Showing posts with label Movies Reviews. Show all posts
Showing posts with label Movies Reviews. Show all posts
Wednesday, 25 January 2012
I watched this movie now and i think that you must know about this movie before going to cinemas to get the real picture of this picture.They say birds of the same feather flock together: Charlie Mascarenhas (Abhishek Bachchan) and Riya (Bipasha Basu) are partners in conning and daredevil robbery.
As a last gift, Charlie’s friend Raj (Aftab Shivdasani) reveals through a CD the possibility of a heist. “Ten thousand crore rupees worth of gold would be transported from Russia to Romania.”
Raj warns Charlie that this heist, an improbable feat, is not a one man job. He would need a team to execute it and the only person who can help him put up the team is ace thief Victor Braganza (Vinod Khanna).
Victor assembles the players – Riya, an expert machinist, Bilal Bashir (Sikander Kher), an explosive expert who likes foreign cars, Ronny (Bobby Deol), a magician, and Sunny Mehra (Omi Vaidya), a make-up artist. Naturally, the captain of this team is Charlie Mascarenhas and their goal – The Gold.
In today’s age, with the complexity of the internet, the team lacked a hacker. Victor’s daughter Naina (Sonam Kapoor) unsuspectingly offers help by suggesting ace hacker, Spider (Nitin Neil Mukesh), to the team.
In the show of one-upmanship, what follows the heist is a game of con and deceit at every moment of the film. For humour, there is MC (Johnny Lever) and his family.
Sleekly made with fine action, crisp razor sharp edits, speeding cars and exciting photography giving you glimpses of scenic Siberia, Amsterdam and New Zealand, the film reminds you of a Bond film.
The leggy babes with leotard and boots, the guys with stubble and leather jackets, the palatial villas, the elongated limousines, the long car chases, the heist on the train – everything looks glossy and out of this world.
The racy background score by Sandeep Shirodkar and the soundtrack by Pritam creates the adrenaline required for a thriller but unfortunately the well-intended choreographed numbers breaks the momentum.
Ravi Yadav’s cinematography and Husain Burmawala’s editing are worth a mention. Technically, Abbas Mastan have churned out a very fine movie.
Unfortunately, the film delivers without any emotions. It is evident that the actors have not put their soul to the characters; they have just walked through their roles. And it shows. The glycerine and the pancake take the applause.
Sikander Kher seems to have some promise. In certain scenes, Sonam reminds of Simi Garewal. Vinod Khanna, Neil Nitin Mukesh and Abhishek’s performances lack energy. Omi and Johnny Lever are stereotyped with their comic dialogue delivery. Bipasha has nothing new to offer and Bobby Deol is wasted in the minuscule role.
Touted as the desi version of Hollywood film “The Italian Job”, the script sticks to the basic plot but is unable to get into the recesses of its characters.
Wednesday, 25 January 2012 7
Saturday, 26 November 2011
It was 2009. The world has been hit by the financial crisis. But Jerry Nick Patel Mathur and not feel anything on your keyboard at home in London.
Nick is satisfied with his work of successful investment banking, the new bond in his pocket and his beautiful fiancee, Radhika, by his side, while Jerry is so used to scrape the bottom of the barrel and lives with his best friend Nick, who feels the recession at home. But life has a way of pulling the rug from under our feet.
Nick and Jerry smiling day Nick firm decides to reduce the size and unceremoniously fires him. And Jerry is informed by Social Services that his nephew Veer, whose premises guard Jerry's will be placed in a foster home, unless I get a steady job. But under his new alter ego Rocco and Hunter, now the two friends become rivals.
Saturday, 26 November 2011 4
Monday, 14 November 2011
The one that got away or the object of Jordan’s obsession is Heer (Nargis Fakhri), the posh ‘dil todne ka machine’ that Jordan pursues with a persistence that is so endearing. Curiously, the girl who JJ coins as ‘neat and clean’ has a passion for getting up to naughty hijinks, which he indulges her in including watching desi blue films and country liquor. Though Heer is painted similarly like Geet inJab We Met, the camaraderie between Kapoor and Fakhri works seamlessly. Imtiaz works so well in reinventing the old tropes of commercial cinema, and the blooming from platonic friendship to love is presented in such a witty and refreshing manner that you forget the predictability ahead.
