachchan, the film’s Greek chorus (and chorine), doing what he does best: dancing and commanding the screen. His costume and person are wonders. With his double-necked guitar, feathered hat, necklaces, coat of many colors and jeans tucked into high boots, he’s part Sufi mystic, part gyrating Cossack, part George Clinton.
But "Jhoom" belongs to its romantic hero, the junior Bachchan, Abhishek, who has come into his own as an actor and star. "I’ve got class" his hustler character announces, wooing Ms. Zinta, and Mr. Bachchan proves it, showing off his comic flair (not unlike his father’s) and joyous dancing.
Directed by Shaad Ali Sahgal, with lush cinematography by Ayananka Bose, "Jhoom" seems at first like the silliest and slickest of trifles: boy meets girl, waiting for a delayed train. Complications. Song and dance. (Repeat.) Love.
But Mr. Sahgal is up to something here, deftly playing with the audience’s expectations of Bollywood storytelling. To reveal more would require a spoiler, so suffice it to say that "Jhoom" laden with in-jokes, brims with confidence and the courage of its own loopy style.

'Cheeni Kum' : Sugar-free Sarcasm

Hindi movies are getting more and more real. Till sometime back, certain themes were kept locked inside the almirah, but delicate and sensitive issues and relationships are slowly stepping out of the closet. On celluloid R. Balki's Cheeni Kum talks of two consenting adults wanting to spend the rest of their lives together. But there's a hitch... The groom-to-be is elder than the prospective father-in-law. This relationship is highly objectionable to the bride's father!
Contrary to general perception, Cheeni Kum is not similar to RGV's Nishabd. Like Nishabd, Cheeni Kum looks at the relationship between a much older man and a young woman, fit to be his daughter. But, unlike Nishabd, Cheeni Kum stresses on humor to drive home the point. Also, the culmination -- so vital in a film of this genre -- is not difficult to gulp since the sequence of events that lead to the climax are believable.
On the flip side, Cheeni Kum tends to get verbose, talk heavy at times. Besides, the first hour tends to stagnate. It only sprints towards the second hour when Amitabh pops up the question. More on that later!
In a nutshell, a film like Cheeni Kum signifies the winds of change in Bollywood. An effort like this is sure to find its share of bouquets and brickbats. The elite wouldn't mind the film, the commoners might.
The boy is actually a 64-year-old man, Buddhadev Gupta [Amitabh Bachchan]. The girl is a 34-year-old woman, Nina Verma [Tabu].
Buddhadev is the chef cum owner of London's top Indian restaurant. He lives with his 85-year-old mother [Zohra Sehgal] and his only friend and confidante is his 9-year-old neighbor -- Sexy [Swini Khara]. Buddhadev is an arrogant, egoistic, pompous man with a singular passion in life -- cooking. A confirmed bachelor who has never been in love. Until Nina walks into his restaurant and life.
Nina is a beautiful, charming, Indian woman. Cool, calm, quiet, always smiling, but independent and strong willed. Two extremes, in age, character and attitude, meet and against all odds fall in love. They decide to get married. And, like any Indian man, Buddhadev respectfully comes to ask Nina's father, Omprakash Verma [Paresh Rawal], living in Delhi, for her hand.
But there's just one problem... Nina's father is 58 years old, 6 years younger than Buddhadev, his would be son-in-law.
Let's get into the analyzing mode and find out what works and what doesn't... The sequences between Amitabh and Tabu at the restaurant are involving. The relationship that Amitabh shares with his mother does raise eyebrows, since it's not conventional. Nonetheless, it's amusing. The moments between Amitabh and the child bring to fore another aspect of the protagonist's personality, which is welcome.
What doesn't? A number of sequences have been stretched for no reason. They tend to get repetitive. As someone who's watching the story from the sides, you want it to proceed in some direction, but there's not much movement in the first half. It takes its own sweet time to reach its destination. Besides, since the film is set in London and the setting is urban, the humor depicted in Cheeni Kum is directed at the elite. That, in turn, robs the film of universal acceptance.
Director Balki shows a flair for light entertainers and the execution of certain sequences is commendable. The portions between Amitabh and Paresh [before Amitabh asks for Tabu's hand] as also the climax [Amitabh's monologue] prove Balki's competence as a storyteller. But at the same time, the writing leaves something to be desired. There are times when boredom sets in.
P.C. Sreeram's cinematography is splendid. Ilaiyaraaja's musical score is soothing. The title track is soft on your ear drums. Chandan Arora's editing could've been sharper. Ideally, a few repetitive moments can be done away with.
Amitabh Bachchan proves his supremacy yet again. Playing an arrogant chef, the actor is natural all through, but his performance in the finale makes the character all the more believable. Tabu stands on her feet despite a formidable co-star's domineering presence. She's excellent. Paresh Rawal is only adding to his credibility with every film. Zohra Sehgal is adorable. Swini Khara is supremely confident.
On the whole, Cheeni Kum is absorbing in parts. A lackluster first half gets a boost with a much energetic second half and that elevates the film to the watchable level. At the box-office, Cheeni Kum is targeted at the multiplexes mainly. Clever promos and feel-good vibes should ensure a positive run at the multiplexes.

