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The movie begins with Bittu (Sonu Sood) planning with the local MLA Varadarajulu (Kota Srinivasa Rao) to rob (US$240 million) from Vizag Co-operative Bank. Ravindra Narayan (Allu Arjun) is a brainy individual who believes in earning quick money rather than toiling like his father Narayana Moorti (Tanikella Bharani) for every month's salary. He gets into a dispute with his father about his attitude and challenges him that he would convert 
10,000 into 100,000 in quick time. He happens to meet Bittu on his way, who drops him at his destination. Ravi inadvertently reveals his plan of making quick money by betting on an IPL match and also the location of betting to Bittu and his companions on the way. However his plans turn upside down when police raid the location and is caught red-handed. During interrogation, Ravi guesstimates that Bittu could have diverted the Police, and that he is about to commit a robbery at the Vizag Cooperative Bank. He convinces ACP Raja Manikyam (Rao Ramesh) that Bittu is planning to rob the bank and both go to catch him. Bittu successfully robs the bank and his brother Laala (Shafi) takes the money to the city's dumping yard, as per Bittu's instructions, as the Police follow them. However Police catch Lala, who resists them only to be killed by Ravi. Police try to trace the money but in vain. Meanwhile Bittu gets arrested, but is rescued in transit by his sidekick Devayani (Sheetal Menon). They go to the dumping yard to collect the money but Bittu is shocked as the dumping yard is burnt to ashes. Having his brother dead and the money burnt, Bittu decides to kill Ravi.
10,000 into 100,000 in quick time. He happens to meet Bittu on his way, who drops him at his destination. Ravi inadvertently reveals his plan of making quick money by betting on an IPL match and also the location of betting to Bittu and his companions on the way. However his plans turn upside down when police raid the location and is caught red-handed. During interrogation, Ravi guesstimates that Bittu could have diverted the Police, and that he is about to commit a robbery at the Vizag Cooperative Bank. He convinces ACP Raja Manikyam (Rao Ramesh) that Bittu is planning to rob the bank and both go to catch him. Bittu successfully robs the bank and his brother Laala (Shafi) takes the money to the city's dumping yard, as per Bittu's instructions, as the Police follow them. However Police catch Lala, who resists them only to be killed by Ravi. Police try to trace the money but in vain. Meanwhile Bittu gets arrested, but is rescued in transit by his sidekick Devayani (Sheetal Menon). They go to the dumping yard to collect the money but Bittu is shocked as the dumping yard is burnt to ashes. Having his brother dead and the money burnt, Bittu decides to kill Ravi.
Raja Manikyam sends Ravi to Hyderabad from Visakhapatnam under Witness Protection Program and makes him to stay at his friend ACP Sitaram (Rajendra Prasad)'s house. ACP Sitaram is a cowardly cop who is afraid of using his gun. One day, Ravi happens to see Madhu (Ileana), a middle class girl who works with travel agent Travel Moorti (Brahmaji), an associate of Bittu. He prepares fake passports for Bittu's gang to help them escape from India. Ravi befriends Madhu and both fall in love with each other. Ravi steals Madhu's identity card which leads Sitaram and him to know all the details regarding the escape plan of Bittu, in which Madhuwould be tricked to pose as Bittu's wife, suffering from vertigo to help him escape easily. Ravi and Sitaram go after Bittu, with Sitaram of the impression that Bittu would go to airport. However, Bittu plays a trick on them and escapes through other route. Ravi, however, outwits Bittu and forces Sitaram to go in the route taken by Bittu. Ravi and Bittu confront each other and Bittu threatens to kill Madhu. However, Devayani forces Bittu to abandon Madhu as Bittu is surrounded and they escape.
Bittu vows to exact revenge on Ravi by targeting his family. He decides to kidnap Ravi's family, but before he could, Ravi shifts his family to Hyderabad. Frustrated, Bittu seeks the help of Varada Rajulu to help him escape to abroad. But Varadarajulu tells him that he is helpless in this matter. Enraged, Bittu kills him. But before dying Varadarajulu tells the truth that he and Raja Manikyam had the custody of the loot. Bittu makes a deal with Raja Manikyam and traps Ravi in a car blast with Manikyam faking his death. Ravi gets arrested but is released on bail by Sitaram. Ravi realises the foul play and also that Manikyam too is involved in the robbery. Meanwhile, Ravi's family is kidnapped by Travel Moorti. Ravi manages to save his family but not before Travel Moorti shot his father. Narayana Moorti is shifted to ICU where he prods Ravi to restore the 15 billion to the Bank.
