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Home : Movies : Ratings & Reviews
Ratings & Reviews |
Directed by - K.S. Ravikumar
Starring - Kamal Hassan, Mallika Sherawat, Asin
Review by - Taran Adarsh
 Kamal Haasan in 10 different roles. 10 different roles mean 10 different stories. 10 different stories mean more than 3 hours of filmed entertainment. Does it sound exciting? Take a guess! When you buy a ticket of DASHAVTAR [dubbed Hindi version], you also wish you would've taken the writer of this film along, who knows the film inside out, because it's very, very, very, very, very, very, very, very, very, very [10 times!] difficult to decipher what's going on, what this marrrrrrrrrrathon film actually wants to convey. The problem [and it's a big problem here!] is, well, Kamal Haasan's 10 roles, which are linked in a chain. The writer has to do justice to each of them, right? But barring the scientist and the ex CIA officer, the remaining parts make zilch impact.
DASHAVTAR has a screenplay of convenience. Perhaps, the writer's sole intention was to project Kamal Haasan in 10 different roles and prove how versatile an actor he is. Whether the screenplay would make sense or not is not important, actually.To cut a really lonnnnnnnnnnng story short, DASHAVTAR is an unbearable experience. Watch 10 different classics of this great actor instead of this 10-in-1 film.
DASHAVTAR begins in the ancient times and shifts to 2004. A computer chip containing a dangerous biological material goes missing from a lab in America. A scientist, Govind, well aware of the dangers, launches a hunt for the missing material, which takes him to India
DASHAVTAR has a screenplay of convenience. Perhaps, the writer's sole intention was to project Kamal Haasan in 10 different roles and prove how versatile an actor he is. Whether the screenplay would make sense or not is not important, actually.To cut a really lonnnnnnnnnnng story short, DASHAVTAR is an unbearable experience. Watch 10 different classics of this great actor instead of this 10-in-1 film.
DASHAVTAR begins in the ancient times and shifts to 2004. A computer chip containing a dangerous biological material goes missing from a lab in America. A scientist, Govind, well aware of the dangers, launches a hunt for the missing material, which takes him to India. Himesh Reshammiya's music is of fast-forward quality. Barring the 'Mukunda' track, the remaining songs are hard on your ear drums. The action scenes are very gimmicky. Of the 10 roles, Kamal Haasan appeals only as the ex CIA agent. However, the makeup looks fake for a few characters. Asin is terrible. She irritates after a point. Mallika Sherawat suits her role. She's good. Jaya Pradha is wasted. What did she see in this role?
On the whole, DASHAVTAR is a poor show all the way. Hugely disappointing!
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Directed by - Prakash Saini
Starring - Sarvar Ahuja, Sadhika Randhawa, Sanjay Mishra, Khayali, Heena Tasleem
Review by - Taran Adarsh
 Some people are completely clueless about screen writing. There has to be a start, a middle and an end in every film. MERI PADOSAN has a start, but the middle and the end are so amateurish that you wonder how films like this are envisioned in the first place.
The concept - a reality show - has taken Indian television by storm. Director Prakash Saini and writer Taarun Takshaay could've come up with a hilarious fare, but what comes across is so boring and tedious that you actually want to make a hasty exit from the auditorium.
Viju [Sanjay Mishra] is a clerk, while Kavita [Saadhika Randhawa] is a doting housewife. Everything is fine till a struggling director Shyam Gopal Verma [Sarwar Ahuja] comes to stay with two friends Prem [Snehal Dabhi] and Aslam [Khyali] in the neighbourhood.
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Review By Taran Adarsh
Director: Raj Nidimoru, Krishna DK
Cast: Kunal Khemu, Soha Ali Khan, Boman Irani, Cyrus Broacha, Simone Singh, Mahesh Manjrekar, Vinod Khanna
 The very thought of going to the cinemas gives you a high. The past five Fridays have been very unsettling, witnessing a few inconsequential releases, with the viewer looking everywhere but at the theatres. The practice of going back to a dark auditorium, the aroma of popcorn and samosas, comes to an end with 99, which opens at plexes and single screens, both. 99, helmed by Raj Nidimoru [Raj] and Krishna D.K. [D.K.], is a good looking film with some smart moments thrown in, towards the second hour mainly. In fact, it takes time to grasp things, the characters, the plotline. Besides, Raj and D.K. take their own sweet time to establish the characters, set things up and come to the point.
