Akira (Hindi) Movie Review

***This is a repost review from Bollyspice.com***

How do you begin a review of a film like Akira? It’s a remake of a Tamil film in the hands of A.R.Murugadoss. Yes. It has Sonakshi Sinha in her first ever full blown action role. Yes. Vishal and Shekhar set the tunes for the first time with ARM. Yes. So what makes Akira different? Well, it’s yet another sample the Bollywood audience is opening up to new films and directors are sitting up and taking note. Santha Kumar’s original script was written with a male lead, a romance angle and a complex screenplay that blew you away. Akira stands out despite being a remake because of the masterstroke in ARM’s additional screenplay and judgement call on changing the gender of its lead actor. It is still very much a commercial film but where it takes away the extra masala you would see in most films, you are given a new facet to reflect today’s women and society itself.

Akira is the story of a simple girl, trying to adjust to her new life in Mumbai until she goes through some pretty extraordinary circumstances. Starting in Jodhpur, Akira is the witness of very cruel, very real crime. However, when she faces the backlash of testifying, her father takes her to self-defense classes and teaches her to be strong. The strength she builds is not only physical but emotional as well. But you don’t get to thrash an influential individual scumbag son without repercussions. It is only after being released from the remand home that her true litmus test comes. And that too in Mumbai city.

Enter ACP Govind Rane (Anurag Kashyap) and gang of corrupt cops. What started out as a simple act of greed in an opportunistic situation, turns into a whirlwind of lies, cover ups and murder, with Akira falling smack-bang in the middle. But Akira is not giving up. How she fights for the truth and to get her life back forms the story.

The film proves that as a story, you can remodel a film to suit a different audience and yet stand ground on its own film. The story of the wrongfully accused isn’t new but the temperament is a great mix of fantasy and reality. It is sad to say that the judgement people make regarding individuals with mental health issues is far from compassionate. Add in the police brutality that overshadows so many hard working men and women, and you see a slice of life. Then comes the conveniently placed fantasy. A highly sedated Akira thrashing the bejeezus out of security guards? A well-known in the media case closed for the purpose of avoiding a goonda’s wrath? A little curve ball-ish but when the audience is clapping for Sonakshi to stand up again, you know the cinematic liberties are doing a decent job at entertaining at least.

ARM’s choice to change the lead is one that has to be applauded since today’s women are strong, both physically and emotionally. The scene where Sonakshi hides for fear of thrashing her college bully’s gang is a stroke of genius. After all, why would a “girl” fight back? Even if it’s a girl that’s bullying her. R.D. Rajasekhar’s cinematography is real in Mumbai and brings out the mood naturally. A. Sreekar Prasad has done a decent job with editing, especially since there is no song and dance routine and most songs playing over story time. Vishal-Shekhar have taken steps away from their ‘Baby Ko Bass Pasand Hai’ tunes and it works well for what it’s worth.

Now comes my favourite part. The lady of the minute, Sonakshi Sinha. Wow. There has been many mentions the actress was being whimsical with her choices and playing the damsel too often. But her performance in Akira is just marvelous. There seem to be a little struggle as a fighter (Action by Anl Arasu) initially, but she picks up the pace quickly. From playing on the femininity and being sensible to engulfing her foes in rage, she is AKIRA!

Even her younger version Mishilekka Arora is strong in short screen time. I have pretty much only one word for Anurag Kashyap. Sensational! Why have we not seen him on screen before, we will never know. But for the love of all things cinema, I hope we see him more often. The actors playing the corrupt cops are adequate support but Anurag just takes over with his oh-so-enjoyable creepy cop.

Konkona Sen Sharma plays Rabiya CP Crime Branch to the tee. She is silently confident but is shrewd. The concept that the police are always way behind the criminals is broken with her investigation. The cat-and-mouse game to finding the truth is depicted in true ARM style as he keeps close to the original but makes enough changes to keep the audience engaged. Amit Sadh doesn’t really have much of a role as the friend/love interest. It’s only at the end credits you see they are together. Ankita Karan Patel underplays but also has little to do, even though she plays a catalyst. Raai Laxmi is apt as Maya. The rest fall into place.

So without doing too much chest pounding and with a perfect choice in lead, Akira is not without flaws but still leaves you engaged, enraged and entertained. 