Meanwhile, Ravi's sister is kidnapped by Devayani and Bittu shifts her to Visakhapatnam. Ravi gets to know the location of his sister through Travel Moorti and he leaves for Visakhapatnam with Sitaram. Ravi finds that the whole money is being transported in 1 of 3 containers by Bittu to the sea port. He finds out the right container and the driver of the container. He uses his sharp wit to divert the container and makes it stop before the very bank from which the money was stolen. Bittu is confronted by Ravi & Sitaram and a fight arises between Ravi and Bittu. Sitaram shoots Bittu while he tries to kill Ravi and by their last conversation, Ravi comes to know the location of his sister and Devayani and saves his Sister while Sitaram apprehends Devayani. The film ends with Sitaram transforming into a tough cop and Ravi having a change of mind and starting to believe in hard work.
Source: http://en.wikipedia.org/
Watch Dangerous khiladi Full Movie
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Ram (Jagapathi Babu) is a restaurant owner in Bangkok. Ram leads his life happily with his wife Vidya (Vimala Raman) and adopted son Chaitanya. One day, psychopath killers attempt to molest a female worker at Ram"s restaurant. To protect her, Ram shoots them. This rescue turns Ram a hero before the media.
Gurunarayana (Kota Srinivasa Rao) shocks to see Ram who is quite similar to Durga (Jagapathi Babu), an arch-rival, who was declared dead long ago. Gurunarayana's son Shankar Narayana (Kota Prasad) leaves for Bangkok along with their lawyer Saab (Tanikella Bharani) to find out whether he is Ram or Durga. Shankar Narayana kidnaps Chaitanya. This irks Ram and opens up his identity by injuring Shankar Narayana and killing a person just in front of Vidya.
Lawyer Saab takes away Shankar Narayana back to India. Vidya deserts Ram as he concealed his identity that he was once a killer and goon. But the Bangkok police officer of Indian origin (Jeeva) convinces her that Durga turned Ram and leading a normal and peaceful life only to keep himself off from bloodshed. Then Ram reveals his flashback to Vidya. At a time when it is going to be a happy reunion, again Gurunarayana's men attack Ram and his family and Chaitanya gets badly injured.
In order to put a fullstop to the bloodshed, Ram decides to go to India as Durga and clear off the rivalry with Guru Narayana. He sends Vidya and Chaitu to the police officer's house and returns to India. What happens next should be seen on-screen.
Source: http://en.wikipedia.org/
Kaala Bazaar-Underworld (Gaayam 2) 2010 Full Movie
It’s dense, interesting, weird and funny, but what it’s all wrapped around is another “Chosen One” story that really feels drawn out and convoluted, crumbling into something tiresome and tedious..jpg)
Where the science-fiction genre is concerned, it’s not hard to at the very least appreciate the ambition of the storytelling. It takes an honest, extra layer of creativity to create a reality not bound by the restrictions of our own, and it can be a delight to watch a perfect mixture of detailed universe building mesh with smart, unique storytelling. Of course, this requires delicate balance, as a dip too far one way finds a convoluted mess, and a dip in the opposite direction creates something that ultimately feels hollow and incomplete. It is sadly the former trap to which Andy and Lana Wachowski’s Jupiter Ascending falls victim.
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In a similar vein to what they were able to accomplish with previous sci-fi stories like The Matrix and Cloud Atlas, Jupiter Ascending is a narrative set in a vivid and comprehensive world. There are legions of soldiers who have had their DNA spliced with animals – like the wolf-infused Caine (Channing Tatum) or the bee-like Stinger (Sean Bean). There are galaxy-spanning businesses where worlds are held like long-term investments. There’s even intergalactic low-level bureaucracy that has all varieties of individuals waiting in lines and shuffling from one department to the next. It’s dense, interesting, weird and at times funny, but what it’s all wrapped around is another “Chosen One” story that really feels drawn out and convoluted, eventually crumbling into something tiresome and tedious – albeit consistently beautiful.
The Wachowskis do legitimately make good choices in the casting department, as both Mila Kunis and Channing Tatum make for fun, charismatic leads to take us through the story. Kunis stars as Jupiter Jones, an illegal alien living with her Russian immigrant family and working as a housekeeper living in modern day Chicago. As we see happen oh so often at the cinema, however, her life changes in an instant when she meets Caine (Tatum), an intergalactic bounty hunter. Jupiter is not only made aware of life on other planets, but also that she is the genetic recurrence of one of the most powerful women in the galaxy, and stands to literally inherent the Earth now that she has passed away. It’s a simple and rather familiar plot, but through a first act of enjoyable “awakening” material and sky-shredding action scenes,Jupiter Ascending holds its own.
