Salman Khan, Tabu, Daisy Shah, Ashmit Patel, Danny Denzongpa, Sana Khan, Suniel Shetty, Mohnish Bahl

Sohail Khan

A formerly decorated Army officer Jai Agnihotri (Salman Khan) is now leading the life of a common man. Employed as a mechanic in a garage, he still cannot withstand the social evils which are going viral around us. Raising his voice against the wrong doers lands him and his family in stick troubles.

Despite repeated attempts to stay off trouble for the sake of his lady love (Daisy Shah), he cannot ignore the chain of things and ends up pitted opposite the evil Home Minister Dasharath Singh (Danny).

Whether Jai manages to get his noble hearted intentions to trigger further or loses to Singh is what the story tracks down.

Most of the times Salman movies talks less about the script. But this one being an exception. The credits of Jai Ho goes to its story itself. The execution lacks a bit. The film’s story comes without excessive baggage of intelligence and is kept simplistic in its vein. No one watches Salman’s films for exhilarating acting or story. We understand the limitations of the genre he has established but definitely the scripts he chooses have an intrinsic element of relatability. The screenplay of the movie is poor in the first half. But the movie really makes a great mark in its second half. The first half screenplay of the movie could have been made more interesting but Sohail Khan and his team failed to generate some good remarks in first half. Post interval movie stands good. 

Dialogues of the movie are fantastic. Especially :" AAM AADMI SOTA HUA SHER HAI UNGLI MAT KAR, WARNA CHEER FAAD DEGA" , "Thank You mat bolo instead teen logon ki madat karna aur unse kehna ki wo teen logo ki madat kare". Dialogues are good for the movie.

JAI HO is a Salman show through and through and the actor rises above the script to deliver a bravura performance. The actor fires on all cylinders, standing tall and dwarfing everything and everyone in sight. You cannot take your eyes off him, he's simply incredible. Tabu returns to the masala zone after a hiatus and the choice of film couldn't be more appropriate. For, there's ample meat in her character to stand out. Daisy Shah doesn't really get much scope, but you cannot ignore the fact that she's a terrific and graceful dancer. Danny Denzongpa enacts the evil politician with gusto. Sana Khan leaves a mark in a role that has negative shades. Genelia Deshmukh is wonderful in a brief but significant role. Nadira Babbar is first-rate. Pulkit Samrat is efficient. Naman Jain, who enacts the role of Salman's nephew, is super. Suniel Shetty appears in a cameo. 

The film has a strong supporting cast, which includes Mahesh Manjrekar, Aditya Pancholi, Mohnish Bahl, Sharad Kapoor, Mahesh Thakur, Mukul Dev, Ashmit Patel, Yash Tonk, Varun Badola, Vatsal Sheth, Tulip Joshi, Haroon Qazi and Sudesh Lehri. They enact their respective characters well. Santosh Shukla makes a confident big screen debut. Also, the actor who enacts the part of the drunkard stands out. 

Sohail Khan attempts to create a positive jingoism of warmth and goodness. But the director fails to fabricate the genuineness as it doesn’t emerge out the required intensity due to the over enthusiasm of its screenplay The preaching is overdone and had it not been for Salman Khan the film would have been entirely unwatchable. The romance scenes were half baked and did not have the expected fluff. Often the film’s screenplay inflicts severe wounds on the intelligence of the audiences but when there is such unbelievable thunderous action to get mesmerized by, why waste time picking out logic lapses in the film. If you were looking for logic, Dedh Ishqiya would have been a super-hit. Especially, in the climax scene, when an army tanker guns down people who come to kill Jai, if you manage to find logic then hats off to you!

The brisk editing works fine as the film remains fast paced and doesn’t fall slack too much. The music is unbearable.

Jai Ho is not a masala entertainer. It is a movie with a script but could not stand for good execution. Salman is the key factor of the movie which will for sure make it a All time Blockbuster. 

My Rating for the movie is 3 on 5

The story starts with the history of Great Indian Circus in Chicago which is mortgaged at the Western Chicago Bank. Its owner Iqbal (Jackie Shroff) has found the magic trick of wooing the bankers but loses the bait unfortunately.

On an eventful night of the circus, Iqbal kills himself due to his inability to save his circus. Years later, Chicago bank is being robbed relentlessly and the thief leaves a Joker’s mask each time. Iqbal’s son Sahir(Aamir Khan) manages to start up their circus again co-incidentally. The Bombay Police is summoned and obvious links are found between Iqbal’s son Sahir’s involvement in the burglary.

Will Jai (Abhishek Bachchan) and Ali(Uday Chopra) win against Sahir who is determined to seek revenge and destroy the bank for life?

It takes a while for the film’s plot to reveal completely. Luckily the writers pack in ample suspense to keep your interest latched to the film from the scene go. While Dhoom and Dhoom 2 both worked because of style and slickness, this one works for its grit. It essentially has all the fun and entertainment that comes as a package from the franchise but luckily this time the makers did not decide to give the story a miss. Aamir’s bikes and all the death defying stunts are extremely filmy to the core giving the audiences a taste of what essentially qualifies as Bollywood, but this time they infuse a highly emotional story.

The second half of the movie comes with a mindblowing twist and the suspense when watched makes audience more engaged.

It is best to reveal as little as possible about Aamir’s character. To say the least, Aamir Khan is sincere in whatever he does. He plays every shade of his role with smoothness, ease and perfection.

Katrina Kaif is beautiful in every frame. She is perfect with her acts and the dance. Sadly, her role isn’t written with more meat or emotion. Abhishek Bachchan is as good as Jai Dixit as he has always been. And no curt words for Uday Chopra. God bless him for all the comic relief he provides. Without him, Dhoom would be a brooding and distastefully somber.

Dhoom 3 was spectacular and majestic. Keeping a strong hold on the emotional prowess of its plot, the film sews in the slick action so awe strikingly. Don’t go in expecting an Aamir Khan film because it isn’t without flaws. But it gets right everything that is a must for commercial films, especially its ability to grasp on to the interest of audiences. Even cool thieves are vulnerable people and to be able to get that correct is what makes Dhoom 3 a winner. One bang up job! I am going with 4.5 stars for the only hitch that good films don’t necessarily need to stretch this long.

