Srisailam Movie Review

The Film

Srisailam is a meaningless film with contrived situations and insipid narration.
The Synopsis

Srisailam (Srihari) is shown as a terrorist who has been given the task of killing Krishnam Raju, who is the principal of a college. Srihari joins the college staff as a bus driver. He indulges in all sorts of queer things in the name of desa bhakthi.

Then there is a flashback where Nagababu pops up. Srihari is revealed as an Indian Army officer, who is hell bent on wiping out the terrorists.

The story then meanders to a yawning climax.

srisailam-movie-review

srisailam-movie-review

The Performances

Srihari tries his best to show some acting but his character has been so loosely delineated that he couldn’t do much. All other artistes in the film just go through the motions.
The Techniques

A poor story, lifeless characters, incohesive screenplay, listless dialogues, meaningless songs and mindless violence are the benchmarks of this film. The less said about the technical and production values, the better.

The Verdict

Srisailam is colossal waste of celluloid resources and the audience time.

srisailam-movie-review

srisailam-movie-review

The Cast and Crew

Srihari, Krishnamraju, Sajitha, Suhani, Ram Kiran, Yashpal Sharma, Dharmavarapu, Venu Madhav, Raksha, Chitram Sreenu, Naga Babu and others

Action: Ram-Laxman
Art: KV Ramana
Cinematography: A. Vijaykumar
Dialogues: Swamiji-Vijay
Editing: Marthand K. Venkatesh
Music: Sri Sai
Story, Screenplay & Direction: KS Nageswara Rao
Producer:Tadivaka Ramesh Naidu.
Banner: Image Films

The Rating
1 out of 5
Review by Deen Kumar

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Mehbooba Movie Review Online

Hindi films continue to have hypothetical heroes who recurrently see the same face in their dreams for years. Strangely I never ever remembered my preceding night’s dream but sure will I remember this nightmare of a film for years to come. Karan (Ajay Devgan) not only remembers the accuracies of the female face that he dreams of but also has the precision to paint it all across his living room. Ludicrously, the dreamy face exists in real life too by the name of Payal (Manisha Koirala) and Karan stumbles upon her one fine day. Karan chases Payal through the city singing songs but for a change this heroine isn’t amused. She exclaims that such cheap dramas to lure girls are outdated. Wish the director had actually taken note of her remark, since the actor’s antics are actually archaic and obsolete. Now Payal has a past. She was Varsha then and had publicly slapped a spoilt millionaire Shravan (Sanjay Dutt) who made illicit advances towards her. With the slap, Shravan is a changed man. He approaches Varsha’s father who willingly approves of all his earlier illegitimate affairs and gets him engaged to his daughter. You don’t have to be an Abbas-Mustan addict to estimate the twist that Shravan is seeking a ’slap’dash revenge with intentions of sleeping with Varsha.

Varsha loses faith from love and we lose hope from Bollywood love stories. Karan re-infuses love in Payal’s life but one keeps wondering why Bollywood heroines always change their identity post losing virginity immorally.

Suddenly you enter Sooraj Barjatya state-of-affairs as Karan returns Rajasthan to an ever-grinning Hum Aapke Hai Kaun cast of Reema Lagoo, Bindu, Himani Shivpuri, et al. But why have Annu Kapoor in a double role when none amuses? Expectedly you are informed that Karan and Shravan are brothers. To give Shravan a positive stamp of approval, the director rinses all his misdeeds of the first half by showing him seized by guilt pangs. And this time you are supposed to believe that he is really repentant of his wrongdoings to Varsha. Clearly this reeks of a chauvinistic outlook of the filmmaker to simply sanction Shravan with a heroic conduct.
What follows is the standard sacrifice story between siblings on who will forego the girl and who will gain her. Each one tries to outdo the other in surrendering, till the point that the heroine claims she has never seen such love amongst brothers before. Surely she hasn’t seen Saajan that this film ends up being. As per cinematic laws, one brother has to die in the climax.

The film resorts to all sorts of gimmickry from a sari-clad rain song in the studio-shower to a sleazy nautanki item number and an action packed finale. But each one acts as a failed formula. Afzal Khan’s direction is evidently amateurish and shoddy. Surprisingly Ismail Darbur composes a sleazy version to his trademark tune of Dholi Taro and tries to stuff the title word Mehbooba in every track but to no avail.

The performances are as much lackluster as much as the film is delayed. Though Sanjay Dutt looks relatively young, Manisha Koirala carries the same old flab. Ajay Devgan tries too hard to breathe life in this dead script but sometimes artificial respiration doesn’t help.

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Kismat Konnection Movie Review

Simple stories, told in the simplest manner, have been the hallmark of all Aziz Mirza films, right from RAJU BAN GAYA GENTLEMAN to CHALTE CHALTE. KISMAT KONNECTION, the veteran’s new outing, is no exception.

The characters we watch on screen are relatable, their problems are the type that we’ve either heard of or experienced ourselves, the love story and the conflict in the tale also comes across so real. Like Mirza’s previous films, KISMAT KONNECTION is also not heavy on your senses. It’s a simple, feel-good fare that charms its way into your heart.

Since Mirza has only worked with the Numero Uno star, SRK, in the past, the first question that crosses your mind is, does he get it right with Shahid? And the second question is, is the chemistry between the lead pair interesting? Thankfully, the answers to both the questions are in the affirmative.

But there’s just one hitch. KISMAT KONNECTION takes its own sweet time to reach the finale [yes, it's lengthy in the second hour]. Besides, it gets slow-paced as well. Yet, all said and done, KISMAT KONNECTION is a film that makes you smile and that is its biggest triumph.

The last word. KISMAT KONNECTION is a pleasant experience, sunshine cinema that lingers in your memory even after the show has concluded.

Raj [Shahid Kapur] was numero uno. In academics, sports, dramatics. But four years after winning the best-student-of-the-year trophy from his architectural college, he’s wondering why a brilliant architect like him, with designs to set the Canadian landscape on fire, is still struggling to find that one big chance to showcase his mettle.

It’s almost as though some negative kismat is following him around because whenever something good is about to happen, it seems doomed to fail.

Desperate to get rid of the bad phase in his life, Raj meets a quirky oracle, Hasina Bano Jaan [Juhi Chawla]. She tells him that soon his stars will change and make everything work in his favour; but for all this to happen, Raj has first to find his lucky charm and never let go of it. But she tells him no more, leaving Raj mystified, trying to figure out what this charm could be.

Suddenly, his life seems to be on the right track. He’s managed to impress top builder Sanjeev Gill [Om Puri] into giving him a prestigious project.

Priya [Vidya Balan] is a tough-talking, tough-decision taking girl with a heart of gold. She is an idealist who is intent on making the world a better, more humane place and is quite willing to fight a lone battle for it.

Raj succeeds in persuading Priya that he’s the Messiah who can save her beloved Community Centre from destruction. And also opens her eyes to her philandering fiancé [Amit Verma]. Raj even manages to thwart the evil designs of old-college-foe-turned-deadly-professional-enemy Dave [Manoj Bohra]. Does this mean that Raj has unwittingly discovered his lucky charm?

Recall Aziz Mirza’s movies. In practically all his films, the protagonist is aspiring to make it big in life. There’s a constant struggle on both levels, personal and professional. KISMAT KONNECTION is no different. Sure, KISMAT KONNECTION isn’t entirely original. It bears an uncanny resemblance to JUST MY LUCK [2006; Lindsay Lohan, Chris Pine], but it has been adapted quite well in the Indian milieu. What also sets apart is that Mirza’s films have a subtle message and KISMAT KONNECTION is no exception.

KISMAT KONNECTION is primarily a love story that viewers may have visited several times in the past, but let’s not forget, romance can never ever go out of fashion. Mirza and co-director Haroun Mirza succeed in presenting the highs and lows in a relationship with maturity. The situations are simple, there’s no place for melodrama here. But Mirza should’ve taken care in maintaining its pace and length in the second hour. The film could’ve easily done away with a number of scenes.

Pritam’s music is ear-pleasing. ‘Aai Paapi’ and ‘Bakhuda Tumhi Ho’ are haunting compositions, while Ahmed Khan’s choreography in the former takes your breath away. Binod Pradhan’s cinematography is top notch and the icing on the cake is the breath-taking locales of Canada.

Shahid is a complete natural, very likable, very believable. Post JAB WE MET, the actor has attained that rare confidence which shows in his performances. Watch him get the emotional moments right and you know that the actor has only matured with time. You may have pre-conceived notions vis-à-vis his pairing with Vidya, but let’s tell you that they look perfect. The trimmed hair and minimal makeup make Vidya look pretty. Acting-wise too, she pitches in a fine performance.

Juhi tends to go over the top, but that’s the demand of the role. Om Puri is first-rate. Himani Shivpuri is fantastic and her Punjabi accent will bring the house down. Vishal Malhotra is efficient. Manoj Bohra acts very well.

On the whole, KISMAT KONNECTION is a simple film that has its own charm. It’s no path-breaking cinema, but it works. At the box-office, its kismet should be strong at multiplexes and the wide release, coupled with no opposition, will help its distributors reap a benefit. Business in Overseas, where it has been given an extensive release, should also be good.