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It’s with the introduction of the trio of central villains that everything begins to fall apart – which is a sincere problem considering that they wind up completely driving the entire story. These are the three surviving members of the Abrasax family -- Balem (Eddie Redmayne), Titus (Douglas Booth) and Kalique (Tuppence Middleton) – and the sons and daughter of the woman whom Jupiter Jones is a genetic equal. Each of them has a personal desire to take control of the Earth – which is alternately described as being extremely valuable and just a single piece of a much larger business – but also each take their own place doing more harm to the movie than good. Kalique winds up being mostly useless to the story, simply providing huge amounts of exposition and then disappearing; Titus merely feels like a stall in the narrative, serving as what is really a fairly pointless obstacle; and Balem simply feels overcooked in every sense, with Redmayne giving a highly bizarre, scenery-chewing performance full of needless affectation that makes him stick out like a sore thumb (really making you wonder what kind of off-base directions he was being given by the Wachowskis). As Jupiter Ascending’s plot encounters these characters, the film begins to degrade faster and faster, exploring needless and unnecessary elements of the sci-fi world that do more subtraction than addition.
At this point in their careers, Andy and Lana Wachowski have become better known for their visual flash and style, and it serves the movie well. Their flair is apparent from the costume and makeup work (the idea of DNA splicing works magic in this department) to the production design, and it all serves to provide Jupiter Ascending with a unique feel (even when it wears references to movies like Brazil on its sleeve). Immense credit also goes to the visual effects teams, who not only render some fantastic air battles and spaceships, but also expansive alien environments that do their part to make the audience feel like they’re being taken to a different world. All of this spectacle doesn’t make up for the fact that character motivations are at times completely dubious, and that the third act drags on far too long, but it does help.
It’s hard to really begrudge a film like Jupiter Ascending, both for its creative scope and in that it is one of the few-and-far-between female-led action movies, but it is equally hard to validate it beyond those elements, it’s aesthetics, and the casting of the leads. There is perhaps a better feature that exists partially on the cutting room floor – explaining some of the more bizarre plot developments/holes – or one that could have been made with just a few tweaks to the screenplay. But the movie that will be hitting theaters this week is best described as unfortunate.
source: http://www.cinemablend.com/
Jupiter Ascending Official Trailer
Love, Rosie takes the typical romantic comedy, adds some drama and an extra dose of laughs, and results in a film that's as surprising as it is enjoyable to watch.
At one point or another, we find ourselves looking at a dear friend of the opposite sex in a different light. It might be over time, it might be all at once, but either way it happens at least once to us all. Love, Rosie is a film about that one time, and the 12 years that follow in the complicated, surprising, and sometimes upsetting life of a woman who let that friend get away. While the trailers market a completely different movie altogether, the reality is that Love, Rosie is an endearing film that's arrived just in time for some appropriate Valentine's Day loving.
Rosie Dunne (Lily Collins) and Alex Stewart (Sam Claflin) have known each other since they were kids, and their relationship is poised on the knife edge of falling into something more romantic. Of course, as all good romantic dramedies will have you believe, things aren't as easy as they seem; and the two are thrown together and pulled apart over a decade. The greatest obstacle being that the stars never seem to align in the right order for them to be together. Eventually, something has to give, and it looks like Rosie just might be the one to make the final call in this game of love and friendship.
As I said before, the trailers for Love, Rosie completely sell the film as a stock romantic comedy. What actually ended up happening was that the film managed to win me over with a combination of British charm, clever writing, and well-executed performances. Make no mistake about it, this film does contain the recommended amount of rom-com cliches, especially with the would-be lovers constantly missing each other, the sassy best friend, and a couple of moments of obligatory speechifying.
But what sets Love, Rosie apart from all other films of its ilk is the fact that it doesn't try to take an easy, emotionally wrought shortcut. True, the film does still breeze through 12 years and a revolving door of relationship statuses for Rosie and Alex. But it doesn't feel like it's played for anything less serious than it is. What yields is a more realistic and weighted film that plays with convention, while knowing when to honor it.
