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KITES MOVIE REVIEW

Cast: Hrithik Roshan, Barbara Mori, Kangna Ranaut, Kabir Bedi, Anand Tiwari, Yuri Suri
Director: Anurag Basu
Producer: Rakesh Roshan
Banner: Film Kraft Production
Music: Rajesh Roshan
Sound: Baylon Fonseca
Lyrics: Nasir Faraz, Asif Ali Beg
Cinematography: Ayananka Bose
Story/Writer: Akash Khurana, Anurag Basu, Robin Bhatt

Rating:

Hrithik roshan's Kites Hindi,English and Spanish Movie review:

After long gap hrithik back with his new fil kites, Let’s get this straight – Kites is no masterpiece. Rakesh Roshan comes up with a story which dates back to the Kati Patang era. Romance is brewed amidst Bollywood clichés where the heroine invites hero to dance in rains while leaving inhibitions behind or the hero lends his coat to the heroine when she is drenched. The characterizations are conventional and the plot is predictable. What still keeps you attached to Kites is Anurag Basu’s sublime direction where he binds you emotionally with the sheer intensity of this heartrending love story.

Story:

Jai (Hrithik Roshan) earns his livelihood in LA by taking Salsa classes and doesn’t mind some extra bucks by crooked means. Luck comes knocking at door when one of his students Gina (Kangana Ranaut) falls in love with him and he gets to know she is daughter of a millionaire, Bob (Kabir Bedi). His pretentious affair with Gina introduces him to Natassha (Barbara Mori), fiancée of Gina’s brother Tony (Nicholas Brown). Jai and Natassha hit it off instantly and discover true love in their lives, much against their manipulated relationships. Together they elope inviting the angst of Tony who is out to get them at any cost.

Analysis:

Woody Allen’s Match Point is evidently the reference point for the core correlations in the film. But come to think of it, thematically Kites isn’t much different from Rakesh Roshan’s decade-old flick Koyla where Shah Rukh Khan elopes with the fiancée (Madhuri Dixit) of the antagonist (Amrish Puri) who is out to get them. Also writers Robin Bhatt and Akash Khurana seem to draw from Deepak Tijori’s character from their first script Aashiqui for the friend’s character (Anand Tiwari) here who helps them on the run.

However director Anurag Basu scores in inciting sparkling chemistry between the lead pair as Hrithik Roshan and Barbara Mori take to each other naturally. Despite being unfamiliar with each other’s languages, they communicate through symbols and connect through momentary monosyllables establishing that love has no language. While the freshness of Barbara’s face is well-tapped, at the same time there is also a desi streak in her looks that wins her a familiar stamp of approval. She appears cute while speaking in broken English and radiates a stimulating smile that brightens up even the most mechanical scene. The palpable passion between Hrithik and Barbara when they come close for the first time is almost a reconstruction of a scene from Anurag Basu’s Life in a Metro where forbidden lovers Shilpa Shetty and Shiny Ahuja share a moment of intimacy. The final frame of the film is visibly derived from that of James Cameron’s Titanic and its then that you realize that the two films also share similar character conflicts – the hero winning villain’s fiancée.

After a point of time the cat-and-the-mouse game between the protagonist and antagonist through continual chase sequences becomes repetitive and the narrative tends to get one-dimensional. In between there are some lighthearted Bonnie and Clyde moments when the couple attempts to rob a bank or run away with a car. But the fun is cut short with the focus of the film primarily being on their romance. Since the storytelling is in the flashback mode, one can clearly foresee the impending vengeance of the villain. So in its constant anticipation, the viewer isn’t able to wholeheartedly appreciate the refreshing romance.

Artist Performance:

Hrithik Roshan puts his heart and soul in the character and is impressive. His emotional outbursts are stirring, action is convincing, dancing is flawless and chemistry with Barbara is just immaculate. Barbara Mori looks gorgeous and also comes up with a natural performance. Nicholas Brown makes for a good negative lead but is marred with a conventional characterization. Anand Tiwari is a pleasant change as the hero’s sidekick and does decent in his part. Kangana Ranaut doesn’t get much scope in her special appearance and is passable.