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Kidnap Movie Review Online

Cast: Sanjay Dutt, Imran Khan, Minissha Lamba, Vidya Malavade, Rahul Dev

Director: Sanjay Gadhvi

Music: Pritam
After “Dhoom” and “Dhoom 2”, director Sanjay Gadhvi’s latest film could have been titled Doom, such is the unpleasantness of experiencing it. With two mega hits behind him and two A-list actors with him, it’s hard to understand how the filmmaker got his act so wrong.

Billed as an action thriller, “Kidnap” neither has the action nor the thrills. For most parts, it’s either dull or lifeless, and even the ample show of skin and cleavage fails to revive it.

Apparently, it’s a script Gadhvi sat on for a couple of years before he could get Sanjay Dutt’s dates and start filming. Meanwhile, he made his “Dhoom” films and not just raised the bar for himself but the expectations of him too. The Sanjay Dutt-John Abraham starrer “Zinda” also came and went in the interim, a movie whose plot is somewhat similar to that of “Kidnap”, thus robbing Gadhvi’s theme of its novelty.

So what is fresh here? Three actors in a new look.

Most noticeable is Minissha Lamba’s new image. The girl-next-door has been reinvented and we see her in a sexy avatar. She has lost weight and is toned, and she’s flaunting it. Which isn’t so bad really, the body, that is, though unfortunately her acting skills seem to have also shrunk in the bargain.

Also reinvented is Imran Khan, whom we saw as the boy-next-door in the summer hit “Jaane Tu Ya Jaane Na”. He is the anti-hero here, also sporting a buffed body and a new hairstyle. His performance? Though it may seem better because of being among the bad, the fact remains that his expressions are just limited to varying degrees of the deadpan. He comes across neither as menacing nor angry or anything else a young man hardened by life in jail or seeking revenge should be.

Vidya Malavade (of “Chak De India” fame) makes a courageous career move by choosing to play mother to Minissha’s character. But as she is the glamorous, cleavage-flashing New Age screen mom, there’s little danger of her being typecast as the middle-aged mother. Her acting? Another long role showcased by a handful of expressions.

And what’s just not fresh?

For one, it’s Sanjay Dutt. Seen on the big screen after a considerable gap, Dutt, one of the busiest stars of the moment, looks unfit, uncomfortable and completely disinterested in the proceedings. He doesn’t even suit the part, probably because it presents him with no challenge as an actor. Also, maybe, we have just got used to seeing him play Munna Bhai and Bhai the underworld don, so unless he gives the performance of a lifetime, it will be difficult for him to be convincing in any other role.

As mentioned, also not that fresh is the film’s story of revenge. In “Zinda” we have seen the anti-hero kidnapping the protagonist to avenge a past injustice. Here we have the anti-hero kidnapping the daughter to take revenge against the father. But what had redeemed “Zinda” to some extent was its engrossing treatment and slick presentation.

Gadhvi, himself having made slick, engrossing films, fails to dress “Kidnap” in the garb of a 21st century thriller. There is no technical wizardry, smart twists in the screenplay or even a background score to create an intriguing atmosphere. Emotionally, he fails to convey the trauma of the kidnapped girl or her parents as well as the disturbed state of the kidnapper.

As a result, “Kidnap” neither looks good nor feels good.

But along with Gadhvi the story-teller, the film’s writer, Shibani Bathija, should step forward to take the brickbats.

In short, the plot may not seem bad: It’s a man versus boy revenge drama in which 22-year-old Kabir Sharma (Imran Khan) kidnaps billionaire businessman Vikrant Raina’s (Sanjay Dutt) daughter Sonia (Minissha Lamba) and then compels him to commit a series of criminal acts so Raina can realise he had wronged Kabir by getting him sent to prison 8 years ago.

But a plot that may sound interesting so far actually ends up as ridiculous because it’s developed rather brainlessly. The game Kabir sets out to play with Raina may have no rules as he says, but it has no sense either. Raina runs on the roads, drives a car, rides a motorbike and even scales buildings… but we wonder why? The kidnapper’s clues and the sequences just don’t piece together to lead to a dramatic climax, which we wait for but never comes.

Instead, Raina and Kabir ultimately come face to face for a very tame exchange of some words of wisdom before Kabir melts into the darkness. By that time, at least we are traumatised and desperate to dash out of the cinema hall for some light and fresh air.

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Love Songs – Yesterday, Today Tomorrow Movie Review

The Film marks the return of director, Jayabroto Chatterjee after 22 years. The film is about complex human relationships, highlighting the one between a mother and her daughter. The film opens with an old friends’get-together as Mridula’s (Jaya Bhaduri) grandson Rohan returns to Kolkata. Rohan lost his mother at a young age and its his grandma who had raised him.

The movie begins at a slow pace, giving a feel that it would never gain momentum, but not quite. The movie takes a turn when Mridula tells Rohan about her past and about a certain Aftaab Jaffery. She had fallen in love with him in her college days. Rohan gets inquisitive to know all about Mridula’s past.

Mridula’s husband had passed away soon after their marriage and she was left with their post-humous daughter, who grows up to be a loud, stubborn brat who is insensitive as well as insensible. Palaash works as a singer in a nightclub and marries a fellow musician, who is much like her. They lead this reckless, bohemian life, which in the true sense is immature. They have a son(Rohan). Palaash often returns to her mother’s house after every fight and blames her mother for everything that goes wrong in her personal life.

Mridula works with an N.G.O for special children. She decides to visit a village for her research work, wary of her tortuous life. She meets the lady of the house, Rabia(Mallika Sarabhai). She comes through as a person who has given up on life. But another shock awaits her. Rabia is married to none other than Aftaab Jaffery. This bit may sound like the good old coincidences, but not when you watch the movie. The characters are so real that they almost float in front of your eyes and you instantly relate with them.

How would Aftaab react after seeing Mridula after so many years? Would her life change after meeting him? The movie scores well with the multiplex audiences, with some remarkable performances by the likes of Jaya Bhaduri and Om Puri.

Source: movies.iexplorehere.com

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‘The Pink Panther 2? movie Review

Genres: Comedy, Thriller and Sequel
Running Time: 1 hr. 32 min.
Release Date: February 6th, 2009 (wide)
MPAA Rating: PG for some suggestive humor, brief mild language and action.
Distributors:
Sony Pictures Releasing
When Steve Martin assumed the role of Inspector Clouseau in 2006, I was one of the few critics who actually praised him. Peter Sellers may have been brilliant in the first two “Panther” films but does anybody remember how laggard the later installments were? Martin, a great physical comic with a genius for screwy foreign accents, was perfect casting.

Now we have “The Pink Panther 2,” and the bloom is decidedly off the pinkish rose. Martin has a few inspired moments but in order to get to them you have to wade through a mosh pit of unfunny gags.

As the bumbling French police detective, Martin reclaims his nutso accent from the first film, to diminishing effect. In the 2006 “The Pink Panther,” I laughed uncontrollably when Clouseau, taking speech lessons from an English language coach, repeatedly mangled the word “hamburger.” Martin’s deadpan lunacy in this scene was peerless.

In “The Pink Panther 2,” director Harald Zwart and his co-writers (including Martin) can’t come up with an equivalent to this scene – not even close. They are reduced to using “hamburger” all over again, in a much less funny context. Now it’s the password for a SWAT team.

The movie’s ostensible plot has something to do with an international team of experts who attempt to recover recently heisted priceless treasures from around the world, including the Pink Panther diamond. Much to his slow-burn dismay, Chief Inspector Dreyfus (John Cleese) is forced to assign Clouseau, whom he has marginalized as a traffic cop, to the team.

Cleese has a funny bit early on when, upon getting the news about the Clouseau assignment, he excuses himself from the discussion, goes into the adjoining bathroom, and proceeds to pound his head – hard – against the fixtures. It’s the only moment in the movie when Cleese is allowed to do anything except stew and simper.

And then there’s Lily Tomlin, who has a brief, unfunny cameo as an etiquette instructor at the Palais de Justice. Watching her play opposite Martin in this scene is an object lesson in how far Hollywood comedy has fallen. In 1984 Martin and Tomlin appeared together in the hilarious whirligig “All of Me.” It was their first pairing together and, inexplicably, their last – until now. What must have been going through their minds in “The Pink Panther 2? as they played out their slapdash routines? Probably the same thing that was going through mine.

Even the numerous physical comedy set-ups, obviously designed for Martin, literally fall flat. The karate bouts between Clouseau and the young sons of his partner (Jean Reno, repeating his role from the first film) are execrably staged. So is a sequence where Clouseau, dressed like a toreador, impersonates a flamenco dancer. It’s possible that Martin’s footwork in this last scene was dexterous but we’ll never know. Zwart’s cameras are doing their own dumb dance.

The supporting cast of “experts” comes across as nondescript, which is quite a feat considering that they include such normally volatile performers as Andy Garcia, Alfred Molina and Bollywood bombshell Aishwarya Rai Bachchan. The high-low point comes at the end when Molina, on the losing side of a bet, shows up in a pink tutu. Not a pleasant sight.

