Monday, June 20, 2011

Nenu Naa Rakshasi Review

Sometimes we come across directors that try to make a film about a serious maybe unexplored topic in a masala format. While there are some that succeed, other fall into the sidelines. I guess the confusion begins with where to insert the cinematic liberties and where not to. If you don’t have a tight and cohesive screenplay, no matter how amazing the concept and performances may be, the point wont reach the audience. With Nenu Naa Rakshasi, Puri Jagannadh returns to the style of story-telling he used in Neninthe and explores a love story between two extreme individuals. Considering both Leader and Dum Maaro Dum have proved interesting on premise as well as different in role for Rana Daggubati, his second Telugu film with Ileana D’Cruz as the female lead is bound to attract expectations. Even the bad publicity of the Michael Jackson “inspired” track proved a booster of curiousity. But does the film do what its in essence supposed to, entertain? Yes and No. Read on to find out where and how.

The film opens with the final confession of a girl [Ileana D'cruz] before she commits suicide by hanging herself, while a man watches her through a computer through a webcam. Who is she, why is she doing it and who is the man watching her remains a mystery as we shift across the city to our hero Abhi alias Abhimanyu [Rana Daggubati], a sharp shooter in desperate need of money. As he escaping from his latest assignment, he goes to his routine collection point for payment at a graveyard where he sees Meenakshi [Ileana], a girl that works in a cafe with a troubled past. While Meenakshi barely notices him, Abhi falls for her instantly, and follows her wherever she goes. On the other side of town, Inspector Vikram [Subbaraju] is looking for a criminal that films people committing suicide and uploads it onto a website. While for Abhi, the inspector is just another person he has to maintain a distance from, especially since he lives only across the hall from him and he is friendly with his young daughter, Vikram is on the look out and suspects everyone. But things take a dramatic turn for the worse as Abhi soon finds Vikram's case is closer to heart that he thinks. Will he be able to get himself out in time? How does Meenakshi fit into all of this? Watch the film to find out.

Rana Daggubati is a naturally stiff-looking person but with this film, it works to his advantage for the intense moments. Yet when he tries to be funny in the second half, it wouldn't have been all bad, had it not seemed so out of place in the script. Add to that some questionable dancing and he leaves the wrong kind of mark. Ileana is improving from her bathing in a beach, mid-drift flashing self but that doesn't mean she's perfect. For the most part I think she tries to be intense in her acting and expression. Mumait Khan needs a better dubbing artist and really needs to work her lip syncing. Ali tries hard to make you laugh and only succeeds part way. Subbaraju is handsome as Vikram and has a few scenes worth acting in. Abhimanyu Singh is ok yet boring as the baddie for someone that was so powerful in Rakta Charitra. The rest are so so.

Venice and India looks amazing with Amol Rathod's camera and the action is quite slick with the background score adding edge to each scene. Music by Vishwa and Rahman is strictly ok with Malli Malli Merupula and Papam Punyam being the only ones that stay in the mind long enough after the film. Editing for the film could have been a little more crisper but the real culprit lies in the writing. While some of the dialogues are quite witty and perk the proceedings, it doesn't help keep the film afloat completely.


 Puri Jagannath had the chance to make something novel but lost track of whether he was making a commercial film or an offbeat one. This confusion in conjunction with a lack of direction for or against the issue of suicide cripples what could have been a powerful screenplay. With the film not having an opinion, on one side you understand certain decisions, while others are just plain confusing and contradicting. All of which strain the understanding of the film entirely. On some levels the film makes you laugh and cry a bit but most of the time, you struggle to keep with the mood which changes drastically. Adding to that, the characters lack depth, making it hard to connect with them. Ultimately, what was supposed to be an intense drama, ends up to be long, drawn out and haphazardly melodramatic which you neither believe in nor can enjoy fully.


Rating: 2/5

Saturday, June 18, 2011

Avan Ivan Review


In all honesty, I dont know where to begin with Bala. The man began his career with Sethu and has risen to heights that I dont think he even thought he would reach. Personally, I have found his films disturbingly dark but extremely sensitive as well, an odd combination but one that was present. His latest one of Avan Ivan was supposed to be done in the shortest amount of time and be a full length light-hearted film but while the time factor was clearly extended more than anyone liked, does he succeed in the different style of film? Not really.


