Movie Review: Dum Maaro Dum (2011)

 
Dum Maaro Dum: A film should be okay in all the fields of cinema

Starring: Abhishek Bachchan, Bipasha Basu, Rana Daggubati, Prateik Babbar, Aditya Pancholi, Govind Namdeo
Direction: Rohan Sippy
Genre: Crime
Duration: 2 hours 10 minutes
Rating:****(4 Out of 5)
The stakes are high and lined up when it comes to Dum Maaro Dum. For Abhishek Bachchan, he needs to come back to form after Game and Khelein Hum Jee Jaan Se failed to muster up the marks. Rohan Sippy returns to wield the megaphone after 5 years. Besides the success duo, Bipasha Basu, Rana Daggubati and Prateik Babbar join them in a movie that has all the makings of a hard-hitting suspense thriller that’s been hyped since the initial promos were released. Does it live up to the expectations? Read on to find out.
Dum Maaro Dum reiterates the fact that Abhishek seems to be a natural charmer when it comes to slipping into the shoes of a quintessential somewhat crooked-somewhat straight cop. His body language, his dialogue rendition, his lazy zeal and laidback attitude, adds a cutting edge to the character of ACP Vishnu Kamath, Goa’s desi Bruce Willis (Diehard) who plays the game according to his own rules.
And Abhishek isn’t alone in crafting a host of riveting characters who lend a special cadence to the film. There is Prateik Babbar and Anaitha Nair’s teen love story that goes awry, once Prateik gets embroiled in illegal activities. There is Bipasha Basu and Rana Daggubati’s bindaas beach romance that lights up the screen intermittently. There is Mafioso Aditya Pancholi and his mean guy act which flashes fire and brimstone. And there is the cop camaraderie between Abhishek and his team that adds substance to the proceedings. All the characters are credible and immensely watchable.
Further more, there is the stylization of the film and its dramatic narration that makes it a compelling watch. The film slags in places and needs tightening, but the lull is followed by a tangy twist in the tale, which makes up for the occasional yawn. Shridhar Raghavan writes a thrilling cops and robbers tale which has some quirky banter scripted by Purva Naresh. Add to this Goa captured in glowing colours by cinematographer Amit Roy and a peppy music score by Pritam, and director Rohan Sippy gives you a film that keeps the popcorn crackling, till the very end

Movie Review: Zokkomon (2011)

 
Zokkomon: Zokkomon The first superhero film

Cast: Darsheel Safary, Anupam Kher, Manjari Phadnis
Direction: Satyajit Bhatkal
Genre: Drama
Rating:***(3 Out of 5)
In an industry which throws up such an abysmal record when it comes to producing viable children’s films, any attempt that can slightly hold your interest is more than welcome. And that is where Zokkomon scores. It tells a story that transposes the traditional fight of good over evil onto a kid’s battleground and creates a desi superhero that isn’t all kitsch alone. Kunal’s transformation into the hooded, heavy-voiced, fire-eyed flying vigilante is funky and attention-grabbing for the young imagination.
The film primarily scores a point due to its high production values. No where does the film maker compromise on atmospherics and special effects and the quaint village where the drama unfolds remains visually stirring. More importantly, Zokkomon’s super-special appearances have enough dhamaal to keep the kids smiling and cheering. Also, the insistence on providing a scientific edge to the supra-normal stuff ensures this desi Harry Potter unleashes his magic in the realm of realism.
The performances too are warm, with Darsheel adding spontaneity and a charming vulnerability to the lonely superhero act. Anupam Kher is deliciously evil and Manjari Phadnis is her usual vivacious self. Could have been a winner, if there had been fun and games in the film which falls short in the laughs department. Kids love an intelligent laugh, don’t they? Too many sad and lonely kids around.
An interesting watch for kids, Zokkomon may be the beginning of a better branch of tween films.

First Look: Miral Review

First Look: Miral Review: As part of the Chicago Palestine Film Festival, filmmaker Julian Schnabel and writer Rula Jebreal were in town last night for a screening of their new film Miral. It's the kind of movie that garners buckets of senseless political backlash, a lot of it from people who have never even seen it and have no intention of doing so. Well, we saw it and found it unexpectedly moving.

