Hollywood.com Says
James Cameron's long-awaited sci-fi epic is every bit as wondrous and imaginative as promised. Prepare to be amazed.

It takes a special film to transform an audience of movie critics, highly-trained skeptics who can dismiss the most painstakingly crafted work with a mere smirk and roll of the eyes, into a bunch of glowing, giddy teenagers, but that’s precisely what happened earlier this week when Avatar, James Cameron’s extraordinary new sci-fi epic, screened for the first time. Count me among the awestruck rabble; Avatar is a truly astounding piece of filmmaking, a leap forward in visual effects artistry that sets a lofty new standard by which future event films will be judged.

Avatar wastes little time before unleashing the spectacle. Perhaps sensing our collective anticipation, Cameron serves up the barest of backstories before shoving off for Pandora, the staggeringly lush planet upon which the film’s futuristic tale unfolds. Through the eyes of Jake Sully (Sam Worthington), a crippled ex-marine who navigates Pandora vicariously through a bio-engineered surrogate (aka, an avatar), we’re introduced to the planet’s boundless, breathtaking collection of natural and unnatural wonders, all created from scratch, rendered with uncanny fluidity, and presented in the most realistic and immersive 3-D ever witnessed on film.

Occasionally, Avatar’s technical triumph is betrayed by its maddeningly derivative storyline, which borrows elements wholesale from Dances With Wolves, The Last Samurai and countless similar films about oppressors switching sides and going native. Sent to gather intelligence on the Na'vi, Pandora’s blue-skinned indigenous population, for an Earth-based mining consortium, Jake becomes enamored with the proud, peace-loving natives and their groovy, granola ways. Soon enough, he’s joined their tribe, taken a smokin’ hot native girl for a wife (Zoe Saldana), and organized an army to help repel the encroachment of the rapacious earthlings.

The Bad Guys (Avatar’s moral perspective is as monochromatic as Pandora is colorful) who initiate the assault on the Na'vi are led by a tag team of grotesque, absurdly one-dimensional villains: Parker Selfridge (Giovanni Ribisi) the khaki-lad, bottom line-obsessed corporate administrator of the mine; and Miles Quaritch (Stephen Lang), a bug-eyed, musclebound sadist who commands the mine’s vast security force. As Pandora’s Cortez and Pizzaro, they form a potent one-two punch of arrogant imperialist caricatures, deriding the noble Na'vi with sophomoric slurs like “blue monkeys” and “fly-bitten savages that live in a tree.” Neither would think twice of eliminating them entirely in order to procure the exceedingly rare, obscenely valuable element known as — I sh*t you not — Unobtainium.

Unobtanium? Really? It’s that kind of ham-fisted, uninspired pap littered throughout Avatar that makes me want to tear my hair out. If Cameron devoted a fraction of his time and effort toward improving the script as he spent perfecting the bone structure of the viperwolf (one of Pandora’s innumerable animal species), we might have a bona fide classic on our hands. But in Avatar, story and character development are treated as obstacles, pockets of narrative brush that must be clear-cut to make way for construction of the next extraordinarily elaborate set piece.

And yet, despite its flaws, Avatar represents one of those exceedingly rare instances in which style triumphs over substance — and by a landslide. I don’t know if Cameron has revolutionized the movie-watching experience (as he famously promised) but he’s surely improved upon it.

By: Sumesh Vasishth

Star Cast: Ranbir Kapoor, Gauhar Khan, Prem Chopra, Shazahn Padamsee, Mukesh Bhatt, D. Santosh, Naveen Kaushik and Manish Choudhari

Music Director: Salim Merchant, Sulaiman Merchant

Story / Dialogue /Lyrics: Jaideep Sahni

Producer: Aditya Chopra

Director: Shimit Amin

SantaBanta Rating: ***1/2

They say, ‘Show class, have pride, and display character. If you do, winning takes care of itself.’ And whoever they are, they're often right.

Like any other business, sales and service fundamentals are no rocket science. All it needs is honesty, dedication and integrity. But the blitzkrieg of cold calls and unsolicited offers on your phone everyday show that these virtues haves been mothballed for good. Poor Harpreet Singh Bedi (Ranbir Kapoor) who has ‘just’ passed his college hasn’t learnt these tricks of the trade yet.

His mark sheet is an embarrassment but that never stopped him from dreaming of an exciting and adventurous career in ‘AYS sales’. He is like an honest professional, who lived in every one of us before those unreasonable deadlines, targets and peer pressure got better of us. Soon, his idea of success begins to clash with the ‘professional’ ways of his colleagues, team leader and the boss.

But Harpreet who has inherited nothing but integrity and a modest scooter from his fuddy-duddy grandpa (Prem Chopra) refuses to give in to this chicanery. Instead he forms his very own, at your service 24x7 Rocket Sales Corp. that works from the AYS premises itself.

With his honesty pep talk he also poaches the ‘best’ AYS talent which includes, his sales shark team leader (Naveen Kaushik), perennial lech techie Giri (D. Santosh), hot customer relations manager Koena (Gauhar Khan) and an office boy Chhote Lal (Mukesh Bhatt) better known as ‘cup-plate’.

Together they restore the idea that business is not just about numbers but it’s about people and when people are happy numbers surge anyway.

As the orders start pouring in and sales sky-rocket, AYS begins to feel the heat. What follows is Harpreet’s conquest over the ideas which AYS boss (Manish Choudhari) considers mainstays of any sales business.

Rocket Singh works fantastically due to Jaideep Sahni’s crisp story and dialogues, Shimit Amin’s taut direction and Ranbir’s pristine performance as he plays the desi Jerry Maguire. As for women, it is Gauhar Khan and not Shazahn Padamsee who steals the limelight. Prem Chopra is delight to watch after a long, long time.

Salim-Sulaiman's music & background score is easy on the ears and never hinders the pace of the story. All in all there is no stopping this Rocket Singh and if you like some uncluttered entertainment you know where to board this flight.

By Subhash K Jha

Starring Ajay Devgan, Salman Khan, Asin, Ranvijay Singh, Aditya Kapoor
Directed by Vipul Amritlal Shah
Rating: **

wo friends Arjun and Manu from childhood share a common dream. They both wish to see Manu become a big singing star.

Manu migrates to London with his sullen uncle, runs out of the airport…and becomes a a rocker almost overnight! Small and very accommodating world.

The sequence where Manu now grown into a punk-styled Ajay Devgan sings at Trafalgar Square and within 4 minutes acquires three band members, could be a self-defining advertisement for opportunities for Asians in Briton. ‘Visa’ –vis artistic licence.

The British soil never seemed more welcoming. Although Salman Khan playing the wild and warm Manu is allowed to make innumerable digs at the Indian revenge on their old colonizers, London seems to say namastey most warmly to all the characters in the film.

How is the city to be blamed if the characters secrete a deep dark and negative side to their personality that bubbles to the surface in toxic fumes burning and destroying the music and harmony of the spheres?

Vipul Shah’s London Dreams aims for a more penetrating and profound look at the life of Asians in Briton than Namastey London. The characters here are far more complex and dark. But their presence is constantly challenged by the predictable and often banal narrative.

