DUM MAARO DUM MOVIE REVIEW

Film: Dum Maaro Dum
Cast: Abhishek Bachchan (ACP Vishnu Kamath) , Bipasha Basu (Zoe), Rana Daggubati (Joki), Prateik Babbar (Lorry), and Deepika Padukone
Director: Rohan Sippy
Produced: Ramesh Sippy
Written By: Shridhar Raghavan
Director of Photography: Amit Roy
Editor: Aarif Sheikh
Lyrics by: Jaideep Sahni
Music by: Pritam
Theater Watched:Pvr Cinema's , Hyderabad.
Release Date: 22 April 2011
Rating: 2.75 / 5

Abhishek Bachan and Daggubati Rana New Hindi Film Dum Maaro Dum Movie Review:
Dum Maaro Dum Dum Maaro Dum starts with a small montage of blockbusters of yesteryears including the likes of Sholay, Shaan, Saagar, to the recent Bluffmaster giving way to the logo of Ramesh Sippy Films. This boastful display itself raises your expectations from DMD sky high.

Story and Movie Analysis:
Lorry (Prateik Babbar) fails to bag a scholarship at an international university while his girlfriend Tanya (Anaitha Nair) does. Distraught for having been left behind, Lorry gets convinced to become a carrier for drugs in order to get the admission fee. Despite all precautions, he gets caught at the airport, the local peddler who got him into it is dead and the Baap of all goons, Michael Barbossa isn't known to anyone. Joki (Rana Daggubati) a local crooner is lovelorn for having lost out on his girlfriend Zoe (Bipasha Basu) to Drug Mafia Lorsa Biscuitta (Aditya Pancholi) who blackmails her to become his keep. Joki doesn't want his friend Lorry to lose himself the way his girlfriend did hence he tries saving him but comes in the bad books of Michael Barbossa.
ACP Vishnu Kamath (Abhishek Bachchan) is hired to steer clear Goa from all the drug dealings. He busts the crime rackets one after the other but stumbles upon a block - that of a so called Michael Barbossa who apparently hasn't been seen or heard off by anyone but has a major chunk worth 970 Crores of drugs under his wings.

All three stories are connected at one moot point - Who or rather where is Micheal Barbossa? Unraveling of this suspense forms the rest of the story. Directed by Rohan Sippy, DMD tries too hard to be stylish and snazzy and in the process loses out on its grittiness. The way Abhishek Bachchan breaks into the song Thyan Thyan appears very filmy. The first half of the film has a great build up to an interesting suspense drama but it starts trudging in the second half and even the revelation of the suspense is tad disappointing.

What works for the film is the slick editing by Aarif Shaikh and great cinematography by Amit Roy. The way Goa and its rave parties are captured is commendable. The film has too much dramebaazi giving a very 90s "Bollywoodish" feel.

Artist Performance:
Abhishek is super in the role of a tough cop whose life undergoes a U-turn when personal tragedy strikes. He projects the varied emotions such as rage, turmoil, helplessness, anxiety without going overboard. Much of the joy comes from watching Rana Daggubati infuse believability into his character. He's easy on the eyes and is a complete natural when it comes to acting. Bipasha shines in several moments of the film. Prateik [credited as special appearance in the titles] impresses a great deal. Aditya Pancholi is first-rate. Anaitha Nair does well in a brief role. Govind Namdeo is in terrific form. Muzammil [as Mercy] does a fair job. Gulshan Devaiya is tremendous. Hussain is okay. Vidya Balan [cameo] is alright. Deepika scorches the screen in the title track.

Technical and Other Departments:
Rohan Sippy has given the film his all. He has a unique style of telling a story, which is evident all through the film. But he's letdown by the screenplay writing in the second hour. The highpoints of the film include crisp dialogue and a popular soundtrack [music: Pritam]. The title track has already caught on and will prove to be a major crowdpuller, though there's a sizable section of cineastes who loathe its lyrics. 'Thayn Thayn' is catchy, but the placement of this song should've been better. Amit Roy's cinematography is top notch. In fact, the film bears a stunning look all through. Background score [Midival Punditz] is electrifying. Editing could've been sharper. Clocking in at roughly 2 hour and 05 minutes, it's much longer than it should be.

Final View:
On the whole, DUM MAARO DUM is like fast food that's high on calories, but falls short in the nutrition department. Yes, it's slick, stylish and well-crafted, but the fact remains that it lacks the power [in its second hour specifically] to create a dum-daar impression. Business-wise, DUM MAARO DUM caters more to the youth in metros than the hardcore masses in general. Its business in plexes of Mumbai, Delhi, Pune, Gurgaon, Chandigarh, Hyderabad and Bengaluru in particular will be the best. The Nizam-Andhra circuits in particular will also contribute a good chunk thanks to Rana Daggubati's presence. But the traditional circuits may not react as strongly. In a nutshell, the business is likely to be divided between metros and non-metros, between weekend and weekdays.

THANK YOU MOVIE REVIEW

Film : Thank You(Hindi) Cast & Crew :Akshay Kumar,Bobby Deol,Suniel Shetty,Irfan Khan,Sonam Kapoor,Celina Jaitley,Rimi Sen
Music :Pritam Chakraborty Cinematography :Ravi Yadav
Editing : Steven H. Bernard
Director : Anees Bazmee
Producer :Ronnie Screwvala,Twinkle Khanna
Story :Anees Bazmee
Distributed by :UTV Motion Pictures,Hari Om Productions
Release date : April 8, 2011
Watched Theater: PVR Cinemas, Hyd.
Running time : 140 minutes
Budget :Indian Rupee 58 crore
Rating:2/5

Akshay Kumar New Hindi Film Thank You Movie Review:
Bollywood seems to be undergoing times of rehashing. While some filmmakers are remaking films, some are plainly encashing songs of yesteryears to create some hype around their film. Anees Bazmee's latest release Thank You has it all. The film is not only lifted in bits and pieces from Anees's previous films like No Entry or No Problem but also has resemblance to films on infidelity like Biwi No.1, Masti, Shaadi No 1 etc. Moreover, Anees also packs in an item number featuring Mallika Sherawat and has a remixed cult number Pyar Do Pyar Lo. Now it only remains to see whether all this works in the film's favour or not.

Story:
Well Coming into Story, Thank You is a film about three lecherous husbands Raj (Bobby Deol), Vikram (Irrfan Khan) and Yogi (Suneil Shetty), big womanizers who openly cheat on their wives played by Sonam Kapoor, Rimi Sen and Celina Jaitly respectively. Of them all Sanjana (Sonam) loves Raj too much but starts doubting him and deploys a detective agent Kishan (Akshay Kumar) to prove this. How he works towards proving Raj guilty and in the process exposes Vikram and Yogi too follows through rest of the plot.

Artist Performace:
Akshay Kumar is fantastic in the role of an extra-marital counselor. His comic timing, as always, is hard to match. His performance is sure to be loved by the masses. Irrfan is known for his superb comic timing and he leaves an indelible impression yet again, shining in the best moments of the enterprise. In fact, even when the going gets tough [second half], it is Irrfan who keeps you glued to the screen thanks to the art of delivering funny, corny and cheesy lines with a straight face. Suniel Shetty contributes to some wonderful moments, while Bobby Deol looks out of place. Sonam Kapoor seems ill at ease. Also, her makeup is just not right. She looks glamorous at times, but there are times when her pale looks are hard to ignore. Celina Jaitley gets limited scope. Why does her character disappear in the second half? Rimi Sen is the best of the lot. Her sequences with Irrfan are truly funny. Mallika Sherawat sizzles in the 'Razia' track. Vidya Balan is wasted in a cameo. Mukesh Tiwari, Rakhi Vijan and Ranjeet get no scope. Smita Jaykar is fair.

Technical and Other Departments:
Like Bazmee's last endeavor NO PROBLEM, THANK YOU also suffers due to weak writing [screenplay: Bazmee, Rajiv Kaul, Ikram Akhtar, Nisar Akhtar and Rajan Agarwal], especially in its post-interval portions. What compounds the problem is that while the on-screen characters try too hard to make you laugh, you just don't react. The jokes are bland and the situations the three husbands land up in are far from funny. By the time the story reaches its conclusion, the viewer is already exhausted. Pritam's musical score is strictly okay. 'Pyaar Do Pyaar Lo' and 'Razia' are fair compositions, but the songs in the second half are of fast-forward variety. Ravi Yadav's cinematography captures the breath-taking locales of Canada very well. The film wears a glossy and grandiose look all through. Sandeep Shirodkar's background score is appropriate at times, but jarring at places as well. Story writer and director Anees Bazmee fails to bring any novelty in the story and this time around lacks in direction too.

Analysis:
On the whole, THANK YOU has a thoroughly entertaining first hour, besides Akshay-Irrfan's funny acts as its aces, but the weak writing in its post-interval portions throws a spanner in the works. What could've been an honest take on dishonesty fails to leave a mark eventually. After WELCOME and SINGH IS KINNG, one expected Bazmee and Akshay to get it right for the third time, but THANK YOU foils the chances of a hat-trick. Thumbs Down!

Final View:
Over all, Thank You is a feeble attempt at comedy. It may not get to welcome many people at the box-office

GAME MOVIE REVIEW

Film : Game (Hindi)

Cast & Crew :Abhishek Bachchan,Kangana Ranaut,Sarah-Jane Dias,Jimmy Shergill,Boman Irani,Anupam Kher,Shahana Goswami

Music : Shankar-Ehsaan-Loy

Cinematography : Kartik Vijay

Editing : Amitabh Shukla

Director : Abhinay Deo

Producer : Farhan Akhtar,Ritesh Sidhwani

Screenplay : Althea Delmas Kaushal

Story : Althea Delmas Kaushal

Distributed by : Excel Entertainment,Eros International Ltd.

