Every Movies Review

Ring Master Review from Now Running!

juliusj2006@gmail.com (Unknown) — Wed, 7 May 2014 12:45:00 -0400

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Rafi plays the perfect role as a ring master(director) in his latest film Ring Master and gave seatbumps with the comedies and humping each time. With creary loop rings in his script. Any which way you look at it, you fail to unearth the enthusiasm that should have made the acrobatics easier on your muscles.

Dileep plays as a dog trainer named Prince, who is assigned with a task of caretaker of dogs at each house, when the owner is away. Prince does seem to have a way with the dogs as well as with a blind girl Karthika (Keerthi Suresh), who enter into his life.

There's pretty much little that merits the analysis here, and when I say the protagonist's dog and his leading lady (Honey Rose Varghese) have the same name Diana in the film, I presume it should unmistakably presume our assumption of characterisations over each dialogue.

But this doesn't mean that the film is devoid lots to laugh. It does dole out gags in abundance, and if you are the kind who would break a rib watching the antics that the man is up to, you might even think it's an wholesome entertainer.

If you are pet lover, the film left you confused. I couldn't for the life of me figure out if Prince was indeed a man whose heart bled for these delightful doggies. The reason being that in an attempt to bring in hilarity on all possible occasions, the writing makes you wonder if the man is pulling a fast one on you or if he really means business.

It's become usual for Dileep to act in films like this over a long while after CID moosa where he plays th character of CID with Dog to do this investigations of Goons, and its alarming the way these characters get moulded to cater to the supposedly existing target audience. I guess this viewer can should indeed exist, as the box office potential of films as these have proven time-by-time.

Dileep comes up with no fresh surprises in the film, as an actor. In fact, the role as has been said earlier is tailor made for the actor, and all that he has to do is to get that spiked hair intact, which he does admirably well for the ladies, I liked Honey Rose Varghese better in her character, precisely because her role is a tidbit more interesting than the one that Keerthi plays.

This is a huge cast without doubt, and there is Aju Varghese, Kalabhavan Shajon, Suraj Venjarammoodu, Ranjini and Guinness Pakru in key roles. We have been there, and seen almost every bit of it, and yet at times a smile or two does flash across your face.

There is nothing much to rave regarding the technicalities as well. Shaji does no wizardry with the camera, and Gopi Sundar comes up with a musical score that does add up a little fizz to the otherwise worn out state of affairs.

'Ring Master' clearly falls into the category of brainless potboilers, and if you have got a taste for the same, you might end up enjoying it. I for one, am definitely not looking forward to leave logic back home when I venture out to watch a film, which is why Rafi's 'Ring Master' is one silly show that I would gladly give a miss.

Rating:****
http://www.nowrunning.com/movie/14128/malayalam/ring-master/4644/review.htm

7th Day Review from Now Running!

juliusj2006@gmail.com (Unknown) — Wed, 7 May 2014 11:29:00 -0400

Syam Dhar's directorial debut in '7th Day' quite impressive and clever attempt as a initiater, for the most part of the movie keep your mind arrested on seats. Although it could have been slingshot thriller, if it had covered up some of the potholes in the script. The punches it delivers are quite powerful and the way twists and turns are very appealing and tempting.

Shan (Vinay Forrt) and Vinu (Anu Mohan), Cycle (Praveen Prem), Eby (Tovino Thomas) and Jessy (Janani Iyer) are five friends. It startoff with a series of incidents send the group scavengerred for their life, and with none to turn to, the youngsters are looking for solutions for their own problems of the mess that they are embroiled with. And on a fine Christmas eve, Shan and Vinu meets David Abraham (Prithviraj), a cop who is under suspension, and delivers him what had upturned their lives. David confirms to help them , and goes out find the elements that creates their incident. Eventually coming up with startling disclosures.

The supposedly distinct twist that should make you pop open your mouth in sheer amazement comes by at the very last minute. However, I should not add that it should not be of no surprise for the diligent ones among you, as the revelation is quite obvious, if you have been keeping an eye on things.

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This film could have made an even more delightful thriller, had the loopholes in the script been stitched together. But there are quite a few apparent loose ends hanging in and out there, still that does let you give an unfinished feel to the film.

It's surprising that Prithviraj had agreed to do a role that does not require him to do extraordinary motions, and at times it even feels like a sober version of the role that he had played in 'Memories'. He looks incredibly dapper, and this is why he is the man who makes this film work.

The supporting cast is pretty much fine, and I would pick Tovino Thomas from among the lot as a favorite, who with his under toned performance almost saves the storyline, otherwise over the board climactic scene from being washed away.

Sujith Vasudev comes up with some brilliant visuals that has tremendously match the thriller air of the film. The art direction however does leave you puzzled at times, and at least on an occasion or two adds up a few questions other than the ones that have been devised by the script. Despite all the lingering questions that remain, '7th Day' could very well qualify as an appealing and thriller promising that keeps you guessing all for while. Here is a solid first-up effort from Syam Dhar & Co. that does deserve a loud round of applause.

'7th Day' is a film that does manages to focus your views, what with the numerous twists and turn-arounds in the plot that engage you presence consistently. There is plenty of intellectual gaming on, and the film never for a moment lets you off the hook.

NowRunning Review Link

Rating:**1/2

One By Two Review from Now Running!

juliusj2006@gmail.com (Unknown) — Wed, 7 May 2014 11:01:00 -0400

Hari Narayan and Ravi Narayan are twins they grew up inseparable all the time, theirs families were attempting to break the dependence on each other and wanted to grow of their own and have develop a self life. Hari becomes a reputed cardiac surgeon, while Ravi turns out to a Skilled Architect. This changes when the doctor's car crash with a truck in Highway, which eventually makes Ravi into a delirium and psychosis.

I wouldn't really blame the viewer for feeling stranded while watching Arun Kumar Aravind's '1 by Two'. What starts off as a psychological thriller with immense potential winds itself up in loops and loops of complexities until it becomes almost impossible to untangle itself from the knots that threaten to strangle the very last bit of thrill out of it.

This makes Ravi very distressed and lonely like, after the rest of the world around him are his parents and Dr. Prema (Honey Rose Varghese), a consultant surgeon at the hospital where Hari has been working, and whom he had been in love with. When Yusuf Marikar (Fahadh Fazil), an officer at the Crime Branch runs into an injured Ravi, his suspicions are roused, and he starts digging into the case with an obsessive vigor.

It takes a real long while for things to get into motion in the film, and even as the interval comes up, you realize that the plot has hardly proceeded much beyond the starting point. But it does manage to retain your interest now and then, courtesy the air of mystery that prevails all around.

For one, the suspense is revealed way beforehand, and the film tugs along for several more minutes before it draws to a close. It's a downslide all right in the second half, with the climax especially suffering daunting slope.

The narrations lets you down tremendously in '1 by Two', and while an attempt has been made to keep the story intact, it works only in parts since 1/2 is 1 in this movie. This is because the plot suffers from an taunting Disorder itself, just as the police officer in the film does, and it remains a bit too much preoccupied with its protagonist and little less everywhere.

All said and done, I would gladly watch '1 by Two' again for an unparalleled performance by Murali Gopy and team. This kind that I haven't had the opportunity to watch in Malayalam cinema in recent years. It is flawlessness that he brings into the portrayal of a man torn apart by the toes of a psychological disorder is to be seen to be believed.

I really do not think it would be unfair to focus on this one particular actor in this review, since he is the sole reason why '1 by Two' should be worth a watch. There are ample instances of his exemplary talent in the film, and yet there is a scene when he assures an ailing patient, that he would be back soon, and everything will be all right. For me, the compassion that ebbs straight out of his eyes as he utters those words, is what makes him one of the best actors we have at the moment, and without doubt for the rest of them, this is a tough act to follow in the coming year.

Honey Rose Varghese looks dazzling, and as the doctor who doesn't realize what she is actually a part of, is excellent. Fahadd Fazil is perhaps the odd one out in the circle, not because his performance any less, but on account of the way in which his character has been conceived, almost as a caricature made of mock strokes. Jomon's cinematography is top-notch, and contributes hugely to the sense of obscurity that is purposefully preserved.

The biggest letdown with regard to '1 by Two' is how unsurprising everything comes to ultimately, and the tired climax drives in the final spike in the casket. It's too jaded to be entertaining and a bit too static to cook up some excitement.

Rating:**

Now Running Review

Main Tera Hero Reviews from Now Running!

juliusj2006@gmail.com (Unknown) — Fri, 11 Apr 2014 11:37:00 -0400

The movie is mixture of some slapstick comedy, drama and few times action-packed and a romantic, reminding you of the comedies that were yieled in the 90's genre like Coolie#1 Hero#1 and Biwi#1, Oops sorry all #1 sagas, trying not to be Funny.

After being restricated by his professor in college, Sreenath Prasad aka Seenu (Varun Dhawan), the very smart boy Ooty decides to take matters to hand and moves to Bangalore to purse further studies. Like a normal activity of every college starter Seenu falls for Sunaina (Illeana D'cruz) the most dreaded girl in the entire college for she has an obsessive lover Angad (Arunoday Singh) pursuing her like since forever and has threatened every boy in sight to never so much as even look at her.

