NAQAAB_indiafm

By Taran Adarsh, July 13, 2007

The most shocking thriller of the year. With a tagline like that, the expectation from Abbas-Mustan's new thriller rises ten-fold. Fortunately, NAQAAB lives up to the hype and hoopla, to an extent.For any thriller to strike a chord, it ought to follow three simple rules: [a] It should boast of actors who can carry off their parts with dexterity, [b] The twists-n-turns should catch you by complete surprise and [c] The climax, when the veil of secrecy is unveiled, should come as a jolt from the blue. NAQAAB gets it right on two of the three vital fronts. The only time the film begins to stagnate is in its second hour, when the knots begin to disentangle. The film dips in the second hour, but the climax does a volte face again. The suspense catches you by surprise!
Write your own movie review of NaqaabAbbas-Mustan have mastered the art of making thrillers and although NAQAAB isn't as compelling as their earlier products, there's no denying that the highs outnumber the lows in this case. One thing is for sure, the screenplay could've been tighter in the second hour. To sum up, NAQAAB is a watchable fare with the twists-n-turns being its highpoint. Of course, with an end like the one presented in this film, it's sure to meet with varied opinions, having its share of advocates and adversaries. But what goes in its favor is the fact that it's at least different. Terms like 'predictable' and 'monotonous' are non-applicable in this case! NAQAAB tells the story of Sophie [Urvashi Sharma], a young girl from a middle-class family. She is engaged to millionaire Karan [Bobby Deol]. When she meets Vicky [Akshaye Khanna], she's attracted to him and problems begin to surface. The focus of the film also shifts to the past of the three characters, with some unexpected elements thrown in. Who does Urvashi choose? The general perception is, the story bears a striking similarity to the recently released RAQEEB [which, in turn, was inspired by MURDER BY NATURAL CAUSES [1979] -- a lesser known English film]. Not true! In fact, NAQAAB is inspired by the English film DOT THE I.NAQAAB begins with gusto! The relationships are established at the very outset. The moments between Akshaye and Urvashi are superb, beginning with the song, 'Ek Din Teri Raahon Mein'. The chemistry is sizzling, so vital for sequences that are to follow. NAQAAB holds your interest in the first hour. You are hooked. But the second half has its share of loose ends. The motive of one of the protagonists isn't too convincing and when the story moves further on this track, it, somehow, doesn't look too convincing. All this while you're under the impression that this protagonist has a hidden agenda. Or, perhaps, he wants to settle a score. You're led to believe that there's a strong motive behind his actions. And when this character reveals it all, it doesn't hit you like a ton of bricks. In fact, the finale, when the story again takes a U-turn, takes you by surprise. This may not be Abbas-Mustan's best script, but every sequence bears the stamp of the master storytellers. Stylishly shot with some great moments, the storytellers at least have the courage to walk a seldom-used path. Shiraz Ahmed's screenplay is interesting. He builds up the suspense beautifully, but the post-interval portions could've been tighter. Pritam's music gels well with the mood of the film. In terms of melody, 'Ek Din Teri Raahon Mein' stands tall on the list. Its picturization is also topnotch. Editing [Hussain Burmawala] is perfect. The film has the right length [16 reels; 2 hours], with no unnecessary moments. NAQAAB belongs to Akshaye, who delivers yet another powerful performance. He's splendid, the real scene stealer, the soul of the enterprise. Bobby is relegated to the backseat in the first hour, but manages to make his presence felt in the second half. Urvashi Sharma gets a dream launch and she utilizes the golden opportunity completely. A confident debutante, she enacts her part like a seasoned professional. Also, she looks bewitching all through. Vikas Kalantri and Vishal Malhotra are adequate. Raj Zutshi is hardly there. On the whole, NAQAAB is engrossing in parts, with the suspense really catching you by surprise. At the box-office, the film should find acceptance in big cities mainly. It may've started slow, but it should pick up over the weekend. Overall, a decent

NAQAAB _ apunka choice .com

: Movie Review13th July 2007 23.54 IST By Nikhil Kumar To call Naqaab ‘The Most Shocking Thriller Of The Year’ (as its tagline says) would be a gross overstatement. Without exaggeration, the movie can be described as an engaging romantic thriller revolving around characters with disguised intentions.For years, director duo Abbas-Mastan have honed their skills of making thrillers through movies like Baazigar, Ajnabee and Humraaz . Their latest work, ‘Naqaab’ is nowhere near their previous thrillers in which suspense came out like a bolt from the blue.

