Tanu Weds Manu Release Date : 25,Feb 2011

Producer    Shailesh Singh, Vinod Bachchan, Surya Singh
 Director    Anand Rai
 Music    Krashana
 Writer    Himanshu Sharma
 Lyrics    Rajshekhar
 Release Date    25-Feb-2011

Tanu and Manu are chalk and cheese, literally. He’s almost a chalky deadweight with no discernable personality and she is cheesiest heroine one could ever concoct! The NRI Manu must approve of the rishta with Tanu even while she’s asleep. ‘She has a fever and is on sleeping tablets’ her mother informs Manu, while extended families wait outside to hear the verdict. Nobody tells Manu that the girl is drunk, stoned and on sleeping tablets. And how should he know, he’s only a doctor!
So Manu says ‘yes’(!!!), and the families rejoice by making a trip to thank ‘mataji’ in Vaishnodevi. In the sleeper class of a train, packed with extras from Jab We Met & Band Baja Baraat, Tanu (who is finally awake) tells Manu that she is in love with someone else, and cant stand the boring NRI!! As if that revelation weren’t enough, the girl even puffs at a cigarette while blowing expletives at the bespectacled boy.
Manu is dejected, not because he is ashamed of having wanted to marry a girl who talks like a foul mouthed fisherwoman on a bad fishing day, but because he has fallen in love with the sleeping beauty. Sadly, his kiss never wakes her up from a ghastly acting attack!
How Tanu rejects Manu, then meets him again to almost fall in love with him, then rejects him again because she must marry someone else, but cant stand the new groom--because she actually loves Manu, forms the crux of this excruciating ‘weird–ass’ wedding video. The characters are a mess, and they all seem terribly confused.
Dear Kangana, smoking several spliffs, getting drunk at the drop of a groom and speaking in strange garbled speech (that we will now classify as Martian or Ranautian) does not a character make. Tanu is a brat that one cannot feel any affection for, and she never redeems herself.
Madhavan, what were you thinking? Your character doesn’t have a spine.
Like a door mat, Manu takes the shit meted out to him in the name of love? Not once does Manu take matters into his own hands. Why would a girl want to marry a loser who one minute ago was professing his love for her, and the next minute was taking her shopping for her wedding with some other guy ??!!? The fact that she looks like a cross between an extra terrestrial and Pamela Anderson only makes things worse.
The only redeeming factor in this psycho baraat is actor Deepak Dobriyal, who plays Manu’s best friend Pappi. Dobriyal, who was launched in Vishal Bharadwaj’s Omkara, playes small town guy ‘Pappi’ with superb comic timing and a refreshing twinkle in his eye. If you do watch the film, watch out for the jai mata di scene where the boys must chant the goddesses name while Manu tells Pappi about the ‘shocking’ true nature of Tanu. Dobriyal does his best to hold up this wedding blunder, but in vain.
The icing on this wobbly wedding cake is its climax scene, where two grooms land up with two sets of baraati’s. The scene prepares you for a showdown, but leaves you with a headache.
Watch the 14 songs of Hum Aapke Hain Kaun instead of this deranged marriage!

Satrangee Parachute Release Date : 25,Feb 2011

Producer    Vineet Khetrapal
 Director    Vineet Khetrapal
 Music    Shamir Tandon, Kaushik Dutta
 Writer    Pulakesh Bhowmik
 Lyrics    Rajeev Barnwal
 Release Date    25-Feb-2011

If Iran can have it, why can't India have it too: a viable children's film movement. Why does the world's biggest film industry dish out the saddest kiddie films, week after week? Why can't Bollywood go the Hollywood way and treat children's film as hardcore, high market entertainment? Why must our film makers give the tween and teen film market a step motherly treatment.... Questions that need to be addressed urgently as the young viewers become more and more vociferous.

Sadly Satrangee Parachute fails to address any of these questions with its narrative that appeals neither to kids nor to adults. The storyline may be interesting and hold potential as a drama about a bunch of kids trying to blow up a terrorist plot. But its delineation is so serious, so tedious and so unfunny, it makes us adults fidgety. Can't imagine what it would do to an audi full of restless kids!

If the bachcha party lacks characteristic badmashi, then the adult cast looks totally confused. Both Jackie Shroff and Kay Kay Menon are clueless cops, while fine actors like Sanjay Mishra and Zakir Hussain haven't much to do. Please let's get less uptight about kids and start treating them as an intelligent and naturally bratty audience.

