Bumm Bumm Bole

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Part 02


Part 03


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Part 06

Kites

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Kites

Touted to be the first Bollywood film for the Global audience, Kites marks the grand return of a superstar who has been missing from action for a long time now. Hrithik Roshan returns with a Mexican leading lady Barbara Mori in this Anurag Basu directed film. 

Kites begin with a wanted man stranded in the middle of a desert. He is J (Hrithik Roshan), a crook who has married many girls to get them green cards. Natasha (Barbara Mori) is one of them. Cut to the next scene, both have found their partners; J has Gina (Kangana Ranaut), daughter of a wealthy and most influential casino owner and Natasha is engaged to Tony, who is Gina's brother.

Fate has something else in store for J and Natasha, as both falls head over heels in love with each other. What will they choose? Love or money? Stay safe or risk their lives?

Kites, like almost all movies produced by Rakesh Roshan, is a combination of romance, action, comedy and a bit of thrill. But Kites disappoints mainly because of the lack of a proper storyline. The writing is poor, you wait for a twist something as effective as the one in Basu's very own Gangster, and it never comes. You wait for some dialogues in Hindi, but all you get is an English - Spanish film.

The story of J and Natasha is very predictable, the pace is slow, the dialogues are cheesy and the editing not quite up to the mark. However, the action sequences have been brilliantly shot. The choreography and Hrithik's moves are awe-inspiring, certainly one of the highlights of the film.

The performances are outstanding as well. Hrithik is magic on screen in a near-perfect performance. He emotes well, performs the action scenes with ease and his chemistry with Barbara Mori is something to watch out for. Talking of Barbara, she's fantastic and holds her own against Hrithik. One of the best performances by a foreign leading lady making her debut in a Bollywood film, never easy! Nick Brown is surprisingly good. Kangana Ranaut has nothing to do.

To sum up, Kites requires a bit of patience. Watch it without any distractions and you might just about like it.

Film: "Kites"; Cast: Hrithik Roshan, Barbara Mori, Kangana Ranaut, Kabir Bedi, Nick Brown; Director: Anurag Basu; Music: Rajesh Roshan; Producer : Rakesh Roshan

Too many strings attached to this "Kites" that never soars to the heights it should and becomes a predictable tale of star-crossed lovers set in the glittering lights of Las Vegas and the brooding deserts of Mexico. It's "Matchpoint", "Bonny and Clyde" and much else rolled into one, failing to take off on its own.

The problem with "Kites" is that it is never truly its own film. The first half constantly takes you back to Woody Allen's compelling "Matchpoint" with the doomed quartet of Jai (Hrithik), his girlfriend Gina (Kangana Ranaut), her brother Tony (Nick Brown) and his fiancée Natasha (Barbara).

Life is set to roll for the rakish, down and out Jai with Gina, the fabulously rich, hopelessly in love daughter of a Vegas casino owner, until he meets Natasha, the exotic Mexican immigrant also looking out for the good life. The attraction is inevitable - and fatal.

The pull is irresistible. Designer watches, flashy cars and jewels beckon but Jai and Natasha are caught in a relationship that transcends language. She knows no English and he knows no Spanish.

So far so good, before the script decides to meander into a "Bonny and Clyde" caper with the couple on the run from the powerful Tony robbing a bank. Completely unnecessary and giving no time for the intensity of the romance to develop.

The narrative moves back and forth in time, beginning with a bloodied Jai tumbling out of a train wagon and stumbling across the desertscape to look for his ladylove.

So you get a sense of what is in store. The predictability of the script is not really a problem - the opening line of the film lays the tenor, with Jai in a voiceover telling you that two kites flying together can never soar very high or very long because one has to get cut.

This is a chronicle of a tragedy foretold, much in the way of other epic romances. Dare I say Romeo Juliet!

It could have worked. The much talked about chemistry between the lead couple is in evidence, but not enough. Director Anurag Basu is at his best in the intimate scenes.

Like when Jai looks out of his window to see Natasha being roughed up by Tony and goes to comfort her. There are no words but the shadow play on the wall of their fingers intertwining is romance as it should be.

The soul of true love is there somewhere, but it gets lost in the two-hour film that also brings in murder, torture and gunmen galore. Basu seems lost in the larger macro frame of the film.

The two main characters are not fleshed out enough, and the others around them are like caricatures. How many Bobs (Kabir Bedi as the powerful, ruthless casino owner who does not balk at shooting down cheaters) have we seen, or Tonys, the archetypal jealous boyfriend with an army of goons behind him?

