ROBO TELUGU MOVIE REVIEW

Star Cast: Rajinikanth,Aishwarya Rai,Danny Denzongpa

Music : A. R. Rahman

Cinematography : R. Rathnavelu

Director :S.Shankar

Producer :Kalanidhi Maran,Hansraj Saxena

Written by: S.Shankar,Sujatha Rangarajan'Karky Vairamuthu

Editing : Anthony Gonsalves,Studio Sun Pictures

Distributed by : Sun Pictures,FICUS Entertainment

Release date: 1 October 2010

Languages : Telugu, Hindi, Tamil

Budget : 162 crores

Thearter Watched :Hollywood, Guntur

Rating:

RoBo, RoBoT, Endhiran Movie Review:

Rajnikanth is back. And what a bang he makes! At 61, the much worshipped Indian star does the unthinkable. If you thought only Sylvester Stallone could do an action film at 60 plus, you got to watch Robot. The film is yet another show-reel for the star who so effectively went on to become one of the biggest India stars internationally. But more importantly it is a show-reel for director Shankar and an example for other Indian directors to emulate.

Story:

well Coming in to script Robot (Enthiran) does not essentially have the most interesting story. Nor is it believable. It's about a robot, which is developed by ace scientist Vaseegaran (Rajnikanth). Vaseegaran invests 10 years of his life on the robot with a dream of gifting it to the Indian army. But when he is done the robot is branded as dangerous as it does not have emotions. Vaseegaran works on it and tried programming emotion into it. While his experiment works, it creates clashes in his personal life as the Robot falls in love with his girlfriend (Aishwarya Rai Bachchan). There is also Vaseegaran's guru Professor Bohra (Danny Danzongpa) who has his evil motives and wants Vaseegaran's creation for himself.

Brief Review :

Dr.Vasi(Rajnikanth) creates a robot for 10 years to help the society in need. Special Features of robot : A human who is not born, but is created. He can dance, sing, fight, is water and fire resistant. He can do all that a human can and more. He feeds on electricity. He takes instructions literally. Where a human can lie to save himself, this robot cannot lie.

Where he has a razor sharp memory and can memorize an entire telephone directory by just running through the pages, he cannot understand human emotions. Dr. Vasi upgrades Chitti’s processor and simulates human emotions without realizing the repercussions. Chitti gets transformed. He can now feel and the first feeling that he discovers is Love. Will this love come in the way of Dr. Vasi’s purpose of creating Chitti? Will Dr. Vasi’s own creation destroy him?

A title like ROBOT automatically puts tremendous responsibility and pressure on the director’s shoulders. And ROBOT is not merely a display of VFX, but it also has soul, a story to tell. At first, ROBOT comes across as a clash between the virtuous and wicked [Danny Denzongpa]. But ROBOT changes gears in its post-interval portions as the focus shifts to the creator [Rajnikant] and his creation [Rajnikant].

Artist Performace:

ROBOT is a Rajnikant show from start to end. And no other actor, not from Bollywood at least, would be able to do what he does with such amazing ease.Rajnikanth scores in his performances. He carries two roles really well. While on one hand he needs to play an absorbed scientist he plays the mechanical robot with equal ease. Aishwarya looks ravishing and does her bit very effectively. It's remarkable that both leads don't look anything close to their actual age. Ditto with Danny, who looks dapper and puts up class act.

Technical And Other Departments:

The screenplay moves to a definite end. The dialogues (Hindi) have been done well and they manage to keep the comic element alive, wherever necessary. The film is shot extremely well - money spent on it showing on each shot that is taken. It is edited stylishly. Sound designing - a key area in a science fiction like this - is top notch. And so is the background music. The only glitches probably are the songs. They lyrics are not exactly poetic and neither is it AR Rahman's best work. But then, you would hardly listen to lyrics considering the visuals are as arresting and choreography as grand.