7 Khoon Maaf Release Date : 18,Feb 2011

Producer Vishal Bhardwaj, Ronnie Screwvala
Director Vishal Bhardwaj
Music Vishal Bhardwaj
Writer Vishal Bhardwaj, Matthew Robbins
Lyrics Gulzar, Ajinkya Iyer
Release Date 18-Feb-2011

Expectations
There are very good expectations from the music of 7 Khoon Maaf and there are two major factors behind that - Vishal Bhardwaj and Gulzar. Together they are a lethal force, something they have proven time and again in big (Kaminey) as well as small (Ishqiya) films. While Kaminey was an instant winner from the word 'go', Ishqiya grew with word of mouth and continued appreciation, especially once the film turned into a success. With Priyanka Chopra heading the star cast, one expects a commercially viable soundtrack along with something unusual from the team of 7 Khoon Maaf as well.

Buzz up!

Music
The moment Usha Uthup goes 'Darling' in this namesake opening number, you know that this would be one popular number in the offing here. A fun celebration track with a naughty appeal to it, this track based on Russian folk song 'Kalinka' is instantly catchy and makes one tap feet along with it. The song also reminds one of lesser heard song 'Pyaar Mein Sau Uljhane Hai' (from Kyun Ho Gaya Na) which had released seven years ago. No, 'Darling' is not the kind of song that makes one head for that dance floor in the discotheque. However, when seen on screen it can well be expected to be a live wire.

The song arrives again as 'Doosri Darling' and this time around Clinton Cerejo and Francois Castellino join Usha Uthup and Rekha Bhardwaj. The Russian folk flavour is kept intact this time around as well but the song's repetition ensures that one can't get it off once the album is through and finds a repeat hearing all over again.

There is a sound of light rain in the background and a subtle build up is maintained for more than half a minute before Vishal Bhardwaj himself comes behind the mike for 'Bekaraan'. Just like the title song of Kaminey and U Me Aur Hum, Vishal reserves the best for himself when it comes to rendering a track and he does that amazingly well again in 'Bekaraan'. A heartfelt love song with a strong poetic appeal, it has the kind of lyrics that one can expect only from the likes of Gulzar and Javed Sheikh. A smooth number that requires just one listening to be caught hold of, it gets etched in one's memory for long.

There is a complete twist in the tale with a rock number following soon after 'Bekaraan'. KK sings 'O' Mama' which starts off slowly only to pick pace as it proceeds further. The start is haunting though one wonders how the song will shape up eventually. In the meanwhile as one listens to the lyrics carefully, one realises that there is a dark undertone of love here which only hints of turning dangerous nonce the momentum picks up in 'O' Mama'.

Along with Clinton Cerejo's rap (written by Ajinkya Iyer), KK gets into a different zone from his romantic ballads and is totally convincing with a ferocious 'O' Mama'. Later he gets soft for the acoustic version of 'O' Mama' where he goes solo and is aided by just a guitar in the background.

Surprisingly, immediately after 'O' Mama' comes 'Awaara' which is the kind of track that one has heard for years now and doesn't offer anything novel at all. In fact the tune and pace of this sad track is such that it is hard to believe the man behind the helm of affairs as Vishal Bhardwaj who is known for his originality. Sung by Master Saleem, 'Awaara' has a philosophical undertone to it and one wonders if presence of this song will only slow down the pace of the film.

Thankfully, Vishal Bhardwaj is back in his elements all over again with 'Tere Liye' with a slow and soft beginning that gets listener in the kind of zone that they wanted to be in the first place while picking up the soundtrack of 7 Khoon Maaf. This is yet another track which has a definite lyrics quality to it and the man entrusted for the job, Suresh Wadkar, as always turns out to be reliable. A song that lasts almost six minutes, 'Tere Liye' maintains a constant pace right through it's duration and requires a continuous listening in the dead of the night with just a candle light around. A good romantic number.

Well, to wake up from the dead of the night there is 'Dil Dil Hai' which has the man for the job, rock-star Suraj Jagan, summoned behind the mike. This is the kind of track that would have been readily picked up by the young brigade comprising of Shahid Kapoor, Ranbir Kapoor, Imran Khan or Neil Nitin Mukesh. Now with Neil in 7 Khoon Maaf, one wonders if he is one of the '7 lucky husbands' to have actually bagged this one up. A hardcore rock track which reminds of 'Zahreeley' from Rock On, 'Dil Dil Hai' literally attacks out of the soundtrack and turns out to be entertaining nevertheless.

The album ends on a surprising note though with a devotional track 'Yesu' which has a minute long build up to it before Rekha Bhardwaj comes behind the mike. A number where the protagonist is complaining to God about her voice not being heard, 'Yesu' is strictly situational and even musically it is just about average.

