Bollywood Entertainment Movies Review Songs FM-Radio: February 2010

Sunday, February 28, 2010

Aakhari Decision

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If you can get over the ludicrousness of a distinguished mathematician, whose god is Albert Einstein and who at the end of the film gets the 'Isaac Newton Award' for excellence in his field, masquerading as a seedy gambler, then "Teen Patti" is a surprisingly skilful and audaciously complex piece of drama.
It is a tautly-scripted and brilliantly executed film on the deep-rooted link between financial ambitions and moral compromises.
Writer-director Leena Yadav gives the theme of monetary indulgence a dizzying but pinned-down spin. She speeds confidently across out-of-control lives on a college campus with the confident vision of raconteur who spins a seemingly indecipherable web of deceit, intrigue and crime.
Miraculously, Yadav's yarn preserves its pencil-sharp edge of intrigue and wit right to the end. The story of the eccentric math-magician's adventures takes the narrative from underground addas to high-class casinos where Professor Venkat Subramaniam, his junior colleague Madhavan and four students convert the professor's newly-discovered mathematical theory into hard cash on gambling tables.
The plot reveals layer after layer of conspiracy until we come to the core idea. The story unravels through an extended dialogue in Cambridge between Subramaniam and a British maths professor Perci Trachtenberg played by Bachchan and Sir Ben. Just watching the two distinguished baritones exchange notes on academia, life and their overlapping quirks is a pleasure that makes for full paisa-vasool viewing.
Alas, one of the baritones belonging to Ben Kingsley speaks in Boman Irani's voice. And that too in Hindi! Why are the two professors huddled together in Cambridge speaking to each other in a language that suggests no tenability except a practical desire to make itself intelligible to Hind-speaking Indian?
"Teen Patti" targets its cerebral entertainment quotient at an audience that is willing to expand, and not suspend its disbelief. The proceedings charted by the intricate plot take the characters belonging to three generations through a smoky, compromised kingdom of the devil and the damned.
There's a touch of Faustian wickedness in the way the old professor, his subordinate colleague and their four brightest students embrace hedonism. The parameters of what 'is' and what 'should be' are almost blurred beyond redemption. The film gets its moral colour and texture from the technicians who seem to know the exact shades needed.
The death of one of the students (debutant Siddharth Kher) signals the redemptive overture in the plot. Siddharth's 'Bonnie & Clyde' act with his girlfriend (Shradha Kapoor) is indicative of the places that youngsters want to visit in their fantasies. The nightmare is just a hop away from the dream.
From the mathematical and magical to the murky and immoral, Leena Yadav exercises supreme control over the goings-on. At any given moment the narrative is susceptible to collapse like a house of cards. But Yadav shows a grip over her characters' dithering conscience.
Aseem Bajaj's camera work is exquisite in delicate shades. The camera knows where it has to go and slips in quietly to capture a world that has lost its plot.
The songs and dances are edited with an eye for elegant economy. This director means business.
Many sequences such as the one where Madhavan says goodbye to his screen girlfriend Raima Sen are shot to suggest the edginess of a world that could topple over anytime.
Presiding over this world of infinite infamy is Bachchan. He portrays the ill-understood proclivities of the academic genius with a profound absence of brouhaha. Even as the world outside falls apart, Bachchan creates an unspoilt inner world for his character.
As for Sir Ben, the British actor's clipped tone is gone. What remains is half a performance... Good enough.
Madhavan pitches in a bravura act with lots of furtive, nervous close-ups indicating a moral breach that could destroy the character any moment. The four newcomers are pleasant enough in the spaces provided for them. But given how well each of their character is written, none of them goes beyond the script's requirements.
A pity. Because the film quite often transcends the written word to go into the realm of the abstract where the existential joys of mathematics meet more earthly pleasures. Surprisingly ingenious, "Teen Patti" is not so much about the cards that are dealt on the table as the ones that destiny doles out.