Technical and Other Departments:

Technically the film is packaged with finesse. Whether it’s the countryside ambience of New Mexico, picturesque fountains of LA or the freeway chase in US, the virgin locations are well exploited by cinematographer Ayananka Bose. Each frame of the film is captured with richness and grandeur. Akiv Ali’s editing is watertight as he smartly fuses past and present in the narrative that is set in a constant flashback switching mode. Hrithik grooves amazingly to choreographer Flexy Stu’s steps in the only dance number from the film in the initial reels. Thankfully none of the songs are lip-synched but Rajesh Roshan’s music isn’t really much to rave about. The action sequences are credibly and dynamically directed.

Final View:

With a metaphorical title, no lip-sync songs, crisp length, cross-country romance, subtitled (and not dubbed) Spanish lines and foreign premieres, Kites is certainly targeted more at the international market. But down at heart, it’s intensely Indian.

Watch it with no strings attached and you might like Kites . Otherwise this doesn’t come through with flying colours.

AWARA MOVIE REVIEW

Banner : Thirupathi Brothers
Casting : Karthi, Tamannah, Milind Soman, Jagan, Sonia and others
Music : Yuvan Shankar Raja
Cinematography : Mathi
Producer : Lingusamy
Director : Subash Chandrabose
Release Date:21 May, 2010

Rating :

Awara Telugu Movie review:

Story:

The story is set on the backdrop of Bangalore and here lives Shiva (karthik) along with his friends. He is in a desperate need of job and his friends also help him. However, he has got an attitude that is hard to comprehend. Shiva's life takes a turn when he sees Charulatha (Tamannah) and it is love at first sight for him. One day, he goes to the railway station in a friend's car to receive someone when Charulatha along with her uncle come and get inside the car. They assume him to be the car driver and compel him to take them to Chennai. Midway, during a stop, Charu asks Shiva to dump her uncle and they set off to Mumbai. Why did they go there? What is Shiva's link with Mumbai? Who is Bali (milind soman)? All this forms the rest of the story.

Analaysis:

First half of the movie is entertaining. Second half is little heavy with continuous fights. The plus points of the movie are engaging storytelling and the lead pair. On the flip side, the story line might prove to be too thin for a film of 2 and half hours of runtime. On a whole, Awara is a decent road movie with adequate entertainment.

Artist Performance:

Karthi shed some weight compared to his debut film Yuganiki Okkadu. He has unique sweetness and innocence his face though he looks rough. He should be appreciated more because he has taken pains to learn Telugu and dub his own voice. For a first timer he has done reasonably good job with dubbing and he will improve his diction and flow as he do more movies. He is a decent actor. Tamanna is endearing as a girl in trouble. Sonia (Happy Days fame) did the role of one of friends of hero and she is good (she didn’t dub her voice). Milind Soman is alright as the villain. All other actors are of non-Telugu origin.

Technical and Other departments:

Basically it is a road movie where hero who is in love with heroine goes to any extent to be in presence of her. He does everything to protect her from all evil forces and there by winning her love. Films of this nature are extremely difficult to narrate because they have single thread and they don’t afford the luxuries of typical Telugu/Tamil commercial paddings. Director Linguswamy comes up with an engaging first half, but runs out of ideas in second half where he had to fill it up with continuous fights. Screenplay of the movie is very good except for the latter portion of the movie.
Music by Yuan Shankar Raja is nice. Most of the songs in this film are situational with montage shots. Cinematography by Mathi is good. Dialogues are laced with humor. Editing by Anthony is adequate. Fights are well choreographed.

Final View:

The film will remind us of a Hollywood thriller but then it has been added with enough nativity to make you feel at home. While the first half goes about with the regular elements of comedy, romance and some action sequences, it is the second half that gives the real twist and takes it to an interesting climax. It is the subject of the film that might not appeal to all section of the audience and this is for those adrenaline pumping and fast paced movie lovers. Technically, it is a very good product so the chances of hitting the success mark are good at the box office.

BUMM BUMM BOLE MOVIE REVIEW

Cast :: Atul Kulkarni, Darsheel Safary, Rituparna Sengupta & Ziyah Vastani
Music :: M.G. Sreekumar

Director :: Priyadarshan

Producer :: Percept Picture Company & Sanjay Ghodawat Group

Rating:

Bumm Bumm Bole Hindi Movie Review:

Story And Movie Analysis:

When the only breadwinner of a penniless family is employed on monthly salary of Rs 3000, the first thing he buys is two pair of shoes for his kids. The brand of the footwear is Adidas and the amount he might have spent is perhaps as much (if not more) as his income. To accommodate a brand placement, director Priyadarshan muddles up with principal priorities of life thereby mixing up neorealism with commercialism. That’s where Bumm Bumm Bole falters.