From the first few frames when we see the two friends in rural Punjab share Arjun’s international musical dreams, we know exactly the way this story is heading. And that includes the love triangle that growns in London among the intense self-flagellating Arjun, the carefree Manu and the happy-go-‘lanky‘ girl nextdoor.

One of the films 7-8 truly warm sequences shows Asin practising Bharat Natyam in front of her ultra-conservative Tamilian father . The dance steps transform into aritzy jig the minute pop ain’t looking. MTC, here she ‘combs’.

Such moments are far too in-between in Vipul Shah’s sober-and-straight narrative. Even when Manu played at a range that goes from jaded to involved by Salman Khan, is being facetious he does it in a clocked and correct way.Sponatenity is at a low premium among these wannabe rock stars.

No matter what the length of the rock band-members’ hair no one is in a hurry here to let their hair down. They’d rather let each other down. The dramatic confrontations work when they’re done unselfconsciously. Some of them, like the confrontation between the two Pakistani brothers in a back -alley of London after the one tells the other about Arjun’s treachery and betrayal, is plainly mawkish.

Because the film forever has its pale heart in the right place the length (nearly 3 hours) is largely excusable. The meandering atonal music score by Shankar-Ehsan-Loy is not.

Why would stadiums filled with gora log be screaming at our rockers singing these listless songs? And what does the dream of the band London Dreams really mean?

Move on to the wider questions of jealousy, malevolence, insecurity and over- ambition….and the film delivers wispy wallops in a steady and honest tone. Though the music is plainly awful the background score by Salim-Suleiman fights a pitched battle against the mediocrity of the songs.

Sejal Shah’s cinematography is outstanding, often capturing the characters in various phase of emotional breakdown against the quaint neat London backdrop.

Among the cast Ajay Devgan gets to the heart of his troubled and over-reaching character and pulls out a well-balanced performance, though he hardly looks like a rock star (the multiple earrings and other exterior preparations make us cringe). The curly-haired newcomer Aditya Roy Kapoor is an interesting presence.

By Subhash K Jha

Starring Amitabh Bachchan, Sanjay Dutt, Riteish Deshmukh, Jacqueline Fernandes
Written & Directed by Sujoy Ghosh
Rating: ** ½

Make a wish, make a wish….The Djinn, played by the indefatigable Amitabh Bachchan, is the tonic in this Indianized adaptation of Aladin’s arabesque adventures in blunderland.

Once the Big B slams and hurls into the loser Aladin Chatterjee’s life things are never the same again.

Aladin Chatterjee? That could well qualify as the most oxymoronic name-calling in the history of fantasy cinema. Writer- director Sujoy Ghosh has a sly sense of humour. He portrays the bullies and the fakes with great gusto.

He brings up his favourite themes such as the music of R.D. Burman and the fears and foibles of the working-class that lives its life in a cande-lit cupcake, in a adventure-caper that’s high on special effects, but somewhat low on narrative muscle.

Once the genie, or the Genius as the Big B calls himself, arrives and gets the lovely new girl in town (newcomer Jacqueline Fernandes, pretty but vacant) to fall in love with the nerdy Aladin there’s just no room for any forward movement in the plot. All Aladin does is sing and dance and indulge in verbal sparring with his magical mentor.

Mr Bachchan brings in that special and unique blend of tongue-in-cheek wit and childlike chutzpah to his supernatural role. He played a ghost dost in Bhootnath.

He plays Ghosh’s genie as more an entertainer than a meanie. We can’t remember the last time he seemed to be having so much fun.Furnishing the genie’s part with an audacious ingenuity he simply takes you to a world where wishes do come true.

Yup the Bachchan is that kind of a mestro.

Riteish Deshmukh is the perfect foil. Fearful anxious insecure and lonely, Deshmukh’s eyes convey ‘feary’-tales about wounds in rooms filled with conspiratorial ghouls and ogres.

Art director Sabu Cyril creates a magical synthesis of gothic architecture and the quaint but deep mystique of a hill station…right there at Mehboob Studios in Mumbai! Sirsha Ray’s camera has a whale of a time letting the lenses do all the talking, walking and exploring.

Is that a miracle, or what? Aladin could have been one of the most accomplished children’s films ever with special effects that comfortably nudge and wink at its Hollywood counterparts.

Instead Ghosh’s narrative gets stuck in repetitive situations…Aladin chased by tormentors (Saahil Khan and co, repeatedly rescued by the phantasmagoric Guardian Angel …Much in the same way that Mr Bachchan is expected to rescure all the films that feature his name in the credits.

The film’s most unimpressive performance comes from Sanjay Dutt who seems to think he’s Jack Nicholson doing a Joker in Batman Returns.

This Joker is poker-faced. ‘Brat’ Man never returns once he takes off on his own evil journey.

Aladin is a labour of love. It does get laboured at times and the going gets progressively tedious once we get to the point where we get the point.

But the film’s faith in the nurturing qualities inherent in fantasy never flags. You can’t stop yourself from smiling at the antics of the dude who epitomizes longevity.

Starring: Salman Khan, Kareena Kapoor, Sohail Khan, Mahek Chahal, Nauheed Cyrusi, Yash Tonk and Bappi Lahiri
Director: Prem Soni
Rating: **

Samir (Salman) and Raina (Kareena) are married and settled in Melbourne, Australia. What started of as a loving relationship which lead to a quick marriage between the two has now turned into a complicated situation what with Samir facing major hurdles in his career to some wrong work decisions that he had taken.

Raina is working as a waitress to support their house.

Jobless Samir gets an opportunity to work in Singapore and make a new beginning. He takes Raina along with him but only to tell her at the airport that he has booked her ticket for India to go back to his parents and that he will come back to her once things fall in place in his career.

After Samir catches his flight for Singapore, a dejected and sad, Raina keeps waiting at the airport lounge right till the final boarding announcement for her flight to India comes in.

A bar tender at the cafeteria in the departure lounge, Akash (Sohail) sees her plight and offers help. He falls for her instantly but only to realize she is married.

Raina gets confused whether to go to India or stay back in Australia. Just then, help comes in form of her friend Nina (Nauheed) who arranges for a job through a friend (Mahek Chahal) and Raina decides to stay back.

Incidentally, Raina gets a job at the jewellery shop situated bang opposite of that of Akash’s café. Gradually friendship grows between the two. But what happens after Samir arrives back to take Raina along with him to Singapore forms the rest of the film.

Debutante writer-director Prem Soni must be called truly lucky to get a top line lead pair of Salman – Kareena and a reasonably good budget basing his film completely in Melbourne.

While his film begins well, establishing his main characters and their issues without much deviation to sub plots, he fumbles in the second half.

While there are a few extremely well handled and well penned sequences in the second half, but the points that the film downhill are – unconvincing situations, lack of depth in emotional issues, too simplistic solutions and most importantly you feel zero sympathy for Mr. Khanna (Salman) or Mrs Khanna (Kareena) or even Akash (Sohail).

The drama is just not engaging towards the climax. The actors however have risen above the script and have pitched in wonderful performances.