Released date :April 1, 2011

Theater Watched :Pvr Cinema's, Hyderabad.

Rating: 2 / 5

Abhishek Bachan New Hindi Film Game Movie Review:

It's back to the theatres after a sabbatical. GAME is crucial for Abhishek Bachchan. Also for director Abhinay Deo, this being his first release [though he had signed DELHI BELLY much before he made GAME].But it Seems to be Big Disater for Both Ones .

Story:

Anupam Kher may be the owner of an entire island in Greece, but the billionaire isn't exactly a happy man. Why? Because despite his billions, he hasn't been able to save one of his daughters (Sarah Jane Dias) from the usual fate that befalls hapless young girls, nor is he able to buy the affections of his second daughter (Shahana Goswami) who hates him for abandoning them. But before he can avenge his misfortune and punish the people responsible for it, he is done away with. Who did it? Will chief investigating officer, Kangna Ranaut be able to find out?

Artist Performance:

GAME offers Abhishek ample opportunity to prove his mettle. He has delivered some really fine performances in the past [I'd like to single out GURU and KHELEIN HUM JEE JAAN SEY in particular] and he gets it right in the first hour. But no actor can rise beyond a weak script and that's precisely why he looks far from convincing in the post-interval portions. Kangna acts well and though she seems to have worked on her dialogue delivery, she stills needs to get her diction right. Especially when she converses in English. Sarah Jane Dias looks lovely and for a first timer, makes a decent debut. Anupam Kher doesn't really get ample scope, while Boman Irani is over the top this time. Jimmy Sheirgill has a miniscule role. Shahana Goswami is wasted, except in the lone sequence when she rebukes Anupam's claims. Gauhar Khan is alright. Mohan Kapur is first-rate. Benjamin Gilani is adequate.

Technical and Other Departments:

Shankar-Ehsaan-Loy aren't composers you associate with such a genre and the musical score doesn't add weight to the goings-on. Ram Sampath's background score is eclectic. Kartik Vijay Thyagarajan's cinematography is top notch and the stunning locales of Greece, Istanbul, London and Bangkok give the film a spectacular look. Even otherwise, the production values are of highest order. Dialogue [penned by Farhan Akhtar] are well worded at places. The action and chase sequences are pulsating, especially the one filmed in Istanbul.

Movie Analysis:

GAME is a story of four strangers - Neil Menon [Abhishek Bachchan], O.P. Ramsay [Boman Irani], Tisha Khanna [Shahana Goswami] and Vikram Kapoor [Jimmy Sheirgill] - who have been invited by the reclusive billionaire Kabir Malhotra [Anupam Kher] to his private island of Samos, Greece. A casino owner by profession, Neil has investments in various businesses, some legal and some not so legal. Ramsay is a politician from Thailand, who is running for elections. In fact, he is one of the most powerful men in Thailand. Vikram is a Bollywood superstar, recognized by all on the streets of India and Tisha is a crime journalist, with a career that is going nowhere. None of these characters know each other and neither do they know the billionaire who has invited them to Samos… and by the next morning they will wish they had never come. GAME bears an uncanny resemblance to the Dharmendra-Zeenat Aman starrer SHALIMAR and the more recent LUCK, but the similarity is limited to a number of people congregating at one place. Actually, GAME springs a surprise at the very start, with Anupam Kher spelling out the reasons for inviting the four people on his island. The turn of events thereafter, right till the conclusion of the first half, leave you impressed mainly due to the twists and turns that are hard to envisage. But the turn of events in the second hour leaves you bewildered. Abhishek's character travels from Istanbul to Bangkok, then Mumbai the very next moment, executing the plan with flourish as if it was child's play. Difficult to absorb. Then comes a revelation: Abhishek's true identity, which is very filmi, very clichéd, very formula-ridden… in fact, it seems straight out of 1960s and 1970s cinema, which is hard to absorb today. Much later, something happens to Shahana and all of them land up at Samos once again and the cat is out of the bag, finally. Sadly, the mystery no longer remains a mystery since one can easily guess the identity of the killer, much before the mystery is resolved. All I can say is that the writing becomes outlandish at this juncture.

Final View:

On the whole, GAME is high on style, but low on substance. Disappointing!

7 KHOON MAAF MOVIE REVIEW

Cast& Crew: Priyanka Chopra,Neil Nitin Mukesh,John Abraham,Irrfan Khan,Aleksandr Dyachenko,Annu Kapoor,Naseeruddin Shah,Usha Uthup,Vivaan Shah

Music : Vishal Bharadwaj

Director:Vishal Bhardwaj

Producer: Ronnie Screwvala,Vishal Bhardwaj

Written : Matthew Robbins,Vishal Bhardwaj -Based on Susanna's Seven Husbands by Ruskin Bond

Cinematography : Ranjan Palit

Editing : A. Sreekar Prasad

Distributed by : UTV Spotboy,VB Pictures Pvt. Ltd.

Released date : February 18, 2011 (2011-02-18)

Running time :154 MinutesTheater

Watched : PVR Cinemas, hyderabad

Rating: 3.25 / 5

Priyanka Chopra New Film 7 Khoon Maaf Hindi Movie Review:

When you have Vishal Bhardwaj movie you expect nothing but perfection. He is one of the few directors who manage to come up with something that can leave you wanting for more; be it Maqbool, Omkara or Kaminey. And with 7 Khoon Maaf he further establishes his prowess as a director. However, how appealing the story is, is another matter of discussion!

Story and Movie Analysis:

7 Khoon Maaf is not the run of the mill love story. It is rather a story of search of love and happiness of a woman called Susanna. And in her she comes across various men, each man giving her some hope. But the marriages lead to disappointments driving her to a position when she decides to kill the husband. She may have just left a few of them without killing, but as one of her aids explains, Susanna never believed in running away but believed in killing the problem!

The story manages to bring out the change in the character of Susanna brilliantly as she gets more and more frustrated, almost to a psychotic level - almost enjoying some murders! But then you also fail to see a solid conclusion to her story, which could make her entire journey meaningless. There is something missing and also it gets enormously heavy for an audience who may be looking for any sort of entertainment out of a movie. But these things are overpowered by Bhardwaj's screenplay and director and of course the performances.

This could have become an abnormally long film but the director's expertise is seen in the way he uses time lapses. 7 Khoon Maaf becomes one of the best crafted movies of recent times. Vishal not only gets the casting and characters right he also gets the time lapse right. The story is set in an undisclosed location, Susanna's aging is documenting through various milestone dates in Indian history in last 50 years. And his characters are a realistic part of these settings. Be it the rock-and-roll guy in the '80s, the poet in the troubled Kashmir, or the Russian spy working in India before the country becomes a nuclear power!

Artist Perfomance:

Performances, as all of Bhardwaj's films, are superlative. Priyanka Chopra manages to amaze with her versatility. Neil's short stint is powerful and he will be silencing a lot of critics with this film. Irrfan Khan and Annu Kapoor leave a mark. Russian actor Aleksandr Dyachenko is effective. Naseeruddin Shah yet again proves that he is one of the Gods of acting. In a very small role the actor manages leave you wanting for more. He plays a Bengali who speaks Hindi with a mother tongue influence and yet never makes it look like a caricature, which most people end up being. But among all these actors stands tall debutant Vivaan Shah, the younger son of Naseer. He ages from 17 to 45 and what a remarkable job he does!

Technical and Other Departments:

Technically too the film scored very high with first rate work of cinematography and editing. The music is relevant to the settings and the story, apart from being very appealing.

Final View:

Overall 7 Khoon Maaf could leave you loaded with thoughts and doubts. The fact that it is more of a journey without a regular conclusion could be disturbing to some part of the audience. Also as mentioned earlier it is not the regular entertainer and is quite brooding and dark. But there are far too many good things in the film to leave you unsatisfied. Watch this film.

PATIALA HOUSE MOVIE REVIEW

Cast& Crew: Akshay Kumar ,Anushka Sharma ,Rishi Kapoor ,Dimple Kapadia ,Armaan Kirmani
Music :Shankar-Ehsaan-Loy
Cinematography: Santosh Thundiyil
Editing : Manan Sagar

Director :Nikhil Advani Producer : Bhushan Kumar,Mukesh Talreja ,Krishan Kumar ,Twinkle Khanna ,Zoeb Springwala Screenplay : Nikhil Advani ,Anvita Dutt Guptan
Distributed by: People Tree Films ,Credence Motion Pictures ,Hari Om Entertainment ,T-Series
Released date :February 11, 2011

Theater watched : Big Cinemas, Hyderabad.

Rating : 3 . 5 / 5

Akshay Kumar new hindi film Patiala House Movie Review:

When was the last time you saw Akshay Kumar in a no-nonsense, sober role (not counting the bland Tasveer) where he didn't made a caricature of himself with his over-the-top comic antics? And when was the last time you found him extremely impressive while underplaying his character?
The first and the best thing that Patiala House does is redefine the typecast Akshay Kumar from the slapstick clown to a splendid actor.
The second thing that the film does is give us back the fabulous filmmaker whom we lost to the never-ending Salaam-e-Ishq and the fully formulaic Chandni Chowk To China. Picture this scene in the final reel of the film when Akshay Kumar is bowling for the last over of the cricket match. His father who never approved of his son's dream arrives at the stadium just on time. While any other director would have exploited this situation with a sentimental bonding between the father-son or a jingoistic call for victory by the father, Nikhil Advani avoids any such confrontational cliché. He steers away from stereotypes and cuts out every trace of melodrama and every foreseeable formula from the film, thereby bringing freshness to the otherwise predictable family drama.