99 actually takes off in the second hour. From the time the lights are dimmed [post interval] to the time the lights are lit again [conclusion of the film], 99 keeps you engrossed in most parts.
The only problem is, it's too slow-paced at times and lengthy too, towards the penultimate moments. Just when you thought that the film has ended, another chase follows, which eventually leads to the finale. Final word? 99 is smart, good looking and interesting, in parts. Quite a ride this, if you don't go with much expectations!
99 is set in 1999. It's about two crooks [Kunal Khemu, Cyrus Broacha], who run the illegal SIM card duplicating business and who get embroiled in a major mess when they rob a car and worse, meet with an accident. The car belongs to a bookie/gangster [Mahesh Manjrekar], who asks them to reimburse the amount.
What follows is a big chase, from the streets of Mumbai to Delhi, with a number of characters now entering the story.
99 isn't Raj and D.K.'s debut film, but it's their debut film in Bollywood for sure. The best part is, the director duo come up with fresh ideas to make it look different. For instance, the characters that you watch in 99 have been witnessed a zillion times before, but the small-time crooks [Kunal, Cyrus], bookie/gangster [Mahesh Manjrekar], match fixer [Vinod Khanna], habitual gambler [Boman], his cheerless wife [Simone Singh], slimy bookie/recovery agent [Amit Mistry], an over-the-top Bhojpuri film actor and the hotel manager [Soha] appear so different. They're definitely not caricatures. Even otherwise, the approach to the story [Raj, D.K., Sita Menon] and the execution of the subject is a notch above the ordinary.
Notwithstanding the plusses, Raj and D.K. ought to know, being avid movie buffs themselves, making the viewer impatient isn't a positive sign. The film is sooooo slow [intermittently boring too] at times that it tests your patience. The film vacillates constantly, from energetic moments to tepid/boring stuff. Also, ideally, the film should've had a running time of 90 minutes [99 minutes, if the makers preferred], not 2 + hours.
There's not much scope for music in the film and the song-pieces are well integrated in the plot. Rajeev Ravi's cinematography is eye-catching. Dialogues are well penned. Special mention must be made of the beginning titles, which are innovative. Cheragh Todiwala's editing is perfect in several scenes [sample these sequences: Kunal enters Vinod Khanna's suite in the hotel or the chase at Palika Bazaar towards the climax - well filmed, well edited sequences], but loose at times too.
99 is embellished with fine performances from an ensemble cast, but the one who stands out is Boman Irani. Here's a master stroke from this accomplished actor, yet again. Kunal Khemu is only getting better and more confident. The new look [hairstyle] suits him well. Soha is evolving into a fine actress. She's highly competent this time. Cyrus Broacha is, expectedly, funny and controlled. Film-makers have one more alternative while casting now.
Vinod Khanna is wonderfully relaxed, so is Mahesh Manjrekar. Simone Singh does well. Amit Mistry is exceptional. Here's a talent that needs to be lapped up!
On the whole, 99 appeals in parts, more towards the second half. The film holds appeal for the youth and should find patronage from this faction of moviegoers at multiplexes mainly.
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Directed by - Manikya Raju
Starring - Chandrachur Singh, Ritika Shrivastava, Erik A. Nanda, Sushmita Mukherjee, Murli Sharma, Vindu Dara Singh, Shahbaaz Khan
Review by - Taran Adarsh
 Animation film HANUMAN triggered off a trend. It made you realize that 'kiddie films' can stand on their feet if they tell a story that they [kids] haven't watched on the numerous kiddie channels. Like HANUMAN, MARUTI MERA DOSST is about Lord Hanuman too. This one has two kids essaying central roles, merges animation and live, has loads of computer graphics, but, for a very valid reason, it just doesn't magnetise the kid or the kid in you.
