Saturday, October 17, 2015

Jazbaa Review

It would be interesting to find out why a particular title is given to a film. Jazbaa can be translated to mean ‘emotions’ and on paper the story behind Jazbaa is to do with emotions. The protagonist’s relationship with her friend, her daughter and the kidnapper bring out emotions that drive the story. However, it also drives our emotions from bored to depressing to fed-up.

Aishwarya Rai Bachchan plays successful female criminal lawyer Anuradha Verma. Life is perfect as she has just won her latest case by using her intelligence and a little bit of bribery. Even though she is a single mother, she is without guilt of repercussions due to her ambitions. That is until her daughter gets kidnapped right before her eyes. The kidnapper wants to utilise her ambition and fame to release a known rapist and murderer, Miyaaz Sheikh.

On the other side of town, Irrfan Khan plays corrupt and ‘under investigation’ police officer Yohan. While we are told he is highly decorated, this does not rely on the number of medals he has received. The bribery allegations against him give him a dark façade but his friendship with Anuradha (which is a strong relationship of many years) depict him the good guy, stepping up when he is needed.

What is supposed to ensue is a cat-and-mouse game where the successful lawyer becomes a pawn as she thwarts all attempts to hang Miyaaz Sheikh in exchange for the release of her daughter. Yohan provides the veneer of hired muscle to supplement Anuradha’s crafty investigative technique even though he was the investigating officer in the original case. Do they find the evidence that they need? Does he really get set free? These questions are supposed to be answered over the 2 hrs of the film but for any crime-loving, suspense-thriller fanatic the story and its twists are obvious from the 35th minute of the film where Sanaya (played by Sara Arjun) gets kidnapped. The only peak of interest you will gain after this point is when the case details against Miyaaz Sheikh unfold. After this once again we are subjected to melodramatic performances and uninspired writing.

The disappointments don’t stop there. Background score by Aman Mohile may have been on point but music by Sachin-Jigar, Abhishek-Ramya and Arko leave a lot to be desired. Aaj Raat ka Scene is most likely to be used in the club scene a little longer. The song was perhaps intended to be a relief in the nail biting screenplay. It truly is a relief to the boredom of that screenplay. On top of this the logic has taken not even a back seat but has been left behind altogether. One would assume that since the investigating officer is under corruption charges, a top notch lawyer would be able to use this to get her client off quite easily. Yet we go through episodes of investigation to give the premise that the killer is actually innocent.

Aishwarya Rai Bachchan hams her way through the court scenes where she is half decent. Irrfan Khan needs no introduction but sometimes the weak writing even makes him look bland. Shabana Azmi who plays the mother of rape victim Sia is competent in the role but proves to be lacking in the final summation. Atul Kulkarni as public prosecutor is dignified but lacks screen space. Watch out for Jackie Shroff in what could be considered a cameo due to the length of time he is allotted. The remaining cast including Abhimanyu Singh, Chandan Roy Sanyal, Priya Banerjee and Sidhanth Kapoor give their two bits reluctantly.

Remakes are not something new in our industry and this too is a remake of a Korean film. Yet Sanjay Gupta’s everlasting love to extenuate and exacerbate the melodrama is once again at the forefront of this movie. The end result is watching for the sake of watching but not actually connecting with anyone. Jazbaa proves to be emotionless.


Wednesday, October 14, 2015

Puli Movie Review

*** This is a repost from my review on with minor changes***

As a renowned nation for mythology, kingdoms in faraway lands and fables in general, the big screen is seldom kind to the filmmakers who venture down this magical path and stand as pillars in history to rewrite that sentiment. But taking away the money bags, the bottom line shows that we love these stories. They fascinate us to no end. If they are told right… Puli is not competition to rewrite history but another venture to exploit the interest Chimbu Deven tapped into at the start of his career in 2006. How one wishes he didn’t.