Shoot Out at Lokhanwala !!!

Starring

Vivek Oberoi .......... Maya Dolas

Sanjay Dutt .... ......ACP Aftab Ahmed Khan

Tusshar Kapoor .... Dilip Buva

Sunil Shetty .......... Kaviraj Patil

Director : ................Apoorva Lakhia





Apoorva Lakhia has a fascination for making stylistic films. His latest flick ‘Shootout At Lokhandwala’ is a gritty recreation of the real-life shooting encounter between cops and gangsters in Mumbai in 1991. The film has a very raw and rugged look. At times it gets surreally dark and very violent. And after a while all the bloodshed and gore begin to get to you.



The film is not just about the shootout incident on the fateful summer day in Lokhandwala in 1991. It goes deep into the lives and minds of gangsters Maya Dolas, his sidekick Dilip Buwa and their three colleagues. It also focuses on the way cops function to nab the dreaded criminals, putting their own lives on the line.



One good thing about ‘Shootout’ is that it doesn’t take sides. It attempts to objectively present the facts of the incident, along with the events leading to it, from both the perspectives of cops and gangsters.



On the side of the cops, the central figure is ACP Aftab Ahmed Khan (Sanjay Dutt), the officer-in-charge of the entire operation to flush out the gangsters from a Lokhandwala flat. Supporting Khan in this mission are two brave cops: Kaviraj Patil (Sunil Shetty) and Javed Shaikh (Arbaaz Khan).



On the side of the gangsters, the central figure is Maya Dolas (Vivek Oberoi), a fearless, trigger-happy gangster who rose in the underworld through the sheer dint of his grit. Maya’s sidekick Dilip Buwa (Tusshar Kapoor) is dreadful but also humane.



The movie’s story, allegedly based on “true rumours”, establishes that the shootout in Lokhandwala wasn’t a random, isolated incident but was the culmination of a build-up of a series of incidents. The movie also shows how tough the job of cops is when they have to leash the trigger-happy gangsters within the powers given to them by law.



Sanjay Dutt is competent in playing the role of ACP A A Khan. Amitabh Bachchan gets shadowed in the film’s huge cast ensemble but still leaves an impact in the last few reels. Sunil Shetty manages not to ham. Arbaaz Khan is strictly okay while Abhishek Bachchan has a very miniscule role.



On the flip side, Vivek Oberoi is convincing enough playing the role that is in parts similar to his debut performance as Chandu in ‘Company’. However, Vivek’s Maya is sinister, ruthless, fearless and tempestuous.



Tusshar Kapoor is convincing, while other actors like Rohit Roy, Shabbir Ahluwalia and Aditya Lakhia stay on the sidelines.



Director Apoorva Lakhia pays attention to the details but misses out on certain points. The cops are shown without bulletproof jackets while encountering the gunmen. The gangsters’ phone lines aren’t jammed till the dying moments of the long encounter. Also the movie has some unnecessary songs that slacken the story’s pace.



The female actors have very little scope in this film but Amrita Singh stands out with her intense performance. Dia Mirza hardly sounds and acts like a journalist. Aarti Chabria gets a moment to show her acting (besides her dancing) in the second half.



‘Shootout At Lokhandwala’ has too much violence, bloodshed and gore. It is clear that the film’s makers want the movie to hit hard at the audience. Lakhia joins the pieces of the film’s story through a series of flashbacks. There are some emotional moments to lend a raw sentimentality to the flick.



All in all, ‘Shootout’ is not bad for watching once.

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Metro !!!

Starring
Shilpa Shetty .... Shikha
Shiney Ahuja .... Akash
Kangana Ranaut .... Neha
Kay Kay Menon .... Ranjeet
Konkona Sen Sharma .... Shruti
Irrfan Khan .... Debu

Director : Anurag Basu

Anurag Basu keeps getting better at his job. After a hard-hitting ‘Gangster’, the skilled filmmaker now comes up with ‘Metro’, a realistic and riveting film with cinematic standards at par with international cinema.