An official remake of Majid Majidi’s Oscar nominated cult classic Irani film Bacheha-Ye-Aseman (Children of Heaven), comparisons are inevitable with the original. The film does pale with respect to the emotional connect that the viewer has with the central child characters but other than that Priyadarshan wins in bringing out an appropriate essence of innocence from the kids.
Priyan takes the setting to Darjeeling where Khogiram (Atul Kulkarni) and his wife (Rituparna Sengupta) have lost their jobs at the tea-estate and are finding it difficult to make ends meet. Their son Pinaki (Darsheel Safary) misplaces his sister Rimjhim’s (Ziyah Vastani) sandals and to save being dispelled from their school, the siblings share Pinaki’s shoes. Keeping it a secret from their parents, Rimjhim steps into shoes that are too big for her small feet, while Pinaki is delayed in his daily school routine while waiting to swap shoes with his sister. Until when an inter-school marathon is announced in which one of the prizes is a brand new pair of shoes!

The primary appeal of the film lies in the simplicity of its plot and the ability to bind you with minimalism. But amidst this when you have a fancy song merely enforced for barefaced in-film branding, it just doesn’t gel with the candour conduct of such cinema. The innocent chemistry of the siblings is brought out persuasively and the baby girl (Ziyah Vastani) wholly wins your heart with her cute charm.

Artist Performance:

Performances from both the child artists are marvelous. Darsheel Safary is delightful without any Taare Zameen Par hangover. He firmly carries the film on his small shoulders and doesn’t disappoint one bit. Neither does he overact nor does he appear immature – he’s perfectly poised. Ziyah Vastani is one of the most endearing child actors ever, flashing a cute smile every once in a while. She looks absolutely adorable as she runs in baby steps to exchange footwear with her brother. She is clearly the scene-stealer. Atul Kulkarni does a good job. His constantly fluctuating belief and disbelief towards God through the film is amusing. Rituparna Sengupta doesn’t get much scope.

Technical And Other Departments:

The screenplay is uncomplicated yet eventful with Pinaki’s endearing attempts to keep the secret of lost shoes from his parents and subsequently win a new pair for his sister. However it strays in between with Khogiram and Pinaki’s gardening exercise where they encounter a sugar-sweet dadi maa (Sulbha Deshpande) who rewards them generously for watering her roses. Also a Maoist terrorist track is incorporated in the narrative which has no connection with the central theme of the film. A child’s unknowing involvement in a terrorist activity was more compellingly captured in films like Santosh Sivan’s Tahaan and Piyush Jha’s Sikandar . Here it doesn’t contribute to the story beyond a single scene. Amidst these guns and roses, the principal plot of Pinaki’s struggle gets momentarily derailed.
A blatant blooper is the fact that teachers in Pinaki’s convent school converse and teach in chaste Hindi. The marathon in the climax is too loosely directed lacking the essential gripping moments.
Cinematographer Selvi captures the lush greenery of Darjeeling to a menthol-cool effect on his lens and imparts an ethereal ambience to the film. M G Sreekumar’s background score has a saccharine-coated childish charm to it. Manisha Korde’s dialogues are apt but the language could have been toned down considering the target audience predominantly comprises of children.

Final View:

Bumm Bumm Bole is nowhere close to the class of neorealistic masterpieces like Kanchivaram that Priyadarshan directs once in a decade. However its still notches above potboilers like Garam Masala, Bhagam Bhag, Mere Baap Pehle Aap and Billu , the kind of stuff that Priyadarshan serves us through the decade.
Bumm Bumm Bole is watchable but simply for its ‘shoe-string’ of an idea.

VILLAIN MP3 SONGS DOWNLOADS

VILLAIN- VIKRAM (2010)

Cast & Crew :: Vikram, Aishwarya Rai, Prithviraj Sukumaran, Prabhu.

Music :: AR Rahman.

Director :: Mani Ratnam.

Producer :: Mani Ratnam.

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