Story and movie Analysis:

Bauji (Rishi Kapoor), the patriarch of the Kahlon family, has been fighting against racism faced by Indians in England and has brought respect and individuality of their community in Southall. He has always been the dominating head of his extended joint family (that can put Rajshri to shame) and his diktats have decided everyone's destiny. His elder son Gattu (Akshay Kumar) had to forsake his dreams of playing cricket for the national England team since Bauji was never in favour of the firangs, despite residing on foreign lands. 17 years later, when Gattu gets a chance to be a part of the England team again, Simran (Anushka Sharma) encourages him to live his dream. After much probing by the younger generation in the Kahlon family, Gattu agrees to play, but without informing his father. Until Bauji learns of it just before the final match. From characterizations to conflicts, one can find references galore in the writing, though thankfully nothing is blatantly duplicated. Rishi Kapoor's authoritative patriarch character who has things go his way has been a popular family figure in Hindi films from Dina Pathak's Khoobsurat to Amitabh Bachchan's Sooryavansham. Further Gattu facing opposition from his father to play cricket is reminiscent of Gurinder Chadha's Bend It Like Beckham where the NRI Punjabi father (Anupam Kher) doesn't approve of his daughter's football fervour. The screenplay by Nikhil Advani and Anvita Dutt Guptan has a systematic approach towards the storytelling. A quick prologue explains the racial discrimination plot and a fleeting flashback establishes Gattu's rise and renouncement in cricket. With the joint family setup, the narrative expectedly proceeds with a wedding in the household, as a dozen characters are erratically introduced and confuse you with their correlations. The story subsequently works towards Gattu's resurgent induction in the sport and humour comes naturally in the narrative with the family's attempts to cover up Gattu's field performance from Bauji. The concluding reels make way for heartrending dramatic moments between the father-son and an obvious yet exciting cricket match. What's commendable about Advani's writing and direction is that he never overdoes anything though there is a common tendency with the theme he tackles. He never goes jingoistic in the racism track nor does he overstate Indian tradition and culture on London lands with the NRI setting. Again the family drama is never overblown and is treated with subtlety and maturity. Anvita Dutt Guptan's restrained yet powerful dialogues help achieve that in a big way. The first half might appear slow and one-dimensional but it works steadily to bring conviction to the protagonist's journey. The horde of familial characters might baffle you at times but they are all driven by a common conflict – living their dream over Bauji's. At a broader level, the film gives a subtle social message of breaking boundaries of regionalism and nationalism. Patiala House doesn't need an all-Indian or an all-Asian team, like in the John Abraham – Arshad Warsi starrer football film Goal, to incite nationalistic sentiments in the viewer. Even as an Indian audience, the director compellingly makes you root for an NRI who plays for the England cricket team and defeats Australia.

Artist Performance:

Akshay Kumar underplays his character with absolute sincerity and gives one of the best performances of his career. So used are we with his histrionics that, at times, it seems he is overtly toned down here. But then he remains in his character and is impressive. Rishi Kapoor is superlative in his commanding character. His body language, dialect and expressions are impeccable. Anushka Sharma isn't ignored in this father-son drama and stands on her own. She has a well-etched role and is confident as always. Dimple Kapadia is decent in her part. Hard Kaur is amusing. Geneva Talwar is good.

Technical and Other Departments:

Shankar-Ehsaan-Loy's music is refreshing and the theme song that frequently plays in the background adds value to the proceedings. Santosh Thundiyil's cinematography is competent and Manan Sagar's editing is just perfect. Remo D'Souza smartly choreographs the song Rola Pe Gaya as an Indo-Western fusion.

Final View:

Nikhil Advani's hold on the film is so strong that you don't want to leave the hall even when the end-credit song is playing. Patiala House simply bowls you over. Watch it this weekend Dont Miss it.

YEH SAALI ZINDAGI MOVIE REVIEW

Film: Yeh Saali Zindagi

Cast& Crew: Irrfan Khan,Arunoday Singh,Chitrangda Singh,Aditi Rao Hydari
Music :Nishat Khan
Director :Sudhir Mishra
Producer :Prakash Jha
Cinematography :Sachin Kumar Krishnan
Distributed by : Cine Raas Entertainment Pvt. Ltd.
Released date: February 4, 2011
Theater watched : Bigcinema's Hyderabad
Rating: 3.5 / 5

Yeh Saali Hindi Movie Review:
Sudhir Mishra returns. And he does that it style! Yeh Saali Zindagi is a complex plot told with the maturity that is expected out of a seasoned director like him.

Story and Movie Analysis:

The film has quite a two clear parallel stories. One story is about Arun (Irrfan Khan) and love of his life Priti (Chitrangda). However while he is away for a month his friend Shyam (Vipul Gupta) sweeps Priti off her feet. The other story is about Kuldeep (Arunoday Singh) and his wife Shanti (Aditi Rao). Kuldeep is assigned the job to kidnap Shyam who is supposed to get married to the daughter of the Home Minister. And he kidnaps Priti along with Shyam as they believe she is his fiancee. Arun decides to get Priti out of the trouble but realizes that he will have to help Shyam too to see her happy! Political leaders and underworld dons are also pulled into the story taking it into a chaotic zone. But never for once does the film move away from the actual plot.

What works for the film is Mishra's grip on every department of filmmaking. While he comes up with a super tight and well paced script, he converts it into an equally impressive film. Each character stands out beautifully, up to the smallest goon. Yeh Saali Zindagi is shot very effectively and the director shows great understanding of cinematic language in the effects he uses. The narration goes back and forth into the past and also the characters doing the voiceover change quite a few times. But it never gets confusing for the audience. The music too is used very well as a part of the narrative. One of the strongest points of the film is its dialogues. While they are very fitting of the characters they also keep the humour alive. The high frequency of profanity might be an issue for many though.

Artist Performance:
The performances are top grade. Irrfan Khan scores above all with his impeccable timing - something he is known for. Chitrangda Singh does her bit but for some reasons has quite an anglicized Hindi accent. Arunoday Singh fits into his character very well and so does Aditi Rao. The chemistry between the two is expressed well and the 22 kisses (that made a lot of news) they shared on screen never seem out of place or forced. The supporting cast has its own impact on the story.

Technical and Other Departments:
The soundtrack of YEH SAALI ZINDAGI bears a different sound, especially the title track. Sachin Krishn's cinematography is perfect [the locales of Delhi and outskirts are well captured], but the only problem is that most of the shots have been dimly lit up, which may not be a problem at city plexes having good projection systems, but would pose a problem at smaller towns for sure. Something that even Vishal Bhardwaj had agreed with my viewpoint during KAMINEY. Dialogue [Mishra and Manu Rishi], like I pointed out earlier, are straight out of everyday conversation. The hoi polloi in particular would relish the cuss words, which are generously interwoven in the narrative. Background score is electrifying and the editing [most parts] makes the goings-on impactful.
udhir Mishra has worked on a taut screenplay to ensure that at no point in those 2 hours monotony sets in. Multiple stories are running concurrently, but unlike other films, these stories are linked to each other till the very conclusion. There're twists aplenty and the punches that come at regular intervals startle you since they don't follow the set blueprint that most Hindi films follow.

Final View:
On the whole, YEH SAALI ZINDAGI is a striking example of new age cinema. A daring film with a brand new approach, it's impulsive and engaging with skilful direction and power-packed performances as its strong points. This is one more solid attempt that takes the graph of Hindi cinema to a greater level.

DIL TOH BACCHA HAI JI MOVIE REVIEW

Cast & Crew :Ajay Devgn,Emraan Hashmi,Omi Vaidya,Tisca Chopra,Shazahn Padamsee,Shruti Haasan,Shraddha Das.

Music : Pritam Chakraborty
Cinematography : Ravi Walia
Director :Madhur Bhandarkar
Producer :Madhur Bhandarkar,Kumar Mangat
Screenplay :Madhur Bhandarkar,Anil Pandey,Neeraj Udwani
Story: Madhur Bhandarkar,Anil Pandey,Neeraj Udwani
Editing by Devendra Murdeshwar
Distributed by : Bhandarkar Entertainment,Wide Frames Pictures
Released date :January 28, 2011 (2011-01-28)
Running time :116 minutes
Rating : 2.75 / 5



Dil toh Baccha HAi Ji Hindi Movie Review:



Known for making serious, hard hitting, socially relevant films like Chandni Bar, Fashion, Corporate, Jail and many more - director Madhur Bhandarkar, this time around, opts for a light hearted entertainer. His last such experiment (Aan Men at work) way back in 2004 was a box office disaster. Does Dil Toh Baccha Hai Ji break the popular belief that Bhandarkar cannot handle non-serious subjects?



Story:
Dil Toh Baccha Hai Ji is about Naren Ahuja (Ajay Devgan), Abhay (Emraan Hashmi) and Milind (Omi Vaidya). Naren, in his late 30s, works for a multinational company and has a crush on a girl named June (Shazhan Padamsee). To impress her, he goes through a complete image makeover. Nikhil, a playboy is slowly starting to realise he is falling in love with Nikki (Shruti Hassan) and Milind, a poet, is head over heels in love with Gunjan (Shraddha Das).