There is also some supposedly risqué humor involving the pope, which is too doddering to be offensive, and an overabundance of cheesy, digitized shots of Paris. Zwart was aiming for a retro, storybook look but the results are more like a cheesy travelogue replete with bleary process shots. (Much of the film was actually filmed in and around Boston.)

One more qualm: Real-life news reporters in this film show up playing themselves, most notably Christiane Amanpour of CNN. I wish these luminaries would resist the temptation. I realize that news and showbiz have become almost indistinguishable, but I’d like to think that, if Edward R. Murrow were alive today, he wouldn’t be agitating his agent for a chance to play himself in “The Dark Knight.” Grade: C (Rated PG for some suggestive humor, brief mild language, and action.)

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Naan Kadavul Tamil Movie Review

Movie :Naan Kadavul
Starring: Arya, Pooja,Umashankar
Director: Bala

Music: Ilayaraja
Release Date : 2009
Movie Type : Tamil
Production : Vasan Visual Venture K S Srinivasan
Movie Rating : 1 star
Lyrics :Valee

Movie Story

For spiritual and astrological change, a far drive his son home. Tamilnadu boy go and take refuge in Kasi. At the same time, realizing his folly, far goes looking for her son to Varanasi. Arya growing up in the middle of Saadhu and Sanyasins and become one with long hair and bloody appearance. Shocked to see his son in such a condition that he decides to end his return to his hometown. Read More Information
Ilayaraja’s music will be a great adornment to Naan Kadavul. The exquisite music and the meaningful lyrics prepare us well to absorb the intense theme of the film.

Call it breath-taking, stunning or out-of-the-world. Any amount of appreciation would fit well for this film. Bala, considered the maverick director of Tamil cinema believes in quality rather than quantity and has come up with a film that spells both charm as well as fear on you.

Technically rich visuals, soul-stirring songs and splendid re-recording apart from top-notch performances by the artistes make ‘Naan Kadavul’.

In the recent past, there were very few films that cast a spell on the audience. Novel themes and innovative storylines virtually dried up in Tamil Cinema. Been in the making for over three years, Bala has come out with a movie that is strikingly different from the rest. Certainly several notches above the rest.

The dark realities of our lives, which we have never bothered to know until now, have been pictured realistically by Bala. The life among ‘Agori’ Sadhus, the troubled life of blind beggars controlled by the mafia and the lives of mentally-challenged people have been narrated in a way that is new to Tamil Cinema.

Bala, who proved his mettle with films like Sethu, Nandha and Pithamagan, has gone on to greater heights with Naan Kadavul. The lives of saffron clad Sadhus have been poignantly brought out in the first half, while the screen goes red towards the latter part.

Bala, who has chiselled the actor in Vikram and Suriya, has taken all pain and efforts to bring out the real and true actor in Arya. He succeeds in his mission at the very word go.

In a nutshell, the movie is about a father (Azhagam Thamizhmani), who goes in search of his son to Kasi. Several years ago he leaves his son in Kasi for spiritual and astrological amends. The boy grows up in the midst of saadhus.

Called as Rudhran (Arya) grows up to be a rough and tough man, whose life is unique and different from others. After his father’s persuasion, he comes back to his native village where he comes across a bad guy Muthalali (Rajendran), who controls a beggar mafia. Muthalali exploits physically-challenged old people and children for this purpose.

A visually-impaired poor girl Amsavalli (Pooja) is forced to join the gang. She along with others is forced to go and beg in many pilgrim centers by the don. Eventually it is up to Rudhran to take cudgels against them and rescue them.

Bala scores straightaway with a poignant and touchy narration in the beginning which slowly picks up momentum to end as carnage. Arya with his frightening looks and immaculate body language brings out an animal before us. His rugged looks complimented by his rustic performance add value to the movie. His performance towards the climax will be remembered for years to come.

Pooja as a blind beggar stuns one with her performance. Hitherto seen as a glam doll, she has come up with loads of expressions and is sure to make the industry look back at her as an actress, who can deliver emotional outbursts at ease.

Equally impressive are Azhagam Thamizhmani and Rajendran. The typical Balaisms are visible in every character in the movie. A whole lot of the cast includes Sadhus and beggars who fit their roles well.

Arthur Wilson’s camera is sheer poetry. His capturing on lens the crowded Kasi and the ruthless struggles of Rudhran deserves appreciation. What can be said about maestro Illayaraja. Not just his songs but his extraordinary re-recording brings the right feel to the whole film.

Jayamohan has added strength with his delicate dialogues. Though very few in the film, they are hard-hitting and sensible.

Kudos to producer Sreenivasan for sponsoring such a bold attempt. All said, it is a Bala special loaded with his trademark style and mannerism. Though many scenes are devoid of logic, Bala’s magic makes us forget them.

Naan Kadavul Music Review

Naan kadavul Movie Songs List-

* Amma Un Pillai
* Maatha Un Kovilil
* Oru Kaatril
* Pichaiphatiram
* Kannil Paarvai
* Om Siva Om

In one word, Naan Kadavul is a movie to cherish and celebrate.

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Movie Review: Mere Khwabon Mein Jo Aaye

Movie :Mere Khwabon Mein Jo Aaye story
Director :Madhureeta Anand
Music :Lalit Pandit, Siddharath Coutto

Lyrics :Javed Akhtar, Renuka Kunzru and Rohit Bhatia

Starring :Randeep Hooda, Raima Sen, Arbaaz Khan, Suhasini Mulay and Anjan Srivastava

Story:

I’d like to pose a few questions to those associated with Mere Khwabon Mein Jo Aaye. The first question is to writer-director Madhureeta Anand. What were you thinking when you wrote this script? And, most importantly, did you ever realise what you were making, while filming it?

The second question is to the three actors, Randeep Hooda, Raima Sen and Arbaaz Khan. Did you take a script narration? If you did take one, did you comprehend it? The third question is to producers Ajay Bijli and Sanjeev K. Bijli. What prompted you to back this project? Did you go through the script?

Watching Mere Khwabon Mein Jo Aaye is akin to flying in an aircraft without a pilot. Seriously, what kind of cinema is this? Mere Khwabon Mein Jo Aaye is a terrible waste of time, money, efforts and precious raw stock.

Maya (Raima Sen) lives in New Delhi, is married to Vikram (Arbaaz Khan) and has a daughter Priya (Eka Kumari Singh). Maya’s life is mundane and centres around her family.

One evening, she overhears a conversation between her husband and another woman and realises that he’s having an affair. Her simple, family-centric life around her breaks down and she realises how Vikram had slowly degenerated her confidence and self-esteem in the past few years of their marriage. He stopped her from singing and abandoned all her dreams.

During a conversation with her neighbour Mrs. Mathur (Suhasini Mulay), who is looking for an ideal tenant, she conjures up her fantasy man, Jai (Randeep Hooda). Through Jai, who keeps reoccurring in her dreams in different avtaars, she regains her confidence. He inspires her to pursue her ultimate dream of singing.

With the help of her neighbours, a young band (Neil Bhoopalam, Juhi Pandey), she embarks on realising her dreams.

The multiplex culture has given birth to all kinds of cinema — good, bad, rubbish, boring. Mere Khwabon Mein Jo Aaye is all this and more – it’s senseless. It makes you wonder whether you’re actually watching a film or you’re in deep slumber, dreaming of being in a plex, watching a bizarre film.

If the story is weird, the screenplay is outlandish. Why does the couple (Arbaaz, Raima) drift apart? Raima has been a loving wife, a doting mother, who has never shied away from her responsibilities. Yet, the husband is always complaining.

Worse, Raima’s fantasy (Randeep in various avtaars) only makes you rub your eyes in disbelief. Actually, you went through similar emotions (upset, angry, disgusted) while watching Anurag Kashyap’s nonsensical No Smoking.

Lalit Sen’s music is listless. Viraj Sinh’s cinematography is just okay.

Raima is a talented actor, but she should channelize her energies on better scripts and roles. Randeep is unintentionally funny. Arbaaz is wasted. Amongst supporting actors, only Neil Bhoopalam stands out. Ashwini Kalsekar, Anjan Srivastava and Suhasini Mulay are wasted.

On the whole, this khwaab is more of a nightmare.

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Chal Chala Chal Movie Review

Movie:Chal Chala Chal
Director:Rajiv Kumar
Cast:Govinda, Murli Sharma, Reema Sen, Rajpal Yadav, Om Puri, Asrani

Story:

This week is special! Three new releases — Dev D, Mere Khwabon Mein Jo Aaye and Chal Chala Chal – and all three are vying for ‘worst film Of the week’ award. The winner is, hold your breath, Chal Chala Chal. It wins hands down!

There’s nothing right about this comedy, which turns out to be a tragedy for the hapless viewer. The direction is bad, the script is pathetic, the editor seems to have gone on a vacation, the actors scream their lungs out…

Chal Chala Chal rests on an outdated concept, something that might’ve worked 35/40 years ago. On second thoughts, Chal Chala Chal is so bad, it would’ve failed even then.

