Roadside Romeo Movie Review

Roadside Romeo - Precisely Average in deliverance

Verdict: Can watch it once

Banner: Yash Raj Films
Cast: Saif Ali Khan...... voiceover of a dog Romeo, Kareena Kapoor...... voiceover of a dog Laila, Javed Jaffrey...... voiceover of a dog Charlie Anna
Direction: Jugal Hansraj
Production: Aditya Chopra
Music: Salim Merchant,Sulaiman Merchant

Obviously, lots of multiplexes launched should have urged Yash Raj Films to stride successfully on new genre of Animation. Indeed, the biggest production house in India joining hands with the ever best studios of Hollywood Walt Disney Pictures is a cock-a-hoop for all. With animation flicks of several foreign countries bringing home the bacon across the World, India lags far behind. Many of our Indian professionals have presented their top-notched outputs in Hollywood animation films. When it comes to Indian Animation film, none of them shored with grandeur. If you had ever thought, budget was our only constraint? Might be, but not for a greater extent. Despites, the same talented animators and greatest producers involved, many of the films are just mediocre. 

Of course, 'Roadside Romeo' falls on the same lines of being an average based film. Unlike previous week's release 'Cheenti Cheenti Bang Bang', this one offers a fabulous piece of work in technical terms. Nevertheless, the film lets our hopes with middling screenplay. 

Precisely, a perfect difference between animation flicks of India and Hollywood lies on this aspect. Leave out the top-charting films Lion King, Shrek, Ice Age; even the average ones like 'Meet the Robinsons' were extraordinary. You know why? A powerful narrative structure, skillfully drawn characterizations and emotional aspects got us adhered to the film. 

Does 'Roadside Romeo' tread following the same formulas? Does it capture everyone's interests' or just kids? Why ask so many questions, just drive yourselves for this film and you'll merely utter 'the fantastical deliverance of animation is sure to attract kids, but nothing well to appreciate on narrative aspects'. 

Glimpse through the storyline and get on with more analysis… 

Romeo, a rich dog leads a life of complete style. He was a complete dude. He had the works - a mansion to live in, chicks to party with and the cars to be driven around in, until one day, the family he was the favourite pet of, decided to move and left him back, abandoned on the mean streets of Mumbai.

Romeo is now faced with situations he has never been in before. He encounters four stray dogs, which scare the living daylights out of him. Soon, he smooth talks his way into their hearts and becomes friends with them. 

Then, Romeo finds love! He encounters the beautiful, ravishing Laila, the most beautiful female dog he has ever seen... and he loses his heart to her at first sight! 

And finally, he encounters a villain! The dreaded Don of the area - Charlie Anna! The Don who everyone is scared of. 

So hop on to this adventure as Romeo wins friendship, love and a new life - in spite of Charlie Anna and his gang! 

Cute and beauteous story, isn't? Yup! But looks like it has been vividly inspired from yesteryear commercial films of hero falling in love, fighting with baddies and exposing his heroisms… Screenplay drops down the pace right from beginning, but greatness of Director Jugal Hansraj is revealed in latter part as it has some entertaining elements. 

Don't miss the Pakka- DDLJ ending sequence of train; you'll be elated to extremity… Innovativeness of great direction has been showcased and it would have been nice if he had carried on rest of the film with same wavelength. 

In-depth, voices rendered are absolutely top-notched. Be it Saif (Romeo), Kareena (Laila) or any other characters' voice, everyone have excelled remarkably.  

On the technical areas, a perfect animation as mentioned earlier intensifies the film. But musical score by Salim-Sulaiman doesn't stand out for good credits. Perhaps, the musicians could have just worked for ne plus ultra and it's a mere disappointment from this duo.  

 Roadside Romeo is enjoyable at certain part for Kids, but they wouldn't be relishing all throughout with it. Flaws are blatant on screenplay and dialogues uttered by characterizations (Charlie Anna speaking in South Indian language slang) and not many vistas do really attract adults. 

On the whole, 'Roadside Romeo' can be watched for exquisite animation presentations, celebrated voices and nothing else. The screenplay doesn't tread on same tempo and that stops our Romeo hitting bull's eyes.

