Movie Review: Fast And Furious 9 - The Fast Saga (English)

FAST AND FURIOUS 9 is the story of Dominic Toretto and his gang facing threat from none other than Dom’s estranged brother. The film begins in 1989. Dominic Toretto’s (Vinnie Bennett) father Jack Toretto (J D Pardo) is a racer who is killed in an accident while racing. Dominic is soon arrested after he assaults the rival racer who was involved in the accident leading to Jack’s death. In jail, Dominic realizes that it was his brother Jakob (Finn Cole) who did some mischief in Jack’s car and that he is responsible for his demise. After releasing from jail, Dominic challenges Jakob in a race. The deal is that Jakob will have to leave town if he loses. Dominic defeats Jakob and the latter runs away. In the present day, Dominic (Vin Diesel), Letty (Michelle Rodriguez) their son Brian are living a peaceful life in a remote region. However, Dominic and Letty miss the thrill of their earlier life everyday. One day, their gang members – Roman Pearce (Tyrese Gibson), Tej Parker (Chris "Ludacris" Bridges) and Ramsey (Nathalie Emmanuel) – come to meet them. They inform Dominic and Letty that the plane carrying Cipher (Charlize Theron) was attacked by some rogue elements due to which it crashed in Montequinto, Central America. Dominic and Letty join them in finding the crash site. In the crashed aeroplane, they find a part of a devise named Ares but they don’t know what it is. At this point, they are attacked by a private army, headed by none other than Jakob (John Cena). Jakob steals the devise from them and escapes. Dominic and his gang then learn that what Jakob stole was one half of Ares. Once they get both the parts of Ares and they are able to unlock it, they’ll be able to hack into any computer-controlled weapons system. The other half of Ares is in Edinburgh where Jakob is headed too. Dominic and his gang follow suit. Meanwhile, they also find out that their deceased gang member Han Lue (Sung Kang) is also somehow connected with Ares. What happens next forms the rest of the film. <img class="aligncenter size-full wp-image-1266467" src="https://ift.tt/2WLEW7K" alt="" width="720" height="450" /> Justin Lin, Alfredo Botello and Daniel Casey's story is ideal for this franchise. Daniel Casey and Justin Lin's screenplay is entertaining but has several loose ends. The first half has lot of drama but very little action and even the drama is not that exciting. Also, its predictable; one can easily guess from a mile that Jakob will get double crossed at some point and that he’ll join Dominic. Dialogues are simple and witty at some places Justin Lin's direction is great but one wishes he was equipped with a tighter script. Talking about the plus points, he handles the scale, the action and grandeur very well. A few dramatic scenes are deftly handled. On the flip side, the film has a lengthy run time (2.23 hours). The first half hardly has any action and after a point, it tests your patience. Thankfully, there’s plenty of action scenes in the second half and it compensates for the shortcomings to some extent. FAST AND FURIOUS 9 begins on a sad note, showing how Jack Toretto died. But soon the action shifts to the chase sequence of Central America. This one is a brilliant scene and the much exciting car jump scene involving Dominic and Letty comes within the first 20 minutes. From here, the film falls and rises only during the Edinburgh sequence. The final action scene is exciting. However, one expected a little bit more tension in the space sequence. Vin Diesel, as expected, is at his best. He’s the face of the franchise and he contributes to the mass quotient of the film. John Cena has an important part and is fair. Michelle Rodriguez is restrained in dramatic scenes but quite fun while performing stunts. Tyrese Gibson and Chris “Ludacris” Bridges contribute to the humour in the film. Nathalie Emmanuel springs a surprise in the second half in the Edinburgh chase sequence. Charlize Theron and Jordana Brewster (Mia Toretto) get limited scope. Sung Kang is hardly there. Also the reason why he didn’t die and was underground all these years is not very convincing. Helen Mirren (Magdalene “Queenie” Shaw) is wasted. Anna Sawai (Elle) doesn’t have much to do after her whistle worthy action scene. But she can make for a great addition in the future installments of the series. Lucas Black (Sean Boswell) is strictly okay. Vinnie Bennett is great as the young Dominic. He even sounds like Vin Diesel to an extent. Fin Cole is fine. Jason Statham (Derek Shaw) appears in the mid-credit scene. <img class="aligncenter size-full wp-image-1266468" src="https://ift.tt/3jAFR3w" alt="" width="720" height="450" /> Brian Tyler's music is theatrical and enhances impact. Stephen F Windon's cinematography is spectacular. The lensman tries his best to get creative while taking shots and it gives a nice touch. Action and VFX are exhilarating. It is seen to be believed in the land mine sequence and the scenes where the electromagnetic waves create madness. Dylan Highsmith, Kelly Matsumoto and Greg D'Auria's editing should have been crisper in the first half. On the whole, FAST AND FURIOUS 9 is a decent, time pass entertainer which will be loved by the masses and the fans of the series. However, the long length, a comparatively unexciting first half and the prolonged lockdown for cinemas in Maharashtra would affect the box office collections in the long run.

source https://www.bollywoodhungama.com/movie/fast-furious-9-fast-saga-english/critic-review/fast-furious-9-fast-saga-english-movie-review/fast-and-furious-9-is-a-decent-time-pass-entertainer-which-will-be-loved-by-the-masses-and-the-fans-of-the-series/