Based on Jebreal's autobiographical novel, the movie tells the story of Miral, born to a deeply troubled woman as the result of rape. After her mother takes her own life Miral grows up at Dar Al-Tifel Institute, an orphanage for Palestinian children in Jerusalem. Her adopted father, a kind-hearted cleric, tries to understand and support her even as she becomes a restless teenager. Awakening to the suffering of her people and not content to just wait for things to get better, her increasing political involvement begins to get her in hot water.

As in his other films, such as Before Night Falls and especially The Diving Bell and the Butterfly, Schnabel focuses on giving the viewer a very subjective personal experience mirroring the journey of the characters onscreen. Vivid, almost hallucinogenic colors, tilt-shift photography, and rough handheld camerawork are used at various moments to lend palpable textures, without ever overwhelming the central story.

The masterful use of some particularly lovely violin songs by Laurie Anderson is icing on the cake. But it's the coupling of authentic locations with fine performances, including Freida Pinto as Miral, and arresting vignettes from Vanessa Redgrave and Willem Dafoe, that truly make the film so moving. We're placed in an environment lacking stability and safety, yet somehow Israelis and Palestinians alike manage to go about their day-to-day lives: raising children, putting food on the table, falling in love.

Miral largely concerns itself with the story of its main character. Unfolding against a backdrop of confusing turmoil it's surprisingly straightforward and easy to relate to, both for adults and teens (more than once Miral shouts "You understand nothing!" at an adult, something teens have been doing for generations). Why then all the controversy? It's a purposefully small-scale film. Although the movie ends on the eve of the 1993 Oslo peace accord, certainly a bittersweet moment considering the morass of the current situation, it does not attempt to tell the history of the Israeli state or the Palestinian struggle. Some may call that one-sided or even biased; Schnabel himself has proudly concurred, saying, “We need to understand ‘the other.’ And that’s the reason I made the movie about ‘the other’ from ‘the other’s’ point of view.”

It's deeply frustrating: the making of a film told from the point of view of a Palestinian girl is considered a political act; the distribution of this film as well as the mere act of watching it are also considered political acts. We ought to ask ourselves why this is--why is it considered so dangerous to watch a movie which attempts to show us things from a different perspective? Schnabel's fearless commitment to his artistic vision should be applauded and not derided.

Manchivadu – Movie Review

Mega Super Good Films is known for bringing out wonderful family entertainers. However, these days their judgment in the selection of stories is going wrong. Director P Lakshmi Narayana (Deepti), who made his debut with Andala Ramudu on the same banner and gave a hit, got another opportunity to work with the banner again. This time, he chose a clichéd story, which had lots of sentiment and family drama, with love story in its backdrop. However, neither the story nor its narration is impressive and made the audience to curse the director for irritating comedy and mindless twists to the story.

Story:Raja (Taneesh) is the grandson of Dasaratha Ramaiah (Viswanath) and Janaki (Jayanti). He loses his parents in his childhood and is brought up by his grandparents. However, he could not put his mind in studies and fails in Class V. Dasaratha has two other sons and it is a combined family. Dasaratha used to chide Raja for everything. Once Raja’s aunt (Sudha), her husband (Chandramohan) and their daughter Indu (Bhama) come to their village from the US. Raja falls flat after watching Indu. In order to win her heart Raja plays several tricks and make Indu believe that he is a great lover. To impress her, Raja joins in a job with his paternal uncle. Once, he buys a half-saree and presents it to Indu. When Raja presumes that Indu is also interested in him, she reveals that she loved Ramesh (Rajiv), cousin of Raja. At this juncture, Dasaratha, who also presumes that Indu loves Raja and asks her to accept his hand and make him happy. However, Raja, who knows that Indu is in love with Ramesh, takes the blame on him and refuses to marry Indu. What happens next should be seen on-screen.

Performance:
It is Tanish, who has taken the entire resesponsiblity to run the film. Though an amateur, he has maintained good comedy timing. However, he should understand that he is not able to play a solo hero in a film to impress the audiences. It is proved that he could do a good job if he shares screen with some other hero. Though, Rajiv has played the second fiddle, his role is very limited and he has less scope to perform. Bhama is good looking and bubbly. She is okay as a heroine but she still needs to learn a lot about her body language. Viswanath has done a routine role and Jayanti is okay as granny. Other artistes have done justice to their roles. Raghubabu, who has a good footage with the hero, has given his best in entertaining the audience.

