Tell Me O Kkhuda Release Date : 27,Oct 2011

Producer    Hema Malini
 Director    Hema Malini, Mayur Puri
 Music    Pritam Chakraborty
 Release Date    27-Oct-2011

Tania (Esha Deol), a supposed novelist who inspires others, is disillusioned when she learns that she was an adopted child. Thereby she sets on an aimless, endless and pointless journey to find her biological parents, accompanied by her friends (Arjan Bajwa, Chandan Roy Sanyal) who have nothing better to do than escort her on her sponsored world tours. She has managed to preserve her 24-year old hospital birth tag (phew) which leads them to an overtly enthusiastic municipality clerk ( Johnny Lever) who is more than willing to help her with paternal prescriptions. And every time the municipal hospital is refurbished, the clerk comes up with new options for Daddy dear!
That gives the film an excuse to explore different geographical territories from Rajasthan, Turkey to Goa. Of course that doesn't make the narrative one-bit multidimensional as one only wishes the story could have explored the characters and their conflicts better. The first father candidate is a Rajasthan Royal (Vinod Khanna) and the ensuring episode is a moral science lesson against female feticide and about gender equality. Nominee number 2 is a Turkish hotelier (Rishi Kapoor) whose wife has turned recluse ever since the death of their daughter. But do we care?
Finally comes our very own Papaji (Dharmendra) with tweaked side-locks and studded ears as Goa's don Tony Costello. Hema Malini also makes a default special appearance and you know who the daughter belongs to. So by the time Esha Deol walks with 'four fathers' in the climax, you realize that this dull drama dates back to your 'forefathers'.
While the film is certainly not designed as some suspense flick about the identity of the real father, it doesn't even work as a decent drama. Hema Malini's direction is slack, shallow and lacks the dramatic punches when the scene demands and, on the contrary, gets melodramatic when not required. There is no palpable tension when Tania confronts any of her prospective papas for the first time. The dullness in her direction can be simply sensed from the fact that she fails to add excitement or animation even in the potential camel race sequence.
Completely centered on Esha Deol, the actress disappoints with her apathetic act. She carries the same red-nosed, crybaby expression throughout and fails to strike a chord. And as desperately as she tries to exude an oomph appeal, all her attempts fall flat. Arjan Bajwa gets no scope. Chandan Roy Sanyal is used as an add-on who merely giggles and sprints like a buffoon. His comedy seems forced and the film could have even done without his character. Vinod Khanna has good screen presence. Rishi Kapoor is marred by a half-baked role. Dharmendra is unable to rise over the mediocre script. Farooq Sheikh and Deepti Naval are decent. Hema Malini fails to impress both off-screen and on-screen.

Ra.One Release Date : 26,Oct 2011

Producer    Gauri Khan
 Director    Anubhav Sinha
 Release Date    26-Oct-2011

Pataka? Item? Tota? An actor throws around a few casual words that mean a beautiful girl, until he hits upon one that encompasses all of the above: chammak challo. Shah Rukh Khan's superhero-blue eyes light up, Kareena Kapoor's red sari glows, and they start to dance to Akon's song along with Russian dancers in Bharatnatyam-inspired mini-skirts. Yes, it's that sort of a movie, where everything happens all at once. Amitabh Bachchan does part of the voice-over; Rajinikanth's Chitti, the Robot, shows G.One, Shah Rukh's superhero, how to twirl his sunglasses; artist Subodh Gupta paints the costume; and even pals Sanjay Dutt and Priyanka Chopra act out a juvenile joke, playing characters in video game where the star can vanquish the sisters of Bruce Lee called Iski Lee, Uski Lee and Sabki Lee. Even as you cringe at Shah Rukh's Tamil accented Hindi and his eating-curd-with-noodle act, hoping his curly wig will fall into his dinner plate, you realise it's a big party and everyone's invited.
Welcome to a movie as a gigantic open house. Shah Rukh is the host and he will make sure your VFX canapés are delivered at regular interval; your emotion goblet is kept topped up; and there are enough homilies about being careful-what-you-wish-for that you can take home as back presents. This is film-making not so much as noble passion but as grand indulgence, not so much as a marathon magic show but as an event to be managed. No effort is spared. Shah Rukh walks sideways on a Mumbai local train, stops an engine with his bare hands, charges himself with electricity, even slaps his heroine's butt and grabs her breast. In between throwing cars at his arch nemesis, recently escaped from a video game; dancing like Michael Jackson; and quoting V. Shantaram, the superhero moves between the digital and real world, London and Chennai, burial as Christian and prayer as Hindu.
I presume there is some lesson here about being a global citizen, and Shah Rukh's hyperactive child fans will no doubt benefit from it, but it would have been more fun to see more Volkswagens ploughing through many more red buses. But yes, we know, this is a superhero with a heart and ladai goliyon se nahin, dil se jeeti jati hai. The special effects work, but are not always evenly applied through the film. The cool metallic blue of the superhero suit doesn't always show up on screen. And hey, Arjun Rampal really needs to stop clenching his teeth while delivering menacing dialogues. We are not scared because we simply cannot understand. Shah Rukh throws himself about, vaulting up and own buildings, leaping through the air and even landing on his feet with Kareena Kapoor in his arms. In the face of such indefatigable energy, we surrender. Go on, Shah Rukh, give it a rest. In the words of your superhero, you did good.

