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Right Yaaa Wrong review

Appearances can be deceptive. Somehow, I've not been able to connect to the promos of Right Yaaa Wrong. And now, after I've watched the film, I genuinely feel that the promos don't do justice to this taut thriller.

Also, I had strong reservations for this one. Sunny Deol, an A-lister at a point of time, had slipped into oblivion thanks to the wrong films that he chose to act in. Two factors that really go against Right Yaaa Wrong.

But never judge a book by its cover. For, Right Yaaa Wrong is a gripping thriller with a taut courtroom drama that catches you unaware and surprises you, especially towards its post-interval portions.

Come to think of it, a plot like Right Yaaa Wrong is not easy to pen and narrate. The conflict between two thick friends and how they find themselves on the opposite sides of the law ought to be handled with gloves. Most importantly, when the tension reaches its peak, the culmination has to be razor-sharp and concurrently, justify both the sides' point of view. Fortunately, Right Yaaa Wrong hits the right note.

So what's the verdict? Is watching this fare right or wrong? It's right, I'd say!

Ajay (Sunny Deol) is a brave cop. An unexpected incident takes place and he wants his wife (Eesha Koppikhar) to kill him. Will a wife agree to kill her own husband? Why does Ajay want to kill himself?

Ajay and Vinay (Irrfan Khan) were the best of friends, but an intense rivalry leads to a battle for supremacy. A dramatic confrontation ensues, where Vidya (Konkona Sen Sharma), Vinay's sister, chooses to support Ajay in this chase of mind games and Vinay has to fight it out.

Let's face it, you don't take to Right Yaaa Wrong at the outset. The initial portions give an impression of been-there-seen-that to the viewer. But, gradually, Right Yaaa Wrong starts getting into the groove, when Sunny hatches a conspiracy of his death and asks his wife and brother to execute his plans. The interval point is indeed a shocker!

The film takes off in its second half, when Sunny sticks to his alibi, while Irrfan doesn't buy Sunny's statement and re-opens the case. The twists and turns in this hour, interspersed with courtroom sequences, which leads to an emotional finale, are simply spellbinding.

Director Neerraj Pathak shows immense potential. He had proved his credentials as a writer earlier (Ghaath, Pardes, Apne), but with Right Yaaa Wrong, he proves he's an efficient storyteller as well. Monty's music is strictly functional and the few songs in the narrative don't contribute much.

Sunny seems to get it right this time. He underplays his part beautifully. But it is Irrfan who lights fire in water and emerges the scene-stealer. He's excellent all through the second hour. Konkona stages an entry in the post-interval portions and makes a stunning impact in the courtroom sequences. Eesha Koppikhar is first-rate. Arav Chowdharry (Sunny's brother) enacts his part with conviction.

On the whole, Right Yaaa Wrong is a powerful thriller, with a knockout second half. However, the film faces strong opposition from two quarters - IPL cricket matches and the ongoing examination period. But a strong word of mouth should change the tide in its favour. Go, watch it, this one's a pleasant surprise!

Toh Baat Pakki Movie Review

Toh Baat Pakki is the sort of homely family drama that Sooraj Barjatya might have made on a bad day, about a decade ago.

An over-bearing but well-meaning housewife Rajeshwari, played by Tabu, takes in a young man, Rahul played by Sharman Joshi, as a paying guest so that she can match make between him and her younger sister. Only after the marriage date has been fixed, a more eligible bachelor, Yuvraj played by Vatsal Seth, saunters in and now Rajeshwari feels compelled to break up her sister’s relationship and re-hook her with prospect number 2.

This family sit-com style plot could have yielded a few laughs but director Kedar Shinde doesn’t know how to pitch the film. So in between farcical comedy, there is heavy duty melodrama and we are asked to take both equally seriously. The writing is dull and Shinde further slows the pace down by bunging in songs that feature the otherwise traditional and simple characters in hip clothes in locations around Mumbai and Goa.

The first half just about manages to hang together but in the second, Toh Baat Pakki derails. Rahul tries to break off Yuvi’s impending marriage through circuitous routes that involve mice, kidnappings and dowry. But it is so unremittingly dreary that after a while, I couldn’t follow the convoluted plotting.

Barjatya pulled off near-ridiculous moments in blockbusters like Hum Aapke Hain Kaun because his conviction didn’t waver even when the climax hinged on a critical decision made by a dog. Sadly Shinde doesn’t display the same talent or conviction.

So it’s left to the actors to carry the load. Rajeshwari, whose good intentions are also a little cruel, is an intriguing woman. Tabu is skilled enough to make her both likable and mean but the script doesn’t match her performance.

Sharman also gets marks for sincerity but none of this is enough to make Toh Baat Pakki worthwhile. My personal request to Tabu: please don’t do any film that puts you in the same frame as Upsana Singh.

Toh Baat Paaki feels like eating left-overs that have been reheated too many times. It’s not very appetizing.

My Friend Ganesh 3 - Movie Review

In the third of the series of Ganesha movies, we have Ganya (Rahul Pendkalkar), an orphan left at the mercy of his uncle Naagesh (Sayaji Shinde) and aunt Chandramukhi (Himani Shivpuri). They aren't kind to him and in fact the only reason they are even keeping him with them is because he is the heir to lots of financial goodies. So when he runs away they are pretty uptight about their 'wealth' slipping away.

Ganya runs away and hides inside the jolly Shamsher's lorry. Shamsher, afraid of the liabilities that a kid brings along drops Ganya off at a Ganesh temple where as luck would have Gangu Tai wife of Shamsher and a bubbly female who longs to have a child takes him home.

But Ganya is soon found out by Bala (Makrand Anaspure, the pesky little brother of Chandramukhi, and taken to the Haveli where endless hours of being behind locked doors and serving his uncle and aunt are in store. Ganya is heartbroken and as taught by his surrogate mom Gangu Tai, prays to lord Ganesha to take him back to his 'Aai'. Lord Ganesha is impressed and appears to him. He frees him from the locked room and helps him go to his Aai's home.

However back at the Haveli we have another Ganesh (courtesy the miracle of lord ganesha), who also happens to be lookalike of Ganya, wreaking havoc and chaos. He is making everyone dance to his tunes. However, this is not enough to drive away the evil aunt and uncle. It takes a proper Bollywood 'ishtyle' fight complete with bamboo sticks for them to finally get the message. We have a happy ending when Ganya ends up with Gangu Tai and Shamsher with the grand Haveli all for themselves!

Yay…

The clean cut entertainment value of the film can be quoted as its USP. The Tom and Jerry kind of antics are adorable!

The color scheme of the film is bright. Perfect for kiddos at whom the film is aimed.

Ever heard a Ganpati bhajan with a bhangda twist? You'll catch it on this one.

All of the actors, especially the kid Rahul Pendkalkar, have done a splendid job!