Many loosely scripted scenes as well and gaps that really should have been filled for a lucid narrative. A script doctor was badly need to stitch up the loose ends.

But the superb cinematography of "Kites" that has the look of a truly international film, Rajesh Roshan's lilting music -- "Zindagi, zindagi" is true winner -- and some heartwarming moments score.

Barbara Mori also strikes a chord, and she's a real good looker. But the best for the last -- Hrithik Roshan looks better than he has in any other film, and with him dominating virtually every frame, this one is a treat for his fans. Go swoon, if you must.

Two people (Hrithik Roshan, Barbara Mori), respectively romance another from the same family (Kangana Ranaut, Nicholas Brown), purely for the love of the money. The girl’s an illegal immigrant into the US from Mexico. The boy is the American half of various green card marriages on sale: “$1,000; honeymoon charges extra.”

Both gatecrash into a Mafia home, hoping to settle in with the riches. The premise from hereon could take the shape of a slight comedy of deceit (Woody Allen’s Matchpoint), or follow an aggressive drama (Anthony Minghella's The Talented Mr Ripley).

This is, but, a ‘massy’ desi movie. The said Mafiosi home belongs to one, Bob Grover (Kabir Bedi), the “owner of one of the biggest casinos in Vegas,” no less. Senators, governors etc swim under Bob’s pant pockets – “Vegas mein Bob ko koi naa nahin kehta (No one says no to Bob in Vegas).” You sense what’s replaced the ‘Singhania group of industries, and villas with spiral staircases in Bollywood’? Vast expanses of a fake First World, peopled by butlers in BMWs and Indians alone.

The attempt, of course, is still to please you with the masala. The screenplay tightly alternates genres: romance before action, a little comedy, after a crackling chase sequence….

The story is credited to the producer Rakesh Roshan. When given the story idea to adapt into a screenplay, the director suggests in an interview, he couldn’t see a two-hour film in it. That, sort of, shows. Neatly lined assemblage of some really fine shots, can often conceal a lot of the hollowness in a script. It helped for the producer that the director he chose was Anurag Basu.

Few filmmakers in mainstream Bollywood light up their screens the way Basu does (Gangster, Life In A Metro). His patent colour, you can tell, is deep red, and favoured scenes concern rains, with strong back lighting; or a top shot looking into a city from a ledge. Basu’s greatest achievement as an aesthete may well be making Emraan Hashmi look good (Murder).

It helps far more for the director that the leading man before him this time’s Hrithik Roshan: hair blonde-dyed, body sharp and straight like blade, flexi like rubber, suitably under-stated in its moves. No Hindi film actor ever, I suspect, has worked himself up this much to make the super-star grade. Hrithik remains the perfect foil for an action piece across the barrenness of Nevada. It matters little that we know nothing of his character, besides his insane love for a girl, and an extreme sense of adventure.

The film, as you may already know, is largely in English. The hero attempts an accent that is more confused than American. The heroine speaks in Spanish, which is sub-titled into English; something only a minority of Bollywood's core audiences can satisfyingly read. This should be of concern to financiers of this Rs 140 crore bonanza, or those who closely follow box-office numbers. The language alone turns it into a cut-piece made neither wholly for Peter, nor quite for Patel.

It’s a passionately romantic pic, or at least hyped as one in ways that few films can live up to. The expression of that intense love, its most important element, is often lost in translation - what many might rightly perceive as lack of chemistry between the leading pair.

Bumm Bumm Bole

Iranian filmmaker Majid Majidi's "Children Of Heaven" comes down to earth in an endearing spiral of the spell-binding and the sensitive. 

Let's not get unnecessarily and unjustly nostalgic about the original Iranian film. This remake, done up in shades of terrorism in the idyllic northeast (region unspecified) is so lyrically lush in its visuals and so gently evocative in treatment that the original material is forgotten 10 minutes into the narrative.

A great deal of the credit for the film's immense, intense but toned down impact must go to the children - Darsheel Safary no longer the buck-toothed moppet from "Taare Zameen Par", and little Ziyah Vastani who's quite easily the most delightful new discovery of the year.

Ziyah, in fact, steals many scenes from under her brilliant co-star's nose. If he minds it, he doesn't show it.