Golmaal Returns Movie Review

Golmaal Returns - A real Golmaal

Verdict:     Watch it… Kill your time

Rating :       **½

Banner:             Shree Ashtavinayak Cinevision Ltd

Cast:                  Ajay Devgan, Arshad Warsi, Shreyas Talpade, Tusshar Kapoor, Kareena Kapoor,                                Anjana Sukhani, Amrita Arora, Celina Jaitley,

Direction:          Rohit Shetty

Perhaps, 'Golmaal Returns' is worthy to be ennobled – 'impaling speculation' for producers of the film. 'Golmaal' made headway with critical éclat for its top-notched drolleries; Rohit Shetty brimmed up with an ebullient show for the family audiences. The prequel had the best show-ups of perfect comedy timings, reasonably good jokes and moreover, the emotional quotients picked everyone's interest. Merely, 'GR' a falderal show with good star-casts and clichéd plotline and what else? Rohit Shetty doesn't touch on any lines of its prequel. 

What should have really instigated Rohit and producers to churn out this flick? You wouldn't be able to zero down the precise reasons even after the show is over. To a greater extent, the film is so cranky and again what could be the traits making it look so? Clumsy jokes unapt for universal audiences. Totting up to the annoyance is nit-witted screenplay penned by Yunus Sajawal. It's a billion-dollar question how Rohit Shetty could elatedly turn the superfluous pages of Yunus into pictures. 

And if you're there guessing could there be any solacements for audiences. Yup! Mind blowing performance by Tushaar Kapoor and Shreyas Talpade offers best fiestas of humor. Doubtlessly, you are sure to break down with laughter as these character jape simultaneously on each other. 

Gopal (Ajay Devgan), who lives with his wife Ekta (Kareena Kapoor), sister Esha (Amrita Arora) and a dumb brother-in-law Lucky (Tusshar Kapoor), grinds to a halt in a yacht after saving an attractive woman Meera (Celina Jaitley) from some goons. 

Both end up spending the nighttime on the yacht and when he comes home the next day, his distressing leery wife who is also a hardcore fan of the saas-bahu serials, smell fish. 

Gopal knows it's going to be hard to quell her suspiciousness, so he concocts a cock-and-bull story about having stayed the night with a fabricated friend called Anthony Gonsalves. Ekta refuses to buy his yarn and writes to Anthony (on a fictitious address given to her by Gopal) asking him to visit her. 

Gopal convinces his junior at work, Laxman (Shreyas Talpade) to pretend to be Anthony. Everything goes according to plan till the address to which Ekta had written to Anthony turns out to be real! 

If that isn't complication enough for Gopal, a dead body is discovered at the location where he had saved Meera. The Investigating Officer, Madhav (Arshad Warsi), who is Esha's boyfriend and also who cannot stand the sight of Gopal, learns that the latter had been missing from home that eventful night and begins checking on him. 

Promotions prior to release often sounded 'Biggest Comedy Title of 2008' and it's about dashing down your hopes after watching the show. It's a mediocre in terms of presentation. Bits and pieces of surprisals move you along with it, but not to a greater extent. Blemished screenplay lacking substance diminishes the crème de la crème efforts rendered by few best ones.

Rohit Shetty with his 'Sunday' won the credits as the best lollapaloozas, of blending murder-mystery with comedy (Call it 'Black Comedy'). The flick savored to everyone's tastes offering best entertainment. The scenario is quite bleak and contrastive here; nothing impressive that pulls you in.

Lots of actors and does everyone best deserve best credits? Must be quite straining for you all, going through so many questions. Comparatively, you would shoot out many more after the show. Ajay Devagan kindles – his 'Simpatico' catching breath of a struggling husband. Arshad Warsi lags behind with his goofy role. Kareena Kapoor deserves pat of appreciations as a leery wife. Despites, appearing on with a short role, Celina scores best. Amrita Arora and Anjana Sukhani, merely keep middling… 

You'll have entire spotlights turning on Tushaar Kapoor as he eclipses everyone. Ditto to Shreyas Talpade; he treads highly-electrified rendering his laudable performance. Don't miss the rib-tricking takes between these lads; they're over-the-top. Ashwini Kalsekar, replica of Saawariya's Rani Mukherji and Arshad Warsi imitating Big B of Black hastens best of all laughter. Kya Hai Rohit Aur Sanjay Leela Bansali Ke Beech? (Ashwini Kalsekar planning to design her interiors with blue color is again a big gag).

