Saturday Movie Show

Luck By Chance Movie Review: A Bollywood Satire

gaurav2328@gmail.com (Gaurav Shukla) — Fri, 30 Jan 2009 02:22:00 +0000

It might seem as if Bollywood couldn’t possibly satirize itself — the genre is already so over-thetop — but Zoya Akhtar manages the trick deftly in “Luck by Chance,” an appealing tale of two would-be actors looking for movie stardom.

Vikram (Farhan Akhtar, the director’s brother) arrives in Mumbai from New Delhi hoping to crack the movie business, and he soon finds romance with Sona (Konkona Sen Sharma), who is a few years ahead of him in terms of making inroads but is still waiting for her big break. The film gets its digs in early and often, populating the movie-making universe with characters who are vacuous, weaselly or both.

Ms. Akhtar, who also wrote the screenplay, shows herself to be a master of extremes. A fabulous circus-theme musical number pulls out all the stops, but a scene in which an acting teacher explains why Hindi stars have to be more talented than those in Hollywood is a subtle comic gem.

It is Vikram who finally manipulates and lucks his way into a breakthrough, and it is Mr. Akhtar whose understated performance holds together this far-ranging, cameo-filled film. He manages to remain sympathetic even while wreaking romantic havoc.

LUCK BY CHANCE

Opens on Friday nationwide.

Written and directed by Zoya Akhtar; director of photography, Carlos Catalan; edited by Anand Subaya; music by Shankar, Eshaan and Loy; production designer, Anuradha Parikh; produced by Ritesh Sidhwani and Farhan Akhtar; released by Adlabs Films. In Hindi and English, with English subtitles. Running time: 2 hours 36 minutes. This film is not rated.

WITH: Farhan Akhtar (Vikram Jaisingh), Hrithik Roshan (Zaffar Khan), Konkona Sen Sharma (Sona Mishra), Rishi Kapoor (Romy Rolly) and Isha Sharvani (Nikki Valia).

The Happening Movie Review

gaurav2328@gmail.com (Gaurav Shukla) — Thu, 12 Jun 2008 07:30:00 +0000

The director M Night Shyamalan specialises in disquieting makeovers of pop-cultural staples, having reimagined – with decreasing success – ghost stories in The Sixth Sense, science fiction in Signs and fairytales in Lady in the Water. Still reeling from the opprobrium he received for the last of those, he turns his attentions to the disaster movie in The Happening.

A mysterious poisonous gas has impelled citizens all over northeastern America to perform a suicidal hokey cokey in which they talk gobbledegook, then start walking backwards and finally kill themselves by the nearest available method. A typically precarious Night conceit, it’s bizarrely effective at first. Shyamalan remains adept at conjuring up disturbing atmospheres.

More disturbing, however, are the forays into off-kilter black comedy – not all of them intentional – as Mark Wahlberg’s stoic science teacher leads a band of survivors into rural Pennsylvania. After years of channelling Spielberg and Hitchcock, Shyamalan now appears to fancy himself as the third Coen brother. Crackpot locals in towns called Hokum swap conspiracy theories – is the gas a terrorist attack or a wounded Mother Earth wreaking her revenge? As victims start topping themselves in evermore hilarious ways, one lying serenely in front of a lawnmower, we are left stranded deep in parody territory.

The result is sporadically enjoyable but stylistically all over the place. This gifted director has not lost it completely, but the suspicion lingers that he has been been inhaling some disorientating vapours of his own.

Sarkar Raj Movie Review: One of the best to hit Indian screens this year

gaurav2328@gmail.com (Gaurav Shukla) — Fri, 06 Jun 2008 03:13:00 +0000

Sarkar Raj is One of those sublimely rare movies in which every element–casting, acting, directing, script, cinematography, score–comes together.

It is an incredibly rare occurrence for a sequel to be as good as or better than the original. Ram Gopal Varma’s Sarkar Raj not only lives up to its predecessor’s (Sarkar’s) reputation but equals and, in some respects, exceeds it, as Devansh Patel from the Observer series newspapers, London, bring you the first ever review of the film

The first film, Sarkar, concluded as Shankar Nagre (Abhishek Bachchan) evened up the score in the attempted murder of his father by killing his own brother Vishnu (Kay Kay Menon) and his fellow masterminds Rashid, Selva Mani, Vishram Bhagat and the Swamiji. In this wonderful follow up, Shankar begins working in earnest to fulfill his role as the new Sarkar. But the question is - Will he be successful? The movie starts off with this big question in everyones mind as the film title begins to roll.

It’s Subhash Nagre’s (Amitabh Bachchan’s) 60th birthday where he is seen greeting the public by a short speech which goes something like this - “Har baap yeh umeed mein jeeta hain ki ek din apne bete se uski haar ho. Ab tak maine jo kuch bhi kiya, mere bete ne woh do saal mein kar dikhaya”. Sarkar’s life is still the same. His most trusted associate Chander (Ravi Kale) is responsible for the security of Sarkar and the day to day proceedings, from Sarkar’s black lungi to his tilak to his body-guards, everything is in the same order and nothing has really changed apart from Shankar’s clever way of handling the business. But when everything seems to be going fine in a Bollywood film, we know that there are bound to be some baddies hiding behind the bush. So one fine day, Hassan Qazi (Govind Namdeo) and deputy Chief Minister Kanga (Shayaji Shinde) briefly talk about their new plan to get rid of Sarkar and his regime by trying to set up a meeting with a London based business tycoon Anita (Aishwarya Rai) and her father Mike (Victor Banerjee). Both the father and the daughter want to set up a power plant in Maharashtra’s Thakarwadi village, which happens to be the same village where Sarkar studied all the tricks of the trade from his guru Rao Saab (Dilip Prabhavalkar) but Hassan Qazi urges them to meet Sarkar because it is his decision which will have the final say whether or not the power plant will be set up. Anita now comes with Hassan Qazi to Mumbai to meet Sarkar only to find out that he isn’t happy with her power plant idea as it will ruin the 40,000 houses of the villagers. But Shankar has other plans. He convinces Sarkar by saying Nazdiki nuksaan dekhne se pehle…door ka fayda dekhna chahiye. But the green signal hasn’t been given yet because Sarkar believes that he still needs to talk to Rao Saab, his mentor, and take his final call. The verdict was out and both Anita and Shankar get busy in setting up their dream project in Thakarwadi. But wait…the road is not all clear. Come Sanjay Somji (Rajesh Shringapure), the grandson of Rao saab. Short tempered and the one who does not support western influences stands as a wall in front of those who want to build the power plant. He starts provoking the villagers against Shankar and Sarkar. Though Shankar still thinks that it is because of his ignorance that Somji is taking such harsh measures. So while talking to Somji over the phone, Shankar’s car explodes. Who dies? Well, it’s for you to find out. The ‘cannot take no for an answer’ Shankar is gutted by the lack of security and soon fires his 20 year old vafadaar Chander and appoints Bala as his new head of security. The question to be asked here is, why does Shankar fire Chander knowing that who planted the bomb in his car. Again…for you to find out. In between all this mishap, the next Indian Idol, Kantilal Vora, not Vohra, (Upyendra Limaye) comes in the picture to set up the same power plant in Gujarat. Then, Somji gets kidnapped, Shankar is out of the project as Kantilal Vora steps in, Chander unites with Shankar again, a surprise killer called Negi enters the scene to kill…..ha ha …not gonna tell you…the Press conference, Sarkar in hospital because of heart attack, and before we know that Anita and Shankar fall in love…Yes! you heard…something happens!

By the end of all this, you must be ignoring this review and wanting to book your tickets to see this well executed film. Ram Gopal Varma handles a lot of the sequels material very well. As in the earlier film, he reveals himself as a master of mood, atmosphere, and period. And his exposition is inventive and subtle. The film requires the intelligent participation of the viewer; as the Nagres attempts to discover who betrayed them just like in their previous encounters with the baddies. Varma handles the transitions adroitly, keeping the pace consistent enough to limit any sense of jarring or disorientation. Having said that, he has left so much space by the end of the film giving it yet another chance to make the Sarkar trilogy. Mr Varma, you are sure back with a vengeance!

Performances take off from where they left in Sarkar. Abhishek delivers his best after Yuva and Guru and is very good at suggesting the furies and passions that lie just beneath his character’s controlled exterior. He gives us a Shankar who took over the family proceedings with the intention of making it “legitimate” in couple of years, but who is drawn more and more deeply into a byzantine web of deceit and betrayal, all papered over with code words like respect, honor, and gratitude. New entrant Anita played by Aishwarya Rai does come in handy and even though she hasn’t been used to the extent what RGV should’ve, she delivers each scene with panache, like her scene with Amitabh Bachchan and Abhishek in the hospital. But not to forget, it is her character which will always question you - ‘What next?’
Tanisha as Shankar’s wife fills in the blanks while the other character actors like Chander, Kanga, Vora, Somji, Rao saab and Qazi are used very effectively giving each one of them an equal oppurtunity to showcase their individual talent. What’s even more interesting is that RGV has used them in as we say - ‘bits n pieces’ trying to fix in the pieces of a jigsaw puzzle, and that grabs your attention. But having said that, I personally and dearly miss the company of Selva Mani, Rashid and Swmaiji. If only they could return as ‘Bhoots’ in the Sarkar Trilogy. But let me come to the point here. Have I missed someone ? Yes, I have and it’s not someone..it’s Sarkar. As the saying goes, there can only be one king in the jungle. That’s Amitabh Bachchan. For a man who has constantly stuck to one belief ‘Mujhe jo sahi lagta hai, main karta hoon’ he hardly puts a foot wrong. His hard hitting dialogues reminds you of his roles in Agneepath and Khuda Gawah. Subhash Nagre aka Sarkar’s performance is packed with more classic lines than any movie deserves to have and kudos goes to the dialogue writers.
Visually, many of Sarkar Raj scenes have a more gloomy appearance this time around which was vital to the sequel. Especially during the latter portions of the film, the Nagres’ are shown in severely underexposed settings, appearing as a silhouette. The crisp editing by Amit Parmar / Nipun Gupta, the haunting background score by Amar Mohile and Director of Photography Amit Roy seems to be the finest in the business. They deserve much more than just awards.