Analysis:

It’s a Rajnikant film and it would be incomplete if his loyal fans don’t get to watch his stylish actions and feats. Thankfully, ROBOT showcases it all. He can glide on the railway tracks, run horizontally on a moving train, transform into an Anaconda, can swallow helicopters and even fire at people with his fingers, without using a pistol. These are truly clap-trap moments!

Even otherwise, the screenplay is really well penned and absorbing. While the film is a super ride from start to end, it’s the penultimate 25 minutes that leaves you awe-struck and speechless. You can’t imagine a Hindi film having such an out of the world climax.

There will be pandemonium inside theatres when the climax unfolds, I am sure. Let me confess, it’s the mother of all climaxes! Only thing, Shankar could’ve controlled the length of the film. It could’ve been shorter by at least 10 to 15 minutes, which includes doing away with a song or two. Of course, like all Shankar movies, the songs are filmed most imaginatively on exotic locales, but what’s the point of having songs if they act as speed breakers?

That Shankar ranks amongst India’s best directors is well known by now and ROBOT only cements the fact. His vision and execution of the difficult subject deserves the highest praise, in fact distinction marks. He not only dreams big, but the outcome is incredible too. A.R. Rahman’s music doesn’t compliment the content of the film, but like I pointed out earlier, every song has been filmed exquisitely. The action and chase sequences are outstanding [Yuen Woo Ping, action choreographer in the MATRIX and KILL BILL sequels, was the stunt coordinator]. Visual effects are spectacular [Stan Winston Studio, the studio behind JURASSIC PARK, PREDATOR, TERMINATOR, IRON MAN, AVATAR, provided the animatronics technology]. Cinematography captures the grand production values with precision. The locations of Austria, Machu Picchu in Peru, U.S.A. and Brazil only enhance the visual appeal of the film. The sets are mind-blowing. Dubbing is near-perfect.

Final View:

Overall, Robot is going to be a trendsetter. Shankar shows that he could very well keep the Indian sensibilities intact while making a top of the line science fiction in line with Hollywood films. Of course at almost 3 hours long Robot is a very long exercise and that takes away some marks. But watching Rajnikanth - the boss perform is priceless!

It’s the Big Daddy of all entertainers. Miss it at your own risk!

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SARADAGA KASEPU MOVIE REVIEW

Genre: Comedy
Type: Straight

Banner: Sri Keerthi Combines

Cast: Allari Naresh, Srinivas Avasarala, Madhurima Benerjee, Jeeva, Ahuti Prasad, Kondavalasa, MS Narayana, Krishna Bhagawan, Jayaprakash Reddy, Devi Charan, Duvvasi Mohan, Sana & Jayalalitha

Music: Chakri

Cinematography: Loki


Editing: Basva Paidireddy


Art: MouliStory: Sankaramanchi


Dialogues: Padala Sivasubramanyam


Screenplay - direction: Vamsy


Producer: ML Padma Kumar Chowdary


Release date: 17 September 2010


Rating:

Vamsy's New Film "Saradaga Kasepu" Telugu Movie Review:

Story:
Srinivas (Srinivas Avasarala) completes his studies in USA and returns his hometown. Rangababu (Allari Naresh) is the driver to Srinivas. Srinivas’s father (Jeeva) is a greedy person and he wants Srinivas to get married to Manimala (Madhurima Benarjee) who is the daughter of a rich man and retired military officer (Ahuti Prasad). Srinivas decides to swap roles with Rangababu so that he could test the character of his future-in-laws. Things go wrong as they reach the house of Manimala. The rest of the story is all about the comedy of errors.


Artist Performance:
Allari Naresh is a fine comedy actor and Vamsy enhances Naresh’s comedy timing. Srinivas Avasarala who came up with an amazing job in Ashta Chemma has limited scope in this movie and he has done well. Madhurima Benerjee is nice. Ahuti Prasad is hilarious as an old man obsessed with punishing others for trivial mistakes. Krishna Bhagawan entertains again with his typical dialogue delivery. Jeeva, Jayalalitha, Sana, Kondavalasa and Duvvasi Mohan are adequate.