Salman looks smashing and shows he can play a serious romantic role extremely well too. Kareena looks WOW and acts superbly, especially in the emotional scenes.

Sohail in what one may call one of his career best roles does complete justice to his character and rises much above his written role. Yash Tonk aids him perfectly. He is hilarious in the second half especially in his scenes with Salman.

Nauheed and Mahek Chahal (last seen as the gangster’s moll in Wanted) add glam quotient and act ably. Bappi Lahiri is hilarious as the jewellery shop owner. Deepika Padukone in a special appearance has nothing much to do.

Sajid Wajid’s music is very good and has been well incorporated in the film. Also, the use of RD Burman’s song sung by Amit Kumar – Bade Achche Lagte Hai has been made smartly use of two times in the film.

As you come out of the film, you do keep feeling that film could have been much better had the second half been handled well. But overall its not a bad film and you won’t regret your time wasted watching it.

By Joginder Tuteja

Cast: Sanjay Dutt, Akshay Kumar, Zayed Khan, Lara Dutta, Katrina Kaif Kylie Minogue
Director : Anthony D'Souza
Rating: ****

When the makers of a film proudly proclaim their product to be at par with their Hollywood counterparts, one is bound to be sceptical. More so because "Blue" is an action film, that too set underwater, which is not just a first in Bollywood but also a rarity in Hollywood.

So does "Blue" set new standards for Bollywood action movies? Does it actually get into the underbelly of the sea and show a world hitherto unexplored? The answer is yes.

Let's put it this way - "Blue" may not be the mind-blowing commercial action thriller that you would have ever seen. However, it certainly is the most innovative attempt that deserves to be acknowledged and lauded.

Action is truly the USP of the film and keeps the momentum going for "Blue" due to which one doesn't quite miss the presence of a solid storyline.

From first till the last frame, it's the amalgamation of action and an unknown world (under the sea) which brings in a novelty factor.

For those hunting for a storyline, "Blue" actually begins and ends at the basic synopsis level. Mr. Richie Rich Akshay Kumar wants a treasure to be explored and entices his employee and friend Sanjay Dutt with tempting offers.

Dutt is reluctant to take that dive into the sea even though his girlfriend Lara Dutta and brother Zayed Khan do present him enough reasons to take the plunge. Eventually he relents and the journey of "Blue" begins. Simple.

There are five key action sequences that keep the pace up for the film. Each of the three bike sequences featuring Zayed become better and better and in fact his introduction a la 'Fast and the Furious' is something unique for an Indian film.

The boxing ring sequence featuring Sanjay and Akshay does hint of "Broken Arrow", though it works in establishing their characters. Most importantly, the entire underwater hunt sequence is a breathtaking affair.

Anthony D'Souza has a strong eye for visuals and that shows. Technically, whether it is camerawork or sound, "Blue" bears an international feel. Whether it's Sanjay or Akshay, the revelation about their past isn't quite hammer strong, even though convincing.

Moreover, even though the film is a multi starrer, one does expect Akshay to be on the forefront. However, for a change, a film featuring him does allow equal screen space for other actors as well.

As for Lara and Katrina Kaif, their presence is required to make the film look good and in that aspect, they do well.

In a nutshell, "Blue" is made for those who want pulsating action, innovative stunts, glamour and some unbelievable moments that defy logic.

It mainly caters to the youth that just want some non stop action in those two hours while keeping James Bond movies in mind.

The kind of films where bikes are meant to race through traffic, cars are meant to explode, women are meant to bring on a glamour quotient, villains are meant to be suave, action is meant to belong to never-seen-before variety and technical aspects are meant to be superior to the best.

WHAT’S IT ABOUT?

Set sometime in the near future, Surrogates imagines a world in which 99% of its inhabitants live their lives vicariously through “surrogates,” robotic avatars who brave the hazards of the physical world while their schlubby owners sit safely at home in computerized cocoons, experiencing it all via neural sensors affixed to their heads. Think of it as a flesh-and-blood version of World of Warcraft. Or Facebook. Or The Sims. Potential present-day analogies are practically infinite.

As a consequence of mankind’s virtualized existence, violent crime has dropped to an all-time low, since any harm inflicted on a surrogate results in no such injury to its host. Folks are free to go about their increasingly decadent business without fear of the inevitable drawbacks that come with high-risk lifestyles. If their robotic counterpart happens to incur damage, or cease functioning altogether, owners can simply order a replacement from VSI, the suitably dubious mega-corporation in Surrogates that manufactures and markets the robots.

Not everyone is eager to embrace this new world order, of course, and a determined group of quasi-religious luddites, led by a dreadlocked guru aptly named “The Prophet” (Ving Rhames), has assembled in major cities around the world. Eschewing most modern technology, they toil like the Amish in shabby communes as their Prophet regales them with apocalyptic diatribes.

Back in the civilized world, cracks in the utopian edifice form when a pair of surrogate murders result in the deaths of their respective hosts, something heretofore considered impossible. Called in to investigate the first homicides in years, FBI agents Greer (Bruce Willis) and Peters (Radha Mitchell), discover that one of the victims is the son of Canter (James Cromwell), the very man who first invented robotic surrogates. Greer and Peters naturally assume the Prophet and his acolytes to be at the core of the conspiracy, but a nagging question remains: How could they gain access to the advanced technology necessary to create a weapon capable of killing both a surrogate and its host?

WHAT’S GOOD?

Clocking in at a breezy 88 minutes, Surrogates spares its audience the troubling metaphysical questions that so often characterize more ambitious sci-fi projects. Much like the robots at the heart of its story, director Jonathan Mostow’s (Terminator 3) film may be shallow and synthetic, but it sure is pretty to look at. Expect to spend more time contemplating Willis’ absurd blonde wig or Mitchell’s remarkable robotic rack than the implications of society’s increasing disconnect from itself.

WHAT’S BAD?

With its all-too-thin storyline and derivative characters, Surrogates makes for a forgettable, if occasionally entertaining, experience. A subplot involving the increasingly strained relationship between agent Greer and his wife (played by Rosamund Pike), presumably meant to add depth to Willis’ character, feels tedious and unnecessary. A monotonous score telegraphs every decisive moment in the film, ensuring that even the most oblivious viewer is aware that something important is about to happen. And despite director Mostow’s obvious proficiency with visual effects — both practical and digital — some set pieces look cheaply rendered.

PARTING SHOT

There are dozens — dozens — of car crashes in Surrogates, yet not a single airbag deploys. The future, it seems, has no place for proper automobile safety.

By Subhash K Jha

Starring Shahid Kapoor, Rani Mukherjee, Rakhi Sawant, Sheryln Chopra, Anupam Chopra
Directed by Anuraag Singh
Rating: *

Somewhere down the line in this mish-mash of Rab Ne Bana Di Jodi, Chak De and what-have-‘youth’ Shahid Kapoor, looking as intense as a man who has just discovered he has acute molar ache scowls at Rani and says, “You should be an actress in films.”

