Blue Oranges

An alcoholic woman is murdered, and thus begins a process of deconstruction that takes the plot back to where it all started.
It's hard to pinpoint where "Blue Oranges" begins. The director has chosen an intricate flashback-and-forth mode of storytelling that he isn't always able to carry off with elan. But the art is in the right place...a part of the plot is devoted to the hazy world of fake paintings and names like M.F. Husain are mentioned in passing.
Our sullen hero Kevin (newcomer Aham Sharma), we are told in whispers, paints fakes. He also fakes emotions when the questioning gets too close for comfort.
He's an enigma in a movie that unravels the mystery with insubstantial proof of its expertise.
Kevin probably murdered this rich alcoholic woman (Pooja Kanwal). The film's sullen hero apparently didn't show up for their wedding. But he shows up eight years later at her doorstep, his long-haired painter's look replaced by short hair, spectacles and terse words that suggest he's secretly unhappy.
Murder suspects pile up rather neatly. And the interrogation is done with a reasonable amount of expertise and restrain. No jokey cop-sidekicks, no item songs in smokey dens and no villains accumulating in the plot's skyline like suspects lined up at the roadside.
At the vortex of this mildly engaging whodunit is a freelance investigative officer Nilesh (Rajit Kapoor) with a paraplegic daughter, who keeps reading books that no teenager should. In fact the girl gives the film its incongruous title. She's the key to the puzzle of the murdered alcoholic woman who had men barging into her home unannounced.
If there are no highs in the narration, there are no plunging lows either. You come away from "Blue Oranges" hoping that murder victims in the future remember not to drive while drunk.
Caution is a predominant strain in the storytelling. The one stand-out performance comes from Rajit Kapoor who says the most oratorial line with the authority of a librarian who knows every book on the shelf by its binding.
The rest of the cast is passable, sometimes less. But that's the way of the world. You win some, you lost most of it.

What's Your Raashee?

Ashutosh Gowarikar, a man who lets his work do all the talking, comes up with yet another unique film titled 'Whats Your Rashee' starring Harman Baweja and Priyanka Chopra. The movie is an adaptation of Gujarati author Madhu Rye's novel Kimball Ravenswood. It has Piggy Chops playing 12 different roles; each depicting the signs of the zodiac. With a new funda of zodiac marriage attached to it and Gowariker at the helm, What's Your Rashee sure does invite a lot of curiosity and expectations around it. Is it yet another Ashutosh Gowariker masterpiece?
What's Your Rashee is an interesting tale of drama, romance and wedlock. Yogesh Patel, an NRI from Chicago, is forced to hunt down his life partner in just 10 days to save his family from ruin. Well, what's the hurry all about? It's just that his astrologically blind family believes that his marriage could bring in a lot of 'dhan-sampathi', which could save his brother from being arrested or killed by a don for having gambled and lost their money in shares. With no option left and too many girls on his dad's list, Yogesh decides to meet one girl of each rashee to judge which rashee suits him better. What kind of an experience does it turn out to be? And which girl or rather rashee does he manage to lure into marrying him?
The concept is new, the casting is impressive and with Ashutosh Gowarikar as the director, expectations from WYR were high. And this time around, Ashu's eagle's for perfection is the villain. He wants family drama and even though the marriage is a hurried affair, romance and song is a must with almost every girl. An illicit-affair of mamaji (Darshan Jariwala) that in itself runs as a parallel story is merely added to fill in the comical space. The gunda's two side-kicks not just look weird but their periodic appearance is annoying. In attempts to make everything look complete, Ashu fails to ensure the essence of movie is carried through-out and also manage the run-time. Also, among the 12 stories, 2 or 3 of it are believable and the rest seem ridiculous. What's with the millionaire's daughter acting crazy only to find out if the groom is marrying her for what she is or her financial worth? And the pre-conceptualized contract marriage parts aren't convincing.
WYR has its moments but the story, although innovative and interesting, isn't suited for a big screen adaptation. The pace of the movie is extremely sluggish and dragged to its entirety. The un-ending list of songs wears you out completely and just adds to the runtime.
The movie purely strives and survives on performance. Kudos to Priyanka Chopra for her impeccable performance. She transforms into 12 different skins with different attitude, voice and spirit and pulls off every character with such dexterity. She took us by surprise with her performance in Fashion, charmed us with a warm and naughty performance in Dostana, continued to grow with a stunning performance in Kaminey, and now with WYR she proves just why she is the best in the industry today. As for Harman Baweja, his efforts are sincere, but he still needs to work on his acting skills. Anjan Shrivastava, Darshan Jariwala and Manju Singh are good.
To sum up, WYR has about 8 songs too many, is an hour and a half longer than it should have been and suffers from a poor screenplay. Wait for the DVD or television premier and watch it for Priyanka's performance.

Wake Up Sid

Wake Up Sid is a film that reminds you of those college days, when for those naughty few guys in class, life was all about - girls, cars, night life and gaming. Directed by Ayan Mukherji, Ranbir plays the lead role of Sid while the very talented Konkana Sen Sharma is Aisha. Karan Johar's Dharma Productions produces this refreshing entertainer that should be remembered and loved for years to come.
The character of Sid has shades of Hrithik in Lakshya, Aamir / Saif in Dil Chahta Hai and director Ayan Mukherji seems to be a huge fan of Farhan Akhtar and his films. After a long time we have a movie that is restricted to the lead characters, yes the director has included some ill-conceived characters like those played by Rahul Khanna and Kashmeera Shah, but the focus largely remains on Sid and Aisha.
Wake Up Sid strikes the right cord from the onset. With simple but tight screenplay, delicate dialogues and lots of freshness, the movie leaves you tingled all over with joy. No exaggerated scenes, no unnecessarily long flash backs, no fuss, no melodrama, Ayan has given the movie just the perfect treatment it deserved. Hope to see a lot more of this young and talented director. The movie starts off very well, quickly introducing the characters and without wasting time divulges deeply into the lives of Sid and Aisha. You instantly feel the connection with the characters and can easily relate some of your experiences too, and this makes Wake Up Sid a great watch start to finish. The instant birthday celebration, the one where Sid's mom practices English to be her son's friend, the father-son confrontation and later the first pay cheque, are among the many scenes that make an impact.
While the first half is fast-paced, the second half gets a little sluggish and stretched. But as the movie nears the climax, it picks up pace and leaves you heart-warmed. A big round of applause to the entire team, the movie feels right and looks absolutely fantastic on screen. It has what it takes to cast a charismatic spell on its audience. Anil Mehta's cinematography is first-rate, be it the Queen's necklace at Marine Drive, or the Mumbai monsoon, everything is captured beautifully. The background score too is perfectly in tune with the movie. The blending of Shankar, Ehsaan and Loy's music into the script, adds to the depth and feel of this light-hearted entertainer. Among all the songs, Iktara stands out the most. And at the end, you walk out of theatres mesmerized with some bitter-sweet memories lingering in your minds.
Ranbir Kapoor and Konkona Sen Sharma are rightly cast. No one else could have handled these roles with such dexterity and charm. Ranbir effortlessly fits into the skin of Sid and excels in every scene. Konkona Sen Sharma is always dependable and as Aisha she is at her natural best. Anupam Kher and Supriya Pathak are good.
To sum up, Wake Up Sid is a charming experience. A feel good entertainer for audience of all ages, especially the youngsters. Do watch it.