Deepak (Govinda), a simpleton, has been switching jobs as he does not want to succumb to the corrupt system. Since years, with unwavering efforts, financial hardships and an unshaken faith in the judicial systems, he has been helping his father (Om Puri) in a legal matter.

His father is fighting a court case against the school to get his due provident fund and pension. He later wins the case and the school is ordered to give a part of its property as compensation, if there is no money in its funds. And thus Deepak’s life gets an addition: a bus.

Instead of selling it off, acting on his father’s advice, he decides to run the bus, while the rest of the family members – two sisters Chhaya and Arpana (Upasana Singh and Amita Nangia) and the ghar jamai-husbands (Asrani and Manoj Joshi) – are against it. Their primary interest is in selling off the house.

Sundar (Rajpal Yadav), who is desperately trying for an American Visa, is also an age-old friend. He comes in handy with initial investments and they establish a company, Chal Chala Chal Transport. And so begins the ride of their lives.

You ought to have nerves of steel to bear this film. There’s no story in the first place and the screenplay, hence, is non-existent. Worse, the edit is so bad that, for a second, you feel the reels may’ve got interchanged in the projection room.

Here’s a sincere advice to Govinda: Act your age. It’s indeed sad to see the actor being reduced to such roles. Rajpal Yadav is wasted as well. And what is Om Puri doing in this film? The remaining actors (Asrani, Manoj Joshi, Razzak Khan, Asif Basra, Murli Sharma, Upasana Singh, Amita Nangia and Reema Sen) are mechanical.

On the whole, Chal Chala Chal is a terrible film in all respects. Move over CC2C, CCC is here.

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Hindi ‘Dev D’ Movie Review

Movie ev D
Director:Anurag Kashyap
Cast:Abhay Deol, Kalki Koechlin, Mahi Gill, Parakh Madan, Dibyendu Bhattacharya

Taran Adarsh/IndiaFM

Story:

There’s a major difference between KL Saigal, Dilip Kumar, Shah Rukh Khan and Abhay Deol’s Devdas. The first three films were faithful to Sarat Chandra’s legendary novella, while Anurag Kashyap’s deviant take on Devdas is contemporary and in the process, differs from the original work.

In Kashyap’s Dev D, Dev is into drugs and vodka. Paro sends her nude photograph to Dev via email and later, wants Dev to have sex with her in the fields. Chanda, a hooker, indulges in phone sex mainly. Clearly, Kashyap’s Dev, Paro and Chanda are audacious and rebellious. Check out our Dev D special

There’s no harm if you pick up an enticing story and tell it your way, but Kashyap goes a bit too far, crosses all limits and tends to get abstract once again. And that’s the reason for Dev D’s downfall.

To Kashyap’s credit, a number of individualistic scenes are interestingly handled. Unfortunately, the proceedings gyrate from absorbing to boring to yawn-inducing. The writing (screenplay: Anurag Kashyap, Vikramaditya Motwane) lacks consistency.

So what’s the final word? Does Kashyap redeem himself after the boring and listless No Smoking? Unfortunately, he doesn’t. Watching Dev D is akin to doing atyachaar on oneself! Check out our Dev D special

Son of a rich industrialist, who is sent away to London when he was 12, Dev (Abhay Deol) returns to his hometown and to Paro (Mahi Gill), his childhood sweetheart. Inseparable as they seem, a misunderstanding puts their lives in a tizzy; Paro is married off to someone else and Dev goes into severe depression.

Not one to take on responsibilities for his acts, Dev digs deep into drugs and alcohol for salvation. He stays away from home, but his finances still come from a doting father.

Lenny (Kalki) likes to live her life on the edge — a rich student with a penchant for adventure. After a devastating MMS scandal, she’s abandoned by her family and is forced into isolation. As a runaway, she finds shelter with Chunni, a pimp. With great determination and inner strength she adopts an alter ego – Chanda.

As Chanda, she gets to be a high profile escort by night, while Lenny remains a college student by day. At this juncture, Dev enters her life.

Despite the fact that you know the basic plotline of Dev D even before the reels begin to unfold, what you’re keen to know is, how has Kashyap executed the subject? The sequences between Dev and Paro at the start are captivating and the volatile relationship they share makes you realize that Kashyap is on the right track. Note the altercation between Dev and Paro, which prompts Paro to marry Bhuvan, who’s much older to her, besides being a father of two.

After Paro’s marriage, Dev D starts going downhill. Lenny/Chanda’s MMS scandal is straight out of life and the reasons that make her turn into a hooker are well explained. But the sequences between Dev and Chanda lack fizz. Equally sad are the scenes between Dev and Chunni. Besides, there’s not much movement in the story after a point and the goings-on get boring. The journey to the climax is prolonged and tedious.

Amit Trivedi’s music sounds good to the ears. Emosanal Attyachaar is already popular, besides a couple of other songs (Nayan Tarse and Pardesi]. But there’re too many songs in the narrative. Rajeev Ravi’s cinematography captures the rustic look of North India well. Check out our Dev D special

Abhay Deol is natural. Mahi is decent, while Kalki shows sparks in a few scenes only. The balance cast, including the actor playing Chunni, are strictly okay.

On the whole, Dev D is No Smoking II. Does one elaborate more?

Verdict One star

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Nenu Devudni Movie Review

Film:

Nenu Devudni
Rating: 1/5
Banner: Vasan Visuals
Cast:

Arya, Pooja, Umashankar, Kannan, Simgampuli, Thamizhmani, Rajendran, Bharati and others

Music: Ilayaraja
Art: Krishna Murthy
Cinematography: Arthur Wilson
Story, Screenplay, Director: Bala
Producer: K S Srinivasan
Released on: 06/02/2009

Ever since ‘Arundhati’ became a success, the concept of Aghora Sadhus became a major sensation and with the film ‘Nenu Devudni’ revolving a lot on the same and also the Naga Sadhus the expectations were high. So how true is this Aghora sadhu equivalent to God, let us go inside and see…

Story:

Set on the banks of river Ganga in north Kasi, the abode of the many Aghora Sadhus lives one who goes by the name of Kaala Bhairavudu (Arya) and his life takes a turn when his father and sister come to seek him after a marathon fourteen years. They manage to speak to the guru of Bhairava and take him to their village but then this Aghora Sadhu is aloof from his family and emotional bonds. In the end, the family members give him up and Bhairava starts staying with a group of local saints and other physically handicapped people near the temple. They have their own story as they are led by a cruel and heartless man Thandav (Thamizhmani) and are forced to beg near the temple in various get ups. One among them is the blind girl (Pooja) who is a good singer but she is also forced to beg. A twist of fate occurs and the blind girl seeks the asylum of Bhairava. Though he is not responsive to her pleas of help, he manages to save her from few bad guys. Thandav decides to take vengeance on Bhairava. What happens from there forms the rest of the story.

Performance:

Arya has come out with complete dedication and though his role was not etched well, his efforts are worth it. Equally competent is Pooja who is in a totally deglamorised state and things get worse for her in the second half, she has come up with commendable efforts.

The others comprised of a group of physically challenged individuals and also few real life Aghora Sadhus who did their bit to suit the scenes.

The director has come out with an absolutely nothing tale and it was expected that the narrative was way below minimum pass mark.

The presentation however needs some mention since the music was decent, the camera captured the locales well.

Editing was totally out of order, the dialogues were tasteless and confusing, script was completely numb, and screenplay was average and had nothing catchy.

The other departments need no mention here.

Directorial Drawbacks:

1. Lead role Arya, being aghora, appears in black-black dress and black shoes in many scenes.
2. Lead role is shown as a drug addict and maniac killer than an aghora
3. Placing subtitles all of a sudden by muting the sound in some scenes is disgusting

Analysis:

The movie is a disgusting treat with nauseate screenplay, nasty make up, rugged characters and on a whole a disgraceful presentation. That would have been stood unique had there is some content in narration. But that’s pale, insipid, stupid, purposeless and moreover insane and ghastly. Bala disappointed entire off-beat film lovers and also the film freaks those wish to watch something different. The beginning is promising but the conclusion is highly repulsive.

“Death is a punishment for the bad and the same is a boon even for the good those are in pain”!!! That’s the senseless essence of the movie all over.

The lead character, the so-called ‘aghora’ implements that pseudo law on society by killing both bad and also innocents those are feeling pain. The sub title beneath the title reads ‘Aham Brahmasmi’. But the audience after coming out from theatre feels ‘Aham Bhasmosmi’. The title ‘Musti Lokam’ or ‘Musti Prapancham’ would aptly suit the content shown in this film. ‘Nenu Devudni’ is wrongly titled. There is no god-concept, no divinity, no supernatural and no line to learn or edify.