As the beginning of Sarkar Raj echoes the opening of the Nagre family, so too does the end and because of the manner in which circumstances are handled and considering the people involved, the impact here is more forceful. The film has accomplished its poisonous, inevitable designs as RGV punctuates Sarkar Raj with a gut-twisting exclamation point.

Combined, Sarkar and Sarkar Raj represent the apex of Indian movie-making. Sarkar Raj is not so much about crime lords as it is about prices paid in the currency of the soul for decisions made and avoided. It is that quality which establishes this saga as timeless. A rare sequel that surpasses its classic source.

Credits: Filmikhabar.com
Rating - ****

No 'Tashan release ' show in major multiplexes

gaurav2328@gmail.com (Gaurav Shukla) — Fri, 25 Apr 2008 10:31:00 +0000

Yash Raj Films' much-awaited action thriller "Tashan" has opened in a select few cinema halls. Major multiplexes like PVR Cinemas and Inox did not release it Friday.

The multiplexes have stayed off the film - starring Kareena Kapoor, Akshay Kumar, Saif Ali Khan, and Anil Kapoor - apparently because of Yash Raj Films' high revenue demand.

"We had asked Inox, Fame and Adlabs multiplexes to give 60 percent of the revenue collected in the first week. 'Tashan' is a film that will easily earn enough revenues for the multiplexes and us. I don't think the increase in revenue percentage is too high," said Sanjeev Kohli, CEO of Yash Raj Films.

Amitabh Vardhan, CEO, PVR Cinemas, said here: "As of now we don't have the film. As far as the revenue sharing in concerned, I would not like to comment on that."

Arijit Dutta, a Kolkata-based exhibitor-distributor, is more forthright.

"I don't understand why we have to pay higher revenue when the business in Kolkata is 10 times less than other metros. This year revenue has been hiked by 12 percent here, whereas Mumbai and Delhi multiplexes were asked to pay only two percent more," Dutta told IANS.

Till Friday morning none of the parties had reached any agreement and the film has opened in only single screen theatres. Apart from them, the Waves and Spice multiplexes are having shows of the film.

The Krishna Acharya directed film is an edge of the seat thriller.

Indo-Asian News Service

Tashan Movie Review

gaurav2328@gmail.com (Gaurav Shukla) — Fri, 25 Apr 2008 04:07:00 +0000

Let me tell you first. Tashan is not a Serious movie. So, First thing you have to do is to keep your brain at home lock it in the fridge
to reduce the damage. Done? Still you have preoccupations like this is a Yash Raj Film and what we can expect is songs, dance, action, family drama etc.? Take a break. Remove all those pre-occupations and get ready to watch a light entertainer filled with action, drama and fun. Welcome to Tashan’s review.

Hot, single and beautiful Pooja (Kareena Kapoor) is all out to get hold of eligible bachelor and playboy Jimmy Cliff (Saif Ali Khan) who speak English fluently and work in a call centre. Pooja works for Bhaiyyaji (Anil Kapoor) who is a dangerous underworld Don but illiterate. Bhaiyyaji is awaiting a group of foreign delegates and want to speak to them in English. A love affair is started between Jimmy and Pooja under the nose of Bhaiyyaji. Bhaiyyaji plan to marry Pooja where Jimmy tries to get her out of Bhaiyyaji’s clutches. Pooja is indebted to Bhaiyyaji for about half a crore rupees and cannot quit. The lovers make a plan and succeed in getting out 25 Crores of Rupees belong to the Don. Pooja cheat Jimmy and escape with the money. A skillful, talented and ambitious Guerilla from Kanpur, Bachchan Pande (Akshay Kumar) was bought in to search the lovers. Jimmy surrenders before Bhaiyyaji and tells his innocence. From him they got a clue that she can be in Haridwar. So, the two are assigned to get hold of Pooja and the 25 Crore Rupees. Will they meet Pooja? Why Pooja cheat Jimmy and run away with the money? Who will marry Pooja at the end? What will happen to the Underworld Don? Where those 25 Crore Rupees are hided? There are many interesting questions one can ask from this point. Watch the movie to find out the answers. It is fun.

Vijay Krishna Acharya, who was part of Doom, Doom2 & Guru as a writer try his luck in Direction with Tashan. I will say this new comer director succeed in part, much thanks to the banner and the presence of great stars. The director lack perfection, but from the very beginning the movie was attempted to give a light feeling and take off the seriousness from the audience. He failed in many departments but succeeds in one, i.e. keep occupying audience to the screen.

Anil Kapoor shown again his class and performed the humorous villain role with ease. His Ishtyle with the local dialects made his character jovial and ’katharnak’ at the same time. Akshay Kumar did his role with ease again, and the actor carried his screen presence from his previous films which helped the new director to stand on his feet. Saif Ali Khan missed the bus this time. He looks cool and performs well, but he is one actor who can reach to higher levels of acting when the role demands. His new look didn’t help either. Kareena played the seductress role well, she come out a bit bold and hot this time forget to become dolly and beautiful but the last half an hour compensated for the earlier loses and at the end she is a winner. Sanjay Mishra, Manoj Pahwa and Yashpal Sharma did their meager roles ok. Overall the performance were quite average but the screen presence of the actors salvaged the show.

Music was average. The Choreography was just ok. Falak Tak is the only song which I felt excellent for its music and choreography. Brilliant! Rest all of them are just average. The great locales could not compensate for the poor colour sense of the choreographers. For example, where a blue gives an extremely brilliant look and feel a mix of green immediately wipe out the mood completely. Follows is a mix of orange and dark blue. Choreography should express the mood of the song and project the emotion. But it is not done here. The back ground music was experimental and good. The Bachchan Pande background resembled the one in Dhol, but was extremely effective.

Cinematography was very good at some places where it fall flat in many other. The action scenes, the desert and scenes at Kerala all were good but were quite ordinary in many other places. Editing could have been better. The film is censored with 17 reels, but looks like a major chop undertook before it reached theatre to restrict the length to 2 hr 30 minutes plus.

The movie can be easily labeled as a time pass which tickle your bones and leave a smile in our face. The highlight is the light treatment of the theme, Action thriller. So there is fun and curiosity with each frame. Screen Presence of Akshay Kumar, Anil Kapoor, Kareena Kapoor & Saif Ali Khan contributed much to add value.

The movie can be labeled as a cartoon style film as well at times. Akshay Kumar Magic during the fighting, which overtakes spiderman, superman and all other cartoon characters. This Khilladi fights 100s at a time - Throw down at least 15 with his one push – Climb big walls and fight from middle when 50 people fire with machine guns - kill 100s and come out as unhurt. He can run like a cheetah and escape thousands of gun shots. It is hilarious as it intended that way. When the Killadi was doing all these, Saif tried a boat flight as well where he simply fly from the sea with a boat and fire just turning down the boat. The cartoon style was a matter of good laugh.

The director wish to heat up the boys with Kareena’s 2 piece Swim suite appearance showing the flat gym body muscles. Killadi Kumar tries a Rajani number several times to get giggles from girls, but he press below the belt line.

About the drawbacks of the movie? There are many and many. There is no logic whatsoever. All departments of the film making could have been improved. But do you really wish to know all of?

In short, don’t expect a great movie. It is another light entertainer with a formula action story told in the fun format in cartoon style. Time pass, nothing more, nothing less. The movie probably will add another hit for the Jubilee Kumar who started his winning streak long back, where it is getting positive reports.
Credits: Paulsb02 from mouthshut

Shaurya Movie Review

gaurav2328@gmail.com (Gaurav Shukla) — Fri, 04 Apr 2008 11:08:00 +0000

Let's clear a misconception before we get down to reviewing SHAURYA. It's not a war film. It's not jingoistic. It doesn't spew venom on the neighboring country. It doesn't show mutilated bodies or blood-soaked faces and limbs.

Sure, SHAURYA has the backdrop of the armed forces. But it's about a court martial. It's about two friends, who're pitched against each other in a courtroom. The 'culprit', in turn, doesn't want to defend himself and remains a mute spectator for reasons best known to him.

SHAURYA is a serious film and raises a serious issue in the penultimate 20 minutes. And that's where it scores. Director Samar Khan gradually builds up the tension and when it explodes in the finale, it leaves you stunned and speechless. Most importantly, it makes you uncomfortable… perhaps, that's one of the reasons why it succeeds.

SHAURYA is about the common man, but as a cinematic experience, it's more for the discerning viewer looking for a hatke theme, thirsting for a story in those 2 hours. Most importantly, it does justice to the tagline - 'It takes courage to make right… right'.

Captain Javed Khan [Deepak Dobriyal] is charged with mutiny, treason and killing a fellow officer. Even when he is held for court martial, he refuses to speak in his defense as the secret he holds is too powerful for the establishment to handle. Assigned for this task are Sid [Rahul Bose] and Akash [Jaaved Jaaferi], two best friends, lawyers and very ambitious individuals who have contrasting views on life.

Nevertheless, this one case changes their lives forever. The case takes them to Srinagar. While Akash, for whom winning the case matters the most, follows the blueprint, Sid discovers a new meaning in life, Kavya, Javed and of course, the man in question, Brigadier Pratap [Kay Kay Menon].

Why is Javed silent? What is the truth of that night? Why is Brigadier Pratap hell-bent on getting Javed convicted? Will Sid have the courage to save Javed's life?

SHAURYA isn't a flawless script. But it has been treated with utmost realism and sensitivity by Samar Khan. Talking of the narrative, the film could've done without the item song at the very start [and what was Pawan Malhotra doing in this song?]. Besides, one fails to understand why Deepak Dobriyal doesn't confide to his mother, since the family has always taken pride in the fact that they've adhered to principles all their lives. Besides, the film could've been shorter by at least 15/20 minutes. The second hour drags at places!