Darsheel and little Ziyah create an intangible and secret world of hushed wonderment and discovery that takes the narrative far beyond the precincts of the original fable about an impoverished pair of siblings's desperate but disarming attempt to share a pair of shoes.

Yup, "Bumm Bumm Bole" is quite a 'shoe' stopper. The fable is expanded to accommodate a world filled with pain, pleasure and other emotions that emerge in the journey from innocence to awareness.

Unlike Vishal Bharadwaj's "The Blue Umbrella" or "Children Of Heaven", this film doesn't try to be wise at the children's expense.

Frequently you feel Priyadarshan allowed the children to instinctively empathies with, if not fully understand, the political complications underlining the social issues of poverty and socio-communal solidarity in times of stress and longing. 

Unlike other recent parables on children, innocence and violence set in idyllic spots like Santosh Sivan's "Tahaan" and Piyush Jha's "Sikandar", "Bumm Bumm Bole" doesn't forget to be an entertaining story. Priyadrashan, fresh from the triumph of his other socially relevant drama "Kanchivaram", imbues the pale but passionate dusky light of the mountainous locales with oodles of warmth and emotion.

The kids don't take over the show. They just slip into the proceedings like two scoops of ice cream into a ready steady cone. Darsheel shows a definite and reassuring progress as an actor since his debut. His rapport with his screen sister jumps out of the screen and pervades our senses unconditionally. You just want to steal little Ziyah from the screen and take her home.

The two kids are amazingly good. The ever-dependable Atul Kulkarni puts in a supremely credible turn as the harried father who doesn't forget to smile when the kids are around.

Like other fabulous or farcical creations by Priyadarshan, this one too is shot on picture-postcard locations with the cinematographer Selvi and the art director Sabu Cyril adding that extra bit of lyricism to every frame without showing off.

"Bumm Bumm Bole" is a gentle but persuasive piece of work, not just for children though certainly about children who learn fast about the harsh realities of life. 

The film follows their trail without getting bitter cynical or hysterical. The constantly even tone is a boon. The kids are a blessing. This film is a soft-spoken and delicate piece of cinema. Not to be missed.

New Delhi, May 10 (IANS) After getting kudos from critics and audiences for his portrayal of a dyslexic child in Aamir Khan's "Taare Zameen Par", child actor Darsheel Safary returns to the big screen with "Bumm Bumm Bole", which releases Friday.

A remake of Majid Majidi's Iranian film "Children of Heaven", which was nominated for the Academy Award for Best Foreign Language Film, "Bumm Bumm Bole" has been re-modeled as per Indian standards.

Produced by Percept Picture Company and directed by Priyadarshan, it also stars Atul Kulkarni, Rituparna Sengupta and newcomer Ziyah Vastani.

"The pivotal essence of 'Bumm Bumm Bole' is a unique brother-sister relationship. It depicts an innocent and poignant story of two siblings and the dilemmas they face in life and how they fight their way to overcome it," Priyadarshan said.

The story revolves around Khogiram (Atul), his wife (Rituparna) and their children Pinu (Darsheel) and Rimzim (Zia) who live in a terror-affected region. The couple work on a tea plantation and it's a hand-to-mouth existence for them.

With their meager income, they can barely manage to arrange for their basic needs, but Khogiram sends his children to a respectable school because it is his ambition to educate them. But their financial crunch makes it difficult for them to match the standards of the school.

A time comes when they don't have enough money to buy school uniform and shoes and things become worse when Pinu misplaces Rimzim's only pair of shoes in a vegetable shop.

Rimzim can't go to school without her shoes and the brother-sister work out a scheme where both of them can share the same shoes. Pinu, however, always gets into trouble at school while waiting for Rimzim to give him the shoes.

Then Pinu comes to know about an inter-school marathon where one of the prizes is a pair of shoes and he plans to participate in it and win the shoes for his kid sister.

Though the protagonists are children, Priyadarshan insists "Bumm Bumm Bole" is not a children's film.

"It's not a children's film. It has got terrorism and politics as a backdrop. The problems of a family are also shown. So you can't say it is a children's film. But it's a film that children will enjoy a lot as it's a clean family entertainer," he said.

The title "Bumm Bumm Bole" is based on one of the songs from Darsheel's debut movie "Taare Zameen Par".

After striking an emotional chord with his first film, it won't be a surprise if the 13-year-old wins more hearts with this one too.