The story is handpicked from the land of opium growers where the age old rivalry between Shivraj (Sonu Sood) and Parmar (Ashish Vidyarthi) is the norm of the village named Dhartipur. Shivraj strikes gold when he hires a man Romeo Rajkumar (Shahid Kapoor) who is neat with his work and beats zestfully. However Shivraj and Romeo suffer a massive fallout when they both fall for Parmar’s niece Chanda (Sonakshi SInha).

While Parmar and Shivraj end their opium rivalry and decide to become relatives finally ending their tussle, Romeo challenges Shivraj that he will marry his lady love on the same day that is decided for his wedding to Chanda.

Henceforth begins Romeo’s journey to win over Shivraj at every step and make Chanda his own. Will Shivraj fail to marry Chanda and fail the challenge Romeo posed to him? Or use his power to crush his former protege? Watch R…Rajkumar to know how the story unfolds.

Shahid Kapoor to his credit is in good form. He delivers a few genuine laughs and shows a flair for fights! Intense and enjoyable, perhaps the only flaw with his work was he wasn’t enjoying his role enough. The infectious gusto of the actor is indeed there but the scorching screen presence of the lead man is clearly half done.

Sonakshi Sinha is unfortunately the female Prakash Raj of the acting world. She is there is every freaking film, delivering the same role each time rendering no new flavor to her character. There is running joke I crack to my friends about her, how you can cut her scenes from any of her films and paste it in her next, it would do. She is becoming boring and since the girl has shown caliber before, wasting herself in roles where she is called lollypop is unfortunate.

Sonu Sood is not exemplary. Missing the viciousness of Chedi Singh, neither is he a perfect lecher or outright evil. With cocky lines and the brutal smile, he works just average but not exceedingly impressive.

The supporting cast can might as well be ignored because they were that unremarkable.

R…Rajkumar is a below ordinary, at best Prabhudheva’s most modest work till date. Rating 2 on 5

Evolving in the milieu of U.P’s hinterland, the story of Bullett Raja is about the life of its titular character Raja Mishra (Saif Ali Khan). A strange course of events led his life from a scuffle to a gangwar. Ending up at a wedding party, he unusually bonds with Rudra (Jimmy Shergill). The gang attack at a wedding party ends them both in jail and thus begins their journey to becoming the warlords of the heartlands.

Emerging as the zone’s most dreadful men, the duo incurred the wrath of a famous businessman due to their don’t-care-a-damn attitude. The rivalry costed them a hefty price and then begins the journey Raja takes up to avenge the death of his loyal friend Rudra.

In these tough times, he find love with Mitali whose warmth gave him solace and made him even more determined to tick off the men who killed his loyal accomplice and best friend. Can Raja kill Rudra’s murderers or he himself gets entrapped in the web of industrial-political nexus who see him as a threat? Watch Bullett Rja to unravel the story.

Bullett Raja sounds inappropriate from the word go! In my words, the film was flat devoid of fun, thrill, excitement or anything else it promises you. It is insipid, tasteless and so utterly lame that it take a toll on your intelligence at more than one occassions. How else will you make sense of the life of ‘political commando’ Raja Mishra (to be pronounced Misra henceforth) For those who do not have any connections with the anti-social world, Misra is a goon who functions with his accomplice (Rudra).

When the story begins, he is yet another unemployed young man looking for a job but life twists his story so differently that he ends up in jail with his friend Rudra and begin travelling on an entirely different path. While the story appears to be extremely believable and relatable so far completely transforms itself. It reduces to being a mockery of Indian law system as Dhulia and his co-writer conjure up a script that neither classifies as a satire nor a drama.

The two small time petty goons rise to the position of gangsters under the blessing of a local politician. It was all going hunky dory for the duo till a series of entirely needless twists and countertwists lead to the death of Rudra. The story shifts tinge as it now becomes a revenge tale with the absolutely undesired romantic angle added to it in vain.

The script itself is so unenjoyable that there is indeed very little to rescue it. The story has no embellishing factor that offers anything new to the audiences. It is the same old Sholay story served on the background of a political canvas that later takes color of a revenge plot with a climax that classifies as doltish and unintelligent. To gulp down a hotel like treatment in U.P’s jails and inmates controlling the political air via skype is hopefully just a myth. Also to add Rani Lakshmi Bai’s Marathi connect is worst possible clap-trap the writers could think of.

Saif Ali Khan has proved his mettle for such roles in Omkara but Raja Misra doesn’t even near the intensity of Langda Tyagi. Tyagi was fiery, fiesty, bold and intense. Raja is frivolous and lacks the enthusiasm and energy. It would be advisable that Saif sticks to playing the chocolate boy ala Hum Tum. Somehow he is way better suited in such roles.

Sonakshi Sinha plays the same role she has been playing every film ever since she entered the industry. Except for Lootera, the actress has not shown any inclination to try a new avatar. She is lax and content with the role meted out to her and the actress does the same without any qualms. I was all of praise for her after Lootera but seeing her slip into roles so much beneath her caliber is heart breaking.

Jimmy Shergill is an absolute show stealer. For the entire first half, it will be easier to give Saif a miss and keep your eyes latched on him. Despite the lack of support from the script, his chemistry with Saif stands as the film’s only impressive bit.

Raj Babbar is great in his bit and so is Gulshan Grover. But both Ravi Kishen and Vidyut Jamwal are wasted in the film. Vidyut especially makes a solid entry and shows traces of getting you glued to the screens. But with such limited screen space, the actor is seen wasting his caliber in a role that doesn’t do justice to his vivacious potential.