Teen Patti

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Karthik Calling Karthik

The most talented director in the industry, first turned actor with the acclaimed Rock On and then went on to do another critically acclaimed film Luck By Chance, which didn't do well commercially. With Karthik Calling Karthik, Farhan Akhtar's returns for what promises to be his most interesting film to date. The promos have a certain mystery and the makers weren't too keen on revealing if Farhan has a double role. With high expectations of yet another classic, Vijay Lalwani directs this suspense thriller.
Wouldn't like to reveal much of the story, so here is the official short synopsis. 'Karthik Calling Karthik', is the story of a lovable loser Karthik, whose life changes with the help of someone who also claims to be Karthik. A thrilling, soulful and romantic journey of this man's victory against all odds.
Debutant director Vijay Lalwani's psychological thriller Karthik Calling Karthik starts off well but within 20 min into it, derails. Things change from bad to good - good to bad in no time and at the interval point leaves you with a sense of discontent. Also, most of the happenings are far from convincing with hardly any scope to build any sort of connection with the characters. The romantic angle acts as a hindrance to the mystery. Post interval, the thrill element works, but just when your curiosity level rises, the film falls flat into a disappointing description about the character's illness and an even more disappointing and predictable climax.
Karthik Calling Karthik is inconsistent and suffers from far too many loopholes in the plot. It neither works as a romantic flick nor a thriller. The first half of the film is extremely sluggish, with many cinematic liberties taken. Dialogues are ill-written, lame and very clichéd. Music is a huge relief, Hey Ya is nice. Cinematography could have been more effective owing to the requirements of the genre.
Coming to the performances, Farhan Akthar is a revelation. He has grown as an actor and portrays his character brilliantly. However, he does loose his footing when he transforms into the telephonic Karthik. Deepika Padukone is amazingly stylish and looks stunning throughout the movie, however gets little scope to perform. Ram Kapoor as the Boss and Shefali as the psychiatric consultant are great in their supporting roles.
To Sum things up, Karthik Calling Karthik is half baked with hardly two scenes sending a cold shiver down your spine. The thrill is less while love and comedy seem to be forced.

Karthik Calling Karthik

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Chance Pe Dance

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Road To Sangam

Road To Sangam Part 1

Road To Sangam Part 2

Road To Sangam Part 3

Road To Sangam Part 4

Road To Sangam Part 5

Road To Sangam Part 6

Road To Sangam Part 7

Aakhari Decision

Aakhari Decision Part 01

Aakhari Decision Part 02

Aakhari Decision Part 03

Aakhari Decision Part 04

Aakhari Decision Part 05

Aakhari Decision Part 06

Click

Click (2010) Part-1

Click (2010) Part-2

Click (2010) Part-3

Click (2010) Part-4

Click (2010) Part-5

Click (2010) Part-6

Click (2010) Part-7

Thursday, February 25, 2010

D - Underwolrd

Hum Hai Rahi Pyar Ke

The Hero - Love Story of a Spy

Tuesday, February 23, 2010

Ishqiya

Monday, February 22, 2010

Chintu Ji

Frankly, I never knew a film with Rishi Kapoor in the lead was in the making. But being a fan of the actor, it was indeed exciting to see him make a comeback as a lead actor. Fortunately, Chintuji (both the movie and the actor) don't disappoint.
Chintuji is about a village Hadbahedi, where the residents are extremely nice and uncorrupted. The people are in need of a popular face, to spread the values of the village, across India. When they discover that the village is Rishi Kapoor's birth place, they send him an invite. Rishi (also known as Chintu in real life) accepts the invitation and decides to fight the election for the people. While the villagers do everything they possibly can, to please the superstar, he is lured by the rival village with a tempting offer.
While the movie is slow paced and some of the sequences unnecessary, Chintuji works at most times. The movie reminds you of those innumerable serials on television in the 80s and early 90s. A touch of emotions in a light hearted fun film, is quite enjoyable.
The fantastic direction and brilliant writing, is what makes Chintuji a must watch. The low production values is disappointing, but proves yet again that you don't really need huge sets, great music or big actors to make a good movie. Its the script, direction and performances that are the key.
Talking of performance, Chintuji is Rishi Kapoor best performance in a long time. He portrays the role with such effortless ease, that would put the current superstars to shame. Priyanshu Chatterjee, who is best remembered for his role in Dil Ka Rishta does very well. Kalraj Randhawa, of Kareena Kareena fame (TV serial) is fabulous, loved her in the movie. Saurab Shukla is fantastic. All round great performances, by all actors.

