Buy a ticket for Once Upon A Time in Mumbaai. Now!

Once Upon A Time In Mumbai there was Bollywood which used to give us great films, but not anymore. Hopes of seeing great films from today's filmmakers seem lost.

Once you watch Once Upon A Time In Mumbaai, however, all hope is not lost.

Once Upon A Time there were writers like Salim-Javed in Bollywood.

Once again, we have found such a writer in Rajat Aroraa. Watch the film and you will understand. By the way, Rajat, where were you hiding all this while?

Once Upon A Time in Mumbai there was an actor called Randeep Hooda who was written off.

Once again, he's back with a bang as ACP Agnel Wilson.

Once Upon A Time in Mumbai there was Ajay Devgn who floored us with his role of Malik Saab in Ram Gopal Varma's Company.

Once again he returns to top form with his role of Sultan Mirza.

Once Upon A Time in Mumbai there was Emraan Hashmi who acted brilliantly and smooched girls with aplomb.

Once again he has acted brilliantly as Shoaib. The smooches, however, are missing this time.

Once Upon A Time in Mumbai there was a genre of music in Bollywood that we used to love, dhan-tanan-tananan.

Once again Tananan Tananan, Tananan, Taan Taan returns. You've got to hear it to believe it.
Once Upon A Time Bollywood used to give us melodious music.

Once again, we find that in this film. Pritam, I am speechless.

Once Upon A Time in Bollywood, heroines had little to do in a film.

Once again, Kangna Ranaut and Prachi Desai have little to do. After all, this is a gang war movie.

Once Upon A Time our film critic Raja Sen would have reviewed this film.

Once again, thank you Raja for going on a sabbatical so that I could review this film instead of you.

Once Upon A Time in Mumbai, I saw a great movie on Thrusday night.

Once again, I am going to see it on Saturday with my family and again on Sunday.

Once Again, you are reading my stupid review.

Once again, I am reminding you to book your tickets for this film.

Once Again, you're still reading this review. Stop and go buy a ticket. Now!

Once Upon A Time in Mumbai there was a director Milan Luthria who made Kacche Dhage with Ajay Devgn and Saif Ali Khan and then lost it.

Once again, he is back. Thank You, Milan.

Ratings: 4 / 5


Source: Rediff

Eclipse: For Twihards only!

"This wasn't a choice between you and Jacob. It is a choice between about who I should be and who I am."

Seriously Bella (Kristen Stewart), who are you kidding?

It's like the ultimate girl fantasy -- two gorgeous boys warring for her affections while she gets to be in love with both. Guilt-free, no less.

The only real dilemma posed before her is to pick between the chiseled good looks of pretty vampire Edward Cullen (Robert Pattinson) and Jacob Black (Taylor Lautner), a daredevil werewolf with abs that could put CK models to shame.

Frankly, life could not be any better for this otherwise painfully passive resident of an equally sleepy town called Forks.

If Twilight established a wispy enigma around the irresistible attractions of a nervous, smitten Bella and a curiously handsome Edward, New Moon challenged this peculiar alliance whilst laying the foundation for a niggling triangle through Jacob's unexpected, consuming obsession for Ms Swann.

The saga of conveying eternal desire by means of overwhelming looks, quivering lips and picture-perfect kisses continues in Eclipse, the third edition of the Twilight mania.

The deal with Eclipse is simple. A vicious Victoria (Bryce Dallas Howard), with her erratic army of reckless newborns wants to avenge her mate's slaying while her unsuspecting victim, Bella oscillates between a Let's-get-married and I'd-like-to-be-more-than-friends scenario.

While Eclipse cannot recover the sublime charm of the first one, it sure wins back all the absconding fans since the god-awful mush overload witnessed in New Moon.

Even though Stephenie Meyer's best-selling fantasy runs on spectacularly-staged implausibility and unusually naive characters, it packs in enough ardour to evoke giddy sighs and intense appeal among those it's intended for die-hard romantics, better acquainted as Twihards.

Like most silly albeit comforting fairy tales, Twilight, in spite of its dark undertones that oversimplify death in the face of exaggerated romance, works well on a teenybopper audience willing to submit themselves to its surreal notions and glamourised approach.

Admittedly, Meyer's books are no literary accomplishment but the written material and its understanding of an adolescent's eager yearnings is keenly played out through her vivid, page-turner prose.