TEchinal & Other Departments:
It’s a film of ‘comedy of errors’ genre. Vamsy made sure that his kind of comedy is clicked in this movie. Screenplay of the movie is predictable and direction is old-fashioned. He made sure that he uses trees to maximum effect in a song. Music by Chakri is adequate. Background score and re-recording is bad. Director Vamsy rendered a couple of songs. Songs appear as speed-breakers to the narration. Cinematography by Loki is average. They haven’t used proper lighting in outdoor shoots. Dialogues by Padala Siva Subramanyam are good. Production values of the movie are cheap.


Analysis:
First half of the movie is entertaining. Second half is predictable and climax is routine. Plus points of the movie are Allari Naresh and comedy. The negative points are predictable second half and cheap production values. Though it is a typical story with a predictable screenplay, Vamsy’s comedy timing and dialogues makes Saradaga kasepu is decent watch.

Final View:
The film is a typical Vamsi trademark movie so those who understand his flavor will connect to it wellJust ok for time pass as the title sounds.

DABANGG MOVIE REVIEW

Director: Abhinav Kashyap

Producer :Arbaaz Khan,Malaika Arora,Dhillin Mehta

Written by : Dilip Shukla,Abhinav Kashyap

Star Cast: Salman Khan,Arbaaz Khan,Sonakshi Sinha,Sonu Sood,Vinod Khanna,Dimple Kapadia Music : Sajid-Wajid

Cinematography: Mahesh Limaye

Editing : Pranav Dhiwar

Studio: Mehboob Studio,Filmcity

Distributed by: Arbaaz Khan Productions,Shree Ashtavinayak Cinevision Ltd

Released date :10 September 2010

Rating:

Dabangg Hindi Movie Review:

Story and Movie Analysis:

Dabangg means fearless. Someone who doesn’t care a damn! As much as the film doesn’t care a damn for coming up with any innovative storyline. Like the intrepid Chulbul Pandey who tries to intermittently hide his soggy eyes behind his sunglasses, the film tries to camouflage its deficiency of substance with an abundance of Salman’s splendid style.

So what you have here is a masala potboiler with customary ingredients of two stepbrothers, a doting mother, a romance track, an item number, five action sequences, a topless Salman scene and a happy end. To cover up the conventionalism of his script, director Abhinav Singh Kashyup makes the action director and editor work overtime. And to make Salman Khan’s character look strong and supreme, every other character in the film is diluted or diminished.

So you have a dauntless corrupt cop Chulbul Pandey (Salman Khan) who fears nothing amongst family, friends or foes. Family comprises of stepbrother Makhi (Arbaaz Khan) and stepfather (Vinod Khanna) with whom he shares a love-hate relationship. Girlfriend happens to be village belle (Sonakshi Sinha) with whom he insists for a love-love relationship. Foe is the dubious goon (Sonu Sood) who will be ridiculed subsequently for his hole-some name Cheddi Singh and punched hollow in the climax.

Unarguably modeled on lines of Salman’s last hit Wanted , Dabangg is as much slick on stylized action, dialogue dramebaazi , a commanding protagonist and Salman’s signature dance steps. From his mortal combat entry sequence, to an introduction song, to the action-packed interval point (where he shields the heroine) to the climax tussle where he goes topless, Dabangg follows the same graph as Wanted in terms of its treatment. Unfortunately it fails to follow suit of Wanted in terms of its storytelling with a flat narrative.

One doesn’t expect an intellectual or inventive story from a Salman Khan film but the writing by Abhinav Kashyup and Dilip Shukla is pretty predictable and dated. Other than some domestic drama, a lighthearted love story and some heavy-duty action (where the same scoundrel-sidekick is mauled thrice), there isn’t much that happens in the first half. After his initial induction, the villain almost goes missing only to resurface in the middle of the second half. And while you expect a political conspiracy would initiate on his return, the film heads towards a routine climax.