Again, fallible technical aspects are a big letdown; neither music nor cinematography is up to the mark. Except, Neeraj Sridhar's 'Tha Karke' and 'Meow' by Suzy Q, nothing offers best scores.

As a whole, 'Golmaal Returns' is a light-headed entertainer, on the buttons plainly for pie-eyed individuals, while for others, enjoy if you want to

Fashion Movie Review

Banner:            UTV Motion Pictures Bhandarkar Entertainment
Cast:                  Mugdha Godse, Priyanka Chopra, Kangna Ranaut, Arbaaz Khan, Harsh Chhaya,                                   Madhur Bhandarkar, Karan Johar, Manish Malhotra, Neil Nitin Mukesh, Arjan                                       Bajwa
Direction:     Madhur Bhandarkar
Production: Ronnie Screwvala
Music:             Salim-Sulaiman



For all who ever intended 'World of Fashion' is something about fun, glamour and ramp shows, Madhur Bhandarkar enlightens them. Rendering the best realistic themes in each of flicks, Madhur Bhandarkar had conquered the hearts of world-wide audiences. Of course, his top-notching directorial 'Fashion' surmounts our expectations and to define the film, it's 'Wordless'. Lots and lots of ramp walks, backstage happenings, photo shoots of alluring missies, kingpins of Fashion World and more than all, you have drearier slope of it unveiled. Uh-Huh! Blended with these aspects, Bhandarkar crafts a melodrama of three supermodels and their transcending lives. Indeed, the very tagline 'In the World of Fashion, You will have to give more than your morals' wins the applause. Famous philosopher Stella Blum quoted "Fashion is so close in revealing a person's inner feelings. It's really too close to the quick of the soul." These phrasings have a deep relevance with this film and obviously it is so close to everyone's heart. 

In this trenchantly spelled piece of work, Bhandarkar has his galaxy inclusive of best star-casts who are so realistic in their performance. Despites filled with 'Glitz' n 'Glam', the film offers more on other quotients… Where does the film lag behind? Not at many points, but Bhandarkar could have penned his screenplay bit precisely in the latter half. 

 The journey of the rise and fall and phoenix like re-birth of India's number one Supermodel. Set against the glittering backdrop of the glamorous but ruthless world of haute couture. 

Fashion, this tells the story of one small town girl with a dream and the determination to make it a reality. Meghna Mathur (Priyanka Chopra) knew that she was meant to be famous. Ever ambitious and bright with stars in her eyes, even as a girl with a conservative background, she dared to dream of bright lights and the big city. The world of fashion - the clothes, the colors, the make-up, all of these form a part of the fascinating world that Meghna has longed to be a part of. She reaches the peak of her success and rises to walk the ramps for leading designers across India. The fashion world lies at her feet - the parties, the brand endorsements, the photographers, the models, the romance and of course - the shows, the shows, the shows! 

However, karma catches up with Meghna as she slowly starts to pay the price for her fame and her journey to the top. Her attempt at a comeback was going to be a near impossibility but she was never a woman to turn away from a challenge. On the pars, the film focuses on other two models: A top-charting model Shonali (Kangana Ranaut), so hard-pressed in her life. Jannet (Mugdha Godse), an aspirational model who has to compromise certain things in her life and settling down with her marriage. 

"Fashion" explores the world of style through the emotional personal journey of the key people that make the industry, the dream-weavers of that elaborate world of glamour: the models, designers, photographers, businessmen, agencies etc. 

'Smart as a whip' - A perfect metaphor to fix the earnest work of Madhur Bhandarkar and grand round applause for hitting bull's eyes with a reality theme. It's so realistic and to make it so precise, watch out the sequence where Madhur himself appears on the screen where models says, "He's gonna make a film on Fashion". (Aae Logh Fashion World Ko Bhi Nahi Chod Sakthe). 

Even the most minute factual has been picturized with crystal-clear modality. The egoistic nature of models, their frustrated attitudes (Kangana Ranaut), fashion choreographers as gays are so shocking for Indian audiences to accept. Reality really bites, isn't? 

Priyanka Chopra spellbinds on her part without any flaws. A girl from small town and her varying colors of life: success and failures, innocence and arrogance; she strides rendering over-the-top performance on her characterization. It's not a long-drawn-out role that Kangana Ranaut dons, but her actions are mindblowing, especially in the latter part. Ditto to Mugha Godse; she does a decent job throughout the show. 