Overall
7 Khoon Maaf is a good album with a couple of definite hits ('Darling', 'Bekaraan'), couple of skip worthy ones ('Awaara', 'Yesu') and the remaining ('Dil Dil Hai', 'Tere Liye', 'O Mama') turning out to be the kind that have the potential to grow if the film succeeds at the box office. Since 7 Khoon Maaf is not a routine Bollywood affair, it can't be expecting a quick pick at the stands from Day One. However, on the positive side the reputation which precedes Vishal Bhardwaj and Gulzar will ensure that there is good visibility at the least for the album. This would ensure that the soundtrack too finds decent success coming it's way.

Kaccha Limboo Release Date : 18,Feb 2011

Producer Sahara Motion Pictures, A Park Bench Motion Pictures Production
Director Sagar Ballary
Music Amardeep Nijjer
Release Date 18-Feb-2011

Hindi cinema is going through a major metamorphosis. Innovative ideas and fresh stories are being developed and executed by Gen X storytellers.

Bheja Fry director Sagar Ballary tries to attempt something different from his maiden attempt. But before I begin to analyse Kaccha Limboo, let me clear a misconception. This one is not a comedy, and not remotely similar to Bheja Fry.

I couldn't help but recall three films while watching Kaccha Limboo - Gulzar's Kitaab [1977], Ritwik Ghatak's Bari Theke Paliye [Bengali, 1959] and celebrated French director Francois Truffaut's The 400 Blows a.k.a Les Quatre Cents Coups [French, 1959].

These three films had great stories to tell [of a misunderstood adolescent], but among the three, Kaccha Limboo bears a striking resemblance to Kitaab, which, in my opinion, ranks amongst Gulzar's best works.

However, unlike Kitaab, which remains well etched in our memory even after three decades, Kaccha Limboo runs out of gas after an interesting first hour.

Kaccha Limboo suffers due to a sketchy screenplay, also penned by Ballary. In fact, the post-interval portions ruin the impact that was beautifully created after a fairly engrossing first hour.

Shambhu [Taher Sutterwala] is a 13-year-old teenager who falters consistently. Trouble at school, peer pressure and a half-baked romance, all contribute to his woes. A huge fight with some local boys and a stern warning from the school principal deepens his crisis, and running away from home seems like a solution.

On his journey of self-realisation and discovery, Shambhu bumps into Vitthal [Chinmay Kambli], an extremely smart kid who belongs to a nearby fisherman colony. Shambhu is mesmerised by this new world he encounters with Vitthal. Everything is in such stark contrast to the world he had just left behind.

And everything works just fine until a sudden turn of events force Vitthal and Shambhu to set out on a train journey in search of a place where they can find the freedom they desire. Kaccha Limboo starts off really well, with Ballary handling the material with great care. Childhood can be a delight, but in today's chaotic world, the kids are often exposed to the realities of adulthood very early in their life.

The incidents depicted in the film's first hour [peer pressure, puppy love, familial frustrations and high-school dilemmas] seem so real, as if they were borrowed from your, mine, our lives. The incidents, anecdotes, occurrences and episodes are worth noting, especially Shambhu's interaction with his classmates and also with his parents [with his father in particular].

In fact, the viewer is introduced to Shambhu's grumpy and irritable nature at the very outset, when Vinay Pathak and Rukhsaar, family friends, are invited home for dinner. The kid experiences the lonely stages at home and also at school and the film offers an insight into the emotional confusion that he experiences, besides creating a touching awareness of his unspoken agonies.

But, like I pointed out earlier, Kaccha Limboo goes haywire in the post-intermission portions. One expects Ballary to come up with a much better second hour, but you feel exasperated after a point. And the film ends abruptly.

Ballary has injected a couple of songs in the narrative and though at least two numbers are decent, the song in the fishermen colony was just not required. I would like to make a special mention of the dialogue, which are wonderful at places.

Talking of performances, Sarika is natural, while Atul Kulkarni handles his part with ease. The show actually belongs to the kids - Taher and Chinmay - who are the real stars of the enterprise.

Taher delivers a spontaneous, deep and convincing performance, while Chinmay catches your attention with a splendid performance. In fact, it is Chinmay who makes vital portions of the second hour come alive with his bindaas portrayal.

The remaining kids, each of them, are complete natural. Rajesh Khattar is effective. Iravati Harshe does well, but where does she disappear suddenly? Bhairavi Goswami gets no scope. Vinay Pathak, in a cameo, is passable. Ditto for Rukhsaar.

On the whole, Kaccha Limboo comes across as an unripe and undeveloped effort. Disappointing!

Masti Express Release Date : 18,Feb 2011

Producer Vikram Pradhan, Siddhanta Ashdhir
Director Vikram Pradhan
Music Gulraj Singh
Writer Bunty Rathore
Release Date 18-Feb-2011


Now here's yet another film that places its story on Rajpal Yadav's shoulders. This time, Rajpal has Johny Lever for company. Masti Express, helmed by first-time director Vikram Pradhan, has two stories running concurrently: Rajpal and his wife Divya Dutta's fervent desire to have their kid educated at a respectable institution and the auto rickshaw race that forms the crux of the story.