Of course, without the young, brisk talent of Lily Collins and Sam Claflin, Love, Rosie would have been a bore to watch, as a film that plays on both sides of the spectrum of comedy and tragedy requires a steady hand to navigate the waters properly. Both Collins and Claflin are steady and sure, as they engage in a romantic pas de deux that puts their emotional range to the test. It's easy to see why Collins' was Snow White in Mirror Mirror and why Claflin is pretty much the only actor that could ever play The Hunger Games' Finnick Odair.
Love, Rosie is the perfect film for Valentine's Day, as it contains enough love and heartbreak to truly allow you to be thankful for whomever you have in your life. However, it's also a perfect movie to watch in honor of Single's Awareness Day, as it has two captivating leads that can be easily swooned over at the drop of a hat. Most importantly, it's a surprisingly good movie that takes a genre that's easily abused, and makes it into something much more human in the process. Richard Curtis' finest has some company in Love, Rosie, as this is a movie you could find yourself returning to annually.
Source: http://www.cinemablend.com/
Love Rosie - Official Trailer
Sunday, February 1, 2015
Tuesday, January 27, 2015
Star Cast: Saif Ali Khan, Ileana D’Cruz, Govinda,Preity Zinta, Ranvir Shorey, Kalki Koechlin, Andrew Kneebone
Director: Krishna DK, Raj Nidimoru
What’s Good: The light and breezy feel good milieu, glossy gorgeous frames, the fantastic cinematography, the killer dialogues, the straight faced Saif and ‘above all’ the Kickass Mr. G.
What’s Bad: A semi tenuous second half which falls into the pitfalls and loopholes peculiar to the genre of romantic comedies.
Loo break: Not many.
Watch or Not?: Disguised as a spoof on romantic comedies, Happy Ending does it all – from boy meets girl, to boy-girl fall in love, boy-girl break up and boy-girl re-unite; but the usual drill is peppered with some wit, tonnes of wicked humor, piquant dialogues and infused in an enticing gorgeous set up. Don’t judge me if I have ogled at the shots of a BMW cruising its way through the Pacific Bay Coast, that’s what romantic comedies do! And I am happy to inform you that Happy Ending does the floss and the formula with utter brilliance. I won’t call it a perfect film but I laughed at multiple cues, didn’t get all sappy at their breakup and came out smiling. I am not someone who will buy into the maudlin world of ‘Aashiqui’ brand of romance and for me Happy Ending just fits well – live one day at a time, why do you need to know where you are headed and yet, being in love while you walk through the tunnel whose end is dark. I strongly recommend you watch it, because it’s dollops of happy whoopee.
Yudi (Saif Ali Khan) lives in a plush apartment in California. His last book was 6 years ago and he hasn’t worked ever since. Stuck in a creative limbo, he begins a manuscript and can never pull through writing the ending – the most perfect, Happy Ending. Bankrupt and penniless, he finds himself at a sticky situation where he has to write a staple rom-com for a Bollywood Superstar (Govinda). He bumps into his muse, the new bestselling novelist of his publication and the woman he falls for. She is as cheeky as him, writes romantic novels and doesn’t believe in the hanky panky of love. As the drill goes, Yudi must win over the girl and sort out his life but the success of this film is not in its climax but the narrative which breezes you through the life of two commitment phobic people and makes you realize that ‘Opposites attract’ stands for magnets mostly, with people you are looking for someone ‘whose soul is made of same thing’ as yours.
Ileana D’Cruz and Saif Ali Khan in a still from movie ‘Happy Ending’
Happy Ending Review: Script Analysis
I had begun to believe that romantic comedies cannot be made with a difference. And I am also right but they can still be made pretty darn good. There is nothing unusual in the film’s story. You can almost predict things and therein lies the fun because Raj and DK too are predicting it with us. Yudi’s alter ego Yogi and me announced the arrival of the big airport scene together and that just assured me, that the film incorporates everything I like watching and does so by poking a little fun of it all. The film starts with Saif and ex lover (real life wife) Kareena watching ‘Love Aaj Kal’. She tells him she loves him, he says erm cool. She says I know you have depth. And he says no, I think this is all I have. Breakup. Eight and a half relationships later, Saif is living in California. An erstwhile bestselling writer who has gone broke and lost his car due to failing his installment payments, he is royally, if I may say, screwed! Amidst all the confusion, he bumps into Aanchal Reddy – a writer who has replaced him at his publication, writes romantic novels for a living and doesn’t believe in love.