In ‘Metro’, Anurag does convincingly what other filmmakers in Bollywood have been clumsily trying lately. He tells a multi-layered story revolving around several characters. Each story is stacked with another in a meaningful, well thought way. The characters in each story are somehow connected to character(s) in another. And in this way the multi-narrative story moves on, with each subplot complementing the other, until the movie reaches a high point in the end.

On this strong foundation, Anurag puts his directorial skills into action, extracts superb performances from his cast, props it with Pritam’s compositions and overall comes up with a tight, technically sound and well-crafted movie.

To begin with, the film has a very properly chosen cast ensemble. Of course, it has no big star (except Shilpa Shetty perhaps) but every actor is cast in a role perfectly suited to him or her.

Shruti (Konkona Sen Sharma) is a thirty-year-old girl who is still a virgin and has no love in her life. She meets Debu (Irrfan Khan), a possible suitor, but rejects him because of his eccentric straightforwardness. Shruti has a crush on a RJ at the radio centre she works in. But her small fling with him ends with a shocking revelation.

Shikha (Shilpa Shetty), Shruti’s elder sister, is married to Ranjeet (Kay Kay Menon) and has a daughter. There is no love left between Shikha and Ranjeet. Theirs is more like a marriage of compromise.

Ranjeet is the boss in a BPO firm. In the same office works Rahul (Sharman Joshi) who lives in his uncle’s flat, which is often used by his colleagues and seniors as a joint for having sex. Rahul obliges his seniors because he wants to rise up to managerial levels in his office.

Rahul has a crush on Neha (Kangana Ranaut), his colleague. He doesn’t know that Neha is in a sexual relationship with Ranjeet, until the day Ranjeet asks Rahul for the key to his flat to ‘spend time’ with Neha.

On the other hand, there is a series of brief encounters between Shikha and Akash (Shiney Ahuja).

Akash is a theatre artist who does his rehearsals next to an Old Age home that Shikha regularly visits to meet her former teacher Shivani (Nafisa Ali).

Dharmendra plays Amol, Shivani’s lover from the past who comes back into her life to spend his last days with her.

Meanwhile, Shikha and Akash develop a mutual attraction. Their relationship reaches just on the cusp of crossing the limit when Shikha backs out.

On the other hand, Neha feels ‘used’ by her boss Ranjeet and tries to commit suicide.

Shruti meets Debu again and they become good friends. But there is a problem. Debu is set to marry another girl.

In this complex tangle, the movie’s story seems headed for a stifling stalemate when a timely stimulus is provided by a very small but significant incident that makes the characters realize the importance of following their hearts and not heads.

Thereafter, every complexity is resolved in the mere wink of an eye. Suddenly every character in the story begins to see clearly and puts his or her tangled life straight.

‘Metro’ is a gripping film but it gets heavy in the second half when the stories in it begin to look more and more commonplace. Thankfully, things don’t drag for long. The aforementioned stimuli sets in motion a chain of events that leads to the culmination of the stories.

Among the performances the most impressive come from Irrfan Khan, Shilpa Shetty, Konkona Sen Sharma and Kay Kay Menon. Irrfan, playing the eccentrically frank and friendly guy, provides many joyful moments to the otherwise serious and sombre film. Shilpa surpasses her previous performances with her sensitive portrayal of a conscientious wife attracted towards another man. Shiney Ahuja is strictly okay. Kangana Ranaut plays her part convincingly. Sharman Joshi is impressive. Dharmendra has a tender charm that comes through in every scene he shares with Nafisa Ali.

‘Metro’ doesn’t have a single song picturized on any actor. It is the Metro band (Pritam, James and a third guy) that performs all the songs at regular intervals in the film.

Visually, ‘Metro’ has a very sleek look. Basu’s treatment of the story is very realistic and the dialogues sound straight out of life. Most importantly, not once does the emotional turmoil of characters in the film becomes soppy and superficially sentimental.

‘Metro’ is a beautifully crafted film. It definitely ought to be seen once.

Next summer, the greatest battle lies... within...Spiderman 3 (2007) !!!