You see, Puli is neither mythical nor does it have magical lure. There’s magic. In Natarajan “Natty” Subramanian’s camerawork that make you appreciate his skill of capturing a figment land of Chimbu Deven’s imagination. There is magic in T. Muthuraj’s production design. Makuta VFX listed on the crew was a selling point for me since they have been having praises flooding with each release. You appreciate their efforts and in the same breath wonder why. Why Chimbu Deven could not keep his end of the bargain up. The director who has made a career of refreshingly new stories and screenplays in the South has lost out as Chimbu Deven, the writer made a royal mess of the screenplay. The technical team and the cast could be giving the performance of their lifetime but it wouldn’t make up for the gaping holes and tacky writing. Even if you take the subject audience to be the kiddies, there is a good portion of the pre-interval that is just inappropriate for them as well. Result? Bheja Fry. And that is something that continues throughout the film. Devi Sri Prasad may need to re-jig his music mojo as the album/BGM is passable and that’s a lot less than what you can expect from the usually dependable music director. Yendi Yendi lingers long enough to score a spot on a repeat playlist. Jingaliya and Mannavane will work for a while but are like most drum heavy tracks.

In relation to the actors,“Ilaya Thalabathy” Vijay as he is fondly known should be applauded for the choice of role but all you feel is pity. He tries to make each scene count and fails miserably. The Queen even before Puli, the Sri the Devi the Ji (Thanks to Salman Khan for coining the phrase) has always been exotic but she brings on a new kind of hypnosis and radiates elegance. Kiccha Sudeep transforms every time you see him on screen. His smouldering sinister side just doesn’t get enough meat to nibble, let alone chew. The lovely ladies Shruti Haasan and Hansika Motwani have one portion of the film and 2 songs each with Vijay. They were definitely not expected to act with gusto but beautiful they both are. Nandita Swetha has 2 scenes and 1 line so I don’t know if that counts as a cameo. Thambi Ramaiah, Sathyan, Vidyullekha Raman, Prabhu Ganesan, “Aadukalam” Naren, Vadivukkarasi and lots more are in the cast. Yet there is little for them to do.

If you are looking for the story, you already know it. It’s LOTR, Prince of Egypt, The Hobbit, Gulliver’s Travels and etc. mixed in with a few badly made martial arts films. The repetitive isn’t going to bother you as much as being bored to death. And then being told there is another 2 hours to go.

Chimbu Deven’s Puli has less roar than a day old cub with pneumonia and no cuteness to substitute.

Rating: 1/5 
P.S. There was no mention of logic or Box office capability for this film on purpose.

Sunday, July 12, 2015

Bahubali Review

** This is a repost of my review for**

Lets get two things straight. Bahubali was never going to be a shrinking violet and S.S. Rajamouli is not the type to make a quickie film with a so-so storyline. So when you step into the theatre halls for Baahubali make sure you leave the hype at the door and open your mind to a new world on celluloid. A world where courage is your armour, vengeance is your sword, honour is the life you lay down and victory is a throne in the hearts of the people. Make no mistake this is a fantasy kingdom called Mahishmati. But look hard enough and you may just find the truth behind the fantasy.

In a forest far, far away and beneath the landscape, Empress Sivagami (Ramya Krishnan) stumbles her way to the base of a waterfall with a child in hand. A child she sacrifices her life for to keep alive. Raised by Sanga (Rohini), a doting childless woman and one of the villagers, Shiva (Prabhas) is no ordinary man. He climbs a mountain no mere mortal can conquer. Only the likes of Lord Shiva himself could take the reigns over this task. He is persistent, but falls short every time. Yet it is only when a wooden face mask literally falls to his feet, he finds the strength to overcome this obstacle. His task, solely to find out whom the girl behind the wooden mask is. Mission accomplished but this girl is no damsel. She is Avanthika (Tammannah Bhatia), a warrior in the rebel revolution set on the rescue of their queen – Devasena (Anushka Shetty). So while it’s not the normal successful attempt of courting, Shiva makes his mark on Avanthika (literally) only to embark on a new path with more challenging obstacles.