Movie Review: Chehre

<a href="https://ift.tt/3mAM5m4" target="_blank" rel="noopener">CHEHRE</a> is the story of a man who faces a tough time when faced with retired law professionals. Sameer Mehra (<a href="https://ift.tt/38gey8c" target="_blank" rel="noopener">Emraan Hashmi</a>) is the chief of an ad agency called Paradoy. He goes to a hill station somewhere in the North for an ad shoot. But due to a work commitment in Delhi, he leaves from the hill town despite heavy snow. On the way, he takes a short cut to Delhi but due to a tree fall, he gets stuck. On top of it, his car suddenly breaks down. He then meets Paramjeet Singh Bhullar (Annu Kapoor) who advises him to join him to a friend’s place till it’s safe to go. Paramjeet takes him to the house of Jagdish Acharya (Dhritiman Chatterjee) where Hariya Jatav (Raghubir Yadav) is already present. Soon, Lateef Zaidi (<a href="https://ift.tt/3DjJin9" target="_blank" rel="noopener">Amitabh Bachchan</a>) also joins them. The quartet then informs Sameer that they meet everyday and play a unique game. As part of this game, they conduct a mock trial since all of them are retired law professionals. While Jagdish Acharya was a retired judge in a nearby court, Paramjeet was defence counsel and Lateef was chief prosecutor. They invite Sameer to play this game. Sameer agrees. The quartet tells him that he’ll be the accused in their court of law. Paramjeet would defend him while Lateef would try to prove that he’s guilty. Jagdish, meanwhile, would be the judge. Lateef gives Sameer a chance to confess if he has ever done any crime and got away with it. Then they’ll try him for that charge. Sameer, however, confidently tells that he has never committed any crime. Lateef then gets a chance to try him for any crime he desires. In the course of their conversation, Sameer blurts out that he used to detest his ex-boss, G S Oswal (Samir Soni) as he was a tyrant. Sameer also reveals that Oswal died recently and that he took over his position. At this, Lateef decides to try him in their court for the ‘murder’ of Oswal. Sameer is aghast and makes it clear that he hasn’t killed him. But Lateef tells the court that he’s willing to put his legal reputation at stake and that he’ll never play this game ever again if he fails to prove that Sameer hasn’t been a part of Oswal’s ‘murder’. Sameer is a bit apprehensive but then he realizes he need not worry as it’s just a game. But his worries vanish instantly when he finds out that Hariya Jatav was not a lawyer or judge. He was actually a hangman and that he has kept the noose ready, should the accused is proven guilty in their court! What happens next forms the rest of the film. <img class="aligncenter wp-image-1262837 size-full" title="Movie Review Chehre" src="https://ift.tt/2UOhS7s" alt="Movie Review Chehre" width="720" height="450" /> Ranjit Kapoor's story is inspired from Swiss writer Friedrich Dürrenmatt's acclaimed novel 'A Dangerous Game' and is very interesting and unique. Ranjit Kapoor and Rumy Jafry's screenplay is effective for most parts, especially in the first half. But the writing loses grip in the second half, more so towards the pre-climax. Ranjit Kapoor and Rumy Jafry's dialogues are sharp at several places. The 13-minute-long monologue, however, fails to make the desired impact and should have been shorter and should have had the required punch. Rumy Jafry's direction is impressive. For a director who has made light-hearted entertainers in the past to direct a thriller so well is praiseworthy. This is a challenging film as it’s mostly set in one house. But he introduces the characters and their traits very well. The manner in which they take Sameer into confidence is very convincing. In fact, there are no complaints in the first half as the way he builds up the tension makes for a thrilling experience. Problem arises in the second half as it seems dragging. Also, the climax should have been better and nail-biting. The monologue also spoils the narrative. In the past, Amitabh Bachchan had rocked the show with the ‘No Means No’ dialogue in PINK [2016]. It was shorter and far more impactful. Something on those lines was required here but sadly, the monologue turns out to be never-ending and even goes off track. The other problem with the film is that it’s quite dialogue-heavy. The makers have tried their best to infuse drama and tension wherever possible. But even then, audiences are not used to such a narrative and setting. Hence, a subject like this is experimental and would appeal to mostly urban and niche audiences. CHEHRE begins on a great note. Amitabh Bachchan’s entry is clap worthy. The exchange of dialogues here is very smooth and convincing. The way Lateef manages to conclude that Sameer is a culprit through the power of his observation and experience of asking the correct questions keeps the interest going. The intermission point is shocking. The second half starts on an interesting note. The flashback of Sameer and Natasha (Krystle Dsouza) is refreshing as it gives audiences a break from the four-walls of the mansion where the film is set. Initially, it is captivating but towards the end of the flashback, the film becomes predictable. The twist in the very final scene of the film is quite impressive and helps the film to end on a fine note. Speaking of performances, Amitabh Bachchan as usual is excellent and suits the part. His dialogue-delivery is obviously commendable but he’s very impressive in the scenes where he’s simply observing and planning his next wise move. Emraan Hashmi is the surprise of the film. He has always been a great performer but here, he steals the show and stands up in front of the veteran actors. Also, he looks quite dashing. Annu Kapoor is dependable as always and its funny how he pronounces certain words and terms. Dhritiman Chatterjee has limited dialogues but leaves a mark. Raghubir Yadav has a unique look and adds to the madness, especially at the intermission point. Krystle Dsouza is another surprise of the film. Rhea Chakraborty (Anna) has an important part and initially, she appears a bit caricaturish. But then it becomes clear that her character is a bit mentally unstable. She is memorable in two scenes – one, where she almost stabs Emraan, and two, when Emraan asks her for the keys. Siddhant Kapoor (Joe) has no dialogues but speaks through his eyes. Samir Soni looks dull while Alexx O'Nell (Richard) gets no scope. <span style="text-decoration: underline;"><strong>Emraan Hashmi: "Bollywood Actresses I always wanted to ROMANCE on-screen are Deepika and..."| Chehre</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/38j43Bb" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> There are only 2 songs in the film. The title track fails to impress while <em>'Rang Dariya'</em> is forgettable. Clinton Cerejo's background score is subtle yet intriguing. Binod Pradhan's cinematography is superb. A subject like this might lead people to think that they are watching a play on stage. But thanks to the lensman and the way he has captured the shots, it doesn’t feel so. Priya Suhas' production design also deserves brownie points for giving the film a cinematic feel. Shivam Vikram Kapoor's costumes are realistic yet appealing. Redefine's VFX is good in several scenes but weak in the climax. Bodhaditya Banerjee's editing should have been tighter in the second half. On the file, CHEHRE is a well-made film which rests on a unique plot and bravura performances. However, due to the lengthy second half and the experimental nature of the subject, the film will appeal mainly to the multiplex audiences.