Tobey Maguire ... Spider-Man/Peter Parker
Kirsten Dunst ... Mary Jane Watson
James Franco ... New Goblin/Harry Osborn
Thomas Haden Church ... Sandman/Flint Marko
Topher Grace ... Venom/Eddie Brock
Bryce Dallas Howard ... Gwen Stacy
Rosemary Harris ... May Parker
J.K. Simmons ... J. Jonah Jameson
James Cromwell ... Captain Stacy
Theresa Russell ... Emma Marko
Dylan Baker ... Dr. Curt Connors
Bill Nunn ... Joseph 'Robbie' Robertson
Bruce Campbell ... Maître d’
Elizabeth Banks ... Miss Brant
Cliff Robertson ... Uncle Ben Parker
Ted Raimi ... Hoffman
Perla Haney-Jardine ... Penny Marko
Elya Baskin ... Mr. Ditkovitch
Mageina Tovah ... Ursula
John Paxton ... Houseman
Becky Ann Baker ... Mrs. Stacy
Stan Lee ... Man in Times Square
Michael Papajohn ... Dennis Carradine/Carjacker
Joe Manganiello ... Flash Thompson
Hal Fishman ... Anchorman
Lucy Gordon ... Jennifer Dugan
Steve Valentine ... Photographer
Tim Maculan ... Play Director
Marc Vann ... Play Producer
Joe Bays ... Jazz Club Manager
Gregg Daniel ... Detective Neil Garrett
Rogelio T. Ramos ... Emergency Room Doctor
Timothy Patrick Quill ... Crane Operator
Menachem Mendel Boymelgreen ... Kid in Times Square
Nasir Stewart ... Kid in Times Square
Austin Hendrickson ... Kid in Times Square
Taylor Hemhauser ... Kid in Times Square
Kathryn Bryding ... Woman Outside Theater
Joe Virzi ... Police Detective
Bill E. Rogers ... New Jersey State Policeman #1
Michael Alexander ... New Jersey State Policeman #2 (as Mike Alexander)
April Parker ... Test Site Technician #1
Edward Padilla ... Test Site Technician #2
Robert Curtis-Brown ... Test Site Technician #3
Paul Terrell Clayton ... Test Site Technician #4 (as Terrell Clayton)
Carolyn Neff ... Test Site Technician #5
Christina Cindrich ... Test Site Technician #6
Sonya Maddox ... ICU Nurse
Andre B. Blake ... Crane Disaster Radio Policeman
Derrick 'Phoenix' Thomas ... Cop at Crane Disaster (as Derrick Thomas) Jessi Collins ... Mary Jane’s Replacement Michael McLaughlin ... Boy at Keys to the City Ceremony Anne Gartland ... Councilwoman
Emilio Rivera ... Policeman at Sand Truck #1
Keith Woulard ... Policeman at Sand Truck #2
Reynaldo Gallegos ... Armored Car Driver
Jim Coope ... Newsstand Patron #1
Dean Edwards ... Newsstand Patron #2
Margaret Laney ... Newsstand Patron #3
Toni Wynne ... Congratulatory Woman at Daily Bugle
Aimee Miles ... Coffee Shop Waitress
Tanya Sinovec ... Jazz Club Waitress
Mark Kubr ... Jazz Club Bouncer
Emma Raimi ... Girl with Camera
Lorne Raimi ... Boy at the Final Battle #1
Henry Raimi ... Boy at the Final Battle #2
Samantha Ressler ... Girl at the Final Battle
Alan Cohn ... Jazz Club Musician
Dan Callahan ... Jazz Club Musician
Ron King ... Jazz Club Musician
Carol Chaikin ... Jazz Club Musician
Dan Cummings ... Jazz Club Musician
Vance Hammond ... Jazz Club Musician

Peter Parker has finally found the balance he's longed for between his love for Mary Jane Watson and his responsibilities as Spider-Man. The city of New York and it's citizens are at last coming around and appreciating everything he has done as his crime-fighting alter ego, and Peter is in the running for a staff job at the Daily Bugle. However, everything Peter has worked for is about to unravel. Flint Marko, while fleeing prison, is caught in an accident that displaces molecules and is transformed into the Sandman, a new super villain who is able to change his body into any shape of sand he sees fit. When Peter learns of a connection between The Sandman and the murder of his Uncle Ben, he will stop at nothing as Spider-Man to capture him. But before Peter can do so he discovers a mysterious black substance has turned his suit black, and has brought forth a darker side of Parker and Spidey nobody has seen before. Peter begins to give into this new dark personality, starts to abandon the ones he loves the most and in turn his best friend Harry Osborn takes up his late father's mantle as The New Goblin. Quickly Parker begins a new romance with his lab partner, the beautiful Gwen Stacy but in doing so Peter sets off a rival Bugle photographer, a troubled young man by the name of Eddie Brock who is obsessed with Stacy. Little does Peter know the black substance has its sights set on Eddie else as well. Brock is turned into Venom, a arch-foe that mirrors everything Spider-Man can do. Peter is forced to become the strong-willed hero he has forgotten about if he hopes to defeat his greatest threat yet.