Technical:
Behind the camera, all the departments are proved weak. The story penned by Ravishankar is a big cliché. It is a routine family drama with lots of sentimental scenes and family drama. Moreover, the dialogues penned by Gangotri Viswanath lacks punch. Music by Sirpi is another drawback. The cinematography by Venugopalan is mediocre. Editing is also poor and there are many jerks in the movement of the film. Lakshmi Narayana, who had brought out an impressive subject like Andala Ramudu, has failed to repeat the magic.

Remarks:
First half of the film has nothing but so called mass comedy which is loud, while the second half is full of sentiment and the artistes are forced to use glycerin for several scenes. Watch the film at your own risk.

Cast: Tanish, Bhama, Rajiv, K.Vishwanath, Raghubabu, Prasadbabu, Chandramohan, Melkote, Vizag Prasad, Chalapati Rao, Jayanti, Sudha and others
Credits: Story – Ravishankar, Dialogues – Gangotri Viswanath, Cinematography – Venugopalan, Music – Shilpi, Presents – RB Choudary, Producers – NV Prasad and Paras Jain, Screenplay and direction – Lakshminaryana (Deepti)
Banner: Super Good Films
Released on: April 8, 2011

Mappillai – Movie Review

Remaking a yesteryear film is always a risky job, as the audience likes to compare the movies. Adding to that if a director chooses a superstar's film, he should be confident that the actor chosen for the latest version should be acceptable face and should have the mass appeal. Director Suraj has joined hands with Dhanush for the remake of Rajinikanth's 1989 film Mappillai. The director has retained the title and has chosen Rajini's son-in-law to play the lead role, which again is considered as a wise move by trader analysts. Now let us see what they have to offer. Read on for Mappillai remake.

Story:
Saravanan (Dhanush) is a self-esteemed person, who is blessed with all qualities of a good human being. He falls in love with Gayathri (Hansika Motwani), the daughter of business tycoon Rajeshwari (Manisha Koirala). Soon, their love blossoms and her mother comes to know about their affair. Without any hesitation, she gives nod to their marriage because she felt that he is the tailor-made boy for her daughter, as she thinks that the boy would obey her orders and would be a henpecked husband. But just before the wedding, Saravanan's other face of a terror gets revealed, which makes Rajeshwari to oppose the marriage. However, Saravanan-Gayathri get married against her wish and then starts a cat and mouse game between the son-in-law and the mother-in-law. How he breaks the ego of Rajeshwari forms the rest of the story.

Performance:
As expected, Dhanush steals the show with his histrionics. He has done his role with good ease and his in dialogue delivery is good. Manish Koirala has given an excellent performance as his mother-in-law. Her character and her rich costumes make it a worth a watch. Hansika Motwani, who is called as Chinna Khushboo, has got a decent debut in Tamil. Vivek's comedy are good at parts. But at times, his overacting and costumes irritate the audience. 2011 Mappillai is rich and has good technical values. The director has changed the script to suit the taste of the new-age audience. Music by Mani Sharma is good and cinematographer SR Sathish Kumar has done a commendable job. However, the director should have worked a bit more on the script, as it has got some loopholes, which irritate the audience at times. There are some silly errors and senseless sequences, which make no logic nor add value to the film. Nonetheless, Mappillai is watchable and has got all the commercial ingredients to entertain the audience.

Cast: Dhanush, Hansika Motwani, Manisha Koirala, etc.
Director: Suraj
Music: Mani Sharma
Cinematography: S R Sathish Kumar
Producers: Nemichand Jhabak and Hitesh Jhabak

Movie Review : Thank You (2011)

After super-successful films like Welcome and Singh Is King, the director-actor duo, Anees Bazmee and Akshay Kumar have once again come together for the film Thank You. With a multi-starrer cast and having one of the most safest story line based on philandering husbands, the expectations from the film definitely becomes grave. The promos promises a paisa wasool laughathons.

Thank You is an extension of films like Shaadi No. 1, No Entry, Masti and the Hollywood film The Seven Year Itch. All these film talk about philandering husbands and their extra-marital affairs. Howevere, Thank You adds up a detective who is incidentally hired by both the sides- husbands as well as the wives. This thief-detective idea made the film more of a Tom and Jerry film. Nevertheless, a story line of this kind has a lot of scope to explore and make the film a full-on entertainer.

