Movie Review: India’s Most Wanted
Since many years, there have been extraordinary tales of heroism and bravery pertaining to national interest. At times, these news items made it to the newspapers and yet didn’t become a talking point. Or there were times when it never made it to the headlines at all. Director Raj Kumar Gupta made a film last year, RAID, which fell in the latter category. And now he tells a story that comes in the category of former in his upcoming film, INDIA’S MOST WANTED. So does INDIA’S MOST WANTED manage to entertain and keep the viewers gripped? Or does it fail? Let’s analyse. 
INDIA’S MOST WANTED is the story of a sensational capture of a terrorist. Prabhaat Kapoor (Arjun Kapoor) is an intelligence official based in Bihar and has the reputation of capturing several high-profile criminals. He one day gets a tip from a mysterious source (Jitendra Shastri) about a dreaded terrorist’s hideout in Nepal. This terrorist is none other than Yusuf (Sudev Nair), who has masterminded several terrorist attacks in India. Thanks to his track record, he has been hailed as India’s Osama Bin Laden. After getting permission from his senior Rajesh Singh (Rajesh Sharma) unofficially, Prabhaat leaves for Nepal along with Pillai (Prasanth Alexandrr), Amit (Gaurav Mishra) and Aasif Khan (Bittu). Without informing Rajesh, Prabhaat takes financial and manpower help from Ravi (Bajrangbali Singh) and the team reaches Kathmandu, capital of Nepal. They meet the source and he tells them that Yusuf had met him through his acquaintance Nadeem to send money to Saudi Arabia. But the source doesn’t know where Yusuf exactly resides. Thus begins the hunt for Prabhaat and his team. However, the challenges in front of them are aplenty. They are not authorized to use weapons and are on the mission illegally. Moreover, Pakistan’s ISI have a heavy presence in Nepal and they’ll do anything to save Yusuf from the clutches of Team Prabhaat. What happens next forms the rest of the film. Raj Kumar Gupta’s story is strictly okay and reminds one of the second half of Akshay Kumar-starrer BABY [2015]. He has tried to remain authentic to the real incident. In doing so, Raj Kumar Gupta’s screenplay suffers. The episode of how the terrorist was nabbed was sensational especially the bit of getting hold of him without firing a single bullet. But in other words, this also means that the film is devoid of action and some real entertainment. Raj Kumar Gupta’s dialogues are nothing great. Raj Kumar Gupta’s direction is not upto the mark, especially considering his work in the past films like AAMIR [2008], NO ONE KILLED JESSICA [2011] and RAID [2018]. The writing is surely the biggest culprit here but even his direction doesn’t do much to salvage the situation. A few scenes here and there are fine but these are far and few between. The element of thrill is certainly missing. Moreover, the idea of inserting shots of various serial blasts followed by Yusuf’s justification at regular intervals is very random and spoils the film’s narrative.
Movie Review: De De Pyaar De
In Indian society, a marriage of a younger woman with an older man is seen as completely acceptable. However, terms and conditions apply especially if the age gap between the two is considerable. Such marriages are quite common and yet they continue to raise eyebrows and become a topic of gossip. Luv Ranjan, known for making quirky relatable romcoms, now takes up this topic in his latest offing, DE DE PYAAR DE. But this time he’s just the writer and producer as he passes on the director’s hat to well-known editor and first time director, Akiv Ali. So does DE DE PYAAR DE manage to entertain and give a gala time, just like Luv Ranjan’s previous works? Or does it fail to deliver? Let’s analyse. 
DE DE PYAAR DE is an unusual love story. Ashish (Ajay Devgn), 50, is based in London. He is separated from his wife, Manju (Tabu). At a common friend’s wedding, he comes across Aisha (Rakul Preet Singh) who is 26 years old. She is free-spirited and carefree and both she and Ashish get attracted to each other. In no time, she moves into his place. When the topic of marriage comes up, Ashish hesitates but realizing how much he loves Aisha, he agrees. He takes her to his hometown in Manali to get his parent’s approval. He decides to go there unannounced and as soon as he reaches there, all hell breaks loose. Ashish has not been in contact with them since years and hence his family comprising of Manju, daughter Ishita (Inayat), son Ishaan (Bhavin Bhanushali), father (Alok Nath) and mother (Madhumalti Kapoor) are startled to see him and that too with Ashish. Ishita gets livid as her to-be-father-in-law Atul (Kumud Mishra) is about to come to meet the family. She is petrified since she told Atul and her boyfriend Rishi (Rajveer Singh) that Ashish is no more! Ashish develops cold feet on seeing so much of negativity upon his arrival. What happens next forms the rest of the film. Luv Ranjan’s story is entertaining and also quite progressive and mature. He gives a very important message but peppers it with entertaining and funny sequences to keep the interest going. Luv Ranjan, Tarun Jain and Surabhi Bhatnagar’s screenplay is also just right and very effective. There’s so much happening in the film every minute that throughout the 135 minute duration, one doesn’t get bored at all. A few sequences are unconvincing here and there but the plusses outweigh the minuses in a huge way. Tarun Jain and Luv Ranjan’s dialogues are as expected very well-worded, witty and funny. The lingo is of today’s generation and that is refreshing. The muting of abuses however is a downer. Akiv Ali’s direction is quite good and as a first-timer, it is very praiseworthy that he has handled the film and its plot with sensitivity and finesse. The film is also a bit bold for the Indian audience due to the stigma attached with couples having unusually huge age gaps. Also, a sequence related to Raksha Bandhan might raise eyebrows. Same goes for the pre-climax twist. Hence, a section of moviegoers might get uncomfortable. But the writing along with Akiv’s direction ensures that it’ll be accepted and will be seen in the right spirit. Also, it reflects the changing times. DE DE PYAAR DE begins on a rocking note. Aisha’s entry is smoking hot and the manner in which she develops feelings for Ashish is gradual and seems convincing. The track of Sunny Singh (Akash) adds to the fun. A surprise of the first half is when the laughter vanishes and the narrative gets moving. However, it doesn’t take the film down and prepares audiences for the fact that the film is not a laugh-a-minute caper. The intermission point is clapworthy and comes at an excellent point as one knows that from hereon, it’s going to be all fireworks. And that’s what happens in the second half. The madness goes on another level as Ashish gets attacked from all quarters. At the same time, it will also make viewers teary-eyed. The sequence where Ashish bats for live-in relationships and the effect it has on others is too good. But the best is deserved for the pre-climax and climax. Some unexpected developments take place and Manju’s outburst is seen to be believed. The film ends on a great note and there’s even a hint of a sequel!
Movie Review: Student Of The Year 2
Some of the most popular films on OTT platforms at present are those that are set in schools or colleges. These are usually light-hearted films dealing with love and other school based aspects. Not just on streaming platforms, even in cinemas, this genre has never gone out of fashion and Hollywood regularly churns such films. But when it comes to Bollywood, one can hardly recall handful of such films. The only memorable movies one can recollect in the last 10-11 years are JAANE TU YA JAANE NA [2008], 3 IDIOTS [2009] and FUKREY [2013]. STUDENT OF THE YEAR 2 hence is an important film in this regard. Its first part, released in 2012, was a success and established three new actors – Varun Dhawan, Alia Bhatt and Sidharth Malhotra. Now, Karan Johar has released STUDENT OF THE YEAR 2 and this time he casts two new girls – Ananya Panday and Tara Sutaria – along with popular actor Tiger Shroff. However, it’s Punit Malhotra who’s wearing the director’s cap for the sequel. So does STUDENT OF THE YEAR 2 manage to entertain and be as good or better than its predecessor? Or does it fail to entice? Let’s analyse. 