Firstly, the director needs to be given the sole blame for making a mess out of the movie, given the fact that it has taken three years one fails to understand what exactly has he been doing all this while. It was neither a feature on the lives of Aghora Sadhus, it did not have a message to the audience, it did not focus on a remedy to the problems faced by all those deformed unfortunate people so what exactly is the point in giving the title that the self is equivalent to god. It was nothing but a fare of showing some of the most shocking faces of human life and the focus was more on the beggars and their daily lives than anything else. Agreed that he was trying to bring the issue to the audience but if just by showing a bunch of crippled people the job can be done then they must realize that by no means was this effective. The ideology of life and death mentioned here is surely sending a wrong message to the audience.

The film deserves the one mark only due to the sheer efforts of the lead pair and their commitment levels and partly due to the technical values. Otherwise, it is absolute trash!! Keep away from this film to keep brains in right condition.

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Tollywood Masth Movie Review

SV Krishna Reddy’s close-to-heart family entertainers like ‘Bahumathi’ is long lost history after ‘Masth’ hit the screens. Starring Shivaji, Shivabalaji and Anchal in the lead, Zee Motion Pictures have ventured into production with this film which was released on January 23rd. With more of cons than pros, we present a review on ‘Masth’.

Story

The aspiring model Shivaji loses his sight after prolonged exposure to the photo studio’s light, while one more aspiring singer Srinivas becomes mute after a cacophonous humming. Ali, the communicator helps his challenged friends when Anupama (Anchal) enters their life. She gets forced out of her hostel by constant harassment of the local goon Bhadur. She lures the three musketeers and finally ends up staying in their rented house whose owner is Brahmanandam. Both Shivaji and Brahmanandam fall in love with Anupama and try to woo her.

The story continues to narrate who is Anupama and the fate of the three losers. Does Anupama really love any one of them? ‘Masth’ answers the question in an irksome way.

Performance of Artists

We cannot blame the cast Shivaji, Sivabalaji, Ali and Srinivas Reddy’s amateur serial like performance, for the film offers no scope at any point to act. The three musketeers act more like clowns than humans with badly designed caricature. In the list Mukul Dev as villain, Raghubabu, MS Narayana, Suneel, Uttej, Venu just meagerly cross the line with whatever dialogues given. Anchal’s skin show is as bad as her emoting on screen. In this television serial-ish film (no remote, bad luck!), everyone’s performance is nothing to write home about.

Technicians work

SV Krishna Reddy has himself composed the music and penned the lyrics. It would have been better if he just concentrated on direction, as the songs seriously lack charm. Bad placement of songs worsens the situation, and people couldn’t grasp the verses. No points for music.

Following SVK’s work is the dialogues written by Marudhuri Raja which are senseless and inane. The booby prizes go to Jaiprakash, the art director and NagiReddy, the editor for doing a bad job all the way. Srinivas Reddy’s cinematography is a saving grace yet lighting in songs is bad.

Director’s Portrayal

All credit goes to the director for making a bad script even worse on screen with his narration and characterization. He didn’t attempt to envisage a fresh thought in the script nor deliverance. Really, two thumbs down for the maker who needs to heed more concentration in movie making as a big line of youngsters are coming up fast.

Criticism

Finally, here we are to justify the title given. Movies are made for entertainment and it shouldn’t test your tolerance level. But, ‘Masth’ is a mind wobbler for the cinegoer which puts them in an endurance test for two and half hours. Strictly not for people who wants quality entertainment but only if one wishes to be tormented.

Released on: January 23, 2009

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Chandni Chowk to China Review

Movie Review: Chandni Chowk To China; Star Cast:Akshay Kumar, Deepika Padukone, Ranvir Shorey, Mithun Chakravorthy and Gordon Liu; Direction: Nikhil Advani; Rating: **1/2; Old wine in new bottle.

A small village in China is terrorized by one cruel gang lord, Hojo (Gordon). Fed up of his tyrannies, the hapless villagers consult an astrologer who tells them that China’s most famous ancient warrior Liu Sheng has re-incarnated and he is the one who will kill Hojo. Two villagers go in the hunt of this re-born Liu Sheng which happens to be one staying in the famous Chandni Chowk of Delhi in India. This bloke Siddhu (Akshay) in real is anything but their warrior they are in the look out for. Working in a paratha shop, as a vegetable cutter, the portly Siddhu is forever chasing dreams of a luxurious life without wanting to do hard work to achieve it. His foster father, Dada (Mithun) is fed up of his lethargic ways and always tries to make him realize his hidden potential. The two Chinese villagers finally find Siddhu and with the help of a fraud Chinese astrologer Chopstick (Ranveer) manage to take him to their village in China. Chopstick too tags along as Siddhu’s translator. During the journey, Siddhu encounters Sakhi (Deepika) a popular model and falls for her instantly but soon his hopes come crashing as he comes across her lethal side of that of a thief. But little does he know that its not Sakhi but her long lost twin Suzie aka Meow Meow (Deepika again) whom he has got confused with. What happens when Siddhu arrives in the remote Chinese village and how Hojo reacts to his arrival and what it leads to forms the rest of the film!

There had been lots of expectations raised from the slick promos of the film but unfortunately, the film doesn’t really end up being the joy ride it promises to be. The biggest flaw of CC2C lies in its predictable script which packs in all the 70s masala including lost and found, revenge drama, the triumph of good over evil just that the setting is changed from India to China. The film begins well with a superbly shot fight on the wall of China but then the pace dips as Siddhu’s daily life is introduced. Then again post the interval any average cinegoer can predict what is in store at what intervals and there is where boredom starts creeping in. You keep looking at your watch hoping it to end. Also, despite a good built up given to Hojo’s Kung Fu expertise and hopes raised about the one on one fight between him and Siddhu, the climax fight ends up being very short and disappointing.

Amongst the most redeemable factors about CC2C is Akshay Kumar. He makes you laugh, cry and cheer for him but then again he is let down by an average script. But it’s a great treat watching Akshay going back in the action mode and doing some really breathtaking Kung Fu stunts. Deepika Padukone in a double role does well but the chemistry between her and Akki is clearly missing. Gordon Liu as the villain is simply superb. He manages to bring out terror just with a stare. Ranvir is good as usual whereas Mithun impresses in the few sequences that he gets.

The music of the film appears better when watching the songs onscreen as they have been very lavishly picturised, especially the title track. The film scores full marks on the technical front. But we wish we could say the same about the script!

The film is a must see for hardcore Akshay Kumar fans, for the rest well one can only say that if you want to get nostalgic about the 70s cinema with some humor mixed with it then going for this 2 hour 40 minutes film won’t be a bad idea.

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Maska- Movie Review

Film: Maska
Rating: 3/5
Banner: Sumanth Arts Productions
Cast: Ram, Hansika Motwani, Sheela, Sunil
Dialogues: Paruchuri Brothers
Story: Surya
Art: Rajiv Nair
Action: Ram-Lakshman
Music: Chakri
Lyricist: Kandikonda
Cinematograohy: Sekhar V Joseph
PRO: BA Raju
Producer: MS Raju
Director: B Gopal
Released On: 14th January 2009

It is true that Sankranthi releases grab attention especially in AP as audiences find more leisure to watch films with families. The film ‘Maska’ happened to get the publicity as the only big budget family entertainer in this season. Has it got the expected entertainment quotient? Has it reached the anticipations of film lovers? Let us go into the details.

Story:

Jagarlamudi Krishna Kanth aka Krish (Ram) is a street smart guy who lives with his elder brother (Naresh) and sister-in-law (Jhansi). He is just a plus 2 guy who roams with his friend (Sunil) aimlessly. He decides to settle in life by marrying an intelligent and earning girl abroad. Hence he glues an artificial image for him as an educated guy and earning big. He falls in the crush of Manju (Sheela) and bluffs her with an imaginary romantic story that suits her taste. He proves successful by pulling her heart towards him. But when she is about to propose him, a shock hits the screen. The imaginary girl Meenu (Hansika) in his story happens to appear beside him. How the story takes turn from then? Whom does Krish choose between the two? That becomes rest of the romantic plot.

Apart from that, 2 MPs Simhachalam (Mukhesh Rishi) and Sivaji Shinde (Pradeep Rawat) fight each other for getting the power of Minister. Sivaji tries to abduct Meenu while Simhachalam wishes to kill her. What’s the link between Meenu and these two MPs? And what’s the link between her death and their Minister chair? How Krish solves the problem for peace? That forms the action part.

‘Desire for power’ dies in front of love and blood relation. Real politician of today prefers power to life. That forms the expression of truth in this film in climax.

Performances:

Ram performed with his archetype histrionics and body language. His performance is tending towards a balanced state when compared to that of his previous films. The plus point that appears in Ram is ‘confidence’ that’s making him grow as a complete actor in small time.

Hansika and Sheela stood as epitomes of glamour. Both of them have made the movie a visual treat without vulgarity and obscenity. While Hansika is beautiful, Sheela is voluptuous. Sheela proved a bit better than Hansika in the matter of exhibiting expressions and required histrionics.

Sunil is ok as side kick to hero. His comedy could be better especially in the first 20 minutes. But he appeared in 3-4 wonderful get ups (as cowboy, African and western nomad) very convincingly and humorously.

Naresh is adequate as brother for Ram. Jhansi excelled in her performance with Nellore slang dialogues. Interesting part is that she remains pregnant from starting to end of the film. Once again, this Nandi award winning lady comedian proved worthy than many.