Let's probe. Movies targeted at kids ought to have that certain innocence, that purity, that simplicity that zooms straight into their heart. Surprisingly, like the animation ROADSIDE ROMEO last year, MARUTI MERA DOSST also treats kids as grown ups.
The negative forces here [Sushmita Mukherjee, Murli Sharma, Shahbaaz Khan] are straight out of masala films that adults enjoy. Even the lighting of sequences as also their make up [Sushmita, Murli specifically] are straight out of scary movies. Plus, these are very strong characters [partly due to their strong performances] too.
Is this really a kiddie film? That's one question that crosses your mind at several points of the narrative. No wonder, the censors have also passed it not with a 'U' certificate [which should've been the case had it been a kiddie film], but a 'U/A' certificate.
Rameshwari, an eight-year-old, lives in a palatial house with her doting father [Chandrachur Singh], stepmom and the stepmom's mother [Sushmita Mukherjee]. Kokoi aka the stepmom's mother has come to the palace with the evil intention of inheriting the wealth.
Kokoi tries every trick in the book to harm Rameshwari. She uses black magic and the evil monstrous Tantrik Bhakshu [Murli Sharma], who has devils and spirits as his pets. She uses her brother, a murder convict Sadhu Pahalwan [Shahbaaz Khan], but in vain. Unknown to them, Maruti [Erik Nanda] is Rameshwari's saviour and they all have to contend with and face him.
 There's no denying that MARUTI MERA DOSST has a few clapworthy sequences, but it's like finding a needle in a haystack. Besides, director Manikya Raju devotes too much time to the evil forces, when, in fact, he should've concentrated on the kids. One of the prime reasons why HANUMAN worked was because a large number of viewers not only enjoyed the movie as also the animation quality, but also felt enriched and enlightened by the experience. That's certainly not the case with MARUTI MERA DOSST. Technically speaking, Manikya Raju gets it right. The lighting of several sequences - as mentioned earlier - gives a scary movie effect. The background score is apt at times, but jarring at points. Talking of music, 'Jai Hanuman Gyan Gun Sagar' [over opening titles] is a devotional track that you've grown up listening to. But the other tracks are uninspiring.
Chandrachur Singh has nothing to do. Sushmita, Murli and Shahbaaz are fine actors, but their mannerisms are ill-suited here. The young people at the start and end are complete non-actors. The girl portraying Rameshwari is okay, but the only one who stands out is the child actor enacting the role of Maruti - Erik. He's adorable and a complete natural as far as acting goes.
On the whole, MARUTI MERA DOSST is targeted at the kids, but is not for kids. It lacks the purity, the innocence and the simplicity associated with kiddie films and the 'U/A' certificate will only keep a section of its target audience away.
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Directed by - Ajay Chandok
Starring - Sohail Khan, Amrita Arora, Aarti Chhabria, Yash Tonk, Vrajesh Hirjee, Mushtaq Khan, Pankaj Berry ...
Review by - Taran Adarsh
 Been there, seen that, moved on… That's one phrase we keep using to express various things in life. We use it for cinema too. As viewers, we've moved on to far more interesting subjects. Films that we can relate to and indentify with. Films that marry realism and make-believe beautifully. Films that not only entertain, but enlighten too. Watching a film like TEAM THE FORCE in today's jet-age is a complete put off. Vintage cars and vintage furniture are still in demand, but vintage subjects aren't. Films like TEAM THE FORCE were the order of the day, a decade or more than a decade ago. But times have changed. Nothing works in this team, frankly!
TEAM THE FORCE tells the story of three friends [Sohail Khan, Yash Tonk and Vrajesh Hirjee], who want to make it big in the music industry. They live with a doting person [Kulbhushan Kharbanda] and his family at their bungalow as paying guests. This gentleman considers them as his own sons, even finances them and prods them to launch their own video album.This gentleman gets an extortion call from an underworld don [Sayaji Shinde]; he wants to usurp the bungalow. How the three youngsters take him to task and settle the issue forms the remainder of the film.
