Reviews Sep, 26 2015

Kis Kisko Pyaar Karoon review

Director: Abbas Alibhai Burmawalla, Mastan Alibhai Burmawalla

Cast & Crew: Kapil Sharma, Varun Sharma, Elli Avram, Manjari Fadnis, Manoj Joshi, Arbaaz Khan, Simran Kaur Mundi, Supriya Pathak, RajeshB.

Music: Dr. Zeus

STORY: A man (Kapil Sharma) falls in love with four women, but how will he keep them from finding out about each other?

REVIEW:Thriller experts Abbas-Mustan do a David Dhawan and Kapil Sharma a component film form of his drama appear. Without a solitary amusing line. The outcome: a small time demonstrate that may have worked with yesteryear’s Govinda and the Sajan Chale Sasural classification. With Sharma in each edge, giving the same pop-peered toward look and rattling off dialogs like he’s perusing fine print in a common store commercial, Kis Kisko Pyaar Karu speaks the truth one man and his three wives. That is four parody appears in one. Just, the real parody appears on TV are better.

Contingent upon your comical inclination, this film could be a comic drama or a catastrophe. For Sharma fans, the answer is clear. For others, the main clever minutes in the film accompany Sharat Saxena as Sharma’s on screen father , clarifying his own particular disloyalty with a verse from an old tune:

“Ek hawa ka jhoka aaya,

Toota dali se phool

Na pawan ki na chaman ki,

Kis ki hai yeh bhool?”

Sharma plays Kumar, whose own scrape is clarified as a progression of mishaps. Biwi Number One, Juhi (Manjari Phadnis), is dumped on Kumar by a diminishing father.

Biwi Number Two, Anjali (Sai Lokur), is constrained upon Kumar by a hard of hearing wear sibling, Tiger bhai (Arbaaz Khan, joined by a thunder out of sight score). Biwi Number Three, (Simran Kaur Mundi) traps Kumar when her own particular lucky man flees.

Since Kumar needs to be a decent spouse to each of his three wives – this implies a decent morning kiss to each of them and bushels of lies for the duration of the day – his legal advisor mate Karan (Varun Sharma) encourages Kumar to purchase three pads in one building. Less drive, more opportunity to philander.

Thus it is that Kumar moves into Cocktail Towers with his three wives, each of whom supposes she’s the light of his life. The spouse determines his morning farewell by remaining at the building door and waving at all three wives remaining at their overhangs, one over the other.

As may be clear, this film is not about rationale. It’s about how brilliant Kumar is regarding the matter of dealing with his untruths and keeping reality from his three wives. So we overlook subtle elements like the way that we have no clue what precisely Kumar accomplishes as a profession, other than wear reflectors and convey satchels. What’s more, we’re relied upon to giggle at the methods Karan resorts to so as to spare his amigo’s backside. So the falling of a clothing starting with one wife’s washing line then onto the next wife’s overhang is clarified utilizing Newton and gravity as a part of a joke that bodes well just to the producers and the cleaning specialist who drops the clothing.

Kumar manages his conjugal anxiety by moving endlessly with a sweetheart, Deepika (Elli Avram). So when Kumar is not avoiding one wife or the other, he is occupied with concealing every one of the three from Deepika and her father. The film races through adventures in a shopping center when everybody from the wives to Deepika’s dad and Tiger bhai area up and play find the stowaway. Weak April Fool jokes become an integral factor and adolescent shenanigans develop with the full moon on a Karva Chauth night.

The one fortunate thing about KKPK is the pace at which Abbas-Mustan keep the film moving. Given more convincing circumstances and lines, they may have improved. Then, if seeing Kumar holding tight a divider and getting the moon, makes you chuckle, go watch KKPK, however at your own dan

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Reviews ,Trailers ,Videos May, 18 2015

Ishqedarriyaan – Offical Trailer

Ishqedarriyaan is a story about love, sacrifice, family values and relationships. Rishteydarriyaan means relationships and Ishqedarriyaan signifies the relationship when you fall in love! The movie stars Mahaakshay Chakraborty, Evelyn Sharma and Mohit Dutta. Evelyn Sharma is the lead actress, who will play the character of Luvleen, a teacher by profession who wants to collect donations for her grandfather’s school. Mahaakshay Chakraborty plays Aagam Diwan, a millionaire who loves his profession more than anything else. Mohit Dutta will play Arjun, a passionate singer.