source https://www.bollywoodhungama.com/movie/chehre/critic-review/chehre-movie-review/chehre-is-a-well-made-film-which-rests-on-a-unique-plot-and-bravura-performances/

Movie Review: Bellbottom

BELLBOTTOM is an espionage thriller, inspired by a true event. On August 24, 1984, ICC 691 flight takes off from Delhi and gets hijacked. This is the 5^th hijack in 7 years. In the past, the hijackers landed their plane in Lahore, Pakistan, after which the Pakistani authorities negotiated and managed to get a safe release for the passengers. This time, too, the flight moves to Lahore. Prime Minister of India, Indira Gandhi (Lara Dutta) is all set to negotiate. But she is stopped by a RAW agent, Anshul Malhotra aka Bell Bottom (Akshay Kumar). He has done extensive research on the past hijack operations. He is confident that ISI is the mastermind of the hijack episode. Indira Gandhi and her core team at first doesn’t believe him. But he proves it to them the truth. Indira Gandhi then gets a call from the President of Pakistan, Zia-ul-Haq, to ask Indira if he can go ahead with the negotiations. On the advise of Bell Bottom, Indira tells Zia-ul-Haq not to negotiate. The Pakistan President is taken aback by this conduct. The ISI then sends one of their best men, Daljeet Singh aka Doddy (Zain Khan Durrani) to take over the hijack operation from Lahore. For Bell Bottom, Doddy is someone he personally detests and with whom he has a past. What happens next, forms the rest of the film. <img class="aligncenter size-full wp-image-1258999" src="https://ift.tt/3mfk7My" alt="" width="720" height="450" /> Aseem Arrora and Parveez Shaikh's story is fantastic and well researched. It also tells about an important event in history which many might not know about. Aseem Arrora and Parveez Shaikh's screenplay is effective and tight. However, the film could have been tighter in the first half. The dialogues are simple and some of them will create frenzy in cinemas. But a few technical dialogues might go bouncer for the mass audiences. Ranjit M Tewari's direction is supreme and he seems in great form as compared to what he was in his last film LUCKNOW CENTRAL [2017]. He tries his best to keep the film as simple and gripping as possible. He also keeps in mind that it’s a commercial film which needs to work pan India. In this regard, he comes out with flying colours. The first half is where the build up happens and here the film is devoid of action or tensed moments. Yet, he attempts to ensure that audiences have a gala time. He reserves the best for the second half with the climax being the best part of enterprise. On the flipside, the first half, though interesting, could have been better. Also, it’s a 3D film but it doesn’t have the typical 3D effects. BELL BOTTOM starts off with the hijack episode. The entry of Akshay Kumar is superb. The flashback portion are fine; it might seem to halt the narrative but it helps audiences in understanding Bell Bottom’s past and why he joined RAW in the first place. The intermission point is clapworthy. The second half is where the agents reach Dubai airport and try their best to succeed in their mission. A few places, the film slips and drags but it picks up very well in the middle of the second hour. Two twists in the tale at this point adds to the fun. Akshay Kumar is in top form, as expected. He looks dashing and gives a subtle yet massy performance. Lara Dutta is the first one to be credited in the opening credits and she surely is one of the strengths of the film. Her scenes are dramatic and she gives her best. Vaani Kapoor is lovely in a small but significant role. Huma Qureshi is fair, but her character seems half-baked without back story. Zain Khan Durrani is great as the antagonist. Adil Hussain is first-rste, while Denzil Smith gets no scope. Dolly Ahluwalia (Bell Bottom’s mother) is adorable. Mamik Singh (Aashu) is okay. <span style="text-decoration: underline;"><strong>Vaani EXCLUSIVE on Bell Bottom: “Akshay Kumar &amp; the production, they were GOOD at handling…”</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/3iXf01h ?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Music doesn’t fit well into the film. <em>‘Khair Maang De’ </em>and<em> ‘Marjaawaan’</em> are visually great. <em>'Sakhiyan 2.0'</em> is not there in the film. <em>'Dhoom Tara’ </em>is like the theme song and enhances several scenes. Daniel B George's background score is exhilarating and also has the vintage feel. Parvez Shaikh's action is limited but it is impactful. Amit Ray and Subrata Chakraborty's production design is reminiscent of the bygone era. Costumes are realistic. The ones worn by Vaani are appealing. VFX is overall satisfactory though a few scenes are not as real. Chandan Arora's editing is neat. On the whole, BELL BOTTOM is a complete entertainer meant for the big screen. Kudos to Akshay Kumar, Vashu Bhagnani and the entire team for pulling off a film of this scale in the pandemic and also releasing it when cinemas haven’t opened everywhere. Definitely a step forward as far as the revival of the film industry is concerned.