In ‘Naqaab’, one part of the suspense is not hard to guess. But there are many twists and turns before the film’s climax. The unmasking of the secret is indeed unexpected, but it lacks enough conviction. If the movie’s plot has ample knots and tangles, it also has its holes. To cut to the chase, ‘Naqaab’ isn’t exactly a nail-biting, edge-of-the-seat experience. It is a fairly decent thriller you wouldn’t mind watching once.The movie brings together the ‘Humraaz’ team of Akshaye Khanna and Bobby Deol .Bobby plays a millionaire, Karan, in love with a middle-class girl Sophie ( Urvashi Sharma ) who, despite her rich boyfriend, works in a burger joint. Enters Vicky (Akshaye Khanna), a struggling actor out of work. Vicky’s charm, charisma and eloquence wins the affection of Sophie. Sparks fly, and the two find getting drawn towards each other.Hidden from all this, there is someone who is watching and filming the three characters. As the love story gets more complex and contrived, hidden intentions of the characters are unmasked. The first half of the movie is breezy but clichéd. Story picks up just before the interval and from there on it develops in the second half. There are surprising revelations and interesting bends in the plot. The director duo have tried to add the shock element with force, rather than wit. And there is too much beating around the bush before coming to the point in the climax.Among performances, Akshaye Khanna’s stands out most prominently. His chemistry with Urvashi is superb. Bobby Deol manages his part well but offers nothing impressionable. Newcomer Urvashi Sharma acts as if she has the experience of many films behind her. She is comfortable and confident in playing her part before the camera. The film’s cinematography is gripping and its editing is slick. Pritam’s music is passable. Abbas-Mastan’s direction is tight and there are indeed sequences in the film that pump your adrenalin. But the director duo fail to create the hard-hitting impact in the second half, despite the twists and turns. To sum it up, ‘Naqaab’ doesn’t turn out to be a riveting thriller, but it is engaging enough to be seen once.Rating: **1/2RelatedNaqaabAbbas-MastanAjnabeeHumraazAkshaye KhannaBobby DeolUrvashi Sharma

HARRY POTTOR

The real charm of the Harry Potter [Images] books, as any Pottermaniac will vouch for, is not so much in the fantastic spells the boy wizard and his friends learn at the Hogwarts School of Witchcraft and Wizardry, but the magic of human emotions.
You don't have to be a fantasy fan to like Harry Potter; the core of the books is closer to P G Wodehouse school stories than Tolkien. That's what the four films before Order Of The Phoenix failed to grasp.
There were special effects galore, but you didn't feel Harry's emptiness every time a school year ended. You didn't feel his goodness, and you didn't grow with him.
Don't Miss: The Magic of Harry Potter
As an unashamed Pottermaniac, I am glad to report that the fifth film changes that with a reasonable degree of success.
The film opens with a very well-shot episode of two dementors attacking Harry (Daniel Radcliffe [Images]) -- now a strapping young lad -- and Dudley Dursley (Harry Melling, not as portly as the books say, but doing pretty good).
And for the first time on film, you feel Harry's dread as he appears for the Ministry of Magic trial for just saving himself.
As all of you familiar with the book know, Order Of The Phoenix's story is about the magical word being split into two -- one half believes Harry and Dumbledore and the other believes the Ministry and its spin doctor, the Daily Prophet, who are out to make it look like Harry is a delusional fool and the Hogwarts headmaster a conniving, power-hungry wizard.
So an utterly horrible witch, Dolores Umbridge (played superbly by Imelda Staunton), is appointed as the new Defence Against the Dark Arts teacher by the Ministry. She wants 'order and discipline' in the school -- like 'boys are not to come within eight inches of a girl' -- and she wants the Hogwarts students not to learn any real magic, but mug up books.
With her cruel laugh and mannerisms, Staunton makes Umbridge almost as evil as the matron in that brilliant movie adaptation of that brilliant book, One Flew Over The Cuckoo's Nest.
There is more such excellent character acting, like Evanna Lynch as the eccentric Luna Lovegood. You feel sorry for her, just like you do in the books. Everyone thinks she's nuts, and no one wants to let go of a chance to play a prank on her -- like hiding her belongings.
Gary Oldman as Sirius Black shines too, and the bond between him and his godson Harry comes across subtly but clearly, thanks to some great work by Oldman.
Bellatrix Lestrange (Helena Bonham Carter) too is a welcome cameo.
Natalia Tena as Nymphadora Tonks is another example. She infuses magic into her character with about two minutes of screen space.
In contrast, the main gang -- Harry, Hermione (Emma Watson) and Ron and Neville Longbottom (Matthew Lewis) -- are not so consistently good, though they all have grown into better actors. Correction: Apart from Rupert Grint. He is the goofy, awkward, gangly and lovable Ron Weasley to the hilt.
Order Of The Phoenix is visually a treat too, with Hogwarts looking bigger and better -- as it should have all along. Yes, this is what the films should have been like, right from Philospher's Stone.
There are some superb moments like Harry and the members of the Order flying in formation over the Thames, and of course, the climactic showdown between Lord Voldemort -- Ralph Fiennes is evil embodied with just the way he holds his wand -- and the only wizard he was ever afraid of.
And there are a few moments when you feel the emotional quotient of the books -- like when Ron tells Harry, 'You don't have to do this alone, you know.'
On the downside, there is some bad acting too -- by Uncle Vernon (Richard Griffiths) and Aunt Petunia (Fiona Shaw), most notably. We all know how they fuss over their pig of a son in the books, but when he comes home nearly deranged after the dementor attack, their reaction is far from appropriate. Mrs Figg (Kathryn Hunter) too is a letdown.
There is no chemistry between Cho Chang (Katie Lieung) and Harry, and their much-hyped kiss is definitely not the highlight it was being touted to be.
And my personal grouse is that Fred and George Weasley, two of the finest characters Rowling has created, remain underused, despite their spectacular exit from Hogwarts.
Instead, it's director David Yates who shines with little touches that make a big difference. Like Ginny Weasley looking on wistfully as Harry focuses his attention on Cho.
Order Of The Pheonix is darker than all the previous films (thank god for that!) and moves out from the 'strictly for children' realm. This is adult territory, and delightfully real. The background score also moves up a notch, as do the photography and the locales. The editing, however, is a little jumpy in parts.
But like its predecessors, Order Of The Phoenix forgets completely to dangle unanswered questions in front of the audience, which the books do so tantalisingly.
The magic is also diluted by dialgue at times. You cannot feel the same empathy for Neville as you do in the books when you learn that his parents were driven mad by Lestrange with Neville himself revealing that (one of the many deviations from the book).
Ditto for the battle between Harry and Voldemort where Harry triumphs because he knows the value of love and friendship.
All in all, the fussiest of Potter fans will like this film, because it is a very good movie, and the best Harry Potter movie so far -- by miles.
But it could have been a great one. Sigh.
Rediff Rating:

INDIAFM : BOMBAY TO GOA

By Taran Adarsh, July 6, 2007 - 02:00 IST

Assemble the best comedians on one platform, choose a script that gives them scope to display their inherent talent, garnish it with witty one-liners, borrowing names and references from real life to make it look contemporary. Presto, a comic caper is ready to be served!

JOURNEY BOMBAY TO GOA could've been a howlarious ride that starts off in Mumbai and concludes in Goa, but all you carry home are a few amusing sequences and the well-penned, laced-with-wit dialogues.

Problem kya hain? The screenplay. There are points in the narrative that prompt guffaws, chuckles, giggles and chortles, but the narrative is stretched to a point that you get restive and fidgety. Woh isliye, because monotony seeps in after a point. Another area that should've been controlled is its length. The climax especially is reminiscent of the chase in HERA PHERI and PHIR HERA PHERI. Interesting concept, but why go on and on?



Write your own movie review of Bombay To Goa
In short, JOURNEY BOMBAY TO GOA is aimed at the hoi polloi, the masses, the aam junta and for them, the journey to laughterland may be worth it.

JOURNEY BOMBAY TO GOA is the story is of Lal [Sunil Pal] and Das [Vijay Raaz]. Lal is a dreamer who wants to become big in life and start his own business. Das is a driver, who used to work for a rich businessman, but an irritating boss' nagging habits force him to quit his job.

Lal wins Rs. 2 lacs by winning a contest and the duo plans to set up a business. Das comes up with an idea to start a travel agency. But they don't have enough money. So they go to Chor Bazaar. Using spare parts of old cars and imported cars, they create a bus. The next task is to search the passengers for a ride to Goa.

Lal finally manages to get 15-16 passengers by offering them a discount. But the bus is so tacky that the passengers demand their money back. Das comes up with an idea and states that this is merely a pick-up bus. The journey begins!

One of the passengers [Mac Mohan], who had been abducted but has now escaped, meets with an accident and dies midway. But before he breathes his last, he tells the fellow passengers about the hidden treasure…

With so many comedians around, the writing focuses on hilarious situations and one-liners. The motive is to make you laugh. A few sequences do succeed, a few don't. In an effort to pack just about everything on the shelf, the writer seems to have overlooked the fact that you need to tell your story in the shortest possible time. Sure, a few scenes are well penned, by why stretch the film unnecessarily? It dilutes the impact!

Comedy is serious business and not all storytellers can pull it off. In that respect, director Raj Pendurkar shows a flair for comedy. In fact, he has the potential to make aimed-at-masses entertainers in the future, but a tight script is all he needs to concentrate on. On the music front, there's just one song that stays in your memory -- the title track. Cinematography is okay.

The actors do well in their respective roles, but the ones who register an impression are Raju Shrivastava, Sunil Pal, Vijay Raaz, Sudhir Pandey and Aasif Sheikh. Tinnu Anand, Shakti Kapoor and Asrani don't get much scope. Mac Mohan is alright. Sanjay Mishra goes over the top.

On the whole, JOURNEY BOMBAY TO GOA is a fair attempt that may appeal to those with an appetite for comic capers. At the box-office, the extra-ordinary promotion [quality as well as quantity], especially on television, should attract footfalls at mass-dominated screens and centres.

INDIAFM : JHOOM BARABAR JHOOM

By Taran Adarsh,Indiafm

Really big expectations? Oh yes! With the premier production house [Yash Raj] at the helm of affairs and Shaad Ali in the director's seat, JHOOM BARABAR JHOOM is expected to strike like a hurricane.

Let's come to the point straightaway. Don't look for a story in JHOOM BARABAR JHOOM. For, there's none here. What you get to see is a collage of interesting moments. It's not one of those conventional prem kahanis that have the lovers drifting apart or a misunderstanding creating havoc in their lives.

What goes against the film is the fact that you feel a vacuum at the end of the screening. Something is amiss. Sure, you are enamored by the gloss. You are awe-struck by the stunning locales of U.K. and France. You are hooked to the performances of Abhishek and Preity mainly. But, deep inside, it doesn't satiate you.

Write your own movie review of Jhoom Barabar Jhoom
To sum up, JHOOM BARABAR JHOOM is all gloss, no substance. Body beautiful, minus soul. In desi lingo, unchi dukaan, phika pakwaan.

Busy London station. Delayed train from Birmingham. Two strangers waiting for the train... Rikki Thukral [Abhishek Bachchan], born in Bhatinda, living in London; and Alvira Khan [Preity Zinta], more Brit than the Queen herself, however with Lahori blood in her veins.