Rating:3.5/5

Bahubali Review

** This is a repost of my review for Bollyspice.com**

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

Detective Byomkesh Bakshy Review

** This is a repost of my review from Bollyspice.com**

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

Shamitabh Review

** This is a repost of my review on Bollyspice.com **

 

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

Baby Review

** This is a repost of my review on Bollyspice.com **

 

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 Bollyspice.com**

 

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

Mardaani Review

Bollywood goes through it trends and the current is having the leading lady as the main protagonist. Love her, hate her, it’s the classic they cannot be ignored. Some cases are of the next door neighbour like English Vinglish, and some have the woman that lost everything seeking revenge like Kahaani. Mardaani follows this protagonist trend but is the story we would skip over after reading the title from the newspaper. The one that makes our blood boil but we redirect our frustrations to social media venting or domesticity.

Shivani Shivaji Roy (Rani Mukherji) is a senior inspector in the crime branch unit in Mumbai. She is a street smart cop that follows her duty and is no shrinking flower. She knows her law and she knows what’s right. But everyone has a nightmare they hope and pray don’t come true. For Shivani, when a child name Pyaari (Priyanka Sharma) from her local shelter goes missing, she makes it her responsibility to find her.  Yet even she will not be able to foresee how far she will have to go to get her back.

Now let’s begin the dissection. Regardless of what you have seen Rani do in the past, I suggest you forget all of that before you walk in. She is unlike other policewoman depicted on screen in Bollywood. However, Rani needs to work on her action and surprisingly how she delivers the hard hitting dialogues. On the opposite end, Tahir Bhasin who plays Walt sinks his teeth right in and makes you despise his cockiness. The age factor is brought out in dialogue but also adds the edge as Rani is taunted by her “Under 19 team ka 12th batsman”. The flipside of course, is how she drags out the ego in him during their interactions.

Even though there is nothing wrong with Jisshu Sengupta or Priyanka Sharma’s performance, literally everyone in the supporting cast is forgotten in the battle between Rani and Tahir. This may enhance the cat-and-mouse play between them but when the film starts to falter, even they can’t save it.  It’s disappointing when the film starts off slow, peeks your interest, only to let it slide again. Screenplay could have been tauter to maintain the consistency while Sanjib Datta’s editing needed to keep verbosity in check. Cinematography by Artur Zurawski slips between cinematic sheen and real life grit.

However, credit will be given where due. Gopi Puthran’s writing definitely needs a mention since the story and facts behind it are nerve rackingly honest. Pradeep Sarkar may have been battered blue with his first film for predictability and wafer thin story line but with Mardaani he engages emotion to a level. Despite having patchy work in the second half and almost all momentum lost in the climax, the fact that the audience literally clapped as the closing credit rolled up means they were invested in the film enough to be shocked by its truths and coaxed by the slight liberties taken by its makers.

Mardaani is not an untold story but perhaps one of the few that dragged to light statistics no one wants to know. If anything can be taken away from this film, it would be the awareness of a startling and horrific truth.

Rating: 2/5

Khoobsurat Review

 Sonam Kapoor playing the lead role in the Khoobsurat remake made enough of a splash in the water well of b-town for people to notice. And now that the film is out, I guess it’s now up to the audience to make or break the film at the box office. The slight changes in Khoobsurat are there to give this classic tale new life and its setting is in a different era to boot. When it comes to remakes, the industry has seen its fair share. The question that follows is to whether it was worth buying a movie ticket to watch it or not.

For the likes of the modern generation, Sonam Kapoor looks the part and attempts to throw in the YOLO (that’s you live only once for the uninformed) attitude they can relate to. Fawad Khan fits in the character of Vikram Singh Rathore to the T and is quite dashing at that. But the one thing that most people will see as the sour grape in the fruit salad is there is no chemistry between these two nor is there any empathy for Sonam Kapoor from the audience. The audience is left completely stuck between a rock and a hard place because of this awkwardness. We have seen our fair share of wacky ideas being implemented in a field on screen but this particular one doesn’t work on the basis you don’t feel for Sonam in her endeavours to bring happiness to the royal family.

Ratna Pathak Shah as the queen and Aamir Hussain as the king play their roles sufficiently. Aditi Rao Hydari isn’t required to do much. Kiron Kher plays the Punjabi mother once again with her quintessential charm. But none of these established actors could save the gaping holes in the story. Yes the Disney backed film announces this to be a candy floss cinema that doesn’t require you to think but even the fun-factor of this genre is lacking severely. Adding in the music doesn’t strike a chord, barring the peppy Engine Ki Seeti. There is only so much costume design and cinematography can do to lighten the on screen mood.