source https://www.bollywoodhungama.com/movie/bell-bottom/critic-review/bell-bottom-movie-review/bell-bottom-is-a-complete-entertainer-meant-for-the-big-screen/

Movie Review: Bhuj - The Pride Of India

BHUJ: THE PRIDE OF INDIA is the story of an incredible chapter from the 1971 India Pakistan war. The persecution of East Pakistan residents by Pakistani military in 1971 leads to lakhs of deaths. Innumerable people migrate to India to escape the killings. Hence India too gets involved in this conflict and deploys a majority of its troops on the Eastern border. Taking advantage of this situation, Pakistan begins to attack the defence base of India on the Western side. On December 8, 1971, Pakistan air force suddenly attacks Bhuj airbase, taking commanding officer Vijay Karnik (Ajay Devgn) and everyone else present by surprise. Several lives are lost in this attack and the airstrip is also badly damaged. Meanwhile, Pakistan also destroys Surajbari and Banaskatha bridges and five major roads that lead to Bhuj. As a result, Bhuj and Kutch are cut off from the rest of the country. The Indian air force aircrafts can't even land as the airstrip is destroyed and the engineers that can repair it have run away. The Pakistan army meanwhile has begun advancing towards Bhuj and plans to capture the whole region. The only solution in sight is to get the airstrip repaired overnight at any cost. What happens next forms the rest of the film. <img class="aligncenter size-full wp-image-1256086" src="https://ift.tt/2UfUu2z" alt="Movie Review Bhuj - The Pride Of India" width="720" height="450" /> Abhishek Dudhaiya, Raman Kumar, Ritesh Shah and Pooja Bhavoria's story is fascinating and also unknown to most people. Most viewers would be amazed to know that an incident like this occurred and that even the common citizens helped the forces in the war. Abhishek Dudhaiya, Raman Kumar, Ritesh Shah and Pooja Bhavoria's screenplay is a mixed bag. The first half doesn't have much development in the story. But it’s in the second half where the writers show their brilliance. The climax especially is very well thought of. Abhishek Dudhaiya, Raman Kumar, Ritesh Shah and Pooja Bhavoria's dialogues (additional dialogues by Manoj Muntashir) are intended to generate claps. Ajay’s monologue while convincing the villagers is touching. Abhishek Dudhaiya's direction has its share of glitches but overall it's fair. Talking of the pros, he handles the scale of the film very well. Certain dramatic and action scenes are well executed and this also enhances the impact. Also, certain one-take action scenes add to the entertainment quotient. The climax is nail-biting and he really takes the film to another level here. On the flipside, the characters are not well defined. The introduction is very quick of all major characters. For a layman, it’ll be too much to process so much information. Also, one could sense that certain scenes have been cut, possibly to curtail the length. In several action scenes, logic takes a backseat. The scene of Ranchod in the trench in the climax would be loved by the masses but it’s difficult to digest. Also, the first half has some interesting scenes but overall, it fails to make the desired impact as the execution is a bit all over the place. BHUJ: THE PRIDE OF INDIA’s first 5 minutes explain the context through a montage and also with the scene of Pakistani officials discussing their evil plan. The latter is a bit over the top but helps in understanding the conflict. The Bhuj airbase attack scene is shocking but soon the film goes into flashback mode. Here, too many characters get introduced and it becomes a case of information overload. The track of Heena Rehmani (Nora Fatehi) comes as a great respite. Her one-take mirror action scene is one of the best scenes in the film. In the second half, there comes a certain ‘<em>thehrav</em>’ in the narrative. Also, the introduction of Sunderben (Sonakshi Sinha) adds a lot to the film. The best is reserved for the last 20-25 minutes with the aeroplane landing scene taking the cake. <strong><span style="text-decoration: underline;">“Ajay Devgn is an INDUSTRY, you can ask him anything about…”: Sharad Kelkar | Bhuj -The Pride of India | Ajay Devgn</span></strong> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2VQGk8g" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Ajay Devgn plays a one-dimensional character. But performance wise, he’s first-rate and lifts certain scenes. His slo-mo walk especially is quite exciting and would have led to a riot in cinemas. Sanjay Dutt, too, plays a character whose back story is not properly explained but he is quite good, especially in the fight scenes. Sonakshi Sinha has a late entry but is the surprise of the film. Nora Fatehi charms with her performance and action. Her action scene is one of the highlights. Sharad Kelkar (R K Nair) is, as always, dependable. Ammy Virk (Vikram Singh Baj) is decent and gives his best. Pranitha Subhash (Usha), Ihana Dhillon (R K Nair’s wife) and Mahesh Shetty (Laxman) get no scope. Navni Parihar (Indira Gandhi) is fair. The actors playing General Yahya Khan, Heena Rehmani’s husband Md Hussain Omani, Wing Commander A A Sahu, Mukhtar Baig and Taimoor Rizvi are okay. Music is okay and there’s not much scope for songs. In fact, a few songs like <em>'Rammo Rammo', 'Bhai Bhai'</em> and even the famous <em>'Zaalima Coca Cola'</em> tracks are missing. <em>'Hanjugam'</em> is forgettable but <em>'Desh Mere'</em> is touching. The devotional song of Sonakshi Sinha (<em>'He Ishwar Maalik He Daata'</em>) is powerful but looks a bit out of place. Amar Mohile's background score is exhilarating. Aseem Bajaj's cinematography is impactful. A few shots are exceptionally done. Archana Mishra's costumes are realistic and glamorous in the case of the heroines. Narendra Rahurikar's production design is detailed. R P Yadav &amp; Peter Hein's action is entertaining and grand. NY VFXWaala's VFX is of a good standard. A few scenes were not upto the mark but overall, the VFX team deserve praise. Dharmendra Sharma's editing is a bit quick and haphazard. On the whole, BHUJ: THE PRIDE OF INDIA tells an incredible story from a chapter of Indian history. The performances are first-rate and the film goes on an exciting level in the second half, with the nail-biting climax being the best part of the enterprise. A film of this scale should have been released in cinemas as it’s full of massy scenes that would have generated immense craze among the audiences.