Needless to say, like most book-to-movie adaptations, Eclipse, too, skips a lot of portions of its source to accommodate the overwhelming number of protagonists old and new. Only some, like the Cullens Jasper (Jackson Rathbone) and Rosalie (Nikki Reed) nab a few exclusive seconds but the awkwardly introduced flashbacks do little to make them any more significant.

This is a running flaw in the Twilight movies; the narrative is unnecessarily crammed with surplus characters who hardly contribute any perspective or layers to the proceedings. What's worse they're played by a set of genuinely bad, uncharismatic performers.

Ah, acting. Now that's definitely not the high points of this brand. Stewart is credible as the lip-biting, love-struck damsel; but cannot hide her intelligent aura behind Bella's absurdities. On the contrary, it becomes even more conspicuous next to the compelling but cosmetic Pattinson and consistently unimpressive Lautner.

Director David Slade (Hard Candy, 30 Days of Night) is more concerned with building an attractive (at times even humorous) sexual rivalry between the entangled troika to negotiate the novel's inherent aggression or graphic nature of its combat. Instead he opts for a disappointingly bland visual representation of the same.

Fortunately, Howard Shore's resplendent score, in addition, to spunky Indie presence The Black Keys (Chop and Change) and The Dead Weather (Rolling in on a burning tire), boosted by stunning imagery, signature to Twilight franchise lends Eclipse some of that much-needed edge.

The verdict is quite simple. Twihards, this one's a keeper. Twihaters, snarky days are here again! 

Ratings: 2.5 / 5

Source: Rediff

Lafangey Parindey music is irresistibly whimsical

He's a crazy fighter cum biker. She's a blind dancer on roller skates. Lafangey Parindey is a maverick romance between One Shot Nandu and Pinky Palkar.

Starring Neil Nitin Mukesh and Deepika Padukone, Lafangey Parindey is a distinct departure for director Pradeep Sarkar who previously helmed woman-centric melodramas like Parineeta and Laaga Chunari Mein Daag.

For his latest under the Yash Raj banner, he replaces regular composer Shantanu Moitra with R Anandh, best remembered for his dazzling albeit underrated work (Main kudi anjaani, Tere pyaar mein) in Sunny Deol-led action flick, Zor. He also ropes in Swanand Kirkire, high on 3 Idiots and Striker to whip magic with his pen.

The soundtrack begins on a high-strung note with Ronit Sarkar throwing in a good measure of attitude and aggression, which bears striking resemblance to A R Rahman's high-pitched crooning, for the definitive title track. While Lafangey parindey is unmistakably rock in genre, there's an attempt to bring in a sense of desi with a balle-balleish sprinkling every now and then.  

Anandh weaves lilting, quirky enchantment to Kirkire's poetic apparitions for the instantly appealing Man lafangey. Mellow is Mohit Chauhan's gift. And he employs it to stirring effect with his soothing rendition of a song amused with the waywardness of love but sane enough to overlook the drawbacks. A racy club mix follows but we'll go with the original any day.

Animated bonhomie marks the soul of Dhatad tatad. High on rhythmic verbatim and bombastic philosophy, this manic merger of street-style percussion and sleek rock guitar is, thankfully, not all noise. Anandh's adept arrangement bolstered by Shail Hada and Anushka Manchanda's buoyant vocals ensures Dhatad brings the house down.

There's a great deal of introspection and description in the songs of this enterprise. And so the unbound temperament of Lafangey Parindey's leading characters is conveyed through Shilpa Rao's ethereal delivery of Nain parindey.  If you loved Wake Up Sid's Iktaara, you're bound to fall for Nain parindey just as hard. Divine, dulcet and contemplative, Nain is quite easily the simplest and best offering of this album.

After wowing us with his powerful treble in Sadka (I Hate Luv Storys), Surag Jagan aims to impress Rang daalein. Despite all his intense efforts, the composition with its overtly stylized, synthesized layout tries too hard to be deadly and edgy.  

While one cannot deny the influence of Hollywood composers in the instrumental theme, Born to fly, Anand keeps it a compelling a mix of drama and emotion to complain.

From glassy moments to grungy fervour, Lafangey Parindey is irresistibly whimsical.