Unbeknownst to him, Devasena is not just a queen that is captive. She was the queen but now khaas mujrim of unknown crime in the kingdom of Mahishmati ruled by Bhallaladeva (Rana Daggubati). Tormented every day and every night, Bhalladeva rules his kingdom with the same never-yielding nature to torment. It runs on the loyalty of warrior-servants like Kattappa (Sathyaraj) and the fear of his complacent people. His strength lies in his brute force, his treachery and his disabled father Bijjaladeva (Nasser). When there is no hope, there is no reason to fight the inevitable. The people of Mahishmati have resolved to their grim fate ever since the death of their saviour, their king Bahubali (Prabhas again). However, not every day will be the same. Not every day does a queen breathe a sigh of relief after waiting 25 years for a son to come to her rescue. Not every day does a ferocious ruler erect a statue for himself, only to be overshadowed by the force of his people’s chant for their saviour.

You will have people compare the likes of Hercules, Prince of Persia, 300, Gladiator, Lord of The Rings and even Karan Arjun with the unwavering belief Devasena holds for the return of her son. But trust me when I say, there is very little originality in most films nowadays that circle Bollywood. As mentioned, look hard enough and you will find it. But the question in front of you isn’t just about how original the script is. It is how was the story told? How far did the makers go to ensure we the audience are entertained with a fresh viewpoint and convince us to play along? Did the cast depict the life of a character without the audience thinking it was so-and-so actor in the role of such-and-such character? On these counts there’s no doubt, minds will be blown.
So let’s start with the cast. You will be farfetched to find a cast so appealing. Ramya Krishnan is regal in her commanding leadership. She plays authority with finesse and fierceness that you’re almost inclined to follow her orders. Sathyaraj is the epitome of honour as Kattappa and is perfection on screen. Regardless of if it is on the battlefield or his devotion to a sword in memory of his leader. Anushka Shetty scares you with her intro but could possibly the 2nd best and most anticipated character for Part 2. She barely has enough screen time yet she wastes none of it to display the fighter bidding her time. Even as these characters display with maturity and stature their varying dynamics, it is Rana Daggubati and Prabhas that stand tall even if it is barely over their 6’ plus frames. The two actors are in full form playing against and with each other that is akin to brothers in arms. Rana is such a pleasure to see as he flares up with ferocity and with a sinister charm bound to kill a few hearts in the audience. As Shiva, Prabhas is playful and full of wonder yet as Baahubali, he shines with dignity and level-headedness that of a leader.
A mention must be made for Nasser and Tamannah. Both actors have proven their acting chops before, Nasser more so. However, the actors both don’t match up to their former performances. Nasser has played the conniving manthri in few films already so it was almost cake-walk. Tamannaah may have struck out in landing a power-packed role in Hindi films but the lovely lady has been in the South for about 10 years and has proven her mettle there. Bahubali does push her limits and she struggles to play the warrior in some places which is a shame. Having said this, neither of these characters would be considered bad. More they are the weaker links in an epic collaboration.

There is no distinct difference for the Hindi version of Bahubali. Simply put, Dharma Productions and AA Media present the film, Manoj Muntashir is on board for the lyrics/dialogue and M.M.Kreem’s changes his choice of singers for a soundtrack to suit. A soundtrack that resonates in the halls as epically as the films does. So what makes this dubbed version of a film different from the rest? Well the answer lies in another question. What makes us push boundaries? Success? Maybe. Prestige? Possibly… For a director like S.S. Rajamouli so dedicated to his craft, the answer lies in his passion for cinema. One that he shares with the massive crew that worked in the film. This is collaborative effort and they all shared the dream of this 2 part epic. As much as that sounds like something a clichéd thank you speech, Bahubali is testimony to that effort and it’s evident on screen. The VFX team itself was 2000 as declared by the director at the audio launch in Thirupathi. How can one yield a team so vast without missing out? Rajamouli is known for his take painstaking efforts to make sure he and his team get it right. Bahubali is no different. V.Vijayendra Prasad set the storyline, K.K. Senthilkumar behind the camera, Sabu Cyril for set design but it is Rajamouli at his creative best that grabs the audience of multiple languages to identify and sync with the final product. The suspense of each character poster, the teaser which shows 1000 men working on the construction of a set, the making videos of the cast as they were grilled physically for each character. This dedication is rare and the output is outstanding.