As Seenu tries to tackle Angad comes another problem - Ayesha (Nargis Fakhri), daughter of a dreaded gangster (Anupam Kher), who is completely smitten by Seenu ever since he saved her from goons and wants him at any cost. How he tackles both Angad and Ayesha to work his way towards Sunaina is what follows through the rest of the plot.

David Dhawan who teamed best with Govinda and Salman Khan making audiences chuckle with funny characters, personality traits of people, situations and his famous one liners and PJs struggled in between with his comedies either being borrowed from the West or simply unfunny. However, with Main Tera Hero he redeems himself and reinstates that he still is the King of Comedy. It's as if he was saving his best for the movie with his son.

While daddy dearest puts up a movie that has all the masala for a commercial blockbuster right from romance to action to drama and above all some rib tickling comedy, son Varun too complements his father's efforts well with a performance that actually establishes him as the future superstar. Varun blends so well in David Dhawan's style of filmmaking as if he is Govinda's newage version only highly upgraded. This Govinda version 2.0 not only is extremely confident onscreen but has dancing skills and acting abilities to vie for. The young star outshines even the seasoned actors like Sourabh Shukla an d Anupam Kher who are hilarious in their own way.

What's best about Main Tera Hero is that you don't see any actor being wasted. Even the likes of Rajpal Yadav are involved in the script meticulously. Arunoday Singh, Nargis Fakhri and Illeana D'cruz too act well and play their parts convincingly but all get over shadowed by Varun Dhawan.

Music by Sajid-Wajid is frosty and foottaping especially songs like Besharmi ki height and Shanicar Rati which have already become #1 in chartbusters.

Since longtime after this has been a film with complete with all elements of a commercial caper and yet not tripe or boring. A thoroughly entertaining film, Main Tera Hero is a must watch.

Rating:***1/2

BhootNath Returns Review from NowRunning!!

juliusj2006@gmail.com (Unknown) — Fri, 11 Apr 2014 10:59:00 -0400

This is the sequel to the 2008 BhootNath, like the predecessor it showed a lots promises to be funnier and entertaining. Since this is the second to the comedy ghost series released this year and look to working out with the general audiences in Hindi cinema. This is only to be released from Gang of Ghosts, a supposed comedy cum satire on the growing commercialization of India and this is second of horror comedy satire with the sequel BhootNath Returns.

Released in between Indian Election League(IEL) which is bigger heat that has gripped as a fever to everyone over India, BhootNath Returns is the story of a disappointed and embarrassed ghost Bhootnath (Amitabh Bachchan) who gets mocked in the Bhoot World for not being able to so much as even scare a child.

In his defense, he states that it was their flaut that the child could see him and demands another chance to redeem his lost reputation. He gets a chance to prove himself by scaring at least ten children and is sent back on Earth. However, sadly enough, he is too simple a ghost for children to be scared of him and what's sadder is that yet again, another child, Akhrot (Parth Bhalero) this time, can see him. Together they agree to help each other and their friendship sees them get involved in a cause that is bigger than they had ever imagined. To move ahead they will need to take on one of the country's most powerful and corrupt politician Bhau (Boman Irani). In a world, where a common man is afraid of politics, will a common man's ghost overcome his fear to stand up for what's right and fight against injustice?

Director Nitesh Tiwari couldn't have chosen a better time to come out with a film that revolves around Politics and urges people in its own satirical way to vote. However, what starts out as an entertaining fair turns into a drag preachy dialogue which neither caters to the young minds nor to adults.

The movie starts off interestingly. The concept of a Bhoot World and the idea to send Bhootnath back to regain the fear that's required to be a "Bhoot" is refreshing and interesting. Even the point where Bhootnath decides to contest for elections for there isn't a rule anywhere that the candidate needs to be alive and the way he works his strategy around is all very interesting. However, the filmmaker stumbles in taking it all the way. Half way into the film and you are put through enough sermons and election advertisement urging you to vote for a change. That's when not just the pace of the film slumps but also your interest in it.

Music by various composers including Yo Yo Honey Singh and Meet Bros is average at best with only a song or two standing out.

The film works primarily for the entertaining pair of Big B with the little wonder Parth Bhalero. The little actor is spot on with his mannerisms, dialogues and acting. And it wouldn't be wrong to say that he outshines even Amitabh Bachchan in a few scenes. However, needless to mention that Sr. Bachchan too is perfect in his part. Boman Irani too adds to the much needed comic relief but his portion is more evil this time than comic.

To sum it up, Bhootnath Returns is not as witty or humorous as it appears from its trailers. A film that could be entertaining all the way had it not lost its plot.

Rating:**1/2

Gangster Movie Review from Now Running!!

juliusj2006@gmail.com (Unknown) — Fri, 11 Apr 2014 10:26:00 -0400

Akbar Ali(Mamooty) see his Family murdered and he grow through pain all through the time. The Grudge and pain can't releive him, so decides to wreaks vengeance on the men that crunched his past, he decides join them silently and he gradually he turns out to be a don of fearful repute. In the nineties, he shifts base to Mangalore from Mumbai, and forms a peace treaty with the two Parties of Mangalore - Mani Menon (Kunchan) and Uncle Sam (John Paul). Things did go well, until Anto Pandhare (Shekhar Menon), Uncle Sam's godson enters in the play.

Story revolves the same like ganster story, tale is portrayed on Mangalore port, and has zilch new to offer. This time something that changes is the focus from regular movie, and this is where director Aashiq Abu does the trick everyone and his leap in the making of gangster saga whacks into the stands. Here is something he made audience thinking and deflects the peopes taste from general audiences.

He takes off to Ajmer, and after a song, and some therapy later, lands back in Mangalore, with a single mantra chant flowing from his lips - that of revenge. Sadly though, this is the sole merit of the film that takes a while - the entire first half, in fact - to get its feet on the ground. By then, the man has had his share of losses, and the wait starts for his rejuvenation.

The extensive periods of silence with a slow, whirring background score playing through, soon start getting on your nerves, and with the action showing little progress, the film even threatens to be a mere collage of a few disjointed shots thrown together. The shallowness of the script is evident throughout, and the odd dialogues that crop up every now and then are a respite at times, and a blight at others. Quite obviously, this isn't a film that banks on its one-liners, and those of you who are on the lookout for some dhamakedaar dialogue-maari are in for a big disappointment.

With the narration starting off in full swing with some awesome animation to boot, it all looked set to be a monster of an entertainer. As minutes kept passing the thrill in this style and action gradually dissipiated and in no time, the energy burned out, and it all ends up as a shadow of a whimper. And we have seen them all, and by all, I mean pretty much all of it.

I guess a decree of sorts exists that categorize the women in gangster films into two categories - the ones that would be bumped off without a second thought, and the others who are destined to seductively adorn the villain's den. Sana Muhammed (Nyla Usha) falls into the former class, while Lily (Aparna Gopinath) almost makes it to the second group.

Here is an experiment that seems to have gone all wrong, and in effort to be realistic to the core, attempts are made to lend some flesh and bone to each one of those characters that hover around the background. The classic case is that of Vidhura, a widowed cop who has recently got married, and whose bride has a tough time managing his son, who is badly missing his mom.

Surprisingly, 'Gangster' does not come across as a visual treat either, and there is no visual wizardry on show. I wonder if this is a deliberate ploy, and the stealth and sneakiness are retained to the core, as Alby's camera looms large over the Mangalorean landscape like a mobster on the prowl. With several sequences strewn together almost haphazardly, 'Gangster' at times leaves the audience dazed, and the editing one wishes, could have been much crisper.

Mammootty looks dashing as Akbar Ali, and yet there is no missing the lost look that creeps into his eyes every now and then. Shekhar Menon is quite impactful as the stout baddie, and Kunchan, Hareesh Peradi and John Paul impress among the supporting cast. Nyla Usha and Aparna Gopinath - well, they're there.

Nothing more, nothing less. The even saga that painfully persists throughout, the mindless gunshots and blood splatter and the sodden predictability together blow up this film beyond recognition. And in no matter of time the amount of crashing and crunching can salvage an entertainer from the massive debris that it leaves behind.

Rating:**

Dishkiyaoon Reviews from Now Running!

juliusj2006@gmail.com (Unknown) — Fri, 28 Mar 2014 15:48:00 -0400

You know you aren't needed back in the industry when you disappear and aren't remembered by anyone. As rude as this sounds but we wish it could've been made clear to Mr. Harman Baweja who hardly shows any sign of improvement in his comeback film after a long haul -Dishkiyaoon.
The movie happens to a maiden production venture by Shilpa Shetty which also stars Sunny Deol and except for the latter's presence there's hardly a reason why one should watch a apology of a screenplay as Dishkiyaoon.