Arbaaz Khan excels on the overall show while Arjan Bajwa does justice to his role. No words to describe the tremendous performance of Harsh Chhaya as gay designer. He carries off the show so perfectly on his part. Ashwin Mushran, Samir Soni and Kittu Gidwani tread with naturalistic approach breathing lives on their characterizations. 

The auteur has picked in some of the most shocking facts; pathetic scenario of Kangna Ranaut and her wardrobe on the ramp. Was it a replica of what happened to Vikram Rathore's show before 3 months? You've got to ask Madhur about this. 

The last few minutes of the flick may get you ungratified for the dragging screenplay, but everything is diminished in climax. Despites, prone to shocking news, the way how Priyanka acts to the situation once the lights are on are so prodigious. 

Maybe, Madhur Bhandarkar hadn't focused so precisely on emotional quotients in his previous flicks of Page 3, Corporates and Traffic Signal. Over here, there are lots of those heart-melting sequences that'll let your eyes soaked with tears. Priyanka Chopra's care and affection for despaired Kangana Ranaut, parents' encouragement for forlorn Priyanka and friends extending their support; they are amazing. 

Musical score by Salim-Sulaiman are magnificent and two numbers 'Jalwa' and 'Mar Jaava' grabs your attention. Signature theme of Fashion is played throughout the show in varying tempos and tones, but still they are electrifying your senses. Mahesh Limaye's cinematography is so detailed in each shot and if you are a great analyst of camera works, it's gonna be interesting for you. Niranjan Iyengar throws more life on each character with his dialogues. Of course, costumes and styling are grand fiestas for all… 

Valuating 'Fashion' on the whole, it's strongly recommended for all the audiences. Madhur Bhandarkar has limned the real life drama of Fashion World that offer more surprises as well shocks. Not just in multiplexes, the film is sure to make high waves across other centres too. Hats off to entire team for a flawless and brainy show catering to all audiences… Bhandarkar not just presents the drama, but there is something more educative over here. 

Verdict: Madhur Bhandarkar – The Real Fashion Maker of Bollywood 

Rating : ****

Body of Lies: Movie Review

Body of Lies: Movie Review

Director : Ridley Scott 
Cast : Leonardo DiCaprio, Russell Crowe, Mark Strong 
Rating : *** 

Based on David Ignatius' 2007 novel, Body of Lies is an espionage spy thriller about officer Roger Ferris (Leonardo DiCaprio), a CIA covert operative working in Iraq and trying to gather lethal information on Islamic terrorist cells to reach their mastermind Al Saleem (Alon Aboutboul). 

He is backed by his boss in US, Ed Hoffman (Russell Crowe) who exploits Roger's local contacts but finds them disposable. 

After losing such a friend in Iraq, Roger travels to Jordan and heads the US Intelligence department there. He befriends the head of Jordanian Intelligence, Hani Salaam (Mark Strong) and through his help he targets to reach Al Saleem. But this alliance is made fragile through Hoffman's double-dealings and concealed schemes. 

From the opening bombing scene in Manchester to character introduction in Samarra (Iraq) and the plot development in Amman (Jordan), the narrative continually crosses geographical boundaries but never loses your attention for a single moment. 

The story just momentarily shifts base to Washington or Langley but the logistics are widely spread in the Middle East covering countries from Turkey to Syria. 

Master Director Ridley Scott keeps the proceedings wonderfully entertaining, getting neither artistically subtle nor commercially overboard. 

The screenplay runs at breakneck speed and is coupled with ruthless explosions, exhilarating chases, satellite surveillance, smart elements of suspense and some gruesome torture. 

Halfway through the film, Roger comes up with a scheme to devise a fake terrorist group to challenge the terrorist organization of Al Saleem and get him out of his hidings. Though the idea is interesting, it comes in a bit too late in the film, giving way for the formation of an entirely new plot-point rather than building up on the existing one. 

A major cliché that the film resorts to is Roger's romance track with Aisha (Golshifteh Farahani) that is basically employed in the story to humanize Ferris. 

The love story is not much of a hindrance to the central plot but towards the end it maneuvers the motivations of Ferris from his quest for Saleem being reduced merely to the rescue of his sweetheart. Also the film opts for a fashionably filmy ending. 