The cast of ‘Ishqedarriyaan’ has been doing promotions across various cities in India.Lead actors Mahaakshay Chakraborty,Evelyn Sharma along with singer Asees were present. Mahaakshay Mimoh Chakraborty & Evelyn Sharma for promotions in:

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Reviews May, 17 2015

Mad Max: Fury Road (U/A)

Director: George Miller

Cast & Crew: Tom Hardy, Charlize Theron, Nicholas Hoult, Rosie Huntington-Whiteley, Riley Keough, Nathan Jones

Music: Junkie XL

STORY: In a bleak, sun-scorched future where the water supply is controlled by a warlord and vegetation is non-existent, the feisty Furiosa (Theron, fantastic) hopes to find redemption in her promised land, beyond the dusty dunes. She finds a partner of sorts in Max Rockatansky, more capable than mad and tougher than ever before.

REVIEW: Fury Road is a relentless, action-packed assault, with not a seeming nanosecond to spare when it comes to crash-and-burn chases involving vehicles that look like they were forged in the Devil’s own backyard.

In this post-apocalyptic fable of reconstruction, Immortan (Byrne) rules from an HQ that looks like a steampunk junkie’s dream dominion. Immortan’s lackeys (War Boys) resemble zombies and are slavishly devoted to him. Max has been captured by them and is used as a blood donor for these War Boys. Furiosa, while in Immortan’s employ, goes renegade one day when she drives a supply truck to his HQ containing fuel and some ‘genetically pure’ handmaidens who are in Immortan’s harem. Two of these – Whiteley as The Splendid Angharad and Eaton as Cheedo the Fragile – are very effective. Max and Furiosa meet when an infuriated Immortan subsequently gives chase, with revenge on his mind.

Tom Hardy carries on the legacy of the character famously played by Mel Gibson – the lone wolf who hallucinates about his daughter and wife. The scriptwriters would have had it easy here – there’s precious little dialogue. After all, why waste words when you can make things blow up in spectacular style?

The cinematography puts you in front and centre, almost feeling every crazy twist and turn in a chase as characters scramble and fight over, under, above and in front of flat-out weirdly pimped out vehicles. Some scenes are just flat-out bizarre. However, the attention to detail is fantastic. On the flip side, the constant barrage on the senses will polarize viewers – you’ll either not like it at all or you’ll love it. So there you have it. If you want your big screen thrill ride this summer, this might just be the ticket.

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Reviews May, 16 2015

Bombay Velvet (U/A)

Director: Anurag Kashyap

Cast & Crew: Ranbir Kapoor, Anushka Sharma, Karan Johar, Kay Kay Menon, Manish Chaudhary, Raveena Tandon, Vivaan Shah, Siddhartha Basu, Remo Fernandes, Satyadeep Mishra

Music: Amit Trivedi

Verdict: The Big Shot is waiting for you!

There are two shootout sequences in Bombay Velvet. One of them starts with a wonderful drum roll. The camera is on Ranbir Kapoor’s face, which wears the most anticipated expression of determined revenge. Then we see his back as he rises from the floor, armed with a tommy gun in each hand. This is the Scarface moment, the dream action scene every actor loves to play and every Tarantino-struck director loves to shoot.

Kapoor and director Anurag Kashyap are no exceptions. So much so that, Kapoor forgets he is Johnny Balraj here and Kashyap was probably too trigger happy to have his Gangs of Wasseypur moment to care about the timing of the sequence. And so, the only dramatic scene in the movie ends like a gun with a silencer that misfires. The following climax involving Karan Johar, is a unintentionally hilarious version of Gabbar saying, “naach Basanti” in Sholay.

Meanwhile, Jimmy Mistry (Manish Chowdhary), Khambatta’s childhood friend, current friend and editor of “Glitz”, makes Rosie his mistress. He then sends her to Bombay Velvet to do some digging about Khambatta. She’s supposed to seduce Johnny for information and she does, only to fall in love with him in earnest. And so begins a love story full of betrayals and danger. (That Mistry conveniently disappears later in the plot is another matter).Bombay Velvet follows Balraj (Kapoor) and Rosie’s(Anushka Sharma) stories. She is a nightclub singer and he is a streetfighter turned henchman. Rosie has suffered abuse since she was a little girl and Johnny has survived poverty. He is in a hurry to become a “big shot” and gets picked up by journalist and businessman Kaizad Khambatta (Karan Johar introduced in a yellow jacket). Khambatta sets up a nightclub called Bombay Velvet, where he can entertain clients who need persuasion and where liquor flows despite prohibition. Johnny and his friend Chimman are given the task of running Bombay Velvet.