Do Knot Disturb

David Dhawan and Govinda are back in what should be their 18th film together. Do Knot Disturb, apart from Govinda, features Ritesh Deshmukh, Lara Dutta, Sushmita Sen, Ranvir Shorey and Rajpal Yadav. Besides the various promotional videos, the unique marketing strategy that the producers used called 'flash mobs' that create an idea of the Do Knot Disturb storyline with live entertainment on the streets of Delhi and Mumbai has undoubtedly left many thirsty for more. Also, this is the first time two Miss Universe winners will be working together. But with all the curiosity generated, is this new outing of David Dhawan as hilarious as his previous works?
Do Knot Disturb is a typical David Dhawan comedy - full of errors. An insanely rich businessman (Govinda) is married to a rich and gorgeous woman (Sushmita Sen). Govinda is involved in an extra martial relationship with a super model played by Lara Dutta. To save his marriage, he bribes his waiter friend (Ritesh Deshmukh) to be the supermodel's boyfriend. What follows is a crazy laugh riot that falls short of expectations.
Do Knot Disturb lacks an in-depth storyline; in fact the script is half-baked, but the many parallel stories running with each of its character, makes it a 'knotty and shoddy' affair. The initial reels start off well with its share of comic moments that are fun. But as the movie proceeds, the sequences get very clumsy and with no story to tell the screenplay breaks into a song every now and then without rhyme or reason. The laughs are not consistent and the movie tends to give you a feel of monotony as you find the same gags repeat it. You have actors yelling at the top of their voices or breaking into female tones, apparently supposed to be funny but all it does is giving you a scorching headache.
The outdated situational jokes like the dead body of the detective going around the hotel and some faulty characterizations like the crazy angry ex-boyfriend are a huge turn-off. And if this is not painful enough, every now and then you also witness the mother-son family drama that is so tacky. Not just that, despite the characters repeatedly mention the place Delhi, the movie doesn't seem to have been shot in the capital city of India, too many cinematic liberties like in every Dhawan movie. The climax is pathetic. The movie suddenly jumps to an abrupt and absurd ending. Dialogues come as a saving grace sometimes. From detergents to cosmetics to electronic goods, everything is used to phrase some uniquely funny dialogues. Music is mediocre, but as mentioned earlier is totally out-of-focus.
Coming to the performances, everyone overacts. With Govinda-Ritesh-Ranvir sharing screens pace, we except some brilliant comic timing, while they are good, all you get is just a handful of laughter. Govinda is good in some scenes but otherwise is horribly over the top. Ritesh Deshmukh does well. As for the ladies, Sushmita in her extended special appearance looks plump. Lara Dutta hams throughout. Ranvir Shorey is wasted. Manoj Pahwa could have been better. Sohail Khan isn't any bit funny. 
Overall, Do Knot Disturb has its moments of laughter but is better left undisturbed.

Acid Factory

Acid Factory directed by Suparn Verma is about a bunch of guys waking up trapped inside an Acid Factory only to realize that they have momentarily lost their memory due to a gas leak. The gang lead who set them up in one such agony, calls up to inform that four among them are kidnappers and one is the hostage. This call sets the alarm in their minds and unable to relate to each other, the men desperately try to regain their memory and find their personal identities.
Acid Factory is high on action but the overall execution fails to live up to expectations. The narrative has nothing new or exciting to offer and when it comes to the treatment of the film - it's the usual sepia tone and slow motion sequences with bombs blasting here and there for no apparent reason. It keeps jumping between the present and the past with each character having a dark flashback to unveil. Although this initially seems exciting, mid-way through the film the mystery tends to get obvious and ends up giving away the suspense, killing the fun and thrill behind the film. Packed with few high-adrenalin action sequences that take you by surprise, Acid Factory, has its moments in the first half and in the second half, the argument between Irrfan and Manoj is something to watch out for. The climax though is a major let-down.
Acid Factory has the sleekness; style is high on action, something we have come to expect from Sanjay Gupta films. But as the reels unfold, it fails to build and hold on to the mystery, as it succumbs in giving away the suspense of the plot halfway through the movie. The night club dance sequence by Manasi Scott and Vida Samadzai is totally out of focus and was unnecessary. The film would have worked with a little twist here and there, a better narrative, tighter editing and a breath-taking climax. Dialogues are lame and inane. Cinematography is good and the locales of Cape Town are captured well. Tinu Verma's action choreography wins all the accolades for making the stars perform some breathtaking stunts.
Manoj Bajpai and Irrfan Khan are at their natural best and are outstanding in their roles. And yeah, Irrfan manages to kiss a couple of babes too. Fardeen Khan is a revelation. Aftab Shivdasani is good and acts ably. Dino Morea, as a Johny Depp look-alike, looks amazing but his performance isn't up to the mark. Danny is fantastic. Dia Mirza's hyped role is a big disappointment. However, she manages to look stunning in her new avatar.
Overall, Acid Factory is strictly for hardcore action lovers.

Blue

When the makers of a film proudly proclaim their product to be at par with their Hollywood counterparts, one is bound to be sceptical. More so because "Blue" is an action film, that too set underwater, which is not just a first in Bollywood but also a rarity in Hollywood.
So does "Blue" set new standards for Bollywood action movies? Does it actually get into the underbelly of the sea and show a world hitherto unexplored? The answer is yes.
Let's put it this way - "Blue" may not be the mind-blowing commercial action thriller that you would have ever seen. However, it certainly is the most innovative attempt that deserves to be acknowledged and lauded.
Action is truly the USP of the film and keeps the momentum going for "Blue" due to which one doesn't quite miss the presence of a solid storyline.
From first till the last frame, it's the amalgamation of action and an unknown world (under the sea) which brings in a novelty factor.
For those hunting for a storyline, "Blue" actually begins and ends at the basic synopsis level. Mr. Richie Rich Akshay Kumar wants a treasure to be explored and entices his employee and friend Sanjay Dutt with tempting offers.
Dutt is reluctant to take that dive into the sea even though his girlfriend Lara Dutta and brother Zayed Khan do present him enough reasons to take the plunge. Eventually he relents and the journey of "Blue" begins. Simple.
There are five key action sequences that keep the pace up for the film. Each of the three bike sequences featuring Zayed become better and better and in fact his introduction a la 'Fast and the Furious' is something unique for an Indian film.
The boxing ring sequence featuring Sanjay and Akshay does hint of "Broken Arrow", though it works in establishing their characters. Most importantly, the entire underwater hunt sequence is a breathtaking affair.
Anthony D'Souza has a strong eye for visuals and that shows. Technically, whether it is camerawork or sound, "Blue" bears an international feel. Whether it's Sanjay or Akshay, the revelation about their past isn't quite hammer strong, even though convincing.
Moreover, even though the film is a multi starrer, one does expect Akshay to be on the forefront. However, for a change, a film featuring him does allow equal screen space for other actors as well.
As for Lara and Katrina Kaif, their presence is required to make the film look good and in that aspect, they do well.
In a nutshell, "Blue" is made for those who want pulsating action, innovative stunts, glamour and some unbelievable moments that defy logic.
It mainly caters to the youth that just want some non stop action in those two hours while keeping James Bond movies in mind.
The kind of films where bikes are meant to race through traffic, cars are meant to explode, women are meant to bring on a glamour quotient, villains are meant to be suave, action is meant to belong to never-seen-before variety and technical aspects are meant to be superior to the best.

All The Best

All The Best is a slapstick comic caper produced by Ajay Devgan and directed by Rohit Shetty. The director has enjoyed huge success with his last two films, Golmaal and its sequel Golmaal Returns. All The Best stars Ajay Devgan himself, Sanjay Dutt, Bipasha Basu, Fardeen Khan, Mugdha Godse, Johnny Level and others.
Ajay and Veer are friends living a fun filled and extravagant life spending Veer's step-brother Dharam's money. They land up in debts in their attempts to make some quick and easy money. Adding to this trouble, Veer lies to Dharam about his marriage. One fine day, Dharam unexpectedly arrives in Goa and mistakes Prem's wife Jhanvi for Veer's wife and Veer's girlfriend, Vidya as Prem's girlfriend. The two start juggling between prolonging the debt payment to a local don and pacifying Dharam, about the false status. What follow is rib-tickling comical situations where Veer and Prem try to sort out more and more issues.
By far the best of the Diwali releases, All The Best is a clean family entertainer mainly targeted at the masses. Not much of a story to talk about, but Rohit squeezes in enough one-liners and gags to make it one of the more entertaining comedies of the year. A few sequences involving Sanjay Dutt - Johnny Lever and Ajay Devgan - Dutt are hilarious.
What the movie lacks though is someone with great comic timing, an additional character for the likes of Arshad Warsi, Shreyas Talpade or Tusshar Kapoor would have been a treat to watch. The editing should have been crisper (runtime at 2 and a half hours is too long). The music by Pritam is good.
Coming to the performances, Ajay Devgan has the meatiest role and he is fantastic in the comic scenes. Johnny lever after a long time is fun to watch. Fardeen is improving with each film, after a good performance in Life Partner; he does very well in All The Best. Bipasha Basu has nothing to do, neither do Mughda Godse. Sanjay Dutt is good with his comic timing.
To sum up, All The Best should ideally have been a bit shorter, but is quite easily the movie to watch this Diwali. Watch purely for entertainment, do not expect a story or find logic. If you love the Golmaal films, there is no reason you shouldn't like this.