Ratings: 3/5






Source: Rediff

Tere Bin Laden: A brilliant satire

Sometimes one's relationship with the movies gets a little strained. Week after week of watching the same item numbers, the snazzy European locations and stilted dialogues catering to the NRIs create a sense of fatigue and boredom. And the film buff almost makes a decision to take a breather and stay away for a while.

But then comes a film like Tere Bin Laden and hope is rekindled all over again.

Recently, we had My Name is Khan which dealt with the tragic aftermath of the 9/11 disaster for ordinary citizens, especially those belonging to the minority community. But debut director Abhishek Sharma's Tere Bin Laden is a film which reveals how ordinary citizens wanting to reside in America must either give up on their ambitions or resort to drastic measures.

Tere Bin Laden is, however, free of drama and emotion. It's a satire about all those wanting to set foot on the promised land. And it works.

Our protagonist Ali Zafar has spent most of the last decade living in Karachi with one single-minded obsession -- getting to the United States of America. He believes his future lies there. He will entertain even the most harebrained scheme as long as it takes him closer to his destination.

Meanwhile, Ali plods through his days working as a reporter for Danka TV, an almost unknown news channel run by Majeed.

On one occasion, when Majeed sends him to cover a rooster crowing competition, Ali meets a chicken farm owner called Noora (Pradhuman Singh), who is an almost perfect lookalike of the most wanted criminal Osama Bin Laden. Ali sees this as an opportunity to make a quick buck, without visualising the far-reaching consequences of his actions.

Since great schemes cannot be executed single-handedly, Ali sets out to cement a team who can help him. There is Gul, Ali's assistant and cameraman who doesn't seem to have an ambitious bone in his body. But he supports Ali unhesitatingly. Gul manages to evoke a laugh merely on the basis of his body language and expressions.

There's Zoya (Sugandha Singh) a veteran make-up artist who dreams of turning entrepreneur. Qureshi is a radio jockey who hates America and all things American. But his thought processes are rather random and not derived from a consistent political ideology.

The opening scene in the film is one where a news caster stands at the edge of the runaway, making an announcement. A plane takes off and the newscaster wig flies off.

Even as you laugh and continue to laugh your way through the film, one realises the director was very clear in his intentions -- there is so much humour in our daily lives, let's take some of it onto the big screen. Like Laskar-e-Amreeka a shady immigration agency with Rajendra Sethi playing the dubious owner.

But Tere Bin Laden is not just a film about slapstick jokes and naughty humour. Through all the gags and jokes, one is forced to accept how willingly we compromise on our ideals and values to attain our cherished goals; how we persist in giving personal gain more importance than building a cohesive society. There are some constant digs at America and their imperialist policies but the one-liners are sharp and cleverly woven into the script.

Theatre guru Barry John -- playing the devious, manipulative American officer -- and Praduman Singh -- as Osama Bin Laden -- make a perfect cast.

The dialect is authentic, with a peculiar mix of Punjabi and Hindi, liberally sprinkled with a lot of cuss words and swearing. Noora, the fake Osama with his chicken obsession, really sounds like a farmer who has been born and brought up in rural Pakistan.

There is no attempt to cater to the NRIs, and a sub-titled TBL will probably fall flat on its face simply because thedesi humour will be lost in translation.

If the film suffers it is mainly because of the budgetary constraints. Most of the film is restricted to the interiors as it probably wasn't possible to shoot the film in Pakistan. With better sets and a wider variety of locations, the film would have been a masterpiece.

Tere Bin Laden is definitely a must-watch.

Ratings: 3.5/5

Source: Rediff

Salty Adventures

A man walks into a building and tells security that he is a Russian spy... sounds like the beginning of a joke doesn't it?

Angelina Jolie and the rest of the people responsible for the movie Salt will be hoping that millions of people take the movie seriously enough to buy tickets and go watch what I imagine Team Jolie is hoping will become a major action franchise.

Towards that end, the multi-wigged mother of six (in real life, not in the movie) plays a run-and-gun secret agent who attempts to elude various law enforcement agencies after a Russian spy names her as the sleeper agent who will kill the visiting Russian President on US soil.

Really that is all the plot information you need to decide whether you want to watch this film or not. Because what this movie really is is an exercise in proving that anything Jason Bourne can do, Evelyn Salt can do better.

