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:

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

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