Main Aurr Mrs Khanna

Main Aur Mrs Khanna directed by Prem Soni has Salman Khan and Kareena Kapoor as Mr and Mrs Khanna. The movie also stars Sohail Khan in a supporting role along with many special appearances. Unlike the 90s, triangular love stories are no longer a sure-shot formula for box-office success. Can Main Aur Mrs Khanna turn it around for a genre that Bollywood is most known for?
Main Aur Mrs Khanna reminds you of those many melodramatic romantic movies of the 80s and 90s and has arrived a good 15 years late. Television director Prem Soni's direction is quite simply outdated for today's audience. What make the movie worse are those numerous background sounds / noises and the corny dialogues.
Though Main Aur Mrs Khanna is short on runtime (2 hours), it should ideally have been way shorter. Preity's not happening dance number, which ironically is titled 'Happening' is heavily inspired by the Bachchan's 'Kajra Re' from Bunty Aur Babli. The item number was unnecessary and so were the scenes involving Bappi Lahiri...
But the problem lies in the script, which is filled with glaring flaws. The screenplay seems disjointed and many questions are left unanswered like the lack of communication between the Khanna's when Mr Khanna is in Singapore. And while Mr Khanna refuses he accepts calls for months, he resurface out of nowhere one fine day. Also, can't Raina (Kareena's character) afford a cell phone? And what's with her buying a posh apartment, days after securing a job at the Melbourne Airport?
The music is good and so is the cinematography.
Coming to the performances, Salman Khan does reasonably well. But I can't help but wonder why he accepted this film. In poorly written characters, Kareena Kapoor rises above the script and delivers her best performance since Jab We Met. She looks gorgeous through the film. Sohail Khan's provides some much needed fun. Deepika Padukone appearance is a pleasant surprise.
To sum up, Main Aur Mrs Khanna is outdated, immature and fails to make an emotional connect with the audience.

Rann

"Rann" is that rare cinema about the collective conscience which we often like to think has gone out of style. Like Mehboob Khan's "Mother India" and Hrishikesh Mukherjee's "Satyakam", "Rann" shows how tough it is to hold your head high up in dignified righteousness in a world where ethics crumble faster than cookies in wide-open jar left out too long in the sun.
Ironically, there isn't much sunshine in "Rann". The film has been shot in an anaemic light, symbolizing a world that's largely losing light.
Cleverly, Ram Gopal Varma situates his morality tale in the cut-throat world of the electronic media where the TRP is god and deadlines the devil. And may the voice of the conscience rest in peace.
Without wasting time Varma introduces us to the plethora of characters who colonise the bowel of a declining channel run by the idealistic Vijay Harshvardhan Malik (Amitabh Bachchan). Malik believes there's room still for the straight and narrow path in a business where grabbing attention is the murder of all invention.
The glistening sweat on ratings, challenged eyebrows are captured through tight close-ups of worried faces that the camera - Amit Roy's sharply cruising lenses moving from face-to-face with obstinate restlessness - that give nothing and yet everything away.
As in Varma's "Sarkar", the moral battle lines in the media-run tale of "Rann" are drawn between the idealistic patriarch and his US-returned hyper-ventilating son Jai (Kannada star Sudeep) who is so anxious and ambitious, you know he will eventually cause trouble for his ideologue dad's news-worthiness.
Trouble arrives in the flabby form of a seedy politician Pandey - played by Paresh Rawal and he re-embraces villainy with lip-smacking relish - who plunges into the TRP war on television with no sense of propriety, legalese or the law.
Pandey pompously tells Jai before they both conspire with the help of a rival television tycoon (Mohnish Behl) to trash the idealistic Harshvardhan's reputation.
The plot accommodates more characters that a miniature touristic island in the holiday season. Not one of the characters need any explanation or occupy a superfluous place in the plot.
Varma's concern for the characters is genuine but non-judgemental. Each characters even the relatively-shadowy women, emerges as casualty of an over-competitive society where morality goes out of the nearest window.
The narrative is taut, restless and biting in its depiction of corruption in supposedly responsible places.
While much of film's inner fire burns outwards from the pithy and peppery writing (Rohit Banawlikar), the essential core of idealism is preserved in the understated relationship between the idealistic young rookie Purab Shastri and his mentor Harshvardhan. Wish this bonding was built on.
As restless as his camera, Varma gives no space to the complicated labyrinth of relationships to grow. We are left to gauge the depths and dimensions that underline the furious flow of empathy and antipathy between various characters by reading between the lines.
The first two-thirds of the narrative creates a gripping patchwork of television, drama and politics and how the three worlds often come together to destroy the basic fibre of human morality.
It's the last quarter of the narrative where Harshvardhan, after realising he has been taken for a ride by his own son's over-ambitiousness, that packs in the maximum punch.
Cleverly borrowing the premise for its climax from Mehboob Khan's "Mother India", "Rann" moves aggressively but confidently into its passionate finale where the patriarchal television tycoon must expose some harsh home-truths to cleanse his own conscience.
"Rann" takes us into a world where right and wrong are more financial than moral issues, where the people who make news conveniently forget that the source is often the nadir of the conscience.
"Rann" is a razor-sharp bitter and biting look at the real world of rapidly-moving moral issues.
Varma extracts superlative performances from the entire cast. From Ritesh's heartbreaking idealism to Neetu Chandra's part as Jai Malik's secret love interest.
As expected Bachchan as the conscience of the plot, presides over the speeedened proceedings with a thoughtful and gentle performance. His climactic speech makes all of us sit up and think about the quality of work we do in order to keep up with the competition.
Luckily, Bachchan's consistently excellent output is never dependant on the 'competition' around him. Ironically, his character is forced to stoop in order to conquer the TRPs.
Varma, who has been lately guilty of making fairly compromised films, rises above the morass of mediocrity with a meteoric force, letting other filmmakers know what he is capable of achieving if he sets his heart to it.
"Rann" defines the role of the electronic media in today's context with remarkable virility and dramatic force. This is Varma's best work since "Company".

Road to Sangam

This is a small, tender idea, executed with a certain amount of elan and loads and loads of heart. Writer-director Amit Rai's debut film is a Gandhian parable done up in shades that are at once, pristine, noble, gentle and funny.
The imaginative plot about the Mahatma's ashes belatedly being taken out of Allahabad to be scattered in the Ganga gets its strength from the moral frailty of the times that we live in.
Miraculously while constructing a heart-warming morality tale, the debutant writer-director manages to keep the tone purely and strictly non-judgemental.
Among the many virtues in this frail but strong tale of two communities that need hard and immediate lessons in co-existence, is the detailed eye for locations. The streets and roof-tops of humble middle class homes in Allahabad are shot by cinematographer Dharam Gulati with a keen eye for the teeming crowds peeping out of ramshackle windows which have seen better days.
The eye used to create the authentic ambience is forever lucid and non-judgemental.
Sandesh Shandilya's re-worked interpretation of Gandhian bhajans add considerably to a sense of serene sincerity in a work that gently but firmly prods our conscience.
The process of spiritual awakening that the sleepy communally-divided town undergoes when a humble honest motor mechanic Hashmatullah decides to repair the car that would take Gandhiji's ashes to the sea, is shown to be gradual and persuasive.
In its effort to project a world beyond strife that is obtainable to a more reasonable humankind than visible in today's divided times, the narrative at times slips into the realm of naive idealism.
No harm in that. "Road To Sangam" shows us that the road to salvation for a wounded and dying civilisation is to cut through the tangled web of politics and religion to try to a find a common ground between the Hindu and Muslim viewpoint without compromising or hurting either.
Paresh Rawal as the simple and obstinate motor mechanic Hashmatullah finds that dithering but comforting ground in his performance.
Hashmatullah is a gentle soul driven by a clarity of purpose that brooks no interference from religious bigots. His cluster of Muslim compatriots opposing his idealistic efforts to do justice to Mahatma Gandhi's memories often come across as benign caricatures.
Rai portrays the world of religious bigotry as eminently reformable. In this sense, the film's core could be considered impractical. But the film's quest to convert the currency of communalism into a molten gold of harmony and peace, is never questionable.
"Road To Sangam" is a gentle trip into the heart of a society that has resorted to a collective suspicion and hostility as a form of protestation and self-protection. Without really saying so aloud, this film suggests Gandhism still has the solution and medicine to the spirit of ceaseless strife that grips our society.
The dusty half-formed modern integrally-traditional ambience of Allahabad and Paresh's deceptively smooth portrayal of the man who must do his duty even if it endangers his life, carry "Road To Sangam" to the region of an important statement on the relevance of Gandhi in today's age of rage.
There's a lesson to be learnt from this film. Luckily, we aren't required to dig too deep into the narrative to procure the message.
Gentle and heart-warming "Road To Sangam" is that rare passionate paean to patriotism that doesn't resort to flag-waving even once.