source https://www.bollywoodhungama.com/movie/bhuj-pride-india/critic-review/bhuj-pride-india-movie-review/

Movie Review: Shershaah

SHERSHAAH is the story of a brave Indian soldier who laid down his life during the 1999 Indo-Pakistan war. Vikram Batra (Sidharth Malhotra) stays with his parents in Palampur, Himachal and his twin brother, Vishal Batra. Since the time he was a child, he was interested in joining the army. At college, he meets Dimple (Kiara Advani) and falls for her. She reciprocates his love and both start a relationship. At this point, Vikram decides to join the merchant navy instead of the army as it pays better. One day, when Vikram drops Dimple home, Dimple’s father (Bijay J Anand) catches them red-handed. He tells Vikram that since he belongs to a different caste, he can’t marry Dimple. Dimple, however, protests and even tells her father that Vikram would earn more than him since he’s going to join the merchant navy. Meanwhile, Vikram starts getting second thoughts after his best friend Sunny (Sahil Vaid) insists that he should not give up his dream of joining the army. Vikram tells Dimple about his change of plans. This infuriates Dimple and she requests him not to make any more changes in future plans. Vikram then enrols himself at an army institute and passes with flying colours. In 1998, he gets his first posting at 13th Jammu and Kashmir Rifles at Sopore. Vikram is now a Lieutenant. His regiment comprises Lieutenant Sanjeev Jamwal (Shiv Panditt), Naib Sudebar Bansi Lal Sharma (Anil Charanjeett), Subedar Raghunath (Raj Arjun), Major Subrata Mukherjee (Abhiroy Singh) and Major Ajay Jasrotia aka Jassi (Nikitin Dheer), etc. In no time, Vikram proves his worth when he manages to capture a dreaded terrorist, Attaullah (David Browne), who’s a part of the gang of an evil militant, Haider (Mir Sarwar). Vikram also befriends locals, unlike other soldiers. This proves to be of great help as a friendly local, Gafoor (Zahoor Zaidi), informs him that his son Arslaan (Afnan Ashia) has joined Haider’s gang but wants to leave them. Meanwhile, Haider attacks 13th Jammu and Kashmir Rifles while they were moving as an act of revenge for capturing Attaullah. Naib Sudebar Bansi Lal Sharma loses his life in this attack. Arslaan helps Vikram as he tells the latter about Haider’s hideout. In a risky operation, Vikram leads his team to the hideout and manages to capture and eliminate Haider. Before his death, Haider however warns Vikram that something big and devastating is going to happen soon. What happens next forms the rest of the film. <img class="aligncenter size-full wp-image-1254941" src="https://ift.tt/3CK0uCa" alt="" width="720" height="450" /> Sandeep Shrivastava's story is well-researched and very interesting. Sandeep Shrivastava's screenplay is effective and seamless. The writer has packed in a lot in 135 minutes and yet kept the focus on Vikram Batra’s achievements as an army officer. On the flipside, a few developments are not explained properly in the first half. Sandeep Shrivastava's dialogues are conversational but at the same time also have the required punch and drama. The use of abusive language, however, might not be appreciated by the family audience. Vishnu Vardhan's direction is supreme and he handles the film in a very commercial manner. He also doesn’t waste time and decides to highlight only whatever is required to take the story forward. Hence, once Attaullah is captured, except for a fleeting shot, he isn’t even shown in the film and yet, it doesn’t seem incomplete. Dimple’s father is an important character and even here, the director made his character impactful with minimal scenes. The masterstroke in this aspect is with regards to the character of Vikram Batra’s twin brother, Vishal. The action and war scenes are simplistic and easy to understand. However, the film seems a bit repetitive in the second half, during the scene where the soldiers are trying to capture the strategic points. Also, it is bewildering when and why Vikram suddenly decides to opt for the merchant navy. The other confusing bit in the film is the scene where Gafoor stops Vikram from meeting Arslaan. Earlier it was Gafoor who had approached Vikram and informed him that Arslaan is working for the militants. SHERSHAAH begins on an