Dishkiyaaoon Pictures 17 Pictures

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Following an edgy childhood, Viki Kartoos (Harman Baweja) wants to make it big in the underworld. Under the mentoring of Mota Tony (Prashant Narayanan) Viki enters the underworld and aims to be known as the number one gangster in India. The movie traces his highs and lows of Viki Kartoss in the underbelly of Mumbai.
Directed by Sanamjit Singh Talwar, Dishkiyaoon still has a first half that may hold the attention of junkies of gangster flicks. The first half does depict an innovatively shot interaction between Sunny Deol and Harman Baweja as we are taken in the early life of Viki Kartoos, his psyche, his traumas and his indulgences, all while the two are inside bars much against your knowledge. But it's the second half which meanders into paths so meaningless that you are left exasperated.
It's high time filmmakers understand, going by the current trend at least, that the audience has actually become quite choosey about the films they watch and content is the key. Dishkiyaoon is an example of good packaging with shallow product which also is the case with its lead actor Harman Baweja who focuses more on highlighting his chiselled torso than his expressions.
Sunny Deol who attempts a Haryanvi character for the first time tries hard to do justice to a character that suffers mediocrity while debutant actress Ayesha Khanna lacks promise and appears to have only been kept for songs and all the commercial trappings.
Throughout the film Viki Kartoos keeps reiterating his mantra that being smart is enough for him in his field, only if the makers could stick to the story in a similar fashion we would've had a far better film than Diskiyaoon. A complete shot in the dark.

Rating: *1/2

Praise the Lord Reviews from Now Running!

juliusj2006@gmail.com (Unknown) — Fri, 28 Mar 2014 15:43:00 -0400

Praise the Lord Pictures 44 Pictures

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Paul Zacharia's 'Praise the Lord' put forward pertinent questions on faith, belief and love, and has been much discussed in literary circles for its sharp witticism. The cinematic version though, does not manage to transfer this allure on to the big screen, and merely manages to scrape through, with minimum damage incurred in the process.

Joy (Mammootty), a Pala based planter has been living a blissful life with his wife Ancy (Reenu Mathews) and their two kids. Until, Sunny (Mukesh), his best friend asks him for a favor. On Sunny's behest, Joy and Ancy agree to offer refuge to a young couple that has eloped from Delhi. When Samkutty (Ahmed Siddique) and Annie (Akanksha Puri) arrive, Joy is tremendously excited at having grabbed the opportunity to watch a real life romance in action.

The novelette 'Praise the Lord', as interesting as the insights that it provides, does not have the prerequisites of a full length feature film. At best, it could have been transformed into a sweet short film, with the messages in it delivered crunchy and crisp.

The film does have a few pleasant moments, but they are simply not enough to be stretched out into more than a couple of hours. Which is why, the initial build-up takes longer than usual in the film, and the end looks all too abrupt.

Joy is pictured as a man in his forties, who has perhaps stuck to the conventionalities that are expected of him as a devoted husband, who never ever has crossed those border lines of decorum. We get to see him trying hard to have a few private moments with his wife during daytime, and his Goa escapade further accentuates this fact.

'Praise the Lord' holds no surprises for the viewer, and even for those of you who have not actually gone through the literary work, the denouement should remain as obvious and clear as in broad daylight. Which reemphasizes the fact that it would always remain better in print.

All said and done, it should also be stated that 'Praise the Lord' is never a boring film; in fact, dull moments are indeed rare. However, it does lack that very special verve that makes you reach out to the characters in a film, which is why, it does not leave a lasting impression on the viewer's mind.

As funny as it may sound, Joy finds himself in a quandary aka the friends in the much lauded Tamil film 'Nadodigal'. The striking similarity in the theme that lies at the core of these works of art is plain apparent. The guardians of love, in both these cases, are left appalled as the love birds throw open the gates of their prison and fly away to glory, albeit in opposite directions.

Mammootty is adorable as Joy, and shares an amazing screen chemistry with Reenu Mathews. This is their second film after 'Emmanuel', and they do make a real good on-screen pair. Ahmed Siddique and Akanksha Puri offer a study in contrast with their respective portrayals of the young ones in love, and are up to the mark. Shibu Gangadharan's 'Praise the Lord' is doubtlessly devoted to its material, and yet remains a lumbering affair. Almost inexplicably, it struggles to blow life into a few charming characters that had appeared so lively on print, and which surprisingly come across as bloated on screen.

Rating:**1/2

Thegidi Reviews from Now Running!

juliusj2006@gmail.com (Unknown) — Fri, 28 Mar 2014 15:27:00 -0400

Thegidi Pictures 48 Pictures

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Thegidi" Means Responsibilities and duties of the Detective Job.It's after you hear this line and understand what it means completely, you realize how brilliantly the entire story of the film is built on this single line. With films like "Pizza" and "Soodhu Kavvum" proving to be successful of its wacky content and clear presentation, "Thegidi" comes in the same lists that portrays the success their formers.

Having successfully completed Master of Arts in Criminology, Vetri (Ashok) takes up a job with a detective agency. On his first assignment, he is asked to gather information about three subjects. He does so by closely watching his subjects without blowing his cover and gathers vital information. As his fourth subject, he's asked to follow Madhu (Janani), but in the process he falls in love with her and even gets close to her by concealing his true identity.

The first thing to like about the film is its short running time of 122 minutes. When most star-studded films take about nearly three hours to narrate a done to death story, "Thegidi", with a not so popular lead cast, succeeds in keeping us hooked to our seats. Meanwhile, each of Vetri's three subjects dies mysteriously. He comes to the conclusion that Madhu might be also on the list. Vetri should protect Madhu, but at the same time, he has find out what lead to the death of his three subjects. But with a slow build up to the climax, even with a shorter running time, it does make you little impatient every now and then.

Ideally you expect a thriller to race at the speed of a stallion, but this film maintains a low profile and builds up tension gradually. This should not be mistaken as lousy filmmaking because director Ramesh does it on purpose. He expects his audience to be vigilant and step into the shoes of Vetri to observe the tiniest detail with attention. By having a slow narrative, he gives us the opportunity to see everything that Vetri could miss. In essence, he makes us the eyes and ears of Vetri.

All the recent thrillers in Tamil like "Pizza", "Pizza 2" seem to have an unconventional end, hinting at a possible sequel in the offing. Likewise, "Thegidi" too packs in a twist in the tale that will totally catch you off guard and it is at that moment that you root for the film even more. While Ashok Selvan does a neat job of playing a detective with a nosy attitude, the film, I feel, needed a stronger lead. It needed someone who could express a gamut of emotions such as fear, curiosity, and love so on flawlessly.

Ashok struggled in expressing the required emotions in some important scenes. Janani did well in a role with minimum scope for performance. Jayaprakash as usual impressed in a cameo and proves why he's one of the finest character actors in the industry.If "Thegidi" turns out to be a hit, debutant music composer Nivas Prasanna deserves huge credit for the success. He carries the tension of the film right till the end with his background score and songs that are placed in the narrative at right junctures.

With its share of ups and downs, "Thegidi" is a taut film executed in style.

Rating:***1/2

Vallinam Reviews from NowRunning!

juliusj2006@gmail.com (Unknown) — Fri, 28 Mar 2014 15:17:00 -0400

All Sports in India is ruined by the power of capitalist and political interference. Very few privileged people get the opportunity to represent their country. Sport depicts struggle of each sportsman in their respective sports and hardly get recgnised anytime and some don't even get an opportunity, this also highlights the discrimination between sports and sportsmen and shows how a certain sport like cricket has been glorified, Although it might not be as powerfully engaging as Bollywood movie "Chak De! India", the film has the spirit to celebrate sportsmanship.

Director Arivazhagan's second directorial "Vallinam", which while addressing the aforementioned points. It turns out with an accident basket-ball player Krishna(forces) in an inter-collegiate basketball tournament, this leads to quit playing the game for good and relocate to another city. In short he moves from Trichy to Chennai, hoping to forget the past incident and exercise himself to perfect life. But call it destiny or fate; he's forced to play again, but this time to stop his college management from destroying their basketball court to make way for the extension of the cricket ground for the upcoming national level cricket championship, to be hosted by the college.

The tension that's accentuated through these moments is testimonial to the fact that the film has succeeded in entertaining the audience. But what's worrisome is whether the film will be embraced by all, irrespective of the fact that it has a college campus as backdrop and it's quite natural to assume it's made for college students. You can find inspiration from films such as "Lagaan", "Chak De! India" and several sports-based dramas of the recent past in "Vallinam", but it manages to maintain some originality in the execution. It might not be a great film, but considering the fact that we don't have many sports-based films in Tamil, this is a great effort. Even with a jagged screenplay that only gains momentum in the second half, the film manage keeps you hooked for the most part of the running time.

In this process, it gets little preachy at regular intervals with dialogues that are purposely written for commercial reasons, but it is understandable from the point of a view of catering to the masses. "Vallinam" never tries to convince us that basketball is a better game than cricket. It reminds us that cricket is not the only sport that deserves to be celebrated in a country where we have other equally popular sports as well. You root for the film when you realize that the actors took the effort to get trained in basketball, portraying the commitment with which they have prepared. Some of the best moments of the film unfold in the court, in between the game and when the ball spins in slow motion on the rim of the basket.

For a change, Thaman's music doesn't make you cringe in your seats. His background score syncs well with the second half, while Bhaskaran's celluloid captures the best shots during the basketball games. Nakul gives his career's best performance. He proves himselfs to hero can step out of the commercial zone and take up roles that can still be liked by audience. Debutant Mrudhula will shine with proper guidance while the rest of the cast members are good in their respective roles.

Overall, "Vallinam" attempts to galore the classifiation of one sport from another in our country.