Tigmanshu Dhulia bites off more than he can swallow in this one. An overtly ambitious project, Dhulia tries to bring aesthetic taste to mainstream commercial cinema with this film. But the film fails to turn into a defining work due to its predictable storyline. Also I have always admired Dhulia’s gritty style of narration but the screenplay of Bullett Raja is dishearteningly terrible. For the entire first hour of the film, the story fails to come to your grasp. Drama shifts so swiftly from one instance to another that the much needed serenity which is essential in storytelling remains obsolete in the film. It is impactless and inherently passive without the steam that I was expecting.

Both the film’s music and editing were shabby. The editing especially took the film down as it chopped off the more emotional sequences of the story and retained the drabber ones. However the film’s dialogues does evoke appreciation as a few of them were breathtaking in parts. Sample this, “Bhai mara hai hamara, badla lena parampara hai. Koi corporate culture nahin hai ki agli deal mein adjust kar lenge. ” Lines like these leave the maximum impact with the rustic effect that Dhulia had attempted to blow us over with. However, the alarmingly incoherent overall product has no flair that we associate with the director, which is the worst part of the film.

Bullett Raja with its grave minuses and fewer plusses is an underwhelming film much to my disbelief. The last few films of Dhulia had made me rank him amongst the top notch filmmakers of this generation. Unfortunately the man goes wrong with his favorite recipe of showcasing the ills of political nexus, as he hands out a story that barely has any moments and remains flat for most part. Saif Ali Khan and Jimmy Shergill’s chemistry is the only best part from the acting section. But in all its triteness, Bullett Raja is Dhulia’s most uninspired work till date. I am going with a 2/5 with the remark that commercial cinema is definitely not the director’s cup of tea.

Article Courtesy : Koimoi

The story itself is exceptionally predictable. But the reason why it struck me so strongly was because of its vibrant energy. There are barely any slack moments in this beaten up and typical story. The most common problem with romantic comedies is the use of similar ingredients, which kills the earnestness of the story. However, the story of GTPM has been framed keeping the casual feel intact but the film doesn’t get flimsy at any point.

Imran Khan gives his usual eyebrow dancing performance. His rendering of the role is bland but his character isn’t. He plays Sriram with a distant passiveness and since the guy is an expert at the inability of syncing himself in the character, the role is tailor made for him as much as Ek Main Aur Ekk Tu‘s lead man.

Punit Malhotra has shown a marked improvement since his last venture. There are innumerable flaws in this film too but at no point can you accuse this one of being shallow. He finally has delivered a coming-of-age story. The best part about Malhotra’s work is he has paid close attention to the nuances of his characters. The screenplay too is wonderfully written maintaining the story’s steam all through. It has the feel of staple romantic comedies and Malhotra fulfills the challenging of dishing up the usual appealingly. The exciting music of the film serves well in keeping the tempo maintained. Luckily the film doesn’t stagnate in its dull moments and that makes it favorable for GTPM.

Punit Malhotra’s GTPM isn’t flawless but it is immensely watchable. The film’s positives easily topples its negatives which is why I recommend you to watch this. Kareena-Imran are one unconventionally fantastic on screen pair who make sure GTPM is a wonderful experience for you. If you thought Ayan Mukherji was Karan Johar’s true protege, Punit Malhotra has upped his rank by emerging as a competitor. I am going with a 3/5 for this rom-com. This one almost gave me a cinema high!

Article Courtsey : Koimoi

Collector Karanjit Talwar (Sunny Deol) is known for his honesty in the political circles. His life comes to a standstill following a posting to Bhadori where the corrupt Bhudev Singh’s (Prakaj Raj) words is the law of the land. As Talwar tries to stop the area’s malpractices with his strict norms, the man faces the brunt of his good deeds as the villain victimized his family.

It is not long before Talwar loses his dear ones and lands up in jail framed under charges of crimes he hasn’t even committed. But the determined man maintains his will power and mental strength emerging as a social worker under the name of Singh Saab and fights Bhudev’s intricate web of evil doings. The film retells how Singh Saab reforms Bhudev and takes a unique revenge on the guy.

It isn’t a supremely brilliant script but something about the story ensures it has his heart in the right place. The film traces the story of Singh Saab, who was formerly the Collector of a small town in North India. Somehow his life sees a drastic shift when the man is posted in Bhadori. The topsy turvy change of events lands him in jail, which kicks of the vigorous chain of events.

There is something about stereotypical Bollywood heroes, the notions of which are constantly shifting contours these days. Earlier they used to reek of idealism and were heavily moralistic. Interestingly, Singh Saab The Great reprises the same flavor of righteousness in the film and gets preachy without hitting the wrong note. It is the return of the desi hero on screen after a good long time.

The villain is an overbearing evil spawn of a human being who destroys Karanjit Talwar’s life with a seething brutality. The film makes a comment of how the worst of evils can’t overshadow the kindness and goodness in the world. The last movie which came closest to this theme was Prakash Jha’s Satyagraha which lost plot despite being well intentioned. Anil Sharma, however, uses a more layman method to reach out a similar message to the public. Singh Saab The Great wasn’t a sermon as from time to time the director remembers to give its audiences judicious dozes of action and masala.

I specifically like Sunny Deol’s Messiah Avatar. Despite spending years in the jail after being falsely framed, he turns to the good path with the same strength and potency. Singh Saab‘s story is largely simplistic which makes its an easy feed for every kind of audiences thus widening its reach. The story uses very stereotypical props which comprises of an idealistic collector and a slimy plotting villain. However, after watching a series of films which subtly glorify criminals this one is surely a respite.

There are heavy hindrances in the plotline too. Sunny Deol’s romantic angle and chemistry with his wife is dull. What saves the simplistic story is the execution which is powerful and emphatic.

Sunny Deol syncs himself in an all powerful and strong avatar. In the role of an intense and upright man, Deol fits perfectly with his gentle eyes that reflects goodness. I would take the cue to mention that the film has awfully believable stunts. When Sunny Deol thrashes someone with that intensity it sounds more plausible unlike a lanky looking hero beating goons to pulp. He is solemn is his role which becomes one of the film’s strongest highlight points.