As the story progresses, Saif squabbles over how to breakup with his present girlfriend Bishakha – a girl who despite 7 and a half break up attempts doesn’t get it. She averts one attempt by showing Yudi a naked video of him performing a bathroom jig. She doesn’t need a reply to I love you, she already knows he loves her. Get the drift? Career wise, Yudi meets Superstar Armaan-jee and he is indeed the film’s best part. Taking potshots at what works in Bollywood, Armaan is invariably hilarious. I laughed the hardest when he announces that people don’t pay 300 bucks to get a gyaan-seesion about life. As much as I believe in good cinema (which is often equated to dark and serious films), I do agree that paying for understanding life is never the purpose of cinema. If it manages that, fair enough! ‘Hero Heroine Gaana Gatey Hai Toh Gaaney Do, Puppy(Kiss) Lete Hai Toh Lene Do’ is where he functions from.
The best bits in the film are between Yudi Saif and Yogi Saif. He indeed has a sexy alter ego who gulps down gallons of red wine and comes up with some quirky lines. Here’s one – ‘Raat Ke 12 se 4 ke beech mard ch****a jaata hai, dimaag ki jagah patloon se sochta hai.’ That entire dialogue rings true because every girl has sat through 2 am drunken ranting, love professing session of some man she was involved with and every guy has done that to some girl at one time or the other.
Post intermission, Raj and D.K go their Go Goa Gone way, the thick laughs were reducing, you shift a little more in your seats and the glossy frames demand a better story. But 15 minutes into the wobbly second half, you realize, it is impossible to retract from the predictability because Yudi despite being one of the jerks you probably know, is so real that he has bonded with you. It grows on you with its light hearted quick dialogues and luckily no character revels in pretentious cuteness which makes the film fun.
Happy Ending Review: Star Performances
Saif Ali Khan plays himself from Love Aaj Kal but the acting has obviously matured. Playing commitment phobic has been his thing in a lot of films and it’s his usual deadpan humor that gets you. I loved Yogi more than Yudi. To be able to deliver such distinct performances, in the same frame needs a sound sense of comic timing and Saif surpasses his best. What Humshakals? That never happened. Period!
Ileana Dcruz gives her most effortless performance since Barfi!. She isn’t Aanchal and is clearly playing herself but does so with a lot of believable earnestness.
Kalki Koechlin despite her small role is great. She gets her antics in to make you laugh and you do find the psycho stalker endearing!
In the same breath, I will mention Ranvir Shorey who is an outstanding actor with a knack for comedy but his frustrated situation will get you laughing. He checks out Bishaka’s lingerie and says ‘Tu Kya, Main Bhi Gauri (his wife) Ko Buri Nazar Se Nahin Dekhta’. His dominating wife, her oops pregnancy and her monotone underwears are the primary problems of his life.
Preity Zinta in a tiny cameo is sparkling.
And finally Govinda is in his words, ‘kickass’. Slipping into the kind of loud humor he knows the best, Raj and D.K contrast it with Saif’s and makes sure the stint gives you the film’s best times. Govinda has now re-arrived and hell, you’ll be irrevocably in love.
Happy Ending Review: Direction, Editing and Screenplay
Raj and D.K have already shown us their thinking space is from extraterrestrial and thank God for that. A scene where Govina’s assistant says Ek South Ki Film Bani and sab uske pichey lag gaye, it just sounded so true! Luckily they too are critical of the same! Their vocabulary is fresh, their writing might not be novel but atleast they were ballsy enough to attempt a half decent spoof on romances. I call it half decent for a reason. The tempo drops in the second hour, there are scenes that will be hard to buy, cues that might seem forced. Does that perturb me much? Not even close. In the end, I loved the film and a large part of the credit goes to Raj and D.K along with Saif who pack together so many right ingredients that you can’t help but invest in the film.
The editing was crisp and a special mention to Sachin Jigar’s music. Thank you for not giving us another lachrymose-ish break up song which will make us cringe. From Pussy Cat to Jaise Mera Tu To Mileya Mileya, there is enough good music to keep you glued.
Happy Ending Review: The Last Word
Happy Ending makes fun of all the films which have made it our bucket list of classic love films and does so without a hint disparaging malice. Yogi and Yudi played by Saif and their well-placed complimentary, smart-alecky camaraderie, along with the poker faced humor of Govinda makes this film a peachy yet relevant and essentially a droll, chucklesome watch. There aren’t many ‘fur and feathers’ films which go down well with me, this is one of the sparse few which qualify as exception. I am going with a judicious 3.5/5.