Rating:***

Bewakoofiyan Review from Now Running!

juliusj2006@gmail.com (Unknown) — Fri, 21 Mar 2014 17:07:00 -0400

It's Delhi's noveau riche Gurgaon world bathed in cosmetic conceit. Sonam Kapoor and Ayushmann Khurrana blend into this gleaming kingdom's excesses effortlessly. The two of them are so good as a couple, imagining them apart for even a portion of the bitterness that bites into the narrative during the second-half becomes unbearable.

Debutant director Nupur Asthana's film is a bright scrambled world of wealth, luxury and the yuppy club's unstated desperation to move up the corporate ladder. It is also, by its very definition, a ridiculously self-important delusional world.
There is an interestingly crafted fight scene between the film's lead pair where Mayera reminds Mohit that she has not bought a new pair of shoes during the last two months because of his job loss. That she doesn't realize how ridiculous she sounds to Mohit is a measure of the underlining irony that the narrative scrapes out of these characters while portraying the exacerbated materialism of the go-getting generation.

Ayushmann looks like the guy next-door who wouldn't mind pulling a few strings to float higher than the level allotted to him by fate. He brings a suave arrogance to his role and creates a cohesive graph for his character. He is an actor to watch.

Habib Faisal's writing is smart and amiable, crowded with quaint colloquialisms culled from the capital youngster's language. The writing also surprises itself by becoming inwardly-drawn and introspective at the most unexpected moments. That the screenplay has got Ayushmann to play the cool guy whose perfectly laid-out plans fall apart, is a stroke of luck for this likeable film.

Ayushmann looks like the guy next-door who wouldn't mind pulling a few strings to float higher than the level allotted to him by fate. He brings a suave arrogance to his role and creates a cohesive graph for his character. He is an actor to watch.

Habib Faisal's writing is smart and amiable, crowded with quaint colloquialisms culled from the capital youngster's language. The writing also surprises itself by becoming inwardly-drawn and introspective at the most unexpected moments. That the screenplay has got Ayushmann to play the cool guy whose perfectly laid-out plans fall apart, is a stroke of luck for this likeable film.

Rishi's Sehgal is a pompous name-thrower with an inflated sense of self-worth, over-possessive about his only daughter's life and preferences. V.K. Sehgal is a striking image of a man on the verge of erupting into a self-deprecatory laughter, if he only he knew how funny his quirks look from the outside.
Of course it helps Ayushmann that he has Rishi Kapoor to play his girlfriend's hawk-like father. Rishi's character of the IAS officer on the verge of retirement (with a companion from his work place who typically, offers his "humble" advice on every matter) is brilliantly written.

So many of Rishi Kapoor's scenes with Ayushmann stand tall because of the way the two characters meet as adversaries who fortunately love the same girl in different ways. Sonam as the girl torn between an autocratic dad and unreasonable lover is so in-character you wonder whether the role and its fetish for designer labels were written specially for her.

Bewakoofiyaan Pictures 30 Pictures

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Rishi brings to the characters a cornocupia of "cool". Seldom in his any other recent film except "Do Dooni Chaar" has this brilliant actor expressed such pleasure in putting forward his character's point of view.It's no coincidence that film too was written by Faisal.

"Bewakoofiyan" has nothing new to say. And that is its greatest virtue. It is "Meet The Parents" where the father and the prospective son-in-law's roles are better played than the original. Yes, Rishi and Ayushmann are better than Robert de Niro and Ben Stiller were in the Hollywood film about the father of the bride.

The narrative sparkles with a mischievous elegance. The winking homage to the go-getting glam-set of Delhi works mainly because the three protagonists are so immersed in the goings-on they make us forget that we've seen most of these conflicts over and over again in the past. In terms of the fluency with which the cliche about the love birds and the girl's disapproving dad is tackled, "Bewakoofiyaan" is a marked improvement on Yashraj Productions' last two pretentious hammy films "Shudh Desi Romance" and "Gunday".
Miraculously this film with its gleaming polished surfaces neither gasps nor laughs at the ignobility of upward mobility, Ayushmann's performance is oh not so hammy. A pure delight to behold after Ranveer Singh and Arjun Kapoor's over-energized bravado in "Gunday".

Rating:***

Nowrunning Review Page.

Queen Review from Now Running!

juliusj2006@gmail.com (Unknown) — Fri, 21 Mar 2014 16:59:00 -0400

Queen is intransitive story very much too similar to English Vinglish with how it has the central character's nervousness on embarking on a journey all by herself and later breaking the shackles of their reservations and reveling in the new found confidence but the two women chart their own journey.

Living a Life's by a book and where it takes this in the life of Rani is which focused on this movie. Rani (Kangana) learns her lesson much too late almost when she got dumped by her fiance Vijay (Rajkummar Rao) just a day before her wedding. Having yearned to witness her D-Day going perfectly, Rani is left shattered as her world comes crashing down. She unshackles herself in her room, hoping to escape the situation and the pain of being dumped. And her escapism only makes her stronger, she decides to go the unthinkable, set off for her honeymoon to Paris and Amsterdam alone. What initially turns out to be a nightmarish idea, turns into a journey of self-discovery as the free spirited Rani tastes independence for the first time.

For a woman laced in the Indian garb, one who's saved herself for her husband and is proud of her virginity, Paris is a culture shock and just the contrast she is looking for to leave behind her life. However, the city turns out to be incomprehensible, ruthless and unaccommodating till she holds on to her reservations and miseries and the moment she lets go of it all, all thanks to her new found friend in Paris Vijaylakshmi (Lisa Haydon), she discovers a whole new life.

Vikas Bahl's Queen is an uplifting, bitter-sweet story that transports you into the film to become one with the author-backed character. The filmmaker doesn't work too much on the story but on the character and her experiences for that forms the backbone of the film. The way Queen simply addresses the stereotyping of women in India and chauvinistic behavior of men and the social pressures is commendable. It's that very innocence of her character that's infectious and strikes a chord with the masses.

Rani stands tall all thanks to the many characters that come along in her story. Right from her family including the likes of her father, mother, younger brother and grandmother, all of whom might just be exactly like your parents to the ebullient, full of life Vijay-lakshmi, all the characters aide Rani towards self-discovery. Lisa Hayden is a complete surprise package who not only looks jaw-dropping gorgeous in her Indo-French role but also plays her part to the T. Rajkumar Rao though in a bit role is spot on. All the other actors who Rani meets on her journey too absolutely flawless.

There's never a dull moment in the film and though the movie treads on the predictable path in few instances it's the actor again that keeps you watching but what's also impressive is where you expect it to go the typical filmy way it beats you and gives an ending that's very befitting the plot.

Queen Pictures 34 Pictures

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The ace in Vikas Bahl's Queen is the Queen of course. Kangana Ranaut sinks completely to become one with her character. She breathes life into Rani, a character that has the power to make you laugh or cry. Her innocence mixed with the childlike inquisitiveness to try anything new is infectious. There couldn't be a better Rani than Kangana Ranaut who gives a pitch-perfect portrayal.

The music actually plays an important part in the film and refreshingly so, doesn't get used for the sake of it, Music by Amit Trivedi deserves a special mention for composing tracks like London Thumakda, Ranjha and remixing the yesteryear track Hungama Ho Gaya.

To sum it up, Queen is one of the finest films this year that with all its simplicity strikes a chord with the mass. The movie deserves not one but repeated watch

Rating:****

http://www.nowrunning.com/movie/11351/bollywood.hindi/queen/4591/review.htm

Lakshmi Review from Now Running!!

juliusj2006@gmail.com (Unknown) — Fri, 21 Mar 2014 16:45:00 -0400

Filmmaker Nagesh Kukkunoor who is best known for films like Hyderabad Blues, Iqbal and Dor had his luck running flat on box-office and as well as with critics. Not only were his movies like Aashayein, Mod etc. taking in audiences at the theaters but were also being criticized for the poor execution. However, this time he is back with the best in Lakshmi.

The Storyline mostly revolves around with the harsh realities of human trafficking and child prostitution, the movie overviews the life about a 13 year old girl Lakshmi (Monali Thakur) who is abducted and sabotaged into prostitution. Thrown into brothell, Lakshmi gets raped, then again repeatedly brutally battered by same men and pimp China (Nagesh). But the most grisly conditions don't break her will to retaliate and after repeated attempts for redemption, she finally makes her way out for a better life.

The story moves based on true events. There's hardly any subtle play in Lakshmi. Nagesh, who brings to fore the plaguing issues of child prostitution and illegal human trafficking that yet are to be eradicated from the rural heartlands of India, relies heavily on shock value to leave the audience with a gut-wrenching experience, assumedly with a hope to bring a change.

Moreover, it's the crudity of the language, mannerisms of the actors and situation that Nagesh shows his prowess in, however, the rest of the portions get amateurishly handled. One expects nail-biting courtroom drama but owing to lackadaisical dialogues it loses the punch.Most of the gruesome scenes are very in-your-face but you wonder after a point whether such graphical representation is actually required? Couldn't the audience be left to imagine the worst?

Singer turned actress Monali Thakur is spot on in her debut film. Her childlike face brilliantly juxtaposes with the crudity of the brothels and viciousness of men. Lakshmi works best not just for its shocking story of depraved and immoral humans but also for its casting and acting.

Satish Kaushik's portrayal of the brothel owner is absolutely brilliant and so is the case with Nagesh who maliciously plays a pimp. While the debutant actress impresses, you have to watch the seasoned actors like Satish Kaushik and Shefali Shah performances.