Avan Ivan is about Walter Vanagamudi [Vishal Krishna], the oldest son in family of thieves that aspires to become a big time actor, his step-brother Kumbiduren Saamy [Arya], a much louder mouthed but quick witted theif, and the dethroned Jaminder of there village, Highness [G.M.Kumar]. As the only person that can command some respect from the two, Highness is the only thing between the two step-brothers that can stop them fighting. At the same time, he cares about them dearly and wants them to reform from their criminal ways. As the two find love, Highness is the one that clears the way for them, even if it means he must let go of his own grudges against people who cheated him. But what happens when Highness is in trouble? Will the brother look past their mutual animosity and help him? This forms the crux of the story.

Let me continue from my first para and say that this is definitely a Bala film although slightly different. His style of filmmaking is definitely evident in the picturisation and pace. However, his undying desire to write stories about the forgotten ones of society although merit-worthy, is something he hasn't given up even in his light-hearted filmmaking. Vishal Krishna steps away from the masala of Malakottai and Thamirabharani and transform himself quite literally. As the "onnarai kannan" [squint eyed] Walter, he has put in a lot of effort to be the character instead of the star and it is greatly appreciated. Arya is not new to the slum characterisation and pitches in a decent performance. You could even say that barring a few scenes, he is the central comedy relief for a good portion of the film. A special mention must be made of their bromistry [brotherly chemistry for the uninitiated] which works big time. Constable Baby is a fun character played by Janani Iyer, a cute newbie that does what she can. Hopefully we will see more of her. Madhu Shalini plays a key role but she is just about ok as Thenmozhi. G.M.Kumar is fun, innocent and courageous as Highness and scores on more than one occasion, higher than the lead actors. Ambika and Jayapradha are nowhere near as classy as I have known them to be but both work well as the foul-mouthed mothers. R.K's intro seems too quick for liking and his screen time is quite short but as the catalyst he tries his best. The artists that play the DSP position aspiring Inspector and Arya's sidekick bring the house down repectively. The rest add to the mix.

Music is always a highlight with Bala's film and he returns with Yuvan but this isn't his usual best although completely in sync with Bala's storytelling on the background score. Rasathi does entertain but listen to the soundtrack more than watch the visuals since they aren't up to par. Editing by Suresh Urs is neat and the cinematography by Arthur Wilson is a big plus point for the film. Each scene is shot with amazing grace and depicts the mountain area beautifully with no superficiality. 

The weakest link and certain cause of the setback is the story and the pace, two key items Bala has always had tight reigns on. So the characters are supposed to be of the forgotten sector of society yet you are not supposed to look at them that way. Ok, granted. But in all honesty, do people of any sector of society have such a constant flow crass jokes? Dialogue writer S.Ramakrishnan does have good points since the audience does laugh out loud sometimes but that isn't for very long. Adding to this, there is no logic behind the supposed "romantic" scenes. Neither pair of ladies are shown to give reason behind their affinity to the male leads, if you leave aside the rude behaviour towards that precedes these circumstances. On top of this, you are bombarded with the crass comedy for a good portion of the film before the story progresses. Yes, you will have to swallow Bala's trademark brutal depiction but does that also warrant patience being tested? 


I walked in with no expectations since this was Bala's attempt at being more mainstream and light-hearted but when you refer Pithamagan to have better comedy and Naan Kadavul to have more heart, disappointment is all that you are left with.


Rating: 2/5

Sunday, June 12, 2011

Dum Maaro Dum Review



**This review is a reprint of the Bollyspice Dum Maaro Dum review**


The stakes are high and lined up when it comes to Dum Maaro Dum. For Abhishek Bachchan, he needs to come back to form after Game andKhelein Hum Jee Jaan Se failed to muster up the marks. Rohan Sippy returns to wield the megaphone after 5 years. Besides the success duo, Bipasha Basu, Rana Daggubati and Prateik Babbar join them in a movie that has all the makings of a hard-hitting suspense thriller that's been hyped since the initial promos were released. Does it live up to the expectations? Read on to find out. 