Yawn…

My friends Ganesh-3 is being touted as an animation film. However, there's not much of it in the film. And whatever is there lacks luster and is amateurish.

The story seems to be a reverse of Cinderella with the evil twin angle tossed in…

Yes or no?
The film is a lot of fun, laughter and entertainment. Something the entire family can enjoy.

Rating: ***

Love Sex aur Dhokha: Movie Review

At the outset if you are expecting Sex and skin from this film, be prepared for a dhokha (betrayal). Don’t let the theme of voyeurism mislead you into believing that Dibakar Bannerjee’s Love Sex aur Dhokha is a cheap gimmickry to titillate your senses. The film is bold, bare, intense, stark and dark but Bannerjee’s storytelling is so superlative that it stimulates your senses without having to resort to tawdry elements.

At several levels, Love Sex aur Dhokha is at par with some of the best titles in world cinema in terms of its treatment. Like The Blair Witch Project or the more recentParanormal Activity , the ‘entire runtime’ of the film happens to be video footage shot on handheld camera by one or the other member of the cast. But neither is the genre horror, nor is the feel docu-drama! Rather the film follows a hyperlinked storytelling pattern to come up with three individual episodes of voyeurism that intersect intermittently to form a non-liner narrative. One of the best films in this format is the less-popular Irani gem Ashkan The Charmed Ring and Other Stories and Love Sex aur Dhokha comes quite close to the masterpiece with respect to the storytelling genius. A dark sanguinary scene (in the otherwise lighthearted film) reminds of the Filipino film Kinatay which had a prolonged body-butchering sequence.

But despite all these global references, Love Sex aur Dhokha is absolutely original in its content and can’t be remotely inspired by any of these recently released titles. The referential analogy is just to corroborate how director Dibakar Bannerjee’s intellect is in sync with the best works around the world. While the prose of his story is splendid, the grammar of his storytelling is superlative that adds to the beauty of the film.

The narrative opens in three different subplots. The first has a final year college student Rahul (Anshuman Jha) gearing up for his diploma film which ends up being a shady spoof on DDLJ. Through the filming process he falls in love with the heroine of his film (Shruti) with whom he elopes and gets married. The second has a tech-savvy store manager Adarsh (Raj Kumar Yadav) attempting to woo the store salesgirl Rashmi (Neha Chauhan) to secretly film her in a sexual act on the store security camera. The third has a journalist Prabhat (Amit Sial) who rescues a girl Mrignaina (Arya Devdutta) from her suicide attempt and subsequently prepares her for a sting operation against the country’s top pop star Loki Local (Herry Tangri).

The first story starts on a comical note with a satirical shade and just when you think the entire episode is frivolous, it ends with a bang and hits so hard on your senses that you might not want to gulp down anything in the interval. The second story is almost a predecessor to the MMS episode that Anurag Kashyup filmed on Kalki Koechlin inDev.D . It details the entire modus operandi and motivation behind the making of the sex clip. The third highlights the regular casting couch syndrome in glamour world along with the equally unethical sting operations devised by the manipulative media channels. Each episode in Urmi Juvekar’s story is derived from sensational headlines of national dailies and is well-sketched. But you admire the real beauty when you notice the correlation of each subplot with the other. The screenplay by Dibakar Bannerjee and Kanu Behl is designed like a game of jigsaw puzzle where your excitement rises the more you get close to assembling the interlocking pieces as the final picture becomes clearer at every step.

As mentioned earlier, the entire runtime of the film happens to be video footage shot on handheld camera by one or the other member of the cast. This happens to be its major highlight since unlike Paranormal Activity or The Blair Witch Project ; Love Sex aur Dhokha is not a single-setting film but has three subplots. Nevertheless the director justifies the use of camera in each episode and not once does it appear that the video footage is forced to take the story forward. This fact also amazes as to how a video camera is no more a sophisticated gadget and has become a common element and an integral part of everyday life in present-day society.

Dibakar Bannerjee shows his versatility as a director with his diverse choice of subjects but one aspect that he retains from his earlier attempts is the trademark Delhi flavour that comes across in the dialogues, characters and setting of the film. Cinematographer Nikos Andritsakis maintains the callowness with his unstable camera moments to add authenticity to the handheld camcorder sequences. Namrata Rao efficiently edits the cross-connections in the stories to amazing outcome. Sneha Khanwilkar’s music is as unconventional as the film with a rollicking title track by Kailash Kher.

The entirely new cast acts as an added advantage to the narrative of the film because with their relatively unknown faces you don’t tend to recognize their presence at first glimpse in subplots where they aren’t the focus. The performance from every member of the cast is absolutely brilliant. Anshuman Jha is unassumingly hilarious. Raj Kumar Yadav is expressive, especially when he brings out his jealousy pangs on seeing his girl getting friendly with another guy. Neha Chauhan is amazing in her breakdown sequence and the director uses her raw sex-appeal to good effect. Amil Sial (last seen in Hope and a Little Sugar) efficiently plays the straight-faced journalist. Arya Devdutta perfectly exemplifies a wannabe starlet and Herry Tangri plays a pop icon pretty well. The actor who plays father in the first story and the girl who plays Rashmi’s colleague in the second story deserve special mention for doing absolute justice to their typical characterizations.

Love Sex aur Dhokha shouldn’t be restricted with tags like experimental, offbeat, path-breaking, low-budget or multiplex cinema. While it happens to be all of these, it goes beyond with its smart story and superlative storytelling to be a brilliant and entertaining film. This autobiographical account of a camera is absolutely recommended!

Thanks Maa

It is important to point out one fact that might help you view Thanks Maa with a totally different perspective. Irfan Kamal's film on slummy street kids was first screened at the International Film Festival at Goa in 2008. Which means, it was made before Slumdog Millionaire, the film that swept the world with its take on Indian kids who survive and succeed despite the mean streets of Mumbai.

But no, it did not have the backing of Hollywood, the roar of the Oscars, the international marketing blitzkrieg...hence it's relative obscurity and its delay in the release which unfortunately, for no fault of its own, might just give it a has-been feel. But don't let the strange marketing logic of unconventional Indian cinema beguile you, because Thanks Maa is a film that will make you cry and laugh, even as it fills you with admiration and warmth for the next decrepit kid you see on the red light, running nose et al.

What strikes you at the onset is the authenticity of the film. Having used a sterling cast of kids literally drawn from the underbelly of Mumbai, the film anchors their story too in the grime and dust of the megapolis that seems to be brimming over with jagged and broken souls. So, you have our heroes -- the bunch of street kids -- living off the local train stations, picking pockets, polishing shoes and sharing their booty on an abandoned terrace before retiring for the night at home: a dilapidated car in a junk yard. It's here that young Muncipalty (Shams) brings his foundling and tries to hide him from the tough cops with the help of his buddies, Dedh Shana, Cutting, Sursuriand Soda. His objective is to re-unite the baby with the mother who abandoned him. Indeed, a journey that takes him through the dregs of the city and has him meeting pimps, hookers, incestuous dads, adulterous husbands ( Ranvir Shorey), drug addicts doubling over as cabbies (Sanjay Mishra), models who abandon illegitimate kids (Rukhsar), distraught mothers, paedophile caretakers ( Alok Nath) of juvenile homes or what you will....All this without losing their basic goodness and innocence. For despite drawing out the devilish map of uncaring Mumbai, the director manages to retain the humaneness of the story by showcasing his protagonists as little heroes, standing up for the good and the right.