Baabarr

Baabarr starring Soham Shah (not the director of Luck), Mithun Chakraborty, and Urvashi Sharma amongst others is an action - crime - thriller directed by Ashu Trikha.
Baabarr (Soham) is a boy who takes up to crime with no remorse at the age of 12. He grows up into being the most haunting and terrifying gangster of Uttar Pradesh. To set peace and normality back in the city, the government appoints encounter specialist - S.P. Dwivedi (Mithun Chakroborty) to arrest him alive or shoot him dead. Baabarr in short revolves around the birth and the attempts to exterminate one deadly gangster.
Baabarr is undoubtedly a crude, raw and violent movie. It glorifies crime and hence is not meant for the faint hearted. The movie is gruesome and does justice to the genre it represents, but it is those loopholes in the script that make it a less-than-satisfactory experience.
Quite a few sequences are hard to digest, far too many cinematic liberties taken, for instance how the cops cannot capture Baabarr when they know his whereabouts in the chase that is never ending. What's even weirder is Baabarr survives a point blank shot with just a scratch. Also the romantic angle between the gangster and his mistress is a mystery, for the reason behind their undying love is unknown.
Direction by Ashu Trikha is pretty decent and some scenes do make an impact, but it's the script that lets the director down. To his credit he has handled the movie with dexterity, most definitely a director to watch out for in the future.
Post interval portions take you by surprise with an unpredictable and believable climax. Cinematography is first rate. Background score is okay but gets annoying at times. Dialogues are excellent.
When it comes to performances, as a newbie Soham Shah has good screen presence, but the intensity much-required for the role is lacking. Mithun Chakraborty is first-rate as usual. Urvashi Sharma has fantastic screen presence and much like in Naqaab she does a good job. The others are fine.

Vaada raha

Samir Karnik's first two movies (Kyun Ho Gaya Na and Nanhe Jaisalmer) were box office disasters, and then came Heroes which did decent business. The director is back with yet another movie 'Vaada Raha...I Promise'. Right from his second movie, to his current, Samir has always roped in Bobby Deol as his lead star. Vaada Raha, too, stars Bobby in the lead opposite Kangana Ranaut with Dwij Yadav and Sharat Saxena playing the supporting roles.
Inspired from a Russian fable, Vaada Raha is about a successful doctor Duke, whose life comes to an abrupt pause as he meets with an accident the night before he was to wed his love Nalini (Kangana Ranaut). After the accident, he remains nothing but a vegetable, paralyzed from his neck and below. Soon his love, friends and everyone around desert him completely. With nothing left to live for, a small boy Roshan starts to fill up Duke's thirst for life and helps him forget his grief. Will Duke gain back his confidence and hope on life? Can Roshan actually bring one such change in Duke? This forms the rest of the story.
Samir Karnik has immense potential but is let down by a faulty half-baked script. Vaada Raha is heart-rending but is mediocre. The wafer thin plot line is dragged endlessly, at most times unnecessarily with some weird twists into being an emotional melodrama. The movie goes off-track midway and the plot gets sluggish. The climax too is very disappointing.
Script is King and with a terribly faulty script it's extremely hard for the director of actor to save the film. Dialogues too are lame. Music adds no value, in fact ends up extending your boredom.
Samir Karnik has managed to extract good performances out of his actors. Bobby Deol does very well as Dr Duke. Dwij Yadav mouths dialogues that is way beyond his age but enacts it very well. He shares an amazing rapport with Bobby. Kangna Ranaut looks good, but her talent is wasted.

Wanted

Wanted is huge, both for Salman Khan and the industry still recovering from the disastrous first half of the year. With Salman going all out marketing the action flick, directed by Prabhu Deva, the hype is immense. But with hype comes expectations, does Team Wanted manage to live up?
Frankly, Wanted lacks a gripping storyline.. It's just a plot written to accommodate those numerous action sequences. Here is a brief.. Radhe (Salman Khan), a hardcore criminal works for an international gangster Gani Bhai (Prakash Raj). With the crime in the city of Mumbai increasing by the day, police officer Ashraf Khan (Govind Namdeo) is hell bent on cleaning the city. Janhvi (Ayesha Takia), a young pretty girl, falls in love with Radhe. What unfold are loads of action with a touch of romance.
Wanted is a mixed bag; the action sequences are great and so are the performances but the runtime, music, half-baked love angle and a lot more ensures it falls way short of expectations.
While the music is below average, it's the songs that prove to be sleeping pills and Salman Khan dancing around trees is hard to digest. Bollywood is desperately in need of younger 'superstars'.
There is one surprise in store though, the top acting honor should undoubtedly go to Prakash Raj who is outstanding in what sadly was a role limited to the later portions of the second half. Wanted though is a Salman Khan movie and the actor delivers a knockout performance. An act that should silence his critics. His body language, style, dialogue delivery all spot on for a change. Ayesha Takia has nothing to do, the others are okay.
To sum up, Wanted works in parts and mainly due Salman Khan. Scenes involving Prakash Raj are also amongst the highlights of this lengthy action masala entertainer.