I read a tweet from a random viewer which said people are running out of superlatives to describe the grandeur that is Bahubali. I too am lost for words as the fan of fantasy screams and shouts for joy but has to wait patiently to see Bahubali: The Conclusion.

Rating: 4.5/5

Sunday, April 5, 2015

Detective Byomkesh Bakshy Review

** This is a repost of my review from**

The highlight of any Sherlock Holmes story is never the story itself. When you look deep enough, there is always a dot point path that will lead to the solution for any puzzle. The allure of the clues and the unconventional mix of various fields from science to mythology. These form the highlight. 

All that forms the brilliance that is Sherlock Holmes and the madness as well, is but the stepping stones for Detective Byomkesh Bakshi as written by Sharadindu Bandyopadhyay. Even as Holmes overwhelmed the world, this Bengali Babu still had his own quirks and traits which made the stories and subsequent TV show so successful.

So with reliance so heavily on its main character for both stories, the casting director has a major pair of shoes to fill for this feature film adaption. Sushant Singh Rajput tries very hard to step into Byomkesh Bakshy. It may be a deliberate change by the writers Urmi Juvekar and Dibaker Bannerjee to bring out a boyish Byomkesh Bakshy. Unfortunately, given that the original series is about an experienced mid-to-late 20s sleuth, mincing words and playing aloof isn’t a part of the character which Rajput’s version brings out. This acts as a black spot in Rajput’s otherwise outstanding performance.

As newbie to the character Sharadindu Bandyopadhyay brought to life, it is a pleasant surprise to see Dibaker make a film quite different to the usual suspects at the box office. A tale of a missing person takes our simple genius on a goose chase at every turn. No one can be trusted and nothing is as it seems. Sure, there is a Watson and Moriarty to the Bengali Sherlock, but the magic comes full circle at the climax as all the pieces, and people, fall into place. While Sherlock may have more elaborate ways to tie everything in, Bakshy follows something of a different rule. The simplest idea will be the solution once all others are ruled out. What this means, is something you have to see to understand.

Superlative is really all you can say when it comes to the remaining cast. Be it Anand Tiwari as Ajit, who gets the ball rolling, or Pradipto Kumar Chakraborthy who plays the ever chai-making Puntiram. Each and every one makes a mark. There are literally not enough words to express the delight of watching a cast so effortlessly flow in a story and create magic with characters that are filled out just enough for a suspense thriller.

It would be naive to think there is any singing or dancing in this film. Right from the first teaser, it was evident the naachgaana variety of songs were not a part of the film. Sneha Khanwalkar, Madboy/Mink, PCRC, IJA, BLEK, Mode AKA and Joint Family, whose Life’s a B@£%h was used in the trailer, form the independent music composers which in its self, is a change. ‘Calcutta Kiss’ may stick with you thanks to Lauren Gottlieb, but the soundtrack is definitely an acquired taste. Yet when you look at the film, with its spot on cinematography and almost OCD level set design, the usual background score would not fit in. Dibaker has infused the raw and violent reality of crime and war on screen, so an equally unearthing background is to be expected.

The issue with such a film is now with keeping the connection with the audience. While the director and his crew have definitely worked hard to keep the film in tact and as close to the era as possible, tying up loose ends and keeping the momentum would have given an extra edge over the audience. And yes, you can overlook the reality sometimes stepping into Bollywood logic since for the most part, it doesn’t stick out like a sore thumb.