STUDENT OF THE YEAR 2 is the story of triumph, love and making a comeback. Rohan (Tiger Shroff) and Mridula (Tara Sutaria) study together in Pishori Chamanlal college. Both are in love and there comes a time when Mridula changes her college and gets admission in the prestigious St Teresa College. Rohan too wants to get admitted in this institution but knowing that the fees there are too costly, he abandons the plan. He still tries his luck and seeks admission under the sports quota. As luck would have it, his admission is approved. Rohan reaches there and realizes Mridula has changed. For starters, she now calls herself Mia. She also gets a bit detached with Rohan. However, in no time Rohan wins her heart and they both again become a couple. Meanwhile, Rohan is introduced to the Teresa’s stud and star athlete, Manav Mehra (Aditya Seal). They quickly become friends but Manav’s sister Shreya (Ananya Panday) detests him. She always tries her best to put Rohan in a spot. At the time of the dance competition of the college, Rohan and Mia team up while Manav and Shreya jointly participate. For both the girls, winning the competition is very crucial. Mia wants to attain popularity and she realizes that this dance competition will be a step in that direction. Shreya, meanwhile, wants to escape the clutches of her tyrannical father Mr Randhawa (Chetan Pandit) and also her over-achiever brother Manav and enrol in a dance school in London. During the competition, Manav and Shreya win while Rohan and Mia get defeated as Mia loses her grip. Mia is devastated and when Rohan goes to console her, he finds Mia and Manav cosying up to each other. An angry Rohan punches Manav. This action leads to Rohan’s expulsion from St Teresa. Manav, still cross over getting hit by Rohan, gangs up and beats Rohan black and blue. What happens next forms the rest of the film. Arshad Syed’s story, with additional inputs by Paulomi Dutta, is nothing new and novel. However, it’s written keeping in the mind the genre. Arshad Syed’s screenplay however is praiseworthy as its peppered with some entertaining, dramatic and even moving moments. The beginning however is a bit haphazard. Arshad Syed’s dialogues are witty and some one-liners raise guffaws. Punit Malhotra’s direction is appropriate. He understands the space in which the film is set and does justice to the plot in hand. He had a tall order to reach considering that the first part was very well helmed by Karan Johar. In that regard, he comes quite close and that’s quite a feat. Despite the unreal world, Punit puts his earnest effort in making it seem convincing. At a few places, he does falter though, story-wise. Shreya’s turn around in the second half is difficult to digest. Also, a twist in the first half revolving around Mia is surely a shocker but might raise questions. STUDENT OF THE YEAR 2 doesn’t have a great opening as such. The beginning portions don’t really engross viewers. It’s only when Rohan gets admission in St Teresa that the film picks up. The stark contrast between Pishori and St Teresa is well depicted. Also, the issues Rohan faces while adjusting in the new environment and the way he upgrades his wardrobe to fit in is very relatable. The scene at Jeffrey’s is funny but the scene to watch out for in the first half is when Mr Randhawa slaps Shreya. It takes the film to another level as viewers realize Shreya’s life isn’t as lovely as it seems to be. Another sequence that comes close is the intermission point – quite impactful. The second half gets better as Rohan changes gear and also his life dream. A few sequences stand out here – Shreya celebrating her birthday alone, Rohan, Shreya and Mia arguing in the café and the fight at the college stadium. The climax keeps viewers on the edge and though predictable, it makes for a fine watch.
Movie Review: Blank
Before Tara Sutaria and Ananya Panday make their much awaited debuts next week in STUDENT OF THE YEAR, there is one more newbie who will step into the world of Bollywood – Karan Kapadia with BLANK. The film and the actor both have been talked about since Karan is the nephew of Dimple Kapadia. Even Akshay Kumar has lent his support to the film by agreeing to do a promotional song. With the marketing aspect being taken care of, the questions that arise now are – Is BLANK well-made worth all the hype and buzz? Or does it fail to strike a chord with the audience? Let’s analyse! 
BLANK is the story of a terrorist who is a ‘living explosive’. Hanif (Karan Kapadia) is a part of a terrorist group called Tehreer Al-Hind, headed by Maqsood (Jameel Khan). He has arrived in Mumbai along with other terrorists with a deadly plan – to set off 24 bomb blasts, each by a terrorist. However, on the D-Day, he meets with a road accident. He faints and is taken to the hospital. The staff there is astonished to see a timed bomb fixed to his body! Immediately, the ATS chief S S Dewan (Sunny Deol) is informed. The doctors are unable to detach the bomb from his body as its connected with his heart. Once Hanif regains consciousness, another obstacle emerges in front of Dewan. Hanif has lost his memory due to the accident and doesn’t remember anything at all about the bomb or where he has come from. Dewan’s juniors, Husna (Ishita Dutta) and Rohit (Karanvir Sharma) meanwhile nab another suicide bomber, Farukh. Realizing that the police now has the second terrorist to extract information from, Dewan’s senior Aruna Gupta orders that Hanif be taken to the outskirts of the city and be killed. Dewan accompanies the party that takes Hanif to a salt pan. On the other hand, Husna successfully locates Hanif’s residence where she finds the blueprint of the bomb attached to Hanif’s body. She realizes that killing Hanif will trigger other 24 bombs in the city and she quickly informs Dewan of the same. At this moment, a team of terrorists arrive at the salt pans and attacks the cops. They also take away Hanif. What happens next forms the rest of the film. Pranav Adarsh’s story is average. His screenplay is decent but also has its loose ends. Some small developments are also skipped which is bewildering. After all, the film’s duration is quite less and 4-5 minutes of extra scenes wouldn’t have harmed the film. Behzad Khambata’s dialogues are simple and work well. Behzad Khambata’s direction is quite good, also considering that it’s his directorial debut. He has some handled some scenes deftly. BLANK is just 111 minutes long but it seems quite lengthy. The film starts off well at a crucial moment and then goes on a flashback mode. The first half doesn’t go on a high but is decent and sans complaints. Hanif’s fight sequence in the hospital is nicely done. His interrogation sequence gets a bit dragging but keeps viewers engaged. The intermission point however is the best part of the film. Three developments are happening simultaneously here – Husna is searching Hanif’s house, Rohit is in search of the godown whereas Dewan is about to execute Hanif. And all these episodes are well directed. Post-interval however, the film goes downhill. A track is needlessly added about Hanif’s father during the 2002 riots. Remove this bit and the film still would have made sense. The action scene in the tourist office is quite long and well executed. The climax is quite unexpected and unpredictable. That is a plus but at the same time, logic goes out of the window. The masses especially would find it difficult to understand the developments regarding the bomb attached on Hanif’s body.
Movie Review – Avengers: Endgame (SPOILER FREE)
Over the past decade or so Marvel and Disney have introduced the audience to superhero films that have since become some of the highest grossing cinematic ventures ever. With a fan following that rivals any army, audiences throng to the cinema halls each time a film from the Marvel Cinematic Universe releases. Now, after 22 films we finally see the release of the concluding chapter with AVENGERS: ENDGAME hitting screens. But how do you wrap up over a decade of stories, with twice as many films while tying up loose ends is the biggest task this week’s release faces. Will the new release that comes with immense hope and anticipation attached to it live up to expectations or will AVENGERS: ENDGAME be yet another CGI filled actioner is the question. 