Be-Careful Release Date : 21,Oct 2011

Producer    Amrit Guzari, Raju Bhati, Ritesh Charodia
 Director    Chandrakant Singh
 Music    Siddharth, Suhas
 Writer    M. Salim
 Lyrics    Kumaar
 Release Date    21-Oct-2011

Story: The best way for Sameer and Anand to enjoy a moment of sensuous bliss is to take a trip away from home... and away from their respective wives, Anjali and Kiran. But fun becomes a far fetched dream for the boys when they realise the wives themselves are up to something naughty in Bangkok....

Movie Review: So what exactly does one need to be careful about here? Is it the plot (Two sexually starved husbands run away from their wives to the sinful islands of Thailand for fun unlimited)? Is it the sense of humour (There are plenty of jokes on the Thais)? Is it the level of insensitivity (more than half of the movie goes into getting cheap thrills out of a possible rape encounter to please the girl everybody wants to bed)? Is it the likes of Rajpal Yadav and Johnny Lever left to rechristening themselves when in Bangkok -- One becomes Pands instead of Panditji?

None of the above. Avoid.

Ganga Of Wasseypur Release Date : 18,Oct 2011

Producer    Anurag Kashyap, Sunil Bohra
 Director    Anurag Kashyap
 Writer    Anurag Kashyap, Sachin K. Ladia
 Release Date    18-Oct-2011

Rang Rasiya Release Date : 14,Oct 2011

Producer    Deepa Sahi, Aanand Mahendroo
 Director    Ketan Mehta
 Release Date    14-Oct-2011

The much awaited film “RANG RASIYA”, internationally known as the Colours of Passion, has been selected to be screened at two prestigious international film festivals. The film will be screened at the BFI’s 52nd London Film Festival on 26th October and 30th October, 2008 followed by two screenings at the MIAAC Film Festival in New York, on 6th (Museum of Arts and Design) & 8th (Tribeca Cinemas) November, 2008 respectively.
Deepa Sahi made come back to bollywood movies from the film “Colors of Passion Rang Rasiya  ”. The film is directed by Ketan Mehta and Deepa porcupine and built by Anand Mahendroo. The film's script is based on the real life story of the famous painter Raja Ravi Verma.
The painter Raja Ravi Verma was born in Kerala in the year 1848 and he was criticized by social groups in the regional painting tradition is not a sunset. That he had photographs of the righteous is less common animals to man. Raja Ravi Verma, who was married to Queen Bhageerathi Bayi one of the Royal family and three daughters and two sons.
The film is based on the story of Raja Ravi Verma relationship with the muse Sugandha. Sugansha is played by Nandana Sen and passion is prevalent in the paintings of Raja Ravi Verma up as a topic of the film. Raja Ravi Varma's paintings had been accused of unethical paintings depicting Hindu gods, and he was arrested for his works. He completed Sugandha, a muse and he imagined that matches the beauty Raja Ravi Verma, in his mind.
Out to be the inspiration Sugandha turns for the Raja Ravi Varma, who paints her as a god. He painted many pictures to take Sugandha his subject, and the price paid for Sugandha tell your pictures.
Came across a site which has wallpapers and other interesting trivia of this movie..
Check out

Aazaan Release Date : 14,Oct 2011

Producer    M. R. Shahjahan
 Director    Prashant Chadha
 Music    Salim Merchant, Sulaiman Merchant
 Writer    Prashant Chadha, Shubra Swarup, Heeraz Marfatia
 Lyrics    Amitabh Bhattacharya
 Release Date    14-Oct-2011

The expectations of the movie goers about director Prashant Chadha's latest movie Aazaan suddenly went up after Bollywood Superstar Shahrukh Khan introduced actor Sachiin Joshi and his movie in IIFA 2011 in Toronto. The movie surely lives upto their expectations and it offers something extra-ordinary in the action genre.

Aazaan is an espionage thriller and the action sequences, which lack flamboyance, are the major highlight of the movie. It is the best action movie shot ever in India. Sachiin Joshi's performance, Salim-Suleman's music, Axel Fischer's stunning camera work and Shubra Swaroop's screenplay are other attractions of the film.

The movie is all about a tormented-Muslim secret agent Aazaan, who sets out on to save his country and his brother. The movie is in par with Hollywood standards in many aspects like action, screenplay. In the beginning, Aazaan appears like a beautiful journey, but it soon turns more foggy. Prashant Chadha has a very gripping narration and he goes beyond the predictions of viewers in every scene. Although different characters speak various languages like Hebrew and French, the director has managed that these languages do not divert the attention of the audience.