All of the above mentioned factors come into play when you look at the film as it is. This is without considering the cult classic original directed by Hrishikesh Mukherjee and lead by the golden Rekha. So while the Disney banner can be all grand, the couple can be younger generation and we replace a middle class family with royalty, you cannot avoid the main problem with watching a film like Khoobsurat staring Sonam Kapoor and Fawad Khan. You don’t fall for the misfit as much as do for the cute looking prince in a sherwani or suit.

Sonam may be a Disney princess with Khoobsurat but you definitely don’t feel like you watched a classic with this film.

Rating 1/5

Yeh Jawani Hai Deewani Review - Meri Ankhon Mein

How people determine what is right, what is wrong, what morals are, how far one can go to reach their goals is completely subjective. It would be silly to think you can pinpoint every variable. For years, the concept of what is right and wrong with relationships has been depicted on film in what this writer calls an obviously biased approach. Relationships can be made or broken and reformed no matter your background, your upbringing, your educational capacity or even your emotional tolerance is. Or simply, to each their own. But, they are what they are and that is entertainment. Some appeal by making you think or feel, others make you dance and be alive. How does this all come back to Yeh Jawani Hai Deewani. Well, that's where the story comes in.

You see, there is a love story here. Its obvious from the promos. But thats not what this is about. Bunny (Ranbir Kapoor) wants to live. Every day. Every moment. And the world his destination. He's not the only one in his world of excitement, travel and wonder. But that is what he calls home. Some people are like Naina (Deepika Padukone), who scurry to finish their education to get a job but secretly wish for excitement to happen. What happens when they change paths. The first time? Naina finds fun, excitement, friendship, love and herself. The second time? Bunny regains lost loves, learns new lessons of life and finally let's go of his guilt. Neither is wrong. Neither is better off. Neither is the same after the interaction. Because that is what life is about. A decision you make from your own conviction at one stage of your life, may not be the right one for you later on in life. This doesn't mean that it was wrong to begin with. Just that the time and the people have changed.

Incredibly simple, but thought provoking. That seems to be the key to understand Ayan Mukherjee's Yeh Jawani Hai Deewani. Naina falls for the full of life Bunny but just as she was about to reveal whats in her heart, Bunny follows his to make his dream come true. Is she wrong in not saying how she feels? No. In fact, I personally have seen people walk away from relationships, be it friends or lovers or just family, because they didn't want to hold them back. Just like the dialogue, they are just different. It isn't the norm but this is what you can see happen in the house next door. Granted, they wont be wearing designer outfits nor have professional make up artist to look beautiful in every frame. But there are adults out there, who wish the loves long gone all the best and take away just the memories of good times.

Now not everyone will see a message first when you package this in a film with a vibrant Pritam's incredible OST, 4 incredibly beautiful people, who are supposed to be like you and me, then turn around and show epically spectacular scenery as if we all wake up next to the Swiss Alps. For that, Ayan would have to be excused of cinematic liberties. But can you deny that the little nuances in Ranbir's recap of his father's passing, or Deepika's exasperated "Ma" at the dinner table or even Aditya's outburst at Ranbir . Even Kalki jumping into the bromance hug between Ranbir and Aditya is something I have done innumerous times. No matter the trimmings and the actors capacity, the cast of YJHD is perfect for their respective character. Ayan makes you feel for them and believe them.

At the end of the show, even if you walk thinking its a time pass film with an awesome soundtrack, so be it. But after the glitz and glamour bore you, you might find yourself reminiscing. Who know, you might even end up opening your own mithai ke dabbe. 

Bullet Raja Review

** This is repost from Bollyspice.com review**

 

 

As a south filmgoer and Bollywood naach-gaana fanatic, masala fest movies are not new to me. Yet even when a film has all the trimmings of a throwback action film, there are guarantees it will work. Sajid Khan’s Himmatwala is testimony to that. Tigmanshu Dhulia is stepping into the commercial arena with Bullet Raja starring Saif Ali Khan, Jimmy Shergill and Sonakshi Sinha. The intention is to make a masala topped entertainer. The result is a film that throws at you every known cliche possible while bringing back some of the Dhulia style.

