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[Sharmila-Sweet]

Mausam - fails to impress

Raja Sen feels that Mausam has its moments but disappoints overall. Post YOUR reviews here!
Our hero, a bizarrely uptight young air force officer, sits across from the beautiful woman he loves, yet seems afraid to smile. Suddenly, in what may be perceived as a moment of weakness, humanity or merely kindness toward an exasperated audience, he lets his guard down and says, "Yeah, baby." And then he grins.

Bad, bad idea. He knows it; cluelessly, abruptly, his face automatically falls. Not everyone can get away with that, and in his latest film Shahid Kapoor [ Images ] is visibly better equipped to play a baby than call a woman one. For the cosy first half-hour or so of Mausam, he does so with gusto, a delightful young rapscallion with cheek and vigour.

Set in a small and very warmly depicted Punjab [ Images ] town, Mausam kicks off most entertainingly. The elderly gent playing the befuddled yet gruff village chieftain is an absolute treat and unquestionably the finest thing in the film, while cinematographer Binod Pradhan, capturing earthy frames with unusual yet fluid grace, earns a clear second place. The rest of the folks involved, including debutant director (and the best actor in the history of Hindi cinema) Pankaj Kapur are best advised not to look at the marks-sheet with much optimism.

Mausam starts off significantly fresh, making up for slightly overdone cutesiness with heart and flavour. The setting is enchanting and real, the characters are likable, the supporting cast stays pretty solid throughout, and Shahid revs up the energy while his classically gorgeous heroine Sonam Kapoor [ Images ] does what she does best, skipping around looking breathtaking.

It is when the film changes gear from romcom to melodrama that both Kapur and his son struggle, going from light and likable to irritating and implausible. The couple that initially wins us over gradually emerges harebrained and inexplicably passive. We never root for either girl or boy, because they coyly retreat just when they shouldn't. The passion the film began quickly turns lukewarm, because as Mausam and Shahid begin to take themselves seriously, we stop having fun. And, more importantly, giving a damn.

This is a love story gone awry purely because of undercommunication, and while that seems fine enough on paper, it's rather hard to swallow two lovers cleaved for well over a decade simply because they don't have each other's forwarding address.

This isn't a period film. Cellphones, email, academies and embassies, answering machines all exist. Our leads are well-to-do youths of significant affluence and sophistication, and neither makes standard enquiries? No, because we're supposed to sob over the old-world sight of letters piling up in an unpeopled courtyard.

Sure, mosques are smashed and wars break out, but the real-life atrocities the film uses as background soon feel like predictable gimmick. Worse still, they serve only to underscore the film's repetitive, episodic nature, making the already overlong Mausam feel like several seasons too many.

Kapur frequently salutes Dev Anand's [ Images ] superlative Hum Dono, borrowing far more than a great song. A man goes to war incommunicado with his lover, with no clue of her whereabouts. A moustached soldier loses the function of a limb, and wonders aloud whether his love will still want him. A woman stays steadfast in her affections for her man, no matter how steadily he neglects her. Except Hum Dono has both well-defined motivations and strong characters; this one has a couple of flibbertigibbets, a man disgracefully churlish and the woman too bashful to ever speak up.

Sonam's Aayat is a thankless character with an exquisite name, one I first encountered in Gulzar's [ Images ] Chhaiyya Chhaiyya. (It means a hymnal couplet.) The first time we meet her we hear an alarming giggle before we see her face, and the second time she screeches out of a nightmare. This, despite there being much pretty smiling in the first act, somewhat sets a tone. In the rest of the film, she waits and pines, and is made to simper an awful lot. We've seen it before, and Kapoor knows what she's doing. The actress shows genuine grace, once even while in a Mozart [ Images ] wig, and one wishes her character was smarter.

Shahid, as said, makes for a smashing small-town scamp but is inexplicably somber as a decorated IAF pilot. His Squadron Leader Harry is the kind of guy Tom Cruise's [ Images ] Maverick would have made faces at, no-nonsense to a ridiculous degree. Once in uniform, he's too self-serious to be taken, well, seriously, and we're treated to a plywood-stiff performance, all pruned lips and occasional MohnishBahl-ery. He's pretty good when in action, when running frantically across snow or while one-handedly trying to douse a fire (looking like a wrestling referee going for the three-count) for example, but the problem is when he sits down quietly and tries so very hard to look thoughtful or introspective or melancholy: there's only that much you can say by sucking your cheeks in.

The film provides some genuinely affectionate moments -- one where a song turns almost to karaoke as the lovers scribble notes making up the lyrics -- and some curious but lovely detailing. A pair of small binoculars, opera-glasses actually, with a scarlet stain that could be both blood or betel seems like a sinister clue to a later revelation till the girl efficiently and unthinkingly wipes it clean; and later Shahid dancing at a wedding with a checked-shirt under his sweater reaching down to the knees of his jeans, looking quite a bit like a kilt: a fine precursor to the film's next venue, Edinburgh.

But no lovely little nuance could forgive Mausam its preposterous bad-action-movie climax, completely bringing the guillotine down on the already too-long film. As manipulative masala tearjerkers go, it's a film that tries relatively earnestly and certainly one that occasionally looks striking, but disappoints overall.

Finally, giving you opinion about a film called Mausam turn us critics into weathermen, so here goes: Bright and cheerful day, hit by a predictable, gloomy downpour and turned into a damp, middling mess. Perfect one-day cricket conditions, as the English would say.

Rediff Rating: 2/5

[Sharmila-Sweet]

Force

By Taran Adarsh, September 29, 2011 - 17:04 IST


Remakes are in! With fast-paced action entertainers reaping gold at the box-office, Mumbai-based film-makers are making a beeline for South, acquiring remake rights of films that work big time with audiences of all ages. A few decades ago, Jeetendra hit the pot of gold by working in some wonderful remakes [of South films] and the trend seems to have re-surfaced thanks to the successes tasted by Salman Khan and Ajay Devgn more recently.

With FORCE, John Abraham re-visits the genre [action] that he attempted in DHOOM. He has the physique and the persona to carry off the part and make the character believable. Remake of the Tamil hit KAAKHA KAAKHA, which starred Suriya and Jyothika, FORCE packs the punches, the kicks, the blood and the bruises in those two hours. Essentially a fight between the good and the evil, there's a restrained love story as well, which becomes the backbone of the plot.

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FORCE borrows from the masala films of yore that popularized Indian cinema in 1970s and 1980s. Love, romance, deceit, treachery, revenge, loads of action... FORCE has it all. Sure, you may find the plotline clichéd and predictable, but if the film manages to keep you hooked, if the twists and turns are truly interesting, despite the predictable path the story undertakes, the purpose is served. Thankfully, FORCE gets it right!




Yashvardhan [John Abraham] is a senior narcotics officer who doesn't play by the book, but always ensures that justice is served. He believes that the only way to eradicate crime is to give criminals the bullet -- not handcuffs. In the midst of his most dangerous and significant operation to crack down on India's drug cartels, Yashvardhan encounters a ruthless enemy Vishnu [Vidyut Jammwal], who will stop at nothing until he gets his revenge for the damage done to his business by the narcotics team.

Yashvardhan also meets the free-spirited Maya [Genelia D'Souza], whose love pushes him to make a choice between the life he already knows and the life he could have with her. Just when everything seems to be going right, the enemy strikes...

Director Nishikant Kamat has the viewers' adrenalin pumping in this engrossing crime drama. Velocity and technique are the essence of FORCE. Add to it sharp dialogues and raw action. Though the storyline is far from novel, it is these attributes that keep you engrossed. Also, this deadly cat-and-mouse game ends in a spellbinding climax. Very frankly, the film has some fairly engrossing moments in the first hour, but there are times when you feel restless. But the post-interval portions work big time. The penultimate half-an-hour is the best part of the enterprise. It packs a solid punch, especially the raw action sequence between John and Vidyut.

Nishikant integrates the songs well in the movie. Even otherwise, the songs [Harris Jayaraj] are tuneful and well choreographed [Bosco-Caesar]. Cinematography [Ayananka Bose] is a visual treat. But it's the raw action that stays with you. The action scenes [Allan Amin] are the type that will have the masses go in frenzy, especially these two sequences -- the chase [John chases Vidyut, soon after Vidyut attacks him] and also the finale confrontation.

From showing off his chiseled body to lifting a 120 kg bike, John is a complete revelation and gives an outstanding performance. Robust in looks and smug with self-confidence, the young man matures into a full-fledged action hero with this film. With the additional pounds of muscles to his frame, he looks very convincing as the Narcotics Officer. It is obvious that John has worked really hard -- honing his acting skills, concentrating on stunts and particularly on his physique.

Genelia is strikingly sweet and subdued. I genuinely feel that Genelia's an under-rated actress, who's capable of delivering if given an opportunity. Note the sequence when she proposes to John. It's a difficult sequence which Genelia carries off so well. Besides, the on-screen chemistry between John and Genelia is infectious. The villain, portrayed by newcomer Vidyut Jammwal, is a worthy opponent, who is the proverbial Evil pitted against Good. His persona is striking and his performance, excellent. This guy is here to stay and his performance will be talked-about when the movie hits the screens.

Mohnish Bahl is top notch, especially towards the final moments. Sandhya Mridul is, as always, highly competent. Amit Gaurr does well. Kamlesh Sawant is convincing. Mukesh Rishi is perfect. Raj Babbar doesn't get much scope. Ditto for Anaitha Nair, who is wasted.

On the whole, FORCE is an engrossing story of vendetta and the execution of the material makes it stand out in the crowd. The film has the requisite amount of zing and force, so essential for action movies that talk of heroism. If you are looking for a sensible masala film with substance, FORCE should most definitely figure on your agenda. Recommended!


4/5

[Sharmila-Sweet]

Chargesheet (September 30, 2011

By Taran Adarsh, September 30, 2011 - 11:08 IST


As a moviegoer, I have grown up on Navketan movies. But, over the years, the man behind this production outfit -- the charismatic Dev Anand -- has not been able to churn out any memorable film that has recall value. CHARGESHEET, Dev sahab's new endeavor, is no different. It is yet another forgettable experience from the veteran, who once regaled us with great entertainers.



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CHARGESHEET has an apology of a script. It has skimpily dressed women dancing on forgettable tunes. The music, once the hallmark of Navketan movies, is of fast-forward variety this time. That's not all! Known for discovering some of the finest talent over the years, the veteran's new discoveries in CHARGESHEET are all duds. No looks, no talent! As for names such as Naseeruddin Shah, Jackie Shroff and Divya Dutta, one is well aware why they agreed to be an integral part of this film [tremendous respect for the veteran], but what I fail to fathom is, what was the motive behind casting them when they have nothing worthwhile to do?




The only thing I took back home was the indomitable spirit of Dev Anand. How many people live their dreams at 88? Here's an actor/film-maker committed to making movies on his terms. Irrespective of how CHARGESHEET fares or received by the movie-going audience, I am sure Dev sahab would've already cracked the idea of his next film. I salute that!

[Sharmila-Sweet]

Hum Tum Shabana

Nikhat Kazmi, TNN, Sep 30, 2011, 08.41PM IST

Critic's Rating: Cast: Tusshar Kapoor, Shreyas Talpade, Minissha Lamba, Satish Kaushik, Sanjay MishraDirection: Sagar BallaryGenre: ComedyDuration: 1 hour 50 minutesAvg Readers Rating: Rate this movie1 (Poor)1.5 (Below average)2 (Average)2.5 (Above average)3 (Good)3.5 (Good +)4 (Very good)4.5 (Very good +)5 (Outstanding)




Story: Shreyas Talpade and Tusshar Kapoor are not only competing with each other at office but become rivals in love too when they fall for the same girl, beauty pageant contestant, Shabana ( Minissha Lamba). Soon they are competing for another thing....Who will be the first to flee from the girl who turns out to have gangster antecedents?

Movie Review: Sagar Ballary sure seems to be losing his expertise at Bheja Frying with comedies that are meant to tickle the rib, without being slapstick. Like the Bheja Fry films, Hum Tum Shabana too is meant to make you laugh. But the entire first half slips through without eliciting a single smile. Designed as an extended beauty pageant, with umpteen non-happening rounds, this section of the film revolves around the goofy attempts of the two suitors to win the hand - and attention - of the girl they seem to be smitten with. If Tusshar tries to impress her by giving her tips on the judges, then Shreyas plays gallant good Samaritan and saves her from a bad hair day. Small wonder then, the girl is totally confused and can hardly make up her mind who is the suitable boy between the two. No sparks in this part at least.





Post-interval, the proceedings do perk up a bit with the arrival of the girl's dysfunctional family, headed by her uncle, Satish Kaushik who turns out to be an international gangster, hellbent on finding a suitable match for his niece. His criterion? The boy must emerge the winner after undergoing training in his in-house school of gangsters, headed by Sanjay Mishra. Time for some fun and games, with veterans Satish Kaushik and Sanjay Mishra pulling off some zany gags. Tusshar and Shreyas try their best to keep pace while Minissha desperately follows suit.

End result? Just time-pass.

[Sharmila-Sweet]

Review: Rascals is plain lame!

Last updated on: October 06, 2011 16:38 IST
Sukanya Verma feels Rascals fails to entertain.



Recycling paper is nice. Recycling movies? Now that's plain lame. But director David Dhawan [ Images ] has never been the discerning sort. He painstakingly built his brand around cheesy, slapstick wit, resolutely steering clear of logic, relying on spontaneity and a cast skilled in comedy to accomplish the shtick to which his coterie of writers like Rumi Jaffrey, Anees Bazmee, Sanjay Chhel, Kader Khan and Yunus Sajawal have contributed immensely.



For his latest Rascals, starring Sanjay Dutt [ Images ] and Ajay Devgn [ Images ], Dhawan sponges a bunch of comedies from his own stable and outside to rustle up a series of misadventures that are dumb, dated and dreary. But that's not its only problem. Rascals, with no structure or motive, cannot (rather does not even try to) conceal its desperation to make itself funny. And this insecurity shows in each and every gag.



What begins as a mindless laugh raiser with a set of 2D animated opening credits, quickly establishes itself as a tale of two swindlers Chetan (Dutt) and Bhagat (Devgn) (an obvious swipe on the author lacks the punch of Amar Prem), engaging in some vacuous, worn-out tricks, to steal from an unsuspecting Anthony Gonsalves (Arjun Rampal [ Images ] in an indifferent cameo) and win the affections of a doltish heiress (Kangna Ranaut [ Images ]) in Bangkok. This flake of a story, believe me or not, is pretty much the entire plot.



Unless making light of poverty, charity, handicap or a sexed-up version of Andaz Apna Apna meets Jodi No 1 meets Deewana Mastana meets Bluffmaster [ Images ] is your idea of a joke, those laugh lines won't budge.



Moreover, why on earth would you want to contend with all that screeching for effect, rhyming dialogues to pinch a cackle and constant parade of zero-intellect women with size zero bodies in a wardrobe that's as scant as Rascals' credibility?



And haven't enough award functions taken potshots at Sanjay Leela Bhansali's [ Images ] Black and Guzaarish already? Find a new punching bag, Bollywood.


Often you crave for a Govinda [ Images ], a Kader Khan or a Johnny Lever [ Images ] to drop in and elevate this drivel to an acceptable level of idiocy. Instead you get a super annoying Chunky Pandey [ Images ] and Satish Kaushik [ Images ], with their false accents and ridiculous get-ups jostling your senses to evoke a titter.



Of its actual cast, Devgn is a notch better here than his Golmaal appearances and that's mainly because he stays off body-hugging pink tee-shirts. Dutt is saddled by thankless role that makes him look silly for trying and sillier if he doesn't Far from giving them amusing lines to deliver, Dhawan gets two of Bollywood's worst dancers to shake a leg on Vishal-Shekhar's noise of a soundtrack.



Last but not the least; let me draw your attention to the most offensive aspect of Rascals. Its women. Both Kangna and Lisa Haydon [ Images ] are reduced to pea-brained ob-jects of lust with absolutely no self-respect for themselves or their tribe. And so when Dutt equates Kangna's shrill cries to a dog's yelp after someone steps on its tail, you simply nod in agreement.



Rediff rating: 1/5

[Sharmila-Sweet]

Love Breakups Zindagi


Love, Boredom, Zzzzz


Karan Anshuman

Posted On Saturday, October 08, 2011 at 03:02:07 AM



♦ Director Sahil Sangha ♦ Actors Zayed Khan, Dia Mirza, Cyrus Sahukar, Tisca Chopra, Satyadeep Mishra, Vaibhav Talwar ♦ Run Time 154 mins ♦ Certification U/A

Love Breakups Zindagi is yet another film that falls under the bracket of generic, politically-correct, boring rom-coms involving a triangle (or in this case, a half-baked quadrangle) inspired by every major hit romcom you've seen before: from Kuch Kuch Hota Hai to Mohabbatein to Dil Chahta Hai to those badly imagined 80-rupee rubbish paperbacks by the 'new wave' of young Indian authors.

It's like a condensed version of all of these, with their edge taken off. The love is school-crush level, the breakups are tamer than a housebroken pet, and the zindagi bit is less bumpy than driving on the expressway.

A predictable storyline (boy-meets-girl in an elaborate Punjabi wedding which takes all of the first half), uninspired writing (we almost, almost have an airport ending), and characters made of sugar.

Just how saccharine are these people? Let's just say the most negative trait you'll see in any person involves him being allergic to - hold you breath - puppies. It's not that he doesn't like them, because the gentleman in question gallantly leaves himself, rather than insisting the puppy thrown back on the road. His other crime? He's a tone-deaf investment banker and doesn't have the time to learn the guitar his girlfriend has forced upon him.

This guy is the villain, the man standing in between the lead couple getting together. Intense. You may argue that it is precisely because he is such a nice guy, it's hard for anyone to break up with him.

But seriously, a puppy? The other big problem with LBZ is that there is only talking, no showing. The dialogue writer obviously beat the screenplay writer in a match of arm-wrestling because everything is explained in a conversation with the actor's sounding board: his/her best friend. E.g. "Oh, my girlfriend is psycho".

We barely see this woman, let alone an inkling that she is psycho. The director Sahil Sangha forgets that cinema is a visual medium. Next time (to paraphrase a song playing in everyone's head right now): only see, only see, no talking, no touching.

There is only one scene in LBZ that is worth mentioning, and it doesn't even have the lead actors in it. It does, however have Boman Irani, as he assesses a prospective son-in-law, rifle in hand. The dialogue exchange is genuinely funny, his comic timing, flawless. For the 5 minutes he is present, he manages to lift the entire film up a notch. Sadly, he is never seen again.

The director opts for long, uncut takes (all those endless conversations) and while more often he pulls this off, there are times he has to resort to jarring jump cuts that don't go with the rest of the film. Otherwise, production values are middling.

Zayed Khan and Dia Mirza are at ease with each other. Mirza especially seems to come across as a thinking actress and she'd do well to pick more serious roles. Tisca Chopra and Cyrus Sahukar are endearing (and for a while it seems he has a part more meaty than Zayed's - complete with a backstory relevant to plot).

LBZ should serve as an example for stars aspiring to turn producers - there is no reward in playing safe. There is reward in risk. Re-invent yourselves, do movies you were never asked to do - play a character with depth - make a movie that stands apart and shows the world not what they expect of you, but what you have to proclaim to them.

[Sharmila-Sweet]

Aazaan (October 14, 2011)

By Taran Adarsh, October 14, 2011 - 12:39 IST


Bioterrorism is amongst the most burning and disconcerting issues today. The perils of biological warfare -- also known as germ warfare -- just cannot be disregarded and what makes it even more hazardous is the fact that a lot of countries remain vulnerable to it.

AAZAAN undertakes a grave issue, a theme that has never been depicted on the Hindi screen earlier. Besides, director Prashant Chadha attempts to narrate the story in a style that's reminiscent of the BOURNE series. An espionage thriller that travels various continents. But AAZAAN, despite the right intent, doesn't come across as a compelling, assertive experience. What should've been fear-provoking and also emotionally enveloping, since Aazaan Khan shares poignant moments with the people he loves [brother Aman and sweetheart Afreen], doesn't register the desired impact.

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Let's get to the root. Chadha had solid material to play with [story: Shubhra Swarup, Heeraz Marfatia, Prashant Chadha], which, perhaps, can trigger off debates and discussions, but a patchy screenplay [Shubhra Swarup] acts as a dampener. Bioterrorism is a new-fangled topic for Indian moviegoers and therefore, the team should've undertaken an additional effort to coherently explain the issue to the spectator. The narrative is complicated and difficult to decipher. Also, since the story moves from one location to another, it leads to puzzlement after a point. Furthermore, when you play on a realistic fear, you cannot afford to have too many cinematic liberties in the narrative.




On the brighter side, AAZAAN is embellished with a harmonious musical score [Salim-Sulaiman]. The background score, also composed by the maestros, is electrifying. In addition, the stunts, chases and combat sequences are spectacular. Also, since the film has been filmed across continents, it boasts of some stunning and dazzling visuals [DoP: Axel Fischere]. To cut a long story short, AAZAAN comes across as an assemblage of several well executed sequences, but the sheen and shimmer cannot surrogate for a spellbinding screenplay.

Aazaan [Sachiin Joshi], half Afghan, half Indian gets drawn into the murky world of espionage, only to find his younger brother, Aman [Neet Mohan], a suspected terrorist. As Aazaan infiltrates deeper, he has no clue of the price he might have to pay for it. Aazaan stands in the way of Doctor's [Sajid Hassan] plans to destroy India. All he has on his side is the love of a brother and the love for his country.

A thriller works only if it's got that nail-biting edge-of-the-seat quality. That's where AAZAAN stumbles. What you carry home are a few moments, which aren't enough. The piece de resistence is undoubtedly that car chase and the subsequent crash in the pre-climax. The conclusion, though well filmed, appears like a rushed job and also seems implausible.

Sachiin Joshi has screen presence, excels in action sequences, but would help him a lot if he works on his dialogue delivery. Ravi Kissen is competent. Dalip Tahil is wasted and so is well-known Pakistani actor Sajid Hassan. Alyy Khan manages to keep your interest alive. Vijayendra Ghatge is serviceable. Aarya Babbar suffers due to a half-baked character. Candice Boucher looks gorgeous, but gets no scope to act. Samy Gharbi and Neet Mohan fit their parts well. Sarita Choudhury gets it right. Sachin Khedekar appears in a cameo.

On the whole, AAZAAN boasts of a novel theme [Bioterrorism] and superb action scenes/stunts/chases is its biggest USP. But the film could've done with a taut script. Nonetheless, AAZAAN should find some flavor with lovers of action movies.


2/5

[Sharmila-Sweet]

My Friend Pinto

Subhash K Jha speaks

October 15, 2011 - 17:16 IST

Zindagi khwab hai khwab mein sach hai kya aur bhala jhooth hai kya? Remember Motilal's staggering existentialism in Jagte Raho. Such philosophy underlines the fey goings-on in My Friend Pinto a wispy, nostalgic comedy about a Goan simpleton's one night of zany adventures in the mad mad bustle of Mumbai during New Year's Eve.

This isn't the first film that explores Mumbai by night. From Khwaja Ahmed Abbas's Bambai Raat Ki Bahon Mein to Sudhir Mishra's Iss Raat Ki Subah Nahin, the dark comic side of the city's underbelly has ceaselessly fascinated 'Bollywood' from long before the term 'Bollywood' was invented.

Debutant director Raghav Dar switches on the innovative mode full-blast. The first and most conspicuous component in his comic romp is the director's sense of fun. Dar is fearless about the fun quotient that he has while going with one sumptuous swoop into lives as different from one another as any two homes, families and lives in Mumbai can be.

A semi-retired gangster (Makarand Deshpande) and his never-been star-actress mistress (Divya Dutta), his twin assassin-goons Ajay and Vijay (played by real life Amin and Karim Hajee, who were last seen together on screen dancing in a Sufi trance to A R Rahman's devotional number in Jodhaa-Akbar), an old taxi driver and his gambler-son (theatre actor Shakeel Khan making a stellar screen appearance), a lost girl Maggie (Kalki Koechlin) abandoned by her small-time crook boyfriend on the railway station, the competitive couple (Arjun Mathur and Shruthi Seth), coping with the sudden appearance of an unwanted guest from Goa, even as they try to cope with the fissures in their own marriage….

These, then, are some of the characters who show up one night in Raghav Dar's Mumbai 'raat hi bahon mein'. There are many others. Oh yes, characters pop out of every nook and cranny like rabbits from a hat. Bringing them all together is the Goan Mama's boy, the simpleton Michael Pinto who we're informed, with tongue firmly in the scriptwriter's cheek, is the nephew of Albert 'jissko bahut gussa aata tha'.

The reference to Saeed Mirza's 1980 cult classic Albert Pinto Ko Gussa Kyon Aata Hai is not lost in the film's melee of bustling adventures. The film is knowledgably laden with references to cinema and cinematic devices from the past including a very pointed allusion to a corpse's journey across Mumbai from Kundan Shah's Jaane Bhi Do Yaaron.

My Friend Pinto is a very complex script to write and an even more complex act to pull off on screen. Raghav Dar manages the chaos created by Michael Pinto's misadventures across the celebratory streets of Mumbai with fluency and grace. The awkwardness that we encounter in the storytelling is purely by design. Pinto is put into all kinds of bizarre and embarrassing situations. Like Charlie Chaplin in the silent films he walks out of the chaos unscathed. He is a Goan angel in disguise. He's Chaplin, Raj Kapoor and Guru Dutt from City Lights, Jagte Raho and Pyasa. He is all of those and none of them. Prateik with his waif-like quality truly finds himself as an actor when he plays a lost character. My Friend Pinto needed his vulnerability and uncertainties. The supporting cast is impressive, with Divya Dutta and Makrand Deshpande having a ball with their guns and games. They are like two bulls in a sex shop. Arjun Mathur as Pinto's desensitized Mumbai friend creates quite a graph for his character within the limited space provided by the restless script. Quirky, capricious, whimsical and times magical (watch those Broadway-styled musical performances) My Friend Pinto conveys the fey comic patterns of Kundan Shah's Jaane Bhi Do Yaaron. Prateik echoes the innocent adventures of Raj Kapoor in Jagte Raho. Raghav Dar's directorial debut is endearing in its eccentricity.

When you leave the crazy comic cosmos of Pinto's world behind you take away with you a film that is fiercely original in concept and designed to deliver tongue-in-cheek swipes at all those scared cows of Bollywood that we grew up watching and loving without knowing why we loved them in the first place.

There is something about My Friend Pinto. But you don't really know what.

[Sharmila-Sweet]

Ra.One (October 26, 2011)

By Taran Adarsh, October 25, 2011 - 01:22 IST


I've often heard people say, film-making is nothing short of a gamble. And as any gambler will tell you, you've got to gamble huge to triumph huge. Going by this logic, Shah Rukh Khan is The Supreme Gambler of the year.

What's at stake, beside the big money invested in RA.ONE of course, is a dream, a vision, an aspiration to make a film which appeals to kids and kids at heart. In short, attempt a film that appeals to the universal audience. At the same time, it ought to raise the bar for Hindi films. Also at stake is SRK's once-unchallenged supremacy as the reigning idol of Bollywood and that elusive thing called reputation. When you invest your repute in your dream project and stick your neck out, you expect nothing short of a mega-success.

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Movies like KRRISH and ROBOT initiated the trend of superhero films in India, with fantasy making deep inroads into mainstream Hindi cinema. Now RA.ONE raises the bar, takes not a step or two, but a giant leap and adheres to international standards, in terms of execution. But the soul, I wish to add, is very desi. That's precisely the reason why RA.ONE emerges trumps. RA.ONE is beauty [read good looking film] with brains [read content].




What characterizes a stunning superhero movie? I have narrowed it down to three precise constituents that I deem are absolutely necessary for an alluring superhero flick. The first is that the motion picture must encompass spectacular action and edge-of-the-seat thrills. Secondly, a magnificent superhero movie must also boast of luminous performances from the protagonists, which in turn should make these characters appear credible and relatable. Thirdly and most importantly, superhero films must have a narrative that keeps us yearning for more. All of these are indispensable factors in making a superhero movie that will be both acclaimed and adored by fans. Fortunately, RA.ONE emerges triumphant in all the three departments.

RA.ONE is the most ambitious, most expensive and the most technologically complex Hindi film ever made. It pushes the envelope further. It's not merely a film, but an experience, an event. It's a film that will rewrite the textbook of computer graphics in Hindi cinema. At the same time, it is very Indian at heart. The relationship between SRK and the kid is the highpoint of the enterprise. But, at the same time, there are ample clap-trap moments that will send the viewers in frenzy. The chase sequence, when Ra.One finally zeroes on Lucifer, and the subsequent 'entry' of the superhero is awe-inspiring. The train sequence in the second hour is exceptional and a cinematic feat. The presence of Rajnikanth in a crucial sequence will be greeted with deafening claps and whistles. And, of course, the climax of the film; it's simply jaw-dropping.

Besides these factors, the 'Chammak Chhallo' number is already a rage and so are the sequences involving visual effects. In a nutshell, it's an entertainer that works big time. You haven't experienced something like this ever before, on the Hindi screen!

A father tries hard to fit into his son's world. While Shekhar [Shah Rukh Khan] tries every trick in the book to woo his son, his son had given up on him. Just when the father-son duo hit a deadlock, Shekhar strikes gold when he designs one hell of a game. Finally, it all starts falling in place. But the happiness is short-lived. All hell breaks loose when the game that was meant to be played with, starts playing them.

We are spoilt by cinema's ability to create on celluloid anything that can be imagined, therefore we have raconteurs making endeavors to bestow us with movies that you wouldn't have ever envisioned even in your mind's eye. You realize this as you watch RA.ONE, which is a visual spectacle from start to end.

Director Anubhav Sinha along with co-writers David Benullo, Kanika Dhillon and Mushtaq Shiekh may be inspired by international flicks as far as the concept is concerned, but they ensure that they serve the right masala to moviegoers in those 2.30 hours. What actually takes you by complete surprise is not just the money spent on visual effects or the stunning chase and action scenes, but the twists and turns in the screenplay that unravel at a feverish pace.

Besides, the moviegoers have certain expectations and notions about superhero flicks and they expect such characters to perform audacious aerobatics to save someone's life or a nation. But this one's different. Visually arresting and dramatically just what the doctor ordered, the film boasts of relatable characters, which makes this superhero movie for kids as well as grown-ups. In fact, I'd like to add, RA.ONE is not only skillfully directed, but also visually dynamic and entertains from commencement to conclusion.

The album of the film lives up to the grand expectations. Vishal-Shekhar deliver a striking score with 'Chammak Chhallo', 'Dildaara' and 'Raftarein' being the pick of the lot. The background score, also recorded by them, is equally electrifying. V. Manikandan and Nicola Pecorini's cinematography is top notch. Same goes for the stunts and chases [Andy Gill and Spiro Razatos]. Dialogue [Kanika Dhillon and Niranjan Iyengar] are hardly ever commonplace. What I found most interesting is that, whether humorous or thoughtful, the channel of communication appears very credible. The Ra.One and G.One suits, designed by Robert Kurtzman, are super.

RA.ONE is a perfect vehicle that does justice to the talent of Shah Rukh Khan. He seems to have found a story and character that work in perfect sync and tandem with manic energy. SRK steers this physically challenging lead role with high-spirited self-belief. He's endearing as the father and magnificent as the superhero with a heart. Kareena Kapoor is a delight to watch. She effortlessly glides into the character. Besides, she looks ethereal in the 'Chammak Chhallo' song and her wit is infectious. Arjun Rampal pulls his act with effortlessness and style. Also, Arjun's well-designed look is admirable.

I'd like to make a special mention of Armaan Verma, the kid who has a pivotal part to portray. He stands shoulder to shoulder with SRK and Kareena all through the film and delivers a super-confident performance. The film has a number of actors in key roles [Shahana Goswami, Dalip Tahil, Satish Shah, Suresh Menon, Mushtaq Shiekh and Tom Wu] and each of them fit well in their respective parts. Sanjay Dutt and Priyanka Chopra add to the glam quotient, while Rajnikanth proves yet again that he's a scene stealer.

But the man who warrants the actual round of applause is director Anubhav Sinha himself. For bringing out the best of SRK, Kareena and Arjun. For the amazing screenplay. For the speedy yet smooth stream of the narrative. And for the fantastic unfolding of the written material. He merits top admiration for every act of his.

On the whole, RA.ONE is a solid entertainer, no two opinions on that. It's not merely a great looking film, but also has soul, which is so essential to strike a chord with the avid moviegoer. As for the business prospects, RA.ONE is sure to shatter all previous records and set new ones, in India as well as internationally. The film will be the new yardstick for measuring success. It has Blockbuster written all over it!


4.5/5

[Sharmila-Sweet]

Subhash K. Jha speaks about Tell Me O Kkhuda

By Subhash K. Jha, October 31, 2011 - 11:46 IST


Take away all the awkwardness of the comic relief by Johnny Lever and a plot that moves through three segments without transitional smoothness…and you have a film that's tender sweet and gentle.

Tell Me O Kkhuda (TMOK) is a bit of a smile-invoking ode to parenthood. Tanya (Esha Deol in an author-backed, tailor-made, custom-built role), happily ensconced in her life of parents (benign Farooq Sheikh-Deepti Naval), best friend (Chandan Roy Sanyal) and sweetheart (Arjan Bajwa) discovers she is an adopted child. Thus begin her genealogical journey.

The drama unfolds with the least fuss or ostentation.

To the narrative's credit, it dithers not from its picaresque aspirations. Esha Deol goes through three different emotional and geographical locations in pursuit of papa-dearest of these the Turkish sojourn with Rishi Kapoor and the beautiful Turkish actress is the most crisply edited and packaged.

The Rajasthani sojourn with Vinod Khanna as a haveli-bound Zaindar, meanders all over the place, subsuming issues such as female foeticide .Here the narrative makes ample space for a camel race which adds spectacle to the emotion without really saying much about the characters or their need to reach into the recesses of their heart.

The third segment which brings the real-life family of Dharmendra, Hema Malini and Esha together has a certain emotional resonance because of the real-life relations. The family portrait is heart warming.

Shot in stunning locations including Istanbul the film could have done with a more evocative music score and tighter editing.

The performances range from the endearing to the endurable. No doubt this film is meant to showcase Esha Deol's evolved status as an actress. The girl has eloquent eyes and an expressive face which knows how to hold an emotion. Esha is a graceful portrait of a girl in pursuit of something echoing happiness.

TMOK is a heart warming story of a search for identity. It occasionally loses its way but finally finds a satisfying culmination. This is a high-gloss product shot on exotic locations that include a young woman's wounded heart.

[Sharmila-Sweet]

Rockstar (November 11, 2011)

By Taran Adarsh, November 11, 2011 - 10:19 IST


Rock based movies are revered and admired in Hollywood, but Bollywood hasn't been too kind to this genre. Vipul Shah's LONDON DREAMS failed to cut ice, despite the presence of top notch names, but ROCK ON! was a moderate success, with the urban audiences giving the film a second and third dekho. The film couldn't penetrate into the heartland, though.

Imtiaz Ali has always managed to strike the right balance between the hoi polloi and the gentry. Movies like JAB WE MET and LOVE AAJKAL are proof that the enormously talented raconteur won't attempt a film if he's not fully convinced about it. Known for his imaginative and inventive take on love stories, Imtiaz takes up yet another challenge with ROCKSTAR. The story of a rebellious singer/musician, it traces his journey of love, anguish, ego, trouble, sorrow and devastation. A difficult path to tread, no doubt, but Imtiaz could be a game changer, if the film strikes a chord. Alas! ROCKSTAR is a sumptuously shot movie that is disjointed on script level.

Write your own movie review of Rockstar
Let's get to the root of the problem. We are used to watching films that have a beginning, middle and end. The problem with ROCKSTAR is that it starts off most impressively, has some terrific moments in between, but the writing gets so erratic and incoherent as it heads towards the conclusion that you wonder, am I really watching an Imtiaz Ali film? I mean, even the naysayers would agree that Imtiaz Ali is a super storyteller and his movies have been talked about [and also remain etched in our memory] due to varied factors, the written material being one of the paramount reasons.




What you take back from ROCKSTAR are some terrific moments, a bravura performance [Ranbir Kapoor is a class apart!] and of course, A.R. Rahman's musical score. Wish one could carry the entire film back in our hearts!

Janardan [Ranbir Kapoor], born and brought up in the very middle class locality of Delhi, has a larger than life dream -- of being a rockstar like Jim Morrison! But all he gets from his reluctant audience is ridicule and humiliation. He's at his wit's end, when he realizes that all musical stars, all artists in fact, have one thing in common. And that is tragedy. They all have tragic lives. They have all suffered painful heartbreaks to become what they are. Alas, there is no pain in Janardan's life. Unless he does something drastic, he will never become a rockstar.

Heer [Nargis Fakhri] is the undisputed diva of the college campus -- beautiful, talented, arrogant, rich and unavailable. She has broken many hearts. Janardan hopes she will break his heart too. He sets out to woo Heer with the sole object of getting his heart broken.

ROCKSTAR traces the journey of a boy who leaves behind Janardan to become Jordan, who traverses the highs and lows of life -- from simple naiveté to tortured soul, from the campus in Delhi to the international stage… He ultimately gets all that his heart has ever desired, but in the process shatters/loses his heart forever.

It's evident that ROCKSTAR seeks inspiration for the story from the iconic, charismatic and popular Jim Morrison. With a capable director like Imtiaz Ali at the helm, one expects ROCKSTAR to be a cult movie in this genre. But the film falters after an impressive start, after you are introduced to the four pivotal characters in the story -- Ranbir, Nargis, Kumud Mishra [Ranbir's confidante] and Piyush Mishra [owner of a music company].

Narrated in flashback, the writing gets erratic as you delve deeper and deeper. The film begins with a few people bashing up Ranbir and one expects the reasons for this fight to come to the fore as the reels unfold. But the sequence remains unexplained even after the movie concludes. Sequences that depict Ranbir's unpredictable and inconsistent behavior are inexplicable as well. The major mood swings -- he's cool as a cucumber at times, but turns irritable and furious immediately -- is also baffling. His relationship with Heer is inconsistent as well. He comes across as an extremely mystified individual. Ranbir's portions in Prague [including meeting Nargis on arrival there] look unreal. The end to the tale is most worrisome. It's an open end, with the audience not really knowing what actually happened to one of the central characters. In fact, the second hour is stretched without valid reason and that makes it a tedious watch.

One expects Imtiaz Ali to outshine his previous works, but he doesn't. Sure, he explores the emotional depths with immense compassion and also draws bravura performances from the central characters, especially Ranbir Kapoor. But let's not disregard the fact that every film depends on a watertight screenplay and ROCKSTAR stumbles and fumbles in this department. At the same time, there are moments that are spectacular and brilliantly executed. The sequence between Shammi Kapoor and Ranbir [when introduced in the music company office] is super. Ditto for a particular sequence featuring Piyush Mishra; he's taking a massage and talking to Ranbir concurrently. Even the sequence when Ranbir tears apart the agreement and throws it at Piyush Mishra is fantastic. A few more individualistic scenes reiterate the fact that Imtiaz Ali is a genius!

Music maestro A.R. Rahman's music is scintillating. ROCKSTAR is about the progression of a musician from India and the songs not only tell his story, but also track his journey from a nobody to a somebody. It must've been a challenge for Rahman to depict the emotional catharsis a rockstar undergoes and the tracks, I wish to add, aren't the typical Rahman numbers either. While some of the songs ['Sadda Haq'] will be loved instantly, a few others will take time to grow on you.

Anil Mehta's cinematography is top notch. Every frame is picture perfect, a painting on celluloid. Dialogue deserve special mention. They are straight out of life.

The secret behind Ranbir's triumph is that he puts his heart and mind into every project he chooses to perform in. Love, resentment, pain, hurt... Ranbir brings a multitude of feelings to his character. It's a role of a lifetime and Ranbir is sure to be immortalized in this story of a rockstar. He glides into the character effortlessly, so much so that you see very little of Ranbir, the actor and more of Janardan/Jordan, the character he represents. His performance is beyond extraordinary.

Nargis is a stunner as far as looks are concerned, but isn't persuasive in poignant moments. However, the chemistry between Ranbir and Nargis is exhilarating. Shammi Kapoor is superb in a small but significant role. Aditi Rao Hydari suffers due to an undeveloped characterization. Kumud Mishra is splendid. What a fine actor! Piyush Mishra is, as always, exceptional. Shernaz Patel enacts her part well.

On the whole, ROCKSTAR does not live up to the confidence and expectations from the otherwise very skilled and accomplished film-maker Imtiaz Ali. The film suffers immensely due to a disorderly screenplay, especially in its post-interval portions. However, the silver lining or the comforting prospect is the virtuoso performance by Ranbir Kapoor and the captivating score by A.R. Rahman, which justify that one extra star.

3/5

[Sharmila-Sweet]

Desi Boyz - Movie Review

'Desi Boyz' is part funny, part frustrating
By Nikhil Kumar
Fri, Nov 25, 2011 12:52:08 GMT
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The ApunKaChoice movie review of Desi Boyz

Nonsense, besides sex, sells! And two beefy hunks, one in late thirties and the other in mid-forties, ripping their shirts off and showing off their finely waxed chests hardly make for an eye-pleasing sexual content. Not for the male lot this raunchy display of the ageing beefcake, I’m sure, sexual orientations notwithstanding. With sex scratched out, we are left with nonsense, something that director Rohit Dhawan, having inherited a good chunk of genes from his dad David Dhawan, can be veritably relied upon to be at home with.

And home with it Rohit Dhawan indeed is. For he manages a laugh out of situations like John Abraham and Anupam Kher rubbing against each other and looking into each other’s eyes, before the latter declares “Don’t get ambitious”. To Rohit’s credit he wrings out a few comic moments from the otherwise wooden John. Catch John absolutely nonplussed when his fiancé (Deepika Padukone) and her father (Kher) show up at his pad while he’s having a raunchy party with a bunch of eager-to-strip guys and girls.

Where Rohit Dhawan falters is in his bid to squeeze in melodrama where none was needed. The sequences involving Akshay Kumar and his orphaned nephew whose custody the latter is about to lose are aimed at leaving you moist eyed. They don’t. More embarrassing is a scene where a maths professor scoffs Indians as harebrained and Akshay spiels about the contribution of great Indians: from Aryabhatta, the contributor of ‘zero’, to Sabeer Bhatia the cofounder of hotmail. Worse still, Rohit filches an idea from an advertisement and turns it into a full-blown scene when Akshay makes a show of being beaten up by his interviewee to scare away the other contenders for the job. That’s lame! If anything was left, we have Sanjay Dutt who runs a male escort agency Desi Boyz and claims to be the purveyor of happiness to the womankind.

The story of Desi Boyz is pretty slim. Two best friends find themselves scrounging for a decent living in London after being hit by recession. Jobless but not hopeless, they must find something to make ends meet. Nick has a fiancé Radhika (Deepika Padukone) who craves for a perfect wedding while Jerry is trying to come good to gain the custody of the nephew he dotes on. Pushed to the wall, the two become male escorts, which involve stripping for women at bachelorette parties and even fulfilling their fantasies in the bed.

But this job turns their already derailed lives topsy-turvy. So the two Desi Boyz set out to make amends and get their lives back on track.

The movie’s pace is bumpy for the most part of the first half. The second half begins on a promising note with the introduction of Chitrangada Singh as the hot Economics professor who has a crush on her overaged student, Akshay Kumar. Chitrangada doubtlessly looks prettier and hotter than Deepika. There’s a scene where she offers to strip layer by layer for her student Akshay if he answers the economics questions correctly. The scene is almost exploitative, but Chitrangada makes it work. In comparison, Deepika’s character is reduced to looking sulky. Akshay Kumar and John Abraham are the two lifelines of Desi Boyz and they just about deliver the goods.

The film’s music by Pritam is below par. Cinematographer Natarajan Subhramaniam cans a few interesting shots, particularly one where Akshay and John are shown sitting on the ledge of their penthouse. In the dialogue department, Milap Zaveri comes up with some lines that leave you grinning.

All in all, Desi Boyz is a film that’s not a laugh riot but just about a tolerable one-time watch. Its humour may be irreverent, facetious and even crass, but it works at times.



2.5/5

[Sharmila-Sweet]

Tezz

is the story of one man, who is out to get back what was unjustly taken away from him... the other is willing to do whatever it takes to stop him in order to serve justice; both are pitted against each other.. and both are pitted against time. Lives have already been destroyed and more lives are about to be devastated as a train speeding from Glasgow to London holds the fate of Aakash Rana (Ajay Devgn) and Counter Terrorism Command Arjun Khanna (Anil Kapoor), and only one of them will succeed.

[Sharmila-Sweet]

Tezz

MovieSrijana Mitra Das , TNN, Apr 27, 2012, 08.19PM IST

Critic's Rating: 3/5

Revised from to 3, based on popular feedbackCast: Anil Kapoor, Ajay Devgn, Boman Irani, Sameera Reddy, Zayed Khan, Kangna Ranaut, MohanlalDirection: PriyadarshanGenre: ActionDuration: 2 hours 15 minutesAvg Readers Rating: Rate this movie1 (Poor)1.5 (Below average)2 (Average)2.5 (Above average)3 (Watchable)3.5 (Good)4 (Very good)4.5 (Very good +)5 (Outstanding)



Story: Revenge-seeking Indians plant a bomb on a British train - can Indians loyal to the law prevent an explosion fast enough?

Movie Review: Look carefully - Tezz shows you a London Bollywood hasn't explored before. Forget those chiffon saree-soirees, lush parks and cream teas - Tezz's London showcases illegal Indian migrants trapped between violent ghettoes and furious policemen, wet sewers, oily garages and bomb-strapped garbage bins. This is a gritty city, normally shown as every Indian's vacation paradise - but what happens to those who want to live there, even illegally?


Tezz follows engineer Akash Rana's (Devgn) life unraveling as he and his workmates Megha (Reddy) and Adil (Khan) get hunted by British immigration. Rana suffers the cruelest cut - his marriage to British citizen Nikita (Ranaut) is declared invalid, he's deported, she's jailed for unpaid loans. But it's not over - four years later, Rana returns seeking revenge and the London-Glasgow Express, 500 people on board, finds itself laced with a bomb that'll explode if the train drops under a certain speed.

Sounds familiar? Tezz draws from different vehicle-thrillers, reminding you of Keanu Reeves' Speed one moment, Vinod Khanna's Burning Train another. But it isn't just another machismo-fueled race - instead, Reddy is Tezz's surprise package, pulling off devilish stunts, looking stunning in the short life of a desperate Megha. As Counter-Terrorism Command Chief Arjun Khanna, Kapoor looks good too - and with one glance at a boy with bandaged eyes, he reminds you of the acting power-house he is.

In Tezz, he's pitted against Devgn (the latter can play 'smouldering' in his sleep apparently) and occasionally, Boman Irani as Sanjay Raina, Railway Traffic Controller. In one tense scene, Irani controls a track-switch, trembling almost like a music conductor commanding a symphony. There's a shout-down between Kapoor and him - over far too soon. In fact, you're left wishing Tezz had more dramatic face-offs between its fine actors but instead, the film diverts into several tracks too many.

Mohanlal is poorly used as policeman Nair escorting a criminal via train. As is Ranaut, pretty in her now-familiar 'impending doom' style, but with little to do. Khan looks fresh but has a shaky role - topped with a thrilling chase. Mallika Sherawat performs an item number in the 'Desi Club', asking, "Do you wanna get hot? Do you wanna get wet?" - but after all that promise, dances little and smiles even less. Tezz's London, overrun by Indians, is also populated by Brits speaking hilariously fluent Hindi and despite pumping background music, features few pleasing songs, snatches from just one qawwali, Tere Saaye Mein, standing out. Otherwise, it's gunshots and grim lines, some pacey - "Ye koi naya kameena hai," quips Kapoor of Devgn - some not.

Despite slick action and stunning scenes - bullets ramming underwater into a sunlit stream, a violet flower-bush before a cop-car - Tezz loses speed often. Here's possibly why - director Priyadarshan's oeuvre is putting characters in desperate situations and watching them respond. It works beautifully in comedies - but Tezz needs relentless pushing, not frequent stops pondering over the unfairness of citizenship. You can't run fast carrying heavy baggage - that's why Tezz huffs and puffs a little too much.

[Sharmila-Sweet]

Review: Jannat 2

Published: Friday, May 4, 2012, 9:25 IST | Updated: Friday, May 4, 2012, 8:26 IST
By Kanika Sikka | Place: Mumbai | Agency: DNA


Movie: Jannat 2
Director: Kunal Deshmukh
Cast: Emraan Hashmi, Randeep Hooda, Esha Gupta
Rating: **

With uncanny similarities to Nicolas Cage’s Lord of War, Jannat 2 revolves around an unexplored (in Bollywood) premise of arms trafficking. The sequel of the 2008 film Jannat, the film is a predictable, yet partly gripping tale of a small-time brat who faces the results of his own deeds.

A street-smart punk, Sonu Dilli KKC i.e. kutti kamini cheez (Emraan Hashmi), runs a small bi-ness (business) of selling and renting guns. His motto – people kill each other with any weapon they find, he might as well make it convenient by supplying guns. ACP Pratap (Randeep Hooda), a maverick cop, driven by the aim of getting to the roots of nexus of arms racket, compels Sonu to convert into his informer and forces him to delve deeper in the illegal business of arms manufacturing and selling. In the midst of all this, Sonu falls in love with Jhanvi (Esha Gupta), a doctor who works at a government hospital which faces serious cash-crunch. The plot moves on to show how Sonu, in a bid to transform his life into a decent living, signs a deal with Pratap (who develops a soft-corner for Sonu and Jhanvi) to reach to the bottom of the nexus of illicit business of guns trading.

Although the plot is calculable, the swift narrative manages to squeeze out humdrum portions. The movie had a prospect of being more engaging if the director would have invested some extra action sequences. The chase sequence in a dargah needs special mention with excellent camera work and proves why action scenes could have been a bonus for the film.

Kunal Deshmukh, who made his debut with the prequel of Jannat 2, though promising, has a lot of scope to narrate a plot with a more engaging approach. The climax, though, was somehow is unpersuasive.

Emraan Hashmi, who is the protagonist and narrator of the movie does justice to his role, and carries the film forward with a not-so-believable portrayal of a typical dilli boy. In a particular scene, Pratap tells Sonu, “Saans toh lele. Bolta hai toh bolta hi chala jaata hai.” This rightly portrays Emraan’s dialogue delivery in the movie, in his bid to play a (well-tried, yet unconvincing) crook. The actor somehow looks more convincing when he is not busy trying to be a typical Delhi lafandar.

Randeep Hooda proves yet again that he is worth all the compliments in his previous films. His convincing portrayal of a grief-driven cop is noteworthy. Randeep’s stellar performance is the most positive point in the film.

Esha Gupta adds glamour to an otherwise fiery and somewhat-impetuous tale as she switches between magnetic and the next-door-neighbour looks. The alluring model-turned-actor, (whose similarities to Lara Dutta are remarkable) may land up being another one of Vishesh film’s ‘rare discovery’ which never saw a career in Bollywood beyond their first film.

The music, like any other Vishesh Films’ movies, is remarkable. The background score deserves brownie points.

Overall, the portrayal of this foreseeable plot is appealing in parts. Jannat 2 is worth a one-time watch, since there aren't many options for the movie-goers this weekend.