Artist Performance:
Ajay proves his adaptability and versatility yet again. Having impressed us adequately in the past, Ajay portrays a character that takes you back to a very popular actor of his times, Amol Palekar. Ajay underplays his part effortlessly. Emraan, popular also for his skirt chaser image on screen, plays an obsessive philanderer here and he's electrifying. In fact, he spices up the proceedings every time he appears on screen. The role assigned to him is an extension of what he's attempted in the past, yet he interprets it so differently. Omi Vaidya's character gets subdued initially, but it must be said that the earnestness with which he portrays his part makes him endearing. He's remarkable in the sequence when he breaks down while reading the letter. Shazahn looks like a doll and gets the character right. In fact, she adds so much freshness to the proceedings. Shraddha gives the right shades to her character. She's most convincing when she takes Omi for a ride initially. Shruti appears late in the film, but she leaves an impact nonetheless. Her scenes with Emraan are amusing. Tisca Chopra is superb, especially in the sequence when Emraan confesses that he's in love with someone else. Mukesh Tiwari is first-rate in a brief role. Aditya Raj Kapoor is fair. Rituparna Sengupta does well. Harward Rosemeyer leaves a mark in the funeral sequence.



Technical and Other Departments:
The screenplay writing is absorbing at most times. Having said that, I'd like to add that the writing could've been tighter at places. Shraddha's sudden exit leaves you mystified. Also, the film could've done with better names [read, eye candy] in the finale, when the three guys set out for Goa. The climax was already a highpoint and one definitely expected a better culmination. Also, the film could've been tightened in the editing suite. The expectations from its music are on the higher side, especially after the success of Pritam-Ajay-Emraan's last venture ONCE UPON A TIME IN MUMBAAI. But the problem is that it does not offer much variety, unlike OUATIM. 'Abhi Kuch Dino Se' and 'Tere Bin' are my picks. Cinematography [Ravi Walia] is up to the mark. Sanjay Chhel's dialogue are witty and just perfect for this genre.



Analysis:
The film is about the extent to which the three different characters go, to get their love..Dil Toh Baccha Hai Ji starts off well and the uniqueness that each character has in the film, works in its favour. Ajay Devgan's story is the pick of the three, mainly because of his acting. The scenes that Emraan shares with Tisca Chopra are short but refreshing. The pace dips in the second half and the film is a bit longer than it should have been.



Final View:
On the whole, DIL TOH BACCHA HAI JI is a feel good, light-hearted rom-com, a slice of life film which the populace and the regular lay person would relate to. Madhur Bhandarkar changes tracks from his trademark women-oriented movies on contemporary issues to a rom-com, which has the unmistakable Bhandarkar signature to it, and emerges triumphant in his new fangled endeavor. The film carries a tagline that reads 'Love grows… Men don't', which seems most appropriate after one has watched it. DIL TOH BACCHA HAI JI, with its bona fide characters and pertinent situations, promises to bring a smile to your face and cheer you up. I strongly recommended it!

DHOBI GHAT MOVIE REVIEW

Cast & Crew : Aamir Khan ,Prateik Babbar
Music : Gustavo Santaolalla
Director :Kiran Rao
Producer:Aamir Khan ,Kiran Rao
Story : Kiran Rao
Cinematography :Tushar Kanti Ray
Editing : Nishant Radhakrishnan
Distributed by : Aamir Khan Productions
Released date :21 January 2011.
Theater Watched :PVR Cinema's Hyderabad.
Rating: 3.75 / 5

Amir Khan New Hindi Film Dhobi Ghat Movie Review:

Every year literally hundreds of thousands throng to the city of dreams, Mumbai. To cover so many dreams in a small span of an-hour-and-a-half calls for some brilliant filmmaking. And watching "Dhobi Ghat" will make you realise that there indeed have been very few debuts as stunning as this one.


Story:
Arun (Aamir Khan), an upmarket artist meets Shai (Monica Dogra), an NRI investment banker at his exhibition. A chance encounter that may or may not lead to something more substantial in moody Mumbai....Meanwhile, Shai befriends Munna (Prateik), the friendly neighbourhood dhobi who happens to be a wannabe actor too, while Arun gets lost in the video-taped story of Yasmin (Kriti Malhotra), the enigmatic ex-inmate of the house he currently occupies. Will the foursome find what they are looking for in the strange metropolis that both binds and breaks people?

Artist Performance:
The film marks the debut of Monica Dogra and Kriti Malhotra, who are exceptional and deliver natural performances. As for Prateik, the ease with which he speaks the slum lingo or converses with his pal or the gentle tone while speaking to the woman he loves [the urbane and classy Shai] proves what a dependable actor he is. The most memorable sequence for me is the concluding one when Prateik chases Shai's car. There's no doubt that he's a complete scene-stealer and a star in the making. His unconventional looks and captivating personality only adds to this performance.

Very much like his performance in TAARE ZAMEEN PAR, Aamir Khan very willingly lets his co-actors eclipse him. Sure, he's super as a cloistered artist, but this film is not about Aamir Khan, the superstar. It's primarily about four stories, with Aamir merely enacting one of the four pivotal characters. In fact, he underplays his part magnificently and munificently allows his fellow cast to be conspicuous in their respective parts. In actuality, not many actors in moviedom would dare to even think that way!

Kittu Gidwani is alright. The actor enacting the role of Prateik's friend does a fine job.

Technical And OtherDepartments:
Cinematographer Tushar Kanti Ray shoots the film as if one were watching the story unspool live in front of one's own eyes. Academy Award winning Argentine composer Gustavo Santaolalla's [BROKEBACK MOUTAIN, BABEL] background score is captivating, also non-Indian, yet fits the varied moods, from melancholy to elation, admirably. The sole area where the film fumbles is its pacing at places. The results would've been even more impactful if the film was tightened a bit on the editing table.

Analysis:
Dhobi Ghat is a compelling picture of urban angst that has become the hallmark of big city life. The experiences of the four diverse characters may be varied, but they all have a similar theme. It's a somewhat dysfunctional foursome, desperately seeking an anchor in the shifting sands of a maddening city. Arun openly confesses he is a loner and doesn't try to hide his discomfort on finding Shai trying to get comfortable in his pad, the morning after. Shai spends her sabbatical trying to connect with Munna, her washerman, despite their different backgrounds, when all she'll like to do was finish the unfinished business that lingers between her and Arun. Munna, on his part, is tormented by his passion for the uptown woman he can never hope to hook up with. But it is the existential trauma of the newly married Yasmin which strikes you the most, as the woman pours out her loneliness in video letters to her brother Imran....Letters that become the leitmotif of a crumbling city's soul.

Kiran Rao makes a sensitive debut with Dhobi Ghat, a film that is heavily imbued with mood and soul. She uses her characters smartly to dissect the much talked about spirit of Mumbai without getting maudlin. In fact, the high point of the film is its understated elegance as the lead players slip in and out of the frame, chasing dreams and aspirations. If Aamir Khan enunciates the art of understatement through his delineation of Arun, the women (Monica Dogra and Kriti Malhotra) skillfully juxtapose strength and vulnerability. Prateik's Munna is endearing, despite being a bit too chic for the average neighbourhood dhobi. But eventually, it is the fifth character that overwhelms you with its colours and mercurial mood swings. And that's Maximum City, Mumbai. Tushar Kanti Ray's camera captures Mumbai in all its original hues: black, grey, sunlit, shadowy, chaotic, desolate and surging ahead.


Final View:
On the whole, DHOBI GHAT is an imposing and vibrant cinematic portrait, appending itself to the new wave of independent Indian cinema which I am extremely pleased to applaud. It is art house cinema with European sensibilities, embellished with a well thought out story that's devoid of cliches. This ingenious motion picture caters more to the intelligentsia and connoisseurs of world cinema and will therefore garner more patronage and benefaction from the metropolitan audience in India chiefly and global spectators predominantly.

YAMLA PAGLA DEEWANA MOVIE REVIEW

cast & Crew:Dharmendra,Sunny Deol,Bobby Deol,Kulraj Randhawa
Music :Pyarelal,RDB,Nouman Javaid,Anu Malik,Sandesh Shandilya,Rahul Seth,Sanjoy Chowdhary
Director : Samir Karnik
Producer : Samir Karnik,Nitin Manmohan
Story : Jasvinder Bath
Cinematography : Kabir Lal,Binod Pradhan
Editing : Mukesh Thakur
Distributed by :Top Angle Productions,One Up Entertainment
Released date :January 14, 2011
Theater wathched : Pvr Cinemas, Hyderabad
Rating : 3.25 / 5

Yamla pagla Deewana Hindi Movie Review:

If you have had a bad day and want to cheer yourself up, Yamla Pagla Deewana is the best option you have this week. Rather, it is one of the best options you have had in quite some time. And if you have had a good day, it just gets better!

Unashamedly based on a the age old and clichéd Bollywood formula of separation and reunion in families, Yamla Pagla Deewana starts with a recap of some of the famous 70's dramas in the credits. That sets the tone.


Story:
Sunny Deol comes to India from Canada to look for his father, Dharmendra and his brother, Bobby Deol, who were separated from him during childhood.

He finds them earning their livelihood as petty thugs in Benares. But before he can take them back with him he must resolve his kid brother's complicated love story by tackling the girl's (Kulraj Randhawa) tough brothers (Anupam Kher and the rest). This means a trip to turbulent and throbbing Punjab!