Watch out for the kids. They leave you spellbound with their guttural, gutsy act. Surprisingly, and thankfully, the Censor Board has displayed a sense of maturity too by letting them speak in hardcore street lingo (read abusive). The film, ostensibly inspired by Tsotsi, Gavin Hood's film that won the Oscar, does get a bit long-winded in the second half and the climax might seem schmaltzy, but these are forgivable in view of the sledgehammer impact of the film. It fills you with a yearning to do something, anything....

'Rokkk' makers to keep ambulances outside theatres

The producers of horror film Rokkk have claimed that they will keep ambulances posted outside theatres where the horror film will be screened.

Filmmaker Ram Gopal Varma has already promised Rs 500,000 to anyone who fails to get scared of his upcoming horror flickPhoonk 2. But the makers of Rokkk are confident that their film will be the ultimate scare treat to the audience.

"We had held a screening of the film and some people with heart problems fell ill. We are advising people not to watch it alone, as heart rate and blood pressure might increase. So we are planning to have ambulances outside the movie halls," producer Krishan Chaudhary told PTI.

The film, releasing on March 5, stars Taanushree Dutta and Udita Goswami as two sisters who fight to free themselves from the curse of a haunted house.

"The film is so scary that if people watch it at night they won't be able to sleep," said Chaudhary.

The two-hour long film is Chaudhary's second production. His first was the Jackie Shroff starrer Bhoot Uncle and the third is upcoming movie Right Ya Wrong, starring Irrfan Khan and Sunny Deol.

Ishqiya movie review

After Classic Westerns and Curry Westerns, the likes of Vishal Bharadwaj seem to have designed adesi sub-genre where the bucolic Bihar backdrops are credibly carried off by the rural realms of Maharashtra’s Wai village. Call it ‘Wai-stern’ or whatever, but from Omkara to Ishqiya this rough-and-tough sub-genre has often been an antidote to candyfloss cinema, while still having a heart and in the right place.

Seeking its spirit from the 1969 Hollywood classicButch Cassidy and the Sundance Kid and having a soul of its own, Ishqiya is the story of two rouges Khalujaan (Naseeruddin Shah) and Babban (Arshad Warsi) who are evading their boss Mushtaq (Salman Shahid). Nowhere to go, they seek refuge in a friend’s house and instead meet his widow Krishna (Vidya Balan).

Slowly and steadily both Babban and Khalujaan are attracted towards Krishna who uses her feminine charm to seduce them singly and slyly. Together the trio plan to kidnap an industrialist (Rajesh Sharma) for ransom but there’s more to the conspiracy theory.

Ishqiya excels in narrating a saucy story and, unlike Kaminey , doesn’t gets complicated or convoluted in its storytelling. Director Abhishek Chaubey has a fresh, flirty and frivolous approach to filmmaking. The spellbinding screenplay written by Abhishek Chaubey, Vishal Bhardwaj and Sabrina Dhawan, despite being multidimensional, touches the subplots only peripherally and doesn’t delve into the past beyond the needful. So there are no elaborate background accounts for any of the three leads and you don’t wish to learn more about them either. Their past opens partially as the story progresses and only to the extent that can contribute to the central plot.

Regardless of the rugged-and-rustic ‘ City of God ’ kinda setting, the flavour of the film is predominantly light-hearted, as instinctive comedy oozes out from almost every sequence. The director’s hold on humour is remarkable as he makes good use of some dingy desi dialogues and some exceptional expressions by the lead male duo to hilarious outcome. The chemistry and comic timing between Naseeruddin Shah and Arshad Warsi is absolutely flawless.

The crude countryside cusswords and rustic Hindi-Urdu dialect add as much entertainment to the film as much as they add authenticity to the milieu. The chemistry between Vidya Balan and Arshad Warsi is sensuously sauntered through sexual symbolism as well as physical intimacy. In contrast, the affinity between Vidya Balan and Naseeruddin Shah is more delicately developed amidst the old world charm of classic songs of Hemant Kumar and S.D.Burman. Contrarily R.D.Burman’s sharp-and-seductive number ‘ Dhanno ki aankho mein ’ is employed to signify the lust in Arshad Warsi’s character.

The good part of the narrative is that it doesn’t get pretentious with make-believe romance tracks. Rather from the very start, it comes clean in communicating that Vidya Balan is conning both the males. And despite that the plot doesn’t get predictable and holds you through an intriguing climax.

The most impressive scenes from the film include the opening credits sequence and the confrontation scene between Arshad and Naseeruddin Shah towards the climax, which is unusually friendly and hostile at the same time. Just prior to that sequence, Naseeruddin emotes extraordinarily where he feels betrayed by love and cheated by friend. He plays a real young at heart in the song ‘ Dil To Bachcha Hai Ji ’. The bigamy plot of the businessman (Rajesh Sharma) is uproariously incorporated in the story. However the absurd and open ending could have been clearly avoided.

The film has been competently shot by Mohana Krishna and crisply edited by Namrata Rao. Music essentially has to be a highpoint in Vishal Bharadwaj’s films and with Gulzar he composes sheer magic. Gulzar’s poetic pen and Rahat Fateh Ali Khan’s poignant voice give us one of the most mesmerizing numbers in recent times – ‘ Dil To Bachcha Hai Ji’ . Payal Saluja gives a new meaning to sex-appeal making Vidya Balan look absolutely stunning and desirable in her village woman garb, draped in ordinary cotton saris.

Ishqiya is highly performance oriented and each actor from the cast is superlative. To see Naseeruddin Shah deliver in a meaty role is a delight. Arshad Warsi is in his elements and this is his career-best performance. Undoubtedly this is amongst Vidya Balan’s best works too. Salman Shahid (last seen in Kabul Express ) is an interesting character and Adil Hussain makes for a strong negative lead.

Ishqiya certainly is a film you will fall in love with

rann movie review

To be honest (like the film demands), Rann is not a new story but the news battle setting saves it from getting run-of-the-mill. Rather than a story designed around the media world, Rann is more of the clichéd corrupt politician chronicle (that Bollywood has been narrating since ages) set on the backdrop of the broadcasting business.

In fact the basic scenario of drama for this Ram Gopal Varma film comes close to his own Sarkar through the trio of a principled patriarch (Amitabh Bachchan), his debauched son (Sudeep) and the righteous and more deserving descendant (Riteish Deshmukh).

