Khichdi Release Date : 01,Oct 2010

Producer Jamnadas Majethia
Director Aatish Kapadia
Music Raju Singh
Writer Aatish Kapadia
Lyrics Aatish Kapadia
Release Date 01-Oct-2010

If you grew up watching the popular Hindi TV serial Khichdi then you are bound to love the movie as well. The Parekh Family is filled with some of the most over-the-top characters that you will ever see and whenever they come together mayhem is not far behind. Most people would expect that a half hour long serial cannot be remade into a hit movie but the ‘Khichdi’ cast proves them wrong.

The story as narrated by the only two members of the Parekh family (Jacky and Chucky), who are well-versed with the ways of the world. Satish Shah plays God and explains how the Parekh family is completely different from the rest of his creations. The story is about Himanshu’s (JD Majethia) search for true love. After initial goof ups the Parekhs finally come across an equally out-of-the –whack family called the ‘parminders’. Peculiarly all the 50 members of the Parminder-family is named Parminder.

The romance between Himanshu and Parminder will leave you laughing hysterically. Now here is the twist, Himanshu always dreamt of having a ‘Legendary Love story’. Since no true love story is complete without a little hitch the parekh family members start disrupting the wedding plans in their own way.

The movie is filled with popular lines by some of the most endearing characters like ‘Babuji Main Hoon Na’. Anang Desai as Babuji is irritated as ever and the rest of the cast provides a superb performance. Our advice , if you are looking for an all-out entertainer then go watch the movie with your friends and you will surely come out of the hall with a grin on your face.

Anjaana Anjaani Release Date : 01,Oct 2010

Anjaana Anjaani (UA) is the story of two strangers in the USA, Akash (Ranbir Kapoor) and Kiara (Priyanka Chopra). Both meet on a bridge from where they are about to jump to end their lives. Their suicide attempts fail and they become friends. They then decide to live their lives to the fullest for some days before finally committing suicide on 31st December.



From here on begins the fun journey of Akash and Kiara who now have a few days to live. It turns out that Kiara had been cheated by Kunal (Zayed Khan) days before the two were to get married to each other. Unable to bear the humiliation, Kiara had wanted to end her life. Akash, of course, had lost millions of dollars in business and so, he had thought of killing himself.

The two set out on adventurous journeys together as they are counting their last few days. But before 31st December, they decide to part ways just the way they had met – as strangers. Kiara returns to Kunal, and Akash to his group of business partners. But they are in denial of their love for each other. Do they accept the reality?



Mamta Anand’s story is hugely inspired by the 2007 Hollywood film, The Bucket List in which two terminally ill men escape from a cancer ward and head off on a road trip with a wish list of to-dos before they die. Advaita Kala and Siddharth Anand’s screenplay is tedious and uninspiring. Firstly, the scenes are often so childish that it gives the impression that suicide or death is being trivialised. Secondly, the audience at no point feels for Akash and Kiara, maybe because nobody likes cowards – and suicide is the last resort of cowards.

It is for the reasons stated above that the audience doesn’t root for Akash and Kiara to remain together all their lives. Resultantly, therefore, there is no sorrow experienced when they separate after enjoying life together for a few days. And rarely, if ever, does a love story work when the audience is not pained at the separation of the lovers or is not praying for the two to meet. Also, there is so much of Akash and Kiara in the drama that the viewer gets bored of seeing so much of them and so little of anybody else of consequence. Emotions absolutely fail to touch the heart maybe because two losers are not the Indian audience’s idea of heroes.

Ranbir Kapoor does very well. He looks handsome, acts ably and dances gracefully. Priyanka Chopra looks sexy and performs well. In spite of both the lead actors coming out trumps, their chemistry doesn’t work for the audience if only because the script is weak and flawed. Zayed Khan is okay in a guest appearance. Joy Sengupta, Vishal Malhotra and the rest provide ordinary support.



Siddharth Anand’s direction is fair but more of the kind that would appeal to the audiences in the cities. Vishal-Shekhar’s music is very good with the title song standing out. ‘Aas paas hai khuda’ is soulful. ‘Hairat’ is another popular number. ‘I feel good’ and ‘Tujhe bhula diya’ are also entertaining songs. The picturisation of all the songs (Ahmed Khan) is quite alike and not very novel. The picturisation of the title song is the better one. Lyrics of most of the songs are meaningful. Ravi K. Chandran’s cinematography is first class. The foreign locales are a treat for the eyes. Other technical values are good. Production values are rich.

Overall, Anjaana Anjaani cannot be considered as the complete entertainment for viewers and looks like a forced drama. Response is likely to be low as another big movie 'Robot' has been released.

Robot Release Date : 01,Oct 2010

Producer Kalanithi Maran
Director Shankar
Music A. R. Rahman
Writer S Shankar
Lyrics Swanand Kirkire
Release Date 01-Oct-2010

Story: Dr Vasi (Rajnikanth) is a scientist with a mission. He wants to create the first robot which would not only serve tea and coffee to its masters but would have the power to serve humanity in more meaningful ways.