Buzz up!

Quite an interesting idea, I must add, but interesting ideas don't necessarily translate into fascinating cinematic experiences. The problem is, Masti Express appeals in parts, not in its entirety. At places, the film is engaging, but there are times when it comes across as a yawn-inducing attempt. The screenplay writing is clearly the culprit here!

Masti Express tells the story of a father [Rajpal Yadav], who desperately tries to get his only child admitted to a renowned school and provide him education. His son is just another brat in a slum with an uninspiring future. The son is refused admission initially, but later, when the father faces a lot of obstacles and wins an auto rickshaw race with the help of the school kids, the Principal [Manoj Joshi] opens the doors of his school to the kid.

The director tries to pack just about everything to make the film palatable to the junta janardhan. He decides to pander to the commercial diktats by injecting songs on guest stars [filmed on Shankar Mahadevan and Kashmira Shah, respectively] and also instill comedy in the narrative. Sadly, one doesn't laugh at the jokes [which are crass anyways], the songs too act as speed breakers, while the kiddie portions are half-baked. Ideally, the director could've avoided the unwanted add-ons [including the characters that suddenly arrive from other states to participate in the race] and the editor should've trimmed the film judiciously for a better impact.

On the brighter side, Pradhan has handled a few sequences expertly. Note the sequence when Rajpal cooks an alibi as soon as Divya Dutta enquires whether their kid has been granted admission in the school or not. Prior to that Rajpal's sequence with the School Principal [Manoj Joshi] also stands out. Also, note the sequence when Divya tries to pacify a heart-broken Rajpal after the auto rickshaw accident. Besides, the finale, when Rajpal actually pulls the auto rickshaw to the winning post, moves you. The auto rickshaw race is interesting in parts, while the attempt to inject humor during the race falls flat.

Like I pointed out earlier, the songs don't help in carrying the film forward, except for one song when the auto rickshaw is being repaired. However, the background score is effective, especially towards the finale. The cinematography is inconsistent.

Given the fact that the story of Masti Express rests on his shoulders, one expects Rajpal to deliver a stunning performance, but he doesn't. He is decent at best and there are times when one feels that he's hamming big time. Johny Lever is loud, but that's how his character is perceived. Divya Dutta stands out with a striking performance. Vijay Patkar is just right, Razzaq Khan gets to deliver some funny lines, while Rajkumar Kanojia is passable. Manoj Joshi is strictly okay. Ryan Pinto has screen presence and also has the trappings of a fine actor, provided he gets the right parts to portray.

On the whole, Masti Express falls short of expectations. Besides, the film has arrived with zilch hype and that will make the effort go disregarded.

!! Computers and Software Shopping !!

Why Most of the People Prefer Buying Laptops over Desktops?

Gone are those conventional days where people opted for desktops to do their jobs. Today everyone wants to own a laptop which is portable, simple to use and occupies less space as well. Laptops are available in huge varieties and in various brands as well.

These days all laptops come with an inbuilt wireless network that allows the user to connect to any wireless network available in public places like airports or coffee shops.

Read More

Read More Related Articles:

Car Electronics- That enhance your driving experience Cars, the new life style in modern era have made the world’s and the nation’s economy to reach greater heights. As the competition is day by day increasing, there are many car manufacturers in the market and are manufacturing and selling the cars in a much more effective way.

Cars are now-a-days considered to be the most convenient vehicles and are owned by many people.

Read More

Jewelry - All time women’s favourite: Jewelry is one thing that has always been women’s all time favourites and it will continue to be in the future as well. Women are usually crazy behind jewellery and have a wide collection based on their interests.

Trends have changed these days though. Today even men prefer to wear gold or platinum jewellery in the form of a chain, ring or a bracelet.

Read More

Related Prodcuts:

The Online Shopping Guide: How To Save Money & Avoid Being Scammed (Kindle Edition)

Kindle Books

* Kindle Books include wireless delivery - read your book on your Kindle within a minute of placing your order.
* Don't have a Kindle?

More Products

!! Fashion Tips and Guide !!

Start your Fashion Right Now from Here

When it comes to fashion trends many individuals think of their clothes. However, fashion accessories can also change with the season. Fashion jewelry will change according to fall and winter trends. While a lot of trendy fashion jewelry can be worn year round, there are certain pieces of trendy fashion jewelry that are only meant to be worn as seasonal pieces. For example, short-sleeved tops look excellent with delicate bracelets or bangles. A heavyweight brooch can only be worn with a woolen jacket since a light silk jacket would make these fashion necklaces look out of place. Many individuals tend to move towards seasonal fashion accessories without even knowing it.