Scott technically enhances the film through striking camerawork and the extreme close-up shots in action sequences keeps you on the edge-of-the-seat in anticipation that the next bullet will rip the screen. The action appears real and is slickly choreographed. 

Body of Lies does highlight the politics of war between the West and Islam but works more effectively as a thriller drama. 

Through the Crowe-Caprio relationship, the film emphasizes that agents on field have a better picture of the situation than their comfortably stationed superiors in Washington. And that the bureaucrats only give orders that interest their political strategies, regardless of human exploitation. 

Leonardo reigns supreme in the film, bruised and battered in every single frame but conversely exuding tremendous energy in his proceedings and performance. 

Russel Crowe is relegated to being a supporting actor with less screen presence and zero character development. He still adds requisite poise to the casual approach to his character. Mark Strong is impressive as the intelligence head with a cool and composed attitude. 

Body of Lies is truly amazing for Leonardo DiCaprio's exceptional act and Ridley Scott's compelling direction.

1920 - Review

1920 - Review (Green Signal) ****

Vikram Bhatt visits the horror genre again, after Raaz. Also, like Raaz, 1920 talks of love, lust and paranormal forces. But unlike Raaz, 1920 is set in the bygone era and that makes Raaz and 1920 as diverse as chalk and cheese.

After a series of watchable and avoidable fares, Vikram Bhatt is back with a vengeance in his latest endeavour. It may not be the most eerie experience, but it has its share of terrifying moments that one expects from a film that talks of supernatural forces. The best thing about 1920 is that the culmination to the story is most compelling, which is so vital for a horror-mystery.

 Any hiccups? The narrative slows down at regular intervals and that robs the film of its shine. Besides, the flashback -- the reason why the spirit seeks revenge -- could've been more impactful.

All said and done, the pros easily outweigh the cons here. Most importantly, 1920 delivers what it promises: Eerie and scary moments aplenty!

The year is 1920 and the house isolated in the wilderness has a secret. It is waiting for the curse to come true. For years, everyone who has tried to pull it down has died of mysterious circumstances.

Arjun [Rajneesh Duggal] and his wife [Adah Sharma] move into the house. He has been given the task of pulling it down and making a hotel there. The house has been waiting for them. Strange and inexplicable events start taking place...

The period look and the castle [located in Yorkshire in actuality], which is an integral part of the story, give the film a distinctive texture. From the writing point of view [story: Vikram Bhatt; screenplay: Vikram Bhatt, Dhiraj Ratan], the love story is well structured and the obstacles the couple face are well depicted.

But the film actually gallops when the spirit takes over the girl's body. Thereafter, incident after incident catches you unaware. Note the sequence at the nursing home, when the spirit talks to the doctor. Or recall the spirit's warning to the priest. The finale -- when Rajneesh chants Hanuman Chalisa -- is another highpoint.

Without doubt, 1920 is amongst Vikram Bhatt's finest works. In fact, it's after a really long gap that Bhatt seems to be in complete command. Pravin Bhatt's camera captures the mood splendidly. The beauty of the castle has been captured very well by the DOP. Adnan Sami's music strikes a chord. 'Bichua' [singer: Shubha Mudgal; filmed on Rakhi Sawant] caters to the masses, while 'Tujhe Main Pyaar Karu' [Kailash Kher] and 'Vaada' [Pt. Jasraj] are aimed at the heart.

Both Rajneesh Duggal and Adah Sharma go through their roles confidently. Adah gets the meatier part and she takes to it like a fish takes to water. She's excellent! Rajneesh has the trappings of a fine actor and though there's slight awkwardness at places, it can be overcome with the passage of time. He has the potential. Anjori Alagh looks beautiful and leaves an impression in the second hour. Indraneel does well. Raj Zutshi [as the priest] is top notch. Vallabh Vyas [doctor] is as usual.

On the whole, 1920 is an engrossing fare that meets the expectations. It has the potential to work at plexes and single screens, metros and mini-metros, catering to all audiences.

The Last Lear - Review

Rituparno Ghosh, one of the finest storytellers from Bengal, chooses Utpal Dutt's play 'Aajker Shahjahan' as the premise for his new endeavour The Last Lear. The plotline [the story of an aging superstar] as also the execution of the subject is the type that holds appeal for a miniscule section of audience.