Despite the hiccups, SHAURYA delivers what it promises. At the end of the screening, you actually pinch yourself. Did the same guy who helmed this riveting fare called SHAURYA, direct KUCH MEETHA HO JAYE, a bitter cinematic experience? The execution of SHAURYA is impressive and Samar also succeeds in extracting stellar performances from the ensemble cast.

Despite the shortcomings, the screenplay is tight, not deviating from the core issue. The reason that compels Deepak Dobriyal to shoot a fellow officer and also the powerful climax prove that the writers [Jaydeep Sarkar, Aparnaa Malhotra and Samar Khan] know their job well. There's not much scope for music in a film like this, therefore the two songs don't make much of an impression. However, in terms of melody [Adnan Sami], 'Dheere Dheere' has a soothing effect on the listener. Carlos Catalan's cinematography is topnotch.

The story rests on five actors - Rahul Bose, Kay Kay Menon, Jaaved Jafferi, Deepak Dobriyal and Minissha Lamba. Rahul excels in a role that fits him like a glove. In fact, this performance easily ranks as one of his finest works. Kay Kay is dynamic. Watch him explode in the climax and you realize the potential this actor possesses.

Jaaved does a decent job. However, his character is relegated to the backseat after a point. Deepak conveys a lot even when silent - that's the sign of a fine actor. Minissha is effective. Besides, she looks the character. Amrita Rao handles her part with maturity. She's first-rate. Seema Biswas, as always, is a complete natural.

On the whole, SHAURYA is a well-made film that will have to rely on a strong word of mouth to sustain in the coming days. However, the film deserves to be tax-exempted since it's a genuinely deserving case. (c) Indian Fm

Hitman: Unrated (Blu-ray) review

gaurav2328@gmail.com (Gaurav Shukla) — Fri, 14 Mar 2008 10:20:00 +0000

How does a good man decide when to kill?
I was hardly aware of its existence when Hitman "hit" theaters a few months back. Admittedly, I don't find myself seeing what's coming to the local multiplex on Fridays all that often, instead looking at Tuesdays months in advance in anticipation of the latest Blu-ray releases. My reaction upon seeing a preview for it somewhere was "ho-hum" at best, but being a fan of pointless action movies (of which I had no doubt this would be), I figured I'd eventually give it a watch somewhere down the line. Lo and behold, I now find myself with a screener of it on Blu-ray. Hitman proved the least appealing of a recent batch I received, a batch including the likes of Enchanted, Independence Day, and I, Robot. After viewing those three fine films and writing glowing reviews for each, I was hoping my luck would continue with Hitman. It did, sort of. This is another fine Blu-ray release from Fox, but I was almost literally bored to tears by the movie, despite quite a bit of action, blood, guns, swords, and barcodes, everything a growing boy needs.

Even Timothy Olyphant can't prop up 'Hitman' alone.
Hitman stars Timothy Olyphant (Live Free or Die Hard) as Agent 47, a professional hit man who has been raised since birth to be just that, learning discipline above reproach, martial arts, and the intricacies of modern weaponry from an early age, all the while maintaining a stylish shaved head with a tattoo of a barcode on the back of his neck (reminding me of the tattoos on the soldiers trained from birth in the Kurt Russell action flick Soldier). The story revolves around his assassination of the Russian President, or so we are led to believe. Agent 47 takes the shot and puts a round through the Russian President's nasal cavity from a great distance (a shot that would make Mark Whalberg proud), a definite kill shot, but the President appears on television soon thereafter, claiming only to have been grazed by the shot (akin to a plot device used in the currently-showing Vantage Point, a conclusion I reach only through trailers, having not seen the film). Agent 47 becomes a target for assassination himself (yup, Shooter again), and along with a woman named Nika (Olga Kurylenko, Quantum of Solace) whom he was told to assassinate but chose not to after discovering she was merely a set-up to expose him, he unravels a government conspiracy whilst creating a blood trail as long as Russia in his wake.

Before the story even begins, while still in the main menu, the movie emotes a sense of significance. It wants me to believe this is going to be a good, maybe artsy, definitely worthwhile movie based on the soft, somewhat angelic music playing over it. We hear the same music over the movie's opening sequence, which was pretty impressive. It's somewhat dreamy in tone, emoting a sort of "artsy" feel, and I thought I'd be in for a treat. Instead, what we get with Hitman is a movie that's difficult for me to determine if I merely disliked or abhorred. There's plenty of action, but it felt as if the filmmakers just missed, creating a more generic action film rather than trying to do anything special which my parenthetical reminders above suggest. As I mentioned earlier, I was pretty bored throughout, even at a nice and tidy ninety minute run time that's replete with several of the aforementioned loud action sequences, at least one of which had me noting "similar in style to the lobby shootout scene in The Matrix." That's all well and good, but it's one part formulaic and two parts dull nevertheless, and I just didn't enjoy the movie or any of its action sequences for that matter.

I'm beginning to have serious doubts about any movie that comes out that's based on a video game. You'd think that it wouldn't be that hard to make a good one, but apparently it is. Other than the first and third Resident Evil films, I cannot think of a video game adaptation off the top of my head that I've enjoyed enough to want to watch again. Forced to watch a video game-based film other than one from the Resident Evil series, I'd probably choose Hitman, if for no other reason than it makes for a decent Blu-ray experience. Timothy Olyphant does bring the film some credibility, and he's not bad as "the hitman," but unfortunately, other than his performance, which wasn't really anything special, I found nothing to like about the movie.
Video: 4 of 5 - 4 of 5
20th Century Fox brings Hitman to Blu-ray with a pretty good 1080p high definition transfer. As always, the movie is framed in its original aspect ratio of 2.35:1. The stylized image of many scenes provide whacked-out contrast and grain galore. Nevertheless, this is a serviceable transfer, but one that is not without flaws. I noted almost immediately the good-but-not-great black levels. They sometimes appear a dark gray rather than true black, and there are a few instances of contrast wavering, especially in those darker scenes. While much of the movie is razor-sharp, several scenes exhibited some softness, especially background scenes, and I felt that fine detail suffered a bit as a result, especially that of inanimate objects such as pillars, walls, and floors both in the foreground and in the background. Heavy grain also appears to spike in certain shots, and while the grain fits in some places, it doesn't in others. For instance, there is a sequence featuring two men talking to one another, sitting at the same table. The camera switches back and forth, showing one actor and then the other. One angle looks clear, while the other angle is plagued with the heaviest grain in the film, not to mention abundant softness and reddish flesh tones. This could have been intentional, but it just didn't fit with the mood of the picture at the time, or in the context of the other, less-than-stellar (but intentionally so) scenes throughout the movie. It's always slightly more difficult to rate these heavily stylized transfers, and in the case of Hitman, the image is just far too inconsistent, even taking into account the artistic licenses of the director. Despite all these quibbles, the image is still fairly good, all things considered. Perhaps had I not screened I, Robot before this I would have been a bit more forgiving. This is not a bad effort here, but it's one of the lesser of the recent Blu-ray offerings from Fox.

Audio: 3.5 of 5
Fox has once again delivered a fine DTS-HD MA soundtrack for this release, but compared to the ones I recently heard in Independence Day and I, Robot, this one seemed slightly lacking, especially in the clarity and fidelity departments. The music over the opening titles, as pleasing and angelic as it is, sounded a bit harsh, as did many of the musical presentations throughout. The movie does feature very good surround presence, especially in the action scenes, but it fails to deliver the niceties of a top-notch track. For example, both Hitman and the recently reviewed Enchanted feature a pouring rain sequence. Whereas in the latter the track engulfed the viewer in a virtual rainstorm, sounding as clear as if you were really there, the former simply sounded like rain rather than actually recreating it, save for the whole wet part. Music enters the rear soundstage with a powerful authority. Sounds like blaring alarms are played through the rear with, well, alarming realism. However, a few surround effects sound phony, such as a few lines of dialogue after the hotel shoot-out early in the film, almost as if they were placed there by accident. Dialogue reproduction was alright, but nothing to write home about, sounding a bit coarse at times. There was also at least one scene where a few lines seemed out of synch with the movement of the actor's lips. This is certainly a very loud track, perhaps one of the loudest I've heard yet, but loud doesn't always mean good. It lacks the crispness and definition of the better mixes, such as those found in the above-referenced Enchanted and I, Robot. Bass is perhaps best described as raucous, especially during a shoot-out in chapter 16. It seemed almost too loud and maybe a bit over pumped. On the whole, this is a very loud, very boisterous mix, and if you're trying to break in that new high dollar sound system, this would be a good disc to choose for that task, but for a crisp, clean, natural, and polished mix, I'd look elsewhere.

Supplements: 3.5 of 5
Fox has brought Hitman to Blu-ray with a few very good special features that proved much more entertaining than the film itself. First off is In The Crosshairs (1080p, 24:18). This feature looks at the transition from game to big screen feature film. Hitman, here is described as a "good" film. All those involved are very proud of this movie, and they should be. Even though I didn't enjoy it, it's a competent, fairly well made, if not a bit tedious film that accomplishes what it sets out to. There is a lot of time spent on comparing the movie to the game (including scenes from the game) and a discussion of why director Xavier Gens was a good choice for directing this picture. Watching this feature made me want to go back and watch the film again, and I think I'll revisit it at sometime in the future. Next up is Digital Hits (1080p, 10:36), a feature that examines the history of the game franchise, from its origins in 2000, the parallels between the game and the film, and how fans of the game (I've never played it) will want to look for homages to the series on the big screen. Instruments of Destruction (1080p, 14:26) was my favorite featured supplement. It provides a detailed look at several of the firearms prominently used throughout the film, the safety measures employed in the firearms sequences, and the training the actors received to make sure they knew how to safely handle firearms. Some of the firearms examined are the FN Herstal FS2000 and M-16 battle rifles. Settling the Score (1080p, 5:13) is next, a brief look into the creation of the music used throughout the film with composer Geoff Zanelli. Finally, five deleted scenes (1080p, windowboxed, 7:57), a gag reel (1080p, windowboxed, 4:53), and the film's theatrical trailer (1080p, 1:50) conclude the extras on the Blu-ray disc included in the package.