Goa: A beautiful paradise on earth for so many. But every paradise has its demons that lurk in the night. For Goa, the snake with the forbidden fruit is drugs and Goa is swamped with them. It's the black stain on a white cloud and it's ACP Vishnu's (Abhishek Bachchan) job to get rid of it. But the battle against drugs is not his alone. There is Lorry (Prateik) who takes a wrong turn out of desperation for money. His story intertwines with Joki (Rana Daggubati) who bares scars from his lost love Zoey (Bipasha Basu) and who tries to help Lorry get out of the trap he's fallen into. However, before they can blink, the two get caught into the sickening web that Kamath is trying to clean. Kamath begins working with Joki and Lorry and turns his investigation to public figure Lorsa Biscuita aka the Biscuit [Aditya Pancholi]. But it is not only Biscuit that is at the heart of the evil, it is the shadow that hides in the background. The Drug Kingpin that has had the Goan police fooled for so long. The time has come for Kamath to get rid of this shadow named Michael Barbossa and with help from Lorry and Joki,Dum Maaro Dum is about the three men's battle with the snakes in the society but also the demons hidden within.

First of all, this film bears no resemblance to the past successes and failures of Rohan Sippy so it is best that the past be left where it is, in the past. This film marks his shift in genre to a thriller that has enough suspense to hold the audience's attention and entertain. But let's step back a bit and start with our performers. He may have hit damp squibs in the recent past but Abhishek Bachchan works ACP Vishnu Kamath to the full capacity while looking amazing. Whether it's anger, frustration or the confidence of a street-smart cop, he scores and is convincing to say the least. Right by his side is Rana Daggubati. The actor acts his part well and his potential that shined through in his first film Leader is evident again in his Hindi debut. He is fresh yet restrained while standing his ground next to A-list actors. This film is yet another example of the acting talents of Prateik Babbar. Only three films down, he is proving to be versatile with his role selection just like co-star Rana, and throughout the film there is never a moment that you feel he doesn't fit the character with his emotions and body language matching perfectly. Bipasha Basu plays an ambitious Zoe that is like a modern version of her role in Aakrosh as a "traumatized victim" character. However, the actress does make her presence felt in a male dominated cast and her chemistry with Rana is sweet and simple. Aditya Pancholi has an impressive track record somehow the actor doesn't hit the mark as needed. Where he scores in his outbursts, the subtle slyness and evil persona that is necessary for the antagonist isn't present all the time in his performance. Govind Namdeo hams on occasion and gets to the point of irritating in the second portion. Anaitha Nair is cute but barely there while the actor that plays Ricky is effective as is Vidya Balan.

Rohan Sippy has taken his time to get back into the director seat but the wait has proved beneficial. The director brings to life Sridhar Raghavan's story about three men of varying backgrounds and weaves them together in an easily understood yet intriguing narrative. If there is one aspect that stands out in DMD, its the cinematography by Amit Roy. Not a stone out of place like authenticity yet stylishly sexy, Amit brings the beauty of Goa onto celluloid that has rarely been seen before. From the intoxicating surroundings of a rave to the town parades, his work speaks for itself. Background score by Midival Punditz is top notch while Purva Naresh's dialogue is sharp at times.

However, DMD isn't a straight clean shot, the scenes in the second half lack the necessary depth needed, making them more like speed breakers to a fast pacing narrative. Editing by Aarif Shaikh should have reduced the intermittent lag that is present in the second half, including in the sequence leading up to the climax, but instead it falters and considering the crispness of the first half is so fresh, the audience tends to get bored and restless. 

Yet, is this enough to call it a bad film or even a badly made good film? With so much hype and gloss surrounding the film, does Dum Maaro Dum deliver? No and Yes. With awesome performances, great visuals, a thought out story and easy to understand screenplay, Dum Maaro Dum isn't a masterpiece but it has merit. And Abhishek Bachchan.

Rating:  

Ready Review

** This review is a reprint from the Bollyspice's Ready Review**


Remakes are part and parcel of the Indian Film industry. But when one story travels from state to state and is remade in 4 languages, the question arises as to what is so special about this film? Not to mention there has to be something extra special for movie buffs to watch the same story again and again. For the film Ready, its blockbuster journey began in Telugu then went on to be a smash hit Kannada and then within one year it was remade in Tamil, seeing huge success there as well. Now it is Hindi's turn and at the helm Annes Bazmee plus the extra bonus it stars Salman Khan. However, taking a film to Hindi from the South has proved to be a hard task for some directors. Yet it's not a first for Salman Khan or Anees Bazmee, both as actor-director combo and otherwise. So the question is, was Anees Bazmee able to continue the track record and successfully adapt it to the Hindi audience and their liking?