unusual and thrilling note. The childhood and college scenes of Shershaah are lovely. The scene where Vikram and Dimple finally talk is okay but the scene becomes memorable thanks to the Rock Garden setting. The fun begins once Vikram joins his unit at Sopore and the bond he creates with the fellow soldiers. The scene where Vikram manages to capture Attaullah and the subsequent conversation with Sanjeev Jamwal is excellent. The sudden attack on the army convoy and the death of Naib Sudebar Bansi Lal Sharma is shocking. The scene where Vikram infiltrates into Haider’s hideout and kills him is terrific and would have been greeted with whistles and claps in cinemas. Post-interval, the war episode finally begins and as expected, it's gripping. Some viewers might have complaints here as they must have already seen his life story in J P Dutta’s LOC KARGIL [2003]. SHERSHAAH even recreates the scene where the Pakistani soldier suggests that he’ll leave Indian territory if India gives Madhuri Dixit in return. Yet, the impact is made as LOC KARGIL doesn’t have much recall value. The last 20-25 minutes is very moving and are sure to make the viewer's eyes moist. The end credits last for almost 11 minutes as the makers list out the names, photographs of the soldiers in Vikram Batra’s regiment and the accolades won by them. It’s a lovely gesture and apt for a film that beautifully pays an ode to the greatness of the Indian Army. Sidharth Malhotra delivers the best performance of his career. The actor handles the part with sensitivity and perfection and completely gets into its skin. It also shows that he has evolved as an actor. It’s unfortunate that SHERSHAAH is not getting a theatrical release as it would have given a big boost to Sidharth’s career. Nevertheless, it’s surely a feather in his cap as it proves that his acting abilities are first-rate. Kiara Advani, as expected, has a limited role but looks adorable and delivers a fine performance. The scene where she reprimands Sidharth for changing his career decision proves that Kiara has also come a long way. Shiv Panditt looks dashing and is dependable. Anil Charanjeett is fair while Raj Arjun makes his presence felt. Abhiroy Singh leaves a mark and suits the part. Nikitin Dheer is great and it's nice to see him on screen after a long time. Sahil Vaid, as always, does well. Bijay J Anand is okay. Mir Sarwar is good but has got stereotyped in such roles. Zahoor Zaidi and Afnan Ashia are fair in their small roles. David Browne is hardly there. Shataf Figar (Lt Col Y K Joshi) has an important role and lends able support. Krishnay Batra (Junior Vikram Batra) and Kavay Tuteja (Junior Vishal Batra) are cute. G L Batra (Pawan Chopra) and Kamal Kanta Batra (Vijay Meenu) don’t get much scope. <span style="text-decoration: underline;"><strong>Sidharth Malhotra: "Being a SOLDIER was Vikram Batra's only DHARM, he was waiting ke..."| Shershaah</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/3iE4SdV" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> The music is average but thankfully, the songs are well-placed and spaced out. <em>'Raataan Lambiyan', 'Ranjha'</em> and <em>'Kabhi Tumhe Yaad'</em> are decent. <em>'Mann Bharryaa'</em> is the best song of the lot and played at a significant point in the film. 'JaiHind Ki Sena' is not a part of the film. John Stewart Eduri's background score is theatrical and enhances the impact. Kamaljeet Negi's cinematography is spectacular and captures the locales of Kashmir beautifully. Amit Ray and Subrata Chakraborty's production design and Eka Lakhani's costumes are realistic. Stefan Richter and Sunil Rodrigues' action is not too gory and adds to the excitement. Also, the war scenes are very well mounted and look very authentic. Red Chillies.VFX's VFX is convincing. A Sreekar Prasad's editing is neat. On the whole, SHERSHAAH is a well-made war saga that is sure to make your heart swell with pride and your eyes moist. Sidharth Malhotra delivers the finest performance of his career in this film which would have been a huge box office hit had it been released in cinemas. It releases just around Independence Day and hence, it’s sure to get very good viewership. Recommended!

source https://www.bollywoodhungama.com/movie/shershaah/critic-review/shershaah-movie-review/