He creates Chitti, the humanoid who looks like him and is willing to do anything for him. Trouble begins when he goes a step further and teaches the machine to feel. Chitti falls in love with the professor's girl friend, Sana (Aishwarya Rai) and ends up becoming an almost undefeatable rival in love, courtesy the red chip that a rival scientist (Danny Denzongpa) infuses in him. Can the creator tame the rogue robot or will machine rule over man?

Movie Review: Want to see what mainstream Indian cinema actually means? Go, watch Robot. The last 30 minutes of the film are literally the baap (grandmaster) of all make-believe and end up creating a whole new genre of cinema: the `curry eastern' which stands up as a wholesome alternative to the curry western. For Rajnikanth fans, the climax is definitely a sure-fire way to lose your sanity.

For non-Rajnikanth fans, it's a sure-fire way to understand the mystique and magical allure of Rajni saar, a hero who enjoys a demi-god status in several parts of India. Why? Because there are almost a hundred Rajnikanths eating up helicopters, smashing cars, battering planet earth and creating havoc, like never before. If you thought Terminator, Matrix, Godzilla was fun, then we guarantee you'll fall off your chair with glee as our desi T2-meets-Blade Runner-meets Neo-meets-Godzilla sets the screen on fire in a crazy, vengeance bid. Spoofy, yes. But super fun too.

Robot is primarily designed as an unadulterated tribute to the charisma of Indian cinema's ageless superstar, Rajnikanth. And it's completely, wholeheartedly, joyously desi. Where else would you find a hero who literally shoots with his fingers! What's more important is the fact that you actually don't mind when the bullet whizzes out of his forefinger and hits the man in front in the head. Instant death! Ha Ha!

The high point of Robot are the super quality special effects. All the Spiderman, Batman and Superhero antics of Rajnikanth have been done with exquisite elan by the Stan Winston Studio which reportedly provided the animatrics for films like Jurassic Park and Avatar. And all the stunts have been choreographed by Yuen Woo Ping, the Hong Kong based action director who created the high-adrenalin stunts of classics like Kill Bill and Matrix. Almost 40 per cent of the film's colossal budget (Rs 160 crores) has been spent on special effects, which, at the end of the day, seems all worthwhile. For watching Rajnikanth running horizontal on a speeding train, clambering across burning buildings like Spiderman or mutating into gargantuan monsters does manage to shock and awe the viewer who's out there to have big time fun.

But Robot isn't effect alone. It has a plot too which, if you really pay attention, has a meaning and a message. The film carries forward the man-machine war through interesting twists and turns and creates a lively love triangle between scientist Rajnikanth, medico student, Aishwarya Rai and robot Rajnikanth. Interestingly, the duo make an interesting pair, what with Rajni saar's sundry wigs and sideburns and Aishwarya's tribal `Kilimanjaro-Mohenjodaro' attire. Peppered with colourful songs (AR Rahman) and dances (Prabhu Deva, Raju Sundaram) and high-octane drama, Robot is the perfect getaway film, guaranteed to give you a high with its heady over-the-top Indian flavour. You might just OD (overdose) on the pungent masala fare.
Have a blast.

Benny and Babloo Release Date : 01,Oct 2010

Producer Umesh Chouhan
Director Yunus Sajawal
Music Amjad Nadeem
Lyrics Shabbir Ahmed
Release Date 01-Oct-2010

When a five-star hotel bellboy (Menon) and a 'ladies bar' waiter (Yadav) start their respective jobs, they begin to discover a new world of drugs and flesh trade.

The film draws parallels between the discreet escort services for the so-called elite and the in-your-face industry of the not-so-sophisticated dance bars.

Mostly satirical, it gives you a glimpse at the aam aadmi’s life story, with the clear message that every individual, irrespective of her class, struggles with dilemmas of her own.

Like the Chandni Bars and Page 3s, this film seeks to offer you an insight into the ‘real’ world and mocks the superficiality of the upper class and their pecuniary attitude towards life while drawing a pitiful picture of the lower classes and their mountain of troubles.

While the rich get away owing to their bulging pockets and far-reaching influence, it is the poor who bear the brunt despite their integrity.

Though the film centres on a crucial subject, it does not really touch you because neither is the theme uncommon nor is the screenplay so dynamic that it appeals to you. It comes across as a familiar story told through a renewed approach and redesigned apparatus.

Kay Kay Menon is unquestionably the vim and vigour of the film with his fabulous South Indian Hindi and, of course, his superb acting skills. Rajpal Yadav is in his elements, but does not offer anything new.

Shweta Tiwari and Riya Sen have minuscule roles, yet perform moderately well. Anita Hassanandani, for a woman working in a dance bar, really looks out of place in spite of her loud make-up and even louder Bhojpuri accent.

Basically, the film aims at extracting sympathy for the out-of-work dance-bar women, all of whom work there out of ‘majboori’, yet are modest enough to not market their bodies.

At the same time, the film exposes the two-faced elite-class (hi-fi) women who actually prostitute themselves in the dark discos of affluent hotels.

All in all, the film is an average attempt at highlighting a well-known social issue. It is not good enough to charm you.