Kites

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Singh is King

Well Done Abba

Kushti

Badmaash Company

Billu Barber

Dev D

Kambakkht Ishq

New York

Aa Dekhen Zara

Bachna Ae Haseeno

Jaane Tu Ya Jane Na

Khuda Kay Liye

Khamosh Pani

Luck

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13B

Love Aaj Kal

Drona

Dostana

Kaminey

Kismat Konnection

Fashion

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Phoonk

Golmaal Returns

Yuvvraaj

Oye Lucky! Lucky Oye!

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Rab Ne Bana Di Jodi

Luck By Chance

Delhi6

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Kal Kissne Dekha

Aamir

Hai Marjawaan

In Gurinder Chadha's "Hai Marjawaan!" ('It's A Wonderful Afterlife' in English), ghouls rise from the dead and mess around with ladles of curries and gravies in what could easily be termed the most messy climax of desi-gone-ballistic cinema.
By the time the masala curries, chutneys, gravies and other acidic edibles begin to fall across a singing-dancing gathering of NRIs at a big fat Punjabi wedding, the plot is too far gone to be called eccentric or even bizarre.
"Hai Marjawaan" is one of those films that should not have happened. It is way too strained in concept and far too outlandish in execution. It doesn't hold the audiences' interest beyond the first 10 minutes when we see the benignly murderous Mrs.Sethi (Shabana Azmi) surrounded by ghosts of the people she killed because they wouldn't let their kin be married to her overweight daughter.
The ghosts in this half-baked attempt to combine spook with satire spend the film's entire playing time counseling and cajoling the harassed Mrs.Sethi.
Beyond a point, watching the murder victims with the murder weapons permanently in place begins to get tedious and nauseous. For how long can we watch a man with chicken curry bursting out of his intestines? Or a woman with rolling-pin sticking out of her head? The ghosts try to be funny. They are just exasperating.
Make no mistake. This film has great redemptive qualities. But the romantic lead, Sendhil Ramamurthy, is certainly not one of them. After the hype about making the ladies swoon, Sendhil turns out to be pretty much a ramp-walker on camera adding precious little to a badly-written part.
On the other hand, Goldy Notary as the fat girl with no marriage prospects fills up the screen with her affectionate warmth.
It's Shabana Azmi who finally adds spark to this film. Infusing an intuitive candor to her eccentric larger-than-life character, Shabana lifts almost every sagging scene. But where are the real warm-hearted characters from Chadha's "Bend It Like Beckham" in this one?
Ironically, the most real character in this ode to the spirit of maternal over-protectiveness is a British girl names Linda, played with effective self-irony by Sally Hawkins.
Lately returned from India after an enlightening experience, Linda's passion for Indian spiritualism in many ways defines the Westerner's quest for nirvana that makes them look ridiculous to the outsider.
In many ways the same holds true of the film. It tries too hard to move away from the stereotypes of the diaspora cinema. The elements from the dead that pursue the harrowed mom are so baroque in their other-worldliness you wonder how they ever thought they could link themselves to the fate of an unmarried Indian girl. The weird Hindi-dubbed version of "It's A Wonderful Afterlife" only compounds matters.
Whoever advised the director to dub in Hindi is not her friend. If you are a die-hard Shabana Azmi fan, you could watch this film for the sheer joy of seeing her take over the show without getting in the way of the scary humbug that sticks out of every nook and corner. But if you are a fan of Gurinder Chadha's work, then rent a DVD of her earlier "Bend It Like Beckham" instead.
New Delhi, May 3 (IANS) After dealing with marriage issues in "Bend It Like Beckham" and "Bride and Prejudice", Britain-based Indian filmmaker Gurinder Chadha returns with another outing on the same titled "It's A Wonderful Afterlife", which releases Friday. Produced by Sharan Kapoor, it stars Shabana Azmi, Sendhil Ramamurthy, Goldy Notary, Sally Hawkins, Jami Misty, Zoe Wanamaker and Mark Addy.
"It's A Wonderful Afterlife" is a romantic comedy about a mother (Shabana) who goes to extreme lengths to get her daughter married.
Set in South all, London, the film revolves around Mrs. Sethi (Shabana), a widow who is worried about her daughter Roopi who is alone and unhappy because she is plump and opinionated.
Mrs. Sethi's matchmaking efforts to find a suitor for Roopi are rudely rejected. She avenges this by killing off the guys using her culinary skills. Eventually a police hunt begins for a serial murderer using a killer curry.
Mrs. Sethi doesn't feel guilty until the spirits of her victims come back to haunt her. They are unable to be reincarnated until their murderer dies. So she must kill herself to free the spirits, but vows to get her daughter married off before this.
The spirits realize that helping Roopi find a suitable husband before the police catches Mrs. Sethi is in their best interests and everyone begins to work together. What follows next is rib-tickling humor. With the presence of ghosts throughout the film in a more comical than scary fashion, the movie is also a tribute to the classic "Ealing Comedies" of London.
"...as Indians, we live and breathe marriage. As soon as a girl is born, it's all about the wedding. And it hasn't changed, it's still the same, certainly here in England. And what I try and do is make light of it, to poke fun at it," Chadha was quoted as saying.
"It's A Wonderful Afterlife" opened in Britain April 21 and critics panned the film as "the worst British film of the year". Considering Chadha's popularity in India, it is to be seen if the movie brings her some sigh of relief.