However, the film fails to meet all the expectation. While, the first half of the film is totally entertaining, with Bazmee in all his element, the second half of the film falls apart making the viewer impatient and intolerable. The second half of Thank You is so confused that at the end, the film leaves you wondering what did you see, instead of a smile on your face.

Thank You suffers from weak screenplay writing, especially the second half of the film. The efforts of the on-screen players to make you laugh can be clearly seen, but their jokes fall flat on your ears. This leaves the viewer exhausted at the end of the film.

Movie Review: Thank You (2011)

Thank You: A Timepass Movie

Starring: Akshay Kumar, Irrfan Khan, Bobby Deol, Suniel Shetty, Sonam Kapoor, Rimmi Sen, Celina Jaitley
Direction: Anees Bazmee
Genre: Comedy
Rating:**(2 Out Of 5)
Thank You movie is a delightful story and with a hilarious comedy. The story is about 3 best friends Raj, Yogi and Vikram who are business partners, serial womanizers and happily married beacuse their wives have no idea their husbands cheat on them.
Once Raj’s wife, Sanjana had suspect on her husband and hires private detective, Kishan who saves marriages, but this time he got attracted towards Sanjana.
And then the story follows with Kishan trying to catch the husbands with their pants down literally and them attempting to just stay outside his grasp. This laugh a minute comic caper will have you in splits, continuing with the signature comic style you have come to expect from the maker of No Entry, Welcome and Singh Is Kinng.

Urumi – Movie Review: A must watch epic drama

Director Santhosh Sivan's much-awaited movie Urumi has hit the screens across the state. Although there are some dragging moments in the movie, its rich production values hold the attention of audience till the climax. It is an excellent effort by Sivan and Prithviraj. Hats of to them.

Urumi is a historical epic film written by Shankar Ramakrishnan and Prithvi and Genelia's performances are the main attraction of the film. Deepak Dev's music, Anal Arasu's action, Sivan's camera work, Shankar's dialogues, costume designing, make up, choreography are other highlights of the film. But a few forcibly inserted songs and slow paced narration are the two minus points of the film.

The film is set in the backdrop of the fierce warrior clans of Northern Kerala in the 16th century and focuses on the cult of Chirakkal Kelu Nayanar. It is all about boy, who wants to avenge the death of his father, who has been killed by Vasco da Gama. Santhosh Sivan's dragging narration in both first and second half tests the patience of the viewers. The climax scenes seem to have taken from another epic film Pazhassi Raja.

The story starts with present generation and soon goes back to history. Chirakkal Kelu Nayanar (Prithviraj) sets on mission to kill Dom Vasco da Gama, the Viceroy of Portuguese Empire in India. But he faces lots of odds on his way to reach his target. He has to encounter many conflicts within the kinsmen, kings, ministers, peasants and Muslim warrior princess Ayesha (Genelia D'Souza) of the famed Arackal Sultanat. He has a forte, a legendary golden Urumi, which is made from the ornaments of women and children, who were burnt alive by Vasco da Gama. Kelu is supported by his childhood friend Vavvali (Prabhu Deva). How he creates his own army and starts movement against the first Colonial advance in India will form the crux of the film.

Santhosh Sivan should be applauded for his perfect casting and tapping out mind-blowing performance from each actor. Prithvi has delivered excellent acting and audience can not stop loving him. He just looks awesome in emotional and action sequences. As Vavvali, Prabhu Deva has done justice to his role. As Ayesha, Genelia's sword fight (kalaripayattu) scene are superb. Vidya Balan steals the heart of viewers with her item dance. Nithya Menon, Jagathy, Amol Gupte, Alex, Robin, Arya, and Tabu have also done justice to their roles.

The technical team of Urumi has done a wonderful job. Firstly, it is Deepak Dev, who has composed six excellent songs along with stunning background score. Song 'Arya Kidukki Aaranu Aaaranu...' is melodious. Locations, choreography and picturisation in all songs are wonderful. Action sequences composed by Anal Arasu are also one among the major highlights of the film. Shankar's dialogues, Ekta Lakhan's costume, Renjith's make up and Sreekar Prasad's editing are also commendable.

Finally, it can be said that Urumi is a great movie, which has excellent acting, awesome technical values. It is a must watch movie.