Complimenting a decent array of supplemental features on the Blu-ray disc itself is perhaps the disc's most intriguing feature, the inclusion of a digital copy of the film that can be installed and played on a computer, iPod, iPhone, or other portable device. This copy comes on a separate disc, and an instruction sheet is included with the Blu-ray. It is a 1.07GB file, and I transfered it to iTunes on my MacBook Pro. All I had to do was double-click the icon, which launched iTunes and led me step-by-step through the installation process, including entering a unique 16-digit code. Although I do not own an iPod capable of video playback or an iPhone and was therefore unable to test it on those devices, I was able to view the film in iTunes. The movie played in 2.35:1 with no black bars on the top or bottom. Scrolling the mouse over the bottom of the picture caused a control panel to pop-up. The picture quality was suitable for this sort of playback. I must admit I like this feature, and I am wanting an iPod Touch even more after playing with this feature.

Final words: 3 of 5
Hitman is a movie I wanted to like, and despite my affection for the genre in which it resides, I found myself bored stiff throughout. The simple fact that the movie is derivative in so many ways (Soldier, Shooter, The Matrix, and Vantage Point, to name a few) may account for my ho-hum reaction. In fact, the entire opening sequence, was lifted directly from the television series Dark Angel. Despite the copious amounts of blood, guns, and explosions, the movie seemed too disjointed with a plot that was overly complex for what should have been a more straightforward, simple, high-octane extravaganza. It seemed like the filmmakers couldn't make up their minds if the movie should be a non-stop, bloody action film, a deep, complex, and thought-provoking film, or an artsy, highbrow movie. There's a little bit of everything in here, and that may be its biggest fault. The Blu-ray disc itself is pretty good, sporting passable video quality, a loud, aggressive, but ultimately harsh soundtrack, and a pretty good array of extras, including a portable digital copy of the film. This is a pretty good package that will please fans of the movie. For anyone unfamiliar with the movie or the video game on which it is based, I'd suggest a rental before purchasing. Blu-ray.com - Blu-ray Movie Reviews

Enchanted review (Blu-ray release)

gaurav2328@gmail.com (Gaurav Shukla) — Sun, 09 Mar 2008 08:03:00 +0000

107 mins | Rated PG | Mar 18, 2008

Enchanted may very well be the film of the year in many circles, especially for anyone who loves classic Disney animation and the fairy tales they tell of love and romance or anyone looking for something that is both original and family-friendly. This movie certainly delivers in spades in every category, putting a new spin on old favorites in a way that seems so obvious yet abundantly clever, proving that you really can breathe new lif

e into old ideas. This is certainly a brilliant concept for a Disney film as we find ourselves firmly entrenched in this new millennium and era of spectacular visual effects. We've seen the old blended with the new before, but never quite like this. Disney has created an all-new animated world, but one whose happy-go-lucky feel (replete with locales such as the "Meadow of Joy" and the "Valley of Contentment") is upset by the harsh reality of the "real world." This is one movie I was actually pretty eager to see. I'm more a casual fan of the classics in Disney's vault, but the concept here is so simplistically smart that I couldn't help but to be intrigued.
In the animated world of Andalasia where man and animal live in perfect harmony as they tend to do in such places, lives Giselle (Amy Adams, Underdog), a young maid yearning for the day when her sweet prince will rescue her and make her into the princess she's always wanted to be. That prince is the dashing lady's man Prince Edward (James Marsden, 27 Dresses). His step-mother is the evil queen Narissa (Susan Sarandon, In the Valley of Elah), who reigns over all the land. She is bound and determined to keep Edward from finding his bride and sealing his ascension to the throne, but he meets Giselle after she escapes the clutches of a giant troll. Before they can say, "enchanted," they're madly in love and discussing wedding plans. A furious queen, disguised as an old hag in the palace gardens, tricks Giselle into entering our world through a magical portal, a place where Giselle will never find the "happily ever afters" she longs for.

Upon entering our strange, crude, and cruel world, through a manhole no less, Giselle finds herself at odds with everyone and everything, and its all she can do to survive those first, frenetic moments of tumult and chaos. She's convinced that her prince will come rescue her, and indeed he's managed to follow her, along with a chipmunk named Pip, into this topsy-turvy world. Saving Giselle from her own incompetence is a good samaritan, a divorce lawyer named Robert (Patrick Dempsey, Freedom Writers) and his daughter Morgan (Rachel Covey, Duane Hopwood). Of course, young Morgan sees Giselle immediately as the princess she is, but Robert finds her only to be a nuisance, especially when she, in true animated fashion, calls in an army of birds, rodents, and insects to clean his apartment in classic Disney animation style. Meanwhile, Queen Narissa has dispatched her lackey Nathaniel (Timothy Spall, The Last Samurai) to prevent the two from finding one another before its too late. Will Giselle fall prey to the queen's wily ways, or will this damsel-in-distress's true love find and rescue her from imminent peril?

Enchanted is one of the better movies I've seen in quite some time. The movie expertly pokes fun at itself and those films it pays homage to, but it does it tastefully, and it also respects those same roots at whose expense the movie gets many of its laughs, proving that Disney knows its audience, appealing to just about everyone. Fans of the classics will be pleased with the vast number of scenes that pays tribute to early Disney animated films. Romance and comedy fans will love the story, the characters, and the charm of the picture, and those generally bored by romantic comedies or fairy tales will find plenty to laugh about, both at and with the picture. The film's strengths lie in both its originality and its respect for the early Disney classics. The animation stays true to the classics from the 1930s, 1940s, and 1950s, hearkening back to the look and feel of Snow White and the Seven Dwarfs and Sleeping Beauty, among others. It also takes those stories and combines them into one giant farce, if you will, both in the animated world and subsequently in the real world. Disney certainly has a new classic on their hands, and I have no doubt that in the decades to come, Enchanted will stand toe-to-toe with the best the studio has to offer, a film that is timeless yet also firmly entrenched as this decade's classic Disney animated feature (even if the entire movie isn't animated), setting a new benchmark for charm, wit, and enjoyment for fans of all ages.

Video - 4.5 of 5
What a perfect title for one of the finest Blu-ray images yet. Enchanted certainly left me in just that state for the entire runtime, spellbound by the wonderful 1080p transfer Disney has bestowed on this disc. Retaining its original 2.35:1 frame, Enchanted is definitely reference material on Blu-ray. The film's opening minutes in the animated world of Andalasia are presented windowboxed, with black bars on all four sides of the image, a salute to older, classic 1.37:1 (or "Academy ratio-framed") Disney animated films like Cinderella and Snow White and the Seven Dwarfs. Don't fret, nothing is wrong with the disc, and the image opens up to the listed 2.35:1 ratio once the real-world action begins, and any subsequent animated sequences are also presented in 2.35:1.

Disney has once again proven their worth as one of Blu-ray's top content producers with yet another fine, clean, and crisp transfer. The animated scenes look splendid, and even though this is brand new material, I have no doubt that once we begin seeing classic Disney animation on Blu-ray, beginning with Sleeping Beauty in October, we will be in for a heck of a treat. This classic style of animation looks marvelous in Blu-ray high definition. Colors are rich and vibrant, literally popping off the screen with a pleasant authority. Lines are crisp and defined, and the image is sharp as a tack. 1080p and Blu-ray definitely does justice to this portion of the film and its visual style.

Moving on to the action that takes place in our world, we are, as expected, treated to a lush, clear, and finely detailed image that excels on Blu-ray. The print, of course, is flawless, clean as a whistle, and masterfully rendered in 1080p. The image is virtually free of film grain as well. Black levels are consistently excellent, reproducing an inky, exquisite look and feel that adds depth and realism to the proceedings. Fine detail is in abundance, perhaps best noticed in Prince Edward's garb. We can clearly see every stitch, thread, and line of his royal garment, and his close-ups reveal a lifelike and detailed image in the clothing. Exterior shots of the city--both those taking place during the day and at night--look fantastic. We can see every dirty spot, stuck gum, hole, and crack in the concrete. There is a luscious variety of colors throughout, from the tranquil greens in Central Park to the bright lights of the cityscape at night. Flesh tones look mostly natural, appearing ever-so-slightly red in a few scenes. Overall, this is a stunning image with fantastic colors, terrific depth, and high detail. It's another top-notch effort from Disney.

Audio - 4.5 of 5
Matching the fine image frame-for-frame is the spellbinding Dolby TrueHD lossless audio track. Simply put, it's marvelous, sounding full and clear throughout. Fidelity is superb, as should be expected from a brand new sound mix. The early animated scenes stand out as much as anything else in the picture. The rear soundstage is pleasantly used, surrounding the viewer in a soothing state of bliss as an animated world comes to life, engulfing the senses, especially the auditory, with fine reproduction of every note sung by a human, chirped by a bird, or played by an instrument. Bass is deep and strong, notably in an early scene involving an oversized troll. The evil queen's voice crackles appropriately as it encircles the room, scaring us as much as the characters she speaks to. Sounds in our world are just as exciting and accurately reproduced. City noises envelop the listening area as Giselle becomes flesh and blood, and we hear each sound almost as she undoubtedly does. Each is more pronounced and hectic as she hears them for the first time, and we're connected to her via the sound experience. Even the little things, like heavy rain drops hitting the outside of a car while we are inside of it, sound real and engaging, surrounding us and making us feel everything but wet, as if we?re right there in the car. Dialogue reproduction is uniformly excellent. It's never drowned or lost under music or effects, and sounds natural and clean. This is an active, near reference and completely enjoyable listening experience, and the sound designers of this film are to be applauded as we're seamlessly sucked into a world we know but are made to believe, at times, that we're as lost as poor Giselle, and that's just one area that makes tis film so good and so much fun.