Mukesh Rishi and Pradeep Rawat filled the movie with enough of action quotient.

Dialogues writers Paruchuri brothers have shown their mark in climax scene especially. They have also tried to bring some conviction in the fights between slim Ram and hefty Pradeep Rawat (Ram says to Pradeep Rawat: “Personality kaaduraa..punch mukhyam). It being a mass oriented entertainer, the dialogues of that sort obviously bring some enthusiasm among front benchers.

Story is simple and this film needs only narration to entertain. MS Raju’s screenplay really made sense.

Especially, the following scenes are impressive:
Hansika’s introduction
Gun-game between Hansika and Sheela (although old, it triggered interest among audiences)

Minus points:

Lengthy scenes
Boring narration of some episodes
Lack of punch in dialogues in many instances

Ram-Lakshman deserves right mention for composing ‘four-car collision’ shot so interestingly. Special effects and graphics part also supported the film well. The scene of Ram’s falling from the terrace also is worth mentioning. But the Jackie Chan sort of stunts in the beginning during Ram’s introduction sounded routine despite taking pains to do that.

Coming to music part Chakri gave an above average product this time:
The songs-
‘I’m in love…’ on Hansika and Ram, ‘Aa vaipunna ee vaipunnaa…’ and ‘Maska…’ are well composed.

Director B Gopal has taken necessary care in not bringing his old style on screen. He proved successful in tuning with the trend and time.

Analysis:

It’s a movie that’s intended to entertain masses in particular, families in specific and class audiences optionally.

We may not say that the film runs with non stop rib tickling humor but on a whole it leaves a pleasant feel at the end. First half runs slow in the beginning and picked up pace after a while. Second half goes plain and it would have been better had it packed up with twists and turns.

The makers made enough of attempts to fill the film with comedy in the form of Sunil, Jhansi and Brahmanandam. The scenes are also filled with humor with the matter of triangular tryst among Ram, Hansika and Sheela.

On a whole it’s an entertainer and not either good or great, but the purpose seems to have fulfilled. It may breathe well as no other film with same genre is in ring to vie with this.

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Ram And Hansika Maska Movie Story

Credits

Jeevi rating: 3/5
Punchline: two-timing
Genre: Romance/Action
Type: Straight
Banner: Sri Sumanth Arts

Cast: Ram, Hansika Motwani, Sheela, Sunil, Mukesh Rushi, Pradeep Rawat, Naresh, Brahmanandam, Paruchuri Gopala Krishna, Dharmavarapu Subramanyam, Paruchuri Venkateswara Rao, Ali, Krishna Bhagawan (single scene?), Ali (single scene?), Gundu Hanmantha Rao, Telangana Sakuntala, Seeta

Music: Chakri
Cinematography: Sekhar V Joseph
Editing: Kotagiri Venkateswara Rao
Art: -
Lyrics: Kandikonda
Fights: Ram Lakshman
Story: Surya
Direction: B Gopal
Screenplay – Producer: MS Raju
Release date: 14 January 2009

Story

Krish Jagarlamudi (not the Gamyam director, but hero Ram) is a spoilt brat who looks for shortcuts to earn fame and money. Unable to clear his graduation and get a job, Krish plans to love and marry a rich girl Manju (Sheela) who is going to USA. In the process he meets another girl Meenu (Hansika Motwani) and really falls in love with her. The rest of the story is all about when both these girls come to know about the cheating nature of Krish. There is also a political twist to the story.

Artists Performance

Ram: After Devdas, this film gives an oppurtunity to Ram to portray the entire gamut of emotions. His dances are amazing in Hare Hare Rama (1st song) and Bagdad Gajadonga (last song). He moves his body like a spring in those songs. He handles comedy department exceptionally well with the right dialogue delivery and diction. However, we do notice an uncanny resemblance to the body language of Pawan Kalyan in Ram’s performance.

Heroines: Hansika Motwani did a traditional character in this film. She is pretty good. The fans of Hansika will have a whale of time in ‘Kalloki Dilloki’ song where she wore a micro mini skirt (with a low angle camera). Sheela who looks pretty traditional did the role of temptress in this film. And she is extremely glamorous with liberal exposure of her dusky skin.

Other actors: Sunil did a full-length role in this film after a long gap. He is extremely good and provides lot of entertainment. After doing Kokapeta Aunty in Tulasi, Jhansi has done another entertaining role that speaks in Nellore slang. Brahmanandam did the role of a kidnapped doc and he is just average. Introduction scene of Paruchuri Venkateswara Rao is good. One does not understand what Krishna Bhagawan is doing in this film. He has one insignificant scene with a single dialogue. Ali is also wasted. Mukesh Rushi, Pradeep Rawat, Naresh, Dharmavarapu and Telangana Sakuntala are adequate.

Technical departments

Story – screenplay – direction: Story of the film is provided by Surya. He judiciously mixed a triangular love story with an action backdrop. Screenplay of the film is considerably good. MS Raju borrowed the Vaali screenplay where hero shows a photo of a girl to tell the story to heroine and the girl in photo meet hero in real. The thread of conversing in numbers has got good commercial payoff in the second half. The direction by B Gopal is decent in the first half. There is a bit of lag in pre-climax scenes. The hero shifting his love from Sheela and Hansika should have been shot more efficiently. The villains are projected as the most dreaded till climax and they are shown in the positive light at end. Hence there is no commercial payoff for the action/mass part of the film.

Other departments: Music by Chakri is good. The picturization of the songs is excellent. But the director could not place these songs effectively into the film. The choreography for 1st song (Hare Hare) and last song (Bagdad Gajadonga) by Prem Rakshit is pretty cool. Cinematography is nice. The locations in ‘Kalaganna’ song are good. Dialogues by Paruchuri brothers are good. They wrote nice comedy one-liners as well as good mass dialogues. Production values by MS Raju are grand.

Analysis: First half of the film is handled well and provides entertainment. You can see B Gopal kind of mass elements in the second half. The movie goes slow towards the climax of the film. The plus points of the film are Ram and first half. On the flip side, there is a bit of lag in the last half an hour of the film and more clarity is needed in love triangle. On a whole, Maska has got entertainment elements that might work at box office.

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Shashirekha Parinayam Movie Review

The Cast and Crew

Tarun, Genelia, Ahuti Prasad, Paruchuri Gopala Krishna, Subbaraju, Raghubabu, MS Narayana, Suthivelu, Sivaji Raja, Abhi, Giri, Surekha Vani, Tulasi, Geeta Singh, Monali Chowdary, Vamsi and others

Music: Mani Sharma
Lyrics: Sirivennela & Anant Sreeram
Cinematography: Bhaskar Samala
Editing: Shankar
Art: Satyanarayan
Dialogues: Nagaraju
Producer: Sunkara Madhu Murali
Banner : Karthikeya Creations
Story – screenplay – direction: Krishna Vamsi
The Film

Shashirekha Parinayam belongs to the genre of Road Romance films like Raj Kapoor’s Chori Chori, Gregory Peck’s Roman Holiday, Frank Capra’s It happened One Night, Mahesh Bhatt’s Dil Hai Ki Mantha Nahin and Imtiaz Ali’s Jab We Met.

Shashirekha Parinayam is not inspired any of the above films in content, but only belongs to their genre. The road journey of the protagonists in this film is a metaphor for their journey together in life as partners.

The Synopsis

The marriage of Sasirekha (Genelia) has been suddenly fixed by her father (Ahuti Prasad) without giving any chance to her at least to know who her life-partner would be. She becomes aware that her marriage has been fixed with a rich NRI and she also learns that the prospective father-in-law desires a big chunk of money as dowry.

Hours before her marriage, she runs away from the wedding venue in Amalapuram ostensibly to go to her friend in Hyderabad. As her people have been searching for her at the Railway station and bus station, she seeks the help of Anand (Tarun) and goes away with him on a motor-bike.

Their journey begins. After xenophobic apprehensions and valid misunderstandings, Sasirekha and Anand continue their journey.

The rest of the story deals with the journey of the protagonists and the climax is reached with some unexpected turns and twists.

The Performances

Genelia has come out with a good performance and she maintains her own ebullient way. As the story is told from the female protagonist point of view, she had ample opportunity to showcase her thespian repertoire.

Tarun is his usual carefree self, but with meaningful restraint as per the demands of his role. He emotes well in the pivotal scenes. Ahuti Prasad and Parachuri Gopala Krishna give convincing performances.

Subbaraju, Raghubabu and MS Narayana acquit themselves well in their roles. All others are adequate.

The Techniques

This is a story where a young woman struggles to assert her rights as per the demands of her mind and heart. Being a Road Romance film, the story and screenplay will not offer any dramatic episodes. However, some scenes have been conceived and executed well such as the interval bang and the pre-cilmax revelations. But, somehow, the stamp of the unique style of Krishna Vamsi is missing.

The music and lyrics are good, though a couple of songs hinder the flow of narration. The cinematography is good. The dialogues can afford to have some pep and wit. Sometimes they are longwinded too. The editing and audiography has not helped to enhance the overall appeal of the film.