The problem with The Last Lear is that there's too much Shakespeare in the movie, which, to put it bluntly, isn't everyone's cup of tea. Besides, certain themes may hold some appeal for those into theatre, but don't work on cinematic level.

Yet, there's no denying that The Last Lear has its share of engrossing moments. A few individualistic sequences are noteworthy as also the portrayal of characters by some prominent names. But that's not enough!

In a nutshell, The Last Lear fails to connect. At best, it may find some patronage at Festivals, but there's nothing for Indian moviegoers.

Harry [Amitabh Bachchan] lives for acting, loves theatre, adores Shakespeare and absolutely detests cinema. Enter Siddharth [Arjun Rampal], a movie director. He is smart, Harry finds out in the very first meeting. He is glad to have found a cerebral partner to have a conversation with.

Slowly, they bond over coffees, vodka and conversations. Harry decides to work in Siddharth's film. New relationships blossom. But an incident changes everything...

Director Rituparno Ghosh's choice of the subject has its limitations. It's good to think different, but The Last Lear is abstract. From the writing point of view, a number of points remain unexplained and even if they are, it's difficult to decipher.

Like, for instance, Shefali Shah's hatred for Preity is unexplainable. Why does Shefali detest Preity? Her problem, in the first place, should've been with the director of the film [Arjun Rampal], not the co-actors. Also, the accident and the aftermath lack clarity. Why does Arjun want a retake? Why does he want Amitabh to perform the death-defying jump all over again? This, when he knows that Amitabh can't see without his glasses. Clearly, the writing has its share of loopholes.

That's not all, for The Last Lear is too verbose, like Rituparno's earlier film Raincoat. It gets very talk-heavy after a point and that's quite off-putting.

Amitabh Bachchan is the life of The Last Lear. But it's definitely not his best performance so far. The actor has delivered stronger performances in the past. He's good, not great. Arjun is evolving into a fine actor. After ROCK ON!!, this is another performance that would fetch Arjun laurels. Preity is very effective. Shefali Shah is superb. Divya Dutta is wasted. Prosenjit is alright. Jishu impresses.

On the whole, The Last Lear has something for the Festival circuit, but nothing for the cinema-going audience in India. At the box-office, it caters to a minuscule section of moviegoers at select metros only. Disappointing!

Harry Puttar

Harry Puttar Review

Kiddie films, aimed at kids between 6 and 60, are slowly making inroads in Bollywood. Hari Puttar - A Comedy Of Terrors is the newest entrant in this family.

Now let's set the record straight. Hari Puttar - A Comedy Of Terrors is not remotely inspired by Hari Potter, but it actually borrows from Home Alone. Unfortunately, directors Rajesh Bajaj and Lucky Kohli make a complete mess of what could've been a great kiddie fare.

Seriously, what were the directors thinking when they okayed this apology of a script? The directors seem completely clueless about how smart today's kids are. And the kind of stuff they have an access to [television, cinema, games]. They've witnessed far better stuff than what's dished out in this misadventure.

Hari Prasad [Zain Khan] or Hari Puttar, as he is fondly called, is a bright 10-year-old who has recently moved from India to U.K. with his parents. His father, Prof. Dhoonda, is assigned to work on a secret project with the Defence Forces at a remote location in U.K. He has access to confidential information that is stored on a chip and safely kept at his house.

Within days of their arrival in London, Hari's aunt [Lilette Dubey] and uncle DK [Jackie Shroff] visit the Dhoonda residence with their own as well DK's boss' children. Suddenly, the house is filled with the effervescence of no less than ten kids.

At this point, everything goes for a spin for Hari Puttar. Not only is he thrown out of his room to accommodate the girls, he is also ragged and ridiculed by all the other kids for being too naÏve. Hari Puttar suddenly feels unwanted, undermined and unappreciated.

The family takes off for a holiday, leaving Hari Puttar and Tuk Tuk [Swini Khara], his cousin, behind, who confront the two goons [Saurabh Shukla, Vijay Raaz] out to rob the chip.