Read More

Read More Related Articles :

Become One of the Top Models

There are some types of promotion and endorsements, which require the services of young models. Modern teenage publications require young beauty models and are often looking for junior models between the ages of 13 and 24. All you need to become successful kid models is the right look that clients and advertisers want. There are many modeling agencies that offer a variety of jobs for preteen models. As long as you have a strong portfolio then you can be accepted as a model.

Read More

Fashion Contest Tips

Are you thinking of entering a fashion contest? If you are, the following tips can help you win a fashion contest whether it is a fashion design contest or a fashion writing contest. The key to any fashion contest is to have fun; the audience should see who you are as a person.

Read More

Related Products:

A larger more travel appropriate version of our Nylon Pack Cloth Gym Bag.

Nylon Pack Cloth (100% Nylon) construction
Dimensions: 25 1/2" 12 3/8 (64.8cm x 31.4cm) More Products

Patiala House Release Date : 11,Feb 2011

Producer Bhushan Kumar, Mukesh Talreja, Kishan Kumar, Twinkle Khanna, Zoeb Springwala
Director Nikhil Advani
Music Shankar Mahadevan, Ehsaan Noorani, Loy Mendonca
Lyrics Anvita Dutt Guptan
Release Date 11-Feb-2011

Patiala House is a film about the Kahlon household of Southall. The family is headed by orthodox Sikh Gurtej Kahlon (Rishi Kapoor) who expresses every emotion with a little moustache dance. His bitter past of witnessing certain racist exploits has him utterly disregard everything British. Consequently, his giant family of 12-14 people are refused to pursue their dreams (since that is very British?). So most of them resign to Indian versions of their dreams. The Kahlon who wants to be a chef starts frying 'jalebis', the one who wants to be a filmmaker finds himself behind the wheel of a taxi and one of the sisters (Hard Kaur) who wants to be rapper is forced to croon bhajans (the only thing worse than her rap).

While most Kahlons are caustic about their miserable lives, Gurtej's own son, Parghat Singh aka Gattu (Akshay Kumar) is completely indifferent. The 43-year-old actor plays a 34-year-old (passable for a 50-year-old) who could've been in the England team 17 years back if it wasn't for his father yelling at him and to a crowd of 100 people (?), "Tu England ke liye cricket nahin khelega!"

While Gattu plays an obedient son who has forsaken his dreams to moo the way his father instructs him to, Akshay Kumar decides to play it up a notch (to prove he can do such roles and for delirious fun). So obedient becomes borderline spastic, emotionally bankrupt and at times just down-right demented. The way he interacts with his childhood friend, neighbour and love-interest Simran (Anushka Sharma) is nothing short of challenged. The result, Gattu has glimpses of Taare Zameen Par, My Name is Khan and even Paa.

Anyway, this dreary story takes another ludicrous turn when Mr Bedi (Tinu Anand), the (minority) cricket selector who gets Southhall Sikhs represented in the England team, decides to give Gattu another chance. Why? Because he's seen him bowling at the empty field opposite his house for 17 years. Really? That is it? How about starting with County or a club even? Where the film goes from here would hardly make a contest question.

With cricketers like Symonds, McCullum, Gibbs, Pollard etc making an appearance, the most dramatic one is by ex-England captain Nassir Hussain who tries his mouth at Hindi and manages to sound like a robot speaking in Japanese. Another unintentional comic element in the movie is Hard Kaur fashioned as a Punjabi aunty which can be equated to Ozzy Osbourne dressed as a Sikh.

The film's music is predictably bhangra with no surprises. The dialogues seem to be written on the spot, so obvious lines are being chanted in a grave style, hoping to sound philosophical? While logic and Bollywood formula films have been eternally divorced, this script could've been far more sensible if not believable if re-visited in time. None of the cast members deserve a mention, as they're hardly any better or worse than each other. Akshay Kumar proves that he's best suited to his regular genre of screaming-punching-running-laughing films.

When you exit after watching Patiala House, your only parting visual is of Akshay Kumar's slow-mo run-up towards the wicket, with not-so-subliminal endorsement shots of Brand Reebok (jersey, bat, helmet, trouser, field and every surface possible). Actual ads rarely present as many logo close-ups! But what's terribly disappointing for anyone who understands the game even a bit, is that our Punjab express chucks every single time (check bowling action!).

Wonder what this film would be called if it were based in the US? Patel House?

Angel Release Date : 11,Feb 2011

Producer Ganesh Acharya
Director Ganesh Acharya
Music Amjad Nadeem
Writer Mauzzam Beg
Lyrics Shabbir Ahmed
Release Date 11-Feb-2011

The poster of ANGEL says, 'This is not a love story. This is a story about love'. Now, we wonder how the two sentences mean differently. Anyway, ANGEL is Choreographer-turned-director Ganesh Acharya's third directorial venture after SWAMI and MONEY HAI TO HONEY HAI. The 'story about love' marks the debut of Sanjay Dutt's nephew Nilesh Sahay along with Maddalsa Sharma.