Producer: Shaji Natesan, Santhosh Sivan and Prithviraj

Director: Santhosh Sivan

Cast: Prithviraj, Genelia D'Souza Prabhu Deva, Vidya Balan, Nithya Menon, Jagathy, Amol Gupte, Alex, Robin, Arya and Tabu

Music: Deepak Dev

FALTU Movie Review

Young, lively and satirical. That, in short, summarizes F.A.L.T.U., helmed by director Remo D'Souza [his first Hindi film; he had directed a Bengali film before].

Come to think of it, a number of choreographers - right from Kamal, Saroj Khan, Chinni Prakash and B.H. Tharun Kumar to Farah Khan, Ahmed Khan and Ganesh Acharya - have accepted the challenge of going beyond their boundaries of work. Call it a coincidence, their first attempts have never been musicals or dance-based affairs - something that the viewer would naturally expect from them. Now Remo sets his maiden effort F.A.L.T.U. in a college campus, casts young talents and comes up with a film that has loads of energy, plus a message before it concludes.


There's talk that F.A.L.T.U. is a mishmash of the 2006 Hollywood movie ACCEPTED. In fact, the Hindi film industry had already made mincemeat of it in a film called ADMISSIONS OPEN, which released last year. It was so poorly crafted that it arrived and departed without making any noise.

Again, ACCEPTED wasn't an original piece of work. It borrowed from two films, ANIMAL HOUSE and CAMP NOWHERE, with a bit of VAN WILDER thrown in. Remo, on the other hand, may be inspired by ACCEPTED [although the story is credited to Sachin Bajaj], but screenplay writers Mayur Puri and Tushar Hiranandani give it a desi feel to suit the Indian sensibilities. Besides, like Rajkumar Hirani's iconic Hit 3 IDIOTS, F.A.L.T.U. drives home a message in its penultimate moments.

F.A.L.T.U. gives its take on the educational system, but it's far from serious and preachy. With foot-tapping songs and energetic choreography [naturally, with Remo at the helm], loads of humor and tremendous youth appeal, F.A.L.T.U. is more of a fun ride that's wildly aimed at the youth in particular. In fact, I'd go to the extent of saying that the film reflects the attitude of Gen X.

On the flip side, the writing could've been tighter. In fact, F.A.L.T.U. vacillates constantly between interesting and implausible moments as four young students decide to set up a fake educational institution within, hold your breath, one day. Also, the writers indulge in too many cinematic liberties, so much so that you lose count after a point. The redeeming aspect is its musical score and the magnificent execution of these tracks.

F.A.L.T.U. is a story of coming of age of today's youth. They don't choose a different path, but create one. It tells the story of a group of friends who are considered a total waste. Thanks to their terrible grades, Jackky, Angad and Pooja don't get admission in a college. That's when Jackky gets a brainwave: Why not start a University with the help of his friends? That's how Fakirchand And Lakirchand Trust University [F.A.L.T.U.] takes shape.

Jackky seeks help from a friend, Arshad Warsi, who in turn gets Riteish Deshmukh, a school teacher, to play the part of the Principal. Jackky's plans go kaput when several academic rejects show up at the door, hoping for an education.

There have been several college comedies in the past and though times have changed, not much has changed when it comes to films set in college campus. And let me add, F.A.L.T.U. doesn't claim to be an innovator too. It's a full-on masala film, more of a fun ride, with the real drama setting in only towards its penultimate moments. Sure, one does feel that F.A.L.T.U. is mired in seen-it-all-before situations, but what saves the film is the masala quotient that doesn't let you take it seriously.

But the film falters at places. Though it thrives on jokes, some of the yarns fall flat and aren't as enjoyable. Besides, like I pointed out at the outset, the film abounds in cinematic liberties. How do the friends raise money to set up a University in a single day? Everything is taken care of in mere 24 hours - right from finding a huge mansion that can pass off as a University, to renovating it, to getting the required furniture, to funding for the accommodation of the students, food, booze et al. Now that seems too hard to digest!

Also, the character of Arshad Warsi comes across as unreal. I mean, how does he have a solution [and money] for every problem?

But despite the absurdities and illogicalities, F.A.L.T.U. strikes a chord towards its final moments. The event in the finale [the choreography is astounding] and Jackky's take on the educational system drives home a bitter truth. The finale, let me add, and prior to that the video interviews of several real-life experts add zing to the proceedings.