The Verdict

Shashirekha Parinayam is an unplanned journey of the hero and heroine into the unknown frontiers of life and into the indefinable realms of love and togetherness.

In spit of some contrived situations and some predictable incidents, Shashirekha Parinayam has enough of refreshing entertainment values that appeal to one and all.

This is a family saga spearheaded by the female protagonist who would go all out to assert her will in matters concerning her life.

We can travel along with Genelia and Tarun on the route marked by Krishna Vamsi.

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Mental Krishna Review: It is Horrible Torture

Film: Mental Krishna
Rating: 0/5
Banner: Mohan Media Creations
Cast: Posani Krishna Murali, Satya Krishna, Brahmanandam, M S, Giri Babu, Ranganath, Naga Babu, Raghu Babu, Brahmaji and others
Camera: G Sridhar
Director: Posani Krishna Murali
Producer: Mohan Vadlapatla
Release Date: 01/01/2009

Has it been a long time that you have seen a sleazy, sick and perverted kind of movie? Then perhaps ‘Mental Krishna’ will show you how to go insane without the slightest of inhibitions. Let us show how torturous the film is.

Story
Satya (Satya) is a beautiful daughter of a rich businessman (Giribabu) and her dream to make it to Indian School of Business is shattered when she fails to clear the test. However, she notices that the milkman who supplies milk to her gets an admission. Soon, she falls in love with him (wonder how TOEFL score can be a reason to fall in love) and decides upon marriage.

On the day of the wedding however, the milkman fails to turn up since he gets a personal obligation and decides against the marriage. Meanwhile, Muddu Krishna (Posani) who has an eye for Satya since a while enters the scene as his parents are good friends of Satya’s parents and the elders decide to get both of them married.

Satya expects Krishna to be a nice man and compromises with her life. Soon she realizes Krishna is impotent, sadistic and he also has a gay lover bobby (Raghu Babu). Given his sadistic nature, he begins to suspect everything about Satya and embarrasses her in front of everyone. He tortures her to the maximum and then there is a final showdown.

Performance
Posani is the perfect fit for a sadist role and his looks and body language are most suited for this. But the way he appeared in night gowns is nasty and hard to accept.

Satya has shown the oomph in her without any qualms and did not hesitate to do some needless skin show for the role she has been offered. Her image has ruptured completely with this role.

Brahmanandam tried to evoke laughter but it was basically annoying, MS is a natural comedian so that suited him. Giri Babu, Ranganath, Delhi Rajeswari and other senior cast carried out their role mechanically. Naga Babu was usual, Brahmaji was boring. The others did not have much say.

The director has come out with a rather disgusting tale of suspicion woven with a sleazy presentation. The narrative was perverted and the dialogues were utterly disgusting, script was written with an ugly motive and the screenplay was poor. Music was just apt for the situation and the songs are annoying. Editing was numb and other departments need no mention here.

Analysis
Long time back, there was a movie called ‘Upendra’ starring the Kannada star Upendra. Using the ‘filterless’ methodology, Upendra started slamming the audience with his whims. Posani seems to have taken a lead from that and taken it to an extreme degree of perversion, his dressing in ladies nighties, talking about hair on women’s legs are just a tip of the most pathetic thinking an individual can possess.

One really wonders if the censor board was anywhere present when the movie was given to them. Another major disappointment from this is Satya Krishna, having carried out a very neat and elegant image of her roles, she ended up turning out to be a sleazy side character who would drop clothes and get trampled at the drop of a hat. This is surely a very wrong move for her career. The film by no means is advisable to any class of audience. It is very sad to note that the New Year has begun on such a disastrous note for Tollywood.

Mental Krishna is horrible to watch.

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‘King’ Telugu Movie Review

King Movie Review :
Cast: Nagarjuna, Trisha Krishnan, Mamta Mohandas, Madhu Shalini, Srihari, Sunil, M S Narayana, Venu Madhav, Brahmanandam, Krishna Bhagavaan, Dharmavarapu Subramanyam

Special appearances by actress during a Special song: Anushka Shetty, Charmy Kaur, Genelia D’Souza, Kamna Jethmalani, Priyamani, Sneha Ullal

Director: Sreenu Vaitla
Story: Kona Venkat Gopimohan
Screenplay: Sreenu Vaitla
Dialogues: B.V.S.Ravi
Music Director: Devi Sri Prasad

Review will be Updated soon…..

King Movie PReview:
The Manmadhudu of tollywood and a great star Akkineni Nagarjuna now became a tollywood king with this movie KING.Like Mass,Don,Super and Boss it will also replace the name Nagarjuna by King after the release of this movie.

Click King Working Stills

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Bollywood Aamir Khan Ghajini Review

I had the opportunity to watch the premiere show of Ghajini and let me start by telling you that this movie is nothing like the movie “Memento”. Unlike other Aamir Khan movies, Ghajini is a complete “masala” movie with action, romance, humor and suspense. What makes it outstanding is the perfection behind each and every aspect of the movie.

In Ghajini, Aamir Khan plays the role of “Sanjay Sinhania”, a person suffering from short term memory which makes him incapable of remembering things beyond 15 minutes. The only memory he has of his past is a hazy recollection of his girl friend, Kalpana (played by Asin Thottumkal) being murdered and the name Ghajini, which she whispers in his ears just before dying. Using notes and tattoos Sanjay sets out to hunt for the murderer and take his revenge.

Ghajini unfolds at an unbelievable pace. The first half of the movie keeps you on the edge of your seat, gripping and thrilling. The romance between Sanjay and Kalpana is tender and endearing and the way it is narrated is brilliant. It makes you fidgety by not telling you the whole story at a stretch and keeps you asking for more. The attention to detail is amazing; there is even an explanation of how Sanjay gets his 8 packs. The movie also has its lighter moments. Kalpana’s story of how she and Sanjay Sinhania meet at the Delhi airport and how he proposes her is definitely laughable. I also enjoyed the “Kite” detergent ad, the Ambassador resolutions and the fake Sanjay Sinhania immensely.

The second half of the movie gets darker and more thrilling. There is even more action and the last fight sequence is amazing. However, Ghajini falter in its music. Of course the background scores are awesome but except “Guzarish”, the songs do not have the AR Rehman magic.

Ghajini movie is a must watch for an Aamir Khan Fan. I can guarantee you that this movie is going to be one of the Biggest Block Buster Hits and will set new Records.

Movie Review:
Watch Ghajini for the four As
Director:A.R. Murugadoss
Cast:Aamir Khan,Asin,Jiah Khan

By By Sonia Chopra:

Not many films consider the villain so important as to name the film after them. The other film that comes to mind, tributing the villain this extent, is Kill Bill. The parallel doesn’t end here.
In a dimly-lit flat in Mumbai, we see a man ruthlessly killing another; then peering curiously over the body. That’s Sanjay Singhania (Aamir), owner of Airvoice Telecom Company…wondering who he just murdered, as he suffers from temporary memory loss. But the name `Ghajini’ on the dead man’s phone brings back a flash of disconnected images that Sanjay cannot comprehend, leading him to futile aggravation.

Each morning Sanjay wakes up wondering where he is; he sees the house littered with instructions: the one in the bathroom orders him to remove his shirt and he sees messages, phone numbers, the name Ghajini, and `revenge’ inscribed all over his body. He knows he must settle scores – just against whom, and for what, is the question.

Meanwhile a cop, on Sanjay’s trail for the murder, gets hold of his diary. Sanjay’s laddie picture on the first page, such a departure from what he is today, takes us to the back-story. High flying businessman Sanjay meets sprightly, mischievously lying Kalpana (Asin) who works as a small-time model with an advertising company. (Lots of laughs in this portion, courtesy Asin’s natural flair for comedy)

The scene where she, mistaking a journalist for an agency honcho, makes up details about her love life is hilarious. Sanjay, posing as a struggling model, woos her and then starts the most soulful, breezy love story you’ve seen in a long time.

In most films, we rue that we don’t feel for the characters enough to be involved in their story…here, you care so much, you sit in fearful anticipation at what’s going to happen to the pair.

That Sanjay and Kalpana’s bond is resolute, we understand not through passionate hints, but everyday gestures…things people in love do for each other that surprise even themselves. Kalpana selling her new prized possession to fund Sanjay’s mother’s operation (a story he concocted) is what their love is all about.

What raises Ghajini above other revenge dramas (and Hindi films have had their fair share) is its ability to sweep us off with the tender, real romance, and bring us back to coarse violence without much warning. Experiencing this contrasting milieu makes the film at once a thriller, a love tale, a drama.

The violence is gruesome yes, but Aamir excels in the action scenes, and his wounded animal-like passion for retribution has us cheering blatantly.

Like Uma Thurman’s hunger for vengeance in Kill Bill, wiping off any distraction on the way, Sanjay doesn’t rest till he gets to Ghajini, who, on his part, is one of the most spine-chilling, despicable villains in recent times. This, despite his character written as a largely single note one (the Tamil version was a double role). Pradeep Rawat as Ghajini (he was seen as Aswadhama in Mahabharat and Deva in Lagaan) is believably intimidating.