Supplements - 3.5 of 5
Enchanted on Blu-ray provides viewers with some fun and original special features. In lieu of a standard commentary track is the fun, innovative, and original feature, The D-Files. This is an interactive pop-up trivia track of sorts. Some background on the film is given over the movie, and viewers are then asked a series of questions pertaining to both Enchanted and to other Disney greats that tie-in to this film. The faster you answer (there's a time limit), the better, and the more points you accumulate by answering questions correctly, the more additional features are unlocked. When a question is answered correctly, the film stops and we see some short clips of the cast and crew discussing the question we just answered. One of the great features of this extra is the ability to save your progress and start from the same spot later on. I stopped the movie, turned off my Playstation 3, and resumed the game a couple of hours later. I have to point out that the feature did not work correctly on my Panasonic DMP-BD30. I answered the first question, but subsequent questions never popped up. The feature worked just fine on my Playstation 3. This is an excellent way to get involved with the disc and serves as a commentary track-lite, so to speak, and is infinitely more interesting. If interactive is the wave of the future for special features on Blu-ray, color me impressed with this early, exciting, and innovative feature.

Next up is a more traditional special feature, Fantasy Comes to Life (1080i, 17:42). This is a three-part feature that examines select scenes throughout the film. Happy Working Song (6:24) is the first, a look at both the special effects and the real creatures used during the apartment cleaning sequence. That's How You Know (5:53) is next, examining the filming of the Central Park scene. Finally, A Blast at the Ball (5:25) looks at the making of the movie's exciting climax. Next are a series of funny bloopers (1080p, 2:11) and six deleted scenes (480p, 8:05). Director Kevin Lima offers up a brief introduction to each scene before we see it. Pip's Predicament: A Pop-Up Adventure (1080p, 5:37) is the story of the chipmunk Pip, told in in pop-up book fashion, taking a cue from several scenes in the film. I went into this feature thinking it would be an interactive game, but it wasn't. Nevertheless, younger audiences will probably enjoy this one, although I didn't feel that it added an awful lot to the Enchanted Blu-ray experience. Last but certainly not least is a music video entitled Ever, Ever After (480p, 3:33), performed by Carrie Underwood. It mimics the look and feel of the movie, combining live action with bookend animation sequences.

Final words - 4.5 of 5
Enchanted isn't a film I'll watch over and over, but the simple fact is that this movie really works on every level. It's charming, fun, and definitely enchanting. The story is simple and original, taking a tried-and-true formula and updating it for the mew millennium, but with both grace and honor, hearkening back to the classics in a respectful manner, but also making fun of them along the way. Everything about this disc--the movie, the video, the sound, and the supplements--is nearly perfect. Each one is fascinating and exciting, and together make for one heck of a Blu-ray package. I'm very surprised at how much I liked this movie, and I think most audience members will find something to like about it as well. Enchanted on Blu-ray comes highly recommended!
© Blu-ray.com

10,000 B.C. Movie Review

gaurav2328@gmail.com (Gaurav Shukla) — Sat, 08 Mar 2008 15:55:00 +0000

Starring: Steven Strait, Camilla Belle

Movie Review : Call it Apocalypto for pussies — a PG-13 rating, puh-leese! — or prehistory for peabrains. Just don?t call it friendo. 10,000 B.C. will take your money, rob your time and hit your brain like a shot of Novacaine. The best acting comes from woolly mammoths, man-eating ostriches and a saber-toothed tiger — and those babies are digital. It?s the human actors who look fake. Steven Strait, a model turned something less than an actor, stars as D?Leh, a hero in dreadlocks that look borrowed from the kid who sang ?Hallelulah? on American Idol. D?Leh loves Evolet, played by Camilla Belle, who is made up and muscle-toned like the star attraction on America?s Next Top Lifeless Mannequin. Director Roland Emmerich, who wrote the deadly dull script with Harald Kloser, expects us to...

Rating: 1 Star

Other Boleyn Girl Movie Review

gaurav2328@gmail.com (Gaurav Shukla) — Sat, 08 Mar 2008 15:54:00 +0000

Starring: Natalie Portman, Scarlett Johansson, Eric Bana, Benedict Cumberba..

Movie Review:
Guys may assume the film version of Philippa Gregory's chick-lit bestseller about two Boleyn sisters who bed Henry VIII as a way to secure the fortune of their pimp family is a form of dude torture. They're wrong. And not because first-time director Justin Chadwick does a consummate job of bringing Peter Morgan's script to cinematic life ? he doesn't. The film moves in frustrating herks and jerks. What works is the combustible teaming of Natalie Portman and Scarlett Johansson, who give the Boleyn hotties a tough core of intelligence and wit, swinging the film's sixteenth-century protofeminist issues handily into this one. Johansson plays it subtle-sultry as Mary, who bears Henry (Eric Bana) two bastard children but can't get him to divorce his wife. It's Portman's more calculatin... Rating: 2.5 Stars

Paranoid Park Movie Review

gaurav2328@gmail.com (Gaurav Shukla) — Sat, 08 Mar 2008 15:54:00 +0000

Starring: Gabe Nevins, Daniel Liu, Taylor Momsen, Jake Miller, Lauren McKin..

Movie Review: In a multiplex front-loaded with cheap jolts (Vantage Point) and cheaper jokes (how psyched are you to see College Road Trip?), filmmaker Gus Van Sant gives us a haunting tone poem laced with violent death. The setting is Portland, Oregon, where Van Sant lives and where Paranoid Park attracts the city's riskier skateboarders. Enter Alex, a teen boarder played with bruised innocence, and a face with dew still on it, by Gabe Nevins. At the park, Alex skates in a hypnotic, vaguely homoerotic haze over issues such as his parents' impending divorce and a virgin girlfriend (Taylor Momsen) he can barely rouse himself to screw. One night, while riding a freight train near the park, Alex inadvertently causes the death of a security guard, whose body is cut in half on the tracks. A...
Rating: 3.5 Stars

Bank Job Movie Review; Treat to watch

gaurav2328@gmail.com (Gaurav Shukla) — Sat, 08 Mar 2008 15:54:00 +0000

Starring: Jason Statham, Saffron Burrows, Daniel Mays, James Faulkner

Movie Review:
Dull title for a juicy, fact-based caper movie that's full of surprises I have no intention of spoiling. I'll say this. In 1971, a robbery took place at Lloyds Bank in London that involved a royal sex scandal. The thieves, played here by Brit athlete and model turned credible actor Jason Statham, seductive Saffron Burrows and the cream of Brit character actors, are hustled into robbing the place by higher-ups who are using them just to get their hands on incriminating photos in a deposit box. Director Roger Donaldson keeps the suspense crackling. By the end, you'll want to know more about a heist that literally did shake the empire.
Rating: 3 Stars

"The Incredible Hulk" Teaser to Debut Wed., March 12, 2008

gaurav2328@gmail.com (Gaurav Shukla) — Sat, 08 Mar 2008 10:04:00 +0000

It's official! The hotly anticipated teaser trailer for "The Incredible Hulk" will debut next week on March 12.
According to a press release from Universal Pictures, the first teaser trailer for "The Incredible Hulk" will have its exclusive broadcast debut in a simultaneous "roadblock" on seven networks on Wednesday, March 12. This first opportunity to see material from the motion picture will be aired at approximately 9:56 p.m. EDT/6:56 p.m. PDT on MTV, MTVU, MTV2, VH1, Spike TV, Nick at Nite and CMT. Got all that?
Following the on-air premiere, the trailer will be immediately posted on MTV.com for an exclusive period, and then begin showing in theaters across the country on Friday, March 14, with prints of Rogue Pictures' "Doomsday."
"The Incredible Hulk" hits theaters worldwide on June 13, 2008.

Preview: "Quantum of Solace"

gaurav2328@gmail.com (Gaurav Shukla) — Sat, 08 Mar 2008 09:59:00 +0000

"Quantum of Solace," the 22nd James Bond movie, is scheduled for a Nov. 7, 2008 release.
According to the movie's official Web site, the plot goes something like this: Bond is still stung from being betrayed by Vesper, the woman he loved. Determined to uncover the truth, Bond and M (Judi Dench) interrogate Mr. White (Jesper Christensen), who reveals the organization which blackmailed Vesper is far more complex and dangerous than anyone had imagined.
Forensic intelligence links an MI6 traitor to a bank account in Haiti, where a case of mistaken identity introduces Bond to the beautiful but feisty Camille (Olga Kurylenko), a woman with her own vendetta. Camille leads Bond straight to Dominic Green (Mathieu Amalric), a ruthless businessman and major force within the mysterious organization.
On a mission that leads him to Austria, Italy and South America, Bond discovers that Greene, conspiring to take total control of one of the world's most important natural resources, is forging a deal with the exiled General Medrano (Joaquin Cosio). Using his associates in the organization and manipulating his powerful contacts with in the CIA and the British government, Greene promises to overthrow the existing regime in a Latin American country, giving the General control of the country in exchange for a seemingly barren piece of land.
In a minefield of treachery, murder and deceit, Bond allies with old friends in a battle to uncover the truth. As he gets closer to finding the man responsible for the betrayal of Vesper, 007 must keep one step ahead of the CIA, the terrorists and even M, to unravel Greene's sinister plan and stop his organization.