AVENGERS: ENDGAME starts off from where the chaotic events of AVENGERS: INFINITY WAR left. After the snap, Earth’s mightiest heroes are left picking up the pieces of what remains following Thanos wiping out half of all life. The film details the mental anguish and trauma each character goes through, the loss they feel and cope up with and eventually them formulating a plan to turn back events. Will the arrival of Captain Marvel that was revealed in the previous film be the game changer? Will the Avengers who have survived ‘The Decimation’ be able to band together and save the day, or will a new evil threaten what remains on Earth is what forms the rest of the film. Right from the word go, the viewer is plunged head first into the Avengers universe, detailing what remains after Thanos’ infamous snap that has been christened ‘The Decimation’. We learn how each of our favourite superheroes are dealing with the loss. But the film does not dwell upon this topic for long, from there on the viewer is taken on a chaotic ride filled with twists, plots and sub plots as the remaining Avengers conceptualize and execute a way to bring back the fallen. Though the runtime of AVENGERS: ENDGAME has been a point of ongoing discussion, the film which is over three hours long seems like a breeze. Not once does the film let the viewer know how much time has passed. In fact the film brings a sense of normalcy after the chaotic happening in INFINITY WAR, while keeping the viewer gripped. Like any of the previous films in the Marvel Cinematic Universe, AVENGERS: ENDGAME, if not the best is by far one among the best made films in a saga that has lasted for over a decade. A fitting conclusion to a 22 film build up that literally no one could have seen coming, the film is a perfect ode to a story that has entertained a generation. Be it writing, direction, acting or editing, each aspect has been dealt with excellence. Here, a special mention needs to be made for writers Christopher Markus and Stephen McFeely, who have done a brilliant job with the character. Both Markus and McFeely understand each character and their relevant lines so well that they have managed to breathe life into their on screen renditions, while at the same time keeping in mind the happenings over the past 22 films to bring them all together in a fitting, gut-wrenching, emotional climax. However, AVENGERS: ENDGAME isn’t perfect; the film does have its share of flaws coming in the form of confusing plots and sub-plots that intertwine with each other to create a confusing mesh of time travelling mashup all done to defeat Thanos. And here in lies some of the biggest loopholes, given the fact that the film has teased time travel with set photos finding their way to the internet. The big questions then arises is, how do the Avengers maintain the space-time continuum while skipping back in time to change events. Though it may not follow the beaten path as films based on time travel have in the past, ENDGAME sees its own laws of time travel unravel. While this certainly is entertaining to watch, fans might just be plagued with a few unanswered questions at the end.
Movie Review: KALANK lacks soul and is disappointing
At one time, multi-starrers were in vogue but of late, such films barely come out of Bollywood. A few franchises like GOLMAAL and HOUSEFULL have kept this tradition alive. Even DHAMAAL can be counted here and its recent instalment TOTAL DHAMAAL was one of the biggest multi-starrers in a long time as Ajay Devgn, Anil Kapoor and Madhuri Dixit got added to the star cast. KALANK goes one step ahead as it stars six actors, all of whom are big and prominent names in their own right. So does KALANK manage to be a memorable multi-actor flick, replete with ample entertainment and drama? Or does it fail to entertain? Let’s analyse. 
KALANK is the story of lovers not destined to be together. The year is 1945. Satya Chaudhry (Sonakshi Sinha), wife of Dev Chaudhry (Aditya Roy Kapur) is diagnosed with cancer and she is told that she has just a year or maximum two years to live. Realizing that Dev will be shattered after her demise, she decides to find a second wife for him. Her search takes her to Rajputana, Rajasthan where Roop (Alia Bhatt) resides. The families of Roop and Satya go back a long way. Roop at first rejects Satya’s offer but upon knowing her medical condition, she agrees. However, she has a condition – Dev will have to marry her first and only then she’ll move into the house of the Chaudhrys. Satya, Dev and Dev’s father Balraj (Sanjay Dutt) agree. Dev and Roop get married and the former makes it clear to the latter that this will be a marriage of convenience. After marriage, Roop moves to Husnabad near Lahore where the Chaudharys reside. At first she feels lonely but then gets curious by the voice of Bahaar Begum (Madhuri Dixit). She decides to learn music under her tutelage. Satya and others at first are aghast on hearing this decision since Bahaar runs a brothel and that too in the infamous part of the city called Heera Mandi. Roop protests and the Chaudharys give in. Bahaar meanwhile is impressed by Roop and decides to teach her singing. At Heera Mandi, Roop bumps into the flirtatious Zafar (Varun Dhawan). Both get attracted to each other. Zafar is a blacksmith and works for Abdul (Kunal Kemmu) and the latter has a communal mindset. He’s also against Dev’s newspaper Daily Times that promotes the idea of one nation theory, rejects the notion of Partition and recommends industrialization even at the cost of job loss of blacksmiths. Bahaar senses that Roop is getting attracted to Zafar and she gets horrified. After all, she knows that Zafar has ulterior motives behind romancing Roop and it get can lead to disastrous consequences. What happens next forms the rest of the film. Shibani Bathija’s story is poor and silly and rests on a wafer thin plot. Except for Roop-Zafar’s track, all other parts of the story are not well fleshed out and are full of loopholes. Abhishek Varman’s screenplay doesn’t do much to salvage the situation either. Instead of wrapping up scenes quickly, he lets them go on and on. And again, he doesn’t do much to hide the glitches. Hussain Dalal’s dialogues are quite good at places. But in some scenes, it’s too filmy and might even induce unintentional laughter. Abhishek Varman’s direction is not upto the mark. He was quite in control in his directorial debut, 2 STATES [2014]. But in the case of KALANK, he makes a mess. Anyways he couldn’t have done much when the script itself is flawed. The only plusses are that the climax is engaging and he is able to handle the visual grandeur of the film very well. KALANK has a surprising commencement since the trademark and famous title card of Dharma Productions is not displayed in its usual style! The three production houses associated with the film are quickly mentioned and the film begins. Again, here the principle cast is depicted quite smartly, without showing their faces. This might make everyone believe that one is about to see a film laced with a superlative script and execution. In no time, it becomes evident that it’s not going to be the case. The biggest problem with the film is that most of the developments are not convincing. In the beginning itself, audience will be bewildered as to why Satya went to Rajputana of all places to search for a bride. Roop reminds Satya that the latter’s family had helped the former’s family at one point but no details are ever given. It is also quite laughable that Zafar had never seen the face of Dev Chaudhary ever despite the fact that he had so much poison against the Chaudharys and also that Dev is a prominent figure of the town. The entire track of the blacksmiths revolting against industrialization and also for a separate nation also seems superficial. Why was Abdul so insecure about what gets published in Dev’s newspaper? Agreed that Dev’s daily must be having a wide readership. But it can’t be the only newspaper in circulation? He could have taken the help of other newspapers to spread his agenda. The film moreover is too long and some scenes could have been done away with. The bull fight sequence, for instance, serves no purpose and was just added to appeal to the masses. On the positive side, a few sequences are well directed. The intermission point, though predictable, makes for a nice watch. The sequence of Bahaar Begum, Balraj and Zafar in the second half is quite dramatic. Also, the climax and the madness at the railway station will keep the viewers engrossed.
Movie Review: The Tashkent Files
A simple internet search will reveal how so many conspiracy theories exist when it comes to some important episodes of History. The scenario in India is no different and a lot of people strongly believe that what history has taught us is not entirely true. Hollywood has made films and documentaries out of it while India has lagged behind. But now director Vivek Agnihotri tries to put forward an investigative thriller based on Lal Bahadur Shastri’s death. The result is THE TASHKENT FILES and it releases in the middle of the exciting election season. So does THE TASHKENT FILES shake the viewer with its content and execution? Or does it fail to impress? Let’s analyse. 