So the final verdict, Detective Byomkesh Bakshy is not your average suave, sophisticated sleuth. He makes mistakes, takes heroin to prove a point and dabbles in politics. But you have to admit, the detective has a method to his madness.

Rating: 3/5

Thursday, March 5, 2015

Shamitabh Review

** This is a repost of my review on **

Dhanush + Amitabh = SHAMITABH. Now its fine to think the obsession with Amitabh Bachchan’s voice has hit a new level with R. Balki making a movie revolving around it. The trailer tantalizes you with this obvious fact. But just like Dhanush’s ( i.e. Balki’s) reason behind the choice of name, there is something deeper behind the simplicity. Foundation set, now add the curiosity that is the debut of Akshara Haasan and the return of Dhanush Karthikraja after the success of Raanjhanaa. And may be some cameos of so many celebrities for good measure. Expectations high you say? Well, unfazed by all the hype, R.Balki takes us on a stroll, keeping his eyes set on his target. A film you can kick back and enjoy.
The story is this. Daanish (Dhanush) is small time boy that dreams of it big in Bollywood. He can blow your mind if you give him a chance. His ultimate problem? Not his height, his weight or his unconventional looks. It’s simply that… well you will find out when you see the movie. Enter Akshara (Haasan) who finds him on one of the sets she ADs for. Realising his talent, she aides Daanish with his dream and finding a voice. With the help of some Finnish technology, and a few trials later, they stumble upon Amitabh Sinha, a washed up grumpy drunkard who tried his hand at the big screen and failed. Now he lives in the graveyard. Together, they form Shamitabh and the stardom is instant but so is the rivalry. What continues is a contest to outwit, outsmart and outperform the other. Until…
Balki has always been about simple things but in a different way. We’ve all seen Big B perform and have possibly thought how majestic his voice is for just over 40 years. But this film is possibly one of the few if not the only, that utilises that fascination for the baritone voice on a story level. While the beginning is a bit choppy and does take time to drive its point, you don’t leave empty handed. Once you reach the point of story twisting, the sheer delight of watching two amazing actors battle it out, is bliss. Keeping it basic in emotion, Balki shows the good, the bad and the ugly of the pair. Now yes, he literally goes back to ABCDs of life to bring them together yet does not get preachy about it. He even has a satirical stab at mediocrity lasting longer than meaningful cinema. But that’s not the point being established. You see the ideology of water needing whisky but whisky doesn’t need water is naive. Especially when you realise whisky is only 47% alcohol. The full circle concept is essentially the base for the film.
Supporting the director in every way is the crew. Ilaiyaraja has fun reviving old Tamil classics, as the background score rose and fell at varying stages. P.C. Sriram does wonders and brings beauty to every frame. However, Hemanti Sarkar could have snipped a little more but indulgence is inevitable with Amitabh Bachchan on screen and Balki behind the megaphone. The love is very much obvious and has its perks.
Which now brings us to the cast. Amitabh Bachchan has played a drunk many times, a grumpy old man many times but as he stands opposite Dhanush, the sparks do fly. He is who he is, and the screen just loves him. Dhanush lives the role of a small town boy dreaming it big and the arrogance that takes over. Having to literally redefine the face of a voice known to many is hard enough but as he oozes the suave coolness of a superstar, not once do you see Amitabh’s famous ishtyle. Then there is Akshara, the one that keeps the egos at bay but is no ditsy sacrificial lamb. She is as funky and fiesty as her haircut. Totally natural to the point of somewhat raw but fits the role and stands her ground against the male leads.
This may not be Balki’s ultimate work but the man has to be commended for his approach and the depth behind it all. So the final word on Shamitabh is simply this. Watch it for the performers.
Rating: 3.5/5