Let's start by introducing Prem Kapoor (Salman Khan) A self confessed "bholi shakal kameena", he is the lovable brat of the Kapoor family living the high life. Like any other family, they want their "laadla" to be settled but he has a specific kind of girl he wants. Here we meet Sanjana (Asin), who is running away from her own marriage nightmares. In series of coincidental events, Sanjana overhears Prem's plan to ditch a girl his parents'have chosen. She decides to masquerade under the name Pooja and enters Prem's house to hide from the goons chasing her, at least till she finds a way to escape from them permanently. So while Sanjana successfully convinces everyone, Prem is not impressed. He plots to get rid of her but when he finds out who she is and why, he helps her instead. Having developed a soft corner for her already, the new-found friendship develops into deeper feelings but before either can say anything, Sanjana's past comes back to haunt her. A past that saw no ordinary goons but it is actually her own family, her uncles to be specific that are forcing her into a marriage all for the sake of money. It's now up to Prem, with the help of their charter accountant Balli (Paresh Rawal), to not only get his girl without the bloodshed Sanjana's uncles are accustomed to but also teach them a lesson or two along the way.

To be quite honest, if you're expecting logic, intense story-telling and powerful performances or anything similar, this isn't the film for you. Its loud, it's out there and it has Salman Khan in it. Now he wasn't the person you would expect in a role that was originally, and in the subsequent remakes, tailored to be a college going youth but that's not to say it doesn't work for him. Thankfully, they have taken the college backdrop out of it and just kept the fun. In fact, the role has been re-written to suit not only Salman but his style of comedy that was present in Wanted and Dabanng. The actor aims for your heart and worms his way in whether you like it or not. Both him and Paresh Rawal are sure to have you in fits of giggles from start to finish even though Paresh enters after the interval. At the same time, this isn't Paresh's awesome best that we are used but that doesn't take away from his awesome work. Yet while Salman, and Paresh too, seems to be visibly having fun bringing the house down, leading lady unfortunately, Asin doesn't make much of a mark. Given that she has major part in driving the story, it's a poor show from Asin who looks out of place at times and hams badly with some questionable styling and make-up. The entire ensemble playing the Kapoor family which includes Mahesh Manjrekar, Anuradha Patel, Manoj Joshi and Manoj Pahwa are mad fun to watch as they bounce off each other in the later portion. Akhilendra Mishra is a little too loud but is meant to be at the same time. Sharat Saxena is in the same category but scores better as he's a few decibels lower. Sudesh Lehiri is just about ok. Sunil Patel and Thomas Xavier for cinematography make their presence felt with some decent camerawork while Pritam comes up with foot tapping tracks with Character Dheela not showing any signs of dropping from the charts any time soon. Special mentions are in order for Devi Sri Prasad who makes an awesome debut in Hindi with Dhinka Chika. But the film does have set backs.

Editor Ritesh Soni could have used his scissors more liberally to keep the screenplay a little tauter. But in his defence, the writing has a few speed breakers in it for sure with locations not matching to the screenplay. Plus the lack of chemistry between Asin and Salman doesn't help the love angle of the story. So where Anees scores major points on his signature fun factors, he loses out when he gets tries melodrama, especially in the climax. Yet with that said, the film does make it up majorly because of Salman and his one liners care of Farhad and Sajid.



So while Ready isn't rocket science, its Salman's masala magic science. Take off your thinking cap and you’ re sure to be entertained thoroughly.

Rating:  

Badrinath Review

The news of a new film from V.V.Vinayak regardless of who is in it, is enough to get hype started. After the successful Adhurs, Vinayak's Badrinath sees him join hands with Allu Arjun and M.M. Keeravani after Bunny and has Tamannaah in the female lead. Adding to this, the news of 22 sets being formed for the film,a first for TFI, and Arjun travelling to Vietnam for special martial arts training and the hype just kept building up. But with Geetha Arts and their rigorous publicity taking everyone by storm, is it a case of too much hype killing the film? Will Badrinath be able to withstand comparisons a host of other films and still make a successful mark? Yes and maybe. Read on to find out what its about.