Sins

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Ek Se Mera Kya Hoga

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Mastaani

Retake

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Lahore

Road, Movie

House Full

8 x 10 Tasveer

Aamras

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Baabarr

Vaada raha ( I Promise )

Fox

Sikandar

Daddy Cool

Let's Dance

Dil Bole Hadippa!

Firaaq

Chase

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Ankahi Si
Get Set Go
Get Set Go (Club Mix)
Shaam Ki
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Bumm Bumm Bole

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Ashaon Ke Pankh
Bumm Bumm Bole
Mann Ki Aasha
Rang De

Raavan

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Beera
Behene De
Kata Kata
Khili Re
Ranjha Ranjha
Thok De Killi

Admissions Open

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Aasman Ke Paar
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Dariya Ubale
Meri Rooh
Music Hi Hai
Roshni

Mumbai 118

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Arz Ke Saye
Dubbo Dubbo
Kiska Yakin Kare (Female)
Kiska Yakin Kare
Maula Maula

Apartment

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Ankhiya Na Mar
Ankhiya Na Mar
Candy Man
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Ghar Dil Mein
O Jaane Jaan Jaan
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Ye Hai Mumbai
Ye Hai Mumbai

GANGSTER

Barah Aana

Halla Bol

Chak De! India

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Partner

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Superstar

Sunday

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Sirf:Life Looks Greener on the Other Side

Badmaash Company

New Delhi, May 3 (IANS) Remember Shahid Kapoor doing con jobs in Vishal Bhardwaj's hit "Kaminey"? The actor does the same, but in a more sophisticated avatar, in "Badmaash Company" releasing Friday.
Produced and distributed by Yash Raj Films, the movie is actor Parmeet Sethi's directorial debut. Shahid has teamed up with Anushka Sharma in the film that also stars comedian Vir Das and reality show star Chang.
Describing the film, Shahid said: "There are very interesting characters, extremely fresh dialogues, con jobs which I have not seen in any other film, but yet very easy to understand. It's not complicated at all. It's a very fun film and there was no reason why I shouldn't be doing it."
Set in the Bombay of 1990s, "Badmaash Company" is about four youngsters who come together to start a business.
What makes their venture a stupendous success is that they find a way to beat the system and soon become the undisputed kings in their business. Living the life of champagne wishes and caviar dreams, the four realise that to make a business successful they don't need big money but a big idea.
With their larger than life schemes, Karan, Bulbul, Zing and Chandu go on a wild roller-coaster ride into the world of sheer glitz and glamour where the stakes are high and risks even higher. They succeed in making quick money by doing all the wrong things but the right way.
All is hunky dory till the four entrepreneurs are forced to shut shop. They come up with yet another perfect plan to beat the system for the last time.
Shahid said a lot of research went into their looks as the film is set in the 1990s. "We spent a lot of time deciding the look and styling of the film. We wanted it to represent the 1990s correctly but at the same time we did not want it to look boring," he said.
"We researched on the scenario of the 1990s and used them in the film. For example, we used clothes that were in fashion like high waisted jeans, simple t-shirts which used to be tucked in, the aviators, which were all in vogue.
"Also the calculator watch that was very much in fashion at that time has been used in the movie. The film starts in 1994 and goes on for five years," he explained.