Crowded caf鮠One table to share. Two hours to kill. Perfect setting for the start of a love-story. Hitch? Both Rikki and Alvira are engaged and have come to pick up their fianc鳬 who are coming by the same train. To kill time, they end up telling each other their ?how I met my fianc锠stories.

Rikki met his fianc頁naida [Lara Dutta] at The Ritz, Paris. Alvira discovers her prince at Madame Tussaud's. When a gigantic wax model of Superman falls from the ceiling, Alvira is a sitting target. But Steve [Bobby Deol], a lawyer by profession, saves her life, but steals her heart.

Stories unfold, time passes, the two strangers start enjoying each other. Actually, they have gotten alarmingly attracted to each other!

Director Shaad Ali has handled a number of sequences well. Actually, come to think of it, you do enjoy a few moments in this 14 reeler. But can you stretch a rubberband beyond a point? That's what the writer does.

Writer Habib Faisal's screenplay is as taxing as driving in monsoons on a road full of potholes. When you realize the film offers no story, you sit motionless, flexing your facial muscles at times, but remaining indifferent to the goings-on generally. The director and writer have substituted the script with stunning visuals. But that's no compensation. Shankar-Ehsaan-Loy's music is quite good. 'Ticket To Hollywood' is the track you carry home. The title track is another foot-tapping composition. Cinematography is exceptional. The film is a visual treat. Choreography [Vaibhavi Merchant] is different, but Abhishek carries it off very well. Aki Narula's costumes are smashing.

JHOOM BARABAR JHOOM belongs to Abhishek first and Preity next. Abhishek is in terrific form. It wouldn't be erroneous to state that his performance makes the goings-on watchable at times. A lesser actor would've fallen flat on his face in the absence of a cohesive script.

Preity is lovely and takes to her character like a fish to water. In fact, the two actors make an attractive pair. Bobby is relegated to the backseat. Also, would someone please tell Mr. Deol to chop off those locks? Lara Dutta is confident, though she's not in the forefront either. Amitabh Bachchan adds to star-value. He only appears in one song, flashed throughout the movie.

On the whole, JHOOM BARABAR JHOOM is no patch on Yash Raj's illustrious films. The film is all gloss, no substance. Body beautiful, minus soul. At the box-office, the all-powerful Yash Raj brand coupled with the lack of biggies will ensure substantial revenue for its producers/distributors in the initial days, proving that sometimes, a bad film also makes money.

INDIAFM : JHOOM BARABAR JHOOM

By Taran Adarsh, June 15, 2007 - 16:15 IST

Really big expectations? Oh yes! With the premier production house [Yash Raj] at the helm of affairs and Shaad Ali in the director's seat, JHOOM BARABAR JHOOM is expected to strike like a hurricane.

Let's come to the point straightaway. Don't look for a story in JHOOM BARABAR JHOOM. For, there's none here. What you get to see is a collage of interesting moments. It's not one of those conventional prem kahanis that have the lovers drifting apart or a misunderstanding creating havoc in their lives.

What goes against the film is the fact that you feel a vacuum at the end of the screening. Something is amiss. Sure, you are enamored by the gloss. You are awe-struck by the stunning locales of U.K. and France. You are hooked to the performances of Abhishek and Preity mainly. But, deep inside, it doesn't satiate you.

Write your own movie review of Jhoom Barabar Jhoom
To sum up, JHOOM BARABAR JHOOM is all gloss, no substance. Body beautiful, minus soul. In desi lingo, unchi dukaan, phika pakwaan.

Busy London station. Delayed train from Birmingham. Two strangers waiting for the train... Rikki Thukral [Abhishek Bachchan], born in Bhatinda, living in London; and Alvira Khan [Preity Zinta], more Brit than the Queen herself, however with Lahori blood in her veins.

Crowded caf鮠One table to share. Two hours to kill. Perfect setting for the start of a love-story. Hitch? Both Rikki and Alvira are engaged and have come to pick up their fianc鳬 who are coming by the same train. To kill time, they end up telling each other their ?how I met my fianc锠stories.

Rikki met his fianc頁naida [Lara Dutta] at The Ritz, Paris. Alvira discovers her prince at Madame Tussaud's. When a gigantic wax model of Superman falls from the ceiling, Alvira is a sitting target. But Steve [Bobby Deol], a lawyer by profession, saves her life, but steals her heart.

Stories unfold, time passes, the two strangers start enjoying each other. Actually, they have gotten alarmingly attracted to each other!

Director Shaad Ali has handled a number of sequences well. Actually, come to think of it, you do enjoy a few moments in this 14 reeler. But can you stretch a rubberband beyond a point? That's what the writer does.

Writer Habib Faisal's screenplay is as taxing as driving in monsoons on a road full of potholes. When you realize the film offers no story, you sit motionless, flexing your facial muscles at times, but remaining indifferent to the goings-on generally. The director and writer have substituted the script with stunning visuals. But that's no compensation. Shankar-Ehsaan-Loy's music is quite good. 'Ticket To Hollywood' is the track you carry home. The title track is another foot-tapping composition. Cinematography is exceptional. The film is a visual treat. Choreography [Vaibhavi Merchant] is different, but Abhishek carries it off very well. Aki Narula's costumes are smashing.

JHOOM BARABAR JHOOM belongs to Abhishek first and Preity next. Abhishek is in terrific form. It wouldn't be erroneous to state that his performance makes the goings-on watchable at times. A lesser actor would've fallen flat on his face in the absence of a cohesive script.