Director Remo D'Souza's fundas are clear: Let's entertain! In fact, the film is targeted at the youth and it is this segment that will identify with it more than any age-group. One of the aces of the film is, without doubt, its musical score. Generally, a film-maker considers himself lucky if even one track hits the top charts, but in this case, not one or two, but four songs have become hugely popular with the youth. 'Chaar Baj Gaye' [the anthem of the youth], 'Bhoot Aaya', 'Fully Faltu' and 'Le Ja Tu Mujhe' only prove how skilled and proficient young music composers Sachin-Jigar are. This one's a smash hit score. Besides, Remo's topnotch choreography enhances the impact of the songs. Vijay Arora's cinematography is up to the mark. I'd like to make a special note of the dialogue, which are very well worded at places.

The four youngsters get almost equal prominence in this enterprise. Jackky grabs the opportunity with both his hands and delivers a charming, charismatic performance. His dances boast of unique steps, not the run of the mill kind. Pooja looks lovely and enacts her part with utmost confidence. Angad Bedi is a revelation. Ditto for Chandan Roy Sanyal [seen in KAMINEY earlier]. In fact, both Angad and Chandan stand out in their respective parts and are here to stay.

Riteish Deshmukh is bankable as always, while Arshad Warsi does well, although the character isn't well developed. Akbar Khan is decent. Mithun Chakraborty [cameo] and Boman Irani are wonderful. As for the supporting cast, Darshan Jariwala leaves the maximum impact.

On the whole, F.A.L.T.U. banks heavily on the formula that the youth loves. It's funny, energetic and has a big ace in its smash hit musical score. I would go to the extent of saying that the movie works because it doesn't pretend to be path-breaking. It offers what the audience desires: Entertainment!
Rating :

Game Movie Review,

It's back to the theatres after a sabbatical. GAME is crucial for Abhishek Bachchan. Also for director Abhinay Deo, this being his first release [though he had signed DELHI BELLY much before he made GAME]. So let's figure out how exciting this game is...


Recall Vijay Anand's whodunit TEESRI MANZIL. Also recollect Vijay Anand's crime thriller JEWEL THIEF. Now reminisce Raj Khosla's suspense thriller WOH KAUN THI?. Also revisit Biren Nag's eerie suspense saga BEES SAAL BAAD. Several decades and several screenings later, you still relish those films. These films worked for varied reasons. Melodious music. Taut screenplay. Most importantly, it was hard to guess the identity of the 'culprit' till the very end.


Hindi cinema is undergoing a major metamorphosis. But the rules of the game haven't changed. A whodunit should keep your interest alive till the penultimate moments. Besides, the identity of the killer/culprit should come as a shock, when the veil of secrecy is lifted. Also, the logic or rationale behind the goings-on needs to be convincing and relatable at the same time. Unfortunately, GAME misfires on all three counts.




The problem with GAME is manifold. First and foremost, first-time storyteller Abhinay Deo serves a slick-flick that's devoid of meat. It's all about narrating interesting stories and how convincingly do they translate on celluloid, but Abhinay seems to be under the notion that stunning locales and vibrant/energetic action pieces compensate for a tight/cohesive script. Nope, they don't!


Another problem with the film is that the screenplay [penned by Althea Delmas Kaushal] goes for a toss after an electrifying first hour. In fact, I'd go to the extent of saying that the first and second halves are diametrically opposite in terms of content and also the impact they leave. While the first hour succeeds in holding your attention thanks to the interesting twists and turns [never mind the slow pacing at times] and flows like a breeze, the second hour simply tests your patience. It's puzzling and confusing, with everyone pretending to be Sherlock Holmes.


Moreover, the second hour is formulaic and takes the most convenient route to reach the finale [more on that later]. Agree, Hindi films abound in cinematic liberties, but the implausible screenplay takes not just the cake, but the bakery away. The finale is so weird and amateurish that one wonders, how did the director and such experienced producers approve it at the script level itself?


GAME is a story of four strangers - Neil Menon [Abhishek Bachchan], O.P. Ramsay [Boman Irani], Tisha Khanna [Shahana Goswami] and Vikram Kapoor [Jimmy Sheirgill] - who have been invited by the reclusive billionaire Kabir Malhotra [Anupam Kher] to his private island of Samos, Greece.


A casino owner by profession, Neil has investments in various businesses, some legal and some not so legal. Ramsay is a politician from Thailand, who is running for elections. In fact, he is one of the most powerful men in Thailand. Vikram is a Bollywood superstar, recognized by all on the streets of India and Tisha is a crime journalist, with a career that is going nowhere.