THE TASHKENT FILES is the story of a group of people trying to understand whether there was any foul play in the sudden death of a significant Indian Prime Minister Lal Bahadur Shastri. Raagini Phule (Shweta Basu Prasad) is a rookie political journalist in Delhi working for a newspaper called ‘India Times’. She has been given an ultimatum by her editor (Asif Basra) that she has to submit a scoop in a few days or else she’ll be transferred to arts and culture, a beat that Raagini abhors. One day she receives a call from an unknown person (voiced by Vivek Agnihotri) and he asks her to write about the mysterious death of India’s second Prime Minister Lal Bahadur Shastri. He had died on January 11, 1966 soon after the Tashkent Agreement was signed following the end of India-Pakistan war. The unknown caller even provides all the evidences and references needed for Raagini to file the story. The article gets published and it goes viral. Shyam Sunder Tripathi, leader of the opposition, uses this opportunity to score brownie points against the ruling government. Realizing that the matter has become too big, PKR Natrajan (Naseeruddin Shah), the minister of home affairs, forms a committee, and its members are to decide if there is indeed any foul play in Shastri’s demise. Shyam Sunder Tripathi is made the head of the committee. Other members include Raagini, author and historian Aisha Ali Shah (Pallavi Joshi), social activist Indira Joseph Roy (Mandira Bedi), director of National Archives Omkar Kashyap (Rajesh Sharma), scientist Gangaram Jha (Pankaj Tripathi), ex RAW chief G K Ananthasuresh (Prakash Belawadi), president of the Young Indian Congress Vishwendra Pratap Singh Rana (Prashantt Guptha) and retired Supreme Court judge Justice Kurian Abraham (Vishwa Mohan Badola). A few of them in this committee, like Aisha Ali Shah and Vishwendra Pratap Singh Rana, vehemently deny that Shastri’s death was mysterious and stress that he died of natural causes. Raagini and others put a counter view to prove the matter should be investigated. Soon, it comes to light that nobody really cares for Shastri and all are there for some ulterior motives. What happens next forms the rest of the film. Vivek Agnihotri’s story is interesting and the film rests on a brilliant idea. The material is well-researched and it shows. But the character development ought to be a bit stronger. Vivek Agnihotri’s screenplay is not very effective. A few committee scenes are well written and thought of. However, at certain places, it becomes a mess as there’s too much of information thrown at the audience. Vivek Agnihotri’s dialogues are acidic and add to the impact. Vivek Agnihotri’s direction is average. There’s no doubt he has handled some scenes deftly. The sequence where Raagini is wiping the cake off her face and talking to the caller is well executed. A few committee scenes are also impactful, especially the finale. On the flipside, the exterior scenes look substandard. This is especially for the slow-motion jogging scenes. Vivek has also shot a crucial sequence in Tashkent and even a layman can make out that a lower quality camera has been used. These are all shaky, hand held shots and one wonders why he didn’t opt for at least a cheap tripod!
Movie Review: Romeo Akbar Walter
When it comes to spy films, one usually thinks of the big-budget action flicks that have made mark in Bollywood like AGENT VINOD [2012], PHANTOM [2015], BABY [2015], BANG BANG [2014], EK THA TIGER [2012], TIGER ZINDA HAI [2017]. But RAAZI last year changed it all and made a mark in this space as the spy was not shown kicking ass but quietly doing her job for the country. Now a film in a similar space, ROMEO AKBAR WALTER, is all set to release. The comparisons with RAAZI will be inevitable, also because it is based in the same time period. So does ROMEO AKBAR WALTER manage to stand out from RAAZI or any other spy film? Or does it fail to deliver? Let’s analyse. 
ROMEO AKBAR WALTER is the story of a patriot who takes extreme risks while spying in enemy country. The year is 1971. Romeo Ali (John Abraham) works in India in a bank. He stays with his mother Waheeda (Alka Amin) who is overprotective about him since Romeo’s father had died while serving the country. Romeo too has the passion to work for India but is unable to do so due to his mother. However one day he meets Shrikant Rao (Jackie Shroff), head of RAW, and he asks Romeo to join them and spy on Pakistanis on their soil. Romeo agrees and before leaving for training and eventual trip to Pakistan, he lies to his mother that he has been promoted in the bank and that that’s why he has been sent for training. In Pakistan, he manages to smartly win the trust of arms dealer Isaq Afridi (Anil George), who’s very close to General Zorawar (Purnendu Bhattacharya). While spying on their conversations and activities, Romeo stumbles upon an important information. The Pakistani forces are planning an air strike in Badlipur area of the then East Pakistan. This part of Pakistan is getting rebellious and wants independence. The rebels meanwhile are being trained by Indian forces and a lot of them are stationed at Badlipur, where the Pakistanis plan to drop bombs. What happens next forms the rest of the film. Robbie Grewal’s story is promising and could have made for an exciting thriller. Robbie Grewal and Rahul Sen Gupta’s screenplay however is very weak and flawed. The scenes don’t flow well and the narrative is quite incoherent. Audiences might not be able to easily comprehend what’s going on. There are too many loopholes that even a layman will be able to point out. Robbie Grewal, Ishraq Eba and Shreyansh Pandey’s dialogues are well worded but nothing memorable. Robbie Grewal’s direction is not upto the mark. It is evident that he has put in a lot of research but it’s of no use when you are not able to use it well. Moreover, audiences won’t be able to help but compare the proceedings with RAAZI and it was a far superior product. So this factor also comes in play. Except for the final scene, one doesn’t root for Romeo. His bond with his mother seems half baked. Even the romantic track with Parul (Mouni Roy) seems forced. The makers don’t even bother to show what happens to Parul later on. ROMEO AKBAR WALTER has a shocking start but then goes downhill. The film suffers from problems at many places. Audiences might not be able to comprehend what’s going on in the story. Quite a few sequences are difficult to digest especially how Pakistanis start to trust Romeo so easily. A few scenes do spark interest like the intermission point, Colonel Khan (Sikandar Kher) searching Romeo’s house, the lie detector test sequence etc. But such scenes are immediately followed by not-so-exciting or flawed developments. The last few minutes do evoke patriotism and tries to move viewers and the makers succeed only partly as it comes too late in the day.
Movie Review: Notebook
In the age of electronic media and social messaging apps, the charm of handwritten letters and note is even more special. At such a time, Salman Khan presents NOTEBOOK. Although it is based in time period of the last decade, it is not exactly a period film and talks about some of the relatable issues of Kashmir, and also of the matters of the heart. So does NOTEBOOK manage to entertain and touch a chord among the viewers? Or does it fail to do so? Let’s analyse. 
