Saturday, May 1, 2010

Chase Release Date : 30,Apr 2010

Producer Dr. Anuuj J. Saxena
Director Jagmohan Mundhra
Music Vijay Verma, Udbhav Ojha
Release Date 29-Apr-2010

When you walk into a multiplex and are informed that there is no other person in the auditorium other than you, there are no reasons to be elated. It only turns out to be a repeat situation of many a film released during last couple of months when you watched a film all by yourself in a theatre which was on the verge of cancelling the show until you flashed your card of being a film reviewer.

So what is it that works for 'CHASE'? Well, a few well executed action sequences, a couple of twists and presence of two hot bods (Udita Goswami, Tarina Patel) that should engage audiences, especially at single screens in B and C centres.

How do the stunts work? Well, after a 'Dhoom' inspired opening credit roll sequence comes a chase sequence which involves a perceived criminal being pursued by cops on busy Mumbai streets. Frankly, these 15 odd minutes do keep you hooked to screen as the protagonist does everything from manoeuvring his bike dangerously and indulging in parkour. The sequence which follows in a 'jungle' is hardly enticing though but then the climax action sequence is still reasonably engaging.

In the interim there are Udita Goswami and Tarina Patel who are captured from all flattering angles, hence ensuring that the oomph factor continues to be on screen alternatively. If Udita, due to the demand of the role (well!), plays her mini skirted nurse part well and indulges in sensual tricks to arouse (knowingly or unknowingly) a patient (Anuuj) of hers from coma, Tarina wears some of the most revealing costumes that any fellow journalist could have ever worn.

Does that mean that 'CHASE' is only about bikes and babes? Not really because at the core of it, there is an element of uncertainty about the lead protagonist when it comes to his real status - whether he is innocent of guilty. This is the plot line which could have been really nurtured well to get an ideal mix of thrills, drama and suspense but unfortunately the twist in the tale is totally lame.

Saturday, April 24, 2010

Muskurake Dekh Zara Release Date : 23,Apr 2010

Producer Som Shekar
Director Som Shekar
Music Ranjit Barot
Writer Anurag Kashyap
Lyrics Mehboob
Release Date 23-Apr-2010

I expect first-time directors to be far more courageous than their established counterparts, when it comes to narrating fresh stories at least. But Muskurake Dekh Zara, which has top notch names involved behind the camera [the most prominent one being Anurag Kashyap, who has been credited as the writer of this film], leaves you confused and cold, since the writing is so childish, so amateurish, so fragile that its crash is imminent.

The question that crossed my mind time and again while watching this film was, did Anurag Kashyap really pen this movie? The sole factor that stands out is Ranjit Barot's musical score and the panoramic locales where a few songs have been filmed. Frankly, there's no other reason why you should exit the theatre with a muskurahat.


Gashmeer Mahajani aspires to be a chef. He arrives in Mumbai, after his bride-to-be elopes from the mandap. He falls in love with Twinkle Patel, but the problem is, she loves someone else [Hiten Paintal], who, incidentally, turns out to be the guy Gashmeer's bride-to-be had eloped with. In the end, expectedly, Twinkle realises that her heart beats for Gashmeer.

If the story is as old as the hills, the execution of the subject is equally old-fashioned. Sincethe writing is so inferior, neither does the love story, nor the forced comedy track manage to catch your attention.

Gashmeer is energetic and confident, but needs to work on his styling. Twinkle is raw and it shows. Hiten Paintal has just one expression throughout. Ranjeet, Om Katare and Tiku Talsania are adequate.

On the whole, Muskurake Dekh Zara has no chances absolutely.

Apartment Release Date : 23,Apr 2010

Producer Nari Hira
Director Jagmohan Mundhra
Music Bappa Lahiri
Writer Jagmohan Mundhra
Lyrics Syed Gulrez
Release Date 23-Apr-2010

THE BUILDER of this Apartment has nothing to offer, neither good location, nor design forget about beauty and aura. Well the Apartment, movie made by Jagmohan Mundra fall in the same category of nothing but just structure. If there is any thing worse than a Hollywood remake that's just plain awful, it is one that should be good but doesn't turn out that way.