The film begins with a guy being beaten by the police. We come to know that he's Abhay (Nilesh Sahay), who has just served a two year jail sentence. Through the flashback mode, we're shown the nasty bike accident in which Abhay inadvertently caused the death of a man. After serving the jail sentence, he meets Sonal (Maddalsa Sharma), who's the deceased man's physically challenged daughter and asks for forgiveness. Although Sonal is outraged initially, she mellows down and starts liking Abhay over a period of time. He too reciprocates her feelings and is on a mission to make her perfectly all right. So love brews between the couple amidst the physiotherapy sessions. Everything's just perfect until an incident throws their life in complete disarray.

The main flaw of the love story is that you simply don't connect with the characters individually, or even when they are together. The graph of the narrative is low as the film begins and is the same till the intermission point. Just like Sonal's condition, you desperately want the film to get better. And it does! After the interval, the twist shown elevates the narrative to a great extent. Just as you feel Ganesh has finally steadied the sinking ship, it plummets and again goes haywire. The hurried climax doesn't help.

There are flimsy scenes like Abhay taking on several policemen single handedly. Don't the police officers have guns? Then there's Sonal doing a Mere Khwabon mein jo aaye tackily. The numerous songs, most of them shot in foreign locations don't add any value. Amjad Nadeem's music is passable. Aseem Bajaj's cinematography is decent. Nilesh Naik's editing is good.

Aashiqui.in Release Date : 11,Feb 2011

Producer Shashikant Chheda, Amit Chheda
Director Shankhadeep
Music Nitin Kumar Gupta, Prem Hariya
Writer Shankhadeep
Lyrics Taufeeq Paalvi
Release Date 11-Feb-2011

It is unbelievable how at a time when audiences are discovering joyrides like Yeh Saali Zindagi and Dhobi Ghat, filmmaking debacles such as Aashiqui.in dare to even present themselves to viewers.

Inspired by the fairy tale of Cinderella, Aashiqui.in has nothing to offer — not even a novel plot! Poor orphan girl at the mercy of wicked stepmother and evil stepsisters, rich Prince Charming, costume dance, budding love, clock strikes midnight, glass shoe left behind, search for Cinderella, hideous obstacles during climax, boy gets girl and they live happily ever after! Sounds like a plot taken right out of a school skit, doesn’t it?

While the actors compete with one another for the tag of worst performance on the big screen, the miserable screenplay rips the film apart bit by bit. With dialogues bordering on naive or obnoxious, a background score that comes across as a misfit to the storyline, over-the-top performances, and unsophisticated, rough editing, Aashiqui.in makes a mockery of the Cinderella legend. At times, scenes seem so unconnected that they leave you at a loss for comprehension.

The only part that jolts you awake and makes you look up at the screen is the sidekick’s hilarious mimicry of certain film stars. Apart from that, the entire film looks like a joke.

Don’t watch Aashiqui.in if you are in the mood for love stories and teen romance, or if you want to reminisce about your Cinderella story-filled childhood days... it might madden you out of your wits.

Utt Pataang Release Date : 04,Feb 2011

Producer Aparna Joshi
Director Srikanth Velagaleti
Music Shamir Tandon
Writer Srikanth Velagaleti
Release Date 04-Feb-2011

Five years ago with Bheja Fry, Vinay Pathak [ Images ] as the common man had the audience in splits. It's an avatar Vinay revisited in Dasvidaniya [ Images ] where he succeeded in evoking a few chuckles.

This time with Utt Pataang the actor, who has a double role in the film, fails to tickle the funny bone.

Playing the normal Mumbai [ Images ] white-collared office-goer Ram, Pathak is hoping his ex-girlfriend Mahie Gill [ Images ] might just see the error of her ways and return to him. His buddy Saurabh Shukla [ Images ] plays a private detective who keeps tabs on all those around him.

One day Mahie calls up Pathak wanting to collect her belongings from his flat at the earliest. This innocuous request leads to a series of bizarre events where crores are found and lost, guns are brandished but never fired and bags are either packed with money or lacy lingerie.

The large ensemble cast also features Mona Singh as the dazed small-town girl who breaks off her engagement and then roams the streets of the city with reckless abandon. Pathak re-appears in the film as the gangster Saldanha. But his character is modeled more along the lines of Mr Clouseau, the bumbling detective of the Pink Panther series rather than a petty gangster in the larger framework of Mumbai's underworld.