Yet this is not one of those biopics into mythologizing like ‘The Doors’ we get both sides of the coin. With rock fame goes the famous adage, ‘sex, drugs, rock ‘n roll’, and when Janardhan transforms into the star Jordan, it would be inauthentic to shy away from all the voices offered at the top. Whether it is his onstage rant about free birds or passing the doobie around, Imtiaz makes the usual scenes of excess interesting because we are so invested in JJ’s trajectory.
The scope for this film is much larger and Imtiaz’s writing is much grander and operatic than before. This shift in Imtiaz’s own auteur’s touch is bound to polarize the viewers and the critics alike, but there is nothing better than a director attempting new directions. If Imtiaz presents us a rocker upset with fame, he also delves into the spiritual side of Jordan, who is a Sufi old soul at heart. The scenes where Janardhan hones his craft in the Nizamuddin Dargah and finds that spiritual high in the ‘Kun Faaya Kun’ segment work to peel away the layers of the Jordan we meet at the beginning. Jordan shows flashes of his boyish Janardhan, the hysterical Jordan and the whirling dervish Rumi and these many facets of his personality work so well in creating a multi-layered character that we care for.
The Heer-Ranjha allusions are all in place, along with a dash of rock and the study of fame and celebrity thrown in for good measure. It does not always work especially in the case of the second half, which dramatically drops and veers into ‘Love Story’ territory and coming off cloyingly cheesy. The open-door ending also may confuse and bother viewers and in moments as key as these, the film needed tighter editing. Toying with a non-linear storyline and using quick montages to aid in explaining backstory is equally interesting and frustrating at times. Jordan’s family strife is quickly mentioned and he is abruptly thrown out of the house? This may be nitpicking but the quick montage that act as ellipsis in the story do not serve the film very well, and the patchy editing does show during the second half
which tries to balance the right tone and mood.
which tries to balance the right tone and mood.
One missing moment is the creative evolution of Jordan’s music. Why is it that rock music appeals to him? However, in a film showing how a wannabe attains the upper echelons of fame, this can be sidestepped. But the lyrical musings and the genesis of all of his best-seller albums, which become anthems for social movements is glaringly omitted.Rarely does an actor these days go to such epic proportions of method acting retaining that innately desi hero mold as Ranbir Kapoor has here! From the manic whirling he does in early days to lashing out at the media, Kapoor never falls back into the archetypal rocker we have seen in other biopics and he just disappears into the role of Janardhan Jakhar and Jordan. Touted as ‘the next best thing’ this is the role that Kapoor just owns from the beginning making the transition seamlessly between the two personas. It would not surprise if he picked up many awards for this amazing role.
Nargis Fakhri is extremely beautiful, and shows promise considering this is her first role. Yet she is egregiously awkward and has only a few expressions that she uses repeatedly. However, she does have that waiflike and otherworldly quality and beauty that justifies why Jordan would fall for. Kumud Mishra as Jordan’s mentor-manager is amazing and conveys the exasperation at seeing the talented guy go through so much turmoil. Aditi Rao Hydari is equally good in her role as a cynical journalist and one wished she was onscreen for much longer.
The last cameo by Shammi Kapoor was absolutely wonderful and brought a tear to everyone’s eyes during his time onscreen. The meta moment of having two Kapoors sharing the screen together was worth ticket price and the soulful jugalbandi between the two was such a special moment for Indian cinema.
The music and background by A.R Rahman is wonderful. Hindsight is a wonderful thing, and the music eventually grew on this reviewer’s earlier judgement of the album. Some of the songs were seamlessly integrated into the narrative, yet during the crux of the film it seemed one after the other which did grate. Yet Mohit Chauhan, who is just as much a character in the film, completely works in sync with Kapoor’s edgy and devil-may-care attitude, Chauhan adlibs and gives Kapoor that extra mile to make Jordan a complete character.