Apartment is remake of Barbet Scroeder's 1992 thriller Single White Female.
Like its Hollywood version, Apartment of Bollywood is also about a young, working woman who takes in a roommate (Neetu Chandra) after throwing out her live-in boy friend (Rohit Roy) because he is unfaithful to her.
Actually in apartment, he isn't even unfaithful. Preet, played by Tanushree Dutta, happens to walk into the house when a model in too-light clothes is wiping her cleavages with her boyfriend's cooking apron. But the room mate who replaces him turns out to be a bad, very bad bargain. The mentally unhinged girl slowly usurps everyone’s life and even resorts to murder.

The treatment remains the same as the Hollywood version, but there is uninspiring cast of Tanushree Dutta and Neetu Chandra, renders Apartment into a tortuous, tormented.

The story moves ahead, when the supposed suspense sets in when Chandra becomes obsessed with Dutta, and has problems when her friend reunites with Rohit.

Performance ranges from po-faced wooden (Dutta) to dreadfully over the top ( Roy). Anupam Kher sleepwalks in his tiny turn.

For those who haven't seen Single White Female, Apartment is a middling, so-so thriller. For the rest this is a monotonous and misguided mess.
Think twice before planning a hangout in any cineplex, i have wasted my time and energy to find a single moment of joy in the movie, unfortunately there was none. Go at your own risk.

Do Dilon Ke Khel Mein - Hindi Movie Do Dilon Ke Khel Mein Release Date : 23,Apr 2010

Producer Dr. Wajahat Kareem, Dr. Surhita Karim
Director Akash Pandey
Music Daboo Malik, Sujeet Chaubey
Writer Akash Pandey
Lyrics Panchhi Jalonvi, Vijay Akela, Nafies Alam, Sujeet Chaubey
Release Date 23-Apr-2010

Do Dilon Ke Khel Mein is about two childhood friends Joggi & Goggi. Joggi who has been to London returns to his village after many years and wishes his son Rohit to marry a Punjabi girl. Googi who left Punjab 20yrs back has come back to Mumbai and fell in love with a South Indian girl Laxmi and got married.

As the years went on 'Goggi' is the father of a girl Isha and he wishes that his daughter to be married to a Punjabi whereas his wife Laxmi wants her son-in-law to be a South Indian. Joggi`s son Rohit & Goggi`s daughter Isha meet each other during a journey and their meeting ending up beeing a mess and they are in a situation that they cannot tolerate each other...
when the two Isha & Rohit, come to know about their parents being childhood friends for the past 20 years, fear of getting them married as they hate each other. They plan and create quarrels between the two families, and the issues are fueled up that it ends up in not having any dosti between their fathers. During this tussle there comes a strong turning point as everything goes wrong. Isha and Rohit realize that all these happened because of their childish nature and decide to sort them out.
How do they do it together?
Will they get married?
What kind of problems arises between the families?
'Do Dilon Ke Khel Mein' is all about the play of two hearts in love and hatred

Watch 'Do Dilon Ke Khel Mein' in theatres near you

Musaa Release Date : 23,Apr 2010

Producer Mahendrabhai Katariya
Director Himanshu Bhatt
Music Jaydeep-Eliyas
Writer Himanshu Bhatt
Lyrics Sandeep, Ibrahim Ashq
Release Date 23-Apr-2010

In today’s world it an electronic media which is calling the shots. This media has made it’s reach to almost every household of the country and innocent people follow this media blindly. As a result this media has become very powerful and the race to be on number one position among the channels has began. To remain ahead in the race the trend of sensationalisation of the news has started. Sting operation is the outcome of this trend.Today we live in the era of sting operation and the story of “Musaa” is based on such sting operations and the aftermath of it. Mr. Jaikishan Shroff is the C E O of one of the leading channels. He is a married man and his wife is noted heart surgeon. To increase the viewership of his channel Jaikishan opts for sting operation and this operation covers an underworld gang. Unfortunately the sting operation goes horribly wrong and to save his skin Jaikishan makes an innocent boy Rohan a scapegoat. With this the life of Rohan is changed overnight and he is forced to take the refuge in the underworld. How he becomes the victim of channel war and how he fights this battel on his own forms the crux of story which is full of spine chilling moments and thrilling sequences.