 

Raja (Saif Ali Khan) aka Bullet Raja and his best bud Rudra (Jimmy Shergill) lead this rise of a commoner to become a dreaded gangster with the love angle covered by Mitali played by Sonakshi Sinha. But for every rise, there is a fall and that’s where Sharp Shooter-come-local law enforcement Inspector (Vidyut Jamwal) comes in. How this happens and who becomes the unsuspecting friend in need and foe in sheeps clothing forms the rest of the story.

 

The one thing you can bank on in a Tigmashu directorial is a surprise package and fireball writing. The stuff that made the greats known for their commercial success. Saif Ali Khan may not be known for his masalafest films but everyone remember his killer performance of Langda Tiyagi when you mention Omkara. Probably his most ruffian role to date, it is matched and taken up a notch with Bullet Raja. But the surprise packet isn’t his transformation. It’s not even Sonakshi Sinha, who may be the exception from the norm in modern day heroine types but she still doesn’t get to do much with this film. It’s Jimmy Shergill once again. The actor has played sidekick, best friend, miniscule role that has no significance so many times but we have secretly wished for more from the actor. Yes, he is the best friend bud the actor plays his role of Rudra to the T. Vidyut Jamwal is a professional martial artist and you know he does his stunts with precision and care, yet the is nothing to stop you from gasping and going ‘woah’ from the moves he makes. Ravi Kishan and Chunkey Pandey do what they need to and that’s what you get. Although Ravi doubles up on the screen time with his ‘Radha’ performance. It’s nice to see Gulshan Grover back on the big screen but i was expecting more. The rest are apt.

Yet even as you think that’s nice about the performances, you know something is missing. It’s not completely the writing (Tigmanshu Dhulia and Amaresh Misra) since the firebrand writing is visible even in the dialogue and excuses the infinite versions of the story we have seen before. The music is by Sajid-Wajid is as dime a dozen as they can get so it does register as a component. When you think about it boils down to one simple fact. The name Tigmanshu Dhulia. Synonymous with some highly critically acclaimed films like Paan Singh Tomar and Saheb, Biwi and Gangster, you expect something from him. Something will knock you socks off. Nothing grand required but something. That is what’s missing. As mentioned, the film has all the trimmings that the aam-janta want. So in essence, the deal is done for the director saheb. But not for someone expecting his brand of films.

 

So take a deep breath, forget the past and you will walk away from the film thinking ‘time-pass’. Otherwise, you will be severely disappointed with there being nothing new at all. Just a bunch of performers, trying to make a kid’s toy gun look real.

Our rating:

 

Zanjeer Review

**This is a repost from original on Bollyspice.com**

 

The biggest hurdle that a remake has to cross is the passion of the fans of the original. Zanjeer 1974 was no ordinary film. There was so much to this film that made it extraordinary: classic in status, the Angry Young Man icon for Amitabh Bachchan, the genre shift from romance to action with story-telling and let’s not forget Mona Darling. Pretty hefty stuff if you think about it. Nevertheless, the fresh team for Zanjeer 2013 headed by Apoorva Lakhia, has had a debut, a comeback of sorts and enough off screen drama to give a bit of original hype to the remake. But hype doesn’t make up for audience impact nor an entertaining story. Ok so the original film was of the same simple story of revenge and action and yes, it had a bigger hand in Amitabh’s life than played by Ram Charan. But in the end, the fact that this remake falls prey to being a poorly made remake shows that not all films can be adapted to the times and times have changed.

 

The story has been seen enough times for anyone to pick a screenshot and know what is to happen next so no attempt to bore with the details will be made.

 

Most people will tell you that doing cliche is no rocket science, something this writer too has done in the past. Yet it comes back to one thing. The era of films have changed. The audience has changed. So yes, Zanjeer is your typical masaledaar fest with enough throwback to show respect to the original but enough ingenuity to pack in its own garam quotient. However it all falls flat on the questionable writing skill of Suresh Nair and Apoorva Lakhia. There is no suspense, no build up to the climax, not even a smoky effect of ‘expect the unexpected’. Everything just goes by the checklist and like the dialogue, makes no bones about being crass. Right from the Shaqila Bano item number to the logic-lessness.