Friday, February 6, 2015

Baby Review

** This is a repost of my review on **
Picture this. An elite team who target, intercept then either eliminate or bring to justice terrorists and criminals. Whilst on an operation to save one of their own, information is obtained (read smacked black and blue out of) from a criminal of a major attack. Travelling from country to country, now begins the chase to take out the masterminds behind it. Sound familiar. Well it should. You’ve seen it more than a million times, with one of the latest being Akshay Kumar’s Holiday. However, coming from the National Award winning Neeraj Pandey, you would think Baby would blow your mind. Yet the mind is not blown enough.
Right from the actors to the action, Baby was never meant to have the usual tone for a CIA-in-combat-fighting-against-terrorism storyline. It was more gritty, more swift, more dark. This isn’t about the patriot that screams his passion filled anthem at the top of his lungs. The unit of Baby are crazy, persistent and willing to go ahead with anything for their nation. All this even with the knowledge their government has plausible deniability up their sleeve for the rare occasion they get caught.
At the helm of the team, we have our martial arts master of screen Akshay Kumar. As Ajay, a paramilitary recruited under Feroze Khan played by Danny Denzongpa and his man at the forefront for the important covert ops, Akshay delivers and gets the most exposure. His collaborations with Anupam Kher the few comical scenes in the film but he sticks to his characterisation throughout. He himself strolls his way into our giggle bone and does his magic, wig and all. Rana Daggubati gets about 3 lines to say, is built like a tank and is aptly referred to as Hulk. At the same, you don’t really get a chance to see the actor enough to think he’s dopey also. Another character with not enough footage is Taapsee Pannu. In a short role, the lovely lass packed quite a punch, literally. Hopefully we will see more of her. Off the field, we have Danny Denzongpa who is forever reliable to be suave and oh so cool. Murali Sharma gives you the giggles everytime you see him on screen and Karan Wahi doing the backend hacking/paper trail/call interception is just okay. K.K. Menon is reliable for instilling fear without the extra bad guy buffoonery and does his bit while Rasheed Naz exhibits a cunning sinister character aplomb.
So what brings down this almost brilliant story? Well, a few things. For one, the blatant obviousness of the screenplay. Yes, having a cryptic script isn’t good but for a suspense action film, its kinda vital and the action can only do so much. What you end up with is somewhat a bedtime story. The climax is about the only time you are on the edge of your seat and it wasn’t the most exhilarating setup either. Then there is the lack of connection to the characters. Whether is Rana, Tapsee or Madhurima Tuli who plays Akshay’s wife Anjali, the loose ends and lack of depth couldn’t be covered.
Now we all know its the movie business, and while you can swallow the political smothered all over the place, you don’t really know what writer Neeraj was intending.
Baby is not path breaking, nor is it a commercially spellbinding film. The heroism is evident and yet, the music is lacking in feel. So is it’s lackluster affair, in Bold and Capital.
Rating: 1/5 

Action Jackson Review

**This is repost of my review on**
Whichever way you look at Action Jackson, the puns, the slapstick and the lack of plates for everyone to eat on in beginning is all synonymous with a particular kind comedy action masala. The little touches of style maybe what Prabhudheva is famous for and the leading ladies Sonakshi Sinha and Yami Gautham might add eye candy, but there is nothing new nor entertaining for this Ajay Devgn starrer. Besides Ajay of course.
In most cases, you would start with a story. Two guys, AJ and Vishy (Ajay Devgn) both look alike, no relation. One is a small time yet high powered thug. The other doing a runner from his Mafia Boss. Its all comedy and action with a dash of semi-nudity and lots of mini skirt/ghagra thumkaas till the duo join hands for… wait for it… more comedy and action. But would you call it comedy if it was unintentionally humourous like Kunaal Roy Kapoor foodie performance? I guess it’s not meant to be taken seriously. Why else would the Mafia Boss (Anantharaj) have orange suit wearing goonies to do his yes sir and still expected to be ruthless and menacing.