Even if you're inspired by a hugely popular English film, the challenge lies in Indianising it well enough. But Hari Puttar - A Comedy Of Terrors is an amateurish attempt all the way. Here, the goons exchange the choicest of expletives [beeped obviously]. Here, the villain [Mr. Blue Contact Lenses with an Ajit hangover; zero expressions] and his cronies [Saurabh Shukla in a hideous wig and Vijay Raaz in outlandish outfits] are more of buffoons. Here, in a kiddie film, you get to watch a sexy Shamita Shetty gyrating to a promotional track.

The scripting is amateurish and hence, whatever unfolds on screen makes no impact whatsoever. Any redeeming aspect? The penultimate 15 odd minutes when the kids try their best to keep the villains at bay. Also, the animation is quite good.

Zain Khan does a decent job. Swini Khara, seen in Cheeni Kum, gets no scope. Sarika looks disinterested. Also, she looks ill at ease delivering Punjabi lines. Lilette Dubey is miscast. As for Jackie Shroff, the less said the better. It's also sad to see actors like Saurabh Shukla and Vijay Raaz being reduced to such roles. They ham!

On the whole, Hari Puttar - A Comedy Of Terrors is a poor show all the way.

Hello Reviws

Hello Review

Some stories are interesting to read. They may be bestsellers, no arguments on that. But cinema is a different medium altogether and not all stories are cut out for cinematic adaptations. That's the problem with Hello.

Wait, there's one more hiccup. The screenplay, credited to Atul Agnihotri and Chetan Bhagat, lacks the power to hold your attention from start to end, barring a few stray moments in the second hour.

Based on Chetan Bhagat's book 'One Night @ The Call Centre', Hello makes an attempt to peep into the lives of those working at call centres, but things are presented in such an amateurish manner that it fails to cut ice.

 Perhaps director Atul Agnihotri wanted his second directorial venture to be a complete departure from stereotypical movies, but, believe it or not, there's hardly any story to tell in the first hour. Defining character sketches of the principal players should constitute maximum 15 odd minutes of the film. You don't devote your entire first hour to it.

Post interval, there's some movement in the story, but not enough to take the film to a different level. Even the culmination is so filmy. Suddenly, everything seems to be going right for the call centre personnel. It's a screenplay of convenience!

So what's the verdict then? There are good films and there are bad films. Hello is neither good, nor bad. It's just boring!

Hello talks of the events that happen in one night at a call centre. Shyam [Sharman Joshi] is losing his girlfriend because his career is going nowhere as he trudges his way around in a call centre. His girlfriend, Priyanka [Gul Panag], also works at the call centre, but her mother [Bharti Achrekar] wants her married to a wealthy NRI.

More people in the story: An aspiring model, Esha [Isha Koppikar], is hoping for the break that seems to be eluding her... Varun aka Vroom [Sohail Khan] loves Esha, but she's more focused on her career... Radhika [Amrita Arora] is constantly at the receiving end of her mother-in-law. Even her husband [Arbaaz Khan] is having an affair... A beleaguered grandfather, Military Uncle [Sharat Saxena], has been barred from interacting with his grandchild.

These call centre agents see their worlds crumbling around them. And then there's a call from God...

The screenplay tends to get so amateurish at times that you actually want to ask the writers, Hello, do you know the basics of screenplay development? Also, the call centre personnel look more like a bunch of college kids, while the Americans, calling up call centre executives to sort out their problems, come across as nincompoops.

Saddled with a poor screenplay, there's not much that director Atul Agnihotri can do to salvage the show. Sajid-Wajid's music is pleasant. The Salman song at the very outset, 'Bang Bang', and 'Karle Baby Dance Dance' are energetic. Sanjay F. Gupta's cinematography is alright.

Talking of actors, Sharman and Sohail are the pick of the lot. Sharman stands tall even in a tacky script like this, while Sohail is gradually getting into the groove. Amrita, Isha and Gul are okay. Arbaaz Khan is hardly there. Sharat Saxena is wasted. Dalip Tahil is unintentionally funny. Suresh Menon is unbearable.

Salman Khan looks haggard, as if he has been woken up from his sleep. The eye bags and double chin are too evident. Besides, the actor has been given main prominence in posters/billboards, but the fact remains that he's hardly there for a song and scene at the start, a brief scene at the interval and a scene and promotional video at the end. Katrina Kaif looks angelic, but even she has a 5-10 minute role.

On the whole, Hello is a poor show. At the box-office, it has no chances whatsoever!