 

Yet the good versus evil caper has its moments and that is thanks to the cast and their performance. Namely evil Sanjay Dutt turned good Sanjay Dutt and the two junior artists that play Amar and Prem. Playing the Pathan ‘Sher Khan’ is like cheesecake for Sanjay and he turns out to be the only one that stays in character for the entire film. Right from lead Ram Charan, who goes from being strict and stern as Vijay Khanna then comical when Amar-Prem turn up for rib-tickling, to Prakashraj, as he goes from being nothing but evil with confidence Teja in one scene to an old guy with a penchant to rhyme everything he says. Even Atul Kulkarni, playing a street-smart journalist with integrity Jay Dev, has a blonde moment.

 

But also, even with the cast, one has to wonder what was going on in the minds of the makers. Fair enough, Ram Charan steps back into the newbie-ville he catapulted out of with his Telugu film Magadheera, with his Hindi debut and the actor does try very hard. But when it comes to acting, if your face is motionless, your voice plays a huge role in saving you and his dubbing voice simply falls flat. A decision that cost Ram Charan crucial brownie points. Not to mention it was barely in sync with his lip movement. Priyanka Chopra was probably having starter troubles with the return to leading lady or was too preoccupied with her music career to notice how ridiculous her ‘simple NRI ladki role was, even if it was fleshed out more than Jaya Bachchan’s in the original. Mahi Gill was only there for shock value and a few funnies but there was no shock to add value.

 

It’s not to say these people aren’t talented since each has their respective filmographies does show it and that may be the reason for Gautam Parvi for casting them. But what happened, Apoorva? Resources to make worthy return to direction after 5 years, and we get nothing. Lack of vision maybe. Due credit should be given and in this case, the cinematography by R.J. Gururaj is crisp. Editing or production design by Chintu Singh and Sunil Nigevkar respectively werent half bad but for dollar value floating in the rumour mill, one would have expected much more. Yet when the ships captain is directing you into the iceberg, it doesn’t matter if the Titanic looked good.

 

Final call for Zanjeer boils down to simple things. Noone could undo self inflicted shackles. And Sanjay Dutt is the savior among the slaughtered.

Our rating:

 

Mayakkam Enna - My Take on The Film

The best way for me to describe my understanding of Mayakkam Enna doesn't come from explaining the story or the acting. It comes from the reaction of one character in the film. She plays the protagonist, Karthik's (Dhanush) sister Ramya. You will see at varying points the inclusion of his friends and their reaction to the events but this particular character is what determined this writer's understanding of the story and along with it, a simple message.

The life and struggle of a wild life photographer maybe the main point in the story but this character shows you that there is never one constant state of mind for people in your life. There is always going to be change. It maybe intensely displayed or just subtle. For cinematic purposes, Ramya, alongwith the other characters have a rather extreme change and reaction to everything. From when Sundar (Sundar Ramu) introduces Yamini (Richa) and Karthik reacts badly to when he returns after running away because of an intimate encounter to the same Yamini he developed feelings for. 

But life is not always about the love stories in our life and it most certainly isn't all roses. Besides being robbed of a prestigious award and recognition from the man he called his idol, Mathesh Krishnaswamy (Ravi Prasad), Karthik meets with an accident and loses the control most people would have of their emotions. Yes, I know its depicted like he is crazy but considering the so-called 'transformation' he goes through, its can be accepted if only in a loose format. After all, desperation and devastation can change any human being to a speck of their former self.  Coming back to the point, people are bound to change with situations. And Ramya once again changes from the sister who was so scared and pissed off at her brother for leaving her to one that makes subtle yet sharp comments at her by then sister-in-law Yamini. Even to the point when she in a fit of rage says that he should be institutionalised. If this isnt enough, her jealous streak comes out as well when the same brother receives a world renowned award, a much bigger achievement that of her husband, Sundar.

 

 So what's the message? Life is life. Challenging, beautiful, turbulent and unpredictable. So there is no point in thinking people will always be the same. Those that stick it out for a length of time arent surviving because they are the same person. Its because they work at themselves and through it all. The good, the bad, the ugly. Yamini and Karthik may be fictional characters but they go through turbulences that any married couple would go through. Some more severe than others.

But hey, this writer saw the life lesson in a film some may have thought was too long. Yes it needed a few snips here and there even while you enjoyed the picturesque-ness [Ramji], inebriating music [G.V.Prakash Kumar] and soul-stirring performances by the lead cast, but at the end of the day, Mayakkam Enna isn't anything different from Selvaraghavan's filmogrpahy. He doesn't follow trends and you can never guess what type of film you will expect when the mastermind is at the helm of things. He does things his own way and nothing quite prepares you for Selvaraghavan's films beyond knowing what he did before. Very little frills or splashes in the water but a whole lot of emotionally charged story-telling. That is the case with Mayakkam Enna, and as usual, brilliance is the current that works his magical waves.