Movie Review: Mimi

20 Years ago, Abbas-Mustan’s CHORI CHORI CHUPKE CHUPKE [2001] introduced viewers to the concept of surrogacy and made it mainstream. Later, a couple of few films also touched on this concept but none of them were memorable. Now, Dinesh Vijan’s Maddock Films and Jio Studios have come up with yet another film on this topic. Titled MIMI, the film’s trailer looked promising and viewers were looking forward to seeing it on July 30, the day of its release. However, the film got leaked and the film was hence dropped online today itself. So does MIMI manage to entertain and touch the hearts of the viewers? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1247185" src="https://ift.tt/2USuURt" alt="" width="720" height="450" /> MIMI is the story of a girl who decides to become a surrogate mother. The year is 2013. Mimi Mansingh Rathore (Kriti Sanon) resides in a small town in Rajasthan. She dreams of becoming an actress and moving to Mumbai. She’s in touch with a man called Jolly (Nadeem Khan), who works in films. He asks her to move to Mumbai and pay him a few lakhs to get her portfolio done and even shoot a music video. Mimi isn’t that rich and hence, she’s trying to save. To earn, she does dance shows. At one such show, a foreigner couple Summer (Evelyn Edwards) and John (Aidan Whytock) happen to see her. They have been in India since a year to find a surrogate mother since Summer can’t conceive. They are searching for a fit and healthy girl and when they see Mimi, they realize that she’s apt to bear their child. They tell their driver, Bhanu Pratap (Pankaj Tripathi) to convince her. In return, they promise to pay him Rs. 5 lakhs to Bhanu. Bhanu readily agrees. He also manages to convince Mimi, especially when she’s told that she’d be paid Rs. 20 lakhs. Mimi agrees for surrogacy but realizes that she’ll have to hide her pregnancy from her parents, Mansingh Rathore (Manoj Pahwa) and Shobha (Supriya Pathak). So, she lies to them that she’s landed a role in a film for which she has to move to Mumbai immediately. She moves to the residence of her friend, Shama (Sai Tamhankar). Bhanu, too, moves in with her and pretends to be her husband. Mimi gets pregnant and all is going well. A few months later, Summer and John conduct tests which shows that the child in Mimi’s womb would be born with Down’s Syndrome. Summer and John are devastated with this development. They conclude that they didn’t sign up for this. They tell Bhanu to inform Mimi that she should abort the child. Without meeting her, they leave for their country, USA. Mimi is devastated upon hearing about their conduct. With no option, she returns to her home. Her parents are shocked obviously. Mimi lies that Bhanu is the father of the child. Mansingh and Shobha are obviously not happy with the development but they accept it. Finally, 9 months pass and Mimi delivers a boy. What happens next forms the rest of the film. Laxman Utekar and Roshan Shankar's story is inspired from a Marathi film MALA AAI VHHAYCHY [2011; written by Samruddhi Porey]. The plot is entertaining and touching and has all the ingredients of a family entertainer. Laxman Utekar and Roshan Shankar's screenplay is highly effective. The writers pepper the narrative with some very impressive sequences that keep the interest going. Also, for most parts of the film, there’s a lot of humour. Hence, it appeals to audiences of all kinds. Roshan Shankar's dialogues are one of the best things of the enterprise. The dialogues are funny and very well-worded and largely contribute to the film’s entertainment quotient. Laxman Utekar's direction is superb. In his last outing, LUKA CHUPPI [2019], the execution was a bit shaky. But here, he seems to be in firm control. The film revolves around motherhood and surrogacy which are serious topics. Yet, he manages to add humour very convincingly and he doesn’t make mockery about the sensitive issues that the film deals with. Also, how neatly he is able to change the tone of the film from funny to serious to again funny is praiseworthy. Mimi’s journey from an aspiring actress to a hand-on mother is shown appropriately. Laxman Utekar also deserves brownie points for treating the various dynamics and relationships shown in the film. In this regard, the character of Bhanu Pratap stands out. The way he stands rock solid with Bhanu, including his wife Rekha (Atmaja Pandey), is heartwarming. On the flipside, the film gets a bit lengthier towards the second half. Also, the ending is a bit too sudden and also predictable. MIMI begins on a great note which neatly explains the concept of surrogacy. Mimi’s entry is quick. How Mimi agrees to the surrogacy is great. The scene where Dr Asha Desai (Jaya Bhattacharya) announces that Mimi is pregnant is touching and this is where audiences realize that the film will score even emotionally. The track of Mimi and Bhanu pretending to be a Muslim couple will surely be loved. The shocker drops when Summer and John run away. But the makers don’t allow the film to get serious and soon, the track of Bhanu pretending to be the father of the child is infused and it adds to the fun. The scene where Rekha and Bhanu’s mother Kainkayi (Nutan Surya) create a scene when they assume that Bhanu married for the second time is sure to bring the house down. The last 30 minutes is quite serious and is sure to make viewers’ eyes moist. <span style="text-decoration: underline;"><strong>Kriti Sanon: “Nupur didn’t like some guys I DATED in the past because she…”| Mimi</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/3rNtPXj" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Speaking of performances, Kriti Sanon delivers a very entertaining performance. She is the only lead in the film in a way and she shoulders the responsibility very well. This is surely her most accomplished performance and is sure to get appreciation from all quarters. Pankaj Tripathi is at his best. No other actor could have done this role so well. He has given several memorable performances but this is surely one of his best. Sai Tamhankar lends able support and leaves a huge mark as the supportive friend. Evelyn Edwards and Aidan Whytock are effective. Jacob Smith (Raj) is very cute and adds a lot to the film in the second half. Manoj Pahwa and Supriya Pathak are excellent as always. Atmaja Pandey and Nutan Surya are great in a small role. Jaya Bhattacharya is fair. Sheikh Ishaque Mohammad (Aatif) adds to the humour. Nadeem Khan is okay A R Rahman's music is average and could have been better. <em>'Param Sudnari'</em> works and is well choreographed. <em>'Aane Ko Hai Mehmaan', 'Fuljadi' </em>and <em>'Rihaayi De' </em>are okay while <em>'Choti Si Chiraiya' </em>is touching. A R Rahman's background score enhances the emotions depicted in the film. Akash Agarwal's cinematography is first-rate and the locales of Rajasthan are well captured. Sheetal Sharma's costumes are stylish yet earthy. Subrata Chakraborty and Amit Ray's production design are appealing but also seem real. Manish Pradhan's editing is fine. On the whole, MIMI is a heartwarming saga, aimed at families and it will keep the audience thoroughly entertained. Had it released in cinemas, it had a good chance of becoming a success. Strongly recommended.