When large sums of money are involved behaviour tends to border on the bizarre. And most people would willingly entertain thoughts about decamping with the money. The characters in Utt Pataang are no different. The deterrent in most cases would be the fear of brutal punishment. But the bad guys Sanjay Mishra and Gautam Namdeo have been made out to be buffoons. As a result in many places the film appears to be more of a spoof rather than a comic thriller which it purports itself to be.

Utt Pataang has been scripted along the noir tradition and is restricted to little over one night which turns into a nightmare for all those involved. The narrative moves in a non-linear fashion and especially during the first half of the film manages to keep you involved. The second half of the film especially once Saldanha makes his appearance runs out of steam. But it picks up pace again and ends with an ingenuous climax...

Mahie Gill, the gangster's moll and also the sole glamour quotient in the film lacks verve, a pity because with Dev D [ Images ] she proved the spontaneity she can bring to any role. And in her interactions with Saurabh Shukla, he had all the punch lines. Shukla has a large role but he's also the screenplay writer of the film, which explains it all!

Mona Singh shows no skin and has very little to do in the film. Yet the sequences between her and Vinay Pathak, two fellow sufferers who have been recently wounded but hope to recover are endearing. It is Pathak's other avatar which doesn't amuse or entertain, and only manages to irritate.

But debut director Srikanth Velagaleti does get one thing right. The script is tight and remains focused. No extraneous characters, no unnecessary incidents and no moral judgments, either.

The background score by Sanjoy Chowdhury is well done but could have been used in a more subtle manner. Drama cannot be created with background music alone. The editing is flawless and helps keep the film short.

Utt Pataang is interesting provided you enjoy comic capers with a hint of romance.

Yeh Saali Zindagi Release Date : 04,Feb 2011

Producer Sudhir Mishra, Cine Raas
Director Sudhir Mishra
Music Nishat Khan
Writer Sudhir Mishra
Lyrics Swanand Kirkire
Release Date 04-Feb-2011

Yeh Saali Zindagi is a film directed by Sudhir Mishra. In this film Director Sudhir Mishra comes back with his Hazaaron Khwaishein Aisi actress, Chitrangada Singh. Yeh Saali Zindagi is the kind of outing that makes you believe that Bollywood indeed has some folks out there who are trying to do things differently when it comes to making films.

The film basically unfolds the story of Arun (Irrfan Khan) who meets singer Priti (Chitrangada Singh) and is instantly enamoured by her beauty. Priti gets attracted to Shyam (Vipul Gupta) who's introduced to her by Arun himself.

Shyam is engaged to a high-profile minister's daughter. Petite goon Kuldeep (Arunoday Singh) kidnaps Shyam so that he can exchange him with his jailed boss Bade (Yashpal Sharma) from the minister. Priti finds herself intertwined in this messy situation and Arun wants to help her unconditionally.

There are hardly any reposeful moments in the narration. The breakneck storytelling replicates the restlessness of the characters. With a maestro's adeptness, Mishra weaves two love stories into the panoramic view of crime and corruption.

Performance wise, Irfaan Khan is excellent. Chitrangda Singh is supportive. Vipul Gupta is fine in his role. Aditi Rao Hydari is very good. Sushant Singh is top notch. Yashpal Sharma and Prashant Narayanan are fabulous. Saurabh Shukla is wonderful.

On the whole, Yeh Saali Zindagi is a complete entertaining film with romance, thrill and comedy. Don't miss it.

United Six Release Date : 04,Feb 2011

Producer C. G. Patel
Director Vishal Aryan Singh
Music Pritam Chakraborty
Writer Kapil Mishra, Vishal Aryan Singh
Lyrics Ashish Pandit
Release Date 04-Feb-2011

I often wonder why don't [Hindi] film-makers attempt chick-flicks with loads of dazzling action/stunts? Say, on the lines of CHARLIE'S ANGELS? In fact, way back in the 1990s, I vividly recall, there was an attempt by several film-makers to make action films with all-women star cast. But the projects fizzled out for reasons best known to those film-makers.

The first impression that UNITED SIX evokes is that it's a mishmash of several Hollywood action fares that show the fists and curves of the fairer sex. But you are proven wrong as the story begins. Sure, UNITED SIX has six women essaying pivotal roles, but this is about the heist they carry out successfully. The concept is attention grabbing, but it's the screenplay writing that makes the effort partly engaging, partly so-so, partly amateurish, partly self indulgent.

UNITED SIX is the story of six girls living in Bangkok. They are going through a tough phase in their lives. Their dreams are shattered, their aspirations crushed. Out of frustration and anger, they decide to rob a bank. One of the girls, Jia, who was fired from the bank for refusing to sleep with her boss, convinces the others and leads them.