Ishqiya

3 great actors, a super talented producer with a huge following of his own, come together for Ishqiya directed by Abhishek Chaubey. The moment the film was announced, it was one movie that I looked forward to the most.
Ishqiya revolves around three characters: Khalujaan, Babban and Krishna. Khalujaan and Babban are thieves who after double-crossing their boss Mushtaq Bhai are finding a refuge to save their lives. After trying at different places with different friends, they finally find shelter at a friend's place in Gorakhpur who's widow wife let's them stay till they make plans to cross the border. As they plan their escape, their time spent together draws the duo to her, Khalu with his tinted vision of old-fashioned love, and Babban with his lustful eye. Mushtaqbhai soon finds them and threatens to kill all three if he does not get his 25 lakhs back within the allocated time. Set in a rural landscape, Ishqiya explores basic human emotions as influenced by desire, greed and revenge.
Abhishek Chaubey's Ishqiya set in the badlands of UP, with crime, love, lust, deceit and conspiracies forms an intriguing tale. The movie is a tricky roller coaster ride from the beginning to the end with unpredictability and twits taking the front seat. Without wasting anytime, the movie gets into its fickle rustic tone right from the start and as the reels unfold you can't help but get sucked into the world of the characters. Abhishek sure does mix his mentor Vishal Bharadwaj's style of narration and raw appeal to his movie but handle's it in a way that marks his credibility. 
Romance is thrown in and there is a thrill element too. From the passionate love making scene, to the changes in Krishna's character and the complications and twist in the story, everything is entwined interestingly and dexterously captured. Dialogues by Vishal Bharadwaj are great and they accentuate the situation by adding a comical tone to it. Bharadwaj's music too is in sync with the movie and is very pleasing to the ear. "Dil toh Bachh" juxtaposes Khalujaan fantasizing about Krishna as his wife and the sensual play between Babban and Krishna on the other hand is fantastic.
The movie also has some jarring defects. Especially the story which lacks consistency and clarity. Editing too could have been a bit crispier. The climax is a big let down and falls flat in comparison to the rest of the story. It gets convoluted, too many twists and some far-fetched connections.
When it comes to performances, all three actors do extremely well. Naseeruddin Shah is outstanding. Vidya Balan is smoking hot as the village belle and has done justice to her role that is filled with complexity. Arshad Warsi is a relevation, his comic timing is excellent.
To sum up, Ishqiya is an intriguing tale with great performance. If you liked Omkara, there is no reason you wouldn't like this one.

Veer

To say that Salman Khan's new release Veer is a period drama that could perhaps do with a little more plausibility and detailing is a massive understatement, even though it confesses at the very outset to be based not on facts, but pure legend. But having said that, what one must remember is that- before anything else- this is a Salman Khan film (the actor, in fact is even credited with the story).

It's daft to go looking for any authenticity here, because past, present or future- irrespective of time period or time zone, Sallu will remain Sallu- and unabashedly so. And in (and as) Veer, Salman does what he does best; pump up the testosterone and the rugged charm in his vintage style. He's armed with his share of trademark punches and punch lines, and every time he turns to give someone that lethally ferocious look, we hear the roar of a tiger in the background. Yes, it's that kind of the film and Salman Khan's fans without doubt will be cheering and roaring in unison as he breaks a sword with his bare hands and pummels a WWE-style British Bulldog- oops- warrior to pulp.

The story, (very loosely) spanning the late 1800's and the early 1900's revolves around the tribe of fierce warriors called the Pindaris, and how they are cheated by a Rajput King (Jackie Shroff) who by deceit, joins forces with the ruling British to rob them of their land and the lives hundreds of their warriors. How they get revenge, led by Veer and how he falls in love with the daughter of (obviously) that very Rajput king along the way is what the film is generally about.

It would have really helped if the central love story of the film, between the Pindari warrior Veer (played by Salman) and the Rajput Princess Yashodhara had some meat, like its refreshingly plump and well-fed debut actress Zarine Khan (who has a pleasant screen presence but lacks personality). But this is, after all, a Salman showcase, and the writers obviously couldn't care much about making the female protagonist a well-written character and create genuine romance and drama instead of just making her stare wide-eyed into the searing , kohl-rimmed eyes of her hero.

Nevertheless, even for the more incredulous viewer, Veer remains a reasonably entertaining masala period saga, steered by director Anil Sharma (more in control than in his last few efforts) and peppered of course, with ample moments of unintentional hilarity (I am tempted to give out the ending, which left me in splits). Also, it is pretty well mounted on a large canvas with respectably executed war scenes (by Bollywood standards, at least), and though there is also plenty of tackiness on display with most of the costumes (including tight leather pants worn by Salman) looking like they are borrowed from a school play (Anna Singh, what were you thinking?)- The makers have clearly put in effort into their product instead on banking on sheer crudity. Even Sajid-Wajid's music- probably their first effort for a historical- is mostly pretty easy on the ears, though it obviously lacks the richness that such a film demands, but then, you can't expect them to do a Rahman.

Watching films over the years, one realizes that a film should be judged for what it really is, and not what you think it should be. And like I said before, this is, after all, a Salman Khan film - and I have to admit it lives up fairly well to that title. This clearly is Wanted in a period setting, and if you are a Salman Khan fan, I guess you would want to catch it. On second thought, if you really are a Salman Khan fan, you wouldn't care for my opinion, would you?

Striker

Cham Cham.mp3
Bombay Bombay.mp3
Haq Se.mp3
Maula.mp3
Yun Hua.mp3
Pia Saanvara.mp3
Aim Lagaa.mp3
Aim Lagaa (Rickshaw Mix).mp3

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Rann

Sikkon Ki Bhook _Anthem Of Rann_.mp3
Remote Ko Baahar Phek.mp3
Kaanch Ke Jaise.mp3
Rann Hai.mp3
Gali Gali Mein.mp3
Besharam.mp3
Mera Bharat Mahaan.mp3
Besharam.mp3
Gali Mix.mp3

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Toh Baat Pakki

Jis Din.mp3
Phir Se.mp3
Dil Le Jaa.mp3
Karle Mujhse Pyaar.mp3
Phir Se ( Remix ) .mp3
Jis Din ( Remix ) .mp3
Dil Le Jaa ( Remix ) .mp3
Karle Mujhse Pyaar ( Remix ) .mp3
Aarti ( Traditional ) .mp3
Phir Se.mp3

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Fruit & Nut

Ace comedian Kunal Vijaykar makes his directorial debut with a movie that promises to be as tasty and fun as the chocolate variety from Cadbury's.
Fruit and Nut is about Jolly Maker (Cyrus Broacha) who is nerdy and single, but in search of love, fame and money. He works as an accountant for a corrupt builder Khandar. The guy is prone to accidents and unintentionally creates disasters.
One day, Jolly's beautiful and sexy colleague Monica (Dia Mirza) gets kidnapped. Soon he is a part of a plot by the so-called ex maharaja of Mumbai, who plans to destroy the city.
If you walk in expecting a Bheja Fry out of this, you would walk away disappointed. Fruit and Nut has its moments but it's the writing that fails to do justice to any of the actors - all with brilliant comic timing. It's a missed opportunity of seeing something special onscreen, instead all we get is a set of over the top characters, with weird clothes, strange make up and insanely stupid dialogues.
Cyrus Broacha tries hard to save this with his comic timing, but fails. Dia Mirza is perfect eye candy, without her it's hard to sit through Fruit and Nut. Boman Irani hams. Mahesh Manjrekar is over the top.
Any positives? Yes, the runtime. Its 90 minutes.
To sum up, this is a disaster. Buy yourself a pack of Cadbury's Fruit and Nut instead, it's cheaper and tastier!