Saturday, April 17, 2010

Paathshaala Release Date : 16,Apr 2010


Pick up a newspaper or surf news channels and I'm sure, atrocities being committed on students by teachers/principals wouldn't escape your attention. Also do a Google and so many results on this topic would open up in a fraction of seconds.

Buzz up!
Educational institutions - not all, but a few definitely - are in a crazy rush to create a brand for themselves and even parents [not all, again] are keen that their kids become scholars and whiz kids overnight. Resultantly, the child is not just burdened with a bulky school bag on his back, but also carries the burden of ambitions, aspirations and unfulfilled dreams on his tiny, frail shoulders.


Paathshaala merely touches the tip of the iceberg. It attempts to answer questions related to the sanctity of today's education system. It sheds light on the shortcomings in today's schools and how morals and ethics associated with the teaching profession seem to have taken a complete backseat. Let's not compare it with Taare Zameen Par or 3 Idiots, although a few sequences, in these two trend-setting films, threw light on the pressures on students.

Paathshaala, penned by Ahmed Khan and directed by Milind Ukey, is well-intentioned. It has a lot to say, but the predicament is, what translates on celluloid is not razor-sharp. Of course, there are few defining moments in the movie, which do make you ponder on the plight of the educational system. But there are also portions - when the media steps in to boost the brand of the school - that are mumbo-jumbo.

On the brighter side, the acting is distinguished. Nana underplays beautifully, Ayesha adds to the sunshine moments, but it's Shahid who pitches in a commendable and convincing act.

Final word? Paathshaala, made with noble intentions, could've been a splendid wake up call, but it runs out of steam midway!

The story begins with a new English teacher, Rahul Prakash Udyavar [Shahid Kapoor], joining Saraswati Vidya Mandir School. Though he strikes an instant rapport with students and teachers alike, he realizes that there is something amiss in the school.

Slowly, his doubts prove true as School Manager Sharma [Saurabh Shukla] makes many monetary obligations compulsory on the parents in the name of extra-curricular activities. He goes to the extent of punishing the students inhumanly when the new, unjustified demands of the school are not fulfilled by the parents.

When Rahul unifies the teachers [Ayesha Takia, Sushant Singh] against the atrocities of school management, Principal Aditya Sahay [Nana Patekar] defends the management decision. This comes as a shocker to the teachers as Sahay is known for his dedication as an educationist for last 32 years, which has built the school's high reputation.

The situation turns grave as the school management becomes over-ambitious with its growth and involves media planners in the extra-curricular activities. This demands the involvement of students in TV reality shows and many other media activities used for building up the school image in public, which starts reflecting on the students' stress levels. The pressure on young minds increases incredibly, leading to unexpected consequences.

One of my childhood memories is of a few students being called to the principal's office and being reprimanded for not paying their school fees on time. In another instance, I vividly recall a student being made to stand in scorching heat, under the blazing sun, since he was up to some mischief all the while. The barbaric attitude was a way of teaching the student a lesson.

Paathshaala brings back those dark memories because the film encapsulates these two incidents on celluloid. The problem with the film is, it gets very real at times, but gets farcical as well. The participation of kids in media activities doesn't have a hammer-strong impact. The chilly portion and the director capturing it on camera, or the press photographer munching samosa as the kids get ready with a pyramid, looks unreal, despite being identifiable incidents. Even the climax is confusing. What is Nana saying in the concluding reels lacks precision.