The location is Uttarkhand. For centuries, the Hindu temples have had many devotees flock to see the deities and seek blessings. But devotees are not the only ones that come for "darshan" so as a safety from evil doers, each temple instates a protector and a keeper for all of temples as well. Bheeshma Narayan [Prakashraj] who runs a school that trains in martial arts for the protectors, is the keeper looking for a successor. To him, his star pupil is Badri [Allu Arjun], fearless and powerful, is the perfect choice. But complications arise in the form of Alakananda [Tammanaah], an atheist due to her past, she comes to the temple with her grandfather as he seeks hope against a danger threatening Alakananda's life. Initially annoyed, she soon develops a soft spot for Badri. But just as she is about to tell Badri of her feelings, she finds out Bheeshma's intention. Knowing she can’t withstand up against faith and devotion, Alakananda has just about given up when unknowingly, Badri shows her a way through prayer that he promises to help her with. But nothing comes easy and for her prayer to become a reality, she must return in time for the special pooja in 6 months time. Will Badri be able to save her from her danger and bring her back? Will he become the keeper like Bheeshma Narayan wants him to be? Confronted by his beloved guru, Badri's loyalty to the temple and his guru will be tested as he fights between his responsibility and his promise. 


Let me just say that the concept of a story with a temple back-drop is not something new so originality is not questioned this time. For “Stylish Star” Allu Arjun, Badrinath is a step back into the action genre that we saw him previously do in Desamuduru. And there is lots of it. Known to go to great pains for a role, Arjun’s effort is amazingly apparent in Badrinath, whether it’s his strong point dancing or the action sequence. Tamannaah is gradually stepping away from girly cuteness to full blown glamour but thankfully she has a bit of acting to do, although you will need to wait for the climax for it. Prakashraj needs no introduction and the actor cakewalks through his role as guru Bheeshma Narayan. Rao Ramesh is okay while Kelly Dorji, Ashwini Khalsekar and the actor who plays their son Nani are nowhere near as powerfully evil as you’d like them to be. Tanikella Bharani, Kovai Sarala and Pragathi are limited in their scenes and pitch in their two cents. Comedy kings Brahmanandam, M S Narayana, Krishna Bhagwan and Raghubabu try their best to bring out the giggles but most of it falls flat.

On the technical side, Ravi Varman’s cinematography depicts the Himalayan backdrop in exquisite form and is a sight for sore eyes. Anand Sai needs a special mention for elaborate sets with each one amazing in detail. M.M.Keeravani’s music is also in no need of introduction with the whole album being contagiously catchy but Vasudhara and Nath Nath are sure to remain on iTunes playlist for a while longer. Editing is okay but how one wishes the action, although well choreographed by Peter Hein, was cut back for crisper sequencing.


However, for all the hype and publicity, Badrinath is not without its shortfalls. And the main culprit is the writing by Chinni Prakash. For all the elaborate settings and amazing cinematography, the emotion in the film is lost on more than one occasion especially in the love angle of the film. Lack of depth in the characters makes the characters seem melodramatic or just plain loud. On the other side, Tamannaah and Allu Arjun look good yet there is little to no chemistry between them and barring the climax, there is not enough chance for it either. All it takes is for a loving/longing look from Tamannaah and a song begins. Yes the songs are entertaining but they are inappropriately placed and simply act like speedbreakers. As do the action sequences which are long and gory. But perhaps the biggest setback is the lack of logic. Yes, there have been many films that don’t give any importance to logic but for the effort put in, the dodging bullets with a sword and jumping mountains scenes stick out like a sore thumb. I wonder if V.V.Vinayak doesn’t like law enforcement since not a single one turns up when the mass violence occurs.

Yet can I say I didn’t enjoy the film at all? To be honest, no since I was singing Nath Nath as I walked out of the theatres and not thoroughly disgusted at the waste money. But my fan girl status to Allu Arjun was not enough to save me from disappointment. Especially when I’m not a fan of massive bloodfest and I’d like some respect to the laws of physics.

Rating: 2.5/5

Sunday, June 5, 2011

Teenmaar Review


What is it about Teenmaar that makes it interesting? Beyond the obvious Pawan Kalyan and Trisha combo that hasn't been seen before, I guess it would be that the two are coming together with Jayant C Paranji for a remake of a film like Love Aaj Kal. An added bonus would have to be Tirivikram penning the screenplay and dialogue and Mani Sharma's hit music. But does a film that was a box office hit in Hindi despite the negative comments on the theme stand a chance as a remake, that too in Telugu where family sentiments dominate films in a larger ratio, a factor present in the negative comments for the original. Is a hit combo enough to pull the family oriented crowd? Is Teenmaar another successful remake for Jayant after Shankar Dada MBBS, a remake of Munnabhai MBBS? And can I really stay away from the original while reviewing Teenmaar? Read on to find out.