London Dreams

Vipul Shah's London Dreams has a very interesting star cast. Salman Khan and Ajay Devgan more than 10 years after Sanjay Leela Bhansali's Hum Dil De Chuke Sanam and Asin, fresh from the super success of her debut Ghajini. Shah's movies in the past (Namaste London, Waqt) have been appreciated by critics and audience alike. London Dreams should be no different.
London Dreams is about Arjun and Mannu, best of friends for years. Arjun is serious about music and fulfilling his grandfather's unfulfilled dream of performing on stage. Mannu is least interested in music and is still a child at heart, happy-go-lucky types. As Arjun's dream begin to turn into reality through a band called London Dreams, Mannu who till then was unaware of his hidden talent, grows incredibly quickly into a star. As jealousy begins to creep into Arjun, the friendship is put to test. The battle for success begins, but at what cost?
What hurts London Dreams the most is the surprisingly it's music composition by the otherwise talented combo of Shankar-Ehsaan-Loy. The fact that the movie is a musical, with not a single chartbuster to boast of, is simply not acceptable. Apart from the music, the climax isn't the greatest either. The second half seems over stretched, mainly due to the weak music.
On the brighter side, London Dreams is strong on emotional content and performances from its lead stars. Salman Khan and Ajay Devgan are fantastic as Mannu and Arjun. Devgan in the second half steals the show, but it's Salman Khan who emotes better than he has ever done and delivers what is arguably his career best performance. Salman is spot on with his comic timing too. Asin sadly, is wasted. She deserved a better role after Ghajini.
To sum up, London Dreams suffers from a weak climax and bad music. That apart, the direction, story and performances deserve full marks.

Aladin

"I am still a teenager", says Amitabh Bachchan right at the beginning of "Aladin", setting the mood for the film to follow. Young at heart and fresh in treatment, "Aladin" wouldn't have been possible without him.
Playing Genius - The Genie could have gone either way since he is expected to be whacky, quirky, a little eccentric, a bit mad and hugely lovable.
The narrative is clearly divided into two sections. If the first half is more children friendly, the second half has a lot going for teenagers and above.
There is some fun in store for children with a donkey's head replacing Riteish's, his guitar turning into a frog and him being thrown in the air after being turned into a balloon. The funny antics that follow may not have grown ups rolling with laughter, but should surely keep the smiles on.
Amitabh's 'Yo dude' act keeps the fun going. He adopts a completely different body language as the flamboyant genie, who is happy moving on with the times, and could give the younger generation a run for its money.
Meanwhile, Sanjay Dutt's Ringmaster character makes on and off appearances, though one would have expected to see more of him.
The entire past about Aladin and the Genius gets a little confusing. The real fun begins in the second half with the battle between good versus evil. Sanjay becomes more prominent on screen, the past is unearthed, action and thrills take centrestage and the best of VFX is unveiled.
The visuals belong to the never-seen-before variety, especially the ones where Big B is shown repenting about his misdeeds. The flashback sequence is extremely well done too.
Sujoy Ghosh does well in conjuring the imaginary world of 'Khwaish' that gives the film a visual appeal. This is further enhanced by the presence of newcomer Jacqueline Fernandes. Riteish is likeable as the young man who gets superpowers towards the film's end, hence keeping an option for a sequel.
Sanjay is good but how one wishes that he had at least a couple of dramatic scenes with Amitabh.
However, the film completely belongs to Amitabh who totally steals the show. Watch him in "Genie Rap" and you'll know why.
The story of "Aladin" is legendary and Genie and Jasmine are known worldwide. This is why it requires courage for a filmmaker to set the film in contemporary times and come up with his own take on a well loved tale.
Ghosh does exactly that as he lets his imagination go wild and spins a tale that ends up relating the past, present and future of these characters. This VFX filled entertainer is just the right recipe if one is looking for a family entertainer.

Ajab Prem Ki Ghazab Kahani

Ajab Prem Ki Ghazab Kahani has been the talk of the town ever since the release of its first teaser. Directed by Rajkumar Santoshi, APKGK has a fresh lead pair in Ranbir Kapoor and Katrina Kaif. It's a comedy after a long time from the director of Andaz Apna Apna, reason enough to watch it, don't you think?
Ajab Prem Ki Ghazab Kahani is about Prem and Jenny and their love. Prem, a school dropout is a fun loving guy. Being the President of Happy Club that he runs along with his friends, his motto in life is uniting lovers and makes others happy. And in attempts to unite a love pair, he falls in love at first sight with Jenny. After a lot of misunderstandings Jenny and Prem become friends and in no time Prem falls helplessly in love.
APKGK is a let-down in terms of its inconsistent script and moves from being a good romantic tale to a senseless slapstick comedy. It starts off slow in the first 15 minutes, with sluggish pace and forced comedy but after Katrina's entry the movie picks up. Post interval, logic goes for a toss with every frame filled with unnecessary extras. Upen's love angle isn't convincing and so is the sudden kidnapping of Jenny. Salman's special appearance, Ranbir's church prayer sequence where he talks to the lord in 'butler' (broken) English, his first day at his job to impress his girl, the dance partner scene, father-son encounters at home are some of the best moments that make APKGK a fun watch.
The movie does get a little absurd but has its moments with a light hearted appeal throughout. It works majorly because of its refreshing lead pair - Ranbir and Katrina, who amaze with great screen chemistry. Ranbir's 'No Confusion, No Demand' steals the show. In a stellar act, the Kapoor lad expresses every bit so exceptionally that he makes you feel deeply for his character. Katrina Kaif looks gorgeous. With an infectious smile, limited talent and her accented Hindi, she impresses. Upen Patel is all body, no talent. From the side actors, Darshan Zariwala does very well.
To sum up, APKGK entertains in bits and pieces. If you must, watch it for Ranbir's brilliance.

Jail

Madhur Bhandarkar directs Jail, a film that promises to be a realistic take on individuals locked behind bars in a prison. Jail stars Neil Nitin Mukesh, Mugdha Godse and Manoj Bajpai.
The movie is about Parag (Neil Nitin Mukesh) currently in police custody, for a crime he himself isn't aware of. Through flashback we are told Parag works for a finance company and has recently received a promotion. Parag has a girlfriend Maansi (Mugdha) and a room-mate Keshav, who is fond of using his personal stuff including his phone.
The two on their way back home suddenly realize that cops are following them; Keshav tries to flee but is killed when the cops fire in self defense. Drugs worth millions are found in Parag's car and he is taken into custody.
Case is filed against the accused for firing at the cops and supplying drugs. Then begins the struggle with Parag unable to cope up with the prison inmates, the food, the brutal cops and the endless court hearings. Plea after plea for bail is rejected. With Parag losing hope quickly, the emotional battle for survival and freedom begins.
There are several characters in the movie, but Neil with the responsibility of carrying the lead character, who strikes a chord with the audience with his effective portrayal of Parag. His expressions and reactions are real, like any man like him would. He portrays varied emotions with maturity like the scene when he is locked up in a dark dungeon for over 10 days and the sequences that follow. One other sequence is Parag starring at Nawab before boarding the bus in an attempt to flee, if there is one scene when silence has the loudest voice, this is it.
It is depressing at times and probably too hard to digest for most, but Bhandarkar's proves to be a master storyteller as he involves the audience completely into proceedings. Only on two occasions does he falter, one at the very beginning during the flashback which seemed hurried and the eventual climax which was abrupt.
Mugdha Godse has very little to do, its Neil Nitin Mukesh's show all the way. Manoj Bajpai is fantastic in his scenes with Neil.
To sum up, Jail works mainly due to Bhandarkar's direction and Neil's fabulous performance.

Tum Mile

After the successful Jannat, Kunal Deshmukh returns with Tum Mile. 26/7 is etched in the memory of every Mumbaikar and every monsoon, with a hint of heavy rainfall (like this week), the fear of another such tragedy arises. Tum Mile with the July 2005 disaster as its backdrop is a love story featuring Emraan Hashmi and Soha Ali Khan.
The story is simple. On the day of the floods (July 26th 2005) Akshay and Sanjana are on the same flights back to Mumbai. It's the first time they have met in years. Flashback takes us to the past, when the two were lovers. The director takes us through the couple's journey of falling in love, dating, their intimacy, challenges and the fallout that eventually leads to separation.
The movie is predictable and the plot simple - Boy meets girl, they fall in love, break up, reunite once again. Sounds straight out of almost every other Bollywood movie, doesn't it? Yet, its Kunal Deshmukh's narration that keeps the audience hooked. The characters are well etched, very real - neither black nor white. The director also succeeds in emotionally involving you into the lives of Akshay and Sanjay and the constant shift from past to present keeps the interest level of the audience going.
Tum Mile also boasts of superlative performances by both Emraan and Soha. Emraan, by now, one of the more dependable actors in the industry showcases his acting talent. He excels in both intense and romantic sequences. Soha puts across a very natural performance and her chemistry with Emraan is effortlessly amazing.
The music by Pritam is soulful and the special effects are good.
To sum up, Tum Mile with music and the Mumbai tragedy as its USP is aided by extra ordinary performances and good direction.