Actress she is. And a highly competent one. Rani has worked really hard on getting the Sardarji’s act together. At times she’s quite funny and poignant. But her attempts go to waste in a film that seems to move in a rudderless stupor.

Rani Mukherjee is sorely let down in her made-to-order vehicle by a script that’s as phony and pasted-on as the moustache she pastes on to infiltrate the all-boy’s cricket team helmed by a Britain-returned dude from a broken family.

Shahid’s Dad Anupam Kher lives in Amritsar, his mom Poonam Dhillon lives in London, and Shahid lives somewhere where Shah Rukh Khan lived in Chak De. Passports are not required.

Backgrounds are not very high in the list of this messy and annoying mishmash about crossdressing and the sporting spirit.

While Shahid’s character we know is from a broken home, only God and the scripwriter know where Rani’s Veera/Veer comes from. Is she the illegitimate child of a cricketer who passed through Amritsar?

Is she the distant desperate cousin of Hillary Swank in Boys Don’t Cry?

While Hillary as a girl dressed as a guy got the Oscar Rani misses her award-winning turn by a wide margin, thanks to a script that meanders like a bumbling bumblebee which doesn’t know whom to sting.

The story of the spirited girl’s sprint into a men’s game and into the coach’s heart lacks bite and humour. The dialogues are ultra-pedestrian, some of the exchanges between the rustic Rani and the posh Shahid shamelessly cadged from Jab We Met.

What were the makers of this film thinking ? Not much, we can easily see in the slithering progression of the material a dismaying lack of direction and motivation.

After interval the wobbly narration just collapses in a tired heap, with scenes in a nautanki featuring Rakhi Sawant (utterly wa (i)sted) plunging to the bottom-most rung of mediocrity.

The climactic cricket match between India and Pakistan (Veer-Zara strikes again) is as exciting as watching Kaminey with the soundtrack turned off.

In Dil Bole Hadippa the soundtrack is so loud it drowns any finer point that the narration may possess.

Don’t waste your time looking for silver linings in this dreadful cricket film. Somone one said cricket is a game played by 12 fools and watched by 12, 000 fools.

No we know what he meant.

Starring: Salman Khan, Ayesha Takia, Vinod Khanna, Mahesh Manjrekar, Prajkash Raj, Govind Namdeo, Inder Kumar, Aseem Merchant, Sajid
Director: Prabhu Deva
Rating: **1/2

If you are crazy about regular commercial masala films leaving your brains at home, Wanted is the right choice. Wanted is a canvas painted in south Indian colours where you can get a glimpse of Rajnikanth in our macho man Salman Khan. Woah hold down It’s a Prabhu Deva film, Bingo.

Wanted is undisputedly a well-written story with an excellent screenplay. But there is a flipside to it. It is a well-written story which lacks good direction and editing.

Wanted opens up with an interesting plot with commissioner Ashraf Khan (Govind Namdeo) leaving no stones unturned to eradicate underworld terrorism from the country.

Radhe (Salman Khan) is a hardcore gangster known for brutality and commitments. All he knows is the language of money. His loyalties lies with any gang provided the money is right. His entry in Gani Bhai (Prakash Raj) gang under the wing of Golden (Aseem Merchant), the right hand of Gani and betrayal to his existing gang headed by Data Pawle leads to bloodshed, as disputes crop up unexpectedly.

However, story takes a twist with Golden’s death, which compels Gani Bhai to take matters in his hands and fly back to India. How Gani Bhai realizes the trap of commissioner Ashraf Khan, and the truth of Salman Khan, would have been an exciting watch had Prabhu Deva tightened his script.

Cinematographers Nirav Shah and S Sriram are simply excellent. Special effects are over the top; could have been subtle. The music is awful, except ‘Dil Leke’ track, which is the only saving grace.

No refreshing treat for ears, as far as stereotypical dialogues go.

Wanted rides on Salman Khan despite his regular run-of-the-mill, yet nice performance. Ayesha Takia is good and looks gorgeous.

Mahesh Manjrekar is perfect for his part as a womanizer. Prakash Raj as Gani Bhai has small, yet pivotal role and lives up to it beautifully. Vinod Khanna and Inder Kumar don’t have much scope, though they are instrumental to the pace of the story. Aseem Merchant is fairly good. Same goes for Govind Namdeo.

On the whole, ‘Salman Khan’ factor will pull the audience to make this film survive. Infact, half the battle is won, courtesy loads of hype.

By Subhash K Jha

Starring Sohail Khan, Arbaaz Khan, Jackie Shroff, Dia Mirza, Nauheed Cyrusi
Directed by Punit Sira
Rating: ** ½

Sohail Khan is the most underrated Khan in the film industry. Comic roles or something requiring an intense application in the midst of abject melodrama like Kissan, Sohail knows his craft and he uses it with crafty transparency.

Sohail had earlier done a fairly watchable take on the the question of Indianness in I Proud To Be An Indian with the same director. In Kissan Sohail champions the cause of rural life with a plot that nudges Manoj Kumar’s Upkar .It’s a nudge that doesn’t topple the patriotism over.

The story of a wizened father (Jackie Shroff, sufficiently wise in look and makeup) and his two sons, one gone to the city (Arbaaz) and eventually seed marries a girl who’s blessedly not the urban predator-vamp.The other is a quiet faithful son who stays with her father in the Punjabi farm ploughing not just the land but also goons who dare to cross their path.

The authentic Punjabi locales replete with lush stretches of sarso ke khet handpumps and sugarcane juice give the film a rugged and credible climate. However many of the peripheral characters specially the corrupt villainous caucus are purely caricatural. If subtlety is your big cinematic turn-on then Kissan may not be your cup of tea…or should that be glass of lassi?

Kissan is like a tall spiced-up glass of lassi, not quite malaai maar ke. It’s an unabashed celebration of oldfashioned melodrama with dollops of bone-crunching action in the last 30 minutes that leaves us wondering if Manoj Kumar ever imagined the fight to hold on to the land could ever get so violent and bloody.

The principal characters seem to inhabit rural Punjab with comforting familiarity. The ambience is conducive to a demonstration of flamboyant emotions. The direction is often ramrod straight and literal. The film’s charm lies in its ability to be an oldfashioned cliché without getting wobbly.

However the Punjabi songs and the hideous remix of Mahendra Kapoor’s Mere Desh ki dharti get on the nerves. But Sanjoy Chowdhary’s background music is first-rate in its ability to be replicate the character’s emotional graph.

Among the actors Sohail stands tall, quite often taller than the material given to him. Will someone make a film that would justice to this Khan’s talent?

WHAT’S IT ABOUT?

Carbon copying the already overly convoluted idea from the previous Final Destination movies, the latest, worst installment continues on the theme of one unlucky twentysomething being able to predict who’s going to die and when; this time it’s Nick. After attending a NASCAR race with his girlfriend Lori and their friends, Hunt and Janet, Nick has a premonition about an elaborate, horrific accident that threatens everyone present. Naturally, it comes true — and even though plenty of people die in the stands, Death (you know, the bogeyman) has only just begun. But Nick realizes that he might be able to save the survivors of that day by remembering the order in which they're supposed to die and warning them of their imminent demise. Unfortunately, though, not everyone believes him, and they carry on with their dangerous activities ... like going to a hair salon or — gulp! — through a carwash.