Director Milind Ukey has filmed some scenes expertly, but, as mentioned above, the film lacks the power to make you do a serious introspection. Hanif Shaikh's music is strictly okay.

Nana is very much in sync with his character. Shahid displays the vulnerability and helplessness remarkably. Ayesha is a complete natural, as always. Amongst the plethora of teachers and students, Sushant Singh does well, Sushmita Mukherjee is serviceable and Saurabh Shukla is so effective, you start hating him for his repulsive attitude.

On the whole, Paathshaala is a well-intentioned film, but lacks clarity thanks to an uninspiring screenplay.

Phoonk 2 Release Date : 16,Apr 2010

Producer Prashant Burra, P Chandrashekhar
Director Milind Gadagkar
Music Dharam & Sandeep
Writer Milind Gadagkar
Release Date 16-Apr-2010

The 'success' of a film pretty much ensures that a sequel will be released as soon as the filmmakers can collect enough elements from the previous film to roll cameras.

I suppose Phoonk [ Images ] by Ram Gopal Varma [ Images ] made enough money to justify the production of a sequel. The first one was about black magic, so I suppose this new one is about more black magic and a little revenge.

This time around RGV has handed the directorial reigns to Milind Gadagkar, the man who wrote the first instalment. And the film picks up not too far away from where the previous one left off.

Madhu (Ashwini Kalsekar, in appropriately grotesque makeup) has returned from the dead to torment Rajiv (Sudeep) and his family. They may have moved to a new home with a pool and access to a beach but it appears that the demonic presence has travelled with them.

Before long voices are heard all over the house, reflections disappear from mirrors and his young son Rohan (Rishabh Jain) is scared stiff by the doll his daughter Raksha (Ahsas Channa) brings home one day. Things come to a head for Rajiv when his wife Arati (Amruta Khanvilkar) is possessed by the spirit of Madhu who promises to do very bad things to his family before she exacts her revenge.

This movie does 'creeping dread' pretty effectively. The first twenty minutes of the movie focus singularly on setting up the family's move to their new home.

The floating camera work by Lenhert Pereira (under Director of Photography Charles Meher), the accompanying creepy background score (Dharam and Sandeep) and the effective sound design (Jayesh Dhakan) contribute to a sense of impending doom on several occasions.

That said however, too many sequences in this film promise a terrifying spectacle and then deliver a predictable 'been there, seen that' outcome, which gets quite frustrating after a point.

The editing is pretty lax and it often feels like several scary moments would have been more effective if they had turned up a beat or two quicker than they do on most occasions. Horror, like comedy, is all about timing and too often the editor gets the timing wrong on this movie.

Apart from that, there are also sequences where people don't seem to be arriving from point A to Point B in a logical manner. Like there is no logical explanation for how the kids ended up exploring the beach one moment and then wandering through the jungle behind their home in the very next shot.

I suppose it is too much to ask of movie children to not pick up random dolls that they find abandoned in a jungle. And I suppose it is also pointless to draw attention to the truly atrocious dialogue. Rohan seems to speak only in superlatives and cliches. Everybody overacts. The presence of Rajiv's sister Arushi (Neeru Bajwa) and her husband Ronnie (Amit Sadh) seems to be justifiable only as an injection of sex appeal since the lady prances around in tank tops and short shorts for most of her time on screen.

If one were to break this movie down into its component parts this is how it would play -- people walk around the house, its grounds, or the beach spouting inane dialogue; the camera floats away, the music builds to a crescendo and (occasionally) something 'scary' is revealed. Many of the previous movie's greatest hits are back -- the scary face at the window, the disturbingly behaving reflections in the mirrors, the crow... it is all filmmaking by the numbers. And it all adds up to a big fat zero.

The happenings in this movie are not as scary as the notion that producers are repeatedly funding movies like this. I suppose we get the entertainment we deserve but one can't help feeling that the man (Varma) who helped rejuvenate the horror genre in India [ Images ] might also be instrumental in hastening its demise.