Deepika Padukune free publicity...

Why hot and sexy actor Deepika Padukune crying and angry at media. She likes to be friendly with everybody but media looking & exposing it as affairs. 

She saying if you look at it like that they appear like that.

When she is having an affair with Ranbir Kapoor, Siddhartha Malya… these all are friendship in Deepika view… nothing else. But all public at this friendship as it reached to kisses, night parties without dresses, supplying drugs, giving plots and cars as gifts… L

Deepika saying… “Don’t misunderstand me… I am not kind of that lady… I don’t need to have affairs for money, offers … I used move very close when I do friendship with others. Don’t make it a big issue”. 

I will go for legal actions against all media if you people continue to use me like this…

Just few days she told, she enjoys gossips, free publicity, exposing, doing and be as hot and sexy glamorous actress.

Why she became against media suddenly…?

Dil Toh Baccha Hai Ji Movie Review

 A couple of years back Amitabh Bachchan had commented that if there was one film maker who had the potential to carry forward the legacy of Hrishikesh Mukherjee and Basu Chatterjee, it could be Madhur Bhandarkar. Well, his prophecy has indeed come true with 'Dil Toh Baccha Hai' indeed reminding audience of the cinema of yore where films were made in and around real-life situations.

It is these real-life situations that make 'Dil Toh Bachcha Hai Ji' a smile through film where audience gets into a feel-good zone for those two hours. Really, right from the time the opening credits start rolling till the last frame comes up on screen, a smile seldom leaves you. And even when it does for those few moments, the dramatic moments are gripping enough to hold your attention.

Characters belong to the kind that one can relate to. Ajay Devgn going through a mid-life crisis and falling for his much junior office colleague could well be the story of many a men folk in their late 30s. Emraan Hashmi's flirt character which tries to hop in from one female to another regardless of their age isn't surprising either. Also, Omi Vaidya's 'till death do us apart' character is the kind of romantic which may be a rarity but still possible.

Even women here are unpretentious and know what they want and are doing. Shazahn as a cute girl in her early 20s behaves like one in her casual avtar. Shraddha knows what she wants from her career and sticks on to that as her first love. Same holds good for Shruti for whom a one night stand is, well, just a one night stand. As for Tisca Chopra, a surprise inclusion in the film and a strong character to boast, she is the kind of ex-beauty queen turned socialite which is hardly a rarity in high society circles.

Any blemishes? Well, there are intermittent moments on both halves where one hopes for some elevation in the proceedings. Also, there is some degree of repetition that comes in the track featuring Omi and Shraddha track, especially when it is crystal clear that Omi is being taken for a ride. However this is pretty much compensated by Ajay-Shazahn track which is the best of the three. Really, you can't help but break into a big smile whenever the two interact. As for Emraan-Shruti track, it is half baked. In fact Emraan-Tisca track is much stronger and leaves a solid impact.

However it is the chemistry between the three men which instantly reminds one of 'Chashme Baddoor'. Whenever the three come together, they convert a scene into a winner. Right from the time they discuss their love lives to their minor conquers to their disappointments and then the final resolve, Ajay, Emraan and Omi get it right, hence ensuring that there could well be a sequel in the offering.

In fact Ajay is loveable as a moony eyed lover and his goofy expressions are laugh worthy at every instance. Emraan is characteristically himself in the first half but excels in the dramatic portions of the second half. Omi is earnest and also gets some good lines for himself but at places is marred by (as stated earlier) repetitive situations.

Shazahn makes the best of the opportunity and is extremely good as the young chirpy girl who is vivacious and energetic. Shraddha is good while playing a character which has strong grey shades. As for Shruti, she is seen in just a cameo and doesn't get much scope except for looking good. Tisca leaves a good impression and shows a different facet of her personality, both in acting as well as looks department.

Visually the film is easy on eyes. Songs compliment the mood of the film with 'Tu Khwab Hai' being the soul of the film as it plays in the background right through the narrative. Sanjay Chhel's dialogues are witty as they compliment the written material (by Madhur Bhandarkar, Anil Pandey and Neeraj Udwani), hence keeping the audience engaged with a definite storyline and light hearted moments.

It is surprising that the film has been given an 'A' certificate though. In fact the film reminds of the times when films like 'Shaukeen', 'Chashme Baddoor', 'Katha', 'Baton Baton Mein', 'Rang Birangi' and many more found acceptance amongst the audience. Overall 'Dil To Bachcha Hai' turns out to be a nice and decent entertainer by Madhur Bhandarkar which can be given a very comfortable watch with the entire family.

Rating: ***1/2 

Dhobi Ghat Movie Review

 Question: How you mold your life? Answer: By the choice we make and the chances we take centering on things, people and places we are in. Kiran Rao’s introduction before ‘Dhobi Ghat’ was not much more than a wife of superstar Aamir Khan but with this movie, the helmer in her very first attempt has washed her resume with an artistic detergent and updated it as a helmer who thinks beyond Bollywood.

Kiran Rao in her debut film has told an evocative and complex story of people coming to Mumbai – the city which offers more than pools of money apart from its breathtaking sea face where she interestingly twines the lives of Arun (Aamir Khan), an upmarket artist meets Shai (Monica Dogra), an NRI investment banker at his exhibition. A chance encounter makes Shai believe it can be taken further but the moody Arun is in no mood of relationships…

Shai the investment banker who can afford a sabbatical to follow her passion of clicking pictures is pissed... She befriends Munna (Prateik), the friendly neighbourhood dhobi who happens to be a wannabe actor too, they both watch movies, dig on keema pav at Mumbai bustling Mohammad Ali rd, the girl treats the boy as equal but the guy knows his limitations, it’s a totally diverse world but still they stay together in this beautiful city to fill their emptiness.

Meanwhile Arun gets hooked in the video-taped story of Yasmin (Kriti Malhotra), the simple small town ex-inmate of the house he currently occupies. Recently married Yasmin shares a simple newlywed bride dream, she has an untold story to tell to her brother, the movie is a crisscrossing story of these four people who have immigrated to this city of dreams and how they survive, choose to carry whether they bind or break… How they respond and confront situations…..

Kiran chooses the guerrilla route to narrate her 95 minute story where the proceedings seems like we are watching our friends handy cam, the picture has a lean, almost procedural style, in which every scene and line of dialogue counts striking the notes of emotional distress, class difference.

Kiran purpose is simple, she wants us to meet these people, know them, sympathize with them…… but don’t drive any conclusion and that is what truly fascinating.

The movie makes Mumbai more alluring thanks to the camera of Tushar Kanti Ray which captures the city in each every shade in dawn and dusk. Nishant Radhakrishna’s smart and crisp editing and the berating soothing score by Gustavo Santaolalla is an extra plus, making this mystical metropolitan city the fifth character which holds everyone together.

Films about interconnected lives stumble under the weight of coincidences, not ‘Dhobi Ghat’, Kiran who also pens it turns out to be too savvy to let that happen.

The actors, Aamir (who does a smart job once again) and the newcomers bring an air of weary authenticity to their roles, Prateik Babbar as the day time dhobi and part time rat killer at night is intensely ‘in’ the role respecting the genes of his remarkably talented mother Smith Patil, Monica Dogra as Shai is hot and easy going perfectly modeled for the role. Kriti Malhotra as Yasmin is a welcome surprise, Kittu Gidwani is competent.

All of them make ‘Dhobi Ghat’ a wise and complex drama that accompanies diversity and globalization to the simpler human story of how individuals cope with losses for which they bear a portion of the responsibility.

So, any misses….

Well, Kiran makes a point as a helmer but in the commercial and artistic push and pull of cinema, Kiran’s Mumbai Diaries is not vividly clear to all. The rasikas are definitely goanna lap it up but it whistles doesn’t go beyond the niche ears as the maker doesn’t listen to general demands.

But Kudos for Aamir Khan Productions for believing in cinema of choice and getting better more artistic and intelligent with ‘Dhobi Ghat’ after giving us ‘Lagaan’, ‘Taare Zameen Par’, ‘Jaane Tu Ya Jaane Na’ And ‘Peepli [Live]’.

‘Dhobi Ghat’ is about something more exasperating than crossed paths; it is about paths that almost cross but don't, and the tragedy of the near-miss. This stirring drama of hungry connection is recommended for true lovers of cinema.

Rating ***&1/2

Yamla Pagla Deewana Movie Review

You can remove an Indian out from Bollywood but you cannot remove Bollywood out from an Indian.

‘Yamla Pagla Deewana’ is a fulfilled tribute to the spirit of Bollywood which reconfirms that Indian cinema of yore can never be ‘lost’ and it should be ‘found’ periodically to give us a ‘feel good’ feeling in this troubled times.

Producer Director Samir Karnik pays a ‘Deolastic’ tribute to Manmohan Desai, Prakash Mehra - the papas of wholesome entertaining musicals who gave us ‘Amar Akbar Anthony’, ‘Parvarish’, ‘Hera Pheri’, ‘Dharam Veer’, ‘Yaadon Ki Baaraat’ etc.

YPD is a crazy fulfilled joyride where happily married Paramveer Singh (Sunny Deol) comes to India from Canada to look for his father, Dharam Singh (Dharmendra) and his brother Gajodhar Singh (Bobby Deol), who were separated from him during childhood.

Paramveer finds them earning their livelihood as con men in the ghats of Benaras. But before he can take them back with him he must resolve his kid brother's complicated love story by tackling the girl's (Kulraj Randhawa) tough brothers (Anupam Kher and co). This leads to joyful ride to sadda Punjab and the result is a total paisa vasool fun.

But how a cliché story makes it possible to provide the fireworks every now and then in the 2 hrs 30 minutes time span mostly during the second half.. Simple, Director Samir Karnik does a smart casting act which turns out to be just perfect to satisfy the appetite of entertainment hungry souls of Bollywood cinema.

He uses the qualities of the Deols and mixes with their superb chemistry which we did see in ‘Apne’ where everyone gives his best and the trio is thoroughly enjoyable.

Bobby in his mischievous roadside Romeo act is engaging. Big brother Sunny is highly entertaining in this ‘bhaiya’ act where in action he goes beyond his own set benchmark in his biggest hit ‘Gadar – Ek Prem Katha’, the climax where he blows everyone with his trademark yell is howlarious and in the scene when he gets drunk by drinking mugs of whiskey from a bucket can make any stone hearted laugh to the fullest. Having said this, however, the show stealer is undoubtedly the 75 year old Dharampaji who is still ‘garam’ on screen with his entertaining acts. The biggest compliment for Dharmendra is that he doesn’t look like a father on screen he looks like the elder brother of Sunny and Bobby and does an amazing job, his comic timings, dance moves are just fabulous.

The trio has a plenty for their fans over here. B-town new introduction Kulraj Randhawa is attractive, you can’t move your eyes when she is on screen and she has the potential to stay long as an actress.

The movie would not have been a joyride without the excellent support of its supporting cast especially Anupam Kher who is outstanding as the egoist NRI obsessed Sardar brother.

Johny Lever entertains, Nafisa Ali is up to mark, Sucheta Khanna is fabulous, Amit Mistry is fine, Mukul Dev is fantastic as the drunken jat. Himanshu Malik is fair,

Emma Brown Garrett as Sunny's wife was endearing, people will love the part when she says Hindi especially the line ‘Arre mein loot gayi’. The kids are a delight and Ajay Devgn's voiceover is appropriate.

The movie already has two, maybe three chartbusters – the title, “Tinku Jiya” and “Chamki” marking the comeback of Anu Malik.

The dialogues are nice and entertaining and the chemistry between the Deols is dazzling.

Lens work by Kabir Lal and Binod Pradhan is first rate, editing by Mukesh Thakur is crisp and production values are topnotch.

So what’s wrong… Well not much but still the writer should have concentrated more on the chemistry and Samir as the director should have followed the movie in the tone in which Ajay Devgn started his voiceover. First half is a bit laid back as the real action filled with all the masala happens during the second half.

All said and done, ‘Yamla Pagla Deewana’ is fun filled Bollywood road trip that’s shoots all the right targets on its way and will become a winner, the flawless casting, the high entertainment quotient designed for the masses and catchy score will push its prospects at the B.O. Later the emotional connect established with a feel good heart will make it reach to a broader audience. It’s a sure shot winner anywhere where ‘Bollywood is watched, seen or heard.

Rating: ***& ½ 

Turning 30!!! Movie Review

B-town transporter of desi political and crime exotica Prakash Jha goes urban as a producer to explore the feelings of a thirty year old hottie in this Bollywood explanation of its sex and the city. Helmed by first timer writer director Alankrita Shrivastava, this urban comedy about a nearing thirty urban career girl whose fondness for a whole host of unattractive addictions has gone a long way in putting the screws to her romantic life - and her self-esteem is more style than substance. The nearly 2 hour flick is padded with those trendy garments in which we see our colleagues and friends roaming around us and the movie feels exceedingly familiar too, so much so that most of the plot turns can be guessed well before they happen. The scarcity of clever quips makes the movie lengthy but still, there is still something satisfying about the effort. The movie is nice and naughty for the older teens who get identified with Naina (Gul Panag), her casting comes as a good news as she effortlessly grapples with heartbreak and a crisis in the film where she plays an advertising executive who had just broken from a relationship, has a prestigious project to handle at work, she is about to enter into her 30’s and she is still waiting. She is confused about love and doesn’t know what is right for her. As Naina fights her anxiety and fears about being 30 years old with her friends nicely played by Tillotama and Jeneva Talwar, enters Purab Kohli her ex-flame who along with Naina’s friends make her realize that there's a lot of growing up to be done. Naina broken relationship keeps haunting her, she gets cheated in office and couldn’t decide between her broken boyfriend who keeps haunting or the ex-flame Purab who has comeback. Suddenly the same Naina gets the strength to fight a case against her bosses and even write a novel… Agreed one of her friend who plays a lesbian in the movie finds her writing skills but we needed some explanation on that. Needless to guess, the movie ends up at a bookstore where Naina signs her autographed copy to her once haunting lover and moving on in the arms of her comeback vehicle Purab. Gul Panag and Purab shine in this urban comedy which has the routine ups and downs but sadly they are not emotional. It’s stylish, sassy, even naughty at a time but doesn’t connect emotionally overall as most of the part are in English. First timer writer director Alankrita Shrivastava comes up with an idea but not a proper script, it’s like planning a house with all the amenities but alas the house wife is missing. Technical and production values are first rate, dialogues are appropriate and costumes by Poornamrata Singh deserve special mention. Music by Siddharth and Suhas is just passable. Cinematography by Akshay Singh is sharp. Conclusion: Indulge At Your Own Risk Rating: **

No One Killed Jessica Movie Review

For a film like this which is based on reality but is told in a thrilling manner, it was always a thin rope to walk for the makers. After all the case went on for years in court and just like 'Black Friday' (which again tried to connect number of disjointed events), 'No One Killed Jessica' too is a terrific portrayal of what 'could' have actually happened.

There is tension in the air the moment Vidya Balan is informed about her sister been shot. From this point on there is no turning back as you look at the screen wide eyed for the next 15-20 minutes as a graphical representation of minute by minute series of events that led to Jessica's (played effectively by first timer Myra Karn) death are depicted on screen. You know that it would be one dramatic journey from here on and as an audience, you aren't disappointed.

While the film takes a thrilling route, it isn't without its fair share of emotional moments that never fail to result in moist eyes. Vidya's realisation that her sister is dead, the hopelessness of seeing witnesses turning hostile and then the brilliant interval point where Rani Mukherjee, a firebrand journalist, wakes up to a newsprint in bold - 'No One Killed Jessica' - you are bound to get your tissues out.

Meanwhile the film never leaves its dramatic pitch. The killing followed by Neil Bhoopalam (playing Jessica's friend) call of desperation, interrogation by the cop (Rajesh Sharma), the confession that follows, demands made by the witnesses, high society witnesses failing to turn up, cop's frustration, other witnesses turning hostile and then finally the prime witness' (Neil) shocking declaration in the court of law - there is a lot to pick in the first half of the film.

The second half too proceeds on a good note with Rani picking up the mantle of going neck deep down into a 'story' which had now turned into a national headline. The sting operation that follows is very well done which does changes the course of the film and also ensures that for that wide segment of audience which wanted the film to be high on entertainment quotient, there is a lot to be offered.

One does feel though that while the build up to the silent protest is good and the sequence by itself is picturised well, there are portions where NOKJ starts slackening a little. The finale (Rani meeting Vidya at Jessica's grave), though justified, is a tad too filmy and even as Myra's montage tries to bring her back alive in audience's memory, one would have rather wanted a realistic route to be followed right till the end.

Leaving aside such minor blemishes, the fact remains that NOKJ has started 2011 on a very good note. From a small budgeted 'Aamir', Gupta has graduated to a medium budgeted NOKJ. However how one wishes that he sticks on to this route rather than getting tempted by big bucks and bigger budgeted projects. Reason being that 'No One Killed Jessica' acts as a slap on those 50-75-100 crores budgeted films that just loot audience on the name of entertainment.

As performers though both Vidya and Rani are equals. While Vidya's almost silent act turns out to be impressive as less is more here for her, whether it is by means of few dialogues or a subtle body language, Rani gets her fiery act right too while ensuring that there is no dull moment whenever she is around. Rajesh Sharma is a find and after playing a lighter part in 'Ishqiya', he acts tremendously well as a toughie who deserves to be seen in more films. The man who plays the main accused, Mohammed Zeeshan Ayyub, is convincing while Neil is quite good as well. Myra Karn is not just a pretty face but acts well too. As for the biggest highpoint of the film, it is undoubtedly Amit Trivedi's music which is tremendous, whether via songs or the background score.

There are three things that remain constant while you are watching 'No One Killed Jessica'. 1) You don't blink your eye, 2) Your heart continues to pound hard and 3) There is a lump in your throat. That's the power of this Rajkumar Gupta directed film that stays with you for hours after you are through watching it.

Rating: ****

Vikalp Movie Review

First things first, 'Vikalp' isn't meant for 'aam junta' by any means. Since the film talks heavily about risk, security, code, hacking devices etc., it would be mostly indecipherable by a large segment of audience. Nothing wrong with that. After all as long as the film has a set target audience for itself and made in a reasonably budget, it is fine to pitch it accordingly. However in execution of these ideas, there are problems aplenty. First and foremost problem is the very title of the film. Director Sachin P. Karande's debut flick 'Payback' released just a few days back and went unnoticed due to the very same reason. Now 'Vikalp' is even dicier as it gives an impression of a serious film with philosophical tone to it instead of a thriller about the hacking world. 'Vikalp' is about a young girl (Deepal Shaw) who has learnt the art of hacking entirely on her own but uses it in an ethical manner to expose loopholes in a system rather than misusing it for her own personal use. After being ridiculed by her first organisation, she moves to Bangkok and starts life afresh in a new IT company. Her assignment involves developing a hacking code that could be further used to safeguard the world of banking. But was this her real assignment? After a jittery initial portion of the film which moves at a snail's pace, there is some movement that takes place once she manages to retrieve her stolen files from the server. After she reaches Bangkok for her new assignment and begins to write hacking code, the film does pick up pace. While one can see the twist coming from a distance, the interval point is decent enough to make you look forward to the second half. However, after a few interesting moments in the first 20-25 minutes of the second half, the film goes downhill, and how. A couple of random songs come out of nowhere, love stories start building up, Deepal's ex-boy friend lands up in Bangkok, her new boy friend has his own back story as well and then the worst of all are the penultimate 20-25 minutes where everything starts falling in (or out) of place way too conveniently. The revelation of culprits is hardly a surprise while the gun fire that happens inside an IT organisation is, to put it mildly, rubbish. Amongst actors, Deepal definitely looks committed in her central protagonist character that she plays. Amongst other actors, the ones who leave an impression are Chetan Pandit (her boss in Bangkok) and the man who plays her boyfriend in Bangkok. Music is barely passable while cinematography is plain average. Really, for a film that did show a glimmer of hope at number of places and promised that there would be a good story in the offing after all fails miserably as it reaches the culmination point. To think of it, a film which had followed a real route and narrated the story of an IT professional who was a top ethical hacker ends at a stage where there is gunfire and 'dhishoom dhishoom' all around. Now if this isn't taking cinematic liberty too far, what else is? Rating: **

Toonpur Ka Superrhero Movie Review

'Toonpur Ka Superrhero' is a visual experience that needs to applauded for the sheer attempt that has gone into it's making. As for the story of 'Toonpur Ka Superrhero', it is the kind that can be instantly grasped by children, its target audience. There is a world somewhere far far away and it is called 'Toonpur'. There are good toons and bad toons. And then there is Ajay Devgn, a screen-hero, whom the good toons rope in to defeat the evil ones.

The film is just ordinary when it comes to the scenes involving real characters. The opening action sequence with a motorboat chase belongs to 90s and is hardly thrilling. Also, the sequences involving Ajay, his secretary, his family etc. have a ‘seen it done all’ feel. Frankly, if there was an attempt at bringing on some emotions here, it doesn't quite work. Also, there is no spark that one sees on screen despite Ajay and Kajol coming together.

The world of toons though is better laid out though none of them - whether it is the Gujarati woman, the Sikh kid, the Marathi 'hawaldar', the Bengali performer, an Einstein kinda scientist or the Christian hottie - have much character depth to them. Of course no one expected a full-on detailing around their past, present or future but still there could have been something about these characters that would have made audience emotionally connect to them.

This is the reason why the second half of the film works because while emotions just didn't work in the first hour of the film, action dominating the second half more than makes up for it. A massive first step in this direction is taken with the song 'Rubdoot'. This is when you actually clinch your fist and exclaim - 'Yes, we have arrived when it comes to world class animation'. In fact portions in and around this scene leave a major impact as well. The villain's den, his bunch of 'goondas', the fight that takes place soon after and then the announcement of battle lines being drawn between Ajay Devgn and Toonasurs - there is a promise of some superb action ahead.

In fact there is much more delivered with the entire climax made of three stage gaming. Watch out for the manner in which Ajay Devgn (who is later joined by Kajol) wins his first two rounds. However the final combat (set in an arena) could have been better. It turns out to relatively easy, hence leading to a climax that also seems like a little abrupt.

Nevertheless, in the times when all that one gets to see in the world of animation films are one mythological tale after another, it is wonderful to see someone (Ajay Devgn here) backing a project like 'Toonpur Ka Superherro'. Now if only the film would have been as exciting from start to finish, it may just have been the perfect outing that a family may have been looking for.

Rating: *** 

Tees Maar Khan Movie Review

'Tees Maar Khan' isn't a film where one has to hunt for logic in every scene. Even the humour here isn't the kind where one is required to find any subtle references. In fact every scene that makes you bring on a smile or a laugh is on your face and announces it's arrival loud and clear. Subtlety wasn't expected from this first ever collaboration of Akshay Kumar and Farah Khan and for that reason, 'Tees Maar Khan' stays on to be as unpretentious as it gets.

For conman Tabrez Mirza Khan (Akshay Kumar) aka Tees Maar Khan, it's a challenge to escape with treasure worth 500 crores and weighing around 10000 kgs from a moving train. He has to make the impossible happen and for that he makes a plan which involves running the biggest con job ever. He wears the hat of a movie director, hires the services of a top actor (Akshaye Khanna) and ropes in an unsuspecting set of 200 odd villagers who support him in his game-plan. How he manages to execute his plan takes 'Tees Maar Khan' to its conclusion.

First hour of the film passes away in a jiffy with numerous scenes remaining etched in your memory once the show is over. The opening credits with 'Tees Maar Khan' showing it's true colours inside the womb, Sachin Khedekar's introduction of three top conmen in the country, the con job played by Akshay to make his escape from an airplane, the song 'Sheila Ki Jawani' that follows soon after - all of this manages to hook audience's attention. 

What takes the film to a different level though is the introduction of Oscar-obsessed Akshaye Khanna. A long scene where Akshay convinces Akshaye that he is a top director from Hollywood and the latter's 'dance of joy' on being told that he was the chosen one for playing a 'gareeb hindustani' is bound to get the house down. The interval point is well set and one looks forward to the momentum continuing in the second half as well.

The second half continues from where the first half had left with Akshay and his team continuing to shoot a mock film in the village. Yes, not all scenes are funny here and there is also an element of predictability that comes in when Akshay unknowingly ends up helping the villagers. This is when all eyes are set on the moment of reckoning, the train robbery sequence, to take the film to an all time high. 

However, the impact isn't as 'zordaar' as one would have expected here as the entire con job passes off way too simply. The courtroom sequence immediately after that is also on predictable lines and one does get a feeling about something being amiss. Thankfully, there is an epilogue soon after that makes one shrug away those 10-15 minutes prior to that. The premier sequence is done well, hence bringing on laughs all over again. 

Amongst actors, Akshay Kumar is (obviously) the focal point of the film and he does well while also bringing in a different shade to his own style of comedy. On his part Akshaye too has thoroughly enjoyed the show by letting his hair down (well literally) and he comes with such an excellent job here that one wonders why he hasn't done a full-on comedy along side Akshay yet. Katrina has a minimal part to play in the actual context of the film but is fabulous in 'Sheila Ki Jawani'. Salman's dance number though is forced in the narrative and could have been done away with.

There was one basic expectation from 'Tees Maar Khan' and that was to get entertained in those two hours with worries of the world being left outside the auditorium. You don't want to check your phone calls once the opening credits start rolling, you don't want those emotional moments to make you shed a tear or two and you basically want to have a good time by laughing out loud at places.

Does 'Tees Maar Khan' ensure such an experience? The answer is right. If you want to let go off your stress for those two hours, watch 'Tees Maar Khan'.

Rating: ***1/2

Kaalo Movie Review

 'Kaalo' comes with a good premise. After all there hasn't been any creature based horror film made in Bollywood and that too while being presented in day horror genre. In that context, one does want to check out what 'Kaalo' is all about as it promises good share of scare factor coupled with thrills.

What one gets to see is a film which is thrilling in parts, has good technical finesse to it but doesn't scare at all. Now how one wishes that the story had enough twists and turns to actually keep you captivated and scared because from the look perspective, 'Kaalo' has to be one of the most original attempts ever.

The film begins with the narration of an age old tale of how the interiors of North India were terrorised by witches. Told in a picture book format, the film soon moves '250 saal baad' as a bus makes it's way through a rocky terrain in Rajasthan. With an ensemble of characters travelling (a not-so-young man, a young girl, a newly wed couple, a photographer and a model, an aged couple, four rogues, a conductor and of course the driver), there is some time spent on character introduction.

As can be expected from a film belonging to this genre, there are shadows and a definite presence of the unknown felt by most of the characters as they all start getting killed one after another. Just like any slasher thriller, here too the focus is on how each and every killing takes place, something that acts as a positive for 'Kaalo'.

However, the sad part is that the film doesn't scare at all. The character of 'Kaalo', once it actually makes it's presence on screen around the middle of the film, isn't really the kind that would scare the day light out of you. Also, the film moves forward in a flat narrative with thrills, action sequences, VFX and cinematography being good but the suspense factor definitely missing.

This is where one feels that while Wilson Louis, the director of the film, did do all in his capacity to make the proceedings interesting, the writing let him down. Case in point being the key male protagonist (Aditya Shrivastava) who is let off by 'Kaalo' not once, not twice but thrice even when she knew that he was being the protector of the girl (Swini Khara) whose blood she was thirsting for.

On a positive front, some of the scenes do stay with you even after the film is through. The way 'Kaalo' buries it's victim under the sand is done well and so are the hallucinations that one of the key characters faces a couple of times. Background score is good as well and compliments the film's narrative. All actors in the film are uniformly okay with none of them either bowling you away with their histrionics or making you look the other way.

Wilson Louis has shown that he is a good technician. Now all he needs is a better script to get his imagination run further wild.

Rating: ** 

Mirch Movie Review

What is it all about?

Oh yeah…. This is a rare Bollywood arousal. Bollywood grows and becomes more passionate after making a sarcastic remark on Amrika last week; this one raises and satisfies your hormones of fun, masti with its naughty level of horniness, ‘Mirch’ is a film with a one-track mind and a single ambition to entertain with layers and should happily wear that crown until another film sets out to steal it.

Coming from Vinay Shukla the helmer of the acclaimed ‘God Mother’ which starred Shabana Azmi in the lead, changes gear in ‘Mirchi’ but doesn’t forget to celebrate womanhood but this time with a wit on its own.

Chauvinist may find it difficult t accept but for more open minds it an arousing experience.

‘Mirch’ gives ample time for the women to score which translates into extra coin for its prospects making it a must see comedy for adults.

The Story… Of course

Maanav (Arunoday Singh) is a struggling filmmaker who is unwilling to compromise on the script he has written. His girlfriend Ruchi (Shahana Goswami) a successful film editor, arranges for him to meet Nitin (Sushant Singh), a film producer.

Nitin likes the script, but is not very sure of its commercial prospects.

Maanav then suggests a story from the Panchtantra: ‘A woman is caught red-handed with her lover by her husband and yet, she manages to wriggle out of it scot-free!’

Nitin finds it too short for a feature film. Maanav then creates three more stories based on the same premise: in a way, the Panchtantra story travels in different versions to the modern times through the film.

The four stories are woven together by a common story.

‘Mirch’ echoes the message - if you have your wits about you, you can salvage even the most impossible situation.

The message is simple - At a deeper level, ‘Mirch’ is about the gender equality in relationship.

What to look out for?

The nothing-fancy, just-get-to-the-point approach continues throughout, with the known pattern of a film within a film. This modern version of Panchatantra which travels in its various versions to modern times never gets vulgar and its smartly devoted to its sexual undercurrent, Vinay’s narration makes it simple and smooth and is able to claim marvelous performance from its actors especially Konkona Sen Sharma.

The movie’s short stories are its comic highlight which comes with an unexpected twist in the end which makes it really funny.

Disclosing the stories will kill the charm but it feels that the period story of the king in Rajasthan should end up being the favourite.

Bollywood has had its share of comedies which tries to please all but this is loyal to its genre and succeeds in its elementary mission due to its sheer wit layered by fundamental realism about gender equality and coming out during difficult times with your wisdom.

Konkana is the best but Raima is not far behind, Arunoday Singh is natural, Shreyas Talpade is competent, Shahana Goswami is good as usual, Rajpal Yadav is fine, Boman Irani excels, Sushant Singh gives justice, Prem Chopra is apt, Saurabh Shukla is fair, Tisca Chopra and Ila Arun chip in with valuable support.

The talked about love making scenes are well shot.

Smartly shot and sharply edited with fine production values

What not?

The film within a film pattern is fine but more innovative way could have been planned. Sometimes the movie suffers from predictability.

Conclusion: All said and done, ‘Mirch’ stands out as a rare Bollywood arousal, its witty, naughty and of course sexy.

Rating ***and ½

Band Baaja Baaraat Movie Review

'Band Baaja Baaraat' is one colourful and vibrant film that should finally end a continued draught that Bollywood has been facing ever since 'Golmaal 3' came and went. An industry which is reeling under half a dozen major flops already in last few months, Bollywood could well benefit from this relatively small but delightful film that makes for a very good family viewing.

Right from the first scene when Anushka catches Ranveer red handed as he gate crashes into a wedding, you know that there is going to be something special between the two of them. Their partnership, a vow to be just together in 'binness' (the way 'business' is pronounced in the film), their sharing of bed for countless nights while maintaining a platonic relationship, their business deals and a formation of a solid team - everything is flawless, perfect and just so 'crrrect' (the way correct is pronounced in the film).

However, once Anushka and Ranveer get intimate, you experience the same fear as the protagonists, something that further ensures that audience is in their journey together. Watch out for the scene where Ranveer talks about the 'mistake' and Anushka just smiles away. This has to be one of the most defining scenes enacted by Anushka in her three films so far. Equally, Ranveer is terrific in that scene in the climax where he confesses his love for Anushka without even once saying 'I Love You'. These are two individual scenes that would certainly make these youngsters proud.

This is not all that makes 'Band Baaja Baaraat' an endearing watch. The first thing that actually catches your attention is the way Delhi is captured in the film. Really, it is crystal clear that director Maneesh Sharma and writer Habib Faisal (who had also written and directed a delightful 'Do Dooni Chaar', again a film set in Delhi) know the city inside out. The roads, the lanes, the lingo and most importantly the dialogues - they are just extremely real.

One can see that a definite effort has gone into getting the ambience right and that is made possible by the team comprising of effective cinematography (Aseem Mishra), costumes (Niharika Singh) and choreography (Vaibhavi Merchant). Without this team along with composers Salim-Sulaiman, 'Band Baaja Baaraat' would just not have been what it is today.

Any blemishes? Well, in the second half one just wishes the duo to come together again soon but it just gets extended by around 10-15 minutes. Also, the song 'Dum Dum' is forced into the narrative and could easily have been done away with.

Nevertheless, in the bigger scheme of things one tends to shrug it all away because overall, 'Band Baaja Baaraat' entertains and how. One has to hand it over to the youngsters here - both Anushka and Ranveer - who are a powerhouse of talent. While Anushka announces loud and clear that she is a talent waiting to be tapped to the fullest, Ranveer is clearly the BEST debutant of 2010. His dialogue delivery, body language and overall attitude pretty much establish that he has it in him enjoy a very long innings in Bollywood.

What impresses from beginning till the end of this effort from debutant director Maneesh Sharma is the fact that never once does 'Band Baaja Baaraat' leave it's own character. It retains a certain authenticity to it throughout its length that makes the proceedings believable and the kind that one can easily relate to.

Go for it!

Rating: ***1/2