Rann tries to be too idealistic right from its ethical news channel head Vijay Harshvardhan Malik (Bachchan) to the trustworthy politician (K K Raina), all of which have become rare species in real life. Malik’s concerns are correct as he believes in reporting news in an era when every rival channel is resorting to creating news. Son Jai Malik (Sudeep) is disillusioned with father’s morals that are leading their channel nowhere.

As commercial corruption seeps in, Jai, through the medium of his channel, conspires against the ruling Prime Minister to make way for the opposition leader Mohan Pandey (Paresh Rawal). While Vijay is oblivious to the entire conspiracy, his channel’s lead reporter Purab (Riteish) takes it upon himself to investigate the truth.

Rann starts off impressively, right from its opening credits, showing contemporary newsreel montages edited to a spooky effect, more symbolic of RGV’s horror flicks. The idea is to highlight the real horror that’s haunting humans – sensationalism by media houses. The commercialism of coverage is effectively portrayed in a scene where a news channel anchor (Rajpal Yadav) confides in a feature filmmaker (Gul Panag) saying they are doing the same job – making movies and entertaining the audience. Especially hilarious is the sequence emphasizing media’s selective hearing approach where facts are cut out on the editing table for formula.

But the authentic setting can’t camouflage the conventionalism in the storytelling. Though writer Rohit Banawlikar pens some intense dramatic sequences which are deftly directed by Ram Gopal Varma, Rann relies on a very predictable plot. The treatment is suggestive of several Madhur Bhandarkar films from Corporate to Sattaand the climactic twist clearly comes close to that of Page 3 . Further the film opts for the most conservative and convenient culmination with a sting operation in the climax.

The predictability could have been prevented by tweaking the film into a thriller format but seems like Ramu wanted to uphold the essence and genre to drama. In that respect the dialogues add depth to the narrative, notably amongst which is Amitabh Bachchan’s dramatic discourse in the last reel that, pretty much like the climax ofBaghban , makes up for the predictability of the plot. An exceptional line from it says ‘media ka lakshya khabre hai aur madhayam paisa ’ (the aim of media is to spread news through the medium of money). But contrarily, today, the aim of media has turned into making money through the medium of news.

Through his trademark technician team of cinematographer Amit Roy and editor Nipun Gupta, Ram Gopal Varma employs standard Sarkar styled shot-takings to intensify the drama. Though the erratic camera angles and close-up frames have its effect, at times its rotating movements tend to spin your head. The music is thankfully restricted only to the background and the lyrics are spin-off on popular election slogans.

Amitabh Bachchan adds dignity and grace to his character and performance. Riteish Deshmukh’s switch to serious role is sober but the scope of his character is restricted in everything from his expressions to looks. Comparatively Sudeep gets more range and runtime and Ramu extracts the same intensity and expressions from him like he derived from the late South actor Raghuvaran, two decades back in Shiva . It’s a pleasant change to see Paresh Rawal intermittently go back to his negative act after his typecast comedy characters. Rajat Kapoor maintains his poise. Mohnish Behl is efficient. Rajpal Yadav’s character gives him ample scope to display histrionics, something he can’t do away with anyways. Neetu Chandra is appealing and Gul Panag is adequate.

The film does run out of steam, sporadically, in the second half but otherwise Rann is a riveting drama.

mitti movie review

Our story’s character Jeet Brar who is a farmer and a local kisaan leader represent the motivated and charged group of people, But on the other hand there is Young blood of Punjab who is unaware about the danger their state is facing and these young people do not have any mission in their life, most of them want to become singer or want to go to foreign, and some are behind to find the way how to make fast money and some of them are slaves to the corrupt politicians of the state. such type of young group of people represents our four characters of the film namely RABBI SIDHU,GAAZI DHILLON,LALLI BRAR and TUNDA . All these four youngsters work for the corrupt politician SARDAR HARMAIL SINGH.


They are prone to alcohol and are walking on the way of crime. They are not all concerned about their future and about themselves, among them laali brar is the brother of jeet brar but laali is not at all ready to listen to his brother. Beside This there is a character of a girl Called Neeru daughter of Sharma NRI who has also studied with these guys in university, and Gaazi loves Neeru But Neeru Loves Rabbi and this Love Triangle of these three creates problem within the friendship of Rabbi and Gaazi, and among all the father of Neeru does not agree her daughter to talk to these criminals, from here a different angle comes to the life of these characters, and the fourth character tunda is from very poor family but his friends never let him realize that he is from poor family, tunda’s father always scold him that he will get nothing being with these rich people, he have to work one day but he never listen to his father. Among all this scenario there is a character of journalist called Sarabjit who just want to show the truth to the people of state and wants to expose the corrupt leader Sardar harmail singh , he also manages to make the MMS of Sardar,but with the help of these four guys Sardar manages to take back the cd & Dv from journalist sarabjit while doing so all the four friends kills journalist accidently. The death of journalist makes them feel very guilty about their action and it effects them mentally because they are not professional killers and they have humanity in them after this incident their life changes completely, rabbi flies off to Bombay to go further to Canada,Gaazi is trying to become a singer, laali goes back to his village and becomes farmer and tunda becomes security guard.

Everything was going very smooth till one day one big multinational company comes to jeet brar’s village to set up a liquor factory on village land, with the nexus of multinational company ans the politician sardar harmail singh who has now become the minister and along with the police acquire the expensive core’s of village land for just few lakhs of rupee, while protesting against this injustice so many people get killed and this incident gives the four guys the way to revolution. All the four then struggle their lives to bring revolution. And what happens to each and every character how they fight ,those who were earlier fighting for nothing now have the reason to fight, & what happens to the love story of Rabbi Gaazi & Neeru,what happens to tunda, Does Laali and his brother jeet brar saves their land from the hands of industrialist and Sardar harmail singh. This is what makes the story of Mitti. And for all this you have to come and see this new saga of Punjabi film industry which will change the face of Punjabi cinema. This movie is coming soon to hit your screen and your hearts.

'Accident On Hill Road’ – too much noise and gore

Film: “Accident On Hill Road”; Cast: Celina Jaitley, Abhimanyu Singh, Farooque Shaikh

Rating: **

There’s a man stuck on your windscreen! That’s what you want to scream to Celina Jaitley. But gosh, she does so much of that screaming herself that you don’t really want to add to the din in this gory tale that takes place at night.

Celina oozes oomph and is the backbone of this ‘being bad is good’ upturned morality tale. After having knocked down a poor pedestrian (Farooque Shaikh), who spends the rest of the movie stuck to the windshield, the nurse frantically tries to find ways to get rid of the writhing man.

Agony is the film’s main ecstasy. This genre of horror cinema revels in creating acute discomfort and gruesome circumstances for the characters to a point where the audience is actually supposed to enjoy the ceaseless chill spill.