Dil Bole Hadippa

Yet another release from Yash Raj Films, Dil Bole Hadippa is a sporty-romantic tale starring Shahid Kapoor and Rani Mukherji. The Anurag Singh directed movie has a lot of hype and expectations surrounding it. Sharing the screen space for the first time, do Shahid and Rani create onscreen magic?
Dil Bole Hadippa is about a lively vivacious girl Veera (Rani Mukherjee), who has immense passion for cricket and dreams of playing it big someday with Tendulkar and Dhoni for India. Since India has been losing the Aaman Cup for 8 consecutive years to Pakistan, Vicky (Anupam Kher) handover the captaincy to son Rohan. Rohan (Shahid Kapoor), an accomplished captain of a county cricket team in England, makes a new team to take India to victory. Veera finally finds a getaway for her dreams and puts up the disguise of a man, Veer Pratap Singh, and earns herself a place in Rohan's team. What follows is a twisty - tricky tale of romance, passion and comedy between Veera, Rohan and Veer (disguise).
Dil Bole Hadippa is a confused tale - with passion for cricket as its main backdrop, it blends in patriotism, romance, jealousy and many more varied emotions. Apart from the several loose ends in the script, DBH lacks excitement much like Rani's Tara Rum Pum.
The first half of the movie is slow paced, but does have a moment or two worth of chuckles and a sizzling item number by Rakhi Sawant. Post interval the movie takes a romantic angle but before you could even realize, it completely takes up cricket and patriotism. Climax is just another run-of-a-mill kind but Veera's speech about allowing girls to dream is touching.
Music by Pritam is very Punjabi and enjoyable. Shahid and Rani share sweet chemistry, as a couple they are very likeable. But the romantic portion in the movie isn't convincing enough. Cheesy dialogues just to prove one's desi-pan gets annoying. Sherlyn Chopra and Rakhi Sawant in limited roles, indulge in skin-show.
Finally, what makes DBH worth a watch is Rani Mukherji. The pretty actress has lost loads of weight and appears briefly in a bikini top in the title track as the credits roll. To her credit, she makes the two characters feel distinctly different and puts across a very lovable performance. Shahid Kapoor has limited scope, but his performance grows on you towards the end of the second half. Anupam Kher and Dalip Tahil were good in their respective roles.

Saturday, February 20, 2010

Click

If you can accept Shreyas Talpade as a womanizing glamorous photographer who clicks with the ladies, so to speak, and Sneha Ullal, then the underlining theme of love-on-the-prowl in afterlife is chilling in spurts.
Director Sangeeth Sivan, who had earlier carved a comic slant for himself with "Kyaa Kool Hain Hum", displays a penchant for projecting a mood of ominous foreboding into the finely lit frames.
The camera (T. Ramji) is impeccably mood-oriented. The idyllic Goa outdoors and the neat spacious artistically designed interiors are used intelligently to create a sense of horrific disorder under the commodious elegant surfaces.
Sandeep Chowta's reined-in background score is another asset to the mood of underlying foreboding, though the songs, done as annoying set pieces with autopilot choreography, are like molar surgery in the middle of a trying day.
The sound design mercifully precludes startling noises and creaking doors. Like Ram Gopal Varma's "Bhoot", "Click" focuses on finding the centre of the terror in ordinary circumstances.
If only portions of the plot was not so hard to digest. Moving on an age-old premise for horror cinema where the protagonist's past trespasses catch up with him in chilling infinity, "Click" creates a melange of intended terror and unintended humour.
Talpade (somewhat miscast) is the not-so-fashionable fashion photographer whose camera begins to capture spirits.
The feeling of something-out-there is well-developed. But the gruesome pre-denouement gang rape and murder are not just out of place but done with unpardonable half-heartedness.
Some of the hero's trysts with the spook, such as the sequence where he climbs down a fire escape with the spirit in hot pursuit, are spine-chilling. The dying moments where Avi's past guilt literally rides on his shoulder and apparently for the rest of his life, are a terrifying representation of guilt, though the rest of the film is too flighty to carry the existential burden.
While Shreyas is effective in the traumatized moments, his two co-stars are listless. Blessedly this shiver giver seems original.
And we can't fault the film for cracking the horror genre with a basic amount of finesse.