NOTEBOOK is the story of the bond that develops between two lonely teachers without even meeting each other. Kabir (Zaheer Iqbal) is based in Jammu and has quit the Army following a traumatic incident. He is called to Srinagar by an acquaintance who recommends him to join a school started by his father in Wular. The school’s only teacher Firdous (Pranutan Bahl) has quit the school just some time back. With no other teacher there, Kabir agrees to join. Wular is located in a remote town and the school is built in a rundown houseboat. There are only a handful of students around and Kabir starts teaching them. In the drawer in the teacher’s desk, he finds a notebook written by Firdous. She has written her thoughts, fears, insecurities, strengths etc. while she was teaching in Wular. It helps motivate Kabir and he also falls for her. Also, the manner in which the students speak highly of her makes it clear that she’s a kind-hearted person. Firdous also mentions in her diary that she is having an on-off relationship with a man called Junaid. Moreover, one day the school is hit by a storm during which Firdous’s notebook falls in the water. Kabir tries to save it but fails. What happens next forms the rest of the film. NOTEBOOK is the official remake of the 2014 Thai film TEACHER’S DIARY [Directed by Nithiwat Tharatorn; story and screenplay by Nithiwat Tharatorn, Sopana Chowwiwatkul, Thodsapon Thiptinnakorn and Supalerk Ningsanond]. Darab Farooqui’s adapted screenplay comes across as inconsistent. The script had to be watertight in this film keeping in mind the loopholes in the plot. Sharib Hashmi and Payal Ashar’s dialogues are fine and work well within the context of the film. Nitin Kakkar’s direction is poor, which is shocking considering how well he had executed his previous films, FILMISTAAN [2014] and MITRON [2018]. The first sign is seen in the opening scene itself depicting Kabir suffering from the horrors of his past. However, this bit is shown just once. Ideally, the director should have shown it multiple times that he’s getting flashes of the horrendous episode he suffered when he was in the armed forces. Secondly, an action scene is needlessly forced in the first half and it serves no purpose. NOTEBOOK is a niche, multiplex-type urban film and the masala fight sequence looks so out of place. In fact, this niche appeal is also an issue as audiences might not get exactly the gist of some scenes. Take for instance the scene where Kabir reaches Delhi Public School to find Firdous. It is not clear at this juncture whether he managed to recognize Firdous. If he did, it’s bewildering why he didn’t talk to her. If he didn’t, then why didn’t he ask around in the school about her whereabouts. Lastly, it is laughable to see that Kabir never reads Firdous’s book fully. He’s reading just few pages each time. Note that he’s in a remote town and he has no other means of passing time. Also, he has fallen crazily for this girl. In such a situation, anybody in his place would have read the notebook in one go. But Kabir doesn’t and it’s only a few months later that he realizes that she has also written about her marriage! Due to such silly sequences, the impact goes for a toss. NOTEBOOK is around two hours long but moves at a snail’s pace. The introduction part is engaging and the manner in which the school is depicted initially is intriguing. One can actually feel that the school is located in the middle of nowhere. Kabir trying to adjust to his new surroundings makes for a fine watch. The sequence of Kabir making friends with the kids is okay as the humour seems forced. The best part of the first half is however when Kabir catches his girlfriend Dolly cheating. The use of the song ‘Accha Sila Diya’ adds to the fun. The intermission point is quite arresting. Post-interval however the film falls. Kabir could have easily met Firdous by making enquiries but the makers don’t allow that to happen. Hence, it seems very unconvincing. Also, the film deals with too many topics like terrorism in Kashmir, exodus of Kashmiri pandits, importance of education for Kashmiri children etc. These tracks however are more interesting than the principle plot and that’s not good news for a film that is essentially a love story. The film ends on a fine note but it’s too little, too late. NOTEBOOK rests on some fine performances with both the debut actors doing an excellent job. Zaheer Iqbal is quite sincere and genuinely does a good job. Despite his tough look, he plays the vulnerable part very well and comes across as quite endearing. Pranutan Bahl is stunning and has a supreme screen presence. She delivers a first-rate performance and can definitely make a mark in Bollywood, provided she signs some well-written films. From the kids, Mir Mohammed Mehroos (Imran) has an important track and is a natural. Soliha Maqbool (Shama) is most adorable. The others – Mir Mohammed Zayan (Tariq), Baba Hatim (Waqar), Adiba Bhat (Dua) and Hafsa Ashraf Katoo (Iqrah) also put their best foot forward. Mir Sarwar (Iqbal’s father), recently seen in KESARI, is fine. Zahoor Zaidi (Hameed Chacha), Mozim Bhat (Junaid) and Farhana Bhat (Dolly) are decent.
Movie Review: Junglee
The gentle giant, elephant, at one point was a significant part of some very important films. The most memorable film in this regard was HAATHI MERE SAATHI [1971]. Then there were films like MAA [1976], SAFED HAATHI [1977] etc. that also dealt with elephants and made for a great, entertaining watch. Almost 40 years later, the jumbo makes a mighty comeback in Bollywood with JUNGLEE. The film has been noticed for its trailer and plot. Moreover, it’s a rare Bollywood film directed by a Hollywood director, Chuck Russell. So does JUNGLEE manage to be an ‘ideal elephant film’, just like its predecessors? Or does it fail to entice? Let’s analyse. 
JUNGLEE is the story of a vet trying to fight an international poacher’s racket. Raj Nair (Vidyut Jammwal) is based in Mumbai and is a renowned veterinarian. He has an estranged relationship with his father, Dipankar (Vijaya Kumar Arcot Ramachandran), who runs Chandrika Elephant Sanctuary. Their relationship soured 10 years ago after Raj’s mother passed away. On her 10th death anniversary, Dipankar requests Raj to come back. This time, Raj agrees and he’s accompanied by journalist Meera Rai (Asha Bhat), who wants to interview Dipankar for his contribution in safeguarding elephants. Raj is welcomed with open arms by his childhood friend Shankara (Pooja Sawant), who’s also a female mahout. Meanwhile, Kotian (Atul Kulkarni) is a poacher working for a client in Taipei. They realize an elephant in the sanctuary, Bhola, has unusually large tusks. If they manage to retrieve it, they can get amazing returns for it. Kotian accepts the assignment and after a thorough recce, he attacks Bhola at night. Dipankar however reaches the spot and Kotian kills him. The goons working with Kotian also kill Bhola and escape with his tusks. Raj too goes to the rescue of Bhola but is defeated. What happens next forms the rest of the film. Rohan Sippy, Charudutt Acharya, Umesh Padalkar and Ritesh Shah’s story is poor and dated. The only plus is that it educates audiences about the horrors of poaching and wildlife conservation. But audiences also need entertainment along with enlightenment and that’s where this film falters. Adam Prince and Raaghav Dar’s screenplay is ineffective for most parts. There’s a lot the screenwriters could have done here but they don’t and it’s a loss of a golden opportunity. Akshat Ghildial and Suman Adhikary’s dialogues are nothing special and some of them are even awkward. Chuck Russell’s direction is shockingly bad. One expected this director from Hollywood would work his charm and entertain audiences. Instead, he makes a mess. He takes too much time to establish and build up. It’s still fine for the scenes of Raj bonding with the elephants as it has novelty value. However, the sequences of Raj and his father are very unconvincing and looks staged. Also, he goes overboard while depicting the Indian culture and customs. In this regard, there are some ridiculous developments in the second half which would leave the audiences shocked. It’s unbelievable how it got approved in the first place. JUNGLEE is just 115 minutes long and that’s a big advantage. The beginning portions, depicting the sanctuary and presence of poachers is neat and sans complaints. Raj’s entry sequence and the fight scene at the skywalk are also decent. One expects fireworks once he reaches the sanctuary. His scenes with Bhola and a female elephant, Didi, are also quite good. But the film drags a lot out here with nothing much happening. In fact, this goes on for a long time till the pre-intermission point. The interval point is a shocker and gears up audiences as they anticipate a roller-coaster ride from hereon. But sadly, apart from Raj’s escape from the prison, no scene really makes a mark. The film also gets silly and ridiculous here. The sequence where Raj imagines talking to Lord Ganesha is when the film touches a low. The finale is also nothing special.
Movie Review: Mard Ko Dard Nahi Hota
A sub-genre developed in Hollywood in recent times is that of superhero black comedy. DEADPOOL [2016] and KICK-ASS [2010] are fine examples of it and have been loved across the world. In India we have lagged considerably here. Forget superhero black comedy, even films with dark humour are seldom made probably since such films lack mainstream appeal. But now director Vasan Bala has taken up the challenge and the result is MARD KO DARD NAHI HOTA. The protagonist is not a superhero here although his condition does make him a force to reckon with. With such an interesting idea, does MARD KO DARD NAHI HOTA manage to work and give an entertaining time to the viewers? Or does it fail in its endeavour? Let’s analyse. 