Rockstar is one of those films that surpass the regular fare offered at the cinema each week, as each performer here has given their all and have come up with a grand and operatic film that proves a risky gamble for winning people over but it just works here. The movie is that game-changer for Imtiaz Ali and Ranbir Kapoor, who attempt to scale the artistic highs and prove to the world what they can achieve within the commercial love story genre by pushing all the boundaries. A must watch!
Monday, 14 November 2011 2
The story, crafted by Charley and Vlas Parlapanides, revolves around King Hyperion of Crete (Mickey Rourke) invading Greece on a quest to find the fabled Epirus Bow, with which he plans to unleash the Titans, long imprisoned in Mount Tartaurus. The King's quest brings him to the sleepy seaside village where Theseus (Henry Cavill) dwells, devoted to his mother and befriended by a kindly old man (John Hurt) who turns out to be Zeus (Luke Evans) in disguise. Zeus reminds the Olympians that some ancient and vague law prohibits them from interfering in the affairs of man (since when?!?) and that sets up the conflict. Theseus is soon joined by Stavros the Thief (Stephen Dorff) and Phaedra the Oracle (Freida Pinto), and together they find the Epirus Bow only to lose it to Hyperion. When the Titans are unleashed, Zeus finally accepts that they must get involved and along with Athena (Isabel Lucas) and a handful of other Olympians they set to re-imprisoning the Titans. At the same time, Theseus and King Hyperion have their final showdown.
Mickey Rourke, as I'd hoped, is the main reason to see this movie. Since his turn as Marv in "Sin City" Rourke has been hitting one home run after another. "Immortals" isn't going to garner anyone Oscar nominations, but it's worth seeing just to watch what an actor can do when driven to succeed and given the space to work. I've heard that Tarsem Singh basically let Rourke have at it, embellishing lines as he saw fit. True or not, the cool menace that he brings to Hyperion puts him in that "cool villains" category with the likes of Darth Vader (David Prowse/James Earl Jones in the only "Star Wars" films worth watching), René Belloq (Paul Freeman in "Raiders of the Lost Ark"), or Barbarosa (Geoffrey Rush in the "Pirates of the Caribbean" movies). Rourke seems to give himself over completely to Hyperion's cruelty.
Fortunately, Singh toned down his substantial artistic flare enough to make an accessible and generally fun popcorn flick. Not that there's anything wrong with artistic flare, but sword-swinging epics aren't the place for avant garde storytelling and overly elaborate costuming. The Greeks are traditionally garbed; citizens in robes and sandals, soldiers in Hoplite armor and the like. Singh gets his flare fix in with the Olympian gods, many of whom sport very elaborate head gear that also serve to name the wearer. Ares the god of war sports a spiked mohawk-style crown of sword blades whereas Poseidon's head wear is decidedly fishy.
The rest of the cast won't stick in your head nearly as much, though they are a very attractive lot. Henry Cavill reminded me a little of Harry Hamlin from the beloved original "Clash of the Titans." Stephen Dorff provides a little comic relief, but I don't think he steals a single thing in the whole movie--some thief! The ladies though...by Zeus they are lovely! Indian star Freida Pinto is gorgeous and does a decent job juggling multiple facets of Phaedra: a tough gal who can take care of herself, a wide-eyed virgin falling for Theseus and the haunted oracle who's visions seldom foretell any good news. Isabel Lucas is almost too cute to be Athena or perhaps it was her blond locks throwing me off, I usually think of Athena as a brunette. Even Theseus mother Aethra, played by Anne Day-Jones, is easy on the eyes.