“Accident On Hill Road” is road rage in all its gory splendour, committed to creating a string of incidents that suggest a vicarious mayhem. Debutant direct Mahesh Nair lets loose a binge of blood and gore.

This is Celina’s first real opportunity to sink her teeth into an author-backed role. And she does get into her meaty role…

Then meet her boyfriend – a drug peddler called Sid, playing with menacing aggressiveness by Abhimanyu Singh. What happened to all the noble evil-warring heroes of our films? Sid is so immoral he makes Mogambo look like a cartoon hero.

Apparently adapted from Hollywood horror flick “Stuck”, “Accident On Hill Road” leaves you shaken by its gore-quotient… But not quite stirred.

The original Hollywood film probably describes not just the physical state of the accident victim but also the psychological condition of the audience.

This accident could have been avoided. Since it has has occurred and with screeching tyres, it might as well be borne.

Aakhri Decision, Hindi Film Review, Johnson Thomas

Hindi Film review
Johnson Thomas
Lofty Aspirations
Film: Akhri Decision
Cast:: Amar Sidhu, Sumona Chakravarti, Anant Jog, Navni Parihar, Nagesh Bhosle
Director: Deepak Kumar Bandhu

Rating: *




‘Akhri Decision’ had the lofty goal of transforming an NRI physician(Amar Sidhu) into an action hero. As an actor Amar Sidhu is a dud for sure but one doesn’t know what kind of a doctor he was. Maybe better at treating patients than entertaining them for sure! The film had an interesting premise-‘ what happens when a hitman falls in love and wants to make a commitment to his lady love.’ But the manner in which helmer Deepak Kumar Bandhu tells it, it appears stale and extremely run-of-the-mill. Amar Sidhu who plays the lead role of hitman is quite an expressionless wonder with poor diction and even poorer voice modulation. Sumona Chakravarti is quite competent though. The stalwart Anant Jog is good but none of them have any inkling as to what track they were supposed to follow. The film has confusing plotlines and the narrative is a bit too passive to be mistaken for an actioner. The songs are also inserted without giving much thought to fluidity. They appear at intermittent intervals without rhyme nor reason. Staying away from this one would definitely be the best decision- for sure!

Hum Lallan Bol Rahe Hain Movie Introduces Rajpal Yadav in Lead Role

Hello! Hum Lallan Bol Rahe Hain is an upcoming Hindi movie of Bollywood. Hello…Hum Lallan Bol Rahe Hain movie releases on 8th January, 2009 in Indian cinemas. Hello Hum Lallan Bol Rahe Hain movie introduces comedy king - Rajpal Yadav in main lead.

Rajpal Yadav and Preeti Mehra is the protagonist of Hello…Hum Lallan Bol Rahe Hain movie. The movie is directed by Dileep Shukla and produced by Nazim Rizvi.

Music director of Hello Hum Lallan Bol Rahe Hain movie is Vijay Verma. Recently, Rajpal Yadav unveiled the album of the movie.

Nazim Rizvi, producer of the movie said, “Hello…Hum Lallan Bol Rahe Hain is a sincere effort to entertain people and all the cast-crew has really done a wonderful job and we hope people likethe film. The music of the film is created by first time music director Vijay Verma and it has the combination of the sufi and rock music.” The statement was given by the producer of the movie on the time of music launch.

Rajpal Yadav has acted as Lallan in Hello Hum Lallan Bol Rahe Hain movie. He is an innocent guy. He comes to Mumbai from his village for survival. He is proud of his job but suddenly his life became haywire.

Lallan is the protagonist of Hello Hum Lallan Bol Rahe Hain Hindi film. His family stays in village and he works as a security guard in Mumbai.

Whole story of Hello Hum Lallan Bol Rahe Hain Hindi movie revolves around the Lallan character. The movie introduces the biggest comedy by the comedy king – Rajpal Yadav.

Hello! Hum Lallan Bol Rahe Hain film is presented by Madhu Entertainment, Media Pvt. Ltd. Makrand Anaspure, Rajpal Yadav, Preeti Mehra, Manoj Joshi, Ketaki Dave, Ravi Jhankal and Bomi Dotiwala are other leading characters of the movie.

Tapan Basu is the cinematographer of the movie. Rajpal Yadav already has introduced 2 good movies in the main lead - Main Madhuri Dixit Banna Chahti Hoon and Pati, Patni aur Woh. Both movies are the best and the most popular in Indian cinemas.

In the Bollywood movies, Rajpal Yadav has created a position for himself. Now, Hello Hum Lallan Bol Rahe Hain is ready to introduce the best comedy and fun by Rajpal Yadav in Indian cinemas on 8th January, 2010.

Review: Road To Sangam

Director: Amit Rai
Actors: Paresh Rawal, Om Puri, Pavan Malhotra
Rating: *** It isn’t acknowledged often enough that Gandhi, the father to this nation, was victim (this day, 62 years ago) to a Hindu fanatic’s bullet. Decades later, Gandhi and


his sworn secular followers were shamed further by a government that came to power in this country, pretty much over a desecrated mosque.
To simply suggest the rise of Islamic fundamentalism (in India) as response to that episode (or any other) would be to miss the trees for the woods. Insecure ghettos alone breed fanaticism of any kind. Love for God is a private affair.

These insular, claustrophobic ghettos, built around a single community, are relatively easy to politicise. The rich of the lot become their natural patrons. Sense of nation-state isn’t adequately strong. Qom (community; largely neighbours) come first. The director of this film walks into one such hamlet to help us experience its dynamics.

Paresh Rawal is a master mistri (mechanic) in a provincial Allahabad neighbourhood. He’s also an office-bearer of the local masjid committee. Unknown to him, he’s been working on the repair of a vintage Ford engine that would take Mahatma Gandhi’s ashes for immersion to the Sangam (confluence of rivers Ganga and Yamuna). This ritual was to take place after Gandhi’s death in 1948 as it was done across holy rivers around the country. This last pot of ash remains an administrative oversight. It’d disappeared into a bank vault back then. Better a service late than never.

Rawal’s Hasmat bhai (who gets his Allahabadi twang right down to Amitabh Bachchan’s ‘aayen’) feels an honoured soul. Except, he can’t honour his commitment. A firman (order) has been issued to his community to quit work, shut shops for two weeks. This is to protest against the arrest of a few Muslims as suspects in a bomb attack. Hasmat bhai should fear a fatwa for merely working (defying an order). And that decree may come from the same organisation he’s general secretary of. His superiors (Om Puri; Pavan Malhotra, brilliant as a maulvi) are not pleased. The conflict is strong, and appropriate.