Urvashi Rautela is a misfit. Failing to bring out the chemistry with Sunny Deol, I did not feel very bad when her role was unceremoniously cut short in the film.

Amrita Rao is  good in parts. Though I did not like her in Satyagraha, I can safely say this film is an improvement to her last one in which she was absolutely wasted.

Prakash Raj delivers a lip smackingly delicious evil performance. One of his best work since Singham, even with fewer clap traps, he manages to make you detest him.

Johny Lever and Sanjay Mishra are utterly unused as clownish side kicks which could have easily been left out.

Anil Sharma’s direction doesn’t get overtly heavy handed as it manages to leave by a good impact, though it is important to chide the director for making us bear through the statutory romantic track that acts as an initial catalyst in creating the skeletal framework of the story. It is a given that you’ll have to sit through the exhaustive chemistry of Urvashi and Sunny to deserve the combustible teaming of Prakash Raj and Sunny Deol.

The film’s tacky camerawork and terrible music with songs called ‘Palang Tod’ can all be excused for its flavorsome nifty action scenes. The film’s over familiar story with the family angle and social welfare theme doesn’t quite wear you out due to its satisfactory ending. This isn’t Anil Sharma’s best work but it is watchable.

Singh Saab The Great is far from an impeccable film. Rather it is an exclusively loud film but in an era where Bollywood is becoming unusually predictable, here is a story which shows a flair of rare novelty. For Sunny Deol and Prakash Raj’s pummeling duels, I found the film satiating for its potent message. It is way better than the ranks of awfully mediocre masala film we are compelled to watch week after week. Just because Anil Sharma has dared to try his hand at anything remotely fresh I am going with a 3/5 for this one. A strict not-to-missed for Sunny Deol fans who are sure to have an enjoyable time.

Article Source : Koimoi

The film tracks the story of Ram (Ranveer Singh) and Leela(Deepika Padukone) who belong to two feuding families, surrounded by the constant animosity of the long drawn enemity, in the prevailing aura of violence and bloodshed. On the day of holi, Ram sneaks into Leela’s house. The two meet and fall in love. They two escape away soon to get married but are soon dragged back home creating further odds in their love story.

So do Ram and leela finish their love story and live happily ever after?

Set on the backdrop of Gujarat, the film is Sanjay Leela Bhansali’s imaginative take on Shakespeare’s most popular play Romeo and Juliet. I must say the movie is a good adaption of the novel but it really lacks screenplay. The movie has a very weak screenplay especially in the post interval portion the movie lacks the love part of it. The dialogues are great but not of Bhansali standard. The movie reminds you of Devdas as the titles start but the dialogues are nowhere close to Devdas.

Ranveer Singh is perfect as Ram. Born into a violent family with warring opponents, he gives Ram a lingering charm. I have never been a fan of his acting but the gusto and the energy with which he plays every scene, every frame is so effervescent that he is nothing short of superlative.

Deepika Padukone matches Ranveer’s brilliance with her own fiesty and enthusiastic performance. It is becoming a norm that every time you see Deepika on screen, you feel she has become better than her last stint. She looks breathtaking in most scenes to her credit and more than her fiery nature and robust character, she gives Leela elegance and strength in equal measures.

Their chemistry demands much to the script but it clicks only in the first half of the film. The post interval portion contains no chemistry in it. 

Music of the movie is Outstanding. It is the only factor which  makes you happy at the end. All the goodness of the first half gets to zero once movie progresses in the second half. I must say the movie could have done better but it is really worst. The direction and cinematography is good. But the weaker screenplay makes it go in vain. 

I say it as a cinematography and music win but RAMLEELA is defnately not amonst the OUTSTANDING ones. For me it is a one time watch affair. 

I would rate it 3 on 5.

The movie opens in a booming red light area in Mumbai’s Grant Road. Dealing with a story of Rajjo who is bound in the clutches of her pimps, love comes to her rescue in form of Chandu (Paras). Younger than her, and coming of a good family, the boy finds himself drawn to Rajjo. Smitten by her, the two tie the knot.

Shunned by society and his parents, they begin life afresh. But Rajjo’s past and the stigma of being a prostitute doesn’t leave her. Coming face to face with the same people from her past, the film is a tale of Rajjo and how she finally finds social acceptability.

For a script, it has a rather simple plot. A puppy-adorable looking young boy is smitten by a beautiful star nautch girl. The story follows his struggle to marry her and how they fight the stigma of her social background. There are too many subplots that it is advisable you don’t try to keep a track of them. The screenplay is scattered and hazy. It moves too briskly for my taste. Ending abruptly, there are too many looseends left untied at the end of the film. It is disturbing to watch this film as it challenges your intellect.

The dialogues are so out of the world that you feel that the script caters to the interests of aliens for sure. The story moves aimlessly towards the most convoluted climax Bollywood has come up in the recent times.

The most prevailing thought was why would someone make this film. It would have been more apt had they titled the film WHY. The makers have no idea what brutality it is and which level of torture have they inflicted on us.

Sample this dialogue, “Kothey pe 100 logon ki banne se, ghar pe ek mard ko rakhna zyada mushkil.” And in a scene Mahesh Manjrekar says, “Maine Lala ka auzaar kat diya.” It is a given that only Prakash Raj movies have such terrible dialogues, but this movie ousts his worst so far.

Kangana Ranaut’s last performance as Kaya was a blessing compared to this. What remains constant is her bad dialogue delivery and over dramatic nautch girl act. However she is confident, which isn’t a praise because it isn’t appreciable that the girl is bad so confidently.

Paras Arora has the looks of an adorable child which works in his favor. The boy doesn’t act and presumably cannot act.

I have no idea why Mahesh Manjrekar and Dalip Tahil agreed for the film at all. Men of their potential should bend beneath their stature under any cost.

And Prakash Raj is ace as the villain who makes you laugh with his constant caricatures. Why is he a common figure in all films these days is unknown to me but it surely needs to change.