The plot and storytelling were something of a mixed bag. Theseus is famed in mythology for ending the terror of the Minotaur. He does that here too, but it's not the mythic man-bull you're hoping for, just a large brute of a man wearing a bull mask. The sets are interesting if somewhat illogical and the pacing would have been awfully slow if not punctuated by Hyperion killing off messenger after messenger about every eight minutes. As far as I know, the Epirus Bow was invented for this story, and I have to suspect that the Brothers Parlapanides were fans of the old Dungeons and Dragons cartoon I watched as a kid, because the bow is basically the same as Hank the Ranger's, magic arrows appearing as the string is drawn. I was very disappointed with the Titans. I always pictured the Titans as huge monstrous things like the Kraken, famously unleashed in "Clash of the Titans" and infamously turned into a cute giant sea turtle in the remake. Here they are merely gray humanoid savages. I didn't see enough out of them to warrant the interference of the gods--I think the Greek warriors could have taken them. They mostly serve as an excuse to show off some flashy special effects, where the gods engage in a bit of "300" style slow-motion dismemberment in what barely qualifies as 3D. There probably isn't another movie with more beheadings and crown to crotch smashing than "Immortals." I'm glad the film didn't overuse the "300" slow-motion style, which with the films producers having also been involved in "300" there was certainly that risk. Strangely, Zeus never throws a lightning bolt the entire time, but the gods still put up a heck of a fight. I think it would have been better in 2D, since once again the 3D adds nothing but a headache and pinch marks on my nose.You'll probably find a number of reviews that will be more negative about "Immortals." I've seen one by some homophobe on IMDB who decried all of the rippling abs and broad shoulders as homoerotica. I've heard the same comments in every shirtless sword-swinging movie since Russell Crowe in "Gladiator." Get over it. If Singh really stayed true to ancient Greece, they'd have shot most of the scenes totally nude. The ancient Olympics were originally contested in bare skin. If you're afraid of seeing physically fit men in sweaty fight scenes, maybe you should quit watching these types of movies. I'm sure a number of women would love to have your seat. I didn't go in to "Immortals" expecting an Oscar worthy epic. I expected to be entertained (I was), to see how Tarsem Singh handled the myth of Theseus (creatively, but not bad) and to see if Mickey Rourke would steal every scene he's in (he does, and rightly so because that's what damn good actors do). I didn't notice any homoerotic overtones because I was too busy drooling over Freida Pinto and Isabel Lucas. The action gives a respectful tip of the cap to "300" without overdoing it and "Immortals" got right everything Louis Leterrier "Clash of the Titans" mess got wrong, with the exception of the use of 3D. Once everyone realizes that 3D doesn't add anything to most movies we'll all be better off. Based on my expectations, I enjoyed "Immortals" and have no qualms about recommending it. I don't need every movie to be socially topical and thought provoking like "Margin Call." Sometimes I just want to see Mickey Rourke make heads roll, and that's exactly what Immortals provides.
Sunday, 30 October 2011
In the romantic comedy What’s Your Number?, Anna Faris plays Ally Darling, a fun-loving 30-something who learns via a magazine article that a woman’s chances of marrying become infinitesimal if she’s slept with more than 20 men – a number which just so happens to be Ally’s exact tally. Apparently the highly suggestible sort, she accepts the magazine’s somewhat dubious findings at face value. Loath to embrace a spinster future, she gives up sex and concocts a scheme to revisit each of her past lovers to see if any of them might actually be The One, enlisting the aid of Colin (Chris Evans), a crass but amiable ladies’ man from across the hall who dabbles in detective work, to track them down.
The immutable laws of rom-com dynamics dictate what happens next. One by one, Ally pursues each of her exes to see if any of her old flames might be worth reigniting, even as it becomes increasingly obvious that she and Colin are meant for each other. Ally’s quixotic endeavor lands her in one awkward and humiliating situation after another. True love eludes her; laughter eludes us. Faris is one of the most skilled comedic actresses in Hollywood today, but even her formidable talents can’t do much with the hackneyed scenarios proffered by Gabrielle Allan and Jennifer Crittenden’s middling script.
Faris and Evans make a pleasing pair, and their chemistry is one of the few aspects of What’s Your Number? that doesn’t feel forced. It’s what keeps it afloat in between each unfunny gag. Sure, Ally and Colin’s eventual union is telegraphed from the opening frames, but that isn’t necessarily a problem. What is a problem is the story’s slavish adherence to formula, which renders not just the outcome but also the preceding plot points achingly predictable.