Michael Velaiyudham [Pawan Kalyan] is a chef in Cape Town that dreams of working as a banker on Wall Street. Fun and free spirited, life runs smoothly till he meets Meera Shastry [Trisha Krishnan]. A firm believer in enjoying life and with marriage far from her radar, the two hit it off fairly quickly. But with ambitions varying and reasons mounting on how they are doomed to end, Michael and Meera decide to part ways. For Senapati [Paresh Rawal], the issues that Michael and Meera use as reason seem odd after witnessing a love story like his friend Arjun Palvai [Pawan again] and Vasumathi [Kriti Kharbanda] in Varanasi almost 3 decades ago. The ultra-modern love story in front of him seems more out of convenience than love. Michael begs to differ yet forms an unusual friendship with Senapathi as they delve into the tail of Arjun's first love. Slowly but surely the tale takes a toll on Michael and his life. Even as Michael moves on with Michelle [Dana] and Meera with Sudhir[Sonu Sood], both are only a phone call away from each other. When they meet again, they relive the good times, if only as friends. But it becomes obvious things have changed. Yet it takes more than just fun memories and separation for a dillusioned Michael and a confused Meera to understand. When and how forms the crux.



Can I just say Pawan Kalyan is probably the last person that I thought of for this remake and now is the only person that could have pulled these characters off with more flare and charisma than Saif Ali Khan. I say this because I actually liked Saif in LAK and was worried Pawan might come off a little well, old. But trust Pawan to litereally smash any apprehension you have as he plays two distinctly different characters so well and with abundance that each will make you laugh, cry, swoon and get annoyed at on cue. The quiet yet strong emotions of Arjun as pines for Vasumathi remind you of his Tholiprema days and are an eagerly welcomed memory. Michael on the other has to be one of his most charming characters I've seen, a title I personally hold Sanjay Sahu from Jalsa at right now. With these two characters dominating the screen; Trisha Krishnan and Kriti Kharbanda have their work cut out for them to maintain some connection with the audience. Yet out of the females, Kriti Kharbanda leave a bigger impact with Trisha falling behind a bit this time. Although the character of Meera is one I can’t relate to and find confusing towards the end, Trisha’s portrayal was just about ok to a little bland for such a chirpy character. Whats more is much like her character, her stylist seemed a little confused as well. But then again, this is mostly due to high expectations on the actress who has done some amazing work in the recent past. Kriti is back in a full-fledged rôle after Ala Modalaindi and although limited with her lines, she does really well with her expressions and suits the rôle almost to a T, barring a dilemma with make up. Paresh Rawal will always be one helluva an actor with a distinct voice so while his rôle isn't outstanding, he cakewalks through it and makes an impression. Sonu Sood is a little eye candy on the side that you feel sorry for towards the end but like Paresh, he doesn't get much to do. It would have been nice to get a different dubbing artist for these two actors though. Dana is super sexy but that's about it.


Now to the technical side of things.First up has to be the cinematography. After a long break cinematographer Jayanan Vincent returned with Om Sakthi last year and despite the film not doing so well, garned much recognition. With Teenmaar, you witness some of the great work again with Capetown and Varanasi shown in new light. The dialogue definitely has the typical Trivikram touch, working wonders in so many places yet some may find it to be a little squirmish attempt on occasion for the normally family friendly writer. Jayant was smart to change a few scenes to suit the south audience but he is isn't consistent. One of my fav scenes that shows off the duo's capacity if the scene about kissing with Michael asking the question and Arjun answering. Editing by MR Varma only enhances this scene further. Mani Sharma music worked well with the film with Sri Ganga and Chiguru Boniya the pick of the lot with Aale Bhale being infectious.

Yet the remake does have its downfalls. While Jayant's adaptation proved a clearer picture, the director does the same mistake as LAK with a patchy screenplay. Add to that, MR Varma's insufficient use of his scissors and you will find yourself a little confused and bored where the dialogue doesn't save you. However, like the inconsistency, this too is not frequent. It also would have been better if the characters Michelle and Sudhir weren't so 2 dimensional. Yes, they are only there for a short period but the screenplay doesn't allow you to feel for them making the emotional connection a little weak. Another setback is the re-recording is rather poor and sticks out like a sore thumb, taking away from the scenes.

Rating: 3.5/5- All said and done, Pawan makes up for most of the setbacks and is thoroughly enjoyable to watch.
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