None of these characters know each other and neither do they know the billionaire who has invited them to Samos… and by the next morning they will wish they had never come.


GAME bears an uncanny resemblance to the Dharmendra-Zeenat Aman starrer SHALIMAR and the more recent LUCK, but the similarity is limited to a number of people congregating at one place. Actually, GAME springs a surprise at the very start, with Anupam Kher spelling out the reasons for inviting the four people on his island. The turn of events thereafter, right till the conclusion of the first half, leave you impressed mainly due to the twists and turns that are hard to envisage.


But the turn of events in the second hour leaves you bewildered. Abhishek's character travels from Istanbul to Bangkok, then Mumbai the very next moment, executing the plan with flourish as if it was child's play. Difficult to absorb. Then comes a revelation: Abhishek's true identity, which is very filmi, very clichéd, very formula-ridden… in fact, it seems straight out of 1960s and 1970s cinema, which is hard to absorb today. Much later, something happens to Shahana and all of them land up at Samos once again and the cat is out of the bag, finally. Sadly, the mystery no longer remains a mystery since one can easily guess the identity of the killer, much before the mystery is resolved. All I can say is that the writing becomes outlandish at this juncture.


Shankar-Ehsaan-Loy aren't composers you associate with such a genre and the musical score doesn't add weight to the goings-on. Ram Sampath's background score is eclectic. Kartik Vijay Thyagarajan's cinematography is top notch and the stunning locales of Greece, Istanbul, London and Bangkok give the film a spectacular look. Even otherwise, the production values are of highest order. Dialogue [penned by Farhan Akhtar] are well worded at places. The action and chase sequences are pulsating, especially the one filmed in Istanbul.


GAME offers Abhishek ample opportunity to prove his mettle. He has delivered some really fine performances in the past [I'd like to single out GURU and KHELEIN HUM JEE JAAN SEY in particular] and he gets it right in the first hour. But no actor can rise beyond a weak script and that's precisely why he looks far from convincing in the post-interval portions. Kangna acts well and though she seems to have worked on her dialogue delivery, she stills needs to get her diction right. Especially when she converses in English. Sarah Jane Dias looks lovely and for a first timer, makes a decent debut.


Anupam Kher doesn't really get ample scope, while Boman Irani is over the top this time. Jimmy Sheirgill has a miniscule role. Shahana Goswami is wasted, except in the lone sequence when she rebukes Anupam's claims. Gauhar Khan is alright. Mohan Kapur is first-rate. Benjamin Gilani is adequate.


On the whole, GAME is high on style, but low on substance. Disappointing!

Raaj - Movie Review

Sumanth is known for playing soft roles and he has always failed to impress the audience in mass roles. This was proved on many occasions, as many of his films were proved duds at the Box Office. Now, Sumanth has tried his hand in a commercial formula flick with two heroines. However, these days Jagapathi Babu as patented such roles and the audiences don’t expect any other in such roles. Director VN Aditya has tried his best to woo the audiences by making use of the glamour of Priyamani and Vimala Raman. Read on for Raaj review.

Story:
Raaj (Sumant) is a fashion photographer. Once, he was in Goa for a photo shoot. He comes across Priya (Vimala Raman), who was being chased by goons and at the instance of his friend (Srinivasa Reddy) bashes the goons and saves her. She doesn’t even say thanks for the help and leaves the place. The next day he finds Priya as the upcoming model and Raaj as a professional photographer takes the snaps. After watching the snaps, Priya gets very impressed and offer her sorry for the earlier day’s incident and thanks for the nice photographs. They both fall in love with each other at first sight and she even shares bed with Raaj. She leaves in a huff after a phone call and will never call him back. Raaj, who sincerely loved Priya, refuses his father’s (Vizag Prasad) decision to marry Mythili (Priyamani). Then his father asks Raaj to bring Priya but he could not do so as she was missing. His father emotionally blackmails him, hence Raaj marries Mythili. As expected, he avoid her intially but Mythili puts her best efforts to change his mind and succeeds in her efforts. When the things were turning smooth, Raaj happens to see Priya but could not meet her. What happens next should be seen on-screen.