To sum it up, Lakshmi is a story that's disturbing, shocking but a courageous effort. Watch this movie for stellar performances. and very good time to releases this movie at March 8, which is moreover a good day to encourage woman.

Rating:**1/2

Now Running Link

Ragini MMS 2 Reviews from Now Running!

juliusj2006@gmail.com (Unknown) — Fri, 21 Mar 2014 16:25:00 -0400

Despite a half-baked script with cliched masala, Ragini MMS 2 is worth a watch purely for Sunny Leone's performance.

Horror genre's fascination for children continues so while even in the West you have movies like Mama, The Conjuring, Insidious etc. using children as medium for chills and frights, Bollywood too has shown its fascination for kids in its horror movies. Similar is the case of the Ragini MMS 2 who uses a mother child bond as the back story of its horror plot and gives it a commercial twist by turning it into horrex (horror + sex).

So you have Sunny Leone, who actually plays a porn star turned actress (basically herself) actually faking an orgasm in one of the scenes. Needless to mention, with the boldness taking such blatant levels in Hindi cinema, a movie review doesn't really remain of any use, the ones who want to watch "all that" will do anyway.

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A movie based on a movie, quite a smart move by Bhushan Patel, Ragini MMS 2 actually revolves around the story of its prequel. A renowned filmmaker decides to make a movie on the story of Ragini (protagonist of the first part) who now is in mental asylum. He ropes in porn star turned actress Sunny played by Sunny Leone (coincidence much?) to play Ragini in the film and taking the writer Satya's (Saahil) suggestion decides to shoot the film in the very same bungalow where the actual incident happened. Things go awry when the crew reaches the bungalow and the vengeful spirit starts haunting them all.

Filmmaker Bhushan Patel doesn't give two hoots about traditional mindsets and delivers what he promised all throughout the promos. There's skin show, lip locks, double meaning dialogues and more in a film that's also supposed to scare but fails to deliver that. In a bid to titillate the mass, the maker reduces the horror quotient which actually was substantial in the first part.

The movie takes the hackneyed route for the horror portions and you have a doctor deciding to chant mantras to ward off the spirit or the usage of witchcraft etc.

Ragini MMS 2 works only because of Sunny Leone. Finally in her comfort zone this time around, Sunny outshines everyone and is brilliant not just in the steamy scenes but also in the scary portions towards the end. The rest of the cast including the experienced actors like Parvin Dabbas, Sandhya Mridul and Divya Dutta get wasted in the film.

Despite a half-baked script with cliched masala, Ragini MMS 2 is worth a watch purely for Sunny Leone's performance.

Rating:**1/2

Nowrunning Link

Queen Review from BollyWood Hungama!!!

juliusj2006@gmail.com (Unknown) — Fri, 14 Mar 2014 16:59:00 -0400

You enjoy a movie even more if it has the unforeseeable factor adjoined to its premise. Thankfully, a number of storytellers in Bollywood are aiming to surprise, shock and charm you with attention-grabbing yarns you haven't witnessed earlier on the Hindi screen. Some get it right, some don't, but what needs to be lauded is the effort to break the mould, to go beyond the stereotype. Vikas Bahl's QUEEN also dares to push the envelope.

The promos of QUEEN bring back memories of TANU WEDS MANU, partly because the protagonist [Rani] seems like a distant cousin of Tanu. But let's get one thing clear: The presence of Kangna Ranaut and North India setting apart, there's no commonality between TANU WEDS MANU and QUEEN. However, one can draw parallels with ENGLISH VINGLISH, since Shashi in ENGLISH VINGLISH and Rani in QUEEN are vulnerable and low on self-esteem, but eventually find their own voice once they resolve to venture out on their own accord.

QUEEN is about a shy and timid girl who travels to Paris and Amsterdam for her honeymoon all alone, when her beau calls off the wedding at the last minute. A quirky concept, yes. But this coming of age story is indeed enjoyable, despite the hiccups.

First, the premise! Rani [Kangna Ranaut] hails from a Punjabi family in Delhi. She has led a sheltered life, having been surrounded by her over-protective, but caring parents, doting grand-mom and younger brother Chintu. Rani is introduced to Vijay [Rajkummar Rao], the son of their family friend. Vijay is attracted to Rani and woos her relentlessly. Eventually, Rani gives in to Vijay's charms.

Vijay and Rani get engaged. Vijay is posted in London, but when he returns to Delhi for the wedding, he's a changed man. He calls off the wedding at the eleventh hour. Rani is heartbroken, her family is shattered as well. Rani resolves to take charge of her life. She decides to go on her honeymoon to Europe. All by herself...

QUEEN starts off as yet another attempt to encapsulate the middle class Punjabi set-up [based in New Delhi yet again!], replete with resplendent song-and-dance spectacle prior to the wedding, but quickly changes lanes as Rani sets out for Paris. Steering away from the conservative route of the woman wallowing in self-pity, Vikas Bahl tells Rani's story with insight and understanding and along with his team of writers [screenplay: Parveez Shaikh, Chaitally Parmar, Vikas Bahl] injects loads of optimism, besides spirited and lively episodes, to portray Rani's emotional rollercoaster journey.

What really works is the way Vikas presents Rani, his lead character. Rani [in her 20s] is no bimbette or abla naari, is stuck somewhere between tradition and modernity, but has a mind of her own. Her experiences outside the comfort zone [on foreign land], the interaction with varied people she encounters in Paris first and Amsterdam later, the atmospherics... the writers unfurl a tale that's utterly believable, besides creating a colorful canvas that's brimming with characters who are *not* cardboard cut-outs. Sure, a couple of episodes may seem quirky, but gel wonderfully in the scheme of things.

Having said that, QUEEN isn't fool-proof either. The bloated run time -- almost 2.30 hours -- acts as a roadblock. Also, the story stagnates in the second half. Besides, there are too many songs, especially in the first hour. As a result, the film feels elongated and also indulgent at times. Thankfully, the film is back on tracks towards the closing stages, when Rani meets Vijay in Delhi. The final act is indeed brilliant!

There seems to be an overdose of songs [Amit Trivedi] here. 'London Thumakda', 'Hungama' and 'O Gujariya' are effervescent compositions, while a couple of tracks only add to the run time. Cinematography deserves special mention. The DoP [Bobby Singh; additional cinematography: Siddharth Diwan] captures the sights and sounds of Paris and Amsterdam wonderfully. Dialogue [Anvita Dutt; additional dialogue: Kangna Ranaut] come across real.

It's hard to take your eyes off Kangna, who captures the nuances of her character spot-on. She's simply outstanding! Even when the goings-on appear stretched, Kangna doesn't miss a beat. The earnestness and sincerity she invests in her performance is for all to see. Additionally, the deglam look and the attire [jeans, kurtas, sweaters, handbag] makes it so believable. It won't be erroneous to state that she turns Rani into the most real woman you've encountered on the Hindi screen lately. Rajkummar Rao sparkles in a role not many actors would've dared to take up, while Lisa Haydon is simply delightful and supremely confident, complimenting Kangna through and through.

Mish Boyko [as Olik], Jeffrey Ho [as Taka], Guitobh Joseph [as Tim] and Marco Canadea [as Marcello] contribute wonderfully to their respective parts. The actors enacting the part of Kangna's parents, especially the grand-mom, are lovely.

On the whole, QUEEN reinvents the genre with its non-formulaic screenplay and skilled direction. A charming little film, this one's made with heart and feeling and it shows. Absolutely recommended!

Rating:****

http://www.bollywoodhungama.com/moviemicro/criticreview/id/563941

GULABI GANG Reviews From Taran Adarsh(Bollywood Hungama)!

juliusj2006@gmail.com (Unknown) — Fri, 14 Mar 2014 16:57:00 -0400

The much-talked-about, much-in-news, mired in controversy movie hits the screens in India. Finally!

A few weeks ago, a documentary called GULABI GANG released at select screens of India. Now Soumik Sen's GULAAB GANG, which throws light on women dressed in pink saris, fighting against the injustice meted out to women in the heartland of India, opens at cineplexes after courting controversy. What also makes the film interesting is its interesting casting [and on-screen face-off] -- Madhuri Dixit-Nene and Juhi Chawla.

Let's enlighten you about the premise of GULAAB GANG, before I move ahead. Somewhere between vigilante and activist, a group of women takes up varied issues -- domestic violence, dowry, rape, electricity, education, et al. The plot thickens when Rajjo [Madhuri Dixit-Nene], their leader, locks horns with a conniving and shrewd politician Sumitra [Juhi Chawla], who uses everyone to her advantage.

Although GULAAB GANG raises a strong voice against years of patriarchal pain and suffering -- one might assume it tilts towards arthouse cinema -- the fact of the matter is, Soumik presents the classic conflict between good and evil like any other masala film, replete with high-voltage drama, song-and-dance routine and of course, action sequences. This time, the protagonist as well as the antagonist are women, the story is set in the hinterland, the issues they tackle pertain to women... while men are merely peripheral characters here. Also, unlike some films set in the hinterland, Soumik abstains from using cuss words/colorful lingo to belittle the oppressors here.