WHO’S IN IT?

Up-and-coming actor Bobby Campo plays the main pretty young thing, and he makes the best of what is ultimately an untenable and God-awful role to have to accept. Still, fresh faces capable of pulling off his part are a dime a dozen, and Destination’s past leads, like Mary Elizabeth Winstead, at least left us feeling their fear. Supporting actresses Shantel VanSanten, as Lori, and Haley Webb, as Janet, are there for little more than eye candy and ear-shredding screams, while former MTV 'It' dude Nick Zano, as the obnoxious, clichéd — and obnoxiously clichéd — Hunt can’t even provide the occasional comic relief for which he was brought on. The lone bright spot comes courtesy of an evidently desperate-for-work Mykelti Williamson (aka Bubba in Forrest Gump), who plays a widowed security guard, adding a shred of cred to the otherwise disposable cast (which includes a barely there Krista Allen).

WHAT’S GOOD?

Clocking in at a mercifully brisk hour and 15 minutes, the makers of TFD find one way to not essentially call us stupid: They know we want our scares quickly, and they deliver — except for actually scaring us. Aside from its running time, the aforementioned credible performance by Williamson is literally all the movie has going for it.

WHAT’S BAD?

Wow, where to begin? Destination, another in a loooong line of wholly unnecessary sequels, is riddled with problems — from the are-you-kidding-me? “special” effects (even in 3-D) to the jaw-droppingly horrendous writing. Director David R. Ellis (helmer of the infinitely better Final Destination 2) should bear much of the blame. He seems uninterested in delivering anything that people go to the movies for; this Destination is nothing more than tenuously connected scenes of video-game-like deaths that try to one-up each other. And not one of the sequences is even mildly suspenseful or scary — just disturbing in the sense that some people will actually smirk in earnest at the cartoonishness of it all.

The writing, though, is the real culprit. Eric Bress’ (also an FD2 alum) script is incredibly unimaginative, merely recycling similar but better executed scenarios from the three previous movies and swapping out the settings. With ideas so bad, Bress makes it abundantly clear that there’s no inane death massacre left to explore at this point; it's basically a metaphorical surrender. And yet the dialogue is even worse — with stock, stereotypical block characters muttering it, to boot.

LEAST FAVORITE SCENE?

Not to completely give it away — lest we make the movie predictable! — but one of the death scenes is just so far beyond ridiculous that it transcends even sarcastic laughter. Hint: It involves water and it’s about midway through the movie … if you dare stay that long.

PARTING SHOT

Even if you’re not a cinephile and you couldn’t care less about things like character depth and plot development and you’re looking for a very quick thrill, The Final Destination is well beneath you. It makes recent straight-to-DVD releases look like fully coherent masterpieces. Whether in 3-D or 2-D, it’s a mustn't-see!

WHAT’S IT ABOUT?

A year has passed since Michael Myers escaped from Smith’s Grove Sanitarium and embarked on a murderous rampage through the town of Haddonfield on Halloween night. With the anniversary of the tragedy approaching, survivor Laurie Strode, still traumatized after her climactic encounter with Michael, is plagued by nightmares that seem to foreshadow his deadly return.

Laurie’s therapist and friends dismiss her anxiety as the inevitable by-product of the trauma she experienced, insisting that Michael is dead while ignoring the unpleasant reality that his body was never found. And wouldn’t you know it – the crazy chick is on to something. Far from deceased, Michael’s been lying low in the days since Laurie put an end to his grisly escapade, quietly convalescing in the place where most folks suffering from multiple gunshot wounds go to recover: a dirty wood shack in the middle of a sparsely-populated rural area.

Not that he’s been alone. Bathed in angelic white garments and accompanied by a similarly alabaster horse (its significance is explained in the opening credits), Michael’s mother Deborah has been paying regular visits to her son from beyond the grave, appearing in visions to provide guidance to her deranged offspring. According to his nutty imaginary mum, Michael’s tortured psyche will never be at peace until he’s reunited with his baby sister Laurie. And so Michael returns to Haddonfield for a second attempt at a family reunion, slicing to ribbons anyone stupid enough to cross his path.

WHO’S IN IT?

After swearing up and down that he’d never make a sequel to his 2007 Halloween reboot, Rob Zombie is back in the director’s chair for Halloween II. Also returning are most of the cast members, including Tyler Mane (Michael Myers), Scout Taylor-Compton (Laurie Strode), Brad Dourif (Sheriff Lee Brackett), Sheri Moon Zombie (Deborah Myers), Malcolm McDowell (Dr. Samuel Loomis) and Danielle Harris (Annie Brackett). Leading the newcomers is Margot Kidder (Superman, Black Christmas) in the role of Laurie’s barely competent therapist.

WHAT’S GOOD?

Given greater freedom to pursue his own twisted vision, Zombie departs further from the canon of the original franchise while still keeping the essential elements intact. Michael Myers is still a quiet guy who wears a scary mask and butchers people, and Laurie Strode is still the primary object of his desire, but apart from that, Halloween II bears little resemblance to the 1981 follow-up to John Carpenter’s original Halloween.

The character of Loomis, in particular, is miles apart from the Donald Pleasance version – and far more interesting. Zombie’s Loomis is an ambitious media whore who cravenly cashes in on the tragic events of the previous film by penning a memoir of his relationship with Michael, then mounting a nationwide book tour to promote it. As portrayed by an amusingly acerbic, pompous McDowell, he’s easily the most appealing part of the film.

WHAT’S BAD?

The tone of Halloween II is very much in line with Zombie’s previous works: gritty and grisly, more disturbing than scary, more uncomfortable than suspenseful. Characters make lots of stupid decisions (why didn’t Laurie leave Haddonfield and move to a town where her friends and family members weren’t massacred by a psychopath?), most of which can be forgiven for the sake of horror.

Other decisions aren’t so easily excused. As he did with the 2007 film, Zombie seeks to portray Michael as a multi-dimensional villain in Halloween II and not the bloodthirsty automaton of the franchise’s previous iteration. Admittedly, it’s a significant challenge, adding depth to a solitary character that essentially never speaks, but Zombie’s solution – summoning Michael’s mom and the aforementioned white steed at various points in the story to give him his next bloody assignment – comes off as contrived at best, laughable at worst.

By Taran Adarsh

Rating: ***

A few questions cross your mind when you're about to watch Life Partner...

* Haven't I watched something like this in the past? Isn't it getting repetitive?

* Haven't I had enough of mindless potboilers?

* What's Rumy Jaffery going to serve now? A rehash of what he's made in the past?

There's so much negativity surrounding Life Partner, even though you don't have a clue about its content/material. Even though you have no inkling what it has to offer. Also, the buzz is clearly missing.

But, but, but... never judge a book by its cover. To answer the questions I raised at the very outset, let me say that Life Partner isn't innovative or ground-breaking, but it's interesting and entertaining.