Housefull

Starring:
Akshay Kumar
Deepika Padukone
Arjun Rampal
Lara Dutta
Jiah Khan
Riteish Deshmukh
Directed by Sajid Khan
This is a sly tongue firmly and stubbornly in cheek, slick and chic comedy about a loser, or a panauti - a word that recurs ad nauseous in this glorious gasbag of giggles, winks, nudges and innuendos packaged with such polished panache that you don't really care what the inter-relations in the parodied plot finally signify.
Maybe they signify nothing more than a numbing but pleasantly diverting nothingness. But who the heck cares, as long as the tumble of confusions generates a hilarious havoc.
"House full", as the title suggests, is chock of characters who bump into one another and into hard surfaces (including the unresolved edges in the plot) without injury. It's all done in ricocheting rhythms of laughter that rises from the pit of the plot's belly and moves upwards towards us, sometimes missing its target.
More than the screenplay (Milap Zaveri, Sajid Khan, Vibha Singh) which moves helter-skelter in every direction away from the center of the plot and just about succeeds in coming to a reasonably coherent conclusion, it is the bevy of characters who are positioned in the screenplay with a supreme sense of pyramidal aptness.
Every actor shines because he or she knows the idea is to have fun and to transmit that fun to the audience. It's the actors' responsibility to make the maze of inter-relations hold together. They succeed.
Yes, sometimes the actors seem to enjoy the comedy of energetic error more than we do. Beyond a point how many slap-happy slipping-on-the-floor nudge-nudge-wink-wink oops-we-did-it-again rolling of the eyes biting-of-the-tongue jokes can we take??
But somehow it all holds together. Like a jigsaw done in the pages of a comic book and then put on celluloid, "House full" evokes smiles and chuckles in cramped and wide-open spaces.
There is a casino in London where our loser-hero is beckoned to stem losses, a casino waitress (Lara Dutta) whose traditional Gujarati father (Boman Irani, as confidently spontaneous as ever) has disowned her for eloping with a man of her choice, a stern government agent (Arjun Rampal, the only actor who doesn't get to smile in this chirpy (chuckle-fest), a sexy widow (Lilette Dubey) and assorted characters who come and go in a whoosh of wacky misunderstandings, confused identity and half-resolved comic snarls.
Sajid Khan's earlier film "Hay Baby" was a minty mix of mirth and maudlinism. "House full" is a full-on flamboyant farce. Strangely there's a subtlety even tenderness at times, in the way Sajid Khan handles the satirical material centered on the theme of a loser who brings bad luck on himself so often that he begins to wonder if there's a method to the madness of his destiny.
Unlike most situational comedies "House full" chooses the lower octaves of storytelling. The scale is pitched down. Even when the characters scream their lungs out we don't wince in discomfort. This is the most well-behaved comedy in recent times with an array of pert but low-key performances.
Stripped of all buffoonery Akshay Kumar does his most delicately balanced comic act ever. There's a mellow maturity to the way he balances farce with a more underplayed style of comedy. Riteish Deshmukh provides Akshay with the right cues. So do the rest of the actors. Among the three glamorous and sexy ladies Lara Dutta has the best comic timing. Mention must be made of Chunky Pandey who brings the roof down with his Italian-Punjabi accent and burlesque.
"Housefull" looks and feels right. The climax in 'Buckingham Palace' (replete with Queen Elizabeth and Prince Charles look-alike) depends too closely on a literal outflow of laughter gas. But that's okay. Delicacy of comic presentation is not a claim that "Housefull" makes. But moments of muffled tenderness just happen in the plot's confounded journey of a loser from no-love to know-love. Worth watching for its mix of the wacky and the more tender variety of laughter.
After a three year long hiatus, Sajid Khan the director of Heyy Babyy returns with his second film Housefull, once again starring the king of comedy Akshay Kumar. For support Akshay has a massive supporting star-cast comprising of actors like Ritesh Deshmukh, Boman Irani, Arjun Rampal, Deepika Padukone, Lara Dutta and Jiah Khan.
Produced under Sajid Nadiadwala's banner, Housefull is the first commercial entertainer to hit screens after Aamir Khan's 3 idiots.
The world's most unlucky man - Aarush (Akshay Kumar) believes his bad luck will only vanish if he finds true love. He marries Devika (Jiah) but finds out she is in love with a non-Indian. An attempt to suicide leads to him being rescued by Sandy (Deepika) and soon the two falls in love. But to win her hand, he has to win over her always suspicious brother, played by Arjun Rampal.
On the other hand, Aarush's friend Bob (Ritesh) is just as unlucky as him. He is married to Hetal (Lara), who suffers from a strained relationship with her father (Boman Irani). How everything falls into place is what this comedy of errors is all about.
Boman Irani sleepwalking while others sing Papa Jag Jayega, Akshay Kumar slapping a monkey and the monkey slapping him back, a tiger making a short appearance as a pet, references to homosexuality typical Dostana - Kal Ho Na Ho style, actors break dancing after a dose of electric shock, actors slapping each other.. and so many other such over-the-top slapstick sequences are all that House full is about. And to director Sajid Khan's credit, he's handled it all pretty well.
Story, sense, meaning... you won't find any of it in House full. Yet the film works, majority because the situations are funny and the performances are top notch. Akshay Kumar is in super form, the actor perfects the act of a loser with a restrained performance. Deshmukh is good and shares good chemistry with Akshay. Boman gets his comic timing right like always. Arjun Rampal is wooden. Chunky Pandey has short - funny role and he does well.
The girls have nothing much to show except skin. Jiah Khan has just one song and a couple of lines to mouth. Deepika Padukone looks great in bikini with those long legs and awesomely sexy tummy. Lara Dutta's clothes seem to be getting shorter with each film. The music is okay. The locals the film has been shot in (London, Italy) are good.
To sum up, House full is entertaining more so in the second half than the first. Lower your expectations a wee bit and give it a try, you'll end up enjoying it.