Kidnap Review

Kidnap Movie Review

Other notes - Firstly, thanks for reading the Drona review. Drona quite often reminded me of Mani Shankar’s painful Rudraksh in 2004 starring Sanjay Dutt, Bipasha Basu and Suniel Shetty. Rudraksh was also a fantasy movie.

Moving on from the Drona nightmare, Kidnap directed by Sanjay Gadhvi releases tomorrow. Imraan Khan could prove to be lucky the second time too. Its a co-incidence that Love Story 2050 another Fantasy / Sci- Fi movie released against Imraan’s Jaane Tu Ya Jaane Na. And the rest as we all know is history. Hopefully Kidnap which also has Sanjay Dutt and Minissha Lamba turns out to be a much better watch. The review will be up by around 3 PM Indian Standard Time. Be sure to check back in.

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Drona Reviws

On asked what the audience should expect from Drona, Abhishek said “I want them to expect a lot. I never say this, but I want them (the audience) to expect the world. Goldie proved that my expectations weren’t high enough. So I want them to expect a lot more.” Woah, not bad I thought! Yet, not trusting Abhishek as I read something similar from him about Jhoom Barabar Jhoom, I went in with low expectations.

And yet I was heavily disappointed. Disappointed to see Abhishek being part of such a poorly directed low quality movie. Disappointed for the fact that a huge amount of money was wasted on great special effects in a horribly illogical film!

Gustaki Maaf are Kay Kay’s two most favorite words in the movie. Gustaki Maaf Goldie Behl saab, but seriously what were you thinking? Even a 12 year old school kid could have scripted a better superhero story for his school project! Its hard to believe I just saw a movie as bad as Drona. Try figuring this out..
Drona and his bodyguard Sonia are in the middle of a vast desert and out of nowhere, Sonia is pulled into a huge sea! Sea in a desert? Update: Such a location where the Desert meets the sea does exist! Director Goldie Behl says “We got exactly that place it was “Desert meets the Ocean”. After seeing this Abhishek was stunned to see such a fantastic location.”
Which century or era does this movie belong to? We start off with a modern town with all the high funda cars, cut to the next scene we have a palace in a desert that looks dated, back to the early regime of kings!
Drona is warned, open the door, you’ll meet death. He opens and voila out comes a ferocious and filthy looking monster. One punch from our absolutely unfit-for-a-superhero-role Abhishek, down goes the monster!
Jaya Bachchan (Drona’s mother) is mummified, yet tears trickle from her eyes!
If Love Story 2050 had the butterfly which magically assisted Harman Baweja to find a way when in trouble. Drona has a blue flower petal!

Mind you these are just a few of the numerous senseless scenes that Goldie and his Drona team treat us with. Can be forgiven in the name of Fantasy, but then there is hardly a connection between any two scenes.

The characters are poorly written. Kay Kay’s character is more clownish than devilish. The extent of his evil powers and its repercussions if he succeeds is not clear. Same goes with the main character of Drona. His strengths and power are not dealt with in detail which is so very important for a superhero flick. 

For all Goldie Behl had to tell, he could have easily reduced the runtime to about 1 and a half hours instead of its actual 2 hours 15 mins runtime. Would have reduced the cost of making and the viewers pain. Though, thankfully it wasn’t longer.

Coming to the songs, which have no significance in the movie, are unbearable. The only thing that stands out in Drona is the brilliant special effects, which are way ahead of Bollywood standards.

Performances are poor. Abhishek Bachchan is no Hrithik Roshan or Akshay Kumar, although he tries hard in the action sequences, his body language or physique just doesn’t suit the role of a superhero with unprecedented physical power. His excess flab around the tummy area is quite clearly seen in the Drona costume. Priyanka Chopra is at her sexiest best! She oozes sensuality and performs the action scenes remarkably well.

Now the much hyped role of Kay Kay Menon, its such a dud. This has to be one of his worst roles ever. A great actor degraded by a stupid role. Jaya Bachchan has a very small role.

Overall, Drona could easily be placed a notch or two below some of the worst movies I have seen. Also, hardly have I witnessed an audience so restless during a movie. Goldie’s childhood promise to Abhishek could turn out to be his worst nightmare ever! At the box-office, Kidnap as a rival will severely make a dent in Drona’s collections. Weekend should be decent, but Monday onwards the fall could well be inevitable.