Preview: "The Incredible Hulk"

gaurav2328@gmail.com (Gaurav Shukla) — Sat, 08 Mar 2008 09:46:00 +0000

"The Incredible Hulk" hits theaters on June 13, 2008.
According to the film's official web site, the plot follows the journey of scientist Bruce Banner (Edward Norton), who's desperately hunting for a cure to the gamma radiation that poisoned his cells and unleashed the unbridled force of rage within him: The Hulk.
Living in the shadows and cut off from a life he knew and the woman he loves, Betty Ross (Liv Tyler), Banner struggles to avoid the obsessive pursuit of his nemesis, General Thunderbolt Ross (William Hurt), and the military machinery that seeks to capture him and brutally exploit his power.
As all three struggle with the secrets that led to The Hulk's creation, they're confronted with a new adversary known as The Abomination (Tim Roth), whose destructive strength exceeds even The Hulk's own.
Banner has to make a decision: accept a peaceful life as Bruce Banner or find heroism in the creature he holds inside

Sassy, clever 'Sunday' is a harmony of hilarity

gaurav2328@gmail.com (Gaurav Shukla) — Mon, 28 Jan 2008 06:51:00 +0000

Film: "Sunday"; Cast: Ajay Devgan, Ayesha Takia, Irrfan Khan, Arshad Warsi; Director: Rohit Shetty; Rating: **
Staying sassy, staying clever and staying steps ahead of the viewers, "Sunday" is a fiesta of scenes stitched together to create a harmony of hilarity.
If being clever with the suspense element within the comic format is the hallmark of a workable film, then "Sunday" works.
Pieced together as a bizarre day in the life of a forgetful frisky fey fraulein called Saher (superbly sparkling Ayesha Takia), the format of narration is as old as the hills or as old as Orson Welles' "Citizen Kane", where a journalist went door to door trying to piece together the mysterious life of a dead star.
If Heath Ledger were Takia, "Sunday" would be the fun version of "Citizen Kane".
There's a dead girl at the beginning of this pulverized plot to make you believe there's life beyond farce in the comic genre. She's shot down point-blank.
Saher suffers from amnesia as she gets embroiled in what seems to be a denouement reached in a narrative relay race where every character holds the key to the girl's mysterious whereabouts on that fitful Sunday.
What lifts the rather involved plot is the insouciant spirit. Everyone is running helter-skelter down the road of parodic perdition with the purpose of getting to the home base so the plot wears a harnessed homogenized feel about it. Some of the comic bustle, like Irrfan as Ravan running after a speeding car on the highway, is quite remarkable. Others are not quite the epitomes of satire but are tolerable.
Cinematographer Aseem Bajaj captures Delhi with luminosity. The bustle of the capital is capitalised upon in a climate of comic nonchalance. And yet we get the touristy spots, especially the Lal Quila, with the fresh enthusiasm of seasoned travellers exploring known territory with virgin enthusiasm.
The narration is tightly wound. Director Rohit Shetty avoids the inherent silliness of the comic genre.
What happened to silly Saher or Sunday night? Do we really care? No, but the chase has its moments of humour and this comedy is way ahead of the all-boys raunchy material that has been masquerading as genuine mirth in recent times.
The campy humour includes a taxi driver (Arshad Warsi) and a hammy struggling actor (Irrfan Khan) who get embroiled in Saher's Sunday-evening suspense. Warsi and Khan make the proceedings more perky, bubbly and frothy than what the plot would have been in other, less capable hands.

Blessedly, there is no dearth of talent in this comedy of terrors. Even the usually ferocious Mukesh Tiwari, as the corrupt cop's sidekick, gets in his satirical two-bit sideways. Then there's a gangster with a squeaky voice who chases Takia so hard you fear for his knees.
Takia has a breathless personality, here used to advantage as she goes through some endearing moments as a dubbing artiste who forgot to dub the lines of her life one Sunday.
As for Devgan playing the eminently corrupt cop, you can't bribe the audience into buying his attempts at the funny stuff.
Director Rohit Shetty gives us more reason to be happy than any other recent comedy. Which is not to say that "Sunday" is a hilarious romp. It evokes occasional giggles and spurts of laughter while eliciting some admiration for its unusual editing patterns.
Indo-Asian News Service

'National Treasure' sequel is disappointing (Film Review)

gaurav2328@gmail.com (Gaurav Shukla) — Thu, 17 Jan 2008 11:05:00 +0000

Film: "National Treasure: Book of Secrets"; Cast: Nicolas Cage, Jon Voight, Diane Kruger, Helen Mirren, Ed Harris; Director: Jon Turtletaub; Rating: * (out of 5 stars)

All films expect a certain degree of willing suspension of disbelief from the audience. But "National Treasure: Book Of Secrets" expects total suspension of disbelief.

Not even a stellar cast and a big budget are enough to salvage this "National Treasure" sequel. It seems all the people involved in this movie put in very little in terms of thought or effort.

Ben Gates (Nicolas Cage) is confronted one day by Mitch Wilkinson (Ed Harris), who claims that Cage's ancestor was one of the conspirators in President Abraham Lincoln's assassination.

So Gates sets out to clear his family name with the help of his woman Abigal Chase (Diane Kruger), the unsuccessful author and tech wiz Riley Poole (Justin Bartha), his father Patrick (Jon Voight) and mother Emily Appleton (Helen Mirren). They have to find a fabled city of gold to absolve the family of its shame.

If this is not contrived enough, our heroes find themselves being chased in London, Mount Vernon, Mount Rushmore. To top it, Ben has to kidnap the current US president to get some information from a secret book that is passed down from one president to the next. But the president doesn't seem to mind too much and all turns out well.

The movie at times feels like a mix of Hardy Boys and a video game. The actors are given absolutely nothing to work with and it is a shame to see such talent wasted.

Nicolas Cage is considered one of the finest actors of his generation, along with Sean Penn and Robert Downey Jr. Helen Mirren has just won the Best Actress Oscar for her role in "The Queen"; Voight, beside being the father of Angelina Jolie has actually starred in some classic movies like "Coming Home" and "Midnight Cowboy".

Despite such a cast, "National Treasure" makes it clear in the very first minutes that watching it is not going to be an intellectual exercise. It becomes really tiresome when the plot takes unrealistic twists. We shouldn't have to work so hard to enjoy a movie.

Another weakness is the way the movie distances us from being involved in solving the mystery. The problems are simplified but we are not given enough to try and figure out, along with the protagonists. The original, "National Treasure" allowed this. The sequel could have been more engaging.

The saving grace of the movie is the budget. Walt Disney Production clearly had a lot of money to spend and it shows in the locales and action sequences. But the action is flat and mostly noisy, with no thrills.

The characters are at the mercy of a weak script and there is absolutely no chemistry between the two couples. They bicker and fight, but the heat is missing.

The original movie, "National Treasure", surprised everyone when it did well at the box office and it is clear that this sequel is riding on the original's coattails. Those who enjoy the Hardy Boys or the "Indiana Jones" series may be satisfied to some extent by this movie, even if at times it makes you hungry for much more.

Indo-Asian News Service

'Bombay to Bangkok' - a comedy from Kukunoor

gaurav2328@gmail.com (Gaurav Shukla) — Thu, 17 Jan 2008 11:02:00 +0000

Director Nagesh Kuknoor has returned with a hilarious and high-spirited fun film, "Bombay to Bangkok", which releases this Friday. It is a departure from his earlier films like "Iqbal" and "Dor" which were tender and touching.

Kukunoor has teamed up with his favourite actor Shreyas Talpade, who plays the lead, and Lina Christianson of Thailand for "Bombay to Bangkok". The film will also see Naseeruddin Shah in a guest appearance.

The story follows Shankar (Shreyas), a petty thief who steals money from the local don and escapes his way into a team of doctors heading for relief work to Bangkok. Although Shankar manages to flee, he loses the moneybag amid the chaos and lands penniless in Bangkok.

The new country has more surprises for him as he bumps into Jasmine (Lina) in a bar and his world turns upside down.

Although he is attracted to her, he can't convey his feelings because Jasmine is a Thai and Shankar can't speak her language. A ray of hope comes his way the next day when Jasmine turns up desperately in need of a doctor.

Shankar, posing as a doctor along with the goofy Sardar buddy Rachinder, jumps into this whirlpool while Jasmine gets pulled into his bumbling adventures while running away from the don and his henchmen.

Kukunoor promises to take his fans for a hilarious ride in "Bombay to Bangkok". Last year comedies did well at the box office - Kukunoor's film may continue the trend in the New Year.

Indo-Asian News Service

Santoshi makes strong social statement with 'Halla Bol' (Movie Review)

gaurav2328@gmail.com (Gaurav Shukla) — Thu, 17 Jan 2008 11:00:00 +0000

Film: "Halla Bol"; Cast: Ajay Devgan, Pankaj Kapoor, Vidya Balan; Direction: Raj Kumar Santoshi; Rating: *** 1/2

Some filmmakers entertain while others inform. A handful of celluloid visionaries do both. Raj Kumar Santoshi belongs to that rare breed of filmmakers who opens up thought-processes about the state of the nation, without losing the "cinematic" element in his cinema.

"Halla Bol" belongs to the same unique hard-hitting gut-wrenching genre of cinema as Santoshi's "Damini", "Ghaatak" and the under-rated "Lajja". The overall product lacks finesse and parts of the plot (for instance where hero Ajay Devgan, who plays an actor, pees on the villain's Persian rug) come across as laboured.

Sameer Khan (Ajay Devgan) is a superstar. He has the world at his feet, but his life changes when two people kill a girl in front of him in a high-profile Page Three party. One of the killers is the son of a politician and the other a liquor baron.

No one, including Sameer, helps the police nab the culprits. Conscience, however, tugs at Sameer later and he undergoes a metamorphosis. "Halla Bol" reminds one of the famous Jessica Lal murder case in New Delhi - in which model-cum-host Jessica was gunned down in a restaurant in 1999.

The message that masses need to arise from their slumber rings out loud and clear. Brutality is often superimposed on a laidback lyricism in Santoshi's not-so-mellow-dramas. He sees the middle class as a "collectively cowardly mass" waiting to be prodded awake.

Earlier Sunny Deol used to serve these wakeup calls. Now it's Ajay Devgan for Santoshi. In "Halla Bol", the actor gets to grab a glorious graph as he goes from being a committed street-theatre performer to a corrupt screen superstar and finally a socially conscious citizen who stands up for a worthy cause. The script is full of "passionate" rhetoric (articulately written by Santoshi).

The scenes come alive because of the characters' ability to transcend the occasionally trite material and communicate the gripping drama of social awakening through words and expression that suggest a link between pop-art and a socio-political manifesto. Disembodied news clippings from news channels coalesce urgently with the larger picture as Santoshi takes swipes at the establishment.

The swinging fortunes of the small-time actor Ashfaque to Sameer Khan is peppered with arresting interludes from the entertainment business. The buzz and the bitching, the hypocrisy and the promiscuity - they all get a wide margin in the cannily written plot that weaves conscience into a tale with flair.