MARD KO DARD NAHI HOTA is the story of a young chap with an extraordinary ability. Surya (Abhimanyu Dassani) is born with a rare defect called congenital insensitivity to pain. In simpler words, he can’t feel pain at all. This lets him go wild as a child and even get injured multiple times, since he doesn’t realise when he has broken a bone or requires medical intervention. His father Jatin (Jimit Trivedi) is therefore very cautious about him. Having lost his wife and Surya’s mother (Shweta Basu Prasad) days after Surya is born, his father is hence even more concerned. But Surya’s maternal grandfather (Mahesh Manjrekar) who also stays with the two is more open and adopts an unconventional method of parenting. In school, Surya gets bullied because of his condition and the only one who comes to his rescue is Supri (Radhika Madan). She however has an abusive father and she’s helpless in front of him. Surya feels obliged to help her and while doing so, he ends up pushing her father from the terrace of a three-four storeyed building. The father thankfully survives but Surya and his family are compelled to leave their residence and shift elsewhere. Here, Surya grows in a controlled environment under the strict watch of Jatin. He’s allowed to go out only once. In the present-day, Surya is around 21 years of age. Jatin is in love with a woman named Nandini and he wants Surya and the maternal grandfather to meet her at her residence. Both hence venture out. But in a funny misunderstanding, the grandfather is taken away by the cops and gets separated by the Surya. Surya meanwhile bumps into Supri, who has now grown up as a badass girl. He sees her posting publicity posters of Karate Mani (Gulshan Devaiah), who Surya has idolized since he was a kid. Surya decides to meet Karate Mani immediately and also Supri. However, once he reaches the karate centre, he’s shocked to see the place ransacked and Karate Mani injured. This is when he learns that Karate Mani needs help as he’s being tortured by his evil twin brother, Jimmy (Gulshan Devaiah). What happens next forms the rest of the film. Vasan Bala’s basic plot is novel and unlike anything viewers have seen in Bollywood. However, the plot on the whole is quite waferthin. It’s a bit unconvincing to see that Surya and others are simply retrieving a gold locket stolen by Jimmy and nothing else. Vasan Bala’s screenplay however tries to add some creative and entertaining moments to keep the interest going. Vasan Bala’s dialogues are quite sharp and funny. Supri’s remarks on Rumi are sure to bring the house down. Vasan Bala’s direction is top notch despite some rough edges. The treatment is quite unique and that makes the film engaging to a great extent. The manner in which he has executed some sequences and Surya’s manner of thinking are also quite fun. The use of pop culture references further add to the charm. If only the film had a solid and convincing storyline, MARD KO DARD NAHI HOTA would have been in another level. MARD KO DARD NAHI HOTA begins on a fun note. The childhood portions are interesting but get stretched a bit. Memorable sequences here that stand out are Surya pushing down Supri’s father and Jatin confessing to Surya’s maternal grandmother that he loves Nandini. The latter is hilarious and would surely be loved. However, the first half is only used for build-up and establishing characters. It’s only in the second half that the film really gets interesting as Karate Mani’s characters gets defined properly and also Jimmy is introduced in the narrative. The fight in the security office is entertaining and even the finale is fun. However, the fight sequences are quite dragging. The film also doesn’t end on a justified note, especially what happens with Karate Mani. The makers do drop a hint about a possible sequel though.
Movie Review: Kesari
Our history is replete with innumerable stories of heroism, which will shock one and all. More shocking is the fact that so many such brave tales are not even known popularly. The Battle of Saragarhi is one such story. 10,000 soldiers fighting against a troop of just 21 men – on the story level itself, it’s quite intriguing and even exciting. A couple of filmmakers did show interest in this project but for various reasons, these ventures couldn’t materialize. Finally, Akshay Kumar along with Dharma Productions and director Anurag Singh made it happen with KESARI. So does KESARI provide ample entertainment and patriotism doses? Or does it fail to stir up the emotions? Let’s analyse. 
KESARI is the story of valour and bravery. The year is 1897. Hawaldar Ishar Singh (Akshay Kumar) is posted somewhere in the present-day Khyber Pakhtunkhwa in the Sikh regiment. The regiment witnesses a woman about to get killed by a group of Afghan tribesman for not adhering to her marriage. Despite the superior British officer telling him to not get involved, Ishar attacks the Afghans and saves the lady. The British officer is furious and as punishment, Ishar is transferred to Saragarhi Fort, considered as a place where ‘nothing happens’. Ishar Singh reaches there and realizes the 20 Sikh soldiers posted in the fort as part of 36th regiment are making merry since they are aware there’s no way an emergency or war like situation will ever arise. Ishar attempts to punish them but realizes that they are tough and have a brotherly feeling towards each other. Meanwhile, the various Afghan tribe chiefs unite and decide to attack the Saragarhi Fort and also Fort Gulistan and Fort Lockhart and thus defeat the British. The Afghans are aware that there are a handful of Sikh soldiers in Saragarhi and hence, they would be easily defeated. They begin their march. Ishar Singh and the others in the fort get shocked as around 10,000 tribesman stand outside the gate of the fort and all set to attack. Ishar gets an order from the British to stay put at the fort. They are unable to provide help as the Afghans have cut off all routes to Saragarhi. Ishar asks his regiment that fighting so many people will be fatal and that they can all run away. The soldiers however refuse to escape and chose to fight and die. What happens next forms the rest of the film. Girish Kohli and Anurag Singh’s story is interesting and inspirational. Although there has been a television series on this battle, still this episode hasn’t got its due. Hence, KESARI is sure to educate viewers on this landmark incident of Indian history. Girish Kohli and Anurag Singh’s screenplay is effective for most parts. The first half has some light as well as tense moments. But it is also weak at some places and could have been better written. But the second half is where the writers do a fabulous job. They have written the sequences very simply and hence, viewers will be able to comprehend what’s going on. Also, drama is very well infused in war sequences to keep audiences glued to their seats. Girish Kohli and Anurag Singh’s dialogues are sharp and also funny at places. Moreover, they are clapworthy and relevant in today’s times. Anurag Singh’s direction is neat and uncomplicated. The sequences flow very well although in the first half, he could have done a better job. He manages to stir anger towards Afghans among the viewers. Also, the 21 Sikh soldiers are actually fighting on behalf of the British and this angle could have affected the impact. But the director takes care of this aspect nicely. Throughout the second half, one just roots for the 36th regiment and want them to emerge victorious. On the flipside, one wishes the execution was little better at certain points. KESARI has a fine first half and it’s mainly utilized for the build-up and to introduce the characters. There are places where one does feel a bit disappointed as the goings-on are not that great. Also, the romantic track is damp squib. But the makers compensate with the introduction sequence, the scene of the hen and with the scene of the Sikhs rebuilding the mosque in the village. The intermission arrives at a great point and it sets the tone for the second half. Post-interval, the film goes on a high with several scenes turning out to be clap and whistle worthy. Films usually suffer from the curse of the second half but KESARI is an exception. The scene where Ishar wears the kesari-coloured turban and arrives in front of the regiment is sure to create a riot! The battle scenes are a treat to watch as the soldiers use clever tactics to eliminate the Afghans. At the same time, the manner in which the soldiers begin to die one by one also affect you emotionally. The climax is sure to give a lump in the throats of the viewers but the makers add a nice heroic angle here that’ll surely lift the nationalistic spirits among viewers. Talking of performances, Akshay Kumar delivers an excellent performance. He looks totally in character. Check out his restrained smile when one Sikh soldiers urinates to chide the Afghans! Or of course in the climax when he’s down but not out. Yet another spectacular performance from this talented performer! Parineeti Chopra (Jiwani Kaur), credited as special appearance, doesn’t contribute much to the film. Her scenes, where she features in Ishar’s thoughts, don’t add much. Actress Toranj Kayvon (Afghani lady) makes much more impact in comparison. Mir Sarwar (Khan Masud) leaves the maximum mark out of the Afghani tribesmen. Bhawani Muzamil (mysterious sniper) gets to play a badass character and he’s quite fun. Rakesh Chaturvedi (Mullah) plays the evil character well. Ashwath Bhatt (Gul Badshah Khan) is decent. From the Sikh soldiers, Surmeet Singh Basra as Gurmukh Singh is the best and has a very crucial part to essay. Vansh Bharadwaj (Lance Naik Chanda Singh) also does a fine job. Music might not have a longer shelf life but works well in the film. The very entertaining ‘Sanu Kehndi’ is sadly missing from the film. Same goes for ‘Ajj Singh Garjega’. ‘Deh Shiva’ turns out to be the best and used very well. ‘Teri Mitti’ is quite moving. Raju Singh’s background score gives the film a heroic feel.