Aao Wish Karein

Fantasy films have never worked, including last month's release Aladin which is one of the biggest disasters of our times. The lack of originality and skill while handling movies of this genre has put off audiences. Aao Wish Karein directed by Glenn Baretto is no different. It's loosely inspired by Tom Hanks' Big (1988), which was also about a teenager with a similar wish.
A 12 year old boy Mickey has a huge crush on Mitika (Aamna Sheriff) and wishes to grow up quick, so that he could win over his love. Urged by a guardian angel Hitchcock (Johnny Lever) he makes a wish and overnight is a child trapped in a man's body. Does he win over his love? What happens when Mitika gets to know the truth... forms the rest of the tale.
Aao Wish Karein has its share of feel good moments but the script is filled with far too many loopholes. Once Mickey grows up, he still is a child from inside. How then does he become a game designer? The director and the script writers also seem to have forgotten the presence of his parents, who only resurface at the very end.
With limited special effects, the story stagnates from the very beginning and relies heavily on the magical moments of romance to carry it through. Sadly, the sequences between Mickey and Mitika reminds you of Rohit (Hrithik) and Nisha (Preity) in Koi Mil Gaya, just that in Aao Wish Karein, Aftab goes over the top and Aamna sleepwalks through her character with just a couple of expressions.
On the brighter side, the movie in parts should appeal to kids under 12. The comic scenes like - Mickey (grown up) revealing his identity to his friends, expressing his love to Mitika, his short scene with the call girl - work, but are few and far in between.
On the whole, Aao Wish Karein neither has enough to keep the kids entertained, nor the adults. Mediocre performances simply add to the boredom. Avoid.

Kurbaan

Kurbaan written and produced by Karan Johar (Dharma Productions) is a love story with terrorism as its backdrop. Rensil D'Silva, who has written films like Rang De Basanti and Aks, directs - Saif Ali Khan, Kareena Kapoor and Vivek Oberoi - in his directorial debut.
Avantika (Kareena Kapoor) and Ehsan (Saif Ali Khan) are professors at a Delhi university. The two fall in love and decide to marry. Just then, Kareena gets a job offer from a university in US. Both move abroad with dreams of marital bliss, at least Avantika, who goes into shock and depression when she discovers her husband is a part of a terror sleeper cell. Her journey through terror, sleepless nights and eventual freedom with help from a journalist friend (Vivek Oberoi) forms the rest of Kurbaan.
Kurbaan is a well executed thriller with a taut first half and a slightly slower second. Director Rensil D'Silva keeps the audience hooked with several powerful sequences like - Kareena serving coffee to Vivek - Om Puri asking Vivek to gun down the innocent man at the food counter - steamy sex scene between Saif and Kareena - when Kareena discovers her husband is a cold-blooded terrorist - the gruesome bullet which Kareena removes from Saif's chest and the climax, which received a huge applause from the audience.
Having said that, Kurbaan has several loopholes. With a cell phone available, why Kareena never calls 911 (emergency number) is never explained, how Ehsan manages to escape from the shootout, the ease with which Vivek involves him into the terror sleep cell, are one of the many cinematic liberties taken. What's also unconvincing is a small family of around 6 people masterminding a huge attack on a nation that is yet to witness any terror post 9/11.
Apart from the storyline flaws, Kurbaan as a movie works. The dialogues are good while the music is better. Saif Ali Khan is brilliant in a hard-hitting performance. Kareena Kapoor shines in the second half, didn't like her in the first. Vivek Oberoi's diction is perfect for an American national; he puts across a good performance. Om Puri is fine. Nice to see Kirron Kher in a non-Punjabi role.
To sum up, Kurbaan is worth the price of your ticket for the thrill it provides and for the performances and direction.

De Dana Dan

Priyadarshan's latest offering after the not-so-successful Billu, is Akshay Kumar and Katrina Kaif's De Dana Dan. Priyan has roped in the Hera Pheri Trio of Akshay Kumar - Sunil Shetty and Paresh Rawal. Sadly, the magic is missing and De Dana Dan is easily one of the more forgettable slapstick comedies from the director.
Nitin (Akshay Kumar) is poor and works for Archana, a rich businesswoman. He and his friend Ram (Sunil Shetty) kidnap Archana's most prized possession, her dog. The dog turns out to be smarter, escapes and returns back home. The cops believe the victim of the kidnap is Nitin and the search begins.

At this point we are introduced to two dozen characters all under one roof in a Hotel, each with a confusion of his own. The comedy of errors begins.

The movie begins well with the kidnapping of the dog, but quickly turns into a tedious, unhumorous watch. The first half is lengthy, slow paced with confusions aplenty. Akshay-Paresh-Sunil never appears on screen together and Akshay shut safely into the cupboard for a good part of the second half would disappoint his fans. Ditto for Katrina Kaif who sizzles in the 'Paisa' song but is missing from the more important scenes.

The introduction of several new characters in the later half, their mistaken identities, cartoonish fights, exaggerated and loud dialogues is all a part of this silly Priyadarshan circus. The blast in the swimming pool and the water mayhem that follows is inspired from the Hollywood film 'The Towering Inferno' and deserves the 'Silliest scene of the year award' if at all there was one. Akshay is full of energy with good comic timing in the first half, but is hardly present in the second. Sunil Shetty hams. Katrina Kaif has a couple of songs, few dialogues. Neha Dhupia shines. Paresh Rawal, Johny Lever and Rajpal Yadav provide a bit of entertainment. Others put you to sleep only to be woken up by Archana Puran Singh's screeches.

To sum up, De Dana Dan is 175 minutes of sheer madness with extended special appearances by Akshay and Katrina. One of Priyadarshan's weakest film in recent memory.

Radio

Himesh Reshammiya the talented music director - turned singer - turned actor makes a comeback with Radio. For company in a love triangle, Himesh has Shenaz Treasurywala and Sonal Sehgal as his female leads.
Vivaan (Himesh Reshammiya) is a popular Radio Jockey, married to Pooja (Sonal). The two loves and care for each other but opt for divorce due to incompatibility. Even before Vivaan gets over his ex-wife, enters Shanaya (Shenaz) who makes him happy with everything she does.
Vivaan is still in touch with Pooja and it is she who makes him realize his love for Shanaya. With a bit of love for Pooja still in his heart, Vivaan decides to spend the rest of his life with Shanaya. Or does he?
All that Himesh's messed up love triangle achieves is unintentional entertainment. In one of the most stupid movies of the year, Himesh tries extra hard to appeal to the teens and falls flat in every sequence.
Some of the dialogues are so funny, so cheesy and so corny that you can't help but explode into peals of laughter every time Himesh utters a word.
Credit to Himesh for trying hard to look and act normal, but roles like these should come out effortlessly and Himesh being a non-actor doesn't look close to comfortable on screen.
The music is soulful and sooner Himesh gets back to doing what he does best, the better.
Sonal Sehgal is blessed with a pretty face and a bit of acting talent too. Shenaz Treasurywala is no 'treasure' to the industry and would be better off as a pretty face who smiles without a reason on television.
On the whole, Radio should give tough competition to Aap Ka Suroor and Karzzz, if ever we were to have a poll here on Himesh's worst film ever! Don't bother watching.

Paa

With Paa, director R Balki has handed Amithah Bachchan one of the most challenging roles of his career. The role of Auro, a child suffering from premature aging. In Paa, Abhishek plays Amitabh's father, reason enough to watch the movie you think?
The story is simply about the relationship that Auro shares with his father, a politician. He like any normal kid his age is innocent and clean by heart. His emotions are pure, but it's this disease that makes him look much older than his age, that makes Paa such a touching experience.
The director of Cheeni Kum with Paa celebrates the magic of childhood - those nostalgic days at school. The movie starts off well with the introduction of Auro, soon goes off track with Amol's political career and his rivalries when you begin to wonder if the movie is really about Auro or Amol.
The simplicity with which R Balki has narrated Paa though, would work with both kids and the adults. The dialogues are witty, sweet and funny. The emotions are real filled with moments of innocence, through which you connect deeply with the character of Auro. The build up through the first 45 minutes of the second half lead to the scintillating climax, which would even get a tear or two out of the stone-hearted.
Paa belongs to Auro; he's the heart, soul and body of the film. Bachchan is totally into the character, not for moment do you feel the presence of the superstar. His voice modulation, mannerisms are outstanding to say the least. Abhishek Bachchan holds his own pitted against his great father. Vidya Balan acts well and looks gorgeous.
To sum up, Paa is one of the best films of the year, it's different and it's very special. Watch it for Amitabh Bachchan and Auro.