GULAAB GANG sheds light on the plight of women in a particular region, but the message resonates beyond the boundaries of the region it attempts to illustrate. The screenplay packs a couple of nail-biting episodes, which skilfully highlights the vulnerability of women in rural India. The fight against merciless husbands, crooked politicians and government machinery and the conventional and regressive attitude comes across effectively on varied occasions. In short, a number of sequences sting with honesty!

However, you can't turn a blind eye to the blemishes either. Not much happens in the first hour of GULAAB GANG [the writing lacks meat!], after Soumik introduces us to the pivotal characters. Lack of conflict or face-off is also one of the reasons why the first hour never really impresses. Also, Soumik could've avoided the usage of songs [the synchronized steps and the reference to 'Ek Do Teen' in a sequence look out of place], since the focus in a film like GULAAB GANG is on drama primarily. Fortunately, GULAAB GANG is back on tracks in the post-interval portions. The simmering tension between Madhuri and Juhi is captured wonderfully. Besides, a couple of dramatic sequences leave a hammer-strong impact. In addition, the chameleon-like opportunistic character of Juhi catches your eye in the second hour.

A big reason the film never feels contrived is its tremendous cast, especially Madhuri and Juhi. It's a pleasure to watch Madhuri essay the role of Rajjo with flourish. In her three-decade-long career, the actress has worked in practically all genres of cinema, but GULAAB GANG gives her the platform to explore not just the dramatics, but action too. She enacts the part of a righteous woman with supreme understanding and deserves brownie points for a terrific portrayal. Matching Madhuri with a pitch-perfect portrayal is Juhi, who defiantly ventures into an alley she has never sauntered into in her career earlier. The actress displays the evil side without resorting to loud theatrics or attempting to overpower her co-star. You'd love to hate Juhi here, for she lives up to the character of a shrewd plotter and an acute schemer.

Other performances are finely pitched as well and topping the list is Divya Jagdale, who stays in your memory much after the screening has concluded. Priyanka Bose is first-rate. Tannishtha Chatterjee is wonderful.

On the whole, GULAAB GANG is well-intentioned with several powerful moments, especially towards the second half. The game of power and politics is well captured too. Additionally, the bravura performances of Madhuri and Juhi add immense weightage to the film. Watch it!

Rating:***1/2
http://www.bollywoodhungama.com/moviemicro/criticreview/id/551149

Bewakoofiyan Review from Bollywood Hungama(Taran Adarsh)!

juliusj2006@gmail.com (Unknown) — Fri, 14 Mar 2014 16:54:00 -0400

On face-value, BEWAKOOFIYAAN(Foolishness) may pass off as yet another love story in a middle class setup, with the [tyrannical] father of the girl throwing a wet blanket on their plans. While the subject matter is as old as the hills -- haven't we watched a concerned/over-protective parent opposing his kid's choice of spouse in dozens of films earlier? -- BEWAKOOFIYAAN(Foolishness) also drapes a thorny issue that plagues the world: Recession. However, what could've been a serious take on relationships and economic decline is punctuated with several laugh-inducing moments by Nupur Asthana.

One expects BEWAKOOFIYAAN(Foolishness) to be a joy-ride, since Nupur's big screen debut MUJHSE FRAAANDSHIP KAROGE was padded with intelligent humor, clever lines and charming moments. And Nupur and writer Habib Faisal make sure they give the cliché-ridden plot a new spin altogether.

Mohit [Ayushmann Khurrana], a marketing whiz kid, and [Sonam Kapoor], a financial brain, are a much-in-love couple. They work hard, they party harder. Their belief is simple: You can live on love and fresh air… But there's an obstacle: Mayera's wilful bureaucratic father V.K. Sehgal [Rishi Kapoor].

The obstinate man believes that only a rich man can bring happiness and a mid-level executive like Mohit simply isn't good enough. Who gets the last laugh when recession strikes and the lack of money tests love?

BEWAKOOFIYAAN(Foolishness) brings back memories of Anubhav Sinha's AAPKO PEHLE BHI KAHIN DEKHA HAI and Rahul Dholakia's KEHTAA HAI DIL BAAR BAAR, besides FATHER OF THE BRIDE and MEET THE PARENTS, of course. Having said that, Nupur and Habib pepper the plot with some cleverly penned sequences, but stray episodes apart, the writing maintains a strong grip from commencement to conclusion [the run time -- less than 2 hours -- makes sure the film never overstays its welcome]. Also, the writer slips the after-effects of recession smartly in the proceedings, without deviating from the core issue, that of a love story.

There's a lot to like in BEWAKOOFIYAAN(Foolishness). The makers know well the flavour of humor they wish to peddle to the spectator -- witty and subtle -- shying away from the slapstick and buffoonery one has come to expect in Bollywood comedies. It won't be erroneous to state that BEWAKOOFIYAAN(Foolishness) makes a genuine attempt to entertain beyond tested flavours and it succeeds in evoking genuine laughs at regular intervals. Also, Nupur and Habib invest heavily into the characters and the screenplay to keep the interest alive. Additionally, the film works for two more reasons: Sharp dialogue and spot-on performances by its protagonists.

However, there are hiccups too. The conclusion is foreseeable given the genre of the film, hence Habib should've ensured that the sequences leading to the climax were hatke completely. The soundtrack [Raghu Dixit] is plain ordinary and though it's not right to draw parallels, one misses a 'Paani Da Rang' kind of haunting melody from Ayushmann yet again [that song has become a yardstick, frankly]. Notwithstanding the blemishes, what needs to be appreciated is the chance YRF has been taking lately. While the premier production house is synonymous with biggies like JAB TAK HAI JAAN, EK THA TIGER and DHOOM: 3, they aren't shying away from making 'smaller films' with interesting concepts such as ISHAQZAADE, MERE DAD KI MARUTI, SHUDDH DESI ROMANCE and now, BEWAKOOFIYAAN(Foolishness).

Editing [Antara Lahiri] is crisp, while the DoP [Neha Parti Matiyani] paints a vivid portrait of the capital as well as Dubai.

The film relies completely on three central characters -- Rishi Kapoor, Ayushmann and Sonam -- and the performances are indeed commendable. Especially Rishi, a gifted actor, who's finally getting roles that do complete justice to his talent. Ayushmann is charming, confident and far from shaky in sequences with the veteran Kapoor. That's no mean achievement! Sonam has evolved tremendously as an actor of late. Films like RAANJHANAA, BHAAG MILKHA BHAAG and now BEWAKOOFIYAAN(Foolishness) only cement her status as a fine talent. Also, she goes all out this time around, flaunting the oomph factor quite abundantly. The supporting cast, in limited roles, deserve a special mention too, especially Gurpal Singh [as Gursharan] and Pratap Hada [as Immy].

On the whole, BEWAKOOFIYAAN(Foolishness) springs a pleasant surprise. Watch this wonderful slice of life film for the super performances of Rishi, Ayushmann and Sonam, watertight writing, skilled direction and dollops of humor.

Rating:****
http://www.bollywoodhungama.com/moviemicro/criticreview/id/576462

1983 Movie Review from Veeyen!

juliusj2006@gmail.com (Unknown) — Fri, 14 Mar 2014 16:49:00 -0400

Reverberating with vibrant voices, Abrid Shine's directorial debut '1983' roots itself resolutely in a vivacious milieu called the game of cricket. The sense of warmth that the film exudes arises out of the upbeat air of hope that lingers around, as a cricketer who had had his dreams razed to the ground, relives his reverie through his gifted son.
Ramesan (Nivin Pauly), one among the thousands of youngsters that remained glued to their television sets as India won the Cricket World Cup in 1983, realizes at that very spectacular moment that cricket will forever remain a part of his life. Fascinated by the game and becoming increasingly obsessed by it, he does emerge a brilliant player, but one who is destined to remain a sensation at local club matches.

1983 Pictures 18 Pictures

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When you hold fast to a treasure in your heart, everything else at times, appears trifling in comparison. Ramesan comes to terms with this vital truth a bit too late, when he watches his childhood sweetheart Manjula (Nikki Galrani), walk by with an affluent looking hubby and a baby in tow. Academics take a back seat as well, and the once diligent boy who was expected to turn out an engineer, ends up helping his disillusioned dad (Joy Mathew) at his lathe.
There is something very special about the characterization in '1983', and the crisp detailing is almost faultless. And this eminence spreads across almost every character in it, be it the namesake Sachin (Jacob Gregory in a side-splitting role) who drops in like a thunderbolt from Mumbai to play a match, or the beautician (Priyanka) who looks like a flustered peacock with a hair job gone all wrong, who decks up Ramesan's bride Susheela (Srinda Ashab) at his wedding.
I should admit I have never been a fierce aficionado of the game, and if Abrid Shine still manages to make my hair stand on its ends in sheer euphoria, it's apparent that the man has delivered a perfect shot. Above everything else, its Abrid's love for the game that drives this film forward with a gusto, making us, in the process fall in love with it as well.
It cannot be left unsaid, that the film itself is a luminous tribute to the greatest batsman ever, Sachin Tendulkar, and Abrid leaves no stones unturned to emphasize how ardent an admirer of the sportsman he is. In a very obvious tirade against Sachin's detractors, Abrid spells out in clear terms through the words of Vijay (Anoopm Menon), as to why he believes they don't make great players like Sachin anymore. Tendulkar, believe me, should be proud.
It goes without saying that this is perhaps Nivin's best performance as yet, and as a forty year old man who stills holds on to the stars in his eyes, he is out-and-out impressive. Nikki Galrani looks refreshingly stunning, while Srinda Ashab delivers a self-assured feat. There is a huge supporting cast that includes such names as Anoop Menon, Joy Mathew, Seema G Nair, Saiju Kurup and Shereej Basheer, and a few amazingly talented child actors as well, all of whom pitch in their worthy bits to this remarkable film.
'Olanjali..' is undoubtedly one of the best melodies that I have listened to in years, and if Gopi Sunder has succeeded in spluttering some exquisite glitter with his remarkable musical score, Pradeesh Varma makes sure that '1983' is a visual delight, with his dazzling frames that further add to the delectable charm of this film.
'1983' casts a spectacular nostalgic spell over a nation that is known to breathe cricket, and in the process gifts us with the first cinematic gem of the year. It does a magic trick that makes you smile, that breaks your heart and that inspires you to the hilt. Match splendidly won, Abrid, and further matches keenly awaited!