Happy Ending Trailer
Star Cast: Ronit Roy, Tejasvini Kolhapure, Rahul Bhat, Vineet Singh, Girish Kulkarni, Siddhanth Kapoor, Surveen Chawla, Vipin Sharma
Director: Anurag Kashyap
What’s Good: When you get to see noir at its best in a Bollywood film. The film true to its name isUgly. It is dark and certainly not for the faint-hearted. Anurag Kashyap is one of the few directors who knows how to build a plot with multiple characters and yet leave us wanting for more as we meander into their lives and try to find a reasoning to their actions. Unraveling the true nature of human greed, this film is a mirror for all of us who have demons inside us.
What’s Bad: Well, not all would want to sit through a grim film that stretches for over two hours. The film is not a regular drama and if you are one of those who want cinema to be an enjoyable experience, this is certainly not for you.
Loo break: Control it! This is life unfolding in front of you.
Watch or Not?: Once again stressing on the fact that this film is not for those weak and those who want to ease their minds off while watching a film. This is a complete Anurag Kashyap masterpiece and if you are familiar with his style of film making, this one is a must-watch for you. He does what he is best at, give us a something that is unforgettable. Don’t make the mistake of comparing it to his previous works, this one is a gem in itself.
A 10-year-old Kali goes missing in a bustling street after being left in the car by her father Rahul, who is a struggling actor. Thus, follows a story of kidnapping, ransom and a string of grim characters who come under the radar of the police. As Kali’s step-father, a cop, takes on the mission to find this little girl, he encounters a lot on his way including his current wife’s ex-husband and his college enemy Rahul.
In the midst of the disappearance of a young child, can these adults move over their past and put behind their egos or will they hold onto their grudges and sacrifice the life of a 10-year-old mid way?
Ugly Movie Poster
Script Analysis
Bollywood has always stayed away from dark dramas and among the very few filmmakers, Anurag Kashyap is one who dares to bare it all in his films. Ugly is raw, grim and a in-the-face film which deals with multiple characters who falter prey to their own greed as they are caught up in a strange situation. The script is bang-on and probably Kashyap’s best.
I haven’t felt the chills of his story telling ever since Black Friday and this is a second. His three lead characters are messed up, one being the struggling actor Rahul (Rahul Bhat), other being his ex-wife Shalini (Tejaswini Kolhapure) who is suicidal and now a caged wife of a ruthless cop played by Ronit Roy. While all three have a back drop, they keep struggling to get in terms with their life then and now. Ego and greed being the two main angles in this story, Ugly really gets ugly as the course of the story builds. The pace is amazing and this is a truly gripping script. Right from the first scene of the film where a listless Tejaswinin Kolhapure is contemplating her suicidal thoughts, the film sets its tone. This is an excellent story and with its blissful casting it shines in every frame.
Star Performances
One person who truly enthralls us in this film is undoubtedly Ronit Roy who plays a ruthless cop. He is fearless and determined to find his step-daughter Kali but is at the same time held back by his haunting past. A male-chauvinist, he would rather cage his wife than let her out of sight. Ronit does a fine job and truly plays his character with full might.
Rahul Bhat who plays Kali’s dad and a struggling actor does a good job too. The actor who is seen after a decade in a film is quite surprisingly up to the mark and we wonder why the hibernation period.
My other favorite pick is certainly Vineet Singh. He is flawless as the casting agent who is slimy and sly as required.
Siddhanth Kapoor does not have a plum role in the film but his most iconic scene for sure will remain in memory as he dances with bundles of cash tucked in his underpants.
All I will remember Surveen Chawla who plays Rakhee the item girl will be for her ‘Nichod De’ performance. A good mockery on the item songs.
But out of all the aforementioned character, you truly feel sad for Tejaswini Kolhapure’s character which she pulls off with complete finesse as one who remains to be nothing but a woman who is conquered by both the men in her life and I mean ‘conquered’ instead of being loved. She portrays a torn woman who could neither receive nor give love.
Direction, Editing and Screenplay
Anurag Kashyap is a director who believes in presenting the human nature and its raw elements on celluloid. This time on his radar is greed and the demons inside us which even overpower our usual emotional sides. A story of a 10-year-old being kidnapped transforms into much more complex as each character flips sides according to their suitability. This film is evocative of raw emotions. The lighting in the film is as dark and dim as all of its characters.
One of the best scenes captured by the director is that of the police station where Rahul Bhatt who is the father of the kidnapped child comes to file a complaint but is cross questioned and asked to talk about call phones and explain how to set a contact photo in a cell phone. Can you imagine the frustration one would go through if this happened? Well, that’s what this all about.
