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Batti Gul Meter Chalu,
Sui Dhaaga – Made In India
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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?
Everything about it is loud. Characters are loud, music is loud, dialogues are loud, treatment is loud. Every girl playing the prostitute thinks that she is either Jay or Veeru playing a role in Sholay. The situations are nonsensical. Dialogues are written by someone who seems to have had something illegal to smoke. This is a movie which might have worked in the 1980s but certainly not in 2017. Too dramatic, every one barring Vidhya Balan is trying to overact and over achieve in that department compared to everyone else. A stupid film about a brothel in the middle of nowhere where an international border is to be drawn. Why the drama and emotions? Just shift the kotha by few metres and all is well. Anyways the kotha is in the middle of nowhere, who the heck will care if it is moved few metres to the east or west.
Absolutely a pointless film.
Only saving grace is Vidhya Balan, and surprise of surprise Chunky Pandey. But still the two together are not reasons enough to suffer this cacophony.
Hello!Do you want to watch a light hearted, fun filled, enjoyable film? Tumhari Sulu is waiting.
Nice simple film, based on the struggling lives of a lower middle class Mumbai family (if Virar can be referred to as Mumbai). Your typical difficulties to make ends meet in between an upwardly mobile society with the constant money splashing temptations, social and family pressures, work doldrums, dreams of being an overnight success in a new enterprise, and amongst all this the life moving on.
At times I found the film over melodramatic, and situations too exaggerated, but all in acceptable proportions.
Vidhya Balan is the star of the film. She makes Sulochana Ashok Dubey so much identifiable as your next door Sulubhabhi. She is so very realistic that as audience you connect fully with each celebration of a joyful event, and you feel her tears at each stumble in life. She plays to perfection a simple, spontaneous, ever optimist, innocent, charming mother housewife sister daughter neighbour. She is endearing.
Neha Dhupia did a superb job too. As your typical 2017 professional woman entirely focussed on career (and thanks to the director for not straying into portraying other facets), she puts in a commendable performance.
Manav Kaul is very believable too.
This is a nice light film. Simple characters, simple story line, simple execution. As if Basu Chatterjee donned the director's hat once again.
@TimELiebe: I agree with your opinion i.e.Vidya Balan has more flops than hits because she takes more risks as an actress,
And I would also like to add that she is willing to take more risks as she is confident of herself, which reduces her insecurity. Very few Indian actresses fall in that category, I could off hand only think of Tabu from the current crop to be of the same league as Vidhya Balan.
The name Vidhya Balan associated to a project always gives rise to a real sense of anticipation.
Despite the fact that it has been 4 or 5 years since the last real superhit film delivered by Vidhya Balan. Despite the fact that due to the last 4 or 5 years of one flop after another she now probably has more flops than hits to her credit. Despite all this, every new project that Vidhya endorses gives you that feeling that this one will be an enjoyable film. That is the magic of Vidhya Balan.
And so I await this film. Of course, given the string of recent flops my expectations are bit tempered - but that should work out in the favour of the film.
Hoping to catch it in the theatre this weekend. However, if Meeta's review is not very positive then the plans might change ;-)
I love slapstick comedies, provided they are well made. Anees Bazmee films like No Entry and Welcome have an enviable commercial record. And with a twins with a twist storyline this film looks promising.
Alas, all's not tasty that looks delicious.
The film, your typical nonsensical logicless fare, doesn't have enough steam. The only one with superb comical timing is Anil Kapoor. He makes the proceedings enjoyable. Pawan Malhotra, not having comic scenes, is still a powerhouse of performance. Rest all are absolutely forgettable. For Ileana I would repeat what I wrote in some other review, she needs acting classes. Arjun Kapoor surprisingly still gets A category films despite his lack of skills in the acting department.
Just skip this film. Nothing of mentionable quality can be found in it.
Double role films have been a regular favorite of Bollywood producers and audiences. And so having watched the trailer that seemed to bring your typical Action Jackson and Comedy of Errors type of film I settled in to watch the film.
The initial look and feel is your typical Dharma flavoured candy floss of US life with a nerdy white shirt suited and tie wearing SUV driving and living the American dream male oriented film (watch Simran to get a real feel of your typical middle class Indian family home's interior).
The movie, as expected from the trailer, moves into the life of the other dare devil guy's lifestyle. And then the inevitable crossing of the 2 lives.
A fast paced but pointless film. You have seen this all before. A hash of several such films from Bollywood and Hollywood. Nothing remains in memory after the film ends.
After watching Simran I find myself in a dilemma. A dilemma where my gut feeling is not to recommend this film as a must watch. On the other hand I do feel that the way the director has captured the ethos of a typical non-white coloured economic Indian migrant to the USA is brilliant all with the complete out of synch with the 2nd generation American born child. Also a pretty good performance from Kangana who managed to pull me into her emotional world so much so that I found myself worrying for the lead character mid way through the film.
Then why this dilemma?
I guess because there is no visible objective to the film. Why is the film made? No particular reason. Also the notion of someone suffering from illness of gambling, stealing and manipulation might seem very alien to many and would miss the connect.
So overall 100/100 for brownie points. But very low marks on the other fronts.
Hollywood has at least half a dozen films based on prison breaks. Most notable of course being the WWII films, but once in a while a non WWII film like escaping from maximum prison of Alcatraz is also made. Having watched those films, I kind of expected the standard formula of escape from prison films.
Lucknow Central starts off along the formulaic films, and it would be fair to state that it has the elementary ingredients of these escape films. But then it changes course. Somewhere along the course, given the music background to the film, and the escape routine built in - I was also thinking along the lines of Sound of Music. Of course that was wishful thinking, Lucknow Central has nothing as sublime as the Sound of Music.
The first half of the movie, even though a bit long, was fairly gripping and engaging. It could have been shorter, but it is not boring. The second half unfortunately is where things go completely haywire. It disappoints and disappoints big time. And after a while you just give up on the entire film - it just stops making any logical or entertaining sense.
On the acting front, the only 2 faces that stand out are those of Deepak Dobriyal and Ronit Roy. Deepak outshines and presents a completely different personality of himself than what we have seen of him in other films so far. Ronit Roy too is magnificient in the role of the jailor - but I felt towards the 2nd half that his role was not written seriously. In the 2nd half he sways from a cunning wily jailor to a moron, and back to a cunning wily jailor. A bit like Prem Chopra in the 1970s. Other than these 2 all other are strictly alright, no particular marks.
Before signing off, I would like to give a few accolades to the creative use of the Nagin song - mein teri dushman, dushman tu mera. A truly laugh out loud moment in the theatre.
The only thing that I would like to say after watching this film is that "Ek Baar Bhi Na Dekho".
I was wary to watch this movie as I knew that it was made in a documentary format. However, after having watched it I can state that I immensely enjoyed the film. And I believe that most of the people would enjoy this film, even if they are not hardcore Sachin fans.
The film is nicely made with a mix of real life videos juxtaposed with reconstructed pieces with actors. It is always a pleasure to see the rise of a legend from humble beginnings. Lots of goosebump moments, lots of thrills to catch snippets of some of the proudest moments of Indian cricket. Special mention to the treatment meted out by a 16 year old to the arrogance of a senior Abdul Qadir - and scoring a swashbuckling 53 runs from 18 balls.
It is a nice film. It is the need of the hour, to recognize and give the freedom to our mother, sister, wife, daughter. Recognition might be there but often the giving part is missing.
Before deciding to watch the film, please read carefully the parental guidance rating above. Many scenes are extremely uncomfortable to watch in family. They are very sexplicit.
Coming to the censor board controversy. As per my understanding the bone of contention was not the adults content, that is easily managed with an "A" certificate. The issue on hand is the portrayal of Muslims as ultra conservative and patriarchal. Films should not and must not be allowed to malign an entire region, community, religion (remember the generic maligning of Punjabis by a certain Kashyap guy?). The film clearly gives the message against a community, even if that was not intended. There was no balancing act done by showing a liberal Muslim family. And that is incorrect to portray. This portrayal is equivalent to saying every Muslim is a terrorist; which as everyone accepts is wrong. Now we can always debate if it is the job of the Indian Censor Board to discourage films from inciting religious hatred. I believe that there has to be a watchdog, referee, umpire, whatever you want to name to ensure a fair match.
@Meeta: the promo is of the film "Secret Superstar" ;-) scheduled for Diwali release.
I must have now watched the trailer at least 5 times on the giant screen - and I am fed up of watching its promo. The first time I watched it, it seemed alright. Second time a bit less okay. By the 3rd time I started getting seriously annoyed by this trailer. By now I know the trailer by heart. Each time it is the exact same trailer.