Preity is lovely and takes to her character like a fish to water. In fact, the two actors make an attractive pair. Bobby is relegated to the backseat. Also, would someone please tell Mr. Deol to chop off those locks? Lara Dutta is confident, though she's not in the forefront either. Amitabh Bachchan adds to star-value. He only appears in one song, flashed throughout the movie.

On the whole, JHOOM BARABAR JHOOM is no patch on Yash Raj's illustrious films. The film is all gloss, no substance. Body beautiful, minus soul. At the box-office, the all-powerful Yash Raj brand coupled with the lack of biggies will ensure substantial revenue for its producers/distributors in the initial days, proving that sometimes, a bad film also makes money.




Type rest of the post here

Indiafm : Apne

By Taran Adarsh, June 29, 2007 - 12:38 IST

With SHRADDHANJALI, his directorial debut, Anil Sharma proved that he could make you moist-eyed. With HUKUMAT, he proved that he could pull off a vendetta fare with gusto. With GADAR, he proved he could handle a love story with two neighboring countries as the backdrop with remarkable ease.

APNE, his new endeavor, is all about familial bonding. In a way, the storyteller goes back to his roots in his new outing -- emotions.

APNE casts a father [Dharmendra] and his two real-life sons [Sunny, Bobby] in roles that suit their personalities. Besides, the backdrop of boxing makes the conflict in the story look convincing.

APNE is rich in emotions and a number of sequences, especially those between Dharmendra and Sunny, are electrifying. Also, the boxing matches [Chris Anderson] are pulse-pounding and you clench your fists tightly due to the tension that's depicted on screen.

But APNE has its share of shortcomings as well. Ideally, the film should've had a concise format of 2.15 hours, instead of 2.54 hours. Besides, the screenplay, although tight at most times, succumbs to mediocrity at places. Music too is another aspect that should've had a lingering effect, since it's not everyday that the three Deols come together.

To sum up, APNE is desi at heart and holds appeal for those who swear by desi flicks. A worthy effort nonetheless!

Baldev Singh Choudhary [Dharmendra] won a silver medal in the Olympics and made India proud. His only dream was to make history by becoming India's first World Heavyweight Boxing Champion. But sometimes dreams get shattered before they can be realized.

When in the U.S., fighting for the World Heavyweight Championship, the betting mafia conspires against him and gets doping charges leveled against him, which gets him banned from boxing.



For an athlete nothing can be worse than doping charges. Baldev wants to get rid of this stigma and pain by training his elder son Angad [Sunny Deol] in the sport of boxing and make him a World Heavyweight Champion and create history which eluded him.

But Angad has some other dreams, other aspirations, other commitments… Karan [Bobby Deol], the younger son, a musician, in spite of wanting to fulfill his father's dreams, is helpless. But the story takes a turn when Karan decides to live his father's dream. The situation spirals out of hand subsequently…

APNE grips you gradually. Anil Sharma and writer Neeraj Pathak open the cards at the very outset. The uneasy relationship shared by the father and son [Dharmendra, Sunny], Dharmendra's failed ambition, the turning point in the tale [when Bobby steps in to fulfill his father's dreams] make the goings-on watchable. The narrative only gets absorbing when the focus shifts to the boxing ring and the opponent [Luca] steps into the picture.

But there's a flip side too. The choreography of these sequences [in the boxing ring] is so real that it can be off-putting as well, especially for the faint-hearted. Also, the climax is well crafted, but, ideally, it should've ended when Sunny overpowers the opponent. The subsequent portions [Bobby's liver problem] only add to the excessive length.

Director Anil Sharma handles the emotional sequences brilliantly. In fact, a number of scenes bear the stamp of a solid storyteller. The screenplay [Neeraj Pathak] is taut, except for a few loose ends. Himesh Reshammiya's music is a complete letdown. Barring the title track, the remaining songs are uninspiring. Kabir Lal's cinematography is topnotch. The lush green fields and locales of North India give the film a rich texture.

APNE belongs to Dharmendra. No two opinions on that. The veteran roars like never before and proves yet again that he's a magnificent actor. Sunny is first-rate. Bobby is alright, but the one complaint that you hold against him is, why didn't he work on his physique when he accepted this role? If he's playing a boxer, he can't afford to show his flabby chest and stomach.

The leading ladies don't have much to do. Shilpa at least gets a few scenes, while Katrina is there to flutter her eyelashes only. Kirron Kher is superb yet again. In fact, she has a far meatier role than the two ladies. Divya Dutta is wasted. Victor Banerjee is natural. Jawed Sheikh gets minimal scope. Aryan Vaid is alright. Luca is excellent.

On the whole, APNE is rich in emotions and has the potential to strike a chord with families. Those who love emotional fares are bound to take a liking for its theme. At the box-office, it has the power to grow with a strong word of mouth. Business in North India will be the best. However, trimming the film will only elevate its status.

Indiafm : AWARAPAN

By Taran Adarsh, June 29, 2007 - 12:41 IST

Choosing an interesting story is difficult. But doing justice to the story is nothing short of an achievement. AWARAPAN, directed by Mohit Suri, gets it right on both the levels -- on paper first, on celluloid later.