Peter Parker has finally managed to piece together the once-broken parts of his life, maintaining a balance between his relationship with Mary-Jane and his responsibility as Spider-Man. But more challenges arise for our young hero. Peter's old friend Harry Obsourne has set out for revenge against Peter; taking up the mantle of his late father's persona as The New Goblin, and Peter must also capture Uncle Ben's real killer, Flint Marko, who has been transformed into his toughest foe yet, the Sandman. All hope seems lost when suddenly Peter's suit turns jet-black and greatly amplifies his powers. But it also begins to greatly amplify the much darker qualities of Peter's personality that he begins to lose himself to. Peter has to reach deep inside himself to free the compassionate hero he used to be if he is to ever conquer the darkness within and face not only his greatest enemies, but also...himself.

Tara Rum Pum

Starring

Saif Ali Khan .... Rajveer Singh aka RV

Rani Mukherjee .... Radhika
Director : Siddharth Anand

The power of love and togetherness can sometimes be so strong that it can make you go through the thick and thin of life with a smile on your face. This is the gist of Yashraj Film’s latest presentation ‘Tara Rum Pum’.
The movie, written and directed by Siddharth Anand (of Salaam Namaste), is a feelgood flick with doses of all the necessary ingredients that go into making a wholesome entertainer. It has light humour, romance, thrills, tragedy, the drama of life, hardships, struggle, the test of human spirit and the final triumph.
Set in New York, the film tells the story of Rajveer Singh (Saif Ali Khan), his wife Radhika (Rani Mukherjee) and their two kids Champ (Ali Haji) and Princess (Angelina Idnani).
Rajveer and Radhika are as different as chalk and cheese. He lives for the moment and doesn’t think much of future. She, on the other hand, plans every move of her life carefully.
Rajveer and Radhika first meet in a crazy cab ride in which Rajveer is at the steering wheel. It is the same taxi ride that opens the door to fame for Rajveer, who works as a tyre changer on the car race tracks. Impressed by Rajveer’s driving skills, Harry (Javed Jaffery), gives him a chance to be the driver of the racing team called ‘Speeding Saddles’.
Before his first race, Rajveer has a couple of chance encounters with Radhika. He asks her to come to his first race.
With Radhika rooting for him in the stands, Rajveer pushes the limit of speed and emerges the winner of the race. A new race star is born. He is called RV.
Love blossoms between RV and Radhika. Despite opposition from her millionaire father, Radhika marries RV. Over the years, the couple have two children: Princess and Champ. Together the four make an ideally happy family.
Tragedy strikes when RV is pushed to the corner in a car race by a new racer called Rusty. There is a deadly accident and RV is hospitalized for months. A year later, when RV returns to the race track, he no longer has the same edge as before. After a series of losses, RV loses his job and Rusty is signed on in his place.
Unable to pay their loans and debts, RV and Radhika lose their home and have to shift to a low-class cabbie neighborhood in New York.
It is now that the family’s love and bonding is tested. To keep their children out of the strain and stress of poverty, RV and Radhika create a masquerade that they have to live in poor conditions as a part of a reality show. If they win they will get a big prize.
The movie’s director clearly borrows this idea from Italian film ‘Life Is Beautiful’. Not just the idea but even one or two scenes are inspired from portions of the Italian flick.
Moving on, even as RV and Radhika struggle to make ends meet, every member of the family makes sacrifice for the other.
There comes a situation when RV needs huge amount of money to save his son. And he gets a golden opportunity to drive in another car race. But can RV fight his inner demons and emerge victorious?
‘Tara Rum Pum’ is not so much of a romantic story than a story of family bonding. It is about how a couple and their two kids face the hardships of life with a smile on their face. It is about how a man overcomes his inner fears for the sake of his loved ones.
Siddharth Anand’s direction is tight and he keeps the story moving at brisk pace. However, there are a few scenes that look very childish. For instance, when Saif is being chased by his landlord and he hides his face behind a magazine on a restaurant table where Rani Mukherjee is sitting.
The film’s music (by Vishal-Shekhar) is also mediocre. There is hardly any song that remains with you after the movie is over.
As for performances, Saif Ali Khan is once again top rate, playing a guy with devil-cares attitude. His acting is particularly noteworthy in the film’s second half when his inner fears begin emerging on the race-track.
Rani Mukherjee, who plays a pianist, looks glamourous and acts her part pretty well. Only she could have really learnt to play a few chords on the piano a little better. Her discomfiture with the instrument is quite apparent in the scenes that show her playing.
Javed Jaffery goes over the top in many scenes. But this is how his character is designed. Child artiste Angelina Idnani is impressive, while Ali Haji is cute but cannot act.
‘Tara Rum Pum’ has the hallmark of a Yash Raj film. It provides feelgood entertainment for family audiences and children.