Aazaan Khan is an Indian army officer, who has Afghan origin. He is trained at the NDA and is working as a secret agent for RAW (Research and Analysis Wing). He goes undercover to find out information to save the country, when India faces the threat of lethal virus attack. Meanwhile, he is also on mission to find his missing brother, who is now involved in terrorists' biological warfare. How Aazaan saves the country and his brother will form the interesting portion of the film.

The director could have selected dynamic actor like Hrithik Roshan for the hero role. But this does not mean that Sachiin Joshi has not performed well. He done a wonderful job in all kinds of sequences. Candice Boucher is also good in her role and she is a feast to the eyes of pranksters. Prashanth Chadha does not seem to have used the actors like Sarita Choudhary, Dalip Tahil and Ravi Kissen in proper way.

In the technical front, Salim-Suleman's background music is the major attraction. Their composition of songs is also good and the placement of songs is also okay. Axel Fischer's cinematography is a visual treat. The action of film moves from Morocco to Germany to Hong Kong and Poland and he has captured this movement in a brilliant way. Dialogues are also commendable and they evokes the sense of patriotism.

Overall, Prashant Chadha has set a Hollywood trend in Indian action thriller with his latest movie Aazaan, which is a treat for action lovers.

Mod Release Date : 14,Oct 2011

Producer    Nagesh Kukunoor, Sujit Kumar Singh, Elahe Hiptoola
 Director    Nagesh Kukunoor
 Music    Tapas Relia
 Writer    Nagesh Kukunoor
 Lyrics    Mir Ali Husain
 Release Date    14-Oct-2011

Starring Ayesha Takia Azmi, Rannvijay Singh, Raghuvir Yadav, Tanve Azmi
Directed by Nagesh Kukunoor
Ahhhhhhh! It’s been a while since one felt that stab in the heart while watching a love story trot towards its somber culmination. Love’s like that. When put on film it can make you fall in love with the emotion called love, as it happened in Imtiaz Ali’s Jab We Met.
We’ll never know why Imtiaz didn’t cast Ayesha Takia in Jab We Met after she sparkled in Ali’s Socha Na Tha. But there’s Kukunoor who truly values in Takia’s talent.
She brings to this film about that silly thing called, a kind of inner conviction that makes you want to believe in her faith in the oft-abused emotion. When Ayesha speaks her lines they don’t sound written in this under-written film about love that has goes into the realm of the surreal.
Veejay turned actor Rannjvijay Singh is the nerdy stranger who walks into Ayesha/Aranya’s tranquil life in a  scenic soporific hill station that’s threatened, rather crudel, by a construction magnate whom we overhear saying, ‘The first thing we’ll do is get rid of all the greenery around here.’
Ouch! Happily for us and the film, such insensitive moments are too far and in-between to make a difference to the gentle tale of a girl who runs a watch repair-shop in town where time  has nearly stopped still.
Nagesh Kukunoor and his lovely leading lady are most comfortable with the silences that punctuate life away from the city. The camerawork by Chirantan Das shamelessly creates picture-postcard images all around Aranya’s life and world. The relationships that emerge from the  sedate silences of a life lived in an ageless vacuum are woven into a  plot which careens between being a fragile fable and a mawkish melodrama.
Caught in that morning-time dim dawn sun  when the world looks irresistibly innocent and shorn of corruptibility the goings-on in Mod are so evocative of an era that never existed outside the poet’s imagination that we tend to forgive the plotting excesses that mar the second-half  of the film.
The finale on the hilly railway station, however, erases the clumsiness of some of the proceedings in the second-hour. And what we are left with is a film of heart-aching beauty, soo tender and evocative that in terms of manmade craft it replicates the intrictate threadwork of a Kashmiri carpet where very often the design is so nuanced the naked eye can’t see the craftsmanship.
The film has some truly tender supporting performances from Raghuvir Yadav (playing a zany Kishore Kumar fan), Tanve Azmi (always capable of tremendous empathy) and specially Nikhil Ratnaparkhi as Takia’s overweight suitor who in that one sequence where he pleads and threatens Ayesha Takia to marry him, brings so much bridled emotion into the film you are left feeling satiated with the vast amount of talent that this delicately drawn fable-romance pitches forward.
Ayesha Takia Azmi of course presides over the subtle proceedings. With her effortlessly-drawn emotions she is a treat to watch in every frame. Rannvijay Singh in a complex role that demands various mood swings from the actor, is surprisingly in-charge.
Mod is like a gente sonnet played on a  cosy winter morning. It is the tenderest love story in ages with a central performance by Takia that strikes a chord deep in your heart. Mod is a film you want to adopt embrace and hold close to your heart.