For Hindi moviegoers, the story may remind you of Rakesh Roshan's KOYLA [SRK, Madhuri, Amrish Puri], but in actuality, AWARAPAN borrows from director Kim Ji-woon's Korean film A BITTERSWEET LIFE [2005; Korean title: DALKOMHAN INSAENG; starring Lee Byung-Hun, Kim Young-Cheol, Shin Mina]. Nothing wrong with being inspired, since every director has his way of interpreting a story. Also, Mohit adapts the content to suit Indian sensibilities.

AWARAPAN is as raw as a gash inflicted by a rod. A number of Hindi films have plunged into the underbelly of the underworld/mafia in the past, so how different is AWARAPAN from films of its ilk? AWARAPAN packs in all this and something extra in those 2 hours -- a love story and spirituality.




Write your own movie review of Awarapan
More than anything else, AWARAPAN marks the coming of age of one of the most under-rated actors on this side of the Atlantic -- Emraan Hashmi. Shunning and discarding his by-now-famous casanova image, Emraan enacts a role that every actor craves for in his heart since the opportunities are limited in the masala set-up. And the youngster interprets it with aplomb.

To sum up, AWARAPAN has style and substance, both. The film packs a solid punch in those 12 reels.

AWARAPAN is the story of man called Shivam [Emraan Hashmi], who searches for joy but finds pain and loneliness. It is the journey of a heartbroken lover who, in order to escape from the ghosts of his tragic past, dedicates himself to serve his gangster boss Malik [Ashutosh Rana], who runs a chain of hotels in Hong Kong.

One day, Malik asks Shivam to do an unusual job for him. He asks him to keep an eye on his young mistress Reema [Mrinalini Sharma] while he is away on a brief business trip. Reema is a young Pakistani girl who is a victim of human trafficking. Malik had 'bought' her in the flesh market in Bangkok.

The brief is clear: If Reema is found cheating behind Malik's back, Shivam has to eliminate her. From the moment Shivam sets his eyes on Reema, his frozen past begins to raise its head. He is reminded of his lost love [Shriya Saran] and how he had failed to save it from a catastrophe.

And then one night Shivam is shocked to discover that the innocent looking Reema has a secret boyfriend [Rehaan Khan], whom she has tucked away and is planning to run away with. Does Shivam remain loyal to Malik and execute his orders or does he take on his wrath by daring to go against him?

Frankly, you need to have a strong stomach to absorb a film like AWARAPAN. The film is dark, serious and violent. The romance, therefore, is minimal, but whenever injected in the plotline acts as a coolant.

Director Mohit Suri continues to grow as a storyteller. Note the sequence when Shriya's father catches Shriya and Emraan red-handed and the confrontation that ensues, leaving Emraan's life devastated. Note another sequence: Emraan walking up to Ashutosh Rana and after a verbal duel, fires at him from point-blank range. There're more sequences that only illustrate the fact that Mohit is amongst the finest storytellers today.

But, on the flip side, the excessive violence can be off-putting for a section of viewers. Emraan being buried alive or the constant gunshots and gore can compel you to take your eyes off the screen. This film is definitely not for the faint-hearted.

Pritam's musical score is refreshing. The tunes are fresh and so are the voices. Cinematography [Raaj Chakravarti] is good, although a few sequences could've been better lit in some scenes. The background score [Raju Singh] is excellent. Dialogues are a highpoint. The dialogue between Ashutosh Rana and Mrinalini, drawing parallels with a sick puppy, is superb.

As mentioned at the outset, Emraan delivers a magnificent performance. When the year draws to a close and the 'Best Actor' nominations are being formalized, including this performance would only be appreciating and acknowledging qualitative work.

Ashutosh Rana is splendid and all you want to ask the actor is, aap kahan thhe itne mahine? Shriya Saran has a small role, but she sparkles every time she appears on screen. Mrinalini is a talent to watch out for. She's outstanding!

Purab Kohli is superb as the eccentric nephew of Ashutosh Rana. Ashish Vidyarthi is wasted. Salil Acharya is a welcome addition to the list of talented actors. Shaad [introduced in WOH LAMHE] is very good. Rehaan Khan [introduced in JAANA] is hardly there. Atul Parchure is nice.

On the whole, is a well-made product that should appeal to its target audience -- the youth, especially those who appreciate genuinely hatke themes. At the box-office, the film will be affected due to multiple releases in a week. Releasing the film in an open week, without oppositions, would've only helped. However, AWARAPAN should grow with a strong word of mouth.

Rediff : Awarapan

Awarapan: Stay off the cinema hall
Ajit N

Human trafficking is a menace that most nations are today trying to do away with. Emraan Hashmi-starrer Awarapan is an attempt to portray this scourge. The serious bit of the review ends here.

Awarapan starts in an exotic night club of Hong Kong and goes on to a port where a delivery of people is to be offloaded. This is where Reema (Mrinalini Sharma [Images]) is introduced. When she realises the light of the day, off she runs to save herself.

A predictable camera chase later, she is recaptured only to blare "Give me my freedom. Leave me alone." That is the premise of the movie (in case you missed it).

Cut two, and we have Shivam (Emraan Hashmi [Images]), Gangster Malik's (Ashutosh Rana) most trust-worthy man. Mesmerized by Reema, Malik asks Shivam to find if she has a man in her life. Loyalist Shivam keeps a watch on Reema.

Then follow song sequences that make you yearn for an urgent nip tuck� be it Mrinalini for her bad dancing skills and woody movements or Pritam whose excessive electronica makes you reach for your ear muffs.