One may assume that it's a nonsensical comedy, but it isn't. Instead, it's a 'family film' [a popular term for socials/paarivaarik films within the industry].

It gives you a sneak peak into the lives of two couples -- one, who believes in love marriage and the other, who believes in arranged marriage.

Life Partner also surprises you because Rumy Jaffery incorporates vignettes from real life. Most importantly, Life Partner entertains, makes you laugh [at even silly jokes] and keeps you hooked for most parts of the film. It's only the climax that acts as a spoilsport. But more on that later!

To sum up, Life Partner carries no buzz and also the baggage of zilch expectations. But this film springs a pleasant surprise. You leave the auditorium with a smile, not a smirk!

Karan [Fardeen Khan] and Sanjana [Genelia D'Souza] are madly in love with each other. Marriage is the next step to cement their relationship. But is 'love marriage' the right way to be?

For Bhavesh [Tusshar Kapoor], his Life Partner, Prachi [Prachi Desai], comes with the approval of his family. But is 'arranged marriage' the way forward? Is it right to prioritize family over marriage? Does Prachi have to prove herself as a worthy daughter-in-law to qualify as an ideal wife?

Jeet [Govinda] is an accomplished divorce lawyer who does not believe in the institution of marriage. He can't be monogamous and is often responsible for his getting his clients divorced. But is 'no marriage' the right policy? Will Jeet ever find a partner and accept matrimony?

Life Partner is about three protagonists struggling on the marital marathon, but on different tracks.

Life Partner is a simple story told in a simplistic manner. Director Rumy Jaffery comes to the point at the very outset and the principle characters and their characteristics are well established at this juncture.

The film is laced with funny incidents initially, but gets serious as it reaches the interval point. In this case too, the interval point is a shocker and you await the second half for several reasons.

The post-interval portions get more real, since the two marriages go through a crisis and the transition is depicted wonderfully.

However, the climax is a downer. Ideally, the writer should've come up with a better thought of conclusion, instead of the one that's depicted now.

Rumy Jaffery shows ample improvement over his previous film. He has handled a number of scenes very well, especially the Tusshar - Prachi - Darshan Jariwala portions. Pritam comes up with an ordinary soundtrack. 'Kuke Kuke' is the best of the lot.

Yunus Sajawal's screenplay has several appealing moments. Niranjan Iyengar's dialogues are first-class. Sameer Arya's cinematography is admirable. The locales of South Africa are a visual treat. In fact, the film sports a rich look all through.

Govinda is in terrific form this time. After PARTNER, the talented actor gets a role that does complete justice to his abilities. He seems to have worked on his looks and that only enhances the impact.

Fardeen Khan is very likable. In fact, the role requires him to go overboard at times and he does that so well. Genelia D'Souza is the scene stealer. She's superb and one of the prime reasons that makes Life Partner watchable.

Tusshar Kapoor pitches a remarkable performance yet again. He looks so perfect for his part. Life Partner is yet another film that showcases his talent well.

Prachi Desai showed abundant promise in ROCK ON!! and excels in Life Partner too. This pretty girl has the potential to carry off most difficult scenes with aplomb. Amrita Rao [sp. app.] doesn't create magic.

Anupam Kher is just right. Darshan Jariwala is proficient. Vikram Gokhale is good. Jagdeep is superb in a brief role. On the whole, Life Partner may lack the hype, but this one springs a pleasant surprise. It's aimed at the families and that section of movie-going audience should take to it gradually, with a strong word of mouth. The holidays in its opening weekend should help the film grow!

By Taran Adarsh

Rating: ****

Dhan Te Nan. Vishal Bhardwaj pays homage to cinema of yore and that's reason enough to go out and grab tickets for one of the most keenly anticipated films of our times.

A few monsoons ago, Farah Khan paid homage to the cinema of 1970s with OM SHANTI OM. Now Bhardwaj picks up characters that we have witnessed on the Hindi screen before, but executes it like Tarantino and Guy Ritchie do. He creates a film that's so different from movies we've witnessed thus far.

Let's say, Kaminey is bold, stark, funny and unpredictable and that's what works in its favour. There're two more reasons: Shahid Kapoor and of course, 'Dhan Te Nan'. Okay, we've seen Shahid pitching in a sincere act in his earlier films, but Kaminey should catapult him to superstardom. His double role in Kaminey is exemplary.

There's another star in Kaminey and that's 'Dhan Te Nan'. Your heart starts beating faster every time you hear this in the background or also when Shahid breaks into the song. The track is as big a craze as 'Jumma Chumma' [HUM], 'Ek Do Teen' [TEZAAB] and 'Choli Ke Peeche Kya Hai' [KHAL-NAYAK] and will contribute enormously in attracting viewers in hordes.

Having said that, I wish to add that Kaminey is not the usual masala film. Sure, it's a well-made film, but there's no spoon feeding here.

One has to be attentive, very attentive to grasp the goings-on and also the twists in the tale. It's not one of those lock-your-brains-at-home types, for sure. And that might not be too appealing a thought for those who swear by candyfloss or meaningless ha-ha-thons.

To cut it short, Kaminey is a film with an attitude. Like it or leave it, but you'd never be able to ignore it. Word from the wise: Go for this hatke experience!

Kaminey is about a pair of twin brothers, Charlie and Guddu [Shahid Kapoor]. Charlie lisps, while Guddu stammers. They are as different as chalk and cheese. And they can't stand the sight of each other. Till one fateful rainy night, their lives cross.

Charlie gets mixed up in a deathly get-rich-quick scheme, while Guddu realizes that the love of his life, Sweety [Priyanka Chopra], has unwittingly put a price on his head. The brothers are sucked into a world of drugs, guns and money. Their lives collide head on with the lives of gangsters, rebel soldiers, rogue politicians and crooked cops.

The brothers have to run to protect themselves, their dreams, their love. And most importantly, realize that all they have is each other.

It takes time to get used to the world Vishal Bhardwaj wants us to enter. The characters, the relationships, the lingo, the tone and the setting… frankly, you don't take to Kaminey instantly. But twenty minutes into the film and things start falling in place. From thereon, you're drawn into a different world completely.

The interval point raises the bar and also the expectations. The story takes a dramatic turn at this juncture, but minutes before that, 'Dhan Te Nan' makes the proceedings exhilarating and stimulating.

Right from the sequence after the interval to the finale, Vishal Bhardwaj peels off layer after layer, which erupts like a volcano towards the end. The end is long drawn and with so many characters in the film, it only takes time to give a culmination to each of those characters. And that gets tedious.

The violent end might not find universal acceptance. Vishal Bhardwaj proves that he's a master storyteller. Kaminey is a damn difficult film to conceptualize and execute and Vishal does it with gusto.

Besides the soundtrack ['Dhan Te Nan'], the effectual background score only enhances the impact. The dialogues, also penned by Vishal, are super. At places, clapworthy. Tassaduq Hussain's cinematography is top notch.

Shahid takes a really big leap with Kaminey. Note how he handles the two characters, Guddu and Charlie, brilliantly.