They rent a bakery adjacent to the bank and start digging a tunnel which would lead them to the bank. They soon realize that it's not as easy as it seems like. However, they continue with their mission, but one by one, on one pretext or the other, the girls start getting jittery. Jia continues to motivate them, but finds it getting more and more difficult with every passing hour. Eventually, they decide to call it quits. Next morning, they get the shock of their life when they learn that the bank has been robbed and the cops are hunting for them. The girls are caught in a perilous situation...

There are two things that grab your attention while watching this flick. One, the film is well shot. Two, the interval point and also the culmination [the suspense aspect] catch you by complete surprise. First-time director Vishal Aryan Singh steps into the Abbas-Mustan territory, but being the captain of the ship, he should've ensured that the sequence of events leading to the finale is equally interesting. Like I pointed out earlier, the goings-on vacillate between engaging and non-engaging moments quite rapidly.

Pritam's music is alright, although the placement of songs in the initial reels could've been better. Cinematography [Sugin Mamai] is striking. In fact, the film wears a slick look all through. The six actresses [Parvathy Omanakuttan, Daisy Bopanna, Mahi, Isha Batwe, Luna Lakhar and Pooja Sharma] are passable. In fact, all of them don't really get a chance to display histrionics since the screenplay is erratic.

Dil Toh Baccha Hai Ji Release Date : 28,Jan 2011

Producer Madhur Bhandarkar, Kumar Mangat
Director Madhur Bhandarkar
Music Pritam Chakraborty
Writer Madhur Bhandarkar, Anil Pandey, Neeraj Udwani
Lyrics Sanjay Chhel, Neelesh Misra, Kumaar, Saeed Qadri
Release Date 28-Jan-2011

The heart - it is allowed to behave like a child; especially when it's in lhhove and all. But what is unacceptable is to allow a kid - however grown-up he might be - to write a full-length feature film. The situations are amateur and the play on words is childish. If you are not convinced of the low standards of story and dialogue writing in the first two hours, watch out (if you are going to watch that is) for the down-market climax.

Within the first few minutes of the film, the three lead characters and their problems are presented to you. This is done as plainly and as non-creatively as possible - which is true of the rest of the narrative too. It is literally Ajay Devgn's love story - cut - Omi Vaidya's love story - cut - Emraan Hashmi's love story - cut - repeat. Within the first few rounds, you can predict where the next cut in the story is going to take you. To the next of the three characters and whatever he is upto next.

Only that, whatever is happening in his life next is pretty much similar to what happened last. Ajay Devgn is the clueless, middle-aged boss falling helplessly in love with a girl almost half his age. And he keeps falling in love. There's nothing out of this world that this actor is required to do. Emraan Hashmi (they call him Abby) is the playboy -- surprise! -- who is always thinking of the next girl to take to bed. Even when he likes one more than the others, it seems like he has only one aim in mind. A been-there-done-that for him too. Omi Vaidya (Milind Kelkar) is a simpleton and proud of it. Once he falls in love he lets the woman take him for a ride. Again and again. Omi's performance was almost a repeat of his 3 Idiots character. Also his timing is completely off. He actually had a couple of good lines which are completely given away by the way he said them

Now apart from these repetitions, there was this constant nag. I am rooting for no one. Not even the good-natured, squeaky-clean-at-heart, aawww-so-sweet-that-he's-boring Milind. And I think a lot of it had to do with timing. Maybe just maybe, the lame lines I was complaining about might have been tolerable if they were delivered as quickly as a comedy requires them to be. An extra pause here, a moment of thought there puts an ailing dialogue to sleep.

In the midst of some dreadful writing, it is disproportionately refreshing to see some sort-of variety in character for a couple of the women in the film. Not that the details are deeply thought through, but since they are performed reasonably well, they provided some relief in the otherwise plain narrative. Tisca Chopra as the woman going through mid-life crisis and Shraddha Das as the woman who can misuse people around her were the only source of relief - the characters as much as the actors themselves.

On the other hand, Shruti Hassan has the flattest dialogue delivery ever and it got too damn annoying even if it was a smaller role compared to the others. And it is difficult to judge if Shazahn Padamsee can act if all she has to do is chirp, "please please please please please." Sure, her character requires her to do that, so we will save judgment until she gets some real dialogue.

And what's with Madhur Bhandarkar paying a tribute to all his films? Just when you are wondering if a glimpse from Page 3 and Corporate are coincidental, you witness a ramp walk and a jail is thrown in too. Sure, his attempt is not as in the face as other self-referencing directors manage. And though it does sort-of weave in and out of the film, it is still distracting. Oh yeah, and there is the trademark referencing to homosexuality too. But this time around its really shoddy and stereotypical.

Madhur Bhandarkar's trial at exposing the big-bad world of love turned out to be a 75-minute wait for the interval followed by another 75-minute wait for it to end. You don't care how, you don't care why, all you care about is when.