Aamir Khan gives a layered, intense performance yet again, and is especially effective in the scenes where his frustration and rage is desperately looking for direction.

Asin is the revelation here. She’s a beautiful face, but that aside, the actress renders Kalpana so spunkily, you can’t help fall for the character. Jiah Khan as the medical student Sunita who embroils herself in the clammy situation is good, but the character seems an intrusion.

Thankfully, the resemblance to Memento (a film that Aamir had earlier admitted to neither liking nor caring for) is restricted to the tattooed messages, the Polaroid snaps, and the plot involving the murdered love of the protagonist. A R Murgadoss, while skillfully crafting the story together, sadly adds in improbable elements like Sunita risking her life to follow Sanjay’s trail, Sanjay’s 15-minute memory span expanding to accommodate a full-blown action sequence, or him getting back on his feet despite all his clues wiped off.

Background score is persistently present and its obviousness invades into the scope for audience interpretation. Music is one of its high points, though one found the picturisation too conventional for AR Rahman’s experimental tunes. Ravi K Chandran’s (Rab Ne Bana Di Jodi, Saawariya, Black) first-rate camerawork aids the storytelling. Editing is masterful and, though tad long, the film unfolds efficiently.

For the four As—Aamir, Asin, A R Murgadoss and AR Rahman, this revenge drama gets a Grade A; recommended watching this extended weekend.

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Ghajini Hindi Movie Review Show

Note:- These Reviews are not the official Indicine Ghajini Reviews. Rather reviews from two well known critics in India. Taran Adarsh of Bollywood Hungama and Anupama Chopra of NDTV. If you decide to watch Ghajini on Wednesday, the below reviews will help you understand what exactly to expect from Aamir Khan’s only release of 2008.

The official Indicine Ghajini review will be published by Thursday midnight Indian standard time.

Ghajini Review – Taran Adarsh

Ghajini demonstrates how strong filmmaking can enhance and elevate an already solid concept. It is a revenge saga, one ingredient that has been the staple diet of Hindi films since time immemorial. It is a powerful film. It has the power to sweep you off your feet from the word ‘go’. It has a riveting story, which has been told with flourish by director AR Murugadoss. And of course, it has a knock out performance by Aamir Khan. If at all there’s a shred of doubt whether Aamir is The Best in the business, all you’ve got to do is check out Ghajini.

Flaws any? Running time (almost 3 hours)? Not at all! There’s so much happening in every scene and the screen play is so gripping that you dont feel the need to look at the auditorium ceiling or at your watch at brief intervals. You arent restless. As moviegoers, we’ve watched countless good versus evil fares over the years and although Ghajini belongs to the same family, not once does it take the beaten track. The story has been told differently and most importantly, the story offers so many twists n turns that you just can’t guess what would unfold next. Is it violent? It is, at times, but the violence here is justified. In fact, every time the protagonist bashes up the evil-doers, you clap and root for him. The climax is jaw-dropping dissimilar from the original, but it’s an out of the world experience nonetheless.

To sum up, Ghajini is commercial Hindi cinema at its best. The film has ‘Hit’ written all over it. Let me put it this way: Cancel whatever you’re doing today and go watch Ghajini instead.

Ghajini is not Memento (most believe the makers were inspired by the classic English film). There’re minor similarities, but Ghajini takes a completely different route to tell its story. Director AR Murugadoss tells this one differently. It starts off with what happens in the past, comes to the present day, goes back in time again and returns to the contemporary again. This is a breathless, exciting story, heart breaking and exhilarating at the same time.

Hindi movies have often depicted people suffering from amnesia/memory loss, but Ghajini is poles apart because the protagonist recalls events only for 15 minutes. The story is its USP, without a doubt. But what adds sheen and glory to the story is Aamir’s portrayal of a man suffering from short term memory loss. Aamir hardly speaks. In fact, the leading lady (Tamil Actress Asin) speaks more than Aamir in the film. But Aamir speaks volumes with his eyes, he conveys whatever has to be conveyed through his body language, he says it all with his facial expressions and that only makes Ghajini a memorable, never seen before experience.

Director AR Murugadoss deserves brownie points for not just coming up with an interesting story, but also presenting it differently. The storyteller balances the light moments and the ones demanding intensity with expertise. There’s dum in every sequence. Even if the director has to depict violence, he doesn’t resort to blood n gore or knives, swords, pistols for effect. AR Rahman’s music is top notch. At least three numbers have the unmistakable stamp of a genius ‘Guzarish’, ‘Behka’ and ‘Kaise Mujhe’. Ravi Chandran’s cinematography is stunning. The film bears a stylish look all through. The action sequences are brilliantly executed. The Hindi moviegoers haven’t seen such scenes ever.

Aamir delivers his career best performance. In the first place, it requires courage and maturity to name the film after the villain. Knowing how egoistic our stars are, something like this is next to impossible in Hindi films. A lot has been said and written about the Ghajini look. Aamir’s hairstyle and his dream physique. It’s awe-inspiring and if more people adopt the ‘Aamir look’ or hit the gym, it would be courtesy the actor. As far as his acting is concerned, he’s natural as the tycoon, but like a wounded, ferocious tiger when he goes on an avenging spree.

Without doubt, it’s a concentrated, layered performance. He acts with his entire being. His body movement, the details of his performance, everything rings true. He is both vulnerable and hard. The pain in his face when he can’t remember, is palpable. It’s not only the plot that carries GHAJINI. It’s also the mood and the expression on Aamir’s face that makes Ghajini a treat (to watch). Asin is fabulous. To share the screen space with an actor of the stature of Aamir Khan and yet remain in your (viewers) memory even after the show has ended is no cakewalk. She looks fresh and photogenic and acts her part brilliantly. Pradeep Rawat, the villain, is first-rate. Jiah Khan impresses, especially in the sequence when Aamir follows her to a shopping mall.

On the whole, Ghajini is a winner all the way. The film will set new records and has the merits to emerge one of the biggest hits of all times. The weekend business should be historic, the Week 1 business should be unparalleled, the lifetime gross should be amongst the biggest of all times. In short, GHAJINI has ‘Blockbuster’ written all over it.

Taran Adarsh rated the movie 4.5 on 5 stars.

Ghajini Review – Anupama Chopra

At the recently held Indian Screenwriters’ Conference in Mumbai, writer-director Abbas Tyrewala lamented the lack of villains in Bollywood. He said that clearly defined villains used to be our staple diet. This was true until some time in the mid-1990s, when happy smiling families and yuppies in designer clothes took over. Well, I’m happy to report that the villain is back.

Ghajini, played ferociously by Pradeep Singh Rawat, is the kind of villain who wears thick gold chains and rings on every finger. He is defiantly brutal – he runs a pharmaceutical company but for reasons never explained, he likes to smash iron rods into human heads and forces young girls into both prostitution and organ trade. He has one gold tooth, wears shiny white shoes and keeps a posse of henchmen so ugly that they look like they were airlifted from Ram Gopal Varma’s last film. And of course Ghajini routinely drops lines like: aise marenge ki uska nakhun bhi nahi milega and my personal favourite: short-term memory loss patient mujhe kya yaad dilaayega.

Ghajini, director A R Murugadoss’s remake of his Tamil blockbuster, is a throw back to what Hindi films used to be: a three hour extravaganza of romance, comedy, action, set-piece songs and drama. It’s a standard revenge film given a fresh twist with a dash of Christopher Nolan’s critically acclaimed Memento. Like that film, the protagonist here, Sanjay Singhania played by Aamir Khan, is hit on the head and suffers from short-term memory loss. He cannot remember anything for more than 15 minutes. So, he tattoos his body with instructions: the most important one being that his girlfriend Kalpana was murdered, and he must find the murderer and kill him. The film is riddled with logical loopholes but Murugadoss, who also wrote it, doesn’t give you enough time to think about them.

So, you never ask how Sanjay, the fabulously wealthy owner of a cellphone company, conducts a lengthy romance with Kalpana, played by debutant Asin, pretending to be an ordinary man? Or why Ghajini, a master-thug and expert killer, doesn’t have a gun when he needs it the most? Or why the key conflict, which leads to Kalpana’s death, is such a random imposition on the script? Instead, you are caught up in the mystery of how a superbly stylish businessman becomes a killing machine who routinely cracks necks and in his introduction scene, plunges a broken tap into a man’s stomach. Ghajini isn’t for the faint-hearted. The violence is gory and elemental. The climax is pure man-on-man combat with lots of crunching bones.

For Aamir, Ghajini is a 360 degree turn from the sensitive teacher he played in Taare Zameen Par. With a buffed up, eight-pack body, here he is a brutal killer in a murderous rage. Watch him as he explodes with grief and then just as quickly forgets it. It’s a memorable performance indeed. Thankfully Asin is less animated than she was in the Tamil version. Some of their romantic scenes, and particularly her death are nicely done.

Ghajini isn’t a great film or even a very good one but I recommend that you see it. It is, as we used to say in the old days, paisa vasool.

No rating.

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