Toh Baat Pakki

Part 01

Part 02

Part 03

Part 04

Part 05

Part 06

Part 07

Part 08

Toh Baat Pakki

Toh Baat Pakki is about a middle-class housewife and a mother of two - Rajeshwari (Tabu), whose main aim is to get her sister married off to an eligible man from the high walks of life. Suiting to her requirements, walks in Rahul Saxena (Sharman) studying engineering and has prospects of a promising future. Not to let go of the candy in hand, she offers him to move into her home as a paying guest. However, to her bad luck, she finds out that Rahul isn't interested in marriage but soon hatches a plan to change his mind and make him fall in love with her sister Nisha (Yuvika).
When everything goes to plan, walks in Yuvraaj Saxena (Vatsal Seth) who owns a business and is awaiting the completion of his own home. This tickles her mind and she soon plans to get rid of Rahul and fix Yuvraaj as her sister's match. How does she work her wicked tricks? Who gets to marry Nisha? Toh Baat Pakki is a comical tale of love, match making and matrimony.
Toh Baat Pakki, with a blend of comedy and melodrama, is neither here nor there. It suffers in the most important aspect of film-making - the script / screenplay. The script is high on predictability and is more suited for a one hour sit-com. Debutant director Kedarh Shinde has tried too hard to channel clean situational comedy (like Hrishikesh Mukherjee and Basu Chatterjee's classics) but pulls in too many unnecessary characters and twists (like Priyadarshan's flicks) and ends up serving a confused tale that is dull and dreary.
The first half of the movie has some moments that grab your attention and keeps you entertained but post interval the film derails and the mood intermittently switches back and forth from comedy to serious drama. The sequences leading to the climax is overtly dragged, especially when the result is extremely predictable. The dialogues are far from being funny, except a few. Music by Pritam isn't up to the mark and is haphazardly placed just to add to the runtime.
Toh Baat Pakki works to an extent only because of Tabu. She carries off the quintessential house-wife role with dexterity however her spirited performance isn't enough to overshadow the pit-holes in the script. Sharman Joshi is equally competent with good comic timing. Vatsal Sheth looks charming and does well in a few scenes. Yuvika Chaudhary has nothing to do.
To sum things up, Toh Baat Pakki entertains in parts. The performances are good, but can't save the film. With most shows at multiplexes occupied by Shahrukh Khan's My Name Is Khan, Toh Baat Pakki targeted at the multiplex audience in big cities would struggle to recover its costs.

Friday, February 19, 2010

Rann

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

The Hero

KABUL EXPRESS

Part #1

Part #02

Kabul Express

I did not know that you get to see Afghanistan for only 2 hours for Rs. 100; I really wanted to watch more... I was enjoying my journey to Afghanistan so much that I did not want it to end. Amazing place I must say. We generally expect movies to be cut shorter but I think this will be the first movie which I ever wanted to be longer.
The movie is about 2 journalists from India, Jai (Arshad Warsi) and Suhel (John Abraham), visit Afghanistan to cover story on Talibans (Talib) and they go to various places to interview Talibs but all goes in vain but a Talib, Imran (Salman Shahid), gets into their car and asks them to drive towards the Afghanistan / Pakistan border. This is where the story begins. A journey of 3 journalists with a Talib. (Jessica (Linda Arsenio) from America joins them halfway through their "journey".)
The movie also covers many aspects like views of Pakistani Soldiers towards Talibans, views of local Afghans towards Talibans and views of 3 journalists towards Talibans, especially towards Imran. The movie also has good share of humor too. And when it comes to Humor, the name which comes to our mind is, Arshad Warsi. Great actor.
The movie has many shocking scenes which will keep you thinking. I really liked 3 scenes particularly. 1st is very much in the beginning when Jai and Suhel gets lift in the tank. 2nd one is when Imran meets his daughter, there was not even a single word exchanged between them but the body language said it all. And lastly 3rd one is in the end, which unfortunately can't describe here.
There are few more things in the movie which impressed me a lot. Cinematography, excellent is the correct word. They have shown Afghanistan so well that you really feel like visiting that place and staying there. The background music was very impressive. And on the acting front, I really liked Salman Shahid, I somehow saw Pran in him. A strong but emotional man who does not let his feelings come out.