Accident On Hill Road

There's a man stuck on your windscreen! That's what you want to scream to Celina Jaitley. But gosh, she does so much of that screaming herself that you don't really want to add to the din in this gory tale that takes place at night.
Celina oozes oomph and is the backbone of this 'being bad is good' upturned morality tale. After having knocked down a poor pedestrian (Farooque Shaikh), who spends the rest of the movie stuck to the windshield, the nurse frantically tries to find ways to get rid of the writhing man.
Agony is the film's main ecstasy. This genre of horror cinema revels in creating acute discomfort and gruesome circumstances for the characters to a point where the audience is actually supposed to enjoy the ceaseless chill spill.
"Accident On Hill Road" is road rage in all its gory splendour, committed to creating a string of incidents that suggest a vicarious mayhem. Debutant direct Mahesh Nair lets loose a binge of blood and gore.
This is Celina's first real opportunity to sink her teeth into an author-backed role. And she does get into her meaty role...
Then meet her boyfriend - a drug peddler called Sid, playing with menacing aggressiveness by Abhimanyu Singh. What happened to all the noble evil-warring heroes of our films? Sid is so immoral he makes Mogambo look like a cartoon hero.
Apparently adapted from Hollywood horror flick "Stuck", "Accident On Hill Road" leaves you shaken by its gore-quotient... But not quite stirred.
The original Hollywood film probably describes not just the physical state of the accident victim but also the psychological condition of the audience.
This accident could have been avoided. Since it has has occurred and with screeching tyres, it might as well be borne.

Bolo Raam

"Bolo Raam" can be compared to thriller "Aamir", which starred Rajeev Khandelwal. With newcomer Rishi Bhutani teaming up with director Rakesh Chaturvedi, the USP of the film lies in it's novel plot. Also, the ensemble supporting cast - Padmini Kolhapure, Om Puri and Naseeruddin Shah - could be any filmmaker's dream.
But an unconventional film like this should have been pitched well through adequate marketing and promotion. This is where "Bolo Raam" suffers because even though it has an interesting plot, it doesn't quite reach out to audiences.
The minimal buzz and a poor release notwithstanding, "Bolo Raam" doesn't carry enough punch to warrant a strong word-of-mouth.
The plotline, which is based on Tamil film "Raam" (2005) that starred Jeeva as the protagonist, is actually quite novel. There haven't been many films made in the past where a youngster (Rishi) is shown to be the prime suspect after his mother's (Padmini Kolhapure) killing. He goes silent and the world around him wants him to speak up, hence the title "Bolo Raam".
Given the fact that he was a recluse to begin with, had a troubled past, loved his mother the most, was disturbed by all the injustice around him and was fist-happy, Raam is a tough nut to crack.
"Bolo Raam" has a slightly offbeat appeal to it but it does turn filmy towards the latter part.
Yes, there are shocking moments, especially during the entire build-up phase.
The introduction of characters played by Om Puri, Govind Namdeo and Naseeruddin Shah keep the wheels turning.
Milestone moments in the movie aren't bad as well, as evidenced in the opening sequence as well as the interval point. However, it's the culmination that makes you believe that "Bolo Raam" could well have been a suspense thriller for television viewing.
With the kind of budget that "Bolo Raam" has been made, it did stand a good chance of at least a decent recovery if it could have waited a little longer. A release at a time when "3 Idiots" is going uper strong and there are a line of biggies for the next two months isn't really a good decision.

Rocket Singh - Salesman of the Year

Rocket Singh Salesman of the year is a unique take on the life of a Salesman. Produced by Yashraj Films and directed by Shimit Amin (Chak De India), Ranbir Kapoor is Rocket Singh and the film revolves around his underdog character.
Harpreeth Singh (Ranbir Kapoor) has just completed his graduation and his marks are embarrassing to say the least. He dreams of a career as a salesman and soon takes the plunge, only to realize the corruption, competition and ruthlessness that are a part of the corporate world. 
Rocket Singh isn't a comedy. It's a refreshingly different take on Salesmen, their lives and the struggle that is part of it. You connect with the film on a certain level; how many times have you dropped calls, soon after knowing the person at the other end is a salesman? How many times have you been promised an extra ordinary offer, only to be let down after the purchase? All sounds familiar, doesn't it? The first half of Rocket Singh is just that, it's about the struggle and frustration that is a part of the job.
The problem though lies in the post interval portions, when Harpreeth Singh turns into a revenge seeking underdog. To describe in short; Harpreeth sets up his very own company, while still working as an employee for his rival. The pace drops here and the movie begins to unnecessarily drag on. The climax doesn't work, simply because the victory of the good over evil doesn't make the necessary impact. 
While you walk out, you carry a few moments with you; the short and sweet love story between Ranbir and Shazan Padamsee, Ranbir's interview that bags him the job, when Mr. Suri finds out that Rocket Sales Corporation is in his very office and all the finely etched characters in the movie.
At 3 hours in runtime Rocket Singh is lengthy and slow. If entertainment, music, item numbers or masala films are your cup of tea, stay far away. Films like these require patience and a keen attention to every dialogue uttered, to truly enjoy the experience.
The performances are nice, lead by Ranbir Kapoor as the simple Sardar. He emotes through his eyes; watch his interactions with his father or his body language while merely standing in the meeting or in the police station. Rocket Singh belongs to Ranbir Kapoor. Shazan Padamsee is lovely in a tiny role, when off screen you miss her presence. Gauhar Khan is effective. Every other character actor makes a mark.
To sum up, Rocket Singh isn't for everyone. It lacks those ingredients that are an integral part of most Bollywood blockbusters. Still keen? What are you waiting for, go watch it.

3 Idiots

Apart from a few rare hiccups, the decade has been near flawless for Aamir Khan. Not without reason does they say "Aamir is the only guarantee for quality in Hindi Cinema". With mass hysteria surrounding the film much prior to its release, the expectations from Aamir Khan and Rajkumar "Munnabhai" Hirani coming together is HUGE. But does 3 Idiots deliver?
It's hard to match up to the high standards set by Rajkumar Hirani himself with his Munna Bhai films and with 3 Idiots he tries hard, probably too hard to be a mass pleaser. The formula is the same; a feel good uplifting story, an angel like hero who solves every problem and a perfect blend of comedy with a socially relevant message. 
But in an attempt to make it a massy entertainer, Hirani goes overboard. The comedy is no longer situational or restrained, instead more in your face slapstick. The delivery scene of Mona Singh, for example, was crass and overdone. The scene showing Raju's poverty stricken family, making fun of their poverty and problems too was unnecessary. And finally the Javed Jaffrey twist, wonder what that was all about? Just to add shock and suspense value to the movie? 
To the director's credit, several sequences work well. Chathur's speech on teacher's day was funny and college moments were heartwarming. The romance between Kareena and Aamir is subtle and the scene which she sneaks into his hostel room was cute, so was a drunken Aamir proposing inside her house.
The chemistry between Sharman, Aamir and Madhavan works well. But due to the dominance of Aamir's character, which is sketched out to be awe inspiring, Sharman and Madhavan are relegated to the back seat. Kareena too has few scenes and does well. In an attempt to make it strikingly different and likeable, Boman Irani's character is way too exaggerated and unreal to be funny. Aamir's character is a mass pleaser and the actor does bring in enough exuberance to make it work.
The music works well with the narrative. The camera work and sound design too is just about perfect.
To sum things up, 3 Idiots is a distant third compared to Hirani's previous works. Yet, it has this perfect combination of comedy with a social message that should work well with the masses. If the audience reaction was anything to go by, Aamir has well and truly scored his third consecutive Christmas hit.