The editing is tight and in spite of having multiple characters, we rarely find a character missing and the director gives us no chance to forget them. As perverse as his characters are, the locations too speak a lot about them and thus as always in any of Kashyap’s films, the atmosphere too tells the story.
The Last Word
Ugly is a mean, dark and unsettling film that will rip you off in its last scene. This film is for the strong-hearted. It is honest, bare and raw in all its sense. As disgusting as the characters are, you want to watch this film for their diverse personalities and just to see what goes on in warped brains that bring out the worst in them. I loved the film for its brave nature and I am going with a 4/5 for its bold content.
Ugly Trailer
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Director: Bhushan Patel
What’s Good: The use of all possible creepy elements such as wooden doors that make noises, swing and an overall horrific location. Interestingly, Bhushan Patel manages to infuse a good amount of suspense in the film and stretches it to the very climax even though one starts getting the hints quite early on. The visual effects are quite decent and it seems Patel is getting the hang of it with every film.
What’s Bad: Well, I would say a wrong timing of intimate scenes that nearly breaks the link of a ‘could have been’ gripping tale. Also the spine chilling moments don’t come very often and more often than not it is the background score that gives away what’s coming, thus leaving you all ready for the scene.
Loo break: Won’t miss much! Relieve yourself!
Watch or Not?: Alone is once again not an out and out horror film and so it won’t satiate your scary needs or give you nightmares. If you are a fan of Bollywood’s horror films then this one is worth your watch. Don’t even think of comparing it to its original Thai film by the same name, because I couldn’t watch that one without closing my eyes every two seconds. Alone is a decent weekend watch if you have nothing else to do.
Sanjana and Anjana are conjoined twins who swear to be together no matter what. Right from their childhood, the twins seem too share distinct personalities and while Sanjana is usually the loving and caring one, Anjana is somewhat spoilt by this. As years pass by and the twins grow old, the more and more attention that Sanjana gets, it creates insecurities for Anjana and jealousy steps in when both fall for the same guy, Kabir (Karan Singh Grover). Kabir falls in love with Sanjana and that’s unbearable for her twin sister.
Well, after years of losing her sister in an operation to separate them, Sanjana who is happily married to Kabir returns to her hometown Kerala, only to be haunted by her sister’s ghost. Whilst hurting Sanjana what are her sister’s motives? Is it just Kabir or something else? Watch to find out.
Script Analysis
I have to agree even though adapted; the film’s story is quite a breath of fresh air with a haunted twin as the focus. Alone has its own spine-chilling moments and in certain scenes the visual effects such as the ‘rotating bed scene’ almost takes you back to the Exorcism of Emily Rose. The story is well-kept and with a tinge of suspense it is gripping in parts.
The only problem is that once again like most horror stories this one too relies on the same old tricks and more often than not they are cheap thrills, nothing that give you a haunting experience. Use of Kerala backwaters as the scary location is a good move. Bhushan Patel gets better with his story and certainly he has gone a notch higher from his last Ragini MMS 2.
All in all the story is a winner for the hero considering both the twins are not only obsessed with him affectionately but sexually too! At one point it seems as though all the ghost wanted to do was to sleep with Karan Singh Grover since that is the only thing that happens when the ghost possess a body.
Overall this one disappoints since it does not really break Bollywood’s streak of coming up with average, not-so-nerve-wrenching dramas.
Star Performances
Bipasha Basu is known to be the ‘horror queen’ and she does maintain this image of hers with Alone The actress other than flaunting her hot bod in the normal avatar does a much better job when she takes up the ghostly garb. She is scary but sadly don’t let her speak is what I would say. Beware she might scare you off with her obsessive erotic thoughts. Well, after Sharon Stone in Basic Instinct, all men may get scared of this one.
Karan Singh Grover debuts with this film but he still acts just like it is a TV serial drama. More often than not, he is stone faced in the film but the actor does best at flaunting his body and well that’s all for his character.
Direction, Editing and Screenplay
Bhushan Patel is certainly one of the better one when it comes to mixing erotic and horror in one film. In this one, thankfully he sticks to the intimate portions only with one song and that is quite a relief. The problem comes when there is a repetitive background score which may scare you for a bit but after a point it is just monotonous.