Consider the elements that Bombay Velvet has been trumpeting (pun intended). It’s supposed to be an epic love story mounted on a grand, lavish scale set in the Bombay of ’50s and ’60s. The sensational promise of jazz, cabaret, nightclubs; a distressed, heavily made up singer with heavy gowns and big red flower bows in coiffured hair; a perpetually beaten up boxer, madly in love with her; a sly Shylock. The big appeal is the backdrop — the city’s post-independence history of mill strikes, rooted in a non-fiction book, Mumbai Fables by Gyan Prakash.

Sadly, the backdrop is also the biggest sham about the film. Bombay Velvet pretends to show a real Bombay, but is actually as pretty and artificial as a Sanjay Leela Bhansali set, only in lovely sepia tones. Real facts are just touched upon and relegated to a few lines at the end of the film. The song “Sylvia” nods at the infamous Nanavati scandal, but the film doesn’t talk about it. There’s banter that could have been meaningful, but doesn’t end up to be. For instance Khambata calls Mistry “Russia ka tutoo”, and Mistry in turn calls Khambata “American agent”. Had their rivalry been developed, it would have made Bombay Velvet a more interesting film and a better testament to the city’s history than Rosie and Johnny’s love story is.

Instead we get passing references to mill strikes, a reference to Russi Karanjia’s Blitzwhich is Glitz in the film, named after the real publication-Blitz. Manish Chaudhary plays Jimmy Mistry, clearly modelled upon Karanjia. Only, Chowdhary does not come across even remotely as a Parsi, which is something we’re reminded of each time Johnny calls him “Bawa”.

There has been much talk about the use of jazz in the soundtrack. Apparently, there were live recordings by musicians brought in from Prague, England, Chennai and Mumbai. Music director Amit Trivedi also reworked the famous song from CID, sung by Geeta Dutt, ”Jaata kahan hai deewane…”. Back when CID was released, the censor board did not allow the picturised song as it imagined a word “fiffy’ to have a “double meaning”. Trivedi’s revamped “Fiffy” brings back the original song, but ‘jazzed’ up, it loses half its charm.

Bombay Velvet boasts of 13 months of editing, two edits (Thelma Schoonmaker, Prerna Saigal ), one year of pre-production, 25,000 kilos of costumes and eight years of research. Mumbai was recreated in Sri Lanka, which is quite a feat for the art director and despite the challenging camera work by Rajeev Ravi, it doesn’t quite bring alive the magic of Marine Lines or Colaba.

The backdrop and jazz paraphernalia charm and seduce initially, but quickly becomes tiresome. Balraj and Rosie’s love story is predictable and cliched, but despite all the show of passion — tempers flying, slapping, kissing, bathtub scenes et al — there’s little emotional connect between the audience and the couple. The scenes don’t flow smoothly and the intercrossing cuts serve to disconnect rather than involve. This is particularly disappointing, as the edit does not reflect the craftsmanship expected of a Hollywood editor who has worked with Martin Scorsese.

Sharma and Johar try their intense best and manage to sustain interest, to some extent. Sharma’s expressions in the song “Dhadaam” will tug at your heartstrings and Johar’s private moment of sneaky laughter is delightful. Kapoor, in contrast, is like an injured boxer who does not belong in the ring. His Balraj flounders and crumbles. Raveena Tandon Thadani makes a worthy special appearance in one song, with a giant purple peacock feather as her crowning glory. Satyadeep Misra as Johnny’s loyal friend Chimman and Kay Kay Menon as the Bollywood-loving cop do their part with panache.

Yet, all this isn’t enough to redeem Bombay Velvet, which tries too hard to be a Taj Mahal. Ultimately, though, it just ends up feeling like monumental vanity.

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Director: Shoojit Sircar Cast & Crew: Amitabh Bachchan, Deepika Padukone, Irrfan Khan, Jiss...

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