Chalo, maaf kiya. The back up isn’t that great either. Vijay Kumar Arora’s cinematography could only make up for so much of the shortcomings of A.C.Mughil’s story. The screenplays gapping holes seemed to have missed the eyes of Prabhudheva, Shiraz Ahmed and Mughil. With misfortune at hand, you can’t really blame Bunty Nagi for his editing but you do wish he had used his scissors more on the 145minute feature. Not really worth mentioning the music since Himesh Reshammiya  is hell bent on slapping his music to your ears or making you pick your own as to where you heard the original from.
So Ajay isn’t backed by the legendary story telling he has won awards for. Even Bajirao Singham had more snap the second time than Aj and Vishy put together. Sonakshi my darling, too much masala isn’t good for anyone. But keep up the workout. Yami needs a new manager if this was supposed to be a stepping stone for her into the big leagues. Manavsi Mamgai looks like a million bucks but you don’t need me to tell you that. Anantharaj hasn’t been seen in Hindi cinema for a while but somehow the actor who has had his fair share of stardom in the South doesn’t bring the pizzazz with him this time.
Normally turning off your thinking cap and going with the flow would work when you have films like Action Jackson. In fact it has most aspects from Prabhudheva’s previous films including a leading lady, Sonakshi. Yet, the ace choreographer and director has fallen short this time. No Action, No Jackson. Only an urge for extraction. From the theatre halls. ASAP.
Rating: 0.5/5

Happy Ending Review

**This is repost of my review on**
The duo that brought Shor In The City and Go Goa Gone have shifted gear with their latest offering of Happy Ending, starring Saif Ali Khan, Ileana D’Cruz, Kalki Koechlin and Ranvir Shorey. But don’t worry, Raj and DK have their message clear. You can’t make a difficult film for the aam janta (common people). How that would amount to an amalgamation Richard Curtis filmography is a different question altogether. Yet its not all bad.
Yes we see Saif Ali Khan for the umpteenth time as a playboy charmer man-child Yudi Jaitley, profession this time a writer. And yes, we have some very beautiful women including leading ladies Ileana D’Cruz and Kalki Koechlin falling for him. There’s also the easy drunk-married-yet-regretting-it friend Monty played by Ranvir Shorey. Lets add Priety Zinta in a special appearance and NOT a song, and our beloved Govinda to add some more flavour. Other than that, simply take the blueprint from any Hugh Grant film of the 90s and Voila.. Happy Ending.
Credit must be given though. Making fun of itself while being ironic about the fact that its copying does work for the film in parts. Defeating the critics ridicule as the writers know and acknowledge the spoofing has been done before but the film does flow through smoothly. At some stage, you may start trying to pick out the spoof as it isn’t slap-your-face-spoof.
Performances too will have you questioning yourself. Saif plays for us 2-4 minutes worth of Yogi and his wackiness, and this is not including Paahi, Tussi such a pussycat. However if the spoofism extends to roles, then what better way work Saif in and a dual role without the usual twin/cousin/magic explanation Ranvir Shorey is perfect as the married-but-regrets-it Montu, Yudi’s best friend and perfect example of his worst fear. Kalki Koechlin has slotted herself as the counterpoint but not used enough which is a shame. On the other hand, Ileana D’Cruz brings out a conventional and flirtatious modern woman on screen. It was nice seeing Preity Zinta on screen and I hope she comes back more often. No major histrionics required from her as the voice of reason though. Govinda has some great lines about the aam janta as Single Screen Superstar Armaan looking for a smash hit film.
Now its understandable the director duo were trying to implement the “Love is not a four letter word” concept. At the end of the day, it is very true that practicality has taken over our existence with everyone running after something. So the theme fits into the little bit of reality you will find in Happy Ending. Maybe you could add in the music by Sachin Jigar. But at the end of that  same day, you aren’t going to remember much more than the spoofed scenes, ‘G Phaad Ke’ hook reference and Yogi.
Maybe the cinematography will entice you enough to finally make the trip to the U.S. of A. Maybe you fall for ‘Mileya’. As you walk out of the halls, whichever way you fell, Happy Ending wasn’t matched up to what Paaji advised nor was it a comedy about romantic comedies. But you laugh, on occasion because you were warned.
Rating: 2/5
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