Rating:****.

http://www.nowrunning.com/movie/12120/malayalam/1983/4541/review.htm

Om Shanti Oshana Review from NowRunning!!

juliusj2006@gmail.com (Unknown) — Fri, 14 Mar 2014 16:43:00 -0400

Girl falls in love with boy. Boy does not reciprocate. Girl persists. Boy relents.
That pretty much sums up 'Om Shanti Oshana' for you. Pooja Mathew (Nazriya Nazim), the sole daughter of Dr. Mathew (Renji Panicker) runs into Giri (Nivin Pauly) at Veegaland, where he rescues her from a bunch of hoodlums who have been busy twisting her hand. She doesn't think twice before deciding that he is the man, and follows him around like a dutiful puppy.
If you ask me about the best scene in 'Om Shanti Oshana', I would say that it's the one that precedes the film. There is the customary statutory warning against tobacco use here as well, and it's way too good. Way too good.

Om Shanthi Oshana Pictures 90 Pictures

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The film kick starts in the late 90's and spans a couple of decades, and the girl transforms into a lovely woman from the gawky, wide eyed teenager that she once was. Her love for the man remains steadfast throughout, and 'OSO' underlines the fact that many an Indian film had emphasized time and again - true love NEVER fails.
The video cassette shops, the contessa car and the Nokia 3310 all suggest those years that were long gone; and yet there are several other things all around that point out without doubt that the year is 2013. The straightened hair, the watches, the swish spectacles, the drapes, the interiors and the slim fit jeans and attire - all are out there as if on an anti-vintage campaign.
The light hearted moments that occur at a regular pace keep you focused on the proceedings, and the young lecturer at the Medical College (Vineeth Sreenivasan in a cameo) is part of quite a few of them. It doesn't require an Einstein brain to find out where the doc has got his sight fixed, and with all those twists and turns that we have been witness to, the observant viewer puts two and two together in a jiffy.
There are a few other characters that grab your attention, David Kanjani (Aju Varghese) being one among them. Pooja's despicable cousin brother who spends more time in exile than otherwise, is a man who brings about a smile to our face, with the antics that he is upto. There is also a beautiful lady by the name of Thennal (an even more beautiful name) floating around, albeit in a few scenes, and Nikki Galrani sashays in and out like a real breeze.
Despite being a film that belongs to its heroine, I should say that it's the male lead who scores big time here, with an assured performance. Nivin Pauly looks every bit the almost ascetic youngster who is way too practical and clear headed to be lured into an unrealistic romance. Nazriya hams it up (especially in the few initial scenes) when she has to be the tomboy, declaring vehemently through her maneuvers that she is way too feminine to be one. But when her Bambi-esque eyes brim up with tears, you forget everything and reach out to her, hoping that everything ends up well in her world. Renji Panicker is a man whom I would love to see on screen more often and the screen dad that he plays is near perfect.
'Om Shanti Oshana' works no wonders when it comes to the tale that it narrates. And yet, if it manages to leave an impression, its courtesy the uncanny moves that it makes in the account, some of which leave you surprised and pleased as punch, and a few stray ones missing the mark by a mile.

Rating:**1/2

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Happy Journey Review from Now Running!!

juliusj2006@gmail.com (Unknown) — Fri, 14 Mar 2014 16:39:00 -0400

'Happy Journey' starts off where the recently released '1983' left off, with a child cricket prodigy named Aaron getting selected to the under-15 state cricket team. The boy and his mom Alice (Lena) dream of a spectacular sports career ahead, when an unexpected accident renders the boy blind.
Boban Samuel's new film tracks the boy's journey into his youth, where he matures into a charming youngster (Jayasurya) who skillfully manages things on his own, despite being visually disabled. And he starts telling his story to a fellow passenger (Aparna Gopinath) in a bus bound for Chennai, and she even ends up writing a book on it!

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Some themes do manage to capture our attention when it comes to the distinctive milieu that they are set on. As someone asks in the course of the film, how many of us have in fact heard of the Blind Cricket team of the country? Or for that matter how many of us have actually watched these blind sportsmen play?

Not many of us, I'm sure, and even then, 'Happy Journey' turns out to be a yawn of a film. There is only the script that does not have any specific purpose or aim that has to be blamed for the miserable state of affairs that the film finds itself in.

The last half hour of the film, in particular, is insufferable, with the audience literally taken for a ride. So when a song spurts out all on a sudden, only to be followed by yet another in quick succession, you realize that the journey isn't half as happy as it claims to be.

There are a few light moments in the first half of the film, and surprisingly they have nothing to do with the central theme as such. They concern Aaron's cousin Freddy (Balu Varghese), who is the sole lively spirit in the entire film. Wait, there is another fellow named Pranchi with whom Freddy is always engaged in a war of words, and together they are a blast.

The 'Chak De' team, that coach Gopikrishnan (Lal) assembles together is indeed reminiscent of the Bollywood film. However the representatives from the different states in 'Happy Journey' make a clumsy group, with none of their identities explored. And when there is the rare attempt to delve into the lives of one or two of them, like for instead the Tamilian (Chemban Vinod Jose), the results are corny and disastrous.a

All said and done, Jayasurya does come up with an endearing performance as the blind sportsman, and its purely on account of the actor's mode of delivery that we patiently sit through the entirety of the film. Of course, there is Balu Varghese as well, who makes you smile, which is saying a lot, when it comes to a film as this.

The interest quotient in Boban Samuel's 'Happy Journey' remains the minimum, and at the end of it, its nothing more than a series of disparate scenes that try their best to hold together. It's a bit sad, since the source material that the maker had in his hands could have evolved into something infinitely better, with perhaps a bit of a shift in perspective.

Rating:**

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Jilla Review from Times of India!!

juliusj2006@gmail.com (Unknown) — Fri, 10 Jan 2014 14:51:00 -0500

Movie Review: It looks like Vijay has realized that he can be in mass masala films that are not only entertaining to his fan base but also to every segment in the audience. He did this earlier with films like Ghilli, Pokkiri and Thuppakki, and does it now with Jilla. This time, he shares the glory with Mohanlal, who plays his godfather in the film. The plot revolves around Sivan (Mohanlal), a don in Madurai, who brings up Sakthi (Vijay), whose father died for him, as his own son. The two are a formidable force in the city but circumstances force Sivan to ask Sakthi to become a cop. But when an accident results in the death of several innocents, Sakthi wants his father to turn over a new leaf. But the older man is not in the mood to heed his advice, and soon, the two are on opposing sides.

As far as commercial films are concerned, Jilla is definitely assured filmmaking. Neason understands that the conflict between Sivan and Sakthi is what powers his film and sets up the initial clash between these two characters very well. Sakthi's realizes the error of his ways after a horrible blast, which happens because of Sivan's decision. The scenes following this blast are quite horrific for this kind of film but they are so effective in making us understand why someone as loyal as Sakthi will shift sides and decides to take on the person who is his father figure. The confrontation scene is very well shot and the dialogues too are punchy in this scene. Vijay and Mohanlal are very good here. Vijay utters Sakthi's lines in a nonchalant way (Unakkaga enaku pidikadha khakhi potu police aanen illa, enakkaga nee ippo nallavana maaru) while Mohanlal treats Sivan's lines with seriousness, and so we get to see where each character stands — the son only wants his father to change but the latter will not give an inch from his position and is even ready to banish him from the house. When the intermission point arrives, we eagerly anticipate what might come next.

Neason also keeps Sivan's character in the grey area — he never has any remorse for the blast, he even brokers for a pharma company which is banned everywhere in the world; he is so egoistic that he wants to put Sakthi in place at any cost. Which is why, we feel cheated when the director decides to bring in another antagonist who wants to bring down the father-son duo. Thankfully, our disappointment doesn't last long as this character poses a formidable challenge to Sakthi and that keeps this segment engaging. He even has a minor victory when he manages to kill a character close to Sakthi and Sivan.

The lighter portions too are done with confidence. Neason understands the irony of a guy who hates the khakhi falling in love with a woman who is a cop, and treats the romance in a playful manner. He even approaches the scene in which Sivan urges Sakthi to become a cop in a similar vein. A godfather asking his son to do something he hates is heavy duty drama material but the director sidesteps this by going for a good-humoured tone, and just to not make it appear too frivolous, makes Sakthi tell his mom that he will do anything to not see his dad tearing up again. He also manages to get away with the implausible scenario of a don's hireling becoming a cop.