Thursday, February 18, 2010

Dil To Pagal Hai

Nisha is an actress in a play that is being directed by her sweetheart, Rahul. The only problem is that Rahul has no time for her, nor to find time for romance. When Nisha becomes sick, and has to go off for a few weeks, she is certain that everything will collapse after her departure, and is also sure that Rahul will miss her terribly and come right to her. This does not happen. Weeks later, after recovering she returns to the rehearsals and the theater, only to find that everything has changed. Rahul has replaced her with a new actress named Pooja, who he is very obviously smitten with, and none of the caste and crew really seemed to have missed her. She is quite depressed at this, but cheers up quite a bit when Ajay makes his entry. For Ajay is none other than Pooja's betrothed, and they will be marrying shortly, leaving the field clear for Nisha to have Rahul for herself.

Bardaasht

At a time when the film industry is busy showcasing cops as romanticised idealistic super-heroes, "Bardaasht" takes a cynical view of the police force.
But the film portrays the reality. Every day law abiding god-fearing citizen gets a taste of the criminalisation of the police force.
Doing away with the wispy whitewashing of the khaki uniform, director E. Niwas, in his third film on cops and robbers after "Shool" and "Dum", portrays the grim and gritty reality of the uneasy and often ruinous relationship between ordinary citizens and law enforcers.
Filmmaker Vikram Bhatt turns screenwriter to deliver what is ironically his only original and, by far, most the riveting story ever.Bobby Deol, who plays the lead role, drops his habitually languorous look and laidback demeanour to deliver a performance of substantial velocity.
Deol makes the best of his silently simmering and suffering army man-turned-civilian role.
As Aditya Shrivastava, Bobby is what his brother Sunny has repeatedly played in films like "Arjun" and "Ghayal". But Bobby gives the seething role his own spin.
Unlike other tales of the civilian and the law, here Bobby doesn't flex his muscles until the astonishingly blotchy climax when, inexplicably, the director sets out to give his hero some brawn.
Most of the time, Bobby's character is restrained and single-minded in his devotion towards his wayward sibling Anuj, played by Ritesh Deshmukh.
The frantic desperation of a possessive guardian-figure comes across in little gestures that convey the power of an implosive performance.
The first part of the film, Bollywood's first working-class thriller in ages, builds the protagonist's idealistic character through his aborted tryst with the army and his girlfriend Payal, played by Lara Dutta.
When Anuj disappears, "Bardaasht" becomes a kind of Citizen Kane on wheels, with big brother devoting his life to solving his beloved sibling's murder mystery.
Director Niwas always keeps his narration simple. The camera, manned by Rakesh Manikantan, is as restrained in its movements as the protagonist, so that the audience gets ample leeway to absorb the narrative details.
One wishes the director, valiant in his vision of life on the grim side, had shown the courage to do away with the songs. Amar Mohile's background music is inconsistent, at times effectively muted but at other times overdone.
The sequence at the police station where Aditya tries to report his missing brother as the entire staff stays riveted to a cricket match, is an instant replay of all the films about social injustice since Mahesh Bhatt's "Saraansh", and yet moving because bureaucratic apathy, so effectively touched upon in Niwas' earlier film "Dum", cannot get outmoded.
The distraught brother's quest for justice is coloured in the second half by reducing the wrongdoers to a trio of conniving villains, one of them played by Rahul Dev.
To pin the blame on a small group of uniformed louts for the rot that has set into our system is naïve indeed.
Nonetheless, the scene at the morgue with a callous attendant ridiculing Aditya's grief is powerful.
Niwas restricts the thematic conflict to brotherly bonding. The absence of stereotypical humbug - buffoon cop and item song - gives the film a focussed and serious look.
The film's single-minded purpose collapses completely in the last half hour when Bobby is made to do a Sunny Deol. The climax brings the narration crashing down and exposes the director's failure to stay within the working class ambit he builds on.
On the plus side, romance is sensibly knit into the plot by making Lara Dutta a part of the main conflict. As a lawyer Lara delivers her lines with conviction. One wishes there was more of her.
Rahul Dev is a terrifying adversary, though not half as menacing as the evil cop that Atul Kulkarni played in Niwas' "Dum".
Ritesh Deshmukh's Anuj is the ubiquitous soul of the plot an