Viswaroopam Review

Being a Kamal Hassan film, Viswaroopam had interests invested in it way before the filming started. The knack that Kamal Hassan has at bringing something new to the industry through film was evident again so while I am one of those that loves a good commercial film, Viswaroopam clearly was nothing of the sort. With Rajkamal International coming back to produce this Kamal Hassan written and directed feature, the film is as action packed and suspenseful as the trailer led us to believe.

The movie opens with Dr Nirupama (Pooja Kumar) talking to her psychiatrist about her husband Vishwanath aka Wiz (Kamal Hassan). Married to him out of the convenience he was a green card holder in the US, she overlooked his age and other issues but when it came to the point when she finds the right person that she feels for, she wanted to be sure she wasn't the only one doing the dirty deed. Now, the psychiatrist is confused and so are we. After all, domestics are common and rationalizing an affair is what most unhappy partners do. That is till Kamal Hassan makes his entrance. Then everything sinks in. His age, his behaviour and his manner that makes you think his preference lies elsewhere. Nirupama advises her doctor, and us, she hired a private investigator to do the digging and he becomes our main story follow character. But what seems like a domestic issue between 2 individuals that are bound by marriage, turns into much more when the private investigator loses his target but ends up getting killed on his pursuit a secretive group of men seeming to be working for a disabled man named Omar (Rahul Bose). Why was he killed? Who is Omar? And how this all links back to Wiz? Is something that must be seen to be understood.

The normal format I take in a review consists of discussing a bit about the performance of each character then moving onto the crew. But with Kamal Hassan at the helm, one can't really find words that haven't been said before. As Wiz, he cannot be seen as anything more than what he shows you but the catch is how much more he actually is. Not once has he overdone his role. Pooja Kumar who plays his wife may not have been around for a long time but there is nothing short on her skill. It would not be fair to say she provides the comic relief in the film since it’s the dialogue is what gives you the giggles. Andreah Jeremiah makes a beautiful entrance as a Kathak dancer Ashmita in Kamal’s class but as the story unfolds, a hidden extra kick in attitude comes up her character. Shekhar Kapur follows suit but next the main man Kamal Hassan, its Rahul Bose that stand out the biggest for obvious reasons. The stern, sinister and calculative exterior is only enhanced by prosthetic makeup. Yet you will be farfetched to find another actor that shines as much under all the restrictions. Jaideep Alhawat downplays the second in charge well while still retaining his own identity in the film. Samrat Chakrabarti is apt.

From here, we move on to the technical side of things. Honestly speaking, there is very little that is to be said about the technical side of the film. The reason? Sheer brilliance. Right from the cinematography (Sanu Varghese) to music/background score (Shankar-Ehsaan-Loy). The way the team has come together and become the backbone support to the mastermind behind the camera is something definitely worth watching and I personally, would love to see again. Each aspect is crisp clear and balances the film. Editing by Mahesh Narayanan is only person that could have used his craft a little better. With a story teller like Kamal at the helm, we mustn’t forget that the proceedings need to be taught as well as captivating. The trailer showed that there is more than meets the eye for this film and its characters and that's what Kamal delivers. The sensibility and detailing he has as an actor is common knowledge and Viswaroopam he brings it to the fore as a writer and director once again after his 2004 critical and commercial hit Virumaandi. An example can be seen in the pigeons that are seen in the posters. Another seen-to-be-believed act of brilliance by the legend.

It would be juvenile to say Viswaroopam is not without flaws. However, what unfolds in front of your eyes stays with you longer than the editing that needs a little work. Some may even complain of repetition with a few scenes. In defence though, one would not have figured out the proceedings without them. One thing can be said, this feature is not for mindless movie lovers. You need to use your brain a little. Yet, this is not a setback for some to dismiss it as a little boring in parts. Viswaroopam can be commended for many things as even beyond the controversy that surrounds it with the content, you can be safe in saying that you have watched a film that is both up to date in content but in technical brilliance. While some may say this is an Indian version of Mission Impossible, this writer would prefer to step away from comparisons since the story has not been handled with such maturity and sophistication before in her lifetime.