Director Vishwas Patil was surely not clear about what he was trying to make. Anyone with some knowledge of cinema would not let this print of the film release. It was haphazard, unconvincing and utterly flimsy. The story has no steam from the beginning. Awfully boring, and laughworthy, the worst player here was editing. It all seemed like individual shots pasted together. There is barely any connection between one scene and another. For example in a one scene you see Kangana and Paras laying on the floors of their house, beaten up by goons. Two scenes later she is dancing in full form. Nothing syncs; it is all so starkly blank, bland and painful to watch. Expect a terrible headache, like I have one. And perhaps Aspirin won’t save me this time!

It was just last Friday that I watched Satya 2 and I erroneously assumed that is the worst that can happen to me or Bollywood. Now there is Rajjo with no caliber, or potential and still making it to the theaters this week. It is a shameful piece of cinema. I am flabbergasted at this ridiculous film. Even zero seemed like a high rating but I am left with no option, hence a 0 on 5 for this film. Filmmakers don’t respect art anymore and that’s what the problem is. I echo the sentiments of a certain song in the film -Kalega hai haazir, where’s the khanjar man? Kill me already!

 Courtesy: Koimoi

With every film, Sanjay Leela Bhansali [SLB] takes the audience expectations to a higher altitude. The expectations from GOLIYON KI RAASLEELA RAM-LEELA are no less. The effervescent colors, the attention-grabbing visuals, the intense drama ingeniously intertwined in the screenplay, the alluring soundtrack and the electrifying chemistry between the lead pair has caught the attention of one and all. With GOLIYON KI RAASLEELA RAM-LEELA, SLB, one of the finest storytellers of our times, is all set to outclass himself...and also prove the skeptics and cynics wrong, who may've felt that he has lost his way while trying to court triumph.

You do know what to expect from an SLB film, since the supremely talented storyteller emits the right signals via the promos of his films. It's no different with GOLIYON KI RAASLEELA RAM-LEELA: SLB has stirred the audience imagination by attempting a love story amidst guns and roses. Sure, SLB is inspired by William Shakespeare's love saga 'Romeo and Juliet', but SLB makes sure he narrates the passionate love story of star-crossed lovers from warring families in his trademark individualistic style. 

Set in Gujarat, GOLIYON KI RAASLEELA RAM-LEELA is SLB's most 'commercial' film as a director. Also, his best work so far. Undoubtedly! It's the kind of film that you carry back with you. The hi-octane drama, the blazing guns, the passionate romance, the haunting melodies, the heart-melting emotions... SLB is an exceptional director with a remarkable vision and GOLIYON KI RAASLEELA RAM-LEELA only bolsters the actuality.

GOLIYON KI RAASLEELA RAM-LEELA narrates the story of Ram [Ranveer Singh] and Leela [Deepika Padukone]. The hostility and resentment between their families is an open secret, but as luck would have it, Ram and Leela fall in love. When truth dawns upon the respective families, a storm ensues, their worlds collide and a bloody battle occurs...Can Ram and Leela carve their destinies amidst abhorrence and slaughter?

Agree, we have witnessed Shakespeare's adaptation of 'Romeo and Juliet' innumerable times in the past, but SLB makes sure the execution of the written material -- also the way the screenplay [Siddharth-Garima and SLB] progresses -- is way diverse from similar storylines helmed by dream merchants here. The unconventionality he brings to every sequence, the colors he infuses in his frames, the aggressive lingo his characters mouth, the passion and sensuality he brings about in his characters, GOLIYON KI RAASLEELA RAM-LEELA not only has a spellbinding effect, but it ships you to an unfamiliar world absolutely. You may have an inkling of the plot, but you definitely don't know how SLB will give an altogether innovative twirl to the premise.

Celebrated for being a stickler for exactness and meticulousness, SLB makes sure his vision of narrating a story belonging to two warring families is never diluted by unwanted sub-plots or characters. One can gauge the premise at the very outset, but SLB never loses the focal point or deviates from it till the culmination. What unfurls is certainly going to catch a lot of people unaware, for sure.

Hiccups? Yes, the length could've been controlled, towards the latter reels specifically. However, it's a minor hiccup when one looks at the kind of effort that has gone into making every frame come alive.

One of the highpoints of GOLIYON KI RAASLEELA RAM-LEELA is, without doubt, its musical score [SLB, again]. Known for delivering musical gems in the past, the soundtrack of GOLIYON KI RAASLEELA RAM-LEELA is mesmeric, to put it in one word. Each of the songs befits the setting of the film, besides being seeped in melody. The fact that the tunes are on the loop says it all. 'Lahu Munh Lag Gaya', 'Nagada Sang Dhol Baaje', 'Ishqyaun Dhishqyaun', 'Tattad Tattad', 'Ang Laga De' and 'Ram Chahe Leela' are sure-fire hits already. Visually too, each of those songs is distinctively resplendent, with the choreography catching your eye as well. The background score [Monty Sharma] is top notch.

The DoP [Ravi Varman] captures SLB's vision exquisitely and every frame has the unmistakable stamp of flawlessness. The production design [Wasiq Khan] is striking. Action [Sham Kaushal] is absolutely in sync with the demands of the script.

Who would've ever imagined Ranveer Singh and Deepika Padukone to set the screen ablaze when GOLIYON KI RAASLEELA RAM-LEELA was announced? But the chemistry between the two is defining in every sequence, with the actors complimenting each other fantastically. Ranveer, seen in a completely new avatar, had impressed in his earlier endeavors, but he outshines himself in this one. He has surfaced as a much better actor than he ever was, letting himself free of his inhibitions and experimenting with a role that's actually intricate. He's simply flawless.

This is Deepika's year, for sure. Post RACE-2, YEH JAWAANI HAI DEEWANI and CHENNAI EXPRESS, Deepika pulls yet another ace this time. Looking gorgeous as ever and cast in the most demanding role of her career thus far, she wins you over with an act that's unblemished. Actually, the confidence she radiates while portraying this part makes you wonder whether SLB and his writers Siddharth-Garima had penned this character keeping Deepika in mind. The audience is sure to go into raptures while watching Deepika in GOLIYON KI RAASLEELA RAM-LEELA.

