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I did end up watching this.
I found the treatment highly clichéd to say the least. The irony of the film is that it pretends to bridge the gap between us and them, and in order to do that it paints the Muslims as whiter than white and the Hindus more black than black - watching which could dealienate "them" who were already on the verge.
Situations are so much contrived that you lose interest. Just to show helpness of the good Muslim in court, he is given only "objection milord" dialogue without any other words. And then when the end nears the same side has the choicest of dialogues to make one shed tears. Extremely contrived. The overall courtroom proceedings too are highly questionable in treatment. Defence presents witnesses and one after another they are all dismissed without the judge even asking the prosecutor to cross examine.
A forgettable film. Such stupid attempts, milking the leftist and fake media's attempt to sow unrest amongst communities, must be rejected by one and all.
I was exaggerating the price keeping in line of the exaggerated tone of the trailer. Ticket prices in dollar terms should be comparable with the Western countries, although the comfort of the seats and the acoustics sometimes might not be of comparable level. What changes though is the muscle power. YRF muscles out every other film from the theatre. And YRF forces the exhibitors to increase the ticket price. A monopolistic situation.
BTW great to learn that you have been doing good work of helping people vote. I followed Tuesday's elections quite closely.
Wishing a Very Happy Healthy Prosperous New Year to Meeta, Anuj and the readers of Wogma.
Whilst waiting for your review Meeta, reading the reviews of celebrity critics it confirms exactly what I predicted above. All the reviews so far speak of a colossal disaster. Boy am I happy? I can almost predict now what Meeta is going to give as score. :-)
The English and the Hindi version of this film are in my all time favorites list. More so the English version. Having watched both the films multiple times.
The brilliance of this film is the story followed by acting. Recommended for everyone to watch.
Thanks Meeta. Your rating is something I am counting on to sway my decision. Looking forward to your review in 1 week's time.
If there ever was an extremely tired looking trailer of a big budget Hindi film in recent times then it has got to be that of YRF Thugs. Whatever miniscule chance there was that I might go to the theatre to watch this junk was shattered completely by this unimaginative trailer.
This Pirate's Kranti against Lagaan in the Caribbeans caper has the only sole purpose to cheat people of their hard earned money on Diwali time by dishing out a horrible fare, charging the premium prices for tickets without money back guarantee.
The trailer gives enough insights into what one will get for their 2000 Rs. First half hour will be full of special effects powered introductions of the various celebrities to highlight how each is the ace in his field (notice HIS). Next half hour would then have stupid situations where the celebrities will get further opportunities to show how smart they are in various situations - and at the same time how fair they are all at the same time as flaunting their nationalist credentials. The next half hour will be full of how people and pirates are exploited victimized made to suffer by the evil Britishers, forced to pay Lagaan and other arbitrary taxes, made to work in sub-human conditions, etc. The last half hour will see a return to high voltage special effects driving home the point that the celebrities are aces in their fields. And in the last 10 minutes, as with every YRF film, there will be a sudden unexpected illogical twist to bring the film to an end. In between all this, expect some Thugs to ally with Britishers for settling score with other thugs, only to have a twist in the end when they decide to switch loyalties for the sake of Hindustan and for the sake of people.
It is to be noted that the film is written and directed by Vijay Krishna Acharya – the man behind super-duper debacles like Tashan and Doom 3 (see my posts on Doom 3). BTW there is no spelling mistake in the previous sentence ;-)
This is modern day version of the British extortions - YRF doling out as always a sub-standard fare, muscling out each and every film from this auspicious date, increasing prices, and torturing the audience with inane film making. Looking at the trailer, my partner was wondering if it is time to leave the country, to be spared from such atrocious films monopolising every theatre in the country.
Thanks to people like me who are crazy for films, this film will go on to make a bumper earnings in the Diwali period. Only change is that I am slowly waking up from my slumber and refusing to pay for such nonsense - even if it is Diwali time. It's a shame because Diwali time pe ek picture to banati hai. But this year I will skip it, and I am sure I will not regret it as the time saved will be spent with family - and the money saved will be spent for family. I only hope that more blind fans like me wake up and start boycotting Thugs like YRF and the hyped celebrity marketing this product.
This is one big let down, especially after the way it starts off which had promise.
The story used is a simple, unbelievable, rise from rags to riches in few weeks. Films with such miracle stories used to work till 1990s but no more. I expected a much more serious acumen from the layman admirer of the stock market Mughal to earn his stripes. That was sourly missing - a simple and stupid speculations see him turn from a middle town normal qualifications guy to an overnight Dalal Street wizkid. Those incidents lacked all sense of reality.
Similar dejection with the ending - all too simplistic approach and miracles happening everywhere.
As regards the games being played, everything was too predictable from the word go. Hindi films need to reinvent themselves as this type of film making with supposed twists and secrets are getting too obvious to figure out.
It is a pity because casting wise Saif does look like the ruthless businessman, even though his Gujarati accent was pathetic. He could have taken some diction lessons to get the correct accent. Chitraganda Singh looks gorgeous and acts reasonably well - pity that she does not do many films - she too needs diction lessons for Gujarati. The new kid on the block is absolutely forgettable.
This is one of those films that could have been super interesting to watch if the story was solid. Alas, that was not to be.
I was pleasantly surprised with this film. My only hesitation was the presence of Aishwarya Rai Bachchan. All my apprehensions were proven wrong.
The film works very well. It slowly grows on you, fanned by all round fabulous performances from Anil Kapoor, Divya Dutta and Rajkumar Rao.
The story about a commoner who wants his daughter to achieve the success that eluded him, and the lengths that he would go to get that success. The story is endearing. The treatment is light yet effective. Music is alright, keeps you interested.
High marks for this entertainer.
Andha-dhun: literally translated means blind-tune, and colloquially means blindly (as in blindly accepting or following something). And one can blindly go and watch this Sriram Raghavan film which is based on a blind musician. You will enjoy it especially if you enjoyed Johnny Gaddar. The grim look and treatment as was evident in Johnny Gaddar is also evident in Andhadhun.
Based on a French short film L’accordeur (10 minutes watch, available on YouTube with English subtitles) this is a full length feature film based on the concept propounded by the French film. To convert a 10 minutes short film into an engrossing 2 hours long film is highly commendable.
The film is a taut thriller, keeps you guessing till the very last frame on what is going to happen next. The first half of the film is very believable. The second half of the film, edge-of-the-seat and tense as it is, has a fair bit of the classic Hindi film lucky escapes that make the story look just that tad bit unbelievable – the too good to be true sort of feeling. Still, it is many levels superior to your typical Hindi film fare.
The Sriram Raghavan signature style of having a liberal sprinkling of vintage Hindi songs (audio and video) across the film is intact. The casting coup of getting Anil Dhawan to play an ex-film star is a master stroke, allowing a creative usage of the evergreen classics filmed on Anil Dhawan in his heydays. The reference to Chhayageet (and not Chitrahaar) in the initial credits is so refreshing; although Chitrahaar too is mentioned next to it.
Performance wise the main actors Ayushyaman Khurana and Tabu are magnificient. The other regular actors from Sriram Raghavan films (Zakir Hussain, Ashwini Kalsekar, …) are reliable as always.
If you liked Johnny Gaddar type of noir treatment, then you are very likely to enjoy this film. In the same analogy, if you did not like Johnny Gaddar then stay away from this film. Overall a good film, although I cut off a few points for the adult theme (see Nudity and Sexual Content) – it was uncalled for in the context of the film.
So the verdict is out. Paying audience has rejected this too, like his previous film Rangoon.
@Meeta: regarding the concept that you mention, i.e. the futility of differences between countries, I am surprised that you did not detect that in the trailer!! That concept stood out like a sore thumb when I watched the trailer before the release of the film.
The disconnect between the title and the contents of the movie is enormous. Often such disconnect can have significant impact on the earnings of the film. A name like Batti Gul … can attract younger audience hoping to find some masti and would end up disappointed with the serious drama. On the other hand, audiences looking for serious drama might stay away thinking this is another comic caper type of film.
The above short introductory paragraph would have made it clear that we are not into a nonsensical comic caper, even though it has its nonsensical fare to start with. The film takes a contemporary subject, which over the 7 decades of freedom the Indians have ignored under “what can we expect from utilities company”, and transforms it into a basic rights issue. It speaks volumes of the shift in mindset and the enormous expectations that everyone has from the current government of India. Earlier such subjects were ignored by the masses as nothing can happen, and now with the government leading and showing how things can be improved the expectations get so high that we expect miracles overnight in the name of progress and welfare. Something for which we didn’t bother to agitate over 70 years of mis-governance now becomes an absolute priority of everyone. I agree that it should be an absolute priority, but I would have preferred setting the context correctly by stating that over 70 years we were complacent about such matters.
Coming to the treatment of the film, it is a straight forward film. All twists, if any, were very easy to predict. The reveal (notice the lack of adjective BIG) of a twist too was anticipated by yours truly and did not give any surprise element. The courtroom drama, reminding from time to time about Jolly LLB, was also too much drama and less seriousness – I don’t think any Indian court (or abroad) would tolerate such tom foolery. Despite all this the film remains watchable, which is a big plus. The dialogues, even though very filmy, come through nicely. Performance wise the top 3 billed performers do a good job. Shahid Kapoor reminds once again as to what a fine actor he is, even though once again his film might not come out on top in the commercial race. Divyendu Sharma chips in with a very good performance and Shraddha Kapoor too is fine. Although I did find it funny to see her dressed in modern clothes in the first half and draped in shawls in the second half. Very stereotypical.
I do empathize with the topic on hand, although I feel that in real life it is a big hurdle to fight for such causes.
An extremely boring trailer of a heavily over acting pair of celebrities. Seems a typical YRF film spending a big part of reel time to establish how down trodden the character is. Followed most certainly with the Eureka moment that I can do something on my own. And let me guess what comes next: some obstacles in the home grown business. Followed by yet another Eureka moment from the Mrs. to save the day and end the film on a happy note.
I cannot see in which possible way the film is going to offer something fresh and enjoyable.
And if a trailer is supposed to highlight the best bits of the film then I shudder at how awful the film is going to be looking at the absolute hamming from Varun D and Anushka Sharma in the few minutes of the trailer.
This is a film I am safely going to skip.
Sorry for delayed reply.
It didn't stick in particular (the calls to holy prayer). It so happened that at a certain point in time during the film I realised the 1980s formulaic treatment. And if you recall the 1980s Hindi films then you will recall too that everyone stuck to a formula. Like there should be at least 2 romantic happy song, at least one sad song, some child artistes, a good hearted but poor Robin Hoodesque character, if a rich family is involved then a family doctor who is more family and less doctor, etc. So once this realisation of 1980s treatment dawned upon me, the exercise that was left was of ticking the boxes. Which formula ingredient is added - tick it. Including the climax related tick box - do we respect the formula or not.
So it was more box ticking and less of (s)ticking.
Recently having watched Parmanu, and watching another simple film Poorna (by Rahul Bose) - I wondered why cannot such nice simple film makers be encouraged instead of running madly behind the mediocre products of big banners? Poorna (based on a real life achievement) was such a nice warm watch. Simple in execution yet so heart touching. The characters, barring Rahule Bose, are all amateurs most likely - but still they made us feel their pain, their moments of happiness, their success. Rahul Bose himself is in top form, totally subdued and into the character he plays. Watching Poorna going through her life in a village in Telangana reminded me so much of Bhibhutibhushan's fiction Pather Panchali and the protagonist of Pather Panchali i.e. Durga. Every frame is filled with love and care and goodwill. We need so much more of such films like Poorna or Parmanu - simple innocent straight from the heart story telling.
I am simply citing the track record of the director.
The track record of someone who has made Cash, Dus, Ra.One does not entice you much to look forward to his next. :-)
@Meeta: yes, there were verses running. My statement was in regards to similarities with 1980s formulae and everything "masala" that was retained (dialogues, child artistes, loyal Muslims, ...) It was not intended in any derogatory manner - it was purely intended to bring out the similarities between 1980s formula and this film.
How times have changed. A film that would have been a reasonable hit in the the 1980s seems such crass in 2018.I had watched only one trailer of Satyameva Jayate, and watched it only once. My first impressions after watching the trailer was that this is a kind of Singham treatment to the vigilante justice subject. Singham in the sense of good v/s bad, but also with adrenaline pumping verses being chanted regularly. The trailer also revealed (to anyone who has not recently landed up in Bolly land) what exactly to expect from the film, reel by reel. And myself not having landed up in Bolly land recently knew what would unfold. So the visit to the theatre was certainly knowing fully well what the story line is going to be – and the only curiosity factor was to see how the story line is executed and presented on celluloid.Oh how I regret that my curiosity got the better of me.This film is 35-40 years behind its times. I have my doubt if in the 1980s it would have made a bigger dent – but at least it stood a better chance then as compared to 2018. Everything about the film screams the 1980s. Everything!! Let’s start with dialogues. You have the typical Kader Khan / Prayag Raj / etc. type of dialogues heavy on words – great to utter – but really useless in 2018 scenario. There is a more than generous portion of melodrama doled out. The child artistes remind of the 1980s too with obnoxious acting skills and made to say dialogues that make the kids seems way older than their age. As with the 1980s films there is the mandatory good Muslim guy or girl, doing their duty towards the country and being loyal to good values till death. You have the Muslim holy prayer in the background at critical junctures. You also have the comic relief on the side (although much subdued in Satyameva Jayate than in the 1980s).Already half an hour into the film my expectations were so low that I was pleasantly surprised at some minor twist presented in the story at midway point. I just did not see it coming, as I was expecting something seriously banal at that point.With such a terrible content, then the only straw of hope that I was clinging on to was to see how the climax is presented. Do we stay loyal to the 1980s formula or do we at least move to 2018 way of film making and storytelling? I will not spoil it for anyone who still plans to watch the film – you can discover yourself how the climax is presented.
Let's look at the track record of the director. Cash, Dus, Ra.One, Tum Bin. There is a reason why these are all commercial duds thoroughly rejected by the paying public. And there is a message in that track record. Message is: stay away.
A very nice film.
It is 20 years since India officially announced its capacity to detonate nuclear bombs, even though it seems like yesterday that the event occurred.
India is constantly monitored by USA, and all questionable movement of personnel or equipment is immediately questioned by USA. Whoever gave them the right only God can say. But then might is right, and if they complain then we have to bow to their pressures. How then did we accomplish an event on this giant scale all the time maintaining the required secrecy and also fooling the technology deployed by the giant?
Even though the main story and proceedings are most likely fictionalized, Parmanu makes for an interesting watch. The noble intention of the film makers to inform the audience stands out tall and clear. There are no hidden agenda like promoting the dead career of a terrorist or a handicapped Prime Minister. This one is pure genuine sincere effort.
Commercial considerations are clearly not the goal. There were so many (tempting) opportunities for product placement, especially for splashing logos of eminent TV channels during TV news - but the makers correctly stayed away from all such considerations. A simple film, made simply, with only the purpose of informing. Everyone should watch this film, if only to encourage film makers to produce more of this kind of sincere products.
And this makes an interesting nationalism case, without forcing the idea down our throats.
@Meeta: let's hope so. Will look forward to the hints in your review. If indeed she is subdued then I might (might) give a rethink to my choice.
Ever since Dhoom2 (including D2) her acting has been annoying to the power of thousand. Only exception in that period was Jodha Akbar, I believe thanks to the director who controlled her histrionics.
Let's wait a few hours for your take on Fanney.
Barring Aishwarya the promo is promising. Based on a successful Belgian film. However, Aishwarya looks so over the top, as she usually is. And that is much more overwhelming compared to all the rest. And so as far as I am concerned, for this and only this reason, this movie will be skipped.
If you are looking for an interesting adults comedy then Kaalakaandi is a good option. The movie is quite faithful to the trailers and its A certificate. When you settle down to watch the film you know what kind of stuff to expect, thereby putting you at ease on things that unfold on the screen.
The film is a light entertainer. Saif fits the role perfectly and he has done a good job.
It is a good watch, but it is not a must watch. There are good chances that if you happen to watch it then you will enjoy it. On the other hand, you don't have to regret if you have not been able to watch it, it is not a masterpiece. At the end of the film if you ask the question whether it entertained you, then the answer will be yes. And if you ask the question whether it gave you the thrill of your life, the answer will no.
October makes for a grim watch, especially the first half. There are too much details shown about the fall and the medical consequences and treatment of the fall. Such detailed treatment makes it a difficult watch.
The film makers have tried to make it a poetry on silver screen, given the title October and tried to bring in romantic shades of autumn-winter moods into the frames. As is the risk with such tactics (also witnessed in Fitoor), the makers get carried away in showing foggy misty romantic weather so much so that the concept of time does not remain aligned with the story's timeline. Thus we have someone having met with an accident in winter and even 4-6 months down the line we are still in winter mood with blankets and fogs. That kind of sums it up, too much importance given to make up rather than the contents.
On the contents side also, one just cannot help remarking that how noble the Indian medical community has been portrayed. This is far from ground reality. An accident of this proportion in medical terms is a commercial nightmare for the victim's family. And one has to be from the billionaire community to be able to afford the kind of ICU care shown for months on ends (give and take the person was in ICU for 9 months). Such misrepresentations made it a slightly unbelievable and fairy tale kind of film. If the lead person had to be shown to be in ICU for such a long period then it would have been more credible to set the film in continental Europe where the health care permits a non billionaire to have such benefits.
Overall, too much of gloss compared to content. Acting wise all are subdued and within the required top quality range. Maximum marks to Gitanjali Rao as the mother, whose eyes spoke a thousand words.
@Anuj: having creative difference is not a rift. :-). I have always respected your knowledge and insight in hindi films, and also respected @Meeta's knowledge and passion for Hindi films. That respect doesn't mean that I have to compromise on my convictions. Well, rift or no rift, this time around we seem to agree that the latest product from the Hirani stable is bad?
Welcome back to the forum @Anuj.
BTW one can guess the paid reviewers who are bumping up the rating of the film on every related website. Those people copy-paste good phrases made by other reviewers and blindly post it on all the sites without realising that they are pasting the exact phrase on the site of the person who is the author of the phrase. Just shows to what low level Raju and co goes to promote "the word of mouth" effect. No wonder imdb is flooding with a rating of 10 by first time visitors on imdb.
Just in case any extra proof was needed of the low level to which Raju has dropped to flog his product.
@Meeta: your point is valid if the intention was to make a "film". The intention here is not to make a film, but clearly to give a character certificate to a criminal convicted at each level of justice available in the country. Sometimes things don't have to be said for the message to pass on. The whole execution is driven by one single objective, to build up sympathy for a failed human being.
BTW: your analogy of Sholay has become viral. There are WhatsApp messages with a screenshot from that epic scene of Sholay with the message that story of film Sanju resumed in one photo.
Another interesting fact: whereas Bollywood is busy giving character certificates via biopics on Sanjay Dutt, Haseena Parkar, Haji Mastan, Dawood Ibrahim - I admire Hollywood for making biopics on Indian greats like Srinivas Ramanujam (the Man who knew infinity).
The year 2006 had two movies that we loved, and still love to this date. They were Lage Raho Munnabhai and Bhool Bhulaiya. Here is a part of what I wrote on wogma page for Lage Raho Munnabhai (with some spell-checks integrated in this extract)
Me and my family particularly appreciated the fact that the whole "Gandhi" illusions were explained correctly and medically. It brought a sense of reality and logic to the proceedings. This was not the only film that year who did that, we distinctly remember that Bhool Bhoolaiya also medically and maturely explained the reasons behind the situation.
The budding director, responsibly and maturely explained and handled the "chemical locha" phenomenon and did not pass it on as a fantasy of a semi-lunatic.
Move over to the year 2018. The same director making a mockery of a the physical disabilities of a popular Prime Minister of India makes for a sickening watch. The PM concerned definitely was (and still is) suffering from an age inflicted medical condition, and to see a supposed responsible and mature director make fun of him to gain political brownie points is disgusting film making at the least.
The hero of the film too is presented as someone who can do no wrong but the media is after him for blood. The hero has no regret for his actions. He has excuses for all this vices. If I take drugs its because I have work pressure and my friends encouraged me, otherwise I would not take drugs. If I am friends with anti-socials it is because I have no choice, my career depends on their well-being. If I have terrorists as friends, ... well the director didn't even bother to explain that. A clear and unashamed attempt to selectively present incidents with only one point of view of a failed child turned a failed young man and actor (really??) and a failed human being.
I would have skipped the acting credits on this one, had it not been for a brilliant act by Vicky Kaushal. It will be unfair on my part to penalise him for the sins of Raju.
Sorry Rajubhai, you have just dropped from the pedestal that you had constructed.
PS: Good decision TimELiebe, skip this film unless you are a film addict like me or like the owner of this site.
Race 3 having reminded me of the disappointing film Blue, my curiosity got the better of me - had I made any comments on Blue on wogma.
Well lo behold.
And remark the similarity in my opinion of Blue and Race 3. At least no one can blame me for being inconsistent. ;-)
Now this one is a massive contender for the worst movie of the decade. With the kind of budget that they had at their disposal even a school kid can make a better movie.
The film follows the template laid down by the earlier Race films and as promoted via the trailers. A bunch of half brothers and sisters, loyal and disloyal friends, and opportunists. All switching sides at the flip of a hat to make you wonder who will win the race. The problem is not there. The problem is in the technical execution. The dialogues are non existent. I had the same feeling as in Blue, the actors were asked to go in front of the camera and spontaneously say whatever came to their mind. Scenes, situations, expressions and dialogues that defy all rational and make you wonder what is going on. The guy who is introduced as someone who is notorious for his rage does not even growl once. Worse, his personality makes him look more docile than a meek cow. Daisy Shah too as a badass girl falls flat. Probably the only person who looks convincing in this pathetic film is Anil Kapoor.
Songs are horrible. The lyrics make you cringe as there is nothing poetic nor romantic in them. Did I notice Salman Khan's name in the credit titles for lyrics?
Action sequences are alright. Nothing extra ordinary in that department neither.
Race 3 then turns out to be the customary prasad that is forced down our throats to celebrate Ramzan. This Prasad lacks all the right ingredients and has gone stale.
A horrific fatiguing film. With a plot thinner than the strand of a hair, the director found it difficult even to fill up the 2 hours. So a lot of flashbacking used, which in itself is a major letdown as it breaks whatever little build up is in the story.
With utterly unconvincing performances from each and every one, with a joker dressed up as a police officer (or the other way around), with some stupid and painful to sit through twists that only someone who landed up for a first time in a theatre playing a Hindi movie would refer to as twists. Even the Rambo esque action sequences are a let down as nothing can touch the hero, as if he is a Marvel superhero.
I unfortunately fear that the makers are going to churn out one more version keeping in mind the box office bonanza. And worse, I fear that the makers will also consider this box office bonanza as an endorsement of the concept of a joker being a police officer. Brace yourself for more crap under the name of Baaghi in the future.
Thanks for your review. Looking at the rating you have given, I will give it a miss.
Indian movies often seem hollow and mediocre due to the lack of a strong story. The Indian film story writing business is not a creative work, more often than not hashing out masalas or inspired potpourri of ideas. That is the reason that the few films based on books tend to be a nice watch. Because a book is written by a more genuine and creative author, a film based on a book usually has a pretty good story line to support it. Same is the case for Raazi, that it makes an interesting watch.
For a thriller, Raazi seems to be moving at a very slow pace. There is no urgency in its purpose. At the same time it is full of gripping moments, twists, blood pressure pumping and heartbeat pumping moments. That combination of slow speed yet gripping and tense drama is rare to see in films, and even more rare to be a successful combo. And in Raazi it becomes a successful combo. The bakground music is apt, and matches the situations well.
The Pakistan angle is sensitively presented. No stereotyped characters. To the contrary we have an extra sweet and a pucca gentleman in Iqbal, the character played by Vicky Kaushal. So much so that it feels as if the producer/director wanted to go out of the way to appease Pakistanis.
On acting front Alia Bhatt trumps everyone else. Even though I found Vicky Kaushal very good, confident and controlled in his role.
Dharma productions also kind of did a prequeling by referring to the Ghazi Attack, a film already produced by Dharma a year or two ago.
A nice thriller to watch, a good way to pass a free afternoon or evening. Although I doubt if I would recollect this movie with fondness after a few months. So not a masterpiece, but an enjoyable film.
At the outset let me clarify that I am neither the sci-fi oriented nor the Avengers franchisee oriented.
I decided to give it a watch just as I had nothing to do, and the movie was breaking box office records.
What worked is the big screen. The film looks giant and magnificent.
What did not work: everything else.
I have never understood the success of such nonsensical franchisee as Star Wars or Avengers. In the name of story they never have anything. Bad guys v/s good guys, living in some unknown future year and unknown universe. Or is it galaxy? Does it really matter?? The good bad almost invariably fight over obtaining some gadget or some abstract matter. And then the film is made with laser fights and other heavy weight special effects based fights with characters going to various villages (or planets or galaxies) with unpronounceable and rarely used consonants!!!! Amidst all this hulla bulla you, as the audience, know fully well that at the end the good guys will triumph.
How does this stupid formula make such movies a commercial mega block buster has always left me confused. You watch one of them and all the others seem the same.
As regards my poorself in this film? Despite the heavy sound blasting off from every corner of the theatre due to the war scenes, I still managed to get a good half hour or more of sound sleep :-). I would have had dozed off further had I not made a conscient effort to forcefully keep my eyes open.
A yawn inducing special effects extravaganza that you have to pretend to enjoy if you don't want to get ridiculed in your social circle.
Amongst the other films that this movie reminds of is Chalo Delhi which in itself was a copy of the adorable Hollywood holidays film Planes Trains and Automobiles.
This girl meets boy, or should I say woman meets man, story reminds you of several films big time. Jab We Met coming to mind immediately, what with one non stop chatterbox partner, and the other slightly subdued partner - and of course missing planes trains automobiles.
Irfan Khan succeeds in getting under the skin of the character and annoying me all throughout. I cannot stand such pushy talkative overbearing characters that he portrays so very well. Parvathy looks your typical south Indian film heroine, and comes across alright as a straight no nonsense woman.
For a movie it is probably alright, but in real life I cannot see such diverse personalities falling for each other. It is an alright film, light hearted, with some straight-faced humour from Irfan Khan.
The film will not be remembered for a long time, neither the music. You can very safely skip this film if not yet seen.
The only reason I went to watch this at the theatre was Irfan Khan. But the film is a big disappointment.
The trailer gives an impression of a nice concept where the blackmailer is blackmailed by the blackmailee, almost everyone aware that blackmailing is going on, death, intrigue.
The movie is far from all that. Yes, the interesting concept of the blackmailer being blackmailed is there, but somehow it is not developed into an interesting watch. What we then have is a random middle aged guy, [comment partially deleted because it gives a detail of the movie away] being dumped by his wife for a younger fellow. The blackmailing follows, and even the blackmailer [comment partially deleted because it gives a detail of the movie away]. There are so many blackmailings going on that at the end of the movie I find it still difficult to figure out who made how much money and who lost how much money.
The first 30-40 minutes of the movie are excruciatingly slow - thereafter the pace seems to be alright. The characters are all typical stereotypes. Irfan Khan as the common man, all with a typical middle class home with stickers of Richie Rich on the show cases, and unpainted walls. Arunoday Singh, from his image that is stuck in my mind of a muscled idiot from Mein Tera Hero, seems to be doing the same character here - an idiot with blown up muscles. Omi Vaidya too stereotyped into the US returned Indian. Divya Dutt probably the only who is not stereotyped, and a pleasure to watch after a long time. And speaking of long time, yes there is the forgettable item number performed by Urmila Matondkar, back on silver screen after a long time.
The movie has twists, some innovative idea, but overall the theme of amateurs trying their hand at questionable and certainly criminal activities like blackmailing [comment partially deleted because it gives a detail of the movie away] falls flat. Got better things in life then to watch this film. One can easily give it the skip, even when on TV.
The film, based on a real incident, is one long Raid. It is interesting till a certain point. But beyond that it is just a plain simple Raid. No particular thrill, no particular looking forward to.
The promo gives a feel that the viewers will be treated to a Singham style film. I guess the promo is deliberately designed to make the viewers feel the connect with the film Singham. In reality the film has no similarity whatsoever with the film Singham, other than the intense and honest character played by Ajay Devgan.
Performance wise for Ajay it's a cakewalk having done similar intense role several times. Saurabh Shukla is good too. All the other are strictly alright.
On nudity and sexual content: there's a fleeting reference to all positions from 0 to 69. Children will not even realise what was said.
A Neeraj Pandey film is always awaited with lots of expectations. His track record is so fantastic, and he has not disappointed so far.
Aiyaari continues his legacy of hard hitting the viewers with the common man's voice and force. In the 1970s Amitabh Bachchan had set up the perfect common man's messiah with the angry young man fighting the unjust society and the unjust system. In the 2000s it is Neeraj Pandey who has reclaimed this role of expressing common man's anger and wishes. He continues this trend in Aiyaari.
A politico-military thriller which might not be the best of stories on celluloid but it is sufficiently right to work during its length. Armed forces, at the end of the day, is an organisation like any other organisation or corporate. And together with that comes its fair share of politics, greed, corruption, valour, team play, betrayals, agendas. Yes, a pendulum from vices to virtues to vices. And Neeraj Pandey mixes the story with real life events like major arms deals of questionable repute, Uri terrorist attack, scam in the name of Kargil widows.
The film is an enjoyable watch. Neeraj Pandey puts together his now trusted, talented ensemble of cast that we have come to associate with Friday filmworks (sans Akshay Kumar). And he delivers punches that only he can. Imagine punching the Lutyens media who is shamelessly selling the country in the name of journalism! And getting away with an applause despite naming and shaming the Lutyens media. He is the perfect balance that Indian cinema needs from the left leaning country bashing intellectuals like Kashyap, Bharadwaj and of late Raju Hirani. Neeraj Pandey has the balls and credibility to call a spade a spade in the most brazen manner, and he gets away with it laughing all the way.
Performance wise it is a feast with Manoj Bajpai and then in small cameos Anupam Kher and Naseeruddin Shah thrown in. A new and worthy addition is Adil Hussain.
Nice watch. Do catch it.
The 12% statistics is just that, a statistics. To begin with, it dates at least from 2001 if not before. The film itself makes it clear that we are talking about the 2001 period. Also, the 12% is the percentage of the polled women who replied they used "commercial pads". The total number of polled women= 1000. That is not even representative number for a city, let alone a country of half billion women. Even if we accept 12% of 1000 women who gave this information in 2001 is still the same rate in 2017 and pan-India, it still doesn't mean that 88% of women are using unhygienic means. Thus the statistics are nice for a friendly discussion in a social party with a glass of red wine. Whereas if a real improvement is to be made then one needs to go behind such statistics and decipher the real situation.
Read more for extra awareness.https://swarajyamag.com/culture/why-india-doesnt-need-the-sanitary-napkin-revolution
The movie is more or less a complete depiction of Mr Arunachalam's life, difficulties, passion bordering on obsession, sincerity. Although I felt that the film went through very rapidly on his struggles, and focused more on his resilience and innovation.
The film is not making any effort to preach about the need for hygienic practices during the menstruation period. Yes, it has the required amount to highlight the reason for Mr. Arunachalam's fight to find a solution, but thereafter it doesn't touch or preach on the subject. The film can be categorised as a biography of Mr. Arunachalam.
Performance wise the show is shared equally between Akshay Kumar, Radhika Apte and Sonam Kapoor. Of course Akshay gets the lion's share of the screen time.
There are several joyous moments that overflow via the happy tears. I hope that the money that the film makes is shared with Mr. Arunachalam's cause. As regards improving hygiene for Indian women during their monthly period, I personally believe that there will be no change - firstly because the majority of the audience who will watch this film are not the audience to be evangelized, and secondly because the audience to be evangelized will not receive any particular message on the subject as that doesn't seem to be the director's aim.
Constitution of India is very clear. Freedom of expression doesn't give the freedom to defame any community. We are talking of Indian laws. If you have any doubts then read up the constitution.
@Meeta: you choose not to be offended? Seems nice intellectually heavy progressive statement. Why doesn't it match up with your past statements on films like Masti series, or on bloggers like Anuj - a few examples where it offends your sensibilities. Suffering from selective choosing, like the intelligentsia? When it is Hindu bashing, I believe in freedom of choice. Otherwise, no derogatory, inflammatory, insulting, allowed?
The good quality of a person can be assessed if his/her behaviour remains identical in every situation dealing with the subject, and not when it changes based on religious/political/national affiliations.
I have no issues neither with the fact that not everyone is offended by the same matters. What is pitiable is that such so called progressive people are unable to accept that the sensibilities of a large number is affected and so let's show some empathy towards them. That's where such pseudos get fully exposed, and that's how they are labelled pseudo as they are unreal.
The selective portrayal of history by those who haven’t read anything properly is a grave threat to the historical legacy of the country.
I am a big fan of Sanjay Leela Bhansali brand of films. At the same time I know how much of a bloated self esteem Mr. Bhansali has of himself. He loves to pretend that a lot of research, hardwork and dedication has been poured into for each minutest object or frame portrayed. Important word in the previous sentence being "pretend". There is zero research, and the moment he is challenged he hides behind the pretext that the film is entirely based on a book, so if the book is right then the story is right and if the book is fiction then the story is fiction. Which makes him a highly irresponsible director, in the category of Bhardwaj and Kashyap. So coming to the opening sentence, pretending and twisting history is by no terms a creative liberty. It is blatant lying and even a criminal disservice to the people of the country.
Coming to the bullshit of freedom of expression. As per the constitution of India, freedom of expression cannot be granted at the expense of hurting a community's sentiments. This is written in black and white, and is non negotiable. And forget freedom of expression in a bigger world, there ain't no freedom of expression on this board where an Anuj with keen interest in films and film based economics is blocked for hurting somebody's feelings. All that is fine, but when it comes to Hindu bashing and Hindu culture bashing, suddenly freedom of expression becomes of paramount importance.
In the late 1980s a mediocre book by the name of Satanic verses hit the headlines. The book was banned in India by Congress party as it hurt the sentiments of the Indian Muslims. I chose to respect the feelings of the Indian Muslims and did not read the mediocre book. Now a mediocre film comes along that hurts the sentiments of the proud Rajput community. I will choose to respect the feelings of the proud Rajput community and not watch the mediocre film.
I still don't get it why did I watch this film when I had not at all enjoyed the original!! Similar reflections as with Himmatwala, why remake a horrible film?
I can't even be bothered to write anything about this film except that stay away from it if you are looking for good entertainment.
This film is supposed to be based on the film with the same name, Ittefaq. Personally I consider the original Ittefaq as one of the best thriller made by Bollywood. The film had tanked at the box office as it was considered too short, less than 2 hours running time in days when audiences wanted no less than 3 hours; it was considered bland - with zero songs in days when at least 5 songs was the norm; and a chocolate hero being shown with shades of grey? The film was well ahead of its times. Made for the 2017 audiences.
The 2017 version comes across as a very lazy attempt to recreate the tension. But it fails. Many reasons but principally it is very slow paced, kind of Lootera pace. One can be pardoned for saying that fast paced thriller only happens in films and not in real life, just as a hawaldar remarks in the movie that police paying an informer only happens in films.
The worst part of the film is the revealation of the crime. It just spoils whatever little interest was remaining in the story.
The only good part were the few moments of dry humour sprinkled across the film.
Akshay Khanna stands out but then we have seen him in this role, including dress and behaviour, in quite a few films now.
Watch it to learn how a classic can be massacred in the hands of novices.
Wishing a very happy 2018 to all wogma friends. And hoping for a much better filmy 2018.
And yeah, hoping to read more from Anuj and Anup in 2018.
Personally I have never understood why the Rohit Shetty Golmaal series is such a success with the audiences. All the way from the first installment till now. Never enjoyed any of them, and never understood what was so funny about any of them.
So, no surprises that this new installment did not tickle my funny bone neither.
This time around the band of inane idiots are joined by none other than Tabu, raising some hopes that are quickly dashed, powdered and blown away as soon as the band of 5 enter the scenario. The movie just goes from one stupid fight / argument / joke / situation to another, without any purpose whatsoever. It goes on like this till way after the interval. And the twists, if they could be called that, are so obvious from the moment the film starts. You have to have just arrived from Pluto to not guess what is cooking.
The overt attempts to make a Golmaal meets Singham didn't have any positive impact on me at all. Yes, there are a one or two genuine LOL moments, and a one or two lump in the throat moments. But that's too little to make this an enjoyable venture.
Tu tu tu tu tu Tara.Tiger aa gaya phir dobara.
Very often we come across promos that deceive. Tiger Zinda hai is one such case but the other way around, the film is a tad better than the promo.
It has been ages since Hollywood had a one man army annihilating a battalion of armed to the teeth bad guys in a tornado style upheaval. It took Bollywood ages to catch up, but catch up it did finally. A film full of bullets raining left right centre, bombs and drones firing away every so often, more gun firing sounds then actual dialogues, probably the Hindi film with the least dialogues ever. Action sequences are slickly shot but they lack imagination and originality. Every other scene reminds you of something already seen in a Hollywood film, whether it is high octane Bond like chase in the Alps, or True Lies style couple on a mission, or John McCane from Die Hard, or the most obvious one many army in the form of Rambo Stallone.
The Tiger is on a mission, and YRF has gone back to the ever successful 1970-1980 formula of having a crack team composed of wannabe stars, each getting his 2 minutes in the limelight. The wannabe stars from diverse ethnic background to highlight the unity of strength, together with a pakka Musalman who is more patriotic and loyal to his country than anyone who has walked on the planet Earth. Typical 1970s formula, often successfully played out by Pran-saab.
As regards the music department, you have the constant playing of the Tiger signature tune in the background. So much so that your ears keep on imagining that music hours after you leave the theatre. And the non stop noise of weapons going off all the time. Surprising that no environmental protection groups brought out a PIL to seek a ban on the noise pollution.
On the acting front, the only, one and only, character that made a positive and powerful impact, is Paresh Rawal. Rest all, including Karnad are just props. And yeah, for those who crave it, there is this prolonged topless scene of Salman.
All this is enough to ensure that this average product goes on to be a commercial success. For guys looking for good entertainment, brace yourself for a third installment because this is going to generate enough return on investment for YRF and brand Salman.
The promos look dull. Salman is turned into a desi Sylvester Rambo Stallone. Rehashed action sequences. If promos are so disheartening, I wonder what the movie is going to be like. YRF just milking on the success of Tiger of 5 years ago?