Even as this reviewer finishes with a big thumbs up for the suspense action flick from the Maverick that is Kamal Hassan, the only thing that leaves a feeling of disappointment after watching Viswaroopam is the delay, and subsequent anticipation, for the release of Part 2.

Rating: 4/5

Makkhi Review

*** This is a repost from the review at Bollyspice.com***

Good things come to those who wait is the saying. Director S.S.Rajamouli has surely made us live that phrase with his latest offering Makkhi. After announcing the film, the director decided to let our imagination run wild when he explained the story was simple. A guy gets reborn to avenge his death and save his girlfriend from the high profile bad guy. A common story that not only Hindi cinema but the entire Indian Film Industry would have tried to depict at least once. But the killer appeal for the audience this time is our guy is reborn as the common house fly. Now are the pieces falling into a tiny sequence in your mind? Intrigue peaked? Trust me when I say this writer went berserk looking out for clippings, promos and the ultimate trailer before this movie (finally!!) released as a bilingual, shot simultaneously in Tamil – Naan Ee and Telugu – Eega.

Now having seen the film in Telugu and in Tamil, what would Makkhi, the HINDI dubbed version provide a repeat viewer. The answer? Almost the exact same exhilarating ride as a first time viewer. The effort taken in by the whole team is really hard for anyone to explain in a justifiable manner. Makkhi must be seen to be believed and experienced in its full capacity. Be it the tender love story of an independent girl, Bindu played by debutant Samantha Ruth Prabhu, who slyly brushes all efforts by her love struck neighbor, Jani played by South actor Nani, although she too feels the same. Or the devilishly suave advances and sinister acts of Sudeep retaining his name for his character that makes you both hate and love him in equal quantity. Or the struggle this bad guy goes through thanks to the little hidden hero that makes his life hell. Love, laugh, smile, smirk, cry or even cringe all you want but know the team of Makkhi , from the actors in front to the VFX behind the magic on screen, are pulling the strings and will make you fall prey to their charm.

However a diagnosis is needed, isn’t it? And yes it does start of quite simple. Boy is in love with girl. She loves him too but won’t show. Enter bad guy who lusts after her. He finds out about him and kills boy. But this maybe just 20 minutes of the story and granted it may not seem much but what progress on screen will have you spellbound. As Rajamouli states, this is the ultimate revenge story so clearly that’s where the real fun lies. But if the story doesn’t take your fancy, the actors will surely keep you involved.

Hands down, Sudeep takes the lead in the actors. Not only with filmage but also quality of performance. As sinister as he is supposed to be, its the other shades of his character and the fact his opponent is a VFX product AFTER the scene was shot that stands out about him. Nani is only present in the first 20 minutes of the film but he adds to sweet romance in a calm, confident and cute manner. Leading Lady Samantha is someone you will see walking down the street and at the supermarket. No big whistles or horns. Just a simple girl with a special talent. The same, however, cannot be said for her appeal as it hits home harder than the girl next door character she plays. All else are competent.

When it comes to a film like this, the visual is half the work. M.M.Kreem brings out the visuals with each scene with his background score making it an electrifying experience while the songs are sure to reach your ears pleasantly with Lava Lava making an interesting mark. Editor Kotagiri Venkateswara Rao keeps the screenplay by S.S.Rajamouli in ship shape, while cinematographer Senthil Kumar makes sure each scene fits the bill, whether its the whirlwind in a glass or the reflective light of a torch. Art director S. Ravindar pulls out the rabbit from a hat on this one.

Was I impressed? Was it worth the wait? Did Rajamouli yet again? Clearly a big fat YES to all of the above. Now for the folk in B-Town, the figure that is S.S.Rajamouli is not entirely familiar beyond the news and gossip of his critically and commercially claimed film Magadheera that was at one staged rumored to be remade in Hindi. Maybe few more folks would have known about Son Of Sardaar being a remake of his Maryada Ramanna. But Makkhi is the film that will introduce him to the audience of Hindi cinema, even if it is a dubbed film, and bound to get the fan following that he enjoys in the south with Ajay Devgn and Kajol’s vocal cameo’s standing testament to it . Even the little niggling bits of length don’t stand a chance against his Midas touch.

Makkhi is a magnificent adventure lead by a minute hero.

Our rating: 4/5