The main issue with Jilla is that it is overlong. Neason, probably in an effort to make it a wholesome entertainer, keeps packing in scenes oblivious to the running time. So, we have an unwarranted sub-plot involving Sakthi's sister and forcefully fitted songs which only make the film lengthy. Also, his tendency to cut to a childhood moment every time he wants to make an emotional statement becomes gratuitous after a point — the film itself begins with Sakthi as a boy; when Sakthi is injured, he recalls a moment when Sivan rushed to him when he injured himself as a boy; when his brother talks about growing up holding Sakthi's hands, he cuts to a montage of two boys holding hands.

Rating:***1/2
http://timesofindia.indiatimes.com/jilla/movie-review/28650403.cms

P&G Thank You, Mom | What An Advertisement | Sochi 2014 Olympic Winter Games

juliusj2006@gmail.com (Unknown) — Fri, 10 Jan 2014 14:20:00 -0500

P&G Sochi Winter Olympics Games Advertisement:

http://www.youtube.com/watch?v=57e4t-fhXDs

Thalaimuraigal Review from Rediff!!

juliusj2006@gmail.com (Unknown) — Fri, 10 Jan 2014 11:08:00 -0500

After more than four decades in the film industry, ace filmmaker Balu Mahendra, who has given us some memorable films in Veedu, Sandhya Ragam and Moondram Pirai, makes his acting debut in Thalaimuraigal. He has also written, directed, edited and wielded the camera for the film.

This is the first time that the 74-year-old director, who started his career as a cinematographer, has shot a film in the digital format with a still camera, the Canon 5D DSLR. Thalaimuraigal is produced by M Sasikumar`s company, Film Productions, and he also makes a cameo appearance in the film.

The film stars Ramya Shankar, Vinodhini, S Sashi and Master Karthick. Ilaiyaraaja has composed the music for the film. The story opens with a phone call to Dr Siva (Sashi) from his childhood friend Govind, who informs him that his estranged father is recovering from a massive stroke.

It is 12 years since Siva has last seen his father Subbu (Balu Mahendra). Siva was thrown out of the house by his orthodox father for marrying a Christian girl, Stella (Ramya Shankar).

Though deeply upset at the news, Siva is in a dilemma as he is not sure that his father will accept him back. Stella, however, convinces him to go and Siva makes the journey to his village to see his ailing father. Subbu is rude and overbearing initially, but he cannot hide the joy and pride at seeing his son, a successful doctor.

Stella, who is very keen to give their son Aditya (Master Karthick) an opportunity to know his grandfather, also joins him after a couple of days.
At the very first glimpse of his grandson, Subbu is overjoyed, and all the anger and hatred just seem to melt away. Even the contempt for his Christian daughter-in-law vanishes.

Subbu is now just an old man trying to understand his grandson, who does not speak a word of Tamil. Unfortunately, Subbu not only does not understand English, but even hates the language.

Is there a common meeting ground? Can they break the strong barriers of caste, religion and language and find love and respect for each other? All this is revealed with a lot of sensitivity and simplicity in the second half of the film.
Balu Mahendra’s effortless performance in Thalaimuraigai proves that acting is yet another skill to be added to his already long list of accomplishments.
He plays an angry father, who eventually comes to regret his orthodox beliefs; his perception of caste and language differences are changed by his grandson and daughter-in-law.

Despite all the differences, the underlying love and pride between the father, son and grandson is brought out beautifully. Master Karthick plays the bright and intelligent grandson, whose curiosity and earnestness will definitely make you smile. All the others too, have excelled in their respective roles.

There are no songs to mar the narration and the background score by Ilaiyaraaja remains inconspicuous, subtly bringing out the depth and intensity of the film, while enhancing the natural sounds of the singing birds and the flowing water. Balu Mahendra is a master of cinematography and his love for shooting in natural light is evident throughout the film.

Director Balu Mahendra's Thalaimuraigal is a heartwarming tale of a grandfather coming to terms with his own conservative values and beliefs, while at the same time instilling in his grandson, a sense of pride and appreciation in his language and culture.

Rating:***1/2

http://www.rediff.com/movies/report/review-thalaimuraigal-is-brilliant-south/20131223.htm

Ezhu Sundara Rathrikal Reviews from Rediff!

juliusj2006@gmail.com (Unknown) — Fri, 10 Jan 2014 11:01:00 -0500

Everything goes wrong in the first 30 minutes of Malayalam film Ezhu Sundara Rathrikal, and the people involved in it try their best to salvage the situation. Finally, everything gets untangled in the last 15 minutes and the audience goes home happy. There are a few guffaws, a couple of heartaches and one or two action sequences punctuating the narrative. This description is suffice to summarise Lal Jose's Ezhu Sundara Rathrikal, with his actor friend Dileep in the lead. Aby (Dileep), a hotshot ad-maker, decides to finally get married. He has a painful history, where the girl he had loved left him just days before their wedding.

After getting intoxicated in his own bachelor’s party, Aby decides to invite his old flame Sini (Rima Kallingal). When he reaches there, she is alone and both boast about their respective life partners. Sini is married to a boxer called Tyson Alex (Murali Gopy) and Aby is engaged to one of his models Ann (Parvathy Nambiar).

Their meeting results in complications that compel them to meet again and again. How they do it dodging their partners and their large circle of common friends before the hell breaks loose, is what the film is all about.So, this is the story of seven beautiful nights from the day of the bachelor’s party to the day of the wedding, penned by James Albert (who had first scripted Classmates for the director). The narrative goes back and forth every now and then.

Tyson Alex is presented as an uncouth person, who seriously is a threat to Sini as she tells Aby once that their relationship exists only because they have a child. The rest of the ensemble cast that includes Harisree Asokan, Tini Tom, Vijayraghavan, Sreejith Ravi and others provide comic relief at a sporadic interval. Parvathy Nambiar, who makes her debut in this film, has an angelic smile that makes up for any deficiencies in her performance.

Rima Kallingal, who has to look distressed in her post marriage scenes, is good as nothing much is demanded of her. Dileep has to have two distinct looks as a young photographer (which he does with a wig of shoulder length hair and stubble) and his age today as a matured ad-maker. Wishing for any other distinction in his character would be asking for too much. Ezhu Sundara Rathrikal may have been an attempt to look at the fickleness of relationships in today’s times in a humourous way but it does not have the desired effect.

Rating:**

http://www.rediff.com/movies/report/review-ezhu-sundara-rathrikal-falls-flat/20131223.htm

Madha Yaanai Koottam Review from Rediff!!

juliusj2006@gmail.com (Unknown) — Fri, 10 Jan 2014 10:57:00 -0500

Popular music director G V Prakash Kumar's maiden production, Madha Yaanai Koottam, is directed by Vikram Sukumaran, former assistant of the legendary Balu Mahendra.

JSK Film Corporation has acquired the distribution rights of the film. The film features newcomer Kathir and Oviya in the lead roles supported by Viji Chandrasekhar, Vela Ramamoorthy, P Gopalakrishnan and others.
Madha Yaanai Koottam, when translated means ‘Group of mad elephants’. The characters of the film do exactly what a herd of mad elephants would do, go on a senseless rampage destroying everything in sight for no apparent reason.

The film opens with a death scene and every 15 minutes there is another death.

Jayakodi Thevar is unfortunately the man whose death is being celebrated in a grand manner with loud music, dancing, fire crackers, and a continuous supply of drinks and food. As a eulogy, the artists sing about the greatness of the dead man and the film shifts into a flashback.

Jayakodi Thevar has two wives and is currently staying with his second wife and their son Paarthi (Kathir) and daughter.

The older wife also has a son and daughter, but is living under the protection of her brother. She wants nothing to do with her husband as she feels he has betrayed her.

The enmity between the older wife’s brothers and his children and Paarthi is the crux of the story.

The minute the former hear about Jayakodi’s death, they carry his body out of Paarthi’s house stating that only the older wife has rights to the body. They don’t allow Paarthi, his mother or sister to join in the rituals.

Paarthi, who initially remains passive, is forced by circumstances to join in this stupid, mindless fight, where there is absolutely no regard for life.

The first half of the film reveals the various rituals followed after death, in great detail. We also get to know about an interesting custom called seimurai, where the relatives have to buy new clothes and even gold jewellery for the surviving members of the family.

The second half is the usual revenge saga, which is totally unimaginative and boring. Oviya plays Kathir’s love interest and has absolutely nothing to do in the film. Kathir seems to walk around like Vishal and though he does have the height and built to carry off the role, his face looks too innocent and guileless to express the intense hatred and anger. All the other characters, however, have been chosen well: menacing lungi-clad tough guys, with the ever present aruva in their hands and of course the authentic dialect of Theni.

The songs and background score by N R Raghunanthan and cinematography by Ragul Dharuman, who has skilfully captured the mood and setting of the film is definitely a plus.
Director Vikram Sukumaran’s Madha Yaanai Koottam deals with many emotions: hatred, vengeance, betrayal, fear. But pride and anger seems to take precedence and the film eventually ends in a mad rampage of revenge, brutally slaughtering everything in sight.

Rating:**

http://www.rediff.com/movies/report/review-madha-yaanai-koottam-shows-senseless-violence-south/20131226.htm