Chase

Let the chase begin. The opening chase, which lasts approximately 10 minutes, is among the best slickness-on-skids situation styled for a Hindi film. And full marks to the people behind it. But soon after this pulse-racing start our hero, who also happens to be the film's producer, slips into a coma. Er and so does the film.
Never quite sure of whether it wants to be a slick thriller or an espionage adventure saga the narrative just collapses in a heap of ineptly conceived situations about corrupt officials and honest investigators.
The outer-limit of ludicrousness is the nurse, played by the pretty Udita Goswami, in the shortest of skirts, trying to bring alive the comatose hero by slithering and sliding all over his inert body. Wish someone would do a seductive dance over the narration.
Chase never quite overcomes the cheesy impulse, moving from one absurd episode to another, not quite the pacy thriller that one would think the introductory chase would lead us into.
To his credit Jagmohan Mundhra films some of the later stunts with some style. However the overall impression is that of a tired fugitive giving his shadow the chase.
The performances are uniformly amateurish. The cast includes the legendary Shammi Kapoor's son Aditya Raj Kapoor playing the kind of shady tycoon that went out of style with the action-dramas of Rajiv Rai. Here's a film that has plenty of skidding wheels and is constantly on the movie. But it still fails to move us. Except out of our seats for hastily moving towards the nearest exit for some fresh air.
Speaking of the great outdoors, there's a romantic song, totally out of place, shot picturesquely in Jammu and Kashmir.Wish the rest of the over-edited film also had some breathing place.
Starring:
Anuuj Saxena
Udita Goswami
Tareena Patel
Samir Kochhar
Gulshan Grover
Directed by Jagmohan Mundhra; Rating:
Let the chase begin. The opening chase, which lasts approximately 10 minutes, is among the best slickness-on-skids situation styled for a Hindi film. And full marks to the people behind it. But soon after this pulse-racing start our hero, who also happens to be the film's producer, slips into a coma. Er....and so does the film.
Never quite sure of whether it wants to be a slick thriller or an espionage adventure saga the narrative just collapses in a heap of ineptly conceived situations about corrupt officials and honest investigators.
The outer-limit of ludicrousness is the nurse, played by the pretty Udita Goswami, in the shortest of skirts, trying to bring alive the comatose hero by slithering and sliding all over his inert body. Wish someone would do a seductive dance over the narration.
Chase never quite overcomes the cheesy impulse, moving from one absurd episode to another, not quite the pace thriller that one would think the introductory chase would lead us into.
To his credit Jagmohan Mundhra films some of the later stunts with some style. However the overall impression is that of a tired fugitive giving his shadow the chase.
The performances are uniformly amateurish. The cast includes the legendary Shammi Kapoor's son Aditya Raj Kapoor playing the kind of shady tycoon that went out of style with the action-dramas of Rajiv Rai. Here's a film that has plenty of skidding wheels and is constantly on the movie.
But it still fails to move us. Except out of our seats for hastily moving towards the nearest exit for some fresh air.
Speaking of the great outdoors, there's a romantic song, totally out of place, shot picturesquely in Jammu and Kashmir.

Jannat

Race

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