Hasmat bhai, instead of fighting against his friends, covertly appeals to their senses. The filmmaker competently manages to place the individual within larger conflicts we face today. For the common man caught up in such situations, the choice is often between being ostracised, or just going with the public flow. The narrative plays out well. Rai does however subsume himself in the noble intentions to make larger points on the politics of Liaquat, Jinnah, and the creation of Pakistan. Several moments border on self-indulgence. This is often true for good first films. It is noteworthy to watch a Pakistani star (Javed Sheikh) play a part
in a picture that questions the creation of Pakistan itself: a fact, if reversed in history, the filmmaker suggests, could save us Rs 11 lakh crore spent so far on defending borders alone. The position is debatable.

It still irks the filmmaker to see posters of Osama and Pervez (Musharraf) make the walls of Indian ghettos. While he has a point, this could somewhere also be the failure of the Indian state.

Most public artistes had rather not directly touch upon the issue of Islamic fundamentalism than run the risk of being senselessly labeled Islamophobes. It’s the curse of our delicate times. The questions are still important. They shouldn’t be ignored. Neither should this film

Kurbaan Movie Review

What if your husband - the man you love and share a home and bed with, turns out to be a terrorist?

Kurbaan, produced by Karan Johar and directed by Rensil D’Silva, constructs this unimaginably tortured situation and then squanders it. The film has ambition but it is too flawed and simplistic to explore issues like religion, violence and the politics of terrorism with any conviction or gravitas.

Rensil, who wrote the screenplay from a story by Karan Johar, is impatient to get to the central conflict. So, the romance between Avantika, played by Kareena Kapoor and Ehsaan Khan, played by Saif Ali Khan, is brisk.

Both are professors at a university in Delhi but we see her teach exactly once. They spend more time drinking coffee, romancing and believe it or not, kissing in the staff room. I had no idea college professors had this much fun.

When Avantika gets a call asking her to return to New York University, the two rush into marriage and fly to America. It all seems perfectly sunny until a neighbour reveals to Avantika that things aren’t quite what they seem.

In a quietly frightening, nicely done scene, Avantika discovers that Ehsaan is a terrorist. In fact, his name isn’t Ehsaan at all – at various moments in the film, he’s called Altaf, Tabrez and eventually Khalid.

Ehsaan won’t allow his fellow terrorists to kill his wife because she is pregnant but also because somewhere in the course of scheming, he’s fallen in love with her.

He threatens to have her father killed and keeps her quiet and well-fed, a prisoner in her own home.

Their tense, volatile relationship is gripping and the performances are heart-felt. Saif’s understated menace is the perfect foil for Kareena’s aching vulnerability. Even Vivek Oberoi, playing Riyaaz, an investigative journalist who infiltrates the sleeper cell, forgets his Mission Istanbul-style posturing and acts.

But the performances, melodious music and snazzy camerawork cannot camouflage Kurbaan’s specious logic and faulty writing.

The most critical plot points in the film make little sense—the FBI have Ehsaan’s photograph and history on their records. An FBI agent barks—"I want this man found and found fast"—and yet, Ehsaan roams around freely.

He has a driver’s license and a job teaching a course on, get this, the Muslim identity in the Modern World.

When Avantika realises that her neighbours are dubious, she doesn’t call the cops like any normal person would. Instead, she goes alone, at night, into their basement and stumbles on a dead body.

Riyaaz goes one step further. When he figures out that there is a sleeper cell, he doesn’t call the FBI. Instead he declares: "I’m going to deal with it myself" and joins the gang.

The terrorists aren’t very bright either. After one dinner, they enlist Riyaaz into the group. People dating each other probably spend more time looking up for partners on Google than these guys do before bringing in Riyaaz on a plan to blow up subway stations.

And then, there’s the Kareena-Saif lovemaking scene that has generated reams of newsprint. Yes, it is bold by Bollywood standards. You see her bare back. It’s aesthetically done but again, the logic for it is laughably silly – she has to get the names of the stations that will be blown up. So she seduces him and then digs into his desk to get the map with the stations marked out. She says, "Kya hum ek raat ke liye sab kuch bhool kar phele jaise nahin ho sakte", but he doesn’t wonder why she’s being so friendly all of a sudden.

In a regular Hindi film, viewers are happy to suspend disbelief. But a film that deals with such serious, intricate issues cannot demand that comfort.

Even the little bloopers here jump off the screen: Avantika, is under house arrest but she still has talon-like manicured nails and this was my favorite moment, Riyaaz, who has just returned from reporting in Iraq, gets off a plane and solemnly declares: "Iraq is a mess".

Clearly Rensil is a talent to watch. He isn’t afraid to take risks but his ambition and good intentions aren’t matched by the sophistication that this project required.

Kurbaan is a disappointment.


Read more at: http://movies.ndtv.com/movie_Review.aspx?id=455&showid=464&cp

Dulha Mil Gaya Movie Review

Dulha Mil Gaya is a film caught in a time warp both literally and figuratively. The much-delayed movie is a bargain-basement version of Yash Chopra-Karan Johar movies from the late 1990s.

So we have misguided, materialistic NRIs who are reformed by a virtuous, homely Indian girl; exotic foreign locations; a trip back to Punjab where dancing sardars are bouncing to shava shava; the inevitable karva chauth sequence and even Shah Rukh Khan.

It's a familiar retread that offers little laughter or entertainment.

Fardeen Khan plays Tej Dhanraj, also known as Donsai, which is slang for dollar in Trinidad. This is the kind of man who picks up a woman from the water while he's water-skiing and blows-up 10 million dollars a year.

As required by his father's will Donsai must marry a friend's daughter or he cannot inherit the five billion dollars left to him. So, Donsai rushes to the Punjabi heartland and marries Samarpreet Kapoor, played by Ishita Sharma, the desi girl who makes arhaar ki daal and says "latrine" instead of washroom.

Then he leaves her back in the village and returns home to his playboy ways. But the determined Sher- da-puttar makes her way to Trinidad where a supermodel named Shimmer, played by Sushmita Sen, gives her a make-over.

Eventually Tej falls in love with his own wife who now wears backless gowns and gold eyeshadow. In return, Samarpreet shows Shimmer what a real Indian woman is. She makes Shimmer do karva chauth and when Shimmer shows more interest in her career than in her adoring boyfriend played by Shah Rukh Khan, Samarpeet gives her a much-needed lecture on priorities. She says, "Indian ladkiyan rishte nibhati hain aur sau crore ghar chalane se behtar kya career ho sakta hai."

If that doesn't make you cringe, there is plenty else that will.

Debutant director Muddassar Aziz, who has also written the story, makes sure to underline every emotion and sentiment.

Pink cushions tossed around Shimmer's house actually spell out the action in large letters and the background music is unintentionally comical.

Everytime Shimmer in yet another over-the-top outfit is on screen, the soundtrack goes Shimmer, Shimmer. And in my favourite moment, when Shah Rukh jumps into the sea to retrieve Shimmer's toy poodle, we hear random sounds of true lover, true lover.

The actors are all on auto- pilot but there is some fun to be had watching Sushmita play an exaggerated version of herself. She is the diva to beat all divas.