Performance:
Sumanth is totally a misfit to the character. Though, he accepted this film, it looked like he is is not so comfortable with the storyline, as he could not emote well. Priyamani has scored more points in the film with the heavy skin shows. She is very seductive and romantic. Vimala Raman is okay, but her glamour took a back-seat, as priyamani outclassed her in that department. Her dialogue modulation is not that impressive. Sumanth has lip lock scenes with both the heroines, but the scenes have failed to elevate the romantic mood of the audiences. Other artistes including Srinivasa Reddy, Ali and Sairabanu are just okay.

Technical:
The cinematography of the film is good and Jagan has tried to capture the moods of the artistes, catapulted the beauties of the heroines perfectly. Action scenes are also a little stylish but not very effective. None of the songs are impressive and the music director Koti remixed a popular tune of Nagarjuna ‘Bheemavaram Bulloda…’ for the film. Only that song is good to listen, as it was already popular. The choreography of songs is good. The director has chosen to use old style of narration and the routine commercial formula subject and there is nothing novel in the film.

Analysis:
Watch the movie only to see the skin shows of the lead actresses.

Cast: Sumanth, Priyamani, Vimala Raman, Ajay, Vizag Prasad, Giribabu, Srinivasa Reddy, Ali, Sairabanu and others
Credits: Music – Koti, Cinematography – Jagan, Producers – Kumar Brothers, Screenplay, direction – V N Aditya.
Banner: Kumar Brothers Cinema
Released on: March 18, 2011

Review: Dongala Mutha

Cast: Ravi Teja, Charmy, Prakash Raj, Lakshmi Prasanna, Brahmanandam, Sunil, Subbaraju, Supreet and Brahmaji.

Credits: Story - Nilesh Girkar, Music - Satyam, Presents - Vandita Koneru, Producer - Kirankumar Koneru, Dialogues, screenplay, direction - Ramgopal Varma.

Banner: Shreya Productions

Released on: March 18, 2011

Ram Gopal Varma began a new experiment with his zero budget film Dongala Mutha. It has been touted as the first film to be shot in just five days with a eight unit members. 5D canon cameras are used without artificial lights. The maverick RGV wants to make a point with this film - he can generate profit from a zero budget flick. RGV hoped to make a highly entertaining action-thriller where actors and technicians would be paid once the film generated profits. That, going by the way the film has turned out, appears to be a tall order.

In the excitement of making a trendsetting film, RGV forgot about the story of the film - the film is weaved around dialogues. The dialogues themselves fall flat and are even repetitive in some places. So finally we end up watching a hide-and-seek game unfold on the big screen. Since the film has been marketed as a thriller, there's no comic relief. The only relief is the repeated focus on making Charmy look desirable on screen. Lead actor Ravi Teja delivers a decent-enough performance.

What stands out in Dongala Mutha is the technical experiment - especially the deft use of handheld cameras. The film has been shot without any artificial lighting.

Final word: Watch the film only if you want to appreciate the technical finesse. Or, if you are a diehard Ram Gopal Varma fan.

 

NDTV

Read more at: http://movies.ndtv.com/movie_story.aspx?Section=Movies&ID=ENTEN20110171801&subcatg=MOVIESINDIA&keyword=regional&nid=92677&cp

Movie Review: Yeh Faasley (2011)

Yeh Faasley: Drama

Starring: Anupam Kher, Pawan Malhotra, Tena Desai
Direction: Yogesh Mittal
Rating: 2.5 out of 5
Story: Arunima (Tena Desai) loves dad (Anupam Kher) who, she believes, loved her mom too. But her love is put to test when she begins to suspect her dad and holds him responsible for her mother’s death. Will the daughter avenge her mother’s death even if it means standing up against her father?
Movie Review: If there’s anything that holds the film together, it is the performances. If Anupam Kher renders a serious and substantial act as a father who may or may not be guilty, then newcomer Tena Desai is suitably restrained as the troubled daughter, torn between love and truth. Then, there is also Pawan Malhotra to watch out for as the mysterious third angle in this whodunit. All okay, on the acting front at least.
But when it comes to the plot, the pulp begins to flow….The film takes so long to build up to a not-so-predictable climax, it almost enervates you with its sluggishness. The repeated flashbacks with a not-so-happening actor-duo playing out a young Anupam Kher and his wife are meandering and meaningless, as are the daughter’s rants about good daddy-bad daddy.
The film does show flashes of substance and form, but there’s a whole lot of flab that renders it formless.