Artist Performance:
Casting the Deols together is a trump card and their real-life bonding reflects delightfully on screen. Dharmendra is endearing and charming as ever. He enacts his part with effortless ease. Sunny is wonderfully restrained. The audience will love him as a sober guy and the ones who expect the brawny star to flex his muscles or raise his voice [the angry man persona] won't be disappointed either. Bobby is equally convincing, matching up to his iconic father and brother every time they appear on screen together. Kulraj looks beautiful and makes an extremely confident big screen debut.

Anupam Kher is outstanding. This is amongst his most lovable acts. Johny Lever is funny in a brief role. Nafisa Ali is graceful as ever. Sucheta Khanna is first-rate. Amit Mistry does very well. Mukul Dev should stage a comeback to movies with this one. He's too good! Himanshu Malik is okay. Puneet Issar is wasted. Emma Brown Garrett [Sunny's wife] is amazing. Ditto for the two child artists, enacting the role of Sunny's kids. Ajay Devgn's voiceover at the start sets the tone for the film.

Technical and Other Departments:
Director Samir Karnik has targeted the film at the hoi polloi and that segment of moviegoers would love his effort. In fact, the film has several mass-appealing moments that would either send the masses in a tizzy of excitement or make them clap in delight. However, the clap-trap moments are more towards the second hour. Writer Jasvinder Singh Bath seems inspired by the cinema of Manmohan Desai and Prakash Mehra and if one overlooks the hiccups in the first hour, his screen writing does justice to the genre of the film. The songs aren't appealing, except for the remix version of 'Yamla Pagla Deewana', the yesteryear hit and 'Charha De Rang', which is melodious to the core. 'Tinku Jiya' should appeal to the front-benchers. The cinematography [Kabir Lal] is captivating; the lush green locales of Punjab are well captured on moving picture. Dialogue are well worded. The action sequences [Analarasu] are deftly executed.

Analysis:
The Deol Inc. may not be able to put up the best act in town but they do seem to win hands down when it comes to winning your hearts. Remember Apne and how it tugged at your heartstrings with its estranged father and sons saga. Once again, in Yamla Pagla Deewana, Dharam Singh (Dharmendra) and his sons Paramveer Singh (Sunny Deol) and Gajodhar Singh (Bobby Deol) are the oddball family which win you over with their goofy attempts to bridge their differences and bond, first on the picturesque ghats of Benares and then in the burlesque backwaters of Punjab.

The film is meant to showcase the Deol charisma. And that it manages to do, despite a clumsy first-half and a stodgy script. The brawny threesome does manage to transcend the flaws in the narrative and create some comic moments with their earthy, rustic, pulsating Punjabiyat exploding full throttle. If Sunny replays his gentle giant machismo, then Bobby carries on his prankster lover-boy image, even as he pitches in as dad's favourite son, buddy and partner-in-crime. But it is dad Dharam who steals the show with his Jat Yamla Pagla Deewana act. The thespian still manages to grab eyeballs and stand out in the crowd with his effortless comedy. The music of the film already boasts of a chartbuster: the item song, Tinku Jiya.

Final View:
On the whole, YAMLA PAGLA DEEWANA is a hardcore mass entertainer that fulfils the expectations of the aam junta. Those who love Deols will adore this one, while those who don't, won't ignore it either. The film works big time for its mass-appealing second half and loads of entertainment it has to offer. The target audience is the masses and it is this segment of movie-going audience that should carry this film to success. Business at single screens should be exceptional, while the film should set new benchmarks in North India [Punjab specifically]. Internationally too, the film should perform the best in U.K., U.S.A. and Canada.
Its a good Film to wacth this weekend with your family.

TURNING 30 MOVIE REVIEW

Cast & Crew :Purab Kohli ,Gul Panag ,Siddharth Makkar ,Tillotama Shome ,Jeneva Talwar ,Anita Kanwar ,Rahul Singh ,Sameer Malhotra ,Ira Dubey ,Bikramjeet Kanwarpal
Music : Siddharth, Suhas
Cinematography: Akshay Singh
Editing : Santosh Mandal
Director :Alankrita Shrivastava
Producer : Prakash Jha
Written by :Alankrita Shrivastava
Studio :Prakash Jha Productions
Released date: 14 January 2011 (2011-01-14)
Rating: 2 / 5

Hollywood has given innumerable chick flicks namely the likes of 13 Going On 30, Sex And The City, Bridget Jones Diary, Clueless among others. However, Bollywood has never really experimented much in this domain. Not too long ago filmmaker Rajshree Ojha burnt her fingers with her attempt Aisha and now Alankrita Shrivastava is trying her hands with a chick flick Turning 30.

The film is about an urban woman Naina (Gul Panag), living in Mumbai and how her life takes a turn when she hits the age of 30.

Story and Movie Analysis:

To begin with, her stable boyfriend Rishab (Siddharth Makkar) dumps her for a richer and hotter girl. And then she loses her job.

Fighting with her mother's insistence to get her married Naina somehow manages to get a hold of her life when her college affair Jay (Purab Kohli) who comes back and proposes her for marriage. Now whether she marries him or he just becomes her rebound case and how she gets her life together follows through the rest of the plot.

Turning 30 takes off very well but suddenly turns into a tripe plot. Repetition is a recurring issue in the film. The fact that Naina doesn't come to terms with her break up and keeps making attempts of getting back with Rishab is also reinstated several times. Despite that neither do you feel for the character nor does her emotional turmoil touch you.

Artist Performance:
Gul Panag delivers an elegant performance. She expresses the varied feelings so well and literally grabs the film from the word go. In fact, her fine-tuned performance stays with you even after the film wraps up. Purab Kohli does very well. Sid Makkar gives a good account of himself. The two friends - portrayed by Tillotama Shome [as Malini] and Jeneva Talwar [as Ruksana] - are perfect. Satyadeep Misra gets minimal scope. Ira Dubey is okay in a brief role. Anita Kanwar [as Gul's mom] looks her part. Rahul Singh is okay. Sameer Malhotra is fair, while Bikramjeet Kanwarpal does well.

Technical and Other Departments:
Moreover, the film appears straight out of novel. Director Alankrita Shrivastava seemingly appears to be a big fan of chick lit or chick flicks and produces a mishmash of all of them. The screenplay is exactly the way one would visualize a scene while reading a book. Another sore point is the dialogues which sound very lyrical and bookish as if one is reading them out and the film is 80 % in English. The music isn't appeasing either.

Final View:
On the whole, TURNING 30!!! has its moments, but they are few and far between. In totality, however, it misses the mark.

NO ONE KILLED JESSICA MOVIE REVIEW

Cast & Crew:Rani Mukerji,Vidya Balan
Music : Amit Trivedi
Director :Raj Kumar Gupta
Producer :Ronnie Screwvala
Screenplay : Raj Kumar Gupta
Cinematography :Anay Goswamy
Editing : Aarti Bajaj
Distributed by :UTV Spot Boy
Rating: 3.25 / 5



No one Killed Jessica Hindi Movie Review:


Most storytellers entertain, a few enlighten. A scattering number of celluloid visionaries entertain as well as enlighten. Rajkumar Gupta fits into that exceptional variety of film-makers that opens up thought-processes about the condition of the homeland without losing the cinematic elements that constitute a film.

To reconstruct on celluloid a true occurrence that is oven fresh in public reminiscence is not a trouble-free mission, but Gupta takes up this colossal challenge of placing together the controversial and litigious story of Jessica Lall's murder case on celluloid. However, having sensitive and explosive material on hand is not enough. The execution of the subject is of paramount importance. Fortunately, the one-film-old director interprets the events of the murder case in remarkable style and form and makes it a cinematic experience that haunts you even after the film has concluded. Gupta does complete justice to the spirit of the story, which had created headlines and still remains well etched in our memory to this day.

Story:
New Delhi, 1999. The guns at Kargil are still blazing when another one goes off, this time in the nation's capital. Jessica [Myra], a young attractive model, trying her hand at bartending, is shot dead at a celebrity party. Her crime - refusing to serve a drink after closing hours. The culprit Manish [Mohammed Zeeshan Ayub], son of a prominent politician, inebriated by a deadly cocktail of alcohol and a sense of entitlement, pulls the trigger in a fit of rage.

With 300 of Delhi's swish set present at the party, many of whom are witnesses to the murder, Manish looks all set to go to the gallows. Except that it doesn't quite turn out that way. But two women, Jessica's sister Sabrina [Vidya Balan] and the feisty TV reporter Meera [Rani Mukerji], decide to outwit Manish and his politician-father [Shireesh Sharma] at their game. Over the course of seven years, the case goes through several stages of legal complications. Witnesses turn hostile one after another and the few who don't, became inconsistent with their versions.

Manish is acquitted, leading to a fierce public uproar and a relentless campaign by the media, which eventually leads to a life sentence for Manish.


Artist Performance:
Vidya plays the iconic Sabrina Lall brilliantly, reliving some very stressful and arduous chapters of Sabrina's life. Balan is poignant yet controlled and projects an imposing figure of maturity, refinement and veracity. This film completes a hat-trick of her commendable performances.

In the role of a spirited and audacious journo, Rani, who smokes non-stop, flings swear words every now and then and who rebuffs being a voiceless spectator when the culprits go scot-free, is simply exceptional. She sinks her teeth into the character, giving it the much required pragmatism that it necessitates. Her performance is bound to be talked-about in days to come. In fact, it would be unfair if I do not acknowledge the fact that she appears very much at ease mouthing abusive words and lurid language.