There's a lovely moment when she thinks that Samarpreet has tried to commit suicide. She says, "Well I don't blame her. Look at her hair and make-up, even I would kill myself."

Dulha Mil Gaya is regressive and stale. The most creative aspect of the film are the characters names- apart from Shimmer, we have a flamboyantly gay cook named Lotus and a butler named Valentine.

The Boston Globe critic Wesley Morris once said that the only highlights in Oliver Stone's Alexander were in Colin Farell's hair. Well, the only highlights in this film are in Fardeen Khan's hair.

Chance Pe Dance: Movie Review

Ken Ghosh’s dance-drama takes no chance in experimenting with storytelling style and ends up being an extended version of the music videos that he used to direct before making feature films.

Chance Pe Dance is stuff legendary Bollywood biographies are made of. Sameer Behl (Shahid Kapoor) comes to Bombay with Bollywood dreams, struggles through the day as a courier boy and keeps failing in auditions for advertisements. More stereotypes are stuffed in as he refuses to take help from his dad in Delhi (Parikshit Sahni almost repeating his Idiot act), is thrown out from his rented flat by the landlord (Kurush Deboo still unable to surpass his Parsi performance) and comes away with his calculative companion (Vikas Bhalla making his comeback).

Soon Sameer is signed as the male lead in a film and friend Tina (Genelia D’Souza) is selected as the choreographer on the same project. The characterizations kinda remind of Naach ; Ram Gopal Varma’s film on dance, if you have heard of it by any chance. Both homeless and jobless now, Sameer sleeps in his car (yes, he could afford one after doing one lungi ad) and works as a dance teacher in a school. Regardless of the references it derives from Jack Black’s The School of Rock , the film fails to rock till the end credits roll.

Subsequently Sameer loses his film and is disillusioned. Tina encourages him to participate in a television talent-hunt show, the winner of which will win the same role that Sameer was to play. In his screen-test, Sameer dedicates his monologue to his mother in the same mould with which most Miss India participants mouth their monotonous thanksgiving speech.

The film starts on a promising note with smoothly synchronized opening credits but by its sixth scene you sense where it’s heading. The screenplay by Ken Ghosh and Nupur Asthana is conventional to the core, has predictable plot-points and lacks any dramatic graph. Kiran Kotrial’s dialogues lack depth and additional writing help by Manu Rishi (Oye Lucky Lucky Oye ) doesn’t add any value to the narrative. Ken Ghosh’s direction lacks as much conviction as his writing and it’s easy to comprehend how he hurries and fabricates the storytelling in the second half.

The story had enough scope to be humourous but the treatment is lame and laughable. Sameer’s training and team-building sessions with the school kids is rushed through a transition song and does not contribute to the central plot in any way. Though Shahid and Genelia make a cute couple on screen, their chemistry is concocted at the same dull and dreary speed with which Genelia rides her two-wheeler in those two hilarious scenes of the film. Sadly by the time she picks up pace in the climax, it’s a bit too late.

For a dance-driven film like this, the music should have been catchy beyond comparison. Though Adnan Sami and Pritam’s tunes don’t disappoint, it isn’t mind-blowing material. Choreography is a clearly the highlight of the film. Dance directors Ahmed Khan and international artist Marty Kudelka give challenging steps to Shahid Kapoor that he performs with effortless grace, panache and attitude. But too much of song-n-dance is detrimental to the film’s flow.

Finally the entire burden of carrying off this film lands on Shahid Kapoor’s shoulders and his chiseled flashboard abs prove of no help in this respect. He dances fabulously and acts convincingly but isn’t able to salvage the sinking ship. Genelia D’Souza is delightful and appealing. The kids try too hard to be cute. Zian Khan esp. has lost his childish charm.

Sadly, scripts are written for reality shows today but there is no real good scripting involved in feature films. So in times when dance talent-hunt shows on television promise more drama and entertainment, you find no good reason why to give this dance a chance.

Click Movie Review

The very first dialogue of the film says, “ Exposure ka matlab bare exposure nahi hota ” (exposure doesn’t mean bare exposure). Only if director Sangeeth Sivan could appreciate the opening line of his film, Clickcould have been a much better flick. Click is as barefaced a horror film can get with literal in-your-face thrill treatment. The spook strategy dates back to Ramsay days with white-faced ghosts popping out their white-eyeballs to colourless effect.

A ‘frame-to-frame’ remake of Thai film Shutter (2006), which was remade in Telugu asPhoto (2006), in Tamil as Sivi (2007), in English as Shutter (2008) before finally being remade in Hindi as Click . Sadly this reprint develops negatively.

A photographer Avi (Shreyas Talpade) and his girlfriend Sonia (Sada) accidentally run over their speeding car on a female and escape from the spot. Subsequently, strange silhouettes appear in photographs clicked by Avi and Sonia is haunted by some spirit.

It doesn’t take you long to realize that there exists some connection between a friend (Rehan Khan) who appears only in songs and a figure (Sneha Ullal) who appears only in snaps. But the film takes really long to establish that link, until it finally cuts into a ‘done to death’ flashback. That’s only after the heroine shows her concern for the hero with clichéd lines like ‘ Subah se tumne kuch nahi khaya ’, while the horror flick doesn’t show much concern for it’s story that lacks meat but is stuffed only with blood and gore.

Click clearly isn’t a thriller that comes with a ‘don’t miss the beginning’ tag. Riya Sen gets special thanks for a tacky item number in the opening credits, where the film absolutely disregards to acknowledge the original Thai film. The horror resorts to exaggerated spooky sequences that turn out to be a nightmare (literally). The writing is conspicuously contrived and scenes are stretched to extents that test the audiences’ patience. Comparatively the culmination is inventive and interestingly handled.

Expectedly the film relies a lot on the regular external elements of sound effects and camera tricks to induce thrills. Sadly Ramji’s cinematography is no ‘great shakes’ and is too tacky esp. for a film revolving around a camera. Sandeep Chowta’s background score hammers on your head. The foreign plot is traditionally Indianized with interrupting song and dance and Shamir Tandon’s music is equally lackluster with some screechy arrangements. Chirag Jain’s editing is too lousy for a horror film. Art director Narendra Rahurikar stuffs his sets with too many abstract artifacts that at times scare more than the ghost. To sum up, director Sangeeth Sivan lacks the technical finesse to handle the horror genre and ends up remaking an average story into an appalling film.

Both Shreyas Talpade and Sada strive hard to sustain the film but could do with better scripts. Sneha Ullal seems to have literally gone from ‘Ash to ashes’ and struggles hard to breathe life in her dead character to no avail. Chunky Pandey continues to ham miserably.

Click seems to be as manipulative as photo-shopped images. It simply fails to click.

Bhavnao Ko Samjho Movie Review

Bhavnao Ko Samjho is a new comedy Hindi movie of Bollywood which is directed and produced by Sunil Pal. Bhavnao Ko Samjho movie releases on 15th January, 2010 in Indian theaters. Bhavnao Ko Samjho movie introduces 51 stand-up comedians together.