Movie Review: Milan Talkies
The small town mania that gripped Bollywood in the last decade brought a welcome change. The films became more and more real as they talked about the ground realities and hence more viewers were able to identify with it. Tigmanshu Dhulia’s MILAN TALKIES is also an attempt in the same league. It is one film that has being planned since 6-7 years with numerous changes in the cast and even producers. Finally, Dhulia managed to make it last year with Ali Fazal and Shraddha Sainath. So does MILAN TALKIES manage to impress and entertain? Or does it fail in its endeavour? Let’s analyse. 
MILAN TALKIES is the story of two lovers in a small town. The year is 2010. In Allahabad, Anu Sharma (Ali Fazal) is a small town filmmaker and dreams of becoming a big shot director some day. He funds his films by selling exam papers. Maithili (Shraddha Sainath) approaches him one day as she needs help in passing her examination. It is the pre-requisite by her future in laws before she can tie the knot. Anu agrees and falls in love with her. In fact his racket gets exposed and yet he goes out of the way to help her cheat and pass in the exams. Maithili too begins to love him and they start a romantic relationship. They start to hang out in the projector room of the single screen theatre Milan Talkies since Anu is friends with the projector guy, Usman bhai (Sanjay Mishra). Anu wants to send his father (Tigmanshu Dhulia) to talk to Maithili’s father Janardhanan (Ashutosh Rana) for marriage. But Janardhanan is a priest and quite conservative. Hence he detests film industry and those working for it. As a result, he would never agree to the union of Anu and Maithili. With no other option in hand, the lovers decide to elope. However their plan is foiled as Janardhan finds out. He takes the help of local goon Guru Panda (Sikandar Kher) to nab them. Guru is aggressive and hates the idea of courtship. He stops Maithili and fires a shot at Anu. But Anu escapes. Meanwhile the husband-to-be for Maithili refuses to get married to her after the elopement episode. Guru Panda then agrees to get hitched with Maithili. What happens next forms the rest of the film. Tigmanshu Dhulia and Kamal Pandey’s story is predictable and done to death. So many films have been made on this subject for years. Tigmanshu Dhulia and Kamal Pandey’s screenplay is lacklustre and amateurish. The single screen theatre element gives some scenes a nice touch but it could have been utilised in a better way. Tigmanshu Dhulia and Kamal Pandey’s dialogues are simple and sans complaints. Tigmanshu Dhulia’s direction is disappointing and how. It’s shocking that the filmmaker who gave gripping films like HAASIL [2003], PAAN SINGH TOMAR [2012] and SAHEB BIWI AUR GANGSTER [2011] has made this apology of a film. There’s no consistency and direction leaves so many loopholes out in the open. For instance, the film starts in the year 2010 and yet the makers wrongly depict Anti Romeo Squad wrecking havoc when it’s a common knowledge that it was formed only in 2017. Also the look and even the quality of opening credits is substandard and again, this is not expected from a filmmaker who has created magic with limited budget in the past. MILAN TALKIES has an extremely haywire beginning. Too much information is fed to the viewers in limited time. It becomes difficult to ascertain what exactly Anu does for a living as he’s shooting films, replacing his actors when they get arrested, selling exam papers and even entertaining patrons at Milan Talkies when there’s a power cut. Viewers might even mistaken Anu as the owner of Milan Talkies! It’s only in the scenes of Anu helping Maithili that the film gets a bit better. The scenes of romance are also engaging. Post interval the story moves three years and one expects some fireworks finally. But that doesn’t happen. The idea that Anu made a film with a hidden message for Maithili is extremely silly. Moreover, in a shocking sequence, Anu who is now an established filmmaker is assaulted brutally by Guru Panda in broad daylight. The media covers the incident immediately and yet no arrests are made. The finale is predictable and clichéd. 
Performances save the film from becoming an ultimate disaster. Ali Fazal is quite fine and shoulders the responsibility of a lead hero well. Shraddha Srinath has a striking face and a nice screen presence and gives a good performance. Ashutosh Rana is dependable. Sanjay Mishra is adorable. Sikandar Kher hams. Rajiv Gupta (Hariya) genuinely gives his best. Tigmanshu Dhulia the actor does a much better job than Tigmanshu Dhulia the director. Reecha Sinha (Babli), Deepraj Rana and the actors playing Ali Fazal’s pals are passable. Music is average and not of chartbuster variety. ‘Bakaiti’ is catchy followed by ‘Mind Na Kariyo Holi Hai’. ‘Jobless’ is foot tapping. ‘Din Dahade’ and ‘Shart’ are disappointing and forced just about anywhere in the film. Dharma Vish’s background score is nothing great. Hari Vedantam’s cinematography is okay. Dhananjay Mondal’s production design is poor. Nishant Khan’s action is realistic. Praveen Angre’s editing is haphazard. On the whole, MILAN TALKIES is a badly made film and riddled with a clichéd storyline. Avoid!
Movie Review: Photograph
The parallel cinema movement has been going on since many decades. A lot of well-made films have been made as part of this movement but most of them, due to niche factor, go largely unnoticed. Ritesh Batra’s THE LUNCHBOX [2013] however was an exception. It got noticed and even emerged as a commercial success. The way it became a rage in the festival circuit was so significant that even Dharma Productions got associated with it. Now, Ritesh Batra’s second Hindi film PHOTOGRAPH is all set to release and it once again seems to be an ode to Mumbai while depicting an unusual love story blossoming slowly. So does PHOTOGRAPH manage to work and be as good as or better than THE LUNCHBOX? Or does it fail in its endeavour? Let’s analyse. 
PHOTOGRAPH is the story of two people belonging to different strata of society who come together thanks to an unusual circumstance. Rafiq (Nawazuddin Siddiqui) is a photographer at the Gateway of India, Mumbai. He stays in a slum in a small room shared by 3 other people. Rafiq’s grandmother (Farrukh Jaffar), based in his village in Uttar Pradesh, is old and is distressed by Rafiq’s refusal to get married. She hence stops taking her medicine as a sign of protest. To pacify his grandmother, Rafiq lies to her that he is in a relationship with a girl named Noorie. He even sends her a picture of a girl he claims is Noorie. The picture however is that of Miloni (Sanya Malhotra), a scholar from a Gujarati family. Rafiq had clicked her picture when she got separated from her family when they were at the Gateway Of India. When she saw her family is searching for her, a scared Miloni left taking the photograph and without paying Rafiq for it. Rafiq however is impressed by her innocence and beauty. Miloni meanwhile is extremely happy with the picture that he clicked as she believes that it captured her happiness and contentment like never before. Meanwhile, Rafiq’s grandmother is so happy with the news of Rafiq’s relationship with Noorie that she comes to Mumbai to meet her. With no other option in hand, Rafiq meets Miloni and persuades her to meet his grandmother once. Miloni agrees and what happens next forms the rest of the film. Ritesh Batra’s story is interesting and a bit in THE LUNCHBOX zone. Ritesh Batra’s screenplay is engaging at places but falls flat in several scenes. The element of consistency is missing. Ritesh Batra’s dialogues are simple and realistic. Ritesh Batra’s direction is average. With a bit of a shaky screenplay, ideally his direction should have compensated. But that doesn’t happen. A few sequences don’t add much to the film and this happens more in the second half. Also the film has some unconvincing moments which the execution is not able to hide well. For instance, the manner in which Miloni is okay with Rafiq stalking her with the former even agreeing to meet the latter’s grandmother is difficult to digest. Also, how is she able to find time to meet Rafiq and his grandmother? Is she bunking her classes? If yes, why doesn’t the professor (Jim Sarbh) inform her parents or ask her considering that she is the star pupil? If she is not skipping classes, why don’t her parents get the hint that she is coming home late, especially considering how strict they are about her education? PHOTOGRAPH begins on a sombre note and viewers will take a while to get into the mood of the film and characters. It’s only 20-30 minutes later that the film picks up. A few sequences stand out like Miloni meeting the grandmother for the first time and Miloni asking her maid Rampyaari (Geetanjali Kulkarni) about life in her village. The second half however is too dragging. Scenes of Rafiq buying the soap and comb and thereafter don’t work. PHOTOGRAPH is a 110 minutes long fare and ideally it shouldn’t have been more than 90 minutes. The entire sequence of Rafiq hunting down the cola manufacturer is quite unique. But nothing much happens with regards to it later. In fact the climax is quite ambiguous and as a result it’s a huge downer. The film just ends all of a sudden and even as an open ending, it’s unconvincing.