Raat Gayi Baat Gayi

Somewhere on the second-half of this slightly seductive jigsaw about a one-night scam, filmmaker Sudhir Mishra shows up as Neha Dhupia's father who drops in to have a chat with his sullen daughter on the way to the airport.
Little does the stoic Mishra know that daughter has two men stashed away in a cupboard in the living room that looks consciously like a prop on a stage set.
Quirky sex comedies are allowed their moments of eccentricity.
Maybe at this point Saurabh Shukla deliberately wanted to introduce an element of staged comedy. After all, isn't the world a stage? Shakespeare got there first. But hell. Shukla is panting from behind to catch Shakespeare's comedy of 'eros' in a modern context.
Shukla, who can be quite a funny-guy on demand, has made a quirky, sometimes crisp, sometimes placid, look-see at marriage and infidelity.
The seductively-paced work is set at a party hosted by a loud Punjabi clueless woman, played with much gusto by Navneet Nishan, whose amiable husband Dalip Tahil is cheating on his plump wife with the svelte seductress Neha.
In the film, Neha seems to invite more male attention than is healthy for any girl with a respectable appetite.
Dilip isn't alone. Vinay Pathak, playing the goofy, slightly stupid and undiplomatic regular guy once again, is cheating on his wife Anuradha Menon, the hilarious Veejay Lola Kutty trying hard not to be funny, and succeeding by checking out porn on the Internet.
But our main potential philanderer is Rahul, Rajat Kapoor as suave in his sleaziness as ever, married to the sullen Irawati Harshe who befriends Neha at a party, gets drunk and then forgets whether he actually did anything naughty or not.
Hangover, anyone?
One of the problems here is that everyone speaks in Hindi because well, they're part of a Hindi film when they're characters who would be comfortable in English. Having said this and that, the characters seem to be effortlessly conscious of their authentic bearings. None of the performers strays from the not-so-straight and borrowed path of betrayal, deception and infidelity.
Rahul-Mitali marriage has a twist in its tail at the end and it doesn't shock you. It just makes you sigh. Shukla's direction embarks on a journey through one night of steamy sensations. The revelations are hardly shocking, just diverting.
Stylishly cut, the material's chic movement doesn't quite justify the content. But the narrative has moments that spill out the acerbity underlining urban marriages which are at best functional and at their worst, lies told to keep up an appearance of domestic smoothness.
The film exudes the scent of intelligence and competence. The actors all know their jobs. Most of them have earlier been through this kind of sexual-moral dilemma in some form or the other. The cutting edge is missing. But the proceedings never get cumbersome.

Dulha Mil Gaya

You are irritated and sad at the end of Dulha Mil Gaya. Irritated, because Mudassar Aziz's film is the kind of film that doesn't only bore you to tears (literally, believe me), but also manages to make you angry at its sheer and unashamed regressiveness. And sad, because you realize that this monstrosity is the best that Bollywood can offer an actress like Sushmita Sen today.
How you miss Sushmita setting the screen on fire like she did in Main Hoon Na and Samay. After the horribly half-baked role in last year's Do Knot Disturb - a giant turkey - she returns in a film that makes you wish she hadn't returned at all.
Dulha Mil Gaya revolves a lot around her character, Shimmer (gasp)- a dim-witted, snobbish and la-di-da model- and Sushmita, in possibly one of the worst performances of her career is still one of the small mercies the film has to offer, along with Shah Rukh Khan (in an extended guest appearance), who helps lighten our misery a little in this torture fest. 
Dulha Mil Gaya, quite simply- is a film where it is difficult to single out any redeeming quality. To start with, the plot (to call it one is dignifying it) about a playboy (Fardeen Khan) who has to marry a girl (comatose newcomer Ishita Sharma) in order to retain his father's property, and his friend Shimmer (God, I just can't get over the name) a daft diva with a wardrobe and of course- a heart- of gold who... (Ah, forget it) is as archaic and derivative as it gets, and the writing, bereft of a single moment of real emotion of humour is appallingly bad. 
The film is a marathon of bad acting, with Fardeen Khan coming out trumps- I am still recovering from one of his dreadful monologues in the film- and Howard Rosemeyer, playing Shimmer's typically OTT, caricatured gay sidekick- coming a close second. The music is terrible, and the look of the film is shoddy to the core- coastal backgrounds are badly chroma-keyed behind the set of a yacht- and all the years that the film took to be complete clearly show, with the actors' body mass oscillating between scenes. Talk about being tacky.
To cut a long story short, Dulha Mil Gaya is the kind of film that Sushmita's character Shimmer would have committed suicide watching. I myself came pretty close, and now that I have survived the ordeal to deliver you this warning- will someone pass me the smelling salts, puhleeez?

Pyaar Impossible

Uday Chopra credited as the writer, producer and actor for Pyaar Impossible makes a comeback after 4 years, his last appearance was in Dhoom 2. Priyanka Chopra is the main female lead in this Jugal Hansraj directed film on beauty and geeks.
Abhay Sharma (Uday Chopra) is smitten by the most stunning girl in his university Alisha (Priyanka Chopra), who doesn't even know that he exists. Alisha mid-way returns back home and Abhay doesn't get a chance to convey his feelings.
7 years later, he bumps into Alisha once again who is now a widow with a 6 year old daughter. Does the geek finally convey his love? Is Pyaar - between a Geek and a beauty - possible?
Pyaar Impossible starts off well, but as soon as the flaws in the script begin to unfold; it quickly turns into an over-stretched bore. Jugal Hansraj directing his first mainstream film, has potential but is let down by the poor script.
Sample these - Abhay saves Alisha's life, yet she doesn't know who he is. Abhay travels to Singapore hoping to recover his valued software but a glimpse of Alisha, is reason enough for Abhay to shift focus. Not to mentioned, the whole idea of the software and operating system stuff is complete nonsense. Also the over smart kid, who goes out of her way to get her way to set up her nanny with her mum. But the most stupid scene in the film has to be when Abhay makes Alisha look ugly and unattractive, takes her to bars. The lack of attention shocks Alisha so much that she begins to cry. What was the writer thinking?
All this and more is stretched into a 2 and half hour long film that drags endlessly. Priyanka Chopra looks great, with a perfect body and make up. Uday Chopra plays the geek very well. The kid in the film is fabulous, but her character was irritating. Dino Morea is a non actor.
To sum up, it's impossible to fall in love with Pyaar Impossible. Another Yashraj product goes down the drain.

Chance Pe Dance

2009 was a great year for Shahid Kapoor with an award-worthy performance in Vishal Bharadwaj's Kaminey. The Rani Mukerji dominated Dil Bole Hadippa was poor, but didn't affect Shahid. This year he teams up with director Ken Ghosh, who gave him his first break with Ishq Vishq. His pairing with the spunky Genelia D'Souza too is something to watch out for.
Sam (Shahid) is a struggling actor who finds it hard to make two ends meet in Mumbai. He earns himself a role in a dance based movie which takes ages to roll. Meanwhile, he has to leave his house and now cannot even afford a meal or a place to stay. Enter Tina (Genelia) who convinces an unwilling Sam to take up a job as a dance instructor. 
Soon he loses out on the promised role too as the director launches a nationwide hunt. Sam takes part in the competition... no prizes for guessing the rest of the story.
Except for the exceptionally well choreographed dance sequences, Ken Ghosh gets its all wrong in his third outing. The comedy unlike his first film Ishq Vishq, seems forced. Also, what makes CPD a tedious watch is its predictability, every scene is easy to predict.
Samir's training session with the kids, which initially runs as a sub-plot, is the only scene that evokes a smile and just when you think the story is getting somewhere, it comes to an abrupt end with a simple dance performance. Similarly, he shoots up to reasonable fame after barely two rounds of audition and just when he is about to hit-it big, his father's shop is torn down because of which he is forced to quit the competition and go back. Yet again, he somehow makes it back with dramatic dialogues and fetches himself another chance to dance. The writing throughout is outdated and the execution very poor.
Plenty of cinematic liberties are taken which just doesn't go too well with the film, like how can someone who cannot afford a meal, possess an 8 pack ab? Protein Shakes and proper work-outs are quite essential for a Hrithik Roshan like physique, no?
Finally, the oh-so-important music for a musical like Chance Pe Dance has no good songs to boast of.
Shahid is exceptional with his dance moves, but when it comes to acting he deserves nothing but a C for his emotionless performance. Genelia is over the top, the way in which she counts 1...2...3...4 is irritating. 
To sum up, Chance Pe Dance has no soul and absolutely no chance to dance at the box office.