A flashback here reveals Shivam's past. While escaping the clutches of the police, bandit Shivam bumps into Aliya (Shreya Saran). Looking as pretty as ever, she tries to coax him to buy a pigeon she is selling and release it, as a karmic cleanser. Unperturbed he continues his run, not before realising that he has fallen for her.

Their meetings continue, with Aliya making all attempts to induce some faith in Imran. Then bad luck has a lucky day and the couple is caught by Aliya's father, who tries to knock some sense into Aliya. Shivam professes his love for her and hands over the gun to her father. In the bid to shoot Shivam, her father shoots Aliya. Flashback's over.

Back to present, Shivam continues to keep a watch on Reema, and happens to stumble upon Bilal, her love interest. When this news reaches Malik, he orders the assignation of Reema. Another flash back and the loyalist Shivam seems to get jelly feet with the very thought of killing Reema. Yet he barges into their home and fires six bullets, which even at close range missed the couple. Divine interventions, he concludes.

What follows is predictable. An unhappy villain, a lot of dishum dishum and gunfire et al.



And so as to leave no stone unturned, the director eve assures that the villain's entire family is wiped off. In what seems to be a rather cheesy end, the viewer is reminded (finally!) of the premise of the movie -- "Give me my freedom. Leave me alone."

Mrinalini could sure do with some better facial expressions. As for Emraan, he desparately needs a better stylist and Shreya a new makeup man. Talent Ashutosh is wasted and so is Shreya.

On a radio show this week, a very confident Emraan had proclaimed that if anyone does not enjoy the movie, he shall pay them back the ticket money. Well, I have preserved my ticket and await a refund.

Did anyone mention human trafficking?

Rediff : Apne

Apne: Watch it for knock-out Dharmendra
Sukanya Verma

Magic has no expiry date. Nor does it ever lose its touch.

That is what makes Dharmendra so timeless. The seventy plus actor, known for his devastating good looks, emotional demeanour and remarkable body of work, reminds us why he is so special.

There is a lot of actor in him left untapped. And unlike his previously embarrassing outings (Kis Kis Ki Kismat and Hum Kaun Hain?) which failed to assert so, Anil Sharma's Apne allows him to demonstrate just that.

There's also this curiosity factor of seeing the three Deols -- Dharmendra, Sunny and Bobby share screen space for the first time. One appreciates the delicate bonding between the genuinely warm-hearted Jats.

In essence, Apne is not so much a boxer's fairy tale, as it is a family kerchief caper that salutes the 'can do' spirit. Here's how:

Having been banned from the world of boxing on false doping charges, former Olympics [Images] silver medallist Baldev Singh Chaudhry (Dharmendra) retires to a life of haunting humiliation and growing resentment.

His hopes of seeing elder son, Angad (Sunny Deol) restore his lost honour are squashed, after the latter refuses to play the 'worthless' game. Going by the fate he meets in the ring, you can't really blame him for thinking so. Instead, at the risk of evoking his boxing-obsessed father's wrath, he throws himself in revolutionizing agricultural farming.

His kid brother Karan (Bobby Deol [Images]), partially handicapped post a childhood mishap, takes up music as a profession.

With neither son inclined to the sport to which he gave his all, Baldev becomes increasingly bitter. An ungrateful coaching experience (Aryan Vaid [Images]) shatters Baldev completely.

His break-down triggers something in Karan and his until now paralysed arm is miraculously healed. He resolves to fulfil his father's lifetime wish of becoming an international boxing champion.

After rigorous training, our Punjabi stallion is fit enough to break every rib his gloves face (including Vaid's). Now the only thing standing between Karan and a champion's belt is Luca Gracia (played by a super stiff Chris Anderson -- an African American with an Italian handle, how inventive is that?)

The Rocky-inspired match has a rather tragic outcome, leaving Angad with very little choice. The move is as ridiculous as Sunny battling out an armed force of 100 in Gadar. Here he challenges to take on a title holder with just a month's preparation. So much that even Dharmendra can't resist quipping: 'Boxers retire at your age.'

This segment of Apne heavily relies on Sylvester Stallone's [Images] Oscar-winning classic for moves, mock threats, punches, jibes and spirit. Which means clumsily picturised fights, tacky make-up, inelegant cussing in English (F-word inclusive), a lackluster audience carrying posters that read incorrectly spelled words (Luca Destroy Him, anyone?)



Ideally for Sunny, Apne should have come out a decade earlier when he was at his prime's peak. Here his worn out appearance and diminished vigour lessen the impact of his earnest performance. Even so, his vulnerability spontaneously surfaces in sequences where his father attacks him with acerbic sarcasm.

Brother Bobby shines in his part. Not only is he looking incredibly fresh, but is suitably understated and genial. With barely any lines to speak, he conveys volumes with reverence, determination and awe in his body language.

Definitely, it's Dharmendra's show all the way. Whether it is flirting with his wife (Kiron Kher playing the Punjaban wifey yet again), indulging his grandson, fooling around with his best buddy (a charismatic Victor Banerjee), bucking up his sons to victory or breaking down with a sense of utter failure, he portrays an underachiever with heart, humour and strength of character.

Another good thing is, unlike all the other unconvincingly goody-goody characters in this enterprise, Dharmendra's Baldev is the most believable. His weaknesses are conspicuous. For one, he can't help endangering his sons' lives, in order to feel vindicated.