While Devgan gets seriously explorative once again (playing a character who goes from vain and libidinous to repentant and heroic), it is Pankaj Kapoor who gives a sterling performance as Devgan's conscience-keeper. Supremely confident in his space, Kapoor plays a street-theatre artiste who was once a warrior. It's by far one of the most interesting and multi-layered scripts written for a character actor, and one that gives this underused actor a chance to deliver rabble-rousing rhetoric, without getting pulpit-friendly.

In a plot that favours male actors, Vidya Balan makes silent space for herself. She has just three major sequences. "Halla Bol" towers over the average potboilers because it puts across home truths in a language that tends to get shrill, but never shallow.

The war cry comes in a raging spurt of indignant creativity in "Halla Bol". Effectively scripted and with dialogues that propel the plot to a climax without moving ahead of itself, the narrative conveys the angst it wants to.

On this occasion, Santoshi has a lot to say about the "conscience and the celebrity". He also speaks about the misuse of the minority card by politicians. Though shot with an eye for the personality-defining details by cameraman S. Natarajan Subramaniam, some portions of the tale appear tacky when compared with the enormity of the theme. Maybe, editor Steven Bernard needed to exercise more economy of expression.

"Halla Bol" may not strike you as being the epitome of subtle social reformism. Its tone is more of a street play than a Sunday-evening curio at Prithvi Theatre. But what's truly remarkable about Santoshi's cinema is the multiplicity of ideas and themes on contemporary India that come into play through cinematic devices.

If on one hand, you hear Jackie Shroff discussing Aamir Khan's run-in with the Gujarat government, on the other we have Sayali Bhagat popping in for an item song. The spectrum is vast and baggy. And yes there are strong words against the politics of minorityism and the cult of celebrity bashing.

One may think Raj Kumar Santoshi has bitten more than he can chew. But that's a mistake. This filmmaker can create tensions in the plot without allowing the pressure of balancing the "formula" with the "ideas" to show up in the product.

The product never actually ends. For Santoshi's morally conflicted protagonists, there's always another beginning.

Indo-Asian News Service

'Sunday' packs in a few surprises

gaurav2328@gmail.com (Gaurav Shukla) — Wed, 16 Jan 2008 03:30:00 +0000

Film: "Sunday";
Music Composers: Shibani Kashyap, Daler Mehndi, Amar Mohile, Suroor, Sandeep Chowta, Raghav Sachar;
Singers: Shibani Kashyap, Daler Mehndi, Sunidhi Chauhan, Clint, Joy, Mohammed Ali, Kamran Bari, Mahua Kamath, Earl Edgar, Suraj;
Ratings: ***

"Sunday", directed by Rohit Shetty, holds a couple of surprises for its listeners as far as the music goes. Sandeep Chowta returns to Bollywood with this film and the album also includes a composition by Pakistani band Suroor. And while there is Shibani Kashyap composing and rendering a track, Raghav Sachar too contributes.

Shibani makes her presence felt in the album not only as a singer but also as a composer for the song "Kashmakash". This track is one of the classy item numbers that is minus all the raunchy music. But it has no lasting effect and would disappear into thin air.

A typical masala and masti piece comes in the form of "Loot liya" which Daler Mehndi as the composer as well as the singer. He pairs up with Sunidhi Chauhan for this rusty and celebratory number. Lyrics have been penned down by the singer himself along with Farhad Sajid. Again, one wouldn't want to particularly download it.

With Raghav Sachar written all over, "Manzar" comes in next. It has all the Raghav elements like the fusion of Indian and Western sounds with a bit of Sufi, soft rock and jazz. One of his favourite instruments, the saxophone, adds to the credibility of the track. An immensely likeable number, "Manzar", sung by Earl Edgar, Mahua Kamath and Suraj, is sure to click with the masses.

The trio teams up again for the "Missing Sunday". This Sandeep Chowta composition is more of music and less of chorus. With a whole lot of beats, rhythms and tempo intact, "Missing Sunday" is a loud and catchy number that would be a hit when watching the film.

Pakistani band Suroor composes "Pyar to hona hi tha". Kamran, who has penned it, along with Mohammed Ali renders the song that has amazing lyrics, pleasing music and vocals that click instantaneously. With soft guitar-strumming in the background, this one number is a piece of melody to be loved by all.

Amar Mohile composes "Theme Music", an instrumental piece, with Clint and Joy rendering the vocals. It stands out among the rest for its musical arrangements. Joy pens the lyrics that are minimal.

In an album with multiple composers and singers, "Manzar" and "Pyar To Hona Hi Tha" can be considered the highlights of the album. Both the songs are different from the rest and are sure to be etched in the minds of the audience for a long time.

Indo-Asian News Service

Action and romance may replace comedy in 2008

gaurav2328@gmail.com (Gaurav Shukla) — Fri, 11 Jan 2008 10:19:00 +0000

As in any given year, 2008 will see a mixed bag from Bollywood. But the roster of films due for release indicates that action and romance will replace comedy, the hit theme of last year.

Distributors, who are the major stakeholders, are keeping their fingers crossed.

Vinay Choksey of V.I.P Exhibitors, which released last year's hits "Dhamaal" and "Namstey London" in the Mumbai territory, summed up the mood of the trade circles when he said that if the industry could carry over last year's trend, "we would be more than happy".

"Business-wise, last year was not bad for us. We had some major hits, which brought cheer to the industry. Whether we will be able to carry over the cheer, nobody can say for sure. It depends entirely on the mood of the audience who are the best judges," Choksey told IANS.

"One cannot say that if comedies did well one year, action films would take over next. Audiences are open to all genres of films. Only those should appeal to them," he said.

The year's first major release "Halla Bol", which is based on politics, has a fair amount of action. Both director Rajkumar Santoshi and the film's lead star, Ajay Devgan, are known to thrive on action films.

"I have gone all the way to send my message across through this film and this is that social change is not possible unless everybody puts in their bit to bring in the change instead of expecting others to do so. Yes, movie has some action scenes to carry it forward to its logical conclusion," said Santoshi.

Also being released this Friday is the Mithun Chakraborty starrer "My Name is Anthony Gonsalves".

Akshay Kumar, who scored with comedy last year, will don his old action garb in Percept Picture Company's "8X10". The movie, directed by Nagesh Kukunoor, is essentially a suspense thriller.

Kukunoor's other movie for Percept Picture Company is also due for release this year. "Aashayein" has John Abraham playing a gambler who is on the verge of death.

A major movie that is eliciting a mixed response in trade circles is UTV Motion Pictures' "Jodhaa-Akbar", due for a Feb 15 release. This Rs.400 million period movie, directed and co-produced by Ashutosh Gowarikar, is based on the romance between Emperor Akbar and Rajput princess Jodhabai and has Hrithik Roshan and Aishwariya Rai playing the protagonists.

The questions being asked is if the audience will accept a period drama in today's times and whether they will accept Hrithik playing a historical character.

But otherwise "Jodhaa-Akbar" is expected to be a sheer spectacle to watch.

UTV also has "Dilli 6" due for release after "Jodhaa-Akbar". Directed by Rakeysh Omprakash Mehra, the movie has Abhishek Bachchan teaming up with Sonam Kapoor for the first time.

Sanjay Gupta's long-delayed "Alibaug", starring Sanjay Dutt and Diya Mirza, will finally be released this year. Sanjay Dutt plays the role of a professor in the movie.

The year will see Amitabh Bachchan featuring in a fantasy movie in Sujoy Ghosh's "Alladin". A modern version of the Arabian Night's tale, the movie also has Sanjay Dutt and Riteish Deshmukh.

Amitabh and Shah Rukh Khan will be seen sharing screen space again in Ravi Chopra's "Bhootnath". The Big B plays a ghost in the movie. Chopra's another film, "Banda Yeh Bindaas Hai", is also scheduled for release this year.

After Sony Pictures, Warner Bros will try to consolidate its presence in India with its co-production venture with producer Ramesh Sippy in "Chandni Chowk to China", an action-adventure film, starring Akshay and directed by Nikhil Advani.

The year will see another fantasy film releasing in Goldie Behl's "Drona" in which Abhishek plays a superhero opposite Priyanka Chopra.

After "Taare Zameen Par", another Amir Khaan starrer to look forward to this year is "Ghajni", a thriller, produced by Allu Arvind and directed by A.R. Murugadoss.

Others major movies lined up for release in 2008 include Rakesh Roshan's "Krazzy 4", director Satish Kaushik's "Karzzzz", Rumi Jaffrey's "God Tussi Great Ho".

Suniel Shetty's co-productions with Balaji Telefilms, "E.M.I" and "Mission Istanbul", Madhur Bhandarkar's "Fashion", Shree Ashtavinayak Cine Vision's "Golmaal Returns" and "Kidnap", Aziz Mirza's "Kismet Konnection", Harry Baweja's "Love Story 2050", Abbas-Mastan's "Race", Yash Raj Films' animation movie "Roadside Romeo", a co-production with Walt Disney Pictures, and "Tashan", Anil Kapoor's "Shortcut", Akshay-Katrina Kaif starrer action-comedy "Singh is King" and Subhash Ghai's "Yuvraaj".

On an average, Rs.200 million has gone into producing each of these films. How much the market will fetch? Distributors have refused to do any guesswork. Obviously.

"Each producer may say his is the best film of the lot. We know how much each venture is worth. But no distributor can say how much revenue a film may generate at the box-office. There is no foolproof way for value evaluation. But at all times, we hope for the best," said a spokesman of Studio 18.

'The Golden Compass' is a fine looking mess

gaurav2328@gmail.com (Gaurav Shukla) — Mon, 07 Jan 2008 06:38:00 +0000

Film: "The Golden Compass";
Cast: Dakota Blue Richards, Nicole Kidman, Daniel Craig, Eva Green, Sam Elliot;
Director: Chris Weitz;
Rating: **

"The Lord of the Rings" trilogy casts a long shadow and any fantasy movie made now has to work very hard to crawl out it. Although "The Golden Compass" had the credible trilogy of "His Dark Materials" by author Philip Pullman to work with, it falls woefully short of expectations. This is a big budget adventure movie that manages to create a magical world but simply does not make us care or ever really want to return.

Director Chris Weitz clearly seems bogged down by the material and slavishly remains true to the book. So much so that he merely tries to depict the narrative and leaves no room for empathy. The plot line darts all over the place and rushes to fit in every sub plot. The fact that this is just the first instalment and serves more to set up the trilogy adds to the frustration. We are presented so many strands of sub plots without getting any clear notion of what all the fuss is about.

"The Golden Compass" is about a world, which in many ways is similar to our own but where humans are accompanied by "daemons". These are animals that host the human's soul.

There is a ruling body called the Magisterium that wants to control the humans by not allowing them to exercise their free wills. An orphan girl, Lyra (Dakota Blue Richards), whom many believe in for the fulfilment of some prophecy wants to rescue a friend of hers who has mysteriously disappeared. But she is enticed to go on a trip with Mrs. Coulter (Nicole Kidman) who has some ulterior motives.

The strongest point of the movie is the magical world it creates and the interesting details depicted. The movie comes close to pulling us into this world but because of its need to present the narrative, we are not allowed to soak in and luxuriate in the fantasy.

The director tries to pace the movie by not allowing any dead moments by peppering action scenes. There are two major action scenes - two huge bears duelling and a confrontation between the good guys and the bad guys. But even these are not thrilling and fall flat.

Another tragedy is that the cast has some fine actors but they are not allowed to flesh out the characters. Daniel Craig, Nicole Kidman and Eva Green are all wasted here. Craig and Green have very few scenes and Kidman isn't anything more than a caricature.

The scenes are so rushed that we do not get a chance to connect with them and though they seem to think that they are on an all-important quest, we couldn't really care less.

Most of the attention this movie got was for the mild controversy it created with the Catholic church fearing that the Magisterium represented them and that young children would be polluted with anti-god thoughts. The fear seems ungrounded now since the movie doesn't even seem to explore any such themes. For those who have not read the books and would have done so if the movie were good enough are probably not going to want to read them now.

The "Golden Compass" is a mess, but it is a fine looking mess.

Indo-Asian News Service

My PFC Ronin submission: Taare Zameen Par review

gaurav2328@gmail.com (Gaurav Shukla) — Mon, 07 Jan 2008 04:26:00 +0000

Aamir Khan is back with a bang, he always comes with something "Zara Hatke". He doesn't belong to the typical Bollywood class nor he wants to. Khan proves this with his directorial debut "Taare Zameen Par".
Taare Zameen Par is a film trying to break the popular social mindset towards children and their disappearing childhood in this competitive world with the help of the story of young dyslexic Ishaan Awasthi (Darsheel Safary).
Movie starts with Ishaan fishing in school nullah, while the school bus is waiting for him. Ishaan is the portrayal of young boy, who is carefree, mischievous and lives in a dream world but he loses, when it comes to studies. He cannot read or write well. This leads in recurring mistakes and failures.
But on the other hand, he liked painting and his imaginations come live on canvas. Ishaan has an austere father Nandkishore Awasthi (Vipin Sharma) and loving mother Maya Awasthi(Tisca Chopra). Who push hard their expectations on him.
Facing expulsion from the school and tired of complaints about him, Ishaan's parents decide to send him to boarding school against his wishes. This incident breaks down young Ishaan who thinks that he is being punished for not being good in studies. But as he sees nobody understands him, he covers himself in silence. He stops retaliating to the society, which has already made him an outcast.
Now in a fairytale way, Ram Shankar Nikumbh (Aamir khan) makes his entry on the screen. He identifies that Ishaan is suffering from dyslexia but is gifted with exceptional painting skills. So, he starts the mission for the rediscovery of Ishaan Awasthi.
Aamir in his debut attempt as director has scored above par and have great storytelling skills. In TZP, he has magnificently presented the struggle and suffering of a dyslexic child with his family and society.
He has been remarkably good in putting small-small moments of childhood life, which lets audience to relate them with story. With Taare Zameen Par, PVR Cinemas also forayed in film making by co-producing this film with Aamir.
The screenplay and research by Amol Gupte is fabulous although it becomes unrealistic at one or two instances. Gupte was the originally director of the movie. But later dissatisfied with the direction of Amol, Khan with mutual consent took over to the direction of the movie.
Cinematography by Setu is amazing; he has captured every emotion in great detail. Music by Shankar, Ehsaan and Loy is worthy and do justice with theme of the movie. They have composed for every mood in the film from the playfulness of childhood to plight of departing child from his family in an emotional track. Prasoon Joshi has penned some really ear soothing lyrics. His transformation from Ad-man to lyricist has been tremendous.
Deepa Bhatia has done a really nice job in editing, nothing goes more or less than what it required.
Now coming to the performances, as Aamir is a perfectionist, whether it's direction or acting. He has left no stone unturned for his stint as an Art teacher; he even tried to learn painting. This makes him a delightful watch in the film.
But for me the real protagonist of TZP is young Darsheel Safary. He has been an awesome find of the TZP team. He has easily accustomed himself to the character. He was simply brilliant, whether it was playing part of a joyful, naughty child or broken down Ishaan.
Vipin Sharma, Tisca Chopra have performed well, although Vipin was histrionic sometimes. Tanay Chedda is good as his lone friend in the boarding school. Sachet engineer as Ishaan's elder brother had not much to offer in the film.
In the gist, Taare Zameen Par enlightens, entertains with naughtiness and makes you cry in happiness. It captivates you till the very end, and you leave the theatre as a transformed person, whether you are a parent, child or just a cinema fanatic.

'Katha Parayumbol': outstanding portrayal of the ordinary

gaurav2328@gmail.com (Gaurav Shukla) — Fri, 04 Jan 2008 09:09:00 +0000

Film: "Katha Parayumbol"; Cast: Sreenivasan, Mammootty, Meena, Innocent and Salim Kumar; Director: M. Mohanan; Music: M. Jayachandran; Script: Sreenivasan; Producer: Mukesh-Sreenivasan

Sreenivasan has an uncanny knack of keeping himself in the limelight. His latest film "Katha Parayumbol", in which he dons the three-in-one role of writer-actor-producer, is the clear winner of the season. Directed by debutant M. Mohanan, the film has Mammootty in an extended cameo; but it is Sreenivasan who stays in the viewers' mind.

Sreenivasan plays a character that is outstanding only in its ordinariness. But he elevates it to a class of its own. His is the role of Balan, a barber in a village fighting modernisation in his own antiquated ways.

He can't afford a revolving chair, now an essential for his trade. His tools are out-dated and he cannot afford to replace them. And no authorised agency will lend him money because he refuses to grease the palms of the powers-that-be.

Balan is a middle-aged man with three kids in school. He had eloped and married his sweetheart and settled in this hilly village, far from the urban world. He is an object of ridicule for all and sundry. His kids are nearly thrown out of the school for non-payment of fees. His wife has no idea where their next meal will come from.

Balan's only defence mechanism against the harsh existential realities is his wit and his barbed tongue.

But, all this changes when superstar Ashok Raj (Mammootty) makes an appearance in the village for a film shoot. Ashok is supposedly Balan's childhood friend. So the whole village converges around Balan seeking his favour for a meeting with the superstar. Balan is reluctant to approach the star thinking that Ashok may have forgotten his lowly friend in these intervening years.

The ultimate clincher for this film is its script. Authored by Sreenivasan, it is so layered that every frame has a comment to make about the world and every line of the dialogue on the mores of the society. The craze for celebrities and the problems of leading a principled life are discussed without being preachy or in-your-face.

Mammootty has the dignified presence of a real star and his aura and the mythical persona that surrounds him give a lifelike feel to the character of Ashok Raj.

There are other characters that fill up the space to present a microcosmic universe. The moneylender played by Innocent and the pseudo-intellectual poet played by Salim Kumar are hilarious. Meena plays the well-etched character of Balan's beautiful wife.

"Katha Parayumbol" has Sreenivasan's stamp all over it, and can claim to be one of his best.

'Bombay To Bangkok' music not much to rave about (Music Review)

gaurav2328@gmail.com (Gaurav Shukla) — Thu, 03 Jan 2008 10:23:00 +0000

Film: "Bombay To Bangkok";
Music Director: Pritam Chakraborty, Ronnie, Shirish, Salim, Suleiman, Sukhwinder Singh; Singers: Sonu Nigam, Sukhwinder Singh, Sunidhi Chauhan, Zubeen Garg, KK, Shreyas Talpade, Lena Christensen;
Ratings: *1/2

Music lovers are looking forward to the Nagesh Kukunoor film's music. While "Rockford" and "Hyderabad Blues" had moderately good soundtracks, the Albums of "Iqbal" and "Dor" earned praise. However, "Bombay To Bangkok" has floundered. Hopefully, it is a temporary setback.

Sukhwinder Singh has composed the title track "Bombay To Bangkok" with a folksy touch and has sung it as well, but the number doesn't live up to the expectation of a title track. The 'masala' packed number won't click.

After the lukewarm effect of the title piece, "Dheere dheere" allows one to heave a huge sigh of relief. Zubeen Garg returns with his amazingly enthusiastic vocals that pep up the number while lyricist Mir Ali Hussein does a great job himself. If the song does well, a major chunk of the credit ought to go to newbie composers, Ronnie and Shirish.

An attempt at youthful, hip and a bit jazzy sort of music is what "Dil ka haal sune dil wala" is about. Sonu Nigam and Sunidhi Chauhan pair up to render it, which has the typical Pritam bend, but the lifespan of this song remains doubtful.

"Same, same but different" arrives as the final track of the album. A light-hearted, partially amusing piece of composition, is composed by Salim-Suleiman. KK's rendition is, like always, really good but there's nothing to look forward to.

The assortment of music directors ranging from Salim-Suleiman, Pritam to Sukhwinder and Ronnie-Shirish didn't really serve the purpose. The album "Bombay To Bangkok" won't stay in the racks for long.