If the story is outright predictable, the direction is simply directionless. The director and the writer actually need a reality check. Music is of fast-forward quality.
Sohail, Yash and Vrajesh ham to the hilt. Amrita Arora makes an entry only when skin show is required. Sayaji Shinde is loud, but the interaction with his wife at several points of the film is truly funny. Kulbhushan Kharbanda looks disinterested.
On the whole, TEAM THE FORCE has no force!
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Directed by - Suparn Verma Rating: 3/5 Starring - Fardeen Khan, Dia Mirza, Irrfan Khan, Manoj Bajpai, Dino Morea, Aftab Shivdasani, Danny Denzongpa. Besides Abbas-Mustan, Sanjay Gupta has attempted interesting thrillers in the past. His new outing, ACID FACTORY, directed by Suparn Verma, is a cat-n-mouse chase that will have you on edge of the seat as it unfolds. Inspired by Hollywood film UNKNOWN, ACID FACTORY is engaging in most parts. Also, it's well adapted to suit Indian sensibilities. It starts off strong enough and keeps the momentum going till the end, though, of course, it goes back and forth at times and that could get a bit confusing. ACID FACTORY demands your attention from the very start. The viewer ought to stay alert and watch the goings-on carefully. Even if you blink, chances are you may miss a vital link and the subsequent portions may not work for you since there's something happening every minute. At the same time, ACID FACTORY has its share of loose ends. The climax, for instance, could've been more impactful. Also, the concept is too urbane and holds appeal for the urban youth, who've a penchant for slick thrillers. Final word? ACID FACTORY is a well-crafted, well executed film with the ensemble cast pitching in competent performances. A man [Fardeen Khan] wakes up in a deserted factory surrounded by several other seemingly dead men. He has absolutely no memory of who he is or how he got there and he is unable to get out. Before too long, the others [Aftab Shivdasani, Dino Morea, Manoj Bajpayee, Danny Denzongpa, Dia Mirza] wake up and they all have amnesia too. All they know is that some of them have been shot, one is tied to a chair, a third is hanging by his wrist, which is handcuffed to a railing... It is eventually discovered that they have lost their memory because of gas leaked from a container. Much later, they figure out that two of them have been kidnapped by the other three. Who are the kidnappers and who are their victims? Meanwhile, the police are tracking a sinister man [Irrfan Khan], while a worried wife [Neha] desperately searches for her husband. ACID FACTORY has enough going for it, thanks to its premise which is intriguing. But the plot is such that it takes time to come to the point. There's not much happening in the first hour, except the fact that everyone's clueless about their identity and how they seem trapped in a dilapidated factory. But the answers start flowing in the second hour. The answers come quick and the reasons why they are trapped are also justified. But, as mentioned earlier, the conclusion could've been as realistic like the rest of the proceedings. Also, the track of the harried wife trying to trace her husband isn't too convincing. This is Suparn Verma's second film as a director and midway through the film, you realise that Suparn has grown as a storyteller. The film bears a slick look and also, the narrative holds your attention for most parts. Cinematography is top notch. So is the sound design. Tinu Verma's stunts and chase sequences deserve distinction marks. Every actor pitches in an effortless performance. They aren't putting on an act. The film has an assorted mix of experienced and accomplished actors [Danny Denzongpa, Manoj Bajpayee and Irrfan Khan] and yet-to-reach-there actors [Fardeen Khan, Aftab Shivdasani, Dino Morea and Dia Mirza] and each display confidence in their respective parts. Neha doesn't get scope, while Gulshan Grover is as usual. On the whole, ACID FACTORY is a slick thriller that has an interesting premise and also super stunts and chase sequences as its trump cards. The film is targeted at the urban youth, especially those who relish thrillers. Of course, the film will have to storm the dull pre-Diwali period which might curtail its prospects to an extent despite decent merits and also, the three biggies that arrive next Friday. Review by Taran Adarsh. |
