Ranbir Kapoor is in that phase of his innings right now, where he can do no wrong. He is, in sporting parlance, what you call ‘in the Zone’. Anything he does just shines. He has that uncanny knack of ‘becoming’ the character, body language and all… He is such a joy to watch.

Ranbir is Harpeet Singh Bedi, a youngster who just manages to scrape through his B.Com exams and one who is not interested in CAT. He wants to work as a salesman. He lands a job as a trainee at AYS Computers and within a few days is blasted for being a ‘Mahatma in the jungle.’ He complains against an employee of a firm who buys bulk orders from AYS because he is asking for his ‘Cut’.

AYS boss and their sales manager see red. He is insulted and asked to make just ‘cold calls’ from his desk. Things take a turn for the worse when he is humiliated further by his boss. This, when all he wanted to do was tell his boss that he was using his office space to start his own company, Rocket Sales Corp.

Slowly he wins the hearts of four of his colleagues including the Sales Manager to buck up his sales order, which by now is on the upswing. Rocket Sales Corp steals the orders right from AYS’s noses. They offer round-the-clock service and at a very competitive rate with minimal profit margins. Flustered, his boss offers to buy his company for Rs 60 lakhs. This call is made from within the same office and his boss does not know whom he is speaking with. To cut the long story short, their game is up when the boss makes a call to the MD of Rocket sales and finds that the phone rings in his own office.

Source:glamsham

Priyadarshn is coming up with one his newly comedian movie De Dana Dan. The director had given the successful film like Hera Pheri earlier.

The movie is not based on the casting or the story of Hera Pheri. Though in this movie Akshay Kumar, Sunil Shetty & Paresh Rawal is all together but their is not even the single in the film where they shares the screen space. The movie is full of comedy & of good chemistry.

The story of the movie goes around Nitin Bankar (Akshay Kumar), Ram Mishra (Sunil Shetty), their girlfriends Katrina, Sameera & Paresh Rawal.

The main story line of the movie begins with Nitin who is a driver under debt, whereas Ram is playing the role of a courier boy. Both of them have their girlfriends also presented n the movie, but still the movie takes some time to reach till the main point. The issue of the money is also taken in the money. The film is involved around duel kidnapping.

The whole casting of the movie had designed in a 5 star hotel, & it too takes the shape of the 1992 Hollywood flick ‘Blame it on the Bellboy .

According to the name of the movie (De Dana Dan) the story had been written hurriedly, quickly filmed, & has the smooth but interesting storyline & the characters had picturised in such a way as if that audience hardly finds any time to breathe, react, gasp or feel.

In the first half of the movie there is not much to happen but the main storyline begins in the second half. Each character is unique in the movie, so its better for the audience that they avoid to link-up the characters of the film, because more linking of the characters leads up to the confusion only

The movie is full of humor with good chemistry of the players. Music is framed by Pritam

K Ahambaram is appointed as the cinematographer in the movie, & since the film is shoted in the hotel so the camerawork is not that demanding.

Rating: ****

Since its promos were out with Delhi-6, Vishal Bharadwaj’s Kaminey immediately caught the attention of the cine goers with its highly infectious Dhan Te Nan number and the crazy character introductions. The curiosity and hype began building up rapidly and the wait seemed unending. So till the time I stepped in the trial show of Kaminey my expectations were sky high. Thankfully, Vishal has delivered what he has promised.

The film narrates the tale of twins Charlie (Shahid) and Guddu (Shahid again) who are poles apart in behaviour and lifestyle. While Guddu the good boy works for a NGO and aims to rise the corporate ladder, Charlie believes in taking shortcuts and ‘chota shortcuts’ to achieve his get rich quick dream. Though they haven’t met each other in years, their lives get entangled as both get ended up in major screw up in their personal lives. What happens then on and how many misunderstanding lead to further chaos forms the rest of the plot.

Hereon, revealing anything more about Kaminey would be spoiling a major part of your fun. There are plenty of sequences which will remain forever etched in your cinematic memory right from Guddu and Charlie’s face off to almost every scene featuring Bhope Bhau (Gupte) and Tashi (Tenzing) to the Dhan Te Nan song and the crazy finale. However, the climax appears to long with the endless shooting going on and on between the multiple gangs. And the songs don’t really appear well placed. But these are minor flaws.

Shahid Kapoor delivers a knock out performance in a double role. Most importantly he succeeds in making us believe his two characters are completely different persons. With his dual act he has emerged as the strongest contender of the Best Actor trophy for 2009. Priyanka Chopra outshines all her previous best performances. Her Marathi dialogue delivery is excellent as she has also managed to catch the small nuances perfectly. Playing Charlie’s idol, Mikhail, Chandan Roy Sanyal’s doped out act is instantly likeable. Marathi stage and cinema actor Hrishikesh Joshi as corrupt cop Lele is good and so is Shiv Subramaniam playing his associate. Back after a long hiatus veteran actor Deb Mukherjee is menacing. Tenzing Nima as Nepali don, Tashi is a hoot. Amongst the crowd of the huge ensemble cast, Amole Gupte manages to create a huge impression with his chilled out Bhau act. His one-liners will have you rolling on the floor laughing.

Kaminey is also an excellent team effort with superb camerawork by Tassaduq Hussein, razor sharp editing by Meghna Manchanda Sen and gritty action by Shyam Kaushal. Vishal Bharadwaj has managed to strike a sixer donning multiple hats as a director, producer, singer, music director, screenplay and dialogue writer. His treatment of Kaminey may be on the lines of Quentin Tarantino and Guy Richie’s caper movies but the stamp of a Vishal Bharadwaj movie seen all over in Omkara is yet again on full display here.

Kaminey is a must watch at any cost. It redefines the rules of Hindi filmmaking and most importantly delivers what it promises. Chances are it may well turn out to be your favourite caper movie ever and wanna watch it again and again.

Source:realbollywod

Rating: 2 out of 5.

Ram Gopal Varma’s ‘Agyaat’ is as shoddy as the dead dummy publicity gimmick he deployed to publicise the flick. A disappointment to say the least, considering Ramu’s last year’s horror offering ‘Phoonk’ where even the otherwise innocuous crow had sent shivers down all our spines.

‘Agyaat’, on the other hand, is an insult to the scary genre it claims to belong to. The film is anything but frightening as it ends up mocking the audience intelligence owing to its sub-standard script, drab performances and sluggish direction.

So, what does this one offer?
Well nothing new, to put it honestly. Overtly used plot line and the use of a jungle as the background to up the fear factor, falls flat as neither the story nor the setting are scary enough.

With several characters and forgettable dialogues, audiences are bound to feel trapped for watching this sans gusto flick as they endlessly wait for the chills. For this one has neither the chills nor thrills.

Even though every tactic that ranges from flesh flashing sprees, pelvic movements and dead dummy antics has been employed to attract audience to movie theaters, it a shallow marketing technique to rip the fans of their money.

Avoidable at all costs, the film revolves around a film crew that goes to the jungle to shoot a film. Needless to say that Priyanka Kothari plays the lead heroine of the film inside the film, but puts up an equally miserable act making us wonder as to when she plans to hang up her acting shoes?

As for the story, it goes like this: Out in the jungle to shoot a film, a film crew comprises of the Sharman (played by Gautam Rode), who is an uptight, fits-throwing protagonist in deep love cum lust with leading lady Aasha (played by Priyanka Kothari).

While these are touted to be the main characters, a South Indian producer Moorty (played by Ishrat Ali), an eccentric director JJ (Howard), who considers himself nothing short of Spielberg, a obedient spot boy Laxman (Ishtiyak Khan), the philosophical cameraman Shakky (Kali Prasad), a always shouting action director Rakka (Kale) are some of the many characters in the film.

On the sets of the film, the crewmembers decide to go for a camping trip in the jungle in a bid to relax their nerves. Guiding them here is an eccentric character Setu (Joy Fernandes), whose strangeness and quirky attitude is quite a mystery for the unit.

As all jungle nights involving youngsters, this one too has a bonfire night when a screeching sound disrupts the party. Setu goes on to find out more about it but doesn`t return. Fanatic the rest of the crew members go on to find him but they find his dead body.

Terrified by Setu`s death, all try to escape the jungle but expectedly their car meets with an accident. Thereafter, the story revolves around their efforts to get out of the jungle. But all attempts go futile as they start dying under mysterious circumstances.

Talking about the performances, they fail miserably to evoke any kind of fear among the audience. Priyanka Kothari is good as long she sticks to her routine dance and raunchy movements as for Rode there is still a long way to go.

Source: Spice Zee

Love Aaj Kal is about how, over the course of many months, across three continents and after several break-ups, Jai figures out what love is.

Writer-director Imtiaz Ali begins by establishing the breathless pace of modern relationships. In the frantic and confusing first 10 minutes the girl and boy, Jai and Meera, played by Deepika Padukone, meet, fall in love and decide to break up.

He is an architect who aspires to work in San Fransisco. She is into art restoration and wants to work in India. Both are ambitious and practical. They throw a break-up party for themselves and say goodbye.

This casualness of contemporary love is contrasted with the story of Veer Singh, played by Rishi Kapoor.

Veer narrates to Jai, his experience of falling in love 40 years ago.
A time when lovers seldom touched or even spoke and love was expressed in breathless silences and lingering looks.

At first Jai laughs at Veer’s sentimental story but eventually Jai discovers that the decades haven’t diminished human emotions. Despite the Internet and sms, altered sexual mores and gender roles, fierce ambitions and great freedoms, despite the unrelenting push and pull of urban life, love, at least the enduring kind, remains the same.

Love Aaj Kal is heart-felt and layered but it’s also uneven. Imitiaz has a wonderful ear for everyday conversation and he creates several delightful moments between the lovers – at one point, after their break-up, they tell each other all the things they couldn’t while they were a couple.

So, he confesses that he dislikes every song on her iPod while she says she hates his sister. Imtiaz is equally adept at creating the old world romance between Veer and Harleen, played by a charming debutant, whose name for reasons I cannot fathom, the producers don’t want to reveal. There is a real sweetness in this sepia-toned tale of love.

The men in the movie–Saif and Rishi Kapoor–imbue their roles with conviction. Saif starts out playing another variation of his urbane persona but watch how his demeanor changes as his long-held beliefs about love and consequently his super-cool façade, start to shatter.

Unfortunately what doesn’t work as well is the screenplay, which is original and inventive but also audibly clunky. The film constantly cuts between the two narratives and the transitions aren’t seamless.

The songs, especially the chartbuster Twist, are awkwardly placed and the climactic epiphany that leads Jai to discover where his heart lies, is totally random.

At times, Imtiaz’s story seems overwhelmed by the production values. The cities of San Fransisco and London, both of course almost entirely populated by Indians, are relentlessly up market.

But perhaps the reason why Love Aaj Kal doesn’t transport us to a romantic high is the character of Meera. Unlike the fabulous Geet in Jab We Met, Meera doesn’t have enough texture. She quits her relationship for her career but we never get a sense of what this career actually means to her.

In a few scenes, we see her wielding paint brushes. Why this cool, independent woman hurriedly marries also remains a mystery. Deepika looks fabulous but she isn’t a strong enough actor to breathe life into the character.

Eventually then, Love Aaj Kal is an above average film with some wonderful moments, nice lines and fine performances. But it’s not as sparkling or engaging as it should have been. I’m going with three stars and recommending that you catch it.

Source:ndtvmovies

Reality television comes to big screen but the fear factor is that it’s too pretentious. So in the same South African city where Akshay Kumar played host to daredevil girls, Sanjay Dutt challenges an eclectic group to perform stunts for his betting business. Predictably you also know their order of elimination with the junior artists getting knocked-off first and subsequently the hero (Imran Khan) surviving over the villain (Ravi Kishen). Ironically, while reality shows are unnecessarily scripted, films which need a tight script are loosely written.

The first half of the film is merely devoted to character introductions though none are convincingly established. For the zillionth time, Sanjay Dutt repeats his gun-toting act, moving around in sherwani , jackets and a French beard in the company of black-suited bodyguards. What more, even his name isn’t any different – Musa. Ram Mehra (Imran Khan) has to repay the 20 crores that his late father had lost in stock market. Retired Major Jawar Pratap Singh (Mithun Chakravarthy) has the same conflict that Amitabh Bachchan had in Kaante – needs money for his ailing wife. For the neighbouring country connection, the script takes a Shortcut (Chitrashi Rawat). The best is yet to come! When a loose noose fails to hang rapist Raghav (Ravi Kishen) to death, he is officially set free by the law.

The group is hand-picked by Tamang (Danny) for Musa who indulges into the most synchronized corny conversations in the film. As he gets the team to South Africa, Musa makes them aim on each other at point blank range (in a scene directly lifted from 13 Tzameti ) and only peripheral characters from the circle are subtracted.

What follows is a series of terminal tasks where not the mighty but the lucky would survive. So the characters have their legs gobbled up by rubber sharks and look plastic as they fall off parachutes. Amidst all this action, the director is inclined to force a mandatory romance track (through nonexistent chemistry between Imran and Shruti Hassan) and a rape attempt to reach a speeding climax.

The opening and ending action sequences by Allan Amin are convincingly choreographed but the intermediate stunts appear too artificial. The director tries to cover up the patchiness of the action by Santosh Thundiyil’s erratic camerawork but it only disturbs more. The banter between characters in confrontational scenes looks too rehearsed. Each one has a dramatized mugged-up response to complement the opponent’s remarks. The emotional connect with viewer is certainly missing despite director Soham Shah’s repeated attempts to induce sentiments.

Sanjay Dutt’s screen presence in the film is equivalent to Akshay Kumar’s contribution to Fear Factor minus his stunts. Imran Khan gives a decent performance though he can go easy on his lip movements. Shruti Hassan is synthetic and fails to impress. Danny is better amongst others but his character is short-lived in the second half. Ravi Kishen, Mithun and Chitrashi are passable.

The script of the film relies too much on coincidental luck. Director Soham Shah rubs too hard on luck but at the same time stresses on the adage that ‘the only thing certain about luck is it’s going to change’. On that thought here’s wishing him better luck next time!

Source: India times

Life comes crashing down for struggling writer Akshaye Khanna, when an aspiring actor manages to steal his script. Luckily for the over smart, non-actor (played by Arshad Warsi) his film clicks and he becomes an overnight star. Now the hard-on-luck writer decides to get even and make a film with the same actor – who obviously doesn’t want anything to do with the former. This clash pretty much forms the premise for this week’s new release Shortkut-The Con Is On.

Arguably when you set a film inside Bollywood, there is enough scope for humour. Something explored beautifully in Rangeela and Luck By Chance. Shortkut unfortunately presents a far from convincing picture of the movie business. Most of the characters and situations end up looking over-the-top and caricaturish. Were this movie a brainless spoof, it might still have worked. Sadly Shortkut pretends to be a straight-out-of-life situational comedy.

The tone keeps switching between the Rajkumar Hirani style of feel good humour and David Dhawan’s slapstick formula. Had writer Anees Bazmee directed this, perhaps the result would have been funnier. Heavily inspired by Aziz Mirza and his Nukkad fixation, Shortkut also crams in a dozen odd extras in every frame. And they all play your stereotypical kindhearted souls, representing India’s unity in diversity. Also why does every other extra in the film suffer from a speech disorder?

If the setting is flawed, the humour is stale. Despite the writing credentials of Neeraj Vora and Anees Bazmee, it’s surprising how the duo fail to come up their usual side splitting lines. Whenever you manage to laugh it’s only because of Akshaye and Arshad’s timing. Their good guy-bad guy tuning has shades of Anil-Jackie from the eighties.

Especially Warsi who beyond a point goes on his own trip mouthing what are clearly on the sets, improvised lines. Arshad has always been a master at playing the overconfident, smooth talking liar. Akshaye’s comic run is regularly interrupted by his character’s melodramatic outbursts. In fact everyone in this film shouts and screeches to ear blasting levels. It’s like enduring a bad Priyadarshan film minus Paresh Rawal. Chunkey Pandey is a surprise as the acting guru-turned-star secretary. In a rare role for the actor where he doesn’t have to showcase any exaggerated mannerisms, Chunkey manages to keep it subtle.

And then there is Amrita Rao who shows skin and a little more skin. To her credit she oozes lot of sex appeal but seems out of place in the film. Her micro minis and strapless gowns are more like distractions…in some cases welcome distractions from the drab proceedings. Amrita’s character is an extension of Urmila from Rangeela and Mast. But her role keeps oscillating between playing a love-struck teenager and a superstar. And her romantic track with Akshaye lacks consistency.

Shankar-Ehsaan-Loy’s melodious music too is wasted over predictable song situations. On the whole Shortkut lacks the wit and energy one expected after watching the rushes. Given the talented team, this one’s a lost opportunity.

Verdict: Khanna and Warsi try hard to pump some life into the lifeless screenplay. But a weak script and dull direction mar the potential of an interesting plot.

Source: Buzz18

Rating: 1 out of 5.

Filmmaking standards in Bollywood seem to have gone really high. Producers now opt for Sylvester Stallone over Sunny Deol for that mandatory special appearance in the climax as the messiah who saves the heroine from hoodlums. The shady second female fiddle who the heroine keeps abusing through the film has upgraded from Rakhi Sawant to Denise Richards. If that indirect insult to Hollywood still seems indicative, there is much more hardcore swearing in store.

The heroine and hero refer to each other as ‘dog’ and ‘bitch’ throughout. She adds that men have no IQ. Director Sabbir Khan either believes the same for his audience or is the species of men that the heroine is referring to. That’s because he treats the film with such childish cheekiness that you are amazed by the audacity with which the film offends the idea of entertainment.

Viraj (Akshay Kumar), an Indian stuntman working in Hollywood, is a compulsive womanizer who goes flirting around with every other woman in the town. Hey Baby, doesn’t that Akki sound familiar? For one good hour he goes on flirting outrageously with Simrita (Kareena Kapoor), a supermodel who is more of a mannequin with a disgusted face. The battle of sexes works adversely on your reflexes amidst jarring songs, commotional cake-fights, loud performances and toilet humour.

Miss Supermodel doubles up as a surgeon who, in an operation, leaves a timepiece inside stuntman’s stomach. With a story straight out of sensational tabloids, you helplessly watch the film ticking towards imminent disaster.

Suddenly the duo tries to woo each other just so that they can dump them later. Didn’t Kareena attempt the same with Akshaye in Hulchul ? The only one heartbroken is the viewer. Through a disjoint screenplay, constant continuity lapses and impassive chemistry between the couple, you realize that the film is heading nowhere. It also suffers from mood-swings as the supposed comedy changes tracks to emotional outbursts. Interestingly these are the most unintentionally funny portions where an inebriated Bebo justifies her male hatred.

What’s sad is that Kambakkht Ishq is a remake of Kamal Hassan’s Tamil film Pammal K. Sambandam (2002) and despite having a readymade rubbish reference point, the makers still couldn’t foresee the mess. Surprisingly four writers (Kiran Kotrial, Anvita Dutt Gupta, Ishita Mohitra, Sabbir Khan) are credited for the screenplay who end up spoiling the broth. Anvita’s dialogues are crude and crass at several instances complementing the literal toilet humour. There are unapologetic scenes where Akshay Kumar is (b)anally hauled or Amrita Arora gets farted on her face. Out of the blue, some patriotism and motherly love is abruptly induced to accommodate Sylvester Stallone in the script.

Akshay Kumar continues to repeat his customary comic act. Alas his spontaneity and improvisation fail to revive the hogwash script. Kareena Kapoor exaggerates and for god’s sake why does she have to reprise the dreadful ‘ Yeh Mera Dil ’ act in a self-spoof song ( Bebo Main Bebo, Dil Mera Lelo ). Imagine, Aftab Shivdasani is bearable in comparison. Amrita Arora seems to be tailor-made for dumb bimbo roles. Kirron Kher is getting repetitive and tiresomely typecast. Javed Jaffrey and Boman Irani ham hysterically and are pathetically wasted. The iconic Stallone seems jaded while Denise Richards appears aged. Vindu Dara Singh…oh why am I even mentioning him?

How one wishes producer Sajid Nadiadwala would have shown more consideration for a sane… rather some storyline than investing millions on highlighting Hollywood.

Alas this one is Dumb-akkht Ishq !

Source: Times of India

Finally a Bollywood blockbuster in the theatres after so long. It’s called New York. It’s directed by Kabir Khan, whose film was Kabul Express. Now that movie had simultaneously informed, irritated and amused its audiences.

Something that is rare in hardcore Bollywood. Khan’s follow-up New York again manages to intelligently entertain, which is the first thing you may notice about the mainstream film.

It’s set in the backdrop or actually the front-stage of a post 9/11 New York. It concerns two young boys of indian origin, Muslims by birth. And a girlfriend, that’s Katrina Kaif. The three haven’t been touch since college since college and September 11, 2001, a date that changed the world and their lives.

Many years later, we find out that John’s character Sameer, a super-intelligent and athletic American guy, is married to Katrina’s Maya and also has a kid. Neil Nitin Mukesh Umar is under interrogation by the FBI. It is suspected that Sameer now runs a sleeper terrorist-cell in New York City. The FBI would like to plant Usman as its cover-agent to unearth the terror network. There is no relationship between this and the conspiracy theory film Arlington road. If anything New York is infinitely better.

Quite clearly these are career-defining roles for the central actors. And I say this because these aren’t quite the world’s best actors either, and they vaguely surprise you with such sincere performances. No surprise with Irrfan Khan of course. He plays the FBI sleuth with a swagger that could remind you of Al Pacino, no less.

The film shows how the persecution of Muslims after 9-11 was real, even if the persecution complex thereafter was an exaggeration. It’s a fairly balanced view on a subject that is easy to get rhetorical about. And we still watch a story unfold with all the masala and drama that you’d associate with commercial cinema.

It’s the sort of films that take Bollywood forward. And also one of those rare films where the picture is so much better than a fairly misleading promo. Thankfully an A-list film that gets a straight A after long.

Source:ndtvmovies

Not bad at all, this sweet little adventure about an adorable grandmother who lives in an upmarket society with her two grand children. The granny would love to be left alone to bake cakes for her bachchas and take her pet dog for a walk. Alas! she hears a thud one night, sees a woman’s body that disappears, wants to know more about the mysterious family that family that lives next door and wonders where their little girl has vanished.

It’s a virtual mystery out there, with no one ready to believe the senile old lady, but for her old buddy next door and her grand children who try to play detective in their own rights, much to her discomfiture. Of course, the naani does try to solicit the help of the police but that’s not much of a help. simply because the cop seems to be more interested in her divorced daughter, who flits in and out with her corporate attire. So, it’s left to our desi Miss Marple to solve the mystery of the disappearing tribal girls and she does it some aplomb.

This one’s nice summer fare for the family, specially the restive kids out there.

Source:TOI