Neil Bhoopalam, the key witness, is fantastic. Especially in the sequence when he comes for an audition of a film role and blurts out the truth unsuspectingly. Mohammed Zeeshan Ayub, the main accused, is very good. Myra, as Jessica, is natural. Rajesh Sharma, the investigating police officer, is excellent. Satyadeep Misra, as Rani's boss, gives a fine account of himself. Shireesh Sharma, the politician-father, is perfect.


Technical and other departments:

A hard-hitting drama, generally, doesn't have scope for music. But Amit Trivedi joins hands with Amitabh Bhattacharya, the wordsmith with whom he delivered the fabulous soundtrack of DEV D, and together they deliver a solid soundtrack. 'Dilli Dilli' has already won hearts of audiences and the remaining songs too leave an impact. Anay Goswami's cinematography is first-rate. Dialogue, also penned by Gupta, are realistic to the core.

Analysis:

film like NO ONE KILLED JESSICA pricks your conscience and makes you think. In fact, it's the kind of film that will lead to debates and discussions. What was more appalling - the model's slaying or the slapdash method in which the suspected assassins were brought to justice? What's even more scandalous is that almost immediately after the killing, the police identified the slaughterer and it seemed like an open-and-shut case. But it wasn't.

Gupta deserves kudos for choosing a thorny and contentious story to interpret on celluloid, but he deserves a few extra brownie points for handling the material with aplomb. His prowess and competence is visible all through the film, but more specifically in the electrifying courtroom sequences and also when Rani decides to take up this issue. The candle light protest at India Gate in particular is simply overwhelming.

Since it is based on a real story that occurred in Delhi, Gupta has shot the entire film in the city. The characters are real and so are the locations and that's what makes the goings-on very identifiable, besides bestowing an authentic feel to the film. Like his earlier film AAMIR, NO ONE KILLED JESSICA has been shot in guerrilla style and that makes the viewer feel that he's actually watching the drama unfold in front of his eyes, that he's a spectator in the proceedings. Gupta also ensures that the two pivotal parts remain true to their respective characters.

Any shortcoming? Yes, if Gupta would've trimmed the film by at least 10 minutes, the impact would've been much stronger.



Final view:

On the whole, NO ONE KILLED JESSICA is a poignant story of two women's resolve for justice. It's a remarkable blend of facts and fiction inspired by a series of real-life episodes, which has thankfully not been presented as a tedious biography or in a mind-numbing docu-drama format. It's more of an engaging thriller which has the right doses of histrionics, tautness, anguish and thrills. The emotional and disturbing journey, the strength of the common man and the relentless endeavor of the media have all been most compellingly put together on moving picture. In times of yore, a lot of films have been attempted on real-life incidents, but haven't struck a chord so effectively. NO ONE KILLED JESSICA should shatter this jinx. This heroic and daring film truly deserves a prolonged applause.

It's a good fil to watch this weekend..!

TEES MAAR KHAN MOVIE REVIEW

cast & Crew:Akshay Kumar ,Katrina Kaif ,Akshaye Khanna
Music : Vishal-Shekhar,Shirish Kunder
Cinematography : P. S. Vinod
Editing : Shirish Kunder
Director :Farah Khan Producer : Twinkle Khanna,Shirish Kunder,Ronnie Screwvala Screenplay : Shirish Kunder ,Ashmith Kunder Story : Shirish Kunder ,Ashmith Kunder
Distributed by : Hari Om Productions ,Three's Company ,UTV Motion Pictures
Released date December 24, 2010
Theater watched: Big Cinema's, Hyderabad
Rating: 2 . 75 / 5



Akshay Kumar New Hindi Film Tees Maar Khan Movie Review:

Caution: Absurdity, illogicality and buffoonery scale new altitudes in TEES MAAR KHAN.

If you thought MAIN HOON NA and OM SHANTI OM were smashing tributes to the wholesome entertainers of 1970s, Farah Khan's brand new outing TEES MAAR KHAN will make the most absurd, bizarre and wacky cinema of yore pale in comparison. Not just your cell phone, even your brain needs to be put on 'switched off' mode at the commencement of this film. Farah's fundas are very clear: Ask no questions and abandon all faith in logic, reason and rationale. Only then can you relish TEES MAAR KHAN.

Knowing Farah and her love and obsession for masala films of yore, it's foolhardy to expect thought provoking cinema from her. TEES MAAR KHAN belongs to the hardcore masala variety, which was savored with glee by the hoi polloi then and which continues to be hugely popular at single screens to this day. But unlike her past endeavours, Farah looks at the West for inspiration this time around.

Write your own movie review of Tees Maar KhanTEES MAAR KHAN is the desi adaptation of Peter Sellers' 1966 Italian film AFTER THE FOX [CACCIA ALLA VOLPE], which now enjoys a cult following, but it bears the Farah Khan stamp in every frame. Like MAIN HOON NA and OM SHANTI OM, TEES MAAR KHAN is also a formula-ridden outing with tadka-maar-ke entertainment.

Creating heist films is tricky and tough. The director should ensure that action, thrills and wit are mixed and merged in right doses and TEES MAAR KHAN amalgamates it all with charming results, mainly in the first half. In fact, Farah's distinctive style transforms the simple premise into a truly vitalizing thriller that can be replicated, but rarely matched. She chooses to once again make a film she is most comfortable making and sticks to the staple formula of action, comedy and full-on masala. What really stands out is the relative effortlessness with which she handles the material.

On the flipside, the film slips towards the second hour. You feel that way primarily because the first hour is thoroughly entertaining with a good number of laugh-inducing sequences and three solid songs and though the second half is engaging at times, it doesn't measure up to the first half in terms of the entertainment quotient.

Story:
Tabrez Khan (Akshay Kumar) heralds himself as Tees Maar Khan (TMK), the greatest con artist who lives to rob and robs to live. Walking in an out of jails, he plans to pull off the most daring heist of his career, after being hired by a robbers' duo, the Johari brothers (Rajiv and Raghu). The crooks want him to rob a train carrying a carriage-full of treasures. Easy, exclaims TMK and unleashes a bizarre robbery plan which involves an entire village, an Oscar-obsessed film star (Akshaye Khanna), a bunch of cronies and a bimbette girl friend (Katrina Kaif) who happens to be a wannabe film actress too and spends her time acting in silly movies.

Artist Performance:
Farah plays it smart by choosing to cast actors who fit their roles perfectly. Akshay Kumar dominates the proceedings, as always. The requirement of the role was, he has to be loud and hammy and it works well here. In this one, he is neither a nerd nor a geek; he portrays a hero and does a swell job. Akshaye Khanna springs a big surprise. Enacting the role of an Oscar-hungry superstar, the film explores the funny side of Akshaye very well. He has a substantial role, which he carries off with conviction.

Katrina looks drop dead gorgeous and scorches the screen in the 'Sheila Ki Jawani' track. In fact, she has never looked so alluring. Raghu and Rajiv are superb. Akshay's three cronies compliment each other wonderfully well. Aarya Babbar is sure to be noticed. Murli Sharma and Aman Verma's try very hard to be funny, but fail. Apara Mehta is first-rate. Sudhir Pandey is fantastic. The villagers are mere props. Sachin Khedekar and Vijay Patkar are okay. Salman Khan makes an appearance in a song [electrifying], while Anil Kapoor appears in a cameo towards the end.


Technical and Other Departments:
Talking of its soundtrack, the expectations are humungous again, since Akshay, Farah and Vishal-Shekhar team up to create a mass-friendly soundtrack. 'Sheila Ki Jawani' is highly energetic and stimulating and has already made its excessive presence felt. 'Wallah Re Wallah' is another track that stands out. The presence of Salman Khan in this number will cast a spell on viewers. The title track, repeated throughout the film, is truly wonderful. The choreography of all songs is top notch. Background score [Shirish Kunder] is apt. The review would be incomplete without acknowledging the contribution by cinematographer P.S. Vinod. The titles during the end credits are lovely.


Final View:
On the whole, every movie buff has humungous expectations from TEES MAAR KHAN since it's already very high on hype. Firstly, fulfilling colossal expectations is an arduous task and over-hyping makes the task even more complex. TEES MAAR KHAN is more of a tribute to old-school Hindi cinema, with a fabulous first half and a strictly average second half. The Christmas weekend and vacations across the globe will ensure a record start in its opening weekend. If only its content was powerful enough, it would've truly been a tees maar entertainer!

Watch It Your Own Risk!!!!

TOONPUR KA SUPEERHERO MOVIE REVIEW

Cast & Crew:Ajay Devgn,Kajol,Tanuja
Music:Anu Malik ,Rishi Rich
Cinematography :Nirmal Jani
Director :Kireet Khurana
Producer :Kumar Mangat Pathak
Written by : Raagi Bhatnagar
Studio :Big Screen Entertainment
Distributed by: Eros International
Release date : 24 December 2010
Theater Watched : PVR Cinemas, Hyderabad.
Rating: 2. 5 / 5





Ajay Devgan New Hindi Film Toonpur Ka Superr Hero Movie Review:


Christmas is a good time to release a movie for children because both the kids and parents are off work. And Toonpur Ka Superrhero aim to plug the benefits of the season. Relatively higher budgeted than the regular children's movies that are made in India, TKS also has an appealing storyline apart from the fact that it is the first Indian live action animation.



Story and Analysis:
Aditya Kumar (Ajay Devgn) is a film star but his kids consider him a fake hero who gets his stunts done by body doubles. However the toons from the toon-world believe that Aditya is a real superhero and the only person who can save their world from constant wars. So they kidnap him! Soon they figure out Aditya is only an actor and no good when it comes to real fighting. But Aditya takes up the challenge to prove to his kids that he can be a real hero too and goes about helping the 'Devtoons' - the good toons who are fighting the bad toons called 'Toonasurs's.