Movie Review: Badla
A genre where Bollywood has lagged whereas the Western movie industry has progressed by leaps and bounds is the suspense. When it comes to Hindi cinema, very few such films are made out of which only a handful are memorable. KAHAANI [2012], directed by Sujoy Ghosh, is one of the best films in this category. As a result, the expectations are naturally high for his latest directorial venture, BADLA. What has also added to the curiosity is that it reunites the actors of the much-loved courtroom drama PINK [2016] – Amitabh Bachchan and Taapsee Pannu – and that it is a remake of the much loved Spanish suspense thriller, THE INVISIBLE GUEST. So does BADLA manage to emerge as an entertaining and shocking fare? Or does it fail to entice? Let’s analyse. 
BADLA is the story of a murder accused trying to prove her innocence. Naina Sethi (Taapsee Pannu) is a successful businesswoman in London and married with a daughter. Her life turns around when she’s accused of murdering her lover, Arjun Joseph (Tony Luke). All evidences are against Naina since she was the only one in the hotel room where Arjun was killed. She claims a third person was present who carried out the murder and even hurt her on the forehead. But the preliminary investigations revealed that the room was locked from inside. Witnesses outside the room confirmed that nobody came out of the room. Naina’s lawyer Jimmy Punjabi (Manav Kaul) realises that it’s a tricky situation. Hence he hires expert defence attorney Badal Gupta (Amitabh Bachchan) to ensure she doesn’t have to go to jail. Badal reaches the residence of Naina and he begins his own investigation. Upon talking to Naina and insisting that she tell him the truth, a lot of skeletons tumble out of her closet. She reveals that the murder of Arjun has something to do with the disappearance of a young man from a small town of Aviemore named Sunny Kaur. What happens next forms the rest of the film. Oriol Paulo’s story (also the original writer of THE INVISIBLE GUEST) is quite impressive and unlike other murder mysteries. Sujoy Ghosh’s adapted screenplay tries it’s best to do justice to the original film and its plot. A lot of scenes are well written. However the film is complicated in the middle. For a layman, it might be difficult to ascertain what’s going on. Moreover, the RASHOMON style of narrative can get a bit heavy on viewers. Sujoy Ghosh and Raj Vasant’s dialogues are sharp and witty. A few dialogues however needlessly stretch the narrative. Sujoy Ghosh’s direction is exemplary and tries to keep the essence of THE INVISIBLE GUEST alive. There a few loose ends, which were present in the THE INVISIBLE GUEST as well. Yet his direction is such that one won’t mind since there’s so much happening in the film. Also with the shocking climax, he scores a brownie point. On the flipside, BADLA could have been shorter. THE INVISIBLE GUEST was just 106 minutes long and this one is 14 minutes longer. These extra minutes in this frame-by-frame remake are because of a few dialogues that were not needed. Moreover, Ghosh adds a crucial dialogue in the first half that is a give-away of the film’s climax and it’s surprising he did so. Also unlike KAHAANI, this film is slightly niche and this could affect its prospects. BADLA’s opening credits are quite interesting and slick. The beginning portions of the film are a bit dragging. Too much time is wasted in Badal persuading Naina to part with the truth. It’s only when she starts talking that the interest levels increase. The best part of the first half however is Arjun meeting Rani (Amrita Singh) and Nirmal and the shock he gets in their house. The intermission point is interesting as it sets the mood for things to come. Post interval, the film remains engaging but at the same time, it also starts to drop at places. It’s only in the last 20 minutes when the tables turn is when it arrests attention. The climax is definitely a bolt from the blue as no one could have seen it coming. But it should have been executed well for a better and more mainstream impact.
Movie Review: Captain Marvel (English)
Over the past few years, a little over a decade to be precise, we have seen the Marvel Cinematic Universe take shape. With twenty films already released in the run up to an ultimate climactic ending, each release has taken the story line forward. Now doing just that as well as introducing Marvel’s first female lead superhero film is CAPTAIN MARVEL, which is the 21st film in the MCU. But will CAPTAIN MARVEL that comes with immense expectations match up to the previous releases, and more importantly will it lay the foundations of what to expect in the much anticipated AVENGERS: ENDGAME are questions that fans across the globe are asking. 
Set in 1995 CAPTAIN MARVEL follows the story of Carol Danvers (Brie Larson) a former U.S. Air Force fighter pilot, as she turns into one of the galaxy’s mightiest heroes and joins Starforce, an elite Kree military team, before returning home with questions about her past and identity when Earth is caught in the centre of a galactic conflict between two alien worlds. Will Danvers manage to patch together her past to reveal who she was, will she be able to subvert the Skrull invasion that threatens the existence of humans and earth, and most importantly will she eventually be the one to undo the decimation are questions that make up the rest of the film. Being a film set in the 1990s, CAPTAIN MARVEL begins with detailing existing characters that we have come to know like Nick Fury, Phil Coulson, Korath the Pursuer, and Ronan the Accuser. Said to be set even before the events from the first IRON MAN happened, CAPTAIN MARVEL makes use of Marvel’s de-aging technology to bring us a younger Coulson (Clark Gregg), and Nick Fury (Samuel L. Jackson). Right from the outset the viewer is well aware of the fact that like the previous MCU films that have introduced characters, this one too will give viewers a backstory of who Captain Marvel is, where she came from, how she got her powers, and what exactly her powers are. However, a major question that has been plaguing the MCU fan base is the possibility of spoilers that could mar the viewing experience of AVENGERS: ENDGAME. But, rest assured, since Captain Marvel is set in a time when the Avengers never existed, it will be a far cry for spoilers to be visible. That said, we have to admit that directors Anna Boden and Ryan Fleck have done a neat job with CAPTAIN MARVEL. Keeping in line with the previous MCU films this one too does well in detailing a back story for Carol Dancers that gives her role depth and helps develop a connect with the audience. A point that deserves to be mentioned here is that though Danvers suffers from amnesia and is able to remember her past life in glimpses and dreams, the on screen proceedings are never confusing. In fact, Boden and Fleck have blended montages of her past life well into the narrative and give the story progression an easy flow. Coupled with this is the fact that though CAPTAIN MARVEL is an actioner, it does have its share of dramatic and comic moments that are well interspersed into the narrative. Speaking about performances Brie Larson as Carol Danvers aka Captain Marvel does well in her given role. Despite being burdened with the weight of essaying the first ever female superhero character in an MCU film, Larson does a commendable job. Samuel L. Jackson is his usual self as Nick Fury, a role that has now become synonymous with. Ben Mendelshon as Talos/ Keller has similarly done a good job. Though caked in layers of prosthetics for his Skrull look, Mendelshon’s acting skills still manage to shine through. Here a mention needs to be made for the stellar job done by the stunt coordinators who have executed the action sequences brilliantly. Coupled with a watertight screenplay and stellar performances, CAPTAIN MARVEL also features a good background score. Keeping in mind the time period the film is set in, the film’s directors have done their research in terms of audio. Besides this the directors have also paid detailed attention to the prevalent language and slang of that era. On the whole, CAPTAIN MARVEL, is a thrilling ride that has the right amount of action, drama, and comedy, all rolled together with some fine performances. Despite being the 21st film on the MCU, it still retains that freshness and edge of the seat thrill that is certain to drive viewers berserk. At the box office, the film is expected to do very well, given the high level of anticipation for it.