This film is a step to superstardom and also which will open new doors and vistas for him as an actor. Priyanka is first-rate. She's so much in sync with her character. Also, she gets the Maharashtrian accent perfect.

Amole Gupte is outstanding. An incredible actor! Tenzing Nima and Chandan Roy Sanyal leave a solid impression. Shiv Subrahmanyam and Hrishikesh Joshi are perfect.

On the whole, Kaminey lives up to the hype associated with it. The film has three stars -- Vishal Bhardwaj [a name that's immensely respected by moviegoers], Shahid Kapoor and 'Dhan Te Nan' -- and this combo as also the crooked characters and a genuinely hatke subject should guarantee ample footfalls in cineplexes even after its initial weekend.

WHAT’S IT ABOUT?

G.I. Joe is a top-secret, multi-national special forces unit comprised of highly-trained, physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk, they take on the baddest of the bad guys, the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states, “When all else fails, we don’t.”

That credo is put to the test, however, when a shadowy terrorist group armed with even awesomer vehicles and weaponry, like crazy-ass laser guns and computer-guided zombie troopers, infiltrates the Joes’ compound and makes off with a cache of four WMDs, each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?

WHO’S IN IT?

It takes an elite group of actors to play an elite group of soldiers, and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers, all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord, a flight specialist who can pilot any type of airplane, even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum, star of Step Up and Step Up 2: The Streets, plays his best pal Duke, a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett, a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.

On the side of the bad guys is the Baroness, played by Factory Girl star Sienna Miller in a push-up bra, dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen, a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor,” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt, concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.

Oh, and there are ninjas, too. Good guy Snake Eyes, played by Ray Park, wears sleek black body armor, while the evil Storm Shadow, played by Byung-hun Lee, runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.

WHAT’S GOOD?

Loaded with scene after scene of high-tech action-movie eye candy, G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts, eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.

WHAT’S BAD?

As with most sugary indulgences, the sweet, dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning, you awake with a throbbing headache and a heart filled with regret. The following day, a doctor informs you that you have adult-onset diabetes. So in a nutshell, G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.

FAVORITE SCENE?

The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait, that’s EVERY scene.

PARTING SHOT

For the bulk of his performance, Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.

WHAT IT’S ABOUT?

Based on the eponymous book by Bryan Burrough, Public Enemies chronicles the exploits of legendary Chicago gangster John Dillinger, a dashing figure whose daring bank robberies both captivated and alarmed a Depression-era America devastated by widespread financial ruin. Director Michael Mann (Ali, The Insider) begins his narrative at Dillinger’s career high-point, with the Indiana-born outlaw basking in his celebrity status as a Robin Hood figure.

But with Dillinger’s growing fame comes increased scrutiny from law enforcement agencies — particularly the Bureau of Investigation (the precursor to the FBI) and its ambitious chief, J. Edgar Hoover. Eyeing Dillinger’s capture as an opportunity to boost his agency’s profile, Hoover tasks elite agent Melvin Purvis with bringing the elusive gangster to justice.

WHO’S IN IT?

Toning down the often cartoonish mannerisms he exhibited in Sweeney Todd, Charlie and the Chocolate Factory and the Pirates of the Caribbean trilogy, Johnny Depp exudes low-key charm and self-assuredness as Dillinger, a man clearly amused by his celebrity status but never consumed by it. Dillinger’s audacity and fearlessness extend beyond the criminal realm, too, as evidenced when he pursues a beguiling coat-check girl named Billie Frechette (Marion Cotillard). Initially appalled by Dillinger’s aggressive advances, Frechette ultimately surrenders, becoming his loyal companion during his final days on the run.

As lawman Melvin Purvis, Dillinger’s primary antagonist, Christian Bale provides a nice foil for Depp, though he ultimately isn’t allowed enough screen time to fully develop his character. Bale’s Purvis is straight-laced, intrepid and doggedly persistent, his efforts continually stymied by the sub-par talent and resources at his disposal. His complicated relationship with highly eccentric Bureau boss Hoover (played by a gleefully uptight Billy Crudup) begs for more development, but director Mann opts instead to focus more on the doomed love affair between Dillinger and Frechette. Pity.

WHAT’S GOOD?

Fans of Mann’s action work in films like Miami Vice and Heat will revel in Public Enemies’ elaborately staged shoot-out sequences, each of which is lent added intensity by cinematographer Dante Spinotti’s use of high-definition digital video cameras.

But when the bullets aren’t flying, Public Enemies is only intermittently interesting. Stars Depp and Bale both excel in their respective roles, but neither is allowed much room to venture beyond the tight constraints imposed by Mann, who clings stubbornly — and disappointingly — to type. Much more intriguing would have been for Mann to reverse the casting, with Bale playing the anti-hero and Depp as his straight-arrow pursuer. Alas, the director who convinced squeeky-clean Tom Cruise to play a villain (in 2004’s Collateral) was not so ballsy this time around.

WHAT’S BAD?

The same cautious, predictable approach to casting extends to the film’s tone as well. Rather than deconstruct our culture’s romanticized vision of Dillinger as a handsome populist hero, Mann adds to the gangster’s puffed-up Robin Hood image, photographing Depp lovingly at every turn and filling the story with unsubtle nods to the character’s altruistic side. It’s a missed opportunity.

Mann has never been one for brevity, regularly churning out films that extend well beyond two hours in length. Public Enemies is no exception, clocking in at nearly two-and-a-half hours. Despite the ample running time he’s allotted to flesh out his story, Mann fails to create any real attachment to his characters. For a movie with such a gifted cast, appealing subject matter and riveting action sequences, Public Enemies is oddly boring.

FAVORITE SCENE?

A chaotic nighttime sequence in which Purvis and his crew ambush Dillinger’s forest hideout, only to become mired in a protracted and bloody gunfight, ranks with the very best of Mann’s action work. If only the rest of Public Enemies were this thrilling.

NETFLIX OR MULTIPLEX?

Spinotii’s superb camera work demands to be seen on the big screen, so slam a few Red Bulls and catch this one at the multiplex

Myth: New York is about 9/11.
Fact: It's not. But it reflects the mood that's prevalent across the globe, post 9/11. The world is divided today. No two opinions on that!

Myth: New York bears a striking similarity to KHUDA KAY LIYE.
Fact: Nope. KHUDA KAY LIYE and New York may belong to the same family, of an innocent person being picked up for questioning after the WTC catastrophe, but the similarities end there. In fact, KHUDA KAY LIYE and New York are as diverse as chalk and cheese.

New York, helmed by Kabir Khan, attempts to be as real as possible. A tale of friendship, with terrorism as the wallpaper, New York hits you like a ton of bricks at several points in the narrative. In fact, there was a possibility that New York may turn out to be a dry experience, a documentary perhaps, but the drama is so well structured and so gripping that you get sucked into the world of Sam, Omar and Maya from its inception.

New York is a triumph for Kabir Khan, who deserves distinction marks for handling the subject with remarkable maturity. Also, this film should be a turning point for John, Katrina and Neil. More on that later...

The verdict? New York is, without doubt, one of the finest films produced by this premier production house, Yash Raj. Grab a ticket today!