Though the film has everything that would keep the kids engrossed it falls short on a few parameters. The film which took almost three years in making clearly needed more planning. The director's attention in keeping the animation right probably led to a bad job in the writing, which goes stray track at some points. While the first half is slow the second half is quite exciting. The film ends on a good note.The film scores on animation. As mentioned earlier this is the first time such a film in India and the entire work is done in some of the country's best animation studios. It is not exactly in the category as Hollywood greats in the same genre but this is advancement in Indian standards.



Artist Performance:
Ajay dares to accept a challenge yet again. It must've been most tough for this intense actor to don a character which involves working with imaginary creatures in an animated film. To act with cartoon characters is extremely challenging because it's almost like attempting a soliloquy or a monologue. He must have had no actor across for the action-reaction custom. But he delivers a convincing and credible performance yet again. Kajol doesn't really get scope, but she handles her part well. Veteran Tanuja appears in one sequence. Child artiste Amey does well. The animated characters, especially Bolly, Guppy and the villain's moll, are most noticeable.



Technical and Other Departments:
TOONPUR KA SUPERRHERO could've been an invigorating experience from start to end if it was backed by a watertight screenplay. The writing just doesn't complement the animation, which, in my opinion, is path-breaking by Indian standards. The visual excellence aside, the film doesn't engage you in entirety and that's a shortcoming. The music [Anu Malik] is pleasant and easy on the ears. 'Jeetoge Tum' stays with you; it's a motivational track. However, the picturisation of the songs is better, with a good integration of live with animation.



Final View:
On the whole, TOONPUR KA SUPERRHERO is a delightful and endearing kiddie movie. It has an engaging narrative [second half mainly], neat performances and adorable animated characters. The real stars are the technicians [who created the animated characters], the director [Kireet Khurana] and of course, its lead man [Ajay Devgn] who pulled off a technically remarkable achievement of having humans and animated film characters interact with each other. Revisit your childhood while watching this one!

BAND BAAJA BAARAAT MOVIE REVIEW

Cast&Crew: Anushka Sharma,Ranveer Singh
Music : Salim-Sulaiman
Cinematography :Aseem Mishra

Director :Maneesh Sharma

Producer : Aditya Chopra

Screenplay : Habib Faisal

Story : Maneesh Sharma
Editing : Namrata Rao
Studio : Yash Raj Films
Distributed by: Yash Raj Films
Release date : December 10, 2010
Watched Theater : PVR Cinemas, Hyderabad.
Rating: 3 . 25 / 5

Band Baaja Baaraat Hindi Movie Review:
Have you ever wondered what they mean when they talk about the chemistry between a screen pair? Watch this delightful ode to the great Indian wedding and it will solve the mystery for keeps.

Story and Movie Analysis:

Shruti [Anushka Sharma] is a 20-something no-nonsense girl from a middle class Delhi household. Focused and determined with pre-planned ambitions, her goals in life are well laid out by the time she reaches her final year of college. Bittoo [Ranveer Singh], on the other hand, has no real aim in life. As a final year college student of Delhi University, he whiles away his life having fun with his buddies. A chance and inopportune meeting brings the two of them together on a tumultuous journey where they become partners in their very own, "Wedding planning ka bijness." The rules, however, are clear: "Jisse vyapaar karo, usse kabhi na pyaar karo" [Don't mix business with pleasure]. Together, their friendship and business enters the ups and downs of the lavish Delhi weddings. And while trying to find themselves, Shruti and Bittoo discover each other and realize that they are made for each other.

The first thing that catches your eye is the novel concept of this film. In a country obsessed with marriages and merriment, the Indian weddings are filled with rituals and celebrations and continue for several days. Of course, BAND BAAJA BAARAAT isn't about pre-wedding ceremonies, baaraat and pheras, but about two wedding planners and how the 'bijness partners' become life partners eventually. 10 minutes into the film and you get drawn to their world: The setting, the ambience, the lingo, the overall tone and mood transport you to North India instantly. The unique plot keeps you on toes all through the first hour. The writing is oven fresh and the situations, thoroughly absorbing. I would like to single out the sequence at the intermission, which is deftly executed by the debutant director. You know something is amiss, even though no one utters a word. And you realize how true your intuition was towards the second half, which starts off with abundant promise, but deviates into the predictable zone when the lovers have a tiff. Several sequences consequently tend to get repetitive and tedious, but even in its most flaccid and drooping moments, what saves the film from derailing is the chemistry between the lead pair.

Artist Performance:

Anushka is truly wonderful. The toughest part of her job must have been to speak like a typical Delhi Punjabi girl and she does it so skillfully. For the first time in her 3-film career, a film rests mainly on Anushka's shoulders, as opposed to her prior films [RAB NE BANA DI JODI and BADMAASH COMPANY], and she handles the responsibility so well.

Debutant Ranveer is the lifeline of BAND BAAJA BAARAAT. In fact, the youngster adds a lot of spontaneity and sparkle to his character, which is unsophisticated, but charming. He actually catches you unaware in the emotional moments, which he enacts so well. Here's a talent you just can't disregard. The super-energetic performance should be met with equal enthusiasm by the audience. The supporting cast includes relatively unknown names, but I would like to single out Neeraj Sood [as Maqsoodbhai], who's excellent. Manmeet Singh Sawhney [as Rajinder] is good, while Manish Chaudhari [as Mr. Sidhwani] is first-rate.

Technical and Other Departments:

Debutant director Maneesh Sharma, who worked on FANAA, AAJA NACHLE and RAB NE BANA DI JODI, makes a confident debut with BAND BAAJA BAARAAT. Sharma narrates a quintessential Delhi tale most effectively. BAND BAAJA BAARAAT would've lost the plot had it been entrusted to a lesser talent. The screenplay is wonderfully penned by Habib Faisal, a gifted writer who directed the immensely likable DO DOONI CHAAR. In fact, like DO DOONI CHAAR, which was also set in Delhi, BAND BAAJA BAARAAT also captures the Delhi flavour diligently.

In fact, Aseem Mishra's cinematography captures the North Indian ambience with precision. When you attempt a film with North Indian wedding ceremonies as the setting, you anticipate nothing but frolicking compositions that don't let the fun component plunge. Music composer duo Salim-Sulaiman and lyricist Amitabh Bhattacharya come up with a lively score. You take to 'Ainvayi Ainvayi' instantly; it has smash hit written all over it. 'Tarkeebein' has a certain evocative feel to it, while 'Band Baaja Baaraat' has a hugely appealing tune and goes extremely well with the mood of the film, that of marriages and merriment. It's amongst Salim-Sulaiman's best works. I would also like to mention Vaibhavi Merchant's choreography in the 'Ainvayi Ainvayi' track. It's very energetic.

Final View:

It may not scorch the box office and may not go down in your must-watch list. Yet Band Baajaa Baaraat engages you with its fond look at fun-loving Dilliwalas.

THE CRONICLES OF NARNIA : THE VOYAGE OF THE DAWN TREADER MOVIE REVIEW

Cast& Crew: Georgie Henley,Skandar Keynes,Will Poulter,Ben Barnes,Liam Neeson,Simon Pegg Music :David Arnold,Harry Gregson-Williams(themes)

Cinematography: Dante Spinotti

Editing : Rick Shaine

Director : Michael Apted

Producers : Mark Johnson,Andrew Adamson,Philip Steuer,Douglas Gresham

Written by : Christopher Markus,Stephen McFeely,Michael Petroni

Based on :The Voyage of the Dawn Treader by C. S. Lewis

Studio : Walden Media

Distributed by : 20th Century Fox

Running time 115 minutes

Preceded by :Prince Caspian

Followed by : The Silver Chair

Languages : English, Hindi, Telugu, Tamil

Released date : December 3, 2010

Theater Watched : Hollywood, Guntur

Rating: 3 / 5

Narnia -3 Movie review:

story:

Well Coming in to story,Harry Potter fans might look down upon The Chronicles Of Narnia as an enterprise trying to duplicate their success. Despite similarities between the two works (wizardry, magic, heroic children), Narnia has created a niche of its own. After a brilliant start and a weak middle, the third in series -- Voyage of the Dawn Treader -- brings back the much deserved glory to the franchise. This time, Edmund (Keynes) and Lucy (Henley) are joined by their quirky cousin Eustace (Poulter) as they get sucked into a painting only to find themselves back in their parallel world Narnia where they are royalty. The Dawn Treader is a ship led by King Caspian (Barnes) as it sets sail to find seven magical swords and free an island held captive under an evil spell. The majestic Aslan (Neeson) returns and so does the valiant mouse Reepicheep (Simon Pegg). Together they travel the distance, face adversaries, and eventually battle their innermost fears.

Movie Analysis:

Doesn't matter if you haven't read the Narnia Chronicles by CS Lewis. Doesn't matter if you haven't seen the earlier sequels too. The third part in the fantasy series holds merit on its own and manages to hold you in your seat with its mix of make-believe, special effects and fairy tale folklore. The fact that the film is in 3D makes it even more inviting for the sword fights, the dragon fires and the choppy sea hits you in your face as you try to keep pace with the Pevensies in their traditional battle of good against evil. Adding fire to their heroics is their whiny, almost offensive cousin Eustace, who grows into an unlikely hero as the danger threatens. His unusual friendship with braveheart Reepicheep is extremely enticing. Of course, we would have loved to have more of the majestic Aslan and the mean White Witch, specially since the brother-sister duo are growing up fast and may not have access to magical, mystical Narnia for long. But we aren't complaining. Specially since there's so little of make-believe left in this mundane world.