Also it would have been better if the director had introduced some fresh elements in the film rather than the same old practices of wooden doors reeking and utensils banging and of course why do people keep pianos in the house, for ghosts to come up and play in the middle of the night. The editing is fine as the film is kept crisp for most portions other than songs that could have been chucked since they break the overall link.
The Last Word
Alone at the end is quite a typical Bollywood horror film which will scare you in bits and parts. Of course it’s an achievement it does not get funny since we have a habit of usually taking it lightly considering the primitive effects they used earlier. For its special effects, its not exceptional but does a decent job of giving you minor jerks in the seat. I am going with a 2.5/5 for this film.
Watch Alone Official Trailer
Sunday, January 25, 2015
Director: Abhishek Dogra
What’s Good: A quirky story line that does not shy away from having a unconventional ending and also Varun Sharma and Rajkummar Rao’s brilliant performances. This runaway bride is a metaphor to modern, free spirited girls who may not want to be struck down by a marriage.
What’s Bad: Unfortunately, a pretty looking lass like Sonam Kapoor does no justice to this sprightly character. This bridal drama is actually steered by the grooms. Also a second half that drags as it loses the quirky nature.
Loo break: You certainly can miss one of Dolly’s multiple weddings.
Watch or Not?: This is a one-time watch. A no-brainer that you can enjoy with your family. Dolly Ki Doli may have nothing new to offer but it surely makes up for a decent weekend watch.
Dolly (Sonam Kapoor) is a con bride who plunders potential grooms after carefully researching their background. Along with her fake family, this looteri dulhan indulges in multiple hoax marriages. Dolly’s robbery journey remains smooth until two of her grooms Sonu (Rajkummar Rao) and Varun Sharma not only unfold her truth but also seek police help.
Amidst this, cop Robin Singh (Pulkit Samrat) is assigned for her case but with his keen interest on capturing her, is there a back story for Dolly and Robin?
Who will Dolly ultimately settle for is the question!
Sonam Kapoor, Varun Sharma, Rajkummar Rao and Pulkit Samrat in a still from movie ‘Dolly Ki Doli’
Script Analysis
As a film, Dolly Ki Doli entertains with a fluff story and so if you start putting logic to it, it will leave you speechless. Right from its start, Dolly is shown doing what she calls the only thing she can do in life – robbing. There is never a point in the film, which provides a logical reasoning for it. Interestingly, in the age of Instagram and Facebook, Dolly has escaped from her con weddings without being snapped (uh! That’s why. No logic).
Aside these obvious loopholes, the script is quirky and has a handful of funny sequences such as Archana Puran Singh’s character and also a scene where Dolly’s crew member of the fake family, Daadi is captured by the police. The dialogues are catchy and that’s what is enjoyable. But I give full credit of this film to the grooms Rajkummar Rao and Varun Sharma who actually carry the film on their performances. In fact, I would have rather named the film Dolly Ke Dulhe instead. Another positive part about the script is the non-inclusion of any change of physical garbs which is staple for con films.
Star Performances
Sonam Kapoor shows little improvement with this film. In spite of having a film that has her as the lead character, her weak dialogue delivery is disturbing.
Rajkummar Rao once again proves he can fit into any character. As a typical snobbish yet foolish Haryanvi guy, he fully entertains us. Grabbing the perfect accent and even dancing full power withMalaika Arora Khan, he scores full marks for his performance.
Varun Sharma is another delight in the film. His character as a desperate, young spoilt mama’s boy is commendable. He makes us laugh with his brilliant comic timing.
Pulkit Samrat sadly disappoints in the film. It’s as if he was given a role of becoming Chulbul Pandey’s son. His over replication of Salman Khan spoils it.
Direction, Editing and Screenplay
For a debut film, Abhishek Dogra does a decent job. The film being a regular commercial drama, does surprise us with a not so Bollywoodish ending. But the film’s overall feel shows a high influence of Arbaaz Khan.
Fortunately, the film is kept short and there is no over stretched wedding sequence which is a relief. Sadly, Dogra falters at keeping up the same pace for the second half. Nevertheless, he makes up for the boring second half with the last scene where Dolly shows who is next on her radar and shows a Salman Khan picture calling him her ‘Prem Ratan’. Overall the screenplay is lucid.
The Last Word
Dolly Ki Doli is a time-pass entertainer that you can enjoy if you keep your brains at home. This film comes as a breath of fresh air from all the South remakes and thought-provoking dramas that are most oftenly served. After particularly loving Varun Sharma’s comic antics and Rajkummar Rao’s sheer genuine acting, I am going with a 2.5/5 for this peppy film.
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