Bhavnao Ko Samjho Casts:

Sunil Pal as Sunderlal:

Sunderlal is the son of Himmatlal in Bhavnao Ko Samjho Hindi film.

Raju Shrivastava as Daya:

Daya belongs to Gaya in Bhavnao Ko Samjho Hindi movie. He is a money lender in this film.

Johny Lever as Vivah:

He is a marriage Guru in Bhavnao Ko Samjho movie.

Sambhavna Seth:

She has acted as a dancer in Bhavnao Ko Samjho movie. She is an item girl in this movie.

Ahsaan Qureshi as Babulal Fansiwala:

Babulal Fansiwala is a lawyer in Bhavnao Ko Samjho film.

Dinesh Hingoo as Himmatlal:

Himmatlal is an industrialist and millionaire in Bhavnao Ko Samjho movie.

Navin Prabhakar, Parag Kansara, Sanghmitra, Khayali, Rajiv Thakur, Kapil Sharma, Gurpreet Kuggi and Sailesh Lodha are other leading casts of Bhavnao Ko Samjho movie.

Story, screenplay and dialogues have been given by Sunil Pal in Bhavnao Ko Samjho movie. Music of the movie has been given by Dinu and Tinu.

First time, Bhavnao Ko Samjho movie introduces “51 Stand – Up Comedians Together on Silver Screen.”

Synopsis of Bhavnao Ko Samjho Movie:

"Bhavnao Ko Samjho" is Hindi meaning of “understand the emotions”. The movie starts with a multi-millionaire, Himmatlal. He has lost his elder son and daughter-in-law in an accident. Now, he is survived by his grand daughter Suman and younger son Sunderlal.

Suman is the best for Himmatlal. After the death of Himmatlal the whole property gets transferred to the grand daughter Suman.

Now, Sundarlal starts making every possible effort to get back the property on his name. In this process, Bhavnao Ko Samjho story introduces many characters like the marriage guru, Vivah and the money lender, Daya.

Taking the property back creates a game for all characters. This game makes all the characters in Bhavnao Ko Samjho movie suffer. This unique quest for money makes Bhavnao Ko Samjho entertainingly hilarious.

Bhavnao Ko Samjho is a low-budged Hindi comedy movie of Bollywood just like Hello Hum Lallan Bol Rahe Hain movie. The movie introduces 51 stand-up comedians together and creates a Guinness Book of World Records.

Recently, Bhavnao Ko Samjho had introduced its promo on ZEE TV. The movie was introduced as Bhavnao Ko Samjho Show on ZEE TV. There is no big star in this movie but the movie has introduced the biggest comedy and comedians. Bhavnao Ko Samjho is running successfully in Indian cinemas from today, 15th January, 2010.

Pyar Impossible Movie Review

At one point in Pyaar Impossible, Alisha, a hottie played by Priyanka Chopra asks major geek Abhay, played by Uday Chopra, "Tumhe lagta hai ki log ek doosre ko sirf khoobsurti ki wajah se chahte hain?" That's really shallow.

She could have been talking about the film. Pyaar Impossible is one of those superbly shallow films that manages to offend you on every level - as a viewer, as a woman, as a mother. This Notting Hill-style rom-com is singularly charmless and absolutely impossible.

Pyaar Impossible is a vehicle for Uday Chopra who has also written and produced the film. Uday has cast himself as a lovable geek who recognises his limitations.

In one scene he even says, "Main koi prince charming toh nahin hun." Which is why the college queen Alisha is barely aware of his existence. He saves her life but she doesn't know what he looks like.

They meet seven years later in Singapore. She is now a divorced working mother - a fact she repeats again and again. And her six-year-old daughter Tanya is the most demonic child seen on screen since Damien terrorised us in The Omen.

Somehow, Abhay ends up as Tanya's nanny. In one of the script's many absurd moments, Alisha leaves her daughter with a male nanny whom she has never met.

Before you know it, Tanya is trying to set up her nanny with her mom. She has a sleep over at a friends house so mom and nanny can bond. The next day she even asks Abhay, "Give me the goss."

If this was my daughter, I would donate her to charity. Together Tanya and nanny also foil the rival, Varun, played by Dino Morea, who incidentally has also stolen's Abhay's revolutionary new software program.

If the plot description sounds convoluted, imagine what the film is like.

Director Jugal Hansraj stretches out this limp tale over two and a half hours. The film's message is just as garbled as the plot.

In one scene, Abhay demonstrates to Alisha that ugly people can't find love. So, he makes her unattractive and takes her to several bars. And she is so shocked to find that the boys aren't interested in her ugly avtaar that she starts to weep.

For most of the film though, Priyanka looks like a million bucks - it seems like Jugal and Uday have spent more time on her styling than the script. But for reasons unknown, she acts like a hyper teenager.

Uday plays the nerd with absolute sincerity but it's hard to summon up any affection for him. And Dino seems to have decided that expression is a waste of time. His face just stays blank.

Pyaar Impossible is depressingly dim-witted.

Aamras: Movie Review

In times when people pick packagedMangola movies anytime across the year, a seasonal slice of life homemadeAamras sounds appetizing but if not prepared properly won’t give much mazaa. This film coming from the producer ofBheja Fry precisely faces that problem – the characters are fleshed out but the story lacks meat.

Aamras is a quartet concoction of secondary school girls who are the best of buddies. Pari (Ntasha Bhardwaj) is the pampered brat. Jiya (Vega Tamotia) is the accommodating types who dreams of a Paris trip through a painting competition. Rakhi (Maanvi Gagroo) is upbeat and outspoken while Sanya (Anchal Sabharwal) is the kitty party cat.

So what’s the story you ask? There isn’t much in this wafer-thin chapter compassing their coming of age days. Director Rupali Guha starts her story with a khatta meetha feel-good feel (characteristic of father Basu Chatterjee’s films) but soon this aamras tastes like aam-ka-achar as masala is mixed in the treatment. For no reason, you are taken for a guided Mahabaleshwar darshan tour and given gyanon the cheapest available Strawberry crush. A half-baked romance track is stuffed in and there’s also a supposed tribute to Parimal Tripathi from Hrishikesh Mukherjee’s Chupke Chupke which doesn’t amuse at all.

The performances by the four female leads are like raw mangoes – not fully matured but tangy and tasty. Ntasha Bhardwaj has a pretty personality and is poised in her high-class bitchy act. Vega Tamotia plays the upright personality and gives an honest and expressive performance. Maanvi Gagroo is the liveliest amongst the four and commands good screen presence. Anchal Sabharwal takes a backseat though fills in her part adequately.

Aamras can qualify as a decent recipe for a good novel. It’s too dilute for a film and ends up being an ordinary fare. ‘Aam’ras!