What’s Your Number?’s R rating and saucy subject matter portend raunch, but in truth the film’s humor is actually quite tame, save for a handful of filthy lines. For all its flaws, the script is not without wit. There just isn’t nearly enough of it.
Sunday, 30 October 2011 16
Friday, 28 October 2011
Himesh Reshammiya is back in front of the camera. This time he moves away from the wannabe-rockstar?s image to play a working-class nerd. Himesh?s Sameer is a bit of an idiot.
So he celebrates the departure of his over-possessive bossy girlfriend Shikha (Purbi Joshi) by dancing on the steets, making weird faces at passing chicks (who should be shown reciprocating with a stern scowl if not a slap but are instead shown giggling), messing up his tidy apartment and binging on booze with his unsavoury boss who keeps giving our Sameer wrong advice on how to handle women, particularly bossy over-possessive girlfriends.
“Damadam” has its nice sweet wholesome moments. It?s one of those innocuous romcoms that neither leave you impressed nor cold. The heartwarming moments come on when you are most expecting them and linger on screen long enough to make you forget how annoyingly misguided a character the hero really is.
There is a ring of truth to Sameer?s self-destructive rejection of a five year old seemingly stifling relationship for a posh fling in the tempting lap of luxury with his boss? classy sister Sanjana (Sonal Sehgal).
Shah Rukh Khan had done the same in Aziz Mirza?s “Raju Ban Gaya Gentleman”, giving up the comfort of true love for a fling with a rich heiress. To her credit, Sonal Sehgal doesn?t play the ‘other woman’ as a bitch.
She echoes Sushmita Sen?s tranquil seductiveness from Goldie Behl?s “Bas Itna Sa Khwab Hai”. And that?s high praise.
Remarkably, Surbat Sinha?s screenplay has a believable trio of protagonists — flawed, fumbling, all too human. But the peripheral characters are a letdown. They aren?t only sketchy but also clumsily etched into the plot.
Also the music, Himesh Reshammiya?s mainstay, is here uninspiring and often obtrusive. The track “Ishq unplugged” comes at an embarrassing juncture when the love triangle is in need of a solution, not a song.
What wins you over is the director Swapna Waghmare?s earnestness. She has her heart in the right place. So does the film. Some of the time. For the rest, you?ve to grin and bear the excessive zeal of a supporting cast and a music score that doesn?t know where to draw the line.
Himesh Reshammiya?s performance is that of a goofy Everyman, a bit of a messed-up soul who finally admits he needs a bullying girlfriend to get him through the complexities of life. Himesh works his performance around the character?s weaknesses and his own limitations as an actor.
It is the underused Purbi Joshi as Himesh?s overbearing girlfriend who steals the show. She imparts a sense of lived-in authenticity to her role, almost at times going beyond the script in search of her character?s lost soul. Why don?t we get to see more of this pretty talented girl in our films?
Friday, 28 October 2011 2
Friday, 21 October 2011
Director: Anubhav Sinha
Music Director: Vishal Dadlani, Shekhar Ravjiani
Producer: Gauri Khan
Cast:
Shahrukh Khan as G.One/Shekhar Subramanium
Kareena Kapoor as Sonia SubramaniumMaster Armaan Verma
Ra One is a sci-fi movie based on Gaming, Bad Guys and Super Heroes.
In the movie Shahrukh Khan plays the role of a father who is trying hard to 'fit-in' in his Son's badass world- A son … trying hard to 'dude-up' his dad from 'aiiiyyyo' to 'YO!' And a mother lost in translation between her husband's 'ingeva' and her son's 'Inn'it!'
While Shekhar was trying every trick in the book to woo his son, get 'dude-ified' and 'up his coolness quotient' his son had given up on him..
Just when the father-son duo hit a deadlock- Shekhar strikes gold when he designs one hell of a game..