source https://www.bollywoodhungama.com/movie/mimi/critic-review/mimi-movie-review/

Movie Review: Hungama 2

Post HERA PHERI [2000], Priyadarshan had become a force to reckon with in Bollywood. His comic capers have a lot of characters and subplots but also tons of humour and it's no wonder that he developed a strong fan following. After staying away from Bollywood for around 8 years, the master director is back with HUNGAMA 2. The first part, released in 2003, was a laugh-a-minute riot and is remembered fondly even today. Does HUNGAMA 2 emerge as funny as or better than part 1? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1245758" src="https://ift.tt/3x18t9y" alt="" width="720" height="450" /> HUNGAMA 2 is the story of a man in trouble after his ex-flame arrives at his house and causes <em>‘hungama’</em>. Akash Kapoor (Meezaan Jafri) stays with his father, Colonel Kapoor (Ashutosh Rana), sister, his brother’s children and a butler, Nandan (Tiku Talsania). He works in an office and his colleague is Anjali (Shilpa Shetty Kundra), a family friend. She is married to Radhe Shyam Tiwari (Paresh Rawal), a good-for-nothing advocate who is always suspicious that Anjali is cheating on him. Akash is about to get married to a girl named Simran, daughter of M G Bajaj (Manoj Joshi), a friend of Kapoor. All is going well for Akash until one day, his ex-girlfriend, Vaani (Pranitha Subhash) arrives at his residence with her daughter, Gehna. She claims that Akash impregnated her when they were dating and studying in college and then ran away. Akash, at first, refuses to even accept that he knows Vaani. But later, he admits that they were in a relationship. But he assures Colonel Kapoor that Gehna is not his daughter. Kapoor doesn’t know whom to believe. The DNA test is done which proves that Akash is the father. Kapoor is devastated since Akash’s engagement with Simran is fixed. He keeps Vaani hidden from Bakshi and everyone else till he finds out the truth. Akash, meanwhile, still claims that he’s not the father and he approaches Anjali for help. Anjali meets Kapoor to discuss the matter. Kapoor requests Anjali not to reveal about Vaani and Gehna to anyone, not even Radhe. She agrees. When she goes home, she lies when Radhe asks where she had gone. Radhe then begins to follow her secretly and overhears her conversation with Akash. Both are discussing about pregnancy and a baby. Radhe assumes that Anjali is pregnant with Akash’s child. What happens next forms the rest of the film. Priyadarshan's story is promising and has all the ingredients of a solid, complex entertainer that he’s famous for. But Yunus Sajawal's screenplay spoils the show. The narrative is all over the place. There are too many characters and subplots and are not stitched together well. Also, logic takes a backseat. This usually happens in comedy films but here, it reaches unbelievable levels. Manisha Korde and Anukalp Goswami's dialogues try their best to contribute humour and drama but it’s not upto the desired level. Priyadarshan's direction is average. He’s laced with a poor script and that further diminishes the impact. In the past, he has exceled with comedies where there are far too many characters and misunderstandings. How he used to manage to smoothly execute the madness despite challenges used to be his USP. The filmmaker tries to replicate his formula but doesn’t succeed. The basic plot is such that the film could have been funny from start to finish. But the humour is very weak and also the funny situations are few and far between. He doesn’t even do justice to some of the subplots. Even the answer to the mystery behind the sudden appearance of Vaani at the Kapoor family’s residence is silly. On the positive, a few scenes here and there do manage to raise laughs but obviously it’s not enough. <span style="text-decoration: underline;"><strong>Rajpal Yadav: "Mujhe ANGREZI nahi aati, London mein sabse zyada COMFORTABLE main hoon"| Hungama 2</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://ift.tt/2V1pBih" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> HUNGAMA 2 begins on a dull and serious note. The track of Gagan Chandra D’costa (Johny Lever) and that of the kids does raise a few laughs. But the kