By Taran Adarsh, December 2, 2010 – 16:17 IST
On the whole, KHELEIN HUM JEE JAAN SEY, based on the Chittagong rebellion, is an enlightening experience of a poignant, but little-known chapter in history. It’s a film of immense significance which evokes a colossal patriotic fervor. A motion picture like KHELEIN HUM JEE JAAN SEY isn’t created targeting the box-office solely. It’s also made for the gratification of the senses. And that it does in sufficient measure. In an industry obsessed by opening weekend business and box-office records, this is one of those rare films that doesn’t compromise on its gracious objectives for the sake of becoming more box-office friendly. At the same time, a film like KHELEIN HUM JEE JAAN SEY, although very well made, may not appeal to those who relish the customary kitsch and masala. Therefore, the film will have to rely on a very strong word of mouth to create any kind of an impression or impact at the box-office.
Read complete review at -> http://www.bollywoodhungama.com/movies/review/14199/index.html
Ishqiya is better than most films the Hindi film industry makes, even if its pleasures weren’t the ones I was expecting. I went into the film looking for a taut, erotically charged thriller about a femme fatale manipulating two saps over a pot of gold, film noir in a bhaiyya-setting as it were. What I got was a compelling evocation of a small-town U.P. milieu (the (in)famous badlands of Gorakhpur district, along the Nepal border), a locale debutant director Abhishek Chaubhey has presented even more naturally than his mentor Vishal Bhardwaj ever managed with his out-of-the-way settings in either Maqbool or Omkara(that is to say, Chaubhey does it “simply”, such that the presentation of the milieu (to “outsiders”) does not itself become the point of the film). Continue reading
Happy new year to you all! 2010 is here, so I guess I need to get my act together otherwise I’ll still be publishing my 2009 lists in march 2010!! (Which is not as rare as it should be, because there is always some potentially good movie from previous year that I don’t get to see till well into the next year). Anyway… moving on to this list..
Karan Johar has accomplished what Aditya Chopra could not. Kurbaan is what New York, or for that matter, Fanaa, should have ideally been. Hats off to Karan for producing the most non-KJO movie as yet. Kurbaan is the best movie of the year, as far as meaningful cinema goes.
Kurbaan starts off as a very realistic love story, but soon turns into a gripping thriller, with lots of twists and drama, and is embellished with bravura performances. I will refrain from giving any details on the story; lets just say that the story is exactly what the trailers have shown. Its the screenplay and the realistic treatment which makes the film really a gem.
Rensil has very audaciously chosen Dharma Productions for making a movie like Kurbaan, which is devoid of any subplots, romantic interludes, or dream songs. This movie has a sharp focus, which stays till the end. The movie hits you hard without being preachy or taking sides. It etches out the psyche of a terrorist in a way that no Bollywood movie has done in a while. And it does so without any bhashans, melodrama, or flashbacks!
Technically, it felt like I was watching a Ridley Scott terrorism thriller. The camerawork, background score, and locales are spot on. Dialogues are vintage Anurag Kashyap – they pierce your heart. Sample this: An American student tells Vivek: Leave my Country, if you dont like it. Vivek retorts “Sure we will, first you leave ours (Vivek’s a Muslim)” Continue reading
Rating: Two stars (okay so it has a huge budget, technical varnish, A-list stars..so what?)
Whip whip hurray. To keep himself away from carnal pleasures â€“ read Miss Asin â€“ the wannasing, wannarock star snaps his belt off, and flagellates himself. Ouch, grimace, ouch, scowl, angry-ooh-so-angry. Moral of the scene: next time youâ€™re violently attracted to a woman,Â keep a dany leather belt handy. Or better still, order yourself a sado-masochist whip, or a chabook, whatever blows your socks oof. Off. Whatever.
Uncannily those whiplashes are the most potent image that stay beneath your eyelashes. Imaginatively photographed, darkly lit, terrific backdrop, all organised by director Vipul Amrutlal Shah for London Dreams, his best technical accomplishment yet. Sorry but as a film it is a head-clangier, lengthier than your lengthiest yawn, and totally destroyed by a story-script which is about as convincing as a technicolour zebra. Honest! Continue reading
The passage of time does strange things, but not even Marcel Proust could have dreamed it would have this effect. I’ve spent most of the last two decades disliking Salman Khan. I mean, really disliking him, and everything about him: from his wannabe vibe, his faux-Bambi eyes, his breathless dialog-delivery, his weird English accent, and his non-existent acting skills. Needless to say, I wasn’t much convinced by his occasional half-assed attempts to do masala actioners; he was — and there’s no polite way to put this — just too puny for the likes of Garv, especially given that he was playing it straight, as opposed to using the sort of explanatory gimmick Aamir Khan deployed (namely, that he was a raving lunatic) in Ghajini.
But then, a funny thing happened on the way to 2009…
Read the complete review HERE
The first sequence gets you. It’s aboard a train — as so many of the best action sequences are — and Bobby Deol, his hands bound, is being escorted to an unidentified gangster, along with a young woman supplied from Varanasi for the gangster’s pleasure. Her bright-red shalwar qameez simply underscores her nervousness; not the the gangster cares, pulling her to him even as he yells at his men to kill Deol’s character and throw him off the train. At that point, a cell-phone — within the woman’s brassiere — rings, and all hell breaks loose, as the narrow passages of the train erupt in gunfire and good ol’ action. Can’t keep a hero down, even with his hand bound.
Read the complete review HERE.
EK – THE POWER OF ONE
By Aakash Gandhi
Reviewer’s Rating:Â 5.5/10
EK â€“ THE POWER OF ONE is vintage Bollywood masala, flooded with action, drama, comedy, and of course romance. Unfortunately, like most in its category, it fails to leave any lasting impact thanks to a very familiar tale wrapped in an oversimplified script.
The story chronicles the split life of orphaned criminal Nandu (Bobby Deol), who is hired by Maharashtran Opposition Leader Anna (Sachin Khedekar) to stage a fake assassination attempt in order to gain sympathy from the masses. However, before Nandu is able to pull the trigger, another fateful shot takes the life of Anna, transforming a slimy political trick into a full-on murder case.
With the police fresh on his trail, Nandu escapes their grasp by catching a train to Punjab where he runs into Puran Singh (Akshay Kapoor) â€“ a down-to-earth twenty-six year old on his way to reunite with his estranged family after eighteen long years. At one of the stops, an officer spots Nandu and takes a shot that accidentally strikes Puran, killing him on the spot. Nandu reaches Puran’s village to deliver the grave message, but before he can say anything the family mistakes him for their beloved Puran. Unwilling to break their hearts, Nandu continues the charade and is soon enveloped by the family’s warmth and love. All the while, witty CBI Inspector Rane (Nana Patekar) is hot on Nandu’s trail. Will Nandu surrender his true identity to the family? Will Nandu be prosecuted for a crime he did not commit? These are some of the burning questions that develop throughout the film. Continue reading
All NG members are requested to put up all the criticâ€™s/media reviews in this one thread instead of posting them on separate/individual thread. Thanks!
Members comments/Reviews -
Shah – LINK Continue reading