Finally it all starts falling in place...as the family comes together....only to find themselves in the middle of a crash, not just a hard drive crash but a crash that would drive them to a disaster and make their lives go – KABOOM!!!
All hell breaks loose when - the game that was meant to be played with… starts playing them…
Ra.one- The next level.
Friday, 21 October 2011 1
Monday, 17 October 2011
- The Release date of this movie is 16 September,2010.This movie is Adventure, Children's and for family based.The Lion King is directed by Rob Minkoff and the main caste is consist of Matthew Broderick,Moira Kelly,Jeremy Iron,James Earl Jones.
- The Lion King is an excellent, fittingly majestic bit of post-production wizardry. Of course, part of what makes the 3D so enveloping is that Minkoff and Allers have already done such an expert job of creating visually layered 2D compositions that the addition of the third dimension is able to stagger those layers in a striking manner. For example, the last shot of malicious Uncle Scar’s (Jeremy Irons, miraculously delivering the best vocal performance in a cast that also includes the booming baritone of James Earl Jones) “Be Prepared” musical number features an elephant’s skeleton in the foreground and the sight of Scar and his hyena underlings bellowing the song’s final notes atop a craggy mountain in the background. In 3D, the viewer can get happily lost in the amplified depth between the shot’s foreground and background action.Do not forget to watch a trailer of this movie just now.The Lion King
Monday, 17 October 2011 5
Sunday, 9 October 2011
RASCALS is a latest Bollywood movie and its 3rd biggest opening movie of the year 2011.Its a funny,entertaining masala and well crafted according to people mind set.At some point in this pointless parody of all of David Dhawan’s Tom and Jerry comedies from the past, Devgn and Dutt, playing a pair of warring, snaping, snarling, sneering con-persons, call for each other. ‘Chetan? Bhagat? Chetan? Bhagat? ….”
In that pause between the last blast and the next you know the script writer (Yunuz Sajawal) is thinking of how to carry the plot to the next gag.The gags in “Rascals” are so stale and tasteless and the situational comedy so devoid of any kind of originality or freshness, you wonder if David Dhawan just made this unfunny comedy to please his friends who play the major roles in the film.
As Chetan and Bhagat, Sanjay Dutt and Ajay Devgn get to ham to their hearts’ content. Not their fault. It’s the need of the hour. Make that two hours. Two long painful hours of mirthless gags and skits adding up to no sense of hilarity.
Kangna Ranaut is the funniest thing in the film. And not in any intended way.
But nothing matches up to the brazen insulting nature of the dialogues. At one point Chetan or Bhagat (hard to say which one speaks, as they’re constantly interrupting and shouting down one another) look at a dark-skinned man and comment: “How did this black gulab jamun get a white rashogolla for a daughter?”
Go get a laugh, Mr. Dhawan. The prolific and trendsetting director has clearly run out of tricks to make the Tom and Jerry act any further. And really, Anil Kapoor-Govinda in “Deewana Mastana”, Salman-Govinda in “Partner” did the sniping and snarling, so much better.
The film is carpeted with dreadfully unfunny jokes that insult every community including, of course, the movie-going community which is expected to laugh at a scene where Sanjay Dutt puts on an unconscious woman’s underwear on and wonders: “Why is it so much easier to take off a woman’s clothes than put it on?”
Really, Mr. Sanjay Chhel, what were you thinking when you wrote such embarrassing lines taken straight from the wall of a private toilet?In fact the film looks like one long excuse to let the camera ogle at semi-nude female figures in Thailand and Bangkok. The laughter, if it was ever intended, is strictly incidental.Any silver linings? Yes, Arjun Rampal. He’s so cool and in control, you wonder what he is doing in such an uncool rudderless comedy. And poor Hiten Paintal. An actor with considerable comic timing, is stuck among actors who seem to be totally out of rhythm. Hiten is reduced to being Sanjay Dutt’s sidekick.
Wanted urgently: A makeover for David Dhawan’s brand of comedy. Seriously, this comedy is not funny.This is very entertaining
Sunday, 9 October 2011 5
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