Final View:

For its visual appeal and enchanting story, this voyage is definitely worth taking.

Enjoy it while it lasts.

KHELEIN HUM JEE JAAN SEY MOVIE REVIEW

Cast & Crew : Abhishek Bachchan,Deepika Padukone ,Vishakha Singh
Music : Sohail Sen
Cinematography : Kiran Deohans ,Seetha Sandhiri
Editing : Dilip Deo
Written by: Manini Chatterjee (book)
Screenplay : Ashutosh Gowariker,Raoul V Randolf
Directed : Ashutosh Gowariker
Produced : Ajay Bijli ,Sanjeev Bijli, Sunita A. Gowariker
Run Time :2 hours 50 minutes
Distributed by :PVR Pictures
Released date: December 3, 2010
Theater Watched : PVR Cinemas, Hyderabad.
Rating: 3. 75 / 5

Abishek Bachan and Ashutosh Gowariker New Khelein Hum Jee Jaan Sey Hindi Movie Review:

This is not the first time Ashutosh Gowariker has adapted a book into a film. KHELEIN HUM JEE JAAN SEY is yet another book-to-movie adaptation by this talented storyteller [this one is based on the book 'Do And Die: The Chittagong Uprising 1930-34' by Manini Chatterjee]. Again, this is not the first time Ashutosh Gowariker has revisited the bygone era. He did it successfully in LAGAAN [period], then JODHAA AKBAR [historical] and now KHELEIN HUM JEE JAAN SEY [period].

Recreating the bygone era is indeed demanding, laborious and strenuous. It's a challenge to present the era convincingly. Besides extensive detailing to lend authenticity, the director carries the responsibility of making the characters come alive to the present-day generation. Gowariker has successfully done that in the past and does it successfully yet again in KHELEIN HUM JEE JAAN SEY.

Story :
Based on the book Do and Die: The Chittagong Uprising 1930-1934 by ManiniChatterjee, Khelein Hum Jee Jaan Sey documents a chapter from Indian history and showcases the exploits of real-life heroes. Led by Surjya Sen (Abhishek Bachchan), an ordinary school teacher, the gang of revolutionaries, comprised mainly by teenagers, unleashes a subterranean raid against the British occupation in distant Chittagong.

On April 18, 1930, they simultaneously attack several British outposts -- the armoury, the cantonment,the telegraph office, the European club -- with their indigenous bombs, weapons and raw valour. This leads to four years of hide and seek, where the patriots try to escape the wrath of the Raj that strikes back ruthlessly. Was this the brave, albeit relatively unknown beginning of India's freedom struggle?

Artist Performance:
Abhishek as Surjya Sen suits the character right. His character appears very fervent, but at the same time truly tranquil, incredibly unperturbed and really unruffled, which merges very well with the character of an educationalist that he illustrates. A freedom fighter with these attributes hasn't been presented in a motion picture before. Abhishek gets to the character a certain authority. The rebelliousness and boisterousness are depicted to perfection.

Deepika sheds her glam look and looks every bit the character she illustrates. Kudos to her first of all for accepting a challenging role [of a woman revolutionary of the 1930s] so early in her career and then almost living that character in the film, continuing to prove her mettle far ahead of her poise and exquisiteness.
Sikander Kher leaves a terrific impression. He excels in several scenes. Vishakha Singh is a complete natural. She catches one's attention instantly. Samrat Mukerji, Maninder and Feroz Wahid Khan, each actor is earnest and sincere to the core. In fact, every actor in the film looks most convincing in their respective parts. I would like to make a special mention of the young artists [most of them seem like first-time performers], who have a very unpolluted/uninfluenced approach to acting. Brownie points to each one of them.

Analysis:
Ashutosh Gowariker may have hit the headlines with films like Lagaan and Jodhaa Akbar, but there is one film of his which looms large in terms of cinematic excellence. And that is the less successful Swades which peddled patriotism as the need of the hour; but it did it ever so softly, subtly andsensitively...Still remember it! Khelein Hum Jee Jaan Sey echoes a similar theme in a similar tenor. It celebrates the sentiment of desh-bhakti, yet once again with a sense of refinement. The high point of Gowariker's film is the fact that it combines high-octane drama with a high degree of restraint. The film unfolds like a relentless thriller with loads of action involving the band of revolutionaries as they go about their bloody business. Yet no one hollers the national anthem at youor grows hysterical with patriotic pulp. Instead, the director gently salutes the spirit of nationalism in a seminal scene where the bunch of teenage revolutionaries discover the hypnotic allure of a hymn like `vande mataram' while resting under the shade of the trees in their village. And the fact that it all begins with a bid to get back their football field makes the teenage uprising even more endearing.

Technical and Other Departments:
Musically, KHELEIN HUM JEE JAAN SEY is embellished with soft and soothing compositions, but I have an issue with that. Sure, the album is high on patriotic sentiment, but the songs in the first hour act as a roadblock in the narrative. Ideally, it should've been a songless film. However, the background score [also by Sohail Sen] enhances every scene, making it more impactful. The production design [Nitin Chandrakant Desai] transports you to that era. It's that authentic. The stunts [Ravi Dewan] are true to life. Kiran Deohans and Seetha Sandhiri's cinematography captures the era to perfection.

Final View:
On the whole, KHELEIN HUM JEE JAAN SEY, based on the Chittagong rebellion, is an enlightening experience of a poignant, but little-known chapter in history. It's a film of immense significance which evokes a colossal patriotic fervor. A motion picture like KHELEIN HUM JEE JAAN SEY isn't created targeting the box-office solely. It's also made for the gratification of the senses. And that it does in sufficient measure. In an industry obsessed by opening weekend business and box-office records, this is one of those rare films that doesn't compromise on its gracious objectives for the sake of becoming more box-office friendly. At the same time, a film like KHELEIN HUM JEE JAAN SEY, although very well made, may not appeal to those who relish the customary kitsch and masala. Therefore, the film will have to rely on a very strong word of mouth to create any kind of an impression or impact at the box-office.
Don't Miss it.

RAKTA CHARITRA -2 MOVIE REVIEW

Cast: Surya, Vivek Oberoi, Priyamani, Shatrughan Sinha, Kota Srinivasa Rao, Radhika Apte, Zareena Wahab, Sushant Singh, Tanikella Bharani, Subhalekha Sudhakar, Vishwajeet Pradhan, Rajendra Gupta, Ashish Vidyarthi, Kitty and Ram Gopal Varma (voice-over)

Music: Dharam Sandeep
Cinematography: Amol Rathod
Editing: Bhanodaya/Nipun Ashok Gupta
Dialogues: Nageswara Rao
Fights: Javed Eijaz
Story - screenplay - direction: Ram Gopal Varma
Producer: Madhu Mantena, Sheetal Vinod Talwar, Chinna Vasudeva Reddy, Rajkumar
Release date: 3 December 2010
Theater watched: Siva, Guntur.
Rating : 3.25 / 5

surya and Vivek Oberoi new Film Ratka Charitra -2 Hindi, Telugu,Tamil Movie Review:

Story :
A gripping tale, the sequel takes off from where Pratap Ravi (vivek) grows as a powerful force in politics and his supremacy gets a jolt with a bomb attack on his convoy. The reason for that is Surya Bhanureddy (suriya), son of Narasimha Reddy (kitty) who was killed by Pratap Ravi. Surya is taken over by the strong desire to kill Pratap Ravi as he becomes responsible for the death of Surya's family. The bomb attack gets Surya into jail and here, he becomes friends with Muddu Krishna (aijaz), a hardcore killer. While Pratap tries in various ways to get Surya killed, Surya also has his own plans to kill Pratap. What happens from there forms the rest of the story.

Artist Performance:
Surya is a perfect choice for the character of Suri. There is a scene before the interval of the movie in which they didn’t show the mutilated bodies in the TV bomb blasts. RGV has shown the horror and sadness in the eyes of Suriya. This scene speaks volumes about how an actor could be used to create superb effect of a bomb blast without actually showing the people who died in it. Priyamani is authentic as a supportive wife of Surya. Sudeep has a vital role in this movie. Subhalekha Sudhakar plays an important character. Most of the character characters are from the part 1.

Technical and Other Departments:
The way he hid Surya’s thread in the part one and narrated it as a flashback in the part two is good. Since the part 2 didn’s have enough engaging raw material, RGV has explored the emotional quotient in terms of Surya-Pratap rivalry and Surya-Bhavani understanding. Direction of RGV is intense in certain parts of the movie.
Music by Dharam Sandeep is as good as in the part one. However, there are not many commercially engrossing scenes in the second part to use the peppy RC background music. Dialogues by Nageswara Rao (mostly RGV’s) are good. One such dialogue is ‘Rajakeeyamantha Yes and No la madhya vundi’ (Tanikella Bharani in movie). The other dialogue is a comment on wives (we see similar one in Naa Istam book). Camera work is very good. In addition to close ups and innovative framing, RGV tilted the scene by 180 degrees in a couple of scenes. Art direction is authentic.

Analysis:
The film is the sequel to the original part 'Rakta Charitra' and unlike the regular features where sequels are boring than the first parts, this one was commendable. Right from the first scene, the audience is taken into the film and by the second half they are completely taken by the intensity and voltage in the performances and presentation. Technically, this is a masterpiece and content wise, it is impeccable. At the box office, this will be a sure shot hit.

Final View:

Its a good film To watch This weekend.