Unlike sibling rivalry dramas like Gunga Jumna, Deewaar or Ram Lakhan where the younger brother is a competent contender to the elder, here Arbaaz ends up being a puny pawn before the glorified Salman. The potential drama between the two brothers is substituted by dishoom dishoom . Also Mahesh Manjrekar’s death was as needless as his existence in the plot.

What still makes Dabangg click is Salman Khan, Salman Khan and Salman Khan. He is the literal one-man army of the film and Bollywood’s answer to Rajnikant when it comes to single-handedly mincing meat of the countless crooks and then flipping his sunglasses with as much panache. Dressed in formals throughout and with a spruced up moustache, Salman looks handsome like never before. He flirts with his girlfriend so casually that you find him charming. His signature dance steps are an ideal tribute to non-dancers and yet so groovy. When he cries on his mother’s death, his face radiates innocent vulnerability. And even when his shirt tears up in automated mode in the final fight scene, you look forward to his topless torso and fearless fight.

Artist Performance:

Other than Salman Khan who shines bright, Sonakshi Sinha looks refreshing and ravishing and shares good chemistry with Salman Khan. Arbaaz Khan is marred by weak characterization and ends up being a secondary cast caricature. Sonu Sood plays the archetypal villain. Malaika Arora fills in as the standard item girl. Everyone else from Om Puri, Anupam Kher, Mahesh Manjrekar, Vinod Khanna to Mahie Gill are wasted.

Technical Departments:

Sajid-Wajid’s tunes work pretty well for the film. Sandeep Shirodkar’s background theme track for Salman Khan is catchy. The raw and power-packed action sequences by Vijayan Master are a major highlight. Pranav V Dhiwar edits the film flawlessly amplifying the action and magnifying the heroism of Salman Khan to good effect. Cinematographer Mahesh Limaye aptly captures the beauty and bleakness of Wai village.

Final Veiw:

Try to find a novel storyline and there is none in Dabangg . Try to find Salman Khan and there is nothing else. You are the die hard fan of sallu just go and watch it.

KOMARAM PULI MOVIE REVIEW

Film: Komaram Puli

Cast: Pawan Kalyan, Nikisha Patel, Manoj Bajpai, Sharanya, Shriya (in guest appearance), Ali, Nasser, Girish Karnad, Charan Raj, Brahmaji, Haneefa, and others

Music: A.R.Rehman

Lyrics: Chandrabose

Cinematography: Binod Pradhan

Editing: VijayanAction: Tinu Varma

Art: Anand Sai

Produced by: Singanamala Ramesh

Banner: Kanakaratna Movies

Story, screenplay and directed by : S J Surya

Release date: September 10, 2010

Theater watched : Hollywood,Guntur.

Rating:

Pawan Kalyans New film Komaram Puli Telugu Movie review:

well The kushi combination expect A.R Rahman seems to be not worked for pawan kalyan this time. The film was very boring and long awaited chiru family fans are very dissapointed after wacthing this film.

Story:

When Coming in to Story Komaram Puli (Pawan Kalyan) is an upright IPS officer and wants to change the police system. He saves Prime Minister of India (Girish Karnad) from an assassination attempt in Bangkok. So PM honours him with award. On the same dais Komaram Puli asks PM to provide a team of honest police officers to change system and instill sense of discipline in the police department. He is provided a team and a special office. Within no time he brings change and people start perceiving the police system in different way. One day, a mother of a missing police officer calls him and asks him to find out the whereabouts of her son and that leads to direct confrontation with a don Al Saleem (Manoj Bajpai). He soon learns that the nexus between police officers and this Al Saleem is deeper. How Komaram Puli brings down the empire of Al Saleem forms rest of the story. In between, a girl posing as lady cop Madhumati (Nikisha Patel) also romances with him.