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Directed by - Ayan Mukerji Starring - Ranbir Kapoor, Konkona Sen Sharma, Rahul Khanna, Anupam Kher, Shikha Talsania, Supriya Pathak, Namit Das. Recall those years when partying hard was the only agenda on your list. Recall those years when staying awake at nights, chatting away with friends became a habit. Recall those years when bunking college and sneaking into movie halls was more exciting than books. Recall those years when you were completely clueless and aimless about the vocation you wanted to pursue once you graduated... That indecisive phase when you were hesitant to take that first big step in life can never be erased from your memory. WAKE UP SID, directed by debutante Ayan Mukerji, is like revisiting those years that lay at some remote corner of your mind, after you moved on in life. Actually, WAKE UP SID is a slice of life film. It's not merely real in concept, but has also been told most realistically, so much so that you can't help but draw parallels with your life or with someone you know. But what really makes WAKE UP SID most believable is Ranbir Kapoor, who's mastered the craft at such a young age. Verdict? WAKE UP SID mirrors those years with flourish. This one's a simple story that strikes a chord instantly. Strongly recommended! WAKE UP SID tells the story of Siddharth aka Sid [Ranbir Kapoor], a lazy, unmotivated slacker from Mumbai whose life undergoes a series of changes after taking his final year college exams. Sid's world is breezy, carefree and without any true responsibilities. Sid thrives around his two best friends, Rishi [Namit Das] and Laxmi [Shikha Talsania], very rarely communicates with his mother Sarita [Supriya Pathak] and takes his father Ram Mehra [Anupam Kher] and all his hard-earned wealth for granted. Despite all these traits, Sid is an honest boy; sweet, funny and above all, a good friend. Aisha Bannerjee [Konkona Sen Sharma], an aspiring writer from Kolkata, learns this soon enough when her path crosses with Sid's on her first day in Mumbai. Ambitious, well-read and driven, Aisha has come to Mumbai to realize her dreams as a writer. Despite their contrasting personalities, Sid becomes Aisha's first friend in the city. As Aisha sets up her life in Mumbai, with the help of Sid and his gang, Sid allows for time to fly by over long drives, parties that stretch well into dawn, and endless hours doing absolutely nothing. But a series of circumstances and events compel him to take stock of his life and take a hard look at himself. Let's not compare WAKE UP SID with anything you've watched before. Not DIL CHAHTA HAI. Not LAKSHYA either. Debutante director Ayan Mukerji narrates a story that you can relate to instantly and treats it with utmost care. A few moments linger in your memory and evoke bitter-sweet memories. The first hour, right till the intermission, sweeps you off your feet. You get drawn into Sid's world instantaneously; you react to everything he does. But the post-interval portions slackens, courtesy the writing. The Rahul Khanna track, for instance, looks half-baked. Also, the story stagnates after a point and hence, the pacing gets very slow. It's only towards the finale that things perk up. Ideally, the film could've done with some trimming in this hour. Ayan Mukerji packs in a solid punch in most parts of the film. The emotional moments especially gets you all moist-eyed. The humour too is well integrated in the sequences. Even the confrontation between the father and son is superb. Prior to that Konkona's birthday sequence is amongst the finest sequences of the film. Music [Shankar-Ehsaan-Loy] is melodious. Anil Mehta's cinematography is top notch. Niranjan Iyengar's dialogues are just right. There's no denying that Ranbir Kapoor is a supremely talented actor, but in WAKE UP SID, he proves that he's amongst the best in the business today. No one could've portrayed Sid as effectively as Ranbir has enacted, that's for sure. This is an award-worthy performance. Konkona is natural to the core and the best part is, she's so effortless. Here's another winning performance from this incredible performer. Anupam Kher is wonderful. Ditto for Supriya Pathak. Both shine in their respective parts. Namit Das and Shikha Talsania are perfect. Rahul Khanna doesn't get any scope. On the whole, WAKE UP SID is a well-made film that should strike a chord with the youth mainly. A metro-centric film, the film should attract its target audience and should also prove to be the first choice of the elite/urban audience this Friday. Its distributors [UTV] have very rightly released the film at plexes of metros and mini-metros [instead of flooding the market with physical and digital prints], which in turn should only make this small film talked-about in days to come. Thumbs Up! Review by Taran Adarsh |
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