Omar (Neil Nitin Mukesh) has gone abroad for the first time in his life and soon enough, he begins to see and love America through the eyes of his American friends, Sam (John Abraham) and Maya (Katrina Kaif). But an incident changes the world round them.

At this point enters Agent Roshan (Irrfan), an FBI agent, who sets the ball rolling for a series of tumultuous events that turn the lives of these friends upside down.

New York affects you like no other Hindi film has done so far (on 9/11). In fact, there are portions that give you goose bumps, especially towards the second half of the film, when John recounts his past.

One of the reasons why New York works is because not once does Kabir Khan borrow from the past or tilt towards predictable stuff. You just can't guess what and where the story is headed and what the culmination would be.

The director and his team of writers establish the plot and characters beautifully, but the real action is reserved for the second half. The nightmarish experience that John undergoes is disturbing, but lifts the film several notches up.

But New York has its share of loose ends. The film dips in the second hour. It tends to gets lengthy before it reaches a powerful, brilliantly executed climax. Also, a few sequences only add to the length of the film, which could've been curtailed in the writing stage itself.

Director Kabir Khan picks up a real incident -- innocent civilians being suspected as terrorists, soon after 9/11 -- and weaves a brilliant tale around it. The screenplay is its biggest star, without a doubt. Given the fact that New York isn't one of those routine masala fares, Kabir has injected songs only when required. Cinematography is striking.

Now here's another surprise. John, Katrina and Neil, all actors, deliver their career-best performance. If the first half belongs to Neil, John takes over the second hour completely. John is superb when he recalls the past.

You can feel his pain, that effective is his performance. Also, note his expressions towards the end. This is a different John, for sure. Just one word for his performance -- fabulous!

Neil was remarkable in JOHNNY GADDAAR, but disappointed in AA DEKHEN ZARA. Fortunately, he's in top form this time around. Katrina gives you the biggest surprise.

Known for her glamour roles, Katrina proves that she can deliver if the director and writer offer her a role of substance. She's outstanding. In fact, people will see a new, different Katrina this time. Irrfan is, as always, first-rate.

On the whole, New York is amongst the finest films produced by Yash Raj. At the box office, there's no stopping this one. Go for it now!

Kambakkht Ishq explores the relationship between two individuals as different from each other as chalk and cheese. No matter how many times they are pushed together, there are only fireworks... no fire. Viraj Shergill (Akshay Kumar) is a swashbuckling stuntman in Hollywood who lives by the mantra ''women are only good for two things... making love & making love'' Simrita Rai (Kareena Kapoor) is a firebrand who is more than able to stare down the most arrogant male with her caustic wit and sardonic tongue... he firm belief ''there's no such thing as love''. So what happens when the two people who hate each other the most meet at Simrita's best friend Kamini's and Viraj's brother Lucky's wedding? ... a wedding that both Viraj and Simrita are violently opposed to and desperate to stop. Sparks fly, accidents occur, And both are thrown together in the most absurd, hilarious situation until one dramatic twist of fate binds the two together in a manner that they could have never ever even dreamed of in their wildest fantasies.

The battle of the sexes in on. Who is going to throw the punches and who is going to blow the kisses? GAME SET ...BATTLE BEGINS

Release Date: 03rd July
Starring: Akshay Kumar, Kareena Kapoor

WHAT IT’S ABOUT?

The uber-anticipated sequel Transformers: Revenge of the Fallen picks up shortly after the events of the blockbuster first film. With evil Megatron’s carcass buried at the bottom of the ocean, Optimus Prime and his Autobot comrades, working together with an elite group of human soldiers, are now focused on hunting the remaining Decepticons scattered across the globe. Sam Witwicky, hero of the 2007 movie, is busy preparing for his first year at college, while his unlikely girlfriend, Mikaela Barnes, stays behind to tend to her father’s auto-repair shop. Little do they know, however, that back on Cybertron a Decepticon elder known as “The Fallen” is hatching a scheme to invade Earth, where hidden somewhere on the planet is the last known source of energon, the life-blood of all Transformers. If he succeeds, the devastation left in his wake will no doubt spell the end of the human race. With the fate of Earth hanging in the balance, Sam and Mikaela must once again have to team up with Optimus and the Autobots to defeat this powerful new foe.

WHO’S IN IT?

All the major human players from the first Transformers film are back for the sequel, including Shia LaBeouf, Megan Fox, Tyrese Gibson, Josh Duhamel and John Turturro. Newcomers include Ramon Rodriguez, who plays Sam’s conspiracy-obsessed college roommate Leo, and The Office’s Rainn Wilson, who enjoys a notable cameo as a pompous physics professor.

Of course, the actors merely serve as background filler for the real stars of the show: those titular talking-alien robots. And director Michael Bay fills up the screen with enough mechanical eye candy to dazzle even the most skeptical gearhead. Returning characters include Optimus Prime, Bumblebee, Ratchet, Ironhide, Barricade, Jazz (don’t act surprised), Starscream, Frenzy and Megatron (again, don’t act surprised).

Several new Autobots are introduced to the mix: Mudflap and Skids, a pair of jive-talking, ceaselessly annoying hatchbacks; Jolt, a Chevy Volt; Sideswipe, a silver Corvette; and Jetfire, an elderly Decepticon turncoat who walks with a cane, speaks with an English accent and transforms into an SR-71 Blackbird. Additions to Decepticon side include: The Fallen, who we learn is the Decepticons’ real head honcho (consider him the Emperor Palpatine to Megatron’s Darth Vader); Soundwave, a communications specialist who sinks his tentacles into a satellite and spies on us from above; Ravage, a panther-like creature; Wheelie, a radio-controlled truck who talks like Joe Pesci; “the Doctor,” a sort of mad scientist who speaks with a German accent (naturally); and the Constructicons, a group of construction vehicles that fuse together to form a massive, four-legged beast.

WHAT’S GOOD?

No director does over-the-top, explosion-laded action better than Michael Bay, and Transformers: Revenge of the Fallen features several staggering set pieces. The CGI work on this film makes the last one look like it was designed on a Commodore 64.

WHAT’S BAD?

Any scene in which people talk — and several of the ones in which robots talk, too. Just as the action and visual effects are beefed up for the sequel, the bad jokes and cringe-worthy dialogue are as well. Highlights include two dogs humping, John Turturro in a thong, a robot humping Megan Fox’s leg, a sequence involving Sam’s stoned mom, and a glimpse of a very large pair of testicles on one very large Decepticon. The latter will likely go down as the “nipples-on-the-Batsuit” moment for the Transformers franchise.

FAVORITE SCENE?

The show-stopping climax, set in the Egyptian desert, is one extended, riotous battle royale packed with so much robot-on-robot action you’ll feel overwhelmed at times.

NETFLIX OR MULTIPLEX?

This big-budget spectacle begs to be seen at the multiplex — IMAX, if possible. Just bring a pair of earplugs for the dialogue sequences. You might want to bring some Dramamine as well, as Mr. Bay went a little overboard with his trademark circling-camera sequences this time around.

Source: hollywood.com/review