Artist Performance:

Pawan Kalyan mouths some clap worthy dialogues especially pre-climax dialogues are superb. And also he oozes ‘power’ in looks, in eyes and in his body language. Pawan Kalyan shoulders the film and tries to lift the interest in even lousy situations and in badly written scenes. Especially when he gives speech after the death of two police officers in the second half, it makes us to think for a moment. He also looks very handsome in this movie.

Sharanya as mother is superb. Her dialogues are impressive. The other scene-stealer in the movie is Shriya. She looks damn hot in her ‘Docheyi ..’ song. New heroine Nikisha Patel has good physique and has put in her best effort even though her character is not etched well. She may get noticed for her sizzling beauty. Manoj Bajpai is okay but his makeup is gawdy. .Nasser is okay. Ali’s comedy is poor.

Technical and Other Performance:

A.R.Rehman’s music is good for ears, than on screen. Technically the film is not that great to talk about. Binod Pradhan’s camera and editing are tacky. Moreover the D.I and Visual effects are awful. It is clearly visible that director has ‘wasted’ lots of money for ‘unnecessary things’ like filming climax scene amidst planes, a lengthy action sequence in Bangkok, unimpressive but costly sets for songs. That expenditure has not enhanced the visual splendor. As a director, S J Surya has not shown any inspiring moments like he did in his early films - Vaali and Khushi. His script is mediocre and some of his scenes are illogical. Climax scene is similar to the recently released ‘Gaayam 2’.

Movie Analysis:

First things first. Komaram Puli is a big letdown. The main villain of the film is obviously - the director. S J Surya fools the audiences with silly script, laughable situations. With run-of-the mill story, tacky narration by the director, B-grade visual effects, dragging action episodes the film induces boredom. But Pawan Kalyan tries hard to save the film with his stunning performance. Pawan Kalyan completely shoulders the movie with his some impressive monologues. His ‘power’ packed dialogues are main strength. S J Surya who gave one of the biggest hits in Pawan Kalyan’s career with Khushi has tried to put Pawan Kalyan in different angle in this cop-action drama. But the script (or lack of it) is predictable, and the narration is lethargic. The movie looks like another version of Sai Kumar’s Police Story kind of films. You have seen such stories umpteen times, right from Rajashekar’s early movies to Sai Kumar’s cop dramas.

The film is interesting only in two scenes – before the interval and when Pawan delivers heart-warming dialogues after the death of two police officers in the second half. Those scenes are clap worthy. Some of the dialogues make us glued to the seats despite the proceeding seem illogical, thanks to Pawan Kalyan. The entire romantic drama between Pawan Kalyan and the heroine in the first half is boring. First of all the script itself is monotonous. Some of them are very laughable. Lack of entertainment is another drawback. Songs on screen are pale. But fans can enjoy Pawan Kalyan’s power packed dialogues in the second half. Shriya’s item song is another paisa vasool material.

Final View:

Except Pawan Kalyan’s performance, Komaram Puli is badly made movie. Pawan Kalyan tries to save it with his clap worthy monologues, but the movie’s script is illogical, scenes are mediocre, direction is awful. Director S J Surya is the main villain of the movie. He has taken producer and hero for a ride. On the whole, it is a big letdown.

WE ARE FAMILY MOVIE REVIEW

Director: Siddharth P Malhotra
Cast: Kajol, Kareena Kapoor, Arjun Rampal, Aanchal Munjal

Release date: 3september2010.

Rating:

We are Family Hindi Movie Review:

Story and Movie Analysis:

By now the world knows that Karan Johar’s We Are Family is an ‘official’ remake of Hollywood flick Stepmom (1999). What many might not know is that even the original wasn’t absolutely original and derived its roots from a 1950 film No Sad Songs For Me or the 1995 American TV series The Other Woman .

Here you have a screenplay originally credited to five Hollywood writers and Indianized by two Bollywood counterparts. By Indianizing Karan Johar doesn’t intend to place the plot in India. The producer can’t get over the NRI fixation and this time stations his story in Australia. Also perhaps an Indian setting could have been less convincing for the fact that a sauteli maa won’t be as sought after as the successor for the kids in a country where extended joint families would be a better bet. The nuclear NRI family setup gives more significance to the being of a stepmom.

For the makers, adding own elements equates to populating the plot with three kids instead of two in the original. Of course director Siddharth Malhotra, an erstwhile assistant to Sooraj Barjatya, also appends a marriage ceremony as an epilogue to the narrative.

The story is about Aman (Arjun Rampal) and Maya (Kajol) who are divorced yet cordially connected for the sake of their three kids. Aman has found new love in Shreya (Kareena Kapoor) and wants her to warm up to his kids. Despite Shreya’s genuine attempts, the kids give her a cold shoulder. And Maya doesn’t want Shreya to be anywhere in the close vicinity of her children. Until she is diagnosed of cervical cancer! Having only a few months to survive, Maya’s prime concern is the future of her kids and suddenly she sees Shreya as her ideal substitute.

Malhotra’s storytelling is crisp and he doesn’t splurge any screen-time in elaborating the background account of Aman and Maya or what lead to their separation. You never know or wish to know what went wrong between the two but at the same time also wonder what makes them so amiable despite the divorce. But you surely wish to know what happened to Karan Johar’s Indian culture endorsement when, in a scene, the mother apologizes to her eldest daughter for being responsible for her uncool persona by not allowing her to booze or have fun with boys. A sequence straight out of Baghban (the Rimi Sen – Hema Malini sequence), it doesn’t go in sync with the family feel of the film but culminates more prudently.

The terminally-ill protagonist in the film evidently brings back memories of Karan Johar’s earlier production Kal Ho Na Ho . But this one doesn’t succeed in becoming as optimistic and cheerful as the earlier attempt. Though the dying protagonist in both films believe in living life to the fullest, the female patient in We Are Family largely shapes the film as a tearjerker unlike the lighthearted effervescence of SRK’s KHNH . Also unlike KHNH where the therapeutic procedure was restricted to a single hospital scene in the climax, here the medical ordeal of Kajol is prolonged in the second half. Thankfully Malhotra evades the inevitable death sequence like in KHNH but not before including a long-drawn-out family photograph sentimental scene.

Like any Dharma Production is expected to do, even this one touches you heart strings with its poignant moments. The track of the eldest daughter who is more mature amongst the trio and her dislike towards Shreya shapes up interestingly. The theatrical clashes between the Kajol and Kareena adds density to the drama but at several instances you feel not much tension is buildup between the two and the drama reaches its pinnacle ahead of time. This clash of the titans faintly reminds of the Sridevi-Urmila Matondkar conflict from Judaai (1997) and concludes in a similar manner with the two women getting in sync.

Artist Performance:

Both Kajol and Kareena come up with convincing performances. Kajol as the matriarch is authoritative and confident as always. Watch her in the scene where she breaks down or where she reveals about her imminent death to her kids. Simply superb! Kareena gives a mature performance as the career-woman who moulds herself as a prospective mother. Arjun Rampal adds grace to his character and is decent in his part. He never exerts too much yet doesn’t get lost in the female dominated film. However his bearded look in the final scene was absolutely uncalled for. Aanchal Munjal as the elder daughter is poised and remarkable. The younger daughter Diya Sonecha tries too hard to be cute with her mugged up lines but is only partly amusing.

Other departments:

Mohanan’s cinematography comprises of too many close-up shots and with an almost ‘in-house drama’ one doesn’t get to see much of Australian exteriors. But no complains since the story doesn’t drift for external beauty. Editor Deepa Bhatia keeps the narrative tight though the climax could have been crisper. Shankar-Ehsaan-Loy’s musical score isn’t something you take home after the film. Niranjan Iyengar’s dialogues are decent but you can predict instances when the emotional lines would be repeated in the film for the effect.

Final View:

This is the kind of film where all the moms and stepmoms of the world are assured to cry buckets. Watch it for some ‘familiar’ entertainment.