The ladies -- Shilpa Shetty [Images] and Katrina Kaif [Images], provide ample eye candy and shoulder to cry on to their stumbling beaus. Both actresses have enough screen presence not to face any problems doing that.

As much as you enjoy cinematographer Kabir Lal's palette of colours flushed on screen, capturing the best of Chandigarh and New York City, the editing (by Ashfaque Makrani) is strictly below par. With its lengthy narrative and excessive melodrama, Apne tends to drag miserably in parts.

Himesh Reshammiya's weepy title track, popping every two minutes, does not help either. His score is one of the weakest links in the movie.

Ultimately, it is an Anil Sharma film. Going by his past record (Tehelka, Hukumat, Gadar: Ek Prem Katha, The Hero: Love Story of a Spy), the man has an amazing appetite for kitsch and absurdities. The movie bears his stamp alright.

But despite all its glaring oddities and palpable flaws, Apne has its heart in place.

Rediff : Aap Kaa Surroor: The Moviee

AKS: Only for Himesh fans
Syed Firdaus Ashraf

Aa aa acting mein teri,
Jaan jaan jayengi jaan meri.

The rephrased lines from 36 China Town best describes Himesh Reshammiya's acting debut, Aap Kaa Surroor: The Moviee: The Real Luv Story.

Himesh's acting and the film's story is quite weak. Yet, AKS will work very well for audiences. Despite the film's shortcomings, it will not bore you.

Director Prashant Chadha has managed to balance the songs with the story, and also capture Germany beautifully.

Himesh plays a rockstar in the film, who arrives in Germany for a concert. A chance meeting with Riaa Bakshi (Hansika Motwani [Images]), who is his event manager in Germany, results in love at first sight. There's no background to HR's life -- there's no reason why he fell in love with Riaa or why he was single all the while before he met Riaa.

To play spoilsport in their love story comes Ruby James (Mallika Sherawat [Images]) who has also fallen for Himesh. But of course, he's not interested in her.

The story goes that a television reporter is murdered in Himesh's room, and he gets arrested. Now, he has to prove his innocence to the world and to Riaa's father (Sachin Khedekar). If he cannot, Riaa will be married off to someone else.

The story is very ordinary. What saves it is the music. All the songs have been well-placed in the film, so that you never lose interest.

Hansika Motwani does not impress. Her emotions are restricted to excessive smiling or crying.

Himesh and Riaa Reshammiya in AKSHimesh's sidekick Shravan does good work.

More screen time for Mallika would have made the film better. She rocks in Sholay's Mehbooba song.

Himesh is too stiff and needs to loosen up if he wants to continue acting. He has a good screen presence, but at times, looks too conscious in front of the camera.

Anyway, like Himesh promised in his interview, the reason for him not smiling is revealed in the course of the film.

If you are a Himesh fan, Aap Kaa Suroor is a must-watch. If not, avoid.

Rediff : Aap Kaa Surroor

Aap Kaa Surroor Rediff Movie Review

There are many reasons to make a film but when the reasons are to explain why Himesh Reshammiya always wears a cap or why he never smiles, then God save us!

Two years ago, Himesh and his childhood friend Prashant Chadha decided to make a video of the smash hit single Aashiq Banaya Aapne, featuring the singer-composer. What followed was an unparalleled success story. Now, we have a film that tries to explain the cult of Himesh Reshammiya aka HR.

Aap Kaa Surroor: The Moviee: The Real Luv Story is about HR, a widely successful rockstar now on the German leg of his world tour. He is a simple God-fearing, non-smiling cap-wearing Indian, who imagines his dream woman in a salwar kameez even though she's walking up to him in a pink party dress! HR not only hears the Gayatri Mantra every time he comes face to face with Riyaa, he also hums a jazzed up version of it when he realises he's in love.


In between singing at every occasion and trying to save his izzat from his man-eater manager Ruby (Malika Sherawat), HR manages to get embroiled in the murder of a television reporter. The dead girl's father (Raj Babbar) is convinced that HR is the killer. So is HR's prospective father-in-law (Sachin Khedekar).

Now, it's up to HR to prove his innocence, otherwise Riaa would get married off to someone else.

The film offers nothing except a bad concoction of everything avoidable -- bad acting, clich�d dialogues, terrible one-liners and a cute terminally ill kid who smiles her way into our hearts.

The much-talked about Mehbooba song featuring Himesh with Mallika has no connection with the film's story.

The movie suffers on so many fronts that after some time, you lose the number of problems just like I lost count of the number of caps Himesh sports. He hams his way through the film as if he started acting in the 1980s but finally completed the film 20 years later. Even the songs offer nothing new.

The rest of the cast is passable. Hansika Motwani [Images] aka Riaa tries to look cute and manages to successfully employ the same done to death 'am so cute' nuances. But I could not understand why she was trying to copy Sushmita Sen [Images]!

Raj Babbar has four scenes, two of them featuring him in the same place, watching the same TV report and holding on to the same emotion.

The film seems disjointed and it's evident that the people behind it just wanted to cash on the Himesh wave. Why else would nicely photographed songs be separated by an inanity trying to masquerade as a script?

The only thing worth remembering in the film was Himesh's sidekick mentioning commenting: 'Agar naak cut gayee, toh gana kaise gayega?' Well, Himesh still has his khatarnak for that.

Rating 2 1/2