So decked out in a series of questionable hair pieces -- that includes a bizarre Michael Jackson (circa his Lisa Marie Presley wedding) hairdo -- the central character goes on the run while trying to prove that she is being framed.

In the early parts of this movie one is tempted to worry that the painfully thin-looking leading lady's bones might actually break upon impact during one of the many chases she endures and survives.

When things start getting progressively hairier though, one begins to wonder how much more damage a feral character like herself might have inflicted if she had any more meat on her bones.

Make no mistake; Evelyn Salt is one cold-blooded badass. She leaps off high structures onto moving vehicles, indulges in petty theft, sleight-of-hand subterfuge, punches the living hell out of men easily twice her size and fires all manner of weapons as if she really knows how to handle them. You wouldn't want to meet a woman like this in a cold dark alley.

The action is definitely more kinetic and conducive to suspending disbelief than the atrocities committed in Knight and Day.

Though one is tempted to think that Ms. Jolie's days of looking her best are well past, there is no denying that she is one of the very few working actresses (Milla Jovovich is another) who can essay a role like this and not make it seem ridiculous.

If you're in the mood for an action spectacle that rarely ever lets up and is very content to blow up, kick down or punch out every thing that stands in its way, Salt might be an amusing little diversion for you.

For the rest, I suppose there is always another attempt at making sense of Inception.

Ratings: 2.5/5

Khatta Meetha is only part-funny

There's no such thing as Indian', contends Sachin Tichkule. 'We are either Bengali, Gujarati or Maharashtrian, etc.  The only time we become Indian is when India is playing a cricket match against Pakistan.'

A rather Sunny Deol thing to say, you'd think. But it's not the ardent Gadarguy, notorious for his loquacious diatribe on all subjects patriotic, at work. Neither is this a nationalistic drama in the actual sense.

Instead Priyadarshan's Khatta Meetha is a part-funny, part-furious take on prevalent corruption and red-tapism through the misadventures of its chief protagonist, Sachin Tichkule. It's not a particularly attention-grabbing name like say Pappu Pager or Crimemaster Gogo but the makers insist we develop a liking for it and so keep highlighting this fact like a screechy punctuation as often as they can. Doesn't work. What it does do is bring the discrepancies of clashing accents to your notice. For a typical Maharashtrian family, this one doles out an infuriating mix of Marathi and Punjabi twang.

The deal with Mr Tichkule, promoted as the R K Laxman-inspired voice of common man, is that it's more Bollywood than comic strip. As opposed to Khatta Meetha, the cartoon as well the original Malayalam movie Vellanakalude Nadu, are both strong on subtlety and aesthetics. 

In this visibly opulent upgrade of the 1988 Mohanlal-starrer, also directed by Priyan, the core objectives remain the same -- deep-rooted dishonesty directed specifically at the infrastructure sector but the hero's aspirations have rocketed from Honda to Mercedes.

Drowned in loans, Akshay Kumar plays the aforementioned hyper-ambitious contractor Tichkule struggling to keep his job while his bribe-friendly brother and brother-in-laws fill their coffers with illicit money.

Though hailing from a noble family, Tichkule is the quintessential black sheep with a Gandhian flashback and slightly roguish present. His encounters with bumbling co-workers, nagging investors, municipality and ex-flame (Trisha Krishnan) against the sub-plot of his sly family and their motives forms the crux of Khatta Meetha. 

There are times when Tichkule's rant feels timely and relatable. Bad roads are a constant grievance. Another sequence features him sobbing aloud in complete dismay at the breakdown of his precious road-roller, 'Aur kharcha nahi kar sakta,' resonating the real-life frustration and concern of a common guy. The solution Priyan offers to the crisis, however, is much too ridiculous and kills the realism soon enough.

Even so it's wonderful to watch Johnny Lever doing a brief shtick during this above mentioned fiasco. Speaking of comedians, Priyan doesn't forget to cast his regulars -- Rajpal Yadav, Asrani and Manoj Joshi to portray different levels of obnoxious. And if going over-the-top is the purpose, they dutifully abide.

As for Akshay Kumar and how he fares. He's energetic and sincere. He's quite effective in the scenes where he has to be disgruntled. Otherwise he's no more than a wannabe Banwarilal (of Chachi 420 fame) with double the paraphernalia and half the idiosyncrasy. His co-star Trisha, however, fails to stand up to Akshay. She seems too frail for a part better suited for someone fiery and gritty like Sushmita Sen, Vidya Balan or even Neha Dhupia, another Priyan favourite.

Considering the original came out in late 1980s, the story with its baggage of generic turns and contrived twists seems all too familiar in making its even-now significant point. In addition, it seems a tad too long at its three hours running time. To think there are just three songs but they are placed at worst possible times and break the momentum instead of taking it ahead.

Moreover, Khatta Meetha projects itself as a witty satire with reference to someone as reputed as Laxman but its uneven mood shift from ironical to intense augmented by cheesy dialogues like 'Keechad mein baithe suwar ki tarah sust kyon ho?' begs you not to be taken seriously.

And, well, you comply.

Rating: 2/5



Source: Rediff

Udaan is sheer joy to watch!

Parents have a God-like stature in Indian society. And since movies mirror the sugar-coated facet of reality, we barely ever witness the dark side of parenting.

Even in movies like Taare Zameen Par, 3 Idiots or Kabhi Haan Kabhi Naa, where nonconforming children fail to make any connect with their rigid fathers, things end on an assuredly resolved, happy note.

In that sense (and more), director Vikramaditya Motwane's Udaan is refreshingly distinct and unyielding. In his superbly penned, alongside co-writer Anurag Kashyap, account of a teenage boy, he makes some relevant points while drawing a poignant picture of wounded relationships giving rise to unlikely family in the face of abuse and neglect.

Rohan (Rajat Barmecha) is a special 17-year old. Though kicked out from a prestigious boarding school in Shimla, there's something instantly arresting about his serene disposition and soulful, searching eyes. He's not a man yet but his poems are observant, mature and laced with enticing simplicity. There's enough subtext to figure out that this wisdom steps from the fact that he lost his mother at a young age and his hardboiled father is too aloof to take notice.  

Whether it's his escape or his identity, writing brings out the best in Rohan's otherwise clammed-up world. A detail often elucidated through fascinating, freewheeling verse. And so that's precisely what he wants to pursue: a career in writing. This does not go down well with his stern, old-school father (played to perfection by Ronit Roy) who wants him to do what 63 percent Indian parents aspire -- join an engineering college.  

A wonderful scene in a local pub featuring Rohan and his aimless cronies has one of the guys articulate this sentiment with a pungent but pertinent remark, 'Sab chote shaher ka baap ek jaisa hota hai. Family business? Very good, very good. Dream business? Very bad, very bad.'

After his afore-mentioned expulsion from boarding, Rohan comes to live with his obstinate father in the steel town of Jamshedpur only to find himself clubbed with a surprise roommate -- his six-year-old step brother, Arjun (Aayan Boradia). Terribly ignored and lonely, Arjun is punished for his naïve existence and doesn't even know it. Boradia doesn't have too many lines but his wide-eyed bewilderment and polite tone is responsible for some of the most heartfelt scenes in Udaan.

A far cry from his rule-breaking days in hostel, he's rudely informed to address his rather mean, hypocritical dad -- he smokes and drinks in front of his kids and then insists on early-morning fitness regime -- as 'Sir'. It's an evidently strained father-son scenario as Rohan angrily points out, 'Beta hoon. Bank ka fixed deposit nahi.'

Udaan has a simple enough plot but it's the finer nuances of its screenplay that lend it memorable profundity. It's undoubtedly a significant film about the youth, so often disparaged for the eager, restless quest of their grand dreams and wild imagination. There are innumerable examples of one frustrated generation juxtaposing its ideas, or rather its predecessor, on the generation to follow, and the vicious cycle continues until a rebel is born.

Motwane's Udaan conveys this rebellion with such refined sensibility and spirit, it's only fair one recommends a tax-free status so that it brings about a greater understanding among many well-meaning but clueless parents struggling to reach out to their angst-ridden teenage offspring.      

As cinema alone, this is a sparkling and confident debut from Motwane. Displaying his merits as a master narrator with regard for emotional subtlety and character detailing, the first-time director shoots crucial scenes without ever losing sight of the story or its intended goal. Crudely put, he doesn't bullshit with his audience. It's this approach that keeps us in constant touch with Rohan even as the camera (by Mahendra Shetty) wistfully lingers around his lost frame and Amit Trivedi's thematic piano plays in reference.

 To Barmecha's credit he's entirely believable and persuasive as a boy unwilling to let go of his aspirations and unable to come to terms with his father's subjugation. Despite his rawness, he carries the viewer all through this self-exploring albeit fruitful journey of dreaming big, facing challenges and encountering the raw deals in store.

Being young can be quite rewarding if you are willing to take charge, be responsible. Udaan is an enriching experience in highlighting the same.



Source: Rediff

Inception: Suave, profound and questioning

If one attempts to infiltrate Christopher Nolan's mind -- one would see words like dreams, memories and subconscious written in equation to success, moolah and appreciation, for he has convinced us again with his shrink-like observations about man's unexplored alternate reality.

While Memento dealt about the distres lapse of memory and its implications on a man's life, Inception projects the landscape of one's subconscious -- the dark discreet alley seldom ventured. Only this time the director resolves to make it sufficiently noir and infinitely more intense.

Inception is not an everyday thriller that makes you forget the amount of popcorn you have nibbled and soda you have sipped. It is a maze that demands you to concentrate at every move, every conversation and the occasional silence. You have a strong chance of getting lost in the galaxy of megalomaniac visuals, but then the director has introduced totems to take care of that.

The totems serve as reminders about a character's state of being in the film -- whether he or she is in a dream or reality. The film essentially explores the potency of dreams to reveal one's subconscious, oscillating between the 'real' and the 'imagined'.

Cobb (Leonardo DiCaprio) has picked up this mind-boggling hobby from his father-in-law (Michael Caine); he plunders information from a man's subconscious by hurling him into a web of dreams. Things have gone awry in the past and he is now a fugitive whose only desire is to get to his two children. Fate offers him his only chance of redemption in the form of Saito (Ken Watanabe), a businessman who approaches him for 'inception' -- planting an idea into the head of a wealthy heir in order to split up his multi-million dollar empire. Cobb decides to 'take a leap of faith' and perform the unthinkable with the help of a young architect (Ellen Page) who designs the multi-layered dream project.

Cobb's team shows up on board a 747 with the target during a 10-hour flight that takes off to an imaginary establishment of dreams. The journey into their client's mind seems to follow veteran director Stanley Kubrick's train of thought -- complexities, chaos, and conspiracy. Characters that seem to defy gravity manage to evoke an edge-of-the-seat response.

The story gets grittier as the 'inceptionists' realize the presence of the target's ace defences that seem to cause a substantial disruption at level one of the inception.

The visuals that follow emerge as wisps of fire devouring you. Watch out! Nolan is all set to haunt you with various trajectories introduced to the main plot. Cobb's subconscious, riddled with guilt for the death of his wife Mal (Marion Cotillard), is mixed up with the shared dream. Mal's miasmic eyes and unsettling shadows poeticizes the frame, as much as Edith Paif's Non, je ne regretted rien, which is featured as a soundtrack and plays every time the 'inceptionists' kick out of a dream.

The impact of the film is largely due to its sheer technological brilliance. The intensity of the visuals is such that it nearly gives you a three-dimensional experience -- buildings falling like meteors onto the earth, swanky hotel corridors tilted and elevated that is likely to sprain your neck and the snow avalanche-shots that blow you along with the blizzard. 

Overlooking the geeky aspects the film, you would desire substance that unfortunately shuffles in and out of the film. There is an emotional involvement that due to some reasons is not allowed to grow. Leoardo DiCapro sets the tone but ignores the language. He is seen to be extremely uptight, conceited and grim for large part of the film; not that the character demanded otherwise, but it is something we have seen enough in his last venture Shutter Island.

Cotillard on the contrary flows mysteriously from one frame to another. She evokes suspense of a higher order. Her occasional visits keep you immensely engaged; attributed to her unsettling facial ex-pressions.

However, what makes this film work is its powerful conceptualization: A sundry ride into the uncharted arena of human mind.

It is often argued that 'form is the content' and if that is true it is surely on the way to taste Dark Knight's success. It is suave, stylish, clever and questioning. Inception is a movie you take home with you only to come back for a second viewing in order to understand the very astute designs of the film.

Ratings: 4/5

Source: Rediff