Every actor in the supporting cast is simply wonderful. Supriya Pathak [outstanding], Homi Wadia [super], Gulshan Devaiah [brilliant], Richa Chadda [fantastic], Abhimanyu Singh [first-rate], Sharad Kelkar [competent], Barkha Bisht [very good] and Raza Murad [competent], each actor gives his/her best to the enterprise. Priyanka Chopra sizzles in the item number.

On the whole, GOLIYON KI RAASLEELA RAM-LEELA ought to be watched for multiple reasons: the electrifying chemistry between its lead actors, the strong dramatic content, the scintillating musical score, the violent streak in the narrative and of course, Sanjay Leela Bhansali's execution of the material. This is Sanjay Leela Bhansali's most accomplished work to date. It's a work of outstanding artistry. No two opinions about it. A masterpiece by the master craftsman Sanjay Leela Bhansali! 

Article courtesy : Bollywoodhungama

Ramgopal Varma has delivered several exceptional gangster films. As a matter of fact, RGV has made the maximum films in this genre, creating a rich repertoire over the years. SATYA and COMPANY stand out as milestone films, which have influenced and motivated a plethora of gangster films over a period of time. It's no secret that these two films, besides RGV's Hindi debut SHIVA, RANGEELA [a different genre, of course] and SARKAR, have propelled RGV as one of the most respected storytellers of our times. Obviously, one eyes SATYA-2 with equal enthusiasm for obvious reasons. But, let me clarify, SATYA-2 merely borrows the title from SATYA, but is no sequel to the trend-setting SATYA.

The promos of SATYA-2 clearly specify that underworld never becomes redundant. It merely changes form. That, in short, is the essence of this film. Let me clarify, SATYA-2 bears no resemblance to RGV's protégé Puri Jagannadh's Telugu film BUSINESSMAN, like a section of the media would like us to believe. The plot is different and RGV makes sure even the screenplay is way different from films of its ilk.

Just when everyone thinks that the underworld is defunct, Satya [Puneet] arrives in Mumbai to reinvent it and re-establish the mafia. His motive is simple: He wants to be the undisputed don of Mumbai. To start with, Satya floats a company based on the mistakes committed by the earlier dons and executes his master plan. He eliminates three influential people to unleash terror: a leading industrialist, the Police Commissioner and a powerful media baron. What happens next?

Unlike the gangster films of the 1980s and 1990s, which integrated gruesome violence in the narrative, SATYA-2 is more about cerebral power, with violence being an offshoot of the conspiracy that the entrepreneur adopts. The protagonist is suave this time -- unlike the earlier Satya -- and uses the mistakes [committed by the earlier dons] to stay a step ahead of lawbreakers and lawmakers. The cops, obviously, are caught completely off guard, since everyone is clueless of the new criminal on the horizon, his strategies and motives.

Like RGV's previous endeavors, SATYA-2 is loaded with style and attitude. The plot too is shades different from the earlier films in this genre, with RGV moulding it in the thriller format and unleashing the screenplay at a feverish pace. The fact that SATYA-2 is not inspired by any of the gangster films attempted earlier keeps you on the edge and heightens the curiosity. But there are hiccups. The inclusion of songs is a blemish you just cannot disregard. Ideally, a film like SATYA-2 would've had a stronger impact if RGV would've avoided the songs. The songs only work as a speed breaker here. Even the one filmed in Kashmir, post Satya's marriage, is an absolute no-no, despite some stunning visuals it has to offer. Similarly, the romantic track between Satya and his sweetheart is far from mesmerizing.

Additionally, the culmination to the story will meet with extreme reactions. It's an open end and while some may like the thought [I think, it's most appropriate], the conventional types may be discontented since RGV maintains the thought with which he commenced the film: Underworld never dies, it merely changes form.

Having said that, I'd like to add that SATYA-2 has several nail-biting episodes that keep you completely hooked. Also, to give the credit where it's due, the writer does not suffer from SATYA hangover, which is a plus. The scenes are innovative, the screenplay is entrancing for most parts and the sequence of events keeps you drawn to the on-screen proceedings. The background score is effectual, while the cinematography captures the tension adroitly.

Puneet Singh Ratn brings RGV's vision to life. He springs a surprise, essaying a complex part with certainty. Furthermore, he looks intense enough for the part. Anaika [as Chitra] exudes vulnerability, but the conviction is lacking in her performance. Mahesh Thakur is top notch. Aradhna [as Special] leaves an impact. Amitriyaan [as Naara] is expressive enough. He does very well. 

Raj Premi [as RK] is wonderful, while Amal Sehrawat [portraying his son TK] stands out in the sequence when he persuades his father to defy Satya. Ashok Samarth [as Solomon] is first-rate. Kaushal Kapoor [as Purshottam] delivers a power-packed performance. Mrunal Jain is proficient in a brief role.

On the whole, SATYA-2 may not be RGV's best, but there's no denying that it has the right elements that make a quintessential gangster film. However, the KRRISH-3 wave coupled with the arrival of another Superhero film [THOR: THE DARK WORLD] may affect its business prospects.

Lets start the review by the plot. Happily married now, Krrish aka Krishna (Hrithik Roshan) and Priya (Priyanka Chopra) now live with his father Rohit (Hrithik Roshan). A scientist of great potential, Rohit is shown to be working on a project that renders life to a dead organism. On the other hand, the owner of a big pharmaceutical company, Kaal (Vivek Oberoi) is plotting ways to destroy the world.

Belted to a wheel chair, he functions through his own army of mutants mainly Kaya (Kangana Ranaut). Kaal spreads a strange man-made virus that leads to a massive epidemic in Mumbai. Before his team of distinguished scientists could figure out the antidote of the virus, Rohit already make the same formula using Krrish’s blood.

The only way that antidote was possible was using Kaal’s blood sample. This begins a tussle between the world’s two biggest superpowers – Kaal and Krrish. Will Krrish be able to destroy Kaal and restore the safety of mankind. Krrish 3 holds the answer to all your questions in its folds!

The story, screenplay and dialogues of the movie are good. The screenplay dips a little in post interval portions but regains the same in 5-10 minutes. 

Hrithik Roshan as Krrish is ok, yes you heard it ok and not outstanding. The reason behind this one is Hrithik Roshan is great as Rohit as they both start as a comparison competitive characters for the movie. And Hrithik looks great and appealing as Rohit Mehra. Emotional Quotient of Rohit Mehra is really great. Priyanka Chopra is good. Nothing much for her to elaborate. Kagana Ranuat as Kaya is really mindblowing. And above all Vivek Oberoi has come out with an outstanding performance of Kaal.

Rakesh Roshan has made an unimaginative rip-off, strictly abiding by the guidelines of directing a superhero film. And the man is pretty darn good at it, if you must know. There’s no trick in the rule book that he has missed which exactly is the problem here. His effort is highly unimaginative and bland. From a man who risked into making Koi Mil Gaya at a time when dancing around the trees was a norm, you do expect him to venture into something more challenging than merely trying his hand at the magnanimity of superhero flicks! The movie is also good in the emotional quotient. And that is great due to the character of Rohit Mehra. 

The music is average I must say. The songs are not mass appealing which makes a dip in the audience. God Allah aur Baghwan track makes a good remark.

Krrish 3 is a great attempt by Rakesh Roshan. It is good than Krrish but not as great as Koi Mil Gaya. I will give 3 on 5 for this one. It deserves a WATCH.

Exactly a decade back, even Rakesh Roshan would've never envisaged that KOI... MIL GAYA [2003] would cover such a long and prosperous distance, regaling audiences and winning hearts across the globe. The gargantuan success of KOI... MIL GAYA encouraged the Roshans to create one of the most lucrative franchises in India, resulting in KRRISH [2006]... and now KRRISH-3 [2013]. In retrospect, the franchise only got bigger with the passage of time. The scale, the budget, the characters... everything seems like a giant leap than the predecessor. On a parallel track, the expectations attached to the franchise continue to grow manifold.

One of the most expensive films produced in India, KRRISH-3 retains the story of noble versus sinful [the plot is connected with the predecessors], but Roshan Sr. makes sure he renews and revamps the latest installment -- adding the evil mutants to fight the superhero, garnishing the plot with loads of visual effects, et al -- attempting to match the superhero flicks that arrive from Hollywood. The essence remains the same: the superhero has to save the planet from destructive forces. The difference lies in the fact that Roshan Sr. envelopes the typical Indian emotions with technology to tug at your heartstrings and win you over. 

Besides the superhero, another standout aspect of KRRISH-3 is, without a shred of doubt, the antagonist, who is extremely powerful and who has created an army of mutants, which is called maanvar [a combination of maanas/man and jaanwar/animal]. And it is this aspect -- half human-half animal -- that gives this superhero film an edge. The pack of villains [Chameleon Kaya, Rhinoman, Antman, Frogman, Cheetahwoman, Scorpionwoman] challenge the powers of the superhero and the duel that ensues reverberates in your memory much after the screening has concluded.

Additionally, KRRISH-3 is a technical marvel and all those doubting whether the homegrown superhero and visual effects would really match up to the international levels or look outright tacky would stand vanquished. Watch it to believe it, is all I'd say!

After defeating the villainous Dr. Siddhant Arya [Naseeruddin Shah] and bringing his father Rohit [Hrithik Roshan] back from the dead, Krrish [Hrithik, again] continued fighting against evil and saving innocent lives. Now Krishna [Hrithik] is living a happily married life with Priya [Priyanka Chopra], while Rohit is using his scientific brilliance to benefit society. And Krrish is everyone's favorite superhero saviour.

Unknown to them, a dark force is growing in another part of the world. Kaal [Vivek Oberoi], an evil genius, is selfishly misusing his powers to spread fear, death and destruction. And he is being assisted by an army of very dangerous beings, which he has created himself. Not long after Kaal's plans are put into action, both Rohit and Krrish find themselves in front of a crisis of epic proportions, which only they can resolve, together. But when they finally cross paths with Kaal and his army, neither of them is prepared for what lies ahead.

Kaal not only brings the world to the brink of disaster, he also puts the strength and love of Krishna and his family to test. And Krrish has to somehow find the power within to face an unbeatable foe. The greatest battle between good and wicked sets in motion...

Rakesh Roshan has adapted himself to the fast-changing times. His clutch on the emotional quotient is apparent in every venture, but in KRRISH-3, the marriage of content and VFX is the motivating force, its biggest USP, which sets it apart from his previous directorial ventures. The veteran knows with experience that mere VFX minus drama/emotions will fall flat on its face and at the same time, with Hollywood invading the marquee with technical marvels, one has to contend with global standards too. Roshan Sr. smartly assimilates the esteemed formula of good versus evil with the technical wizardry of today to create a visual spectacle that is sure to redefine the escapist cinema we are synonymous with.

From the writing point of view, while the first half introduces us to the characters and the conflict sets in motion, it's the second hour that works like magic, holding you attentive till the last frame. Kangna's character is one of the striking aspects, Vivek's villainy reaches its crescendo and the fight between good and evil, towards the second half, is the hallmark of the enterprise. Besides the VFX, the look of the characters catches your eye. The costumes, the makeup, the overall makeover of the characters is truly imaginative, with the director and those associated in the respective departments running their imagination wild to create an impression.

The soundtrack of KRRISH-3 is ordinary, although the songs are well filmed, especially the one between Hrithik and Kangna. Having said that I'd like to add that the soundtrack could've been memorable like Roshan brothers' earlier accomplishments. The background score [Salim-Sulaiman] is top notch, enhancing the impact of several sequences. Cinematography [S. Tirru] is awe-inspiring, with the stylish visuals garnishing the plot exquisitely. The dazzling locales and sets only add to the beauty. Action and stunts are electrifying, befitting a superhero movie. Dialogue are perfect.

It must have been a challenge of sorts for Hrithik Roshan to portray the characters differently, besides concentrating on voice modulation as well as physical attributes. The actor has the physique to pull off the masked man adroitly. As Rohit, the septuagenarian and Krishna, his young son, Hrithik is most persuasive as well, gliding into the characters with incredible ease. The franchise seems inconceivable without Hrithik as he exhibits his range as a performer. He's the showstopper here, without any hesitation!

Vivek Oberoi is in top form as the antagonist. The intensity, the voice and the makeover gives the term 'villain' an all-new meaning in KRRISH-3. Though the actor has portrayed negative characters in several endeavors, you're sure to see Vivek in a new light here. He gets to portray a layered character that is sinister, brutal and caustic. Vivek should finally get his due with this film.

Priyanka Chopra is efficient enough, portraying her part very well. Note her sequences in the post-interval portions. She's truly fantastic! Kangna Ranaut is superb. She exhibits a lot of toughness in her personality, which gels well with her on-screen character. She's deadly and gorgeous -- a lethal combo. The actress is sure to win laurels for the role. Naseeruddin Shah and Mohnish Bahl appear in cameos. Arif Zakaria and Rajpal Yadav are adequate. The actors portraying the parts of the mutants register an impact.

On the whole, KRRISH-3 has the ingredients that make a splendid superhero film, besides being Rakesh Roshan's most accomplished work so far. Besides a riveting plot, the film scores brownie points thanks to the strong undercurrent of emotions, the clash between the protagonist and antagonist/mutants, the awe-inspiring visual effects, the larger-than-life entertainment and of course, Hrithik Roshan, who is matchless in this avtaar. It's a Diwali bonanza for moviegoers across the globe and is sure to conclude the celebratory period on a high. BLOCKBUSTER.

In order to solve a complicated cyber crime case which claimed the lives of two international hackers in Delhi, ACP Siddhanth (Manish Choudhary) and his aide Inspector Bhalla(Varun Badola) employ a lazy hacker on the case. Mickey Virus(Manish Paul) as he is popularly known as, is a smart but worthless little chap functioning with the pseudonym Kung Fu Chameli. However, once the guy is smitten by a ravishing woman Kamayani(Elli Avram) who resonates for him as a woman out of his dreams – his own Kung Fu Chameli, there is no looking back for him.

Wooing the tota with every possible totka in the book, Mickey is simultaneously also trying to solve the case for police. It all leads to the innocent boy getting himself caught in the web of police and hackers in a web of plots and subplots, losing his love and nearly his life in the same. Mickey Virus finely blends the excitement and fun in this suspense film!

The film renders a inexplicably good first impression. I remember watching the trailer and assuming it will be one luminous treat to watch. But alas! It turned out to be just the contrary. The film’s first part is barely legible. At best it is gibberish, with a young lad drooling over a really hot woman, trying to woo her. From the on start itself, the film stays focused but that doesn’t help much as the story itself takes long to crystallize. By the time it is interval, all you know about the plot is that the police has employed the lazy lass Mickey for their job and Mickey entangles himself in an unusual robbery and a strange murder case!

Sound interesting, ain’t it? I thought the same but the build up is obnoxiously slow. Though the story picks up steam in the second half, the running around and the unraveling of the plot is more tedious than nail biting. The climax is overwrought and silly which makes the painful journey of watching the flick such a worthless waste.

The maximum laughs I had was in the climax when Manish Paul clobbers and thrashes people in typical slow-mo masala filmy ways. The plot in totality is harebrained with far too many fractures in it. Perhaps it was a smart move to employ a strong ensemble cast because this venture wouldn’t even classify as passable if it hadn’t been for its supporting actors.

The ideas used in the film could have been far more inventive and it treads along into becoming more convenient. One can easily acquire migraine from this film as the story depletes itself into a strictly slim one over the film’s runtime. However, since vulgar films and typical films are in season in the industry, this isn’t entirely unwatchable. The only excuse I provided myself was atleast they tried something different, that itself is such a respite in its own.

Manish Paul is cutest television host ever. His comic timing and witty one liners are delivered well but so far he isn’t quite an actor. Not ace at emoting, neither perfect at dialogue delivery, he could only be somewhat passable. Playing baffled and innocent well enough, he wasn’t entirely effortless and that catches your eyes easily.

Elli Avram looks resplendent and though she too is short on acting skills, she does manage to seem noticeable in a couple of scenes.

Manish Chaudhary is near perfect is his role. Reflecting confidence in his demeanor in every scene, he is a treat to watch.

Same goes for Varun Badola. The actor is confident and sure of his role. Settling in smoothly with his correct diction and great comic timing, he remains the best thing on screen. I particularly loved the scene where Manish describes to Varun, the difference between hackers and hawkers. The look on Varun’s face was iconic.

Saurabh Varma’s film manages to rank as endurable for the sheer novelty in its concept. And though the idea is less delved into, the uniqueness suffers a beating when the director hams up old cliches adding to it a new spin. The inspired laughs are few and most lack spontaneity which will make it hard to squeeze out even a giggle from the audiences. The story turns more somber in the second half and with all the complications on screen, undoing the knotted story becomes a harrowing experience.

Sharp dialogues are rare which doesn’t make it an excellent caper. To Varma’s credit, he has chosen a good team of supporting cast which makes the film bearable. The film is quite well edited and the limited histronics makes it quite a light hearted, fun movie.

Mickey Virus is quite a breather from the low IQ comedies we are subjected to many Fridays. A tauter script, with more humor and a steamier story could have helped this film in rising above being merely a moderate entertainer. Side step your regular expectations, if you at all decide to give this film a shot. For a few laughs, a not-so-dull second half and somewhat interestingly made suspenseful story, Mickey Virus can count as an average, not a must-watch, but if you insist on going to the cinemas, this will be the sheenier one from the lot that released this week. I am going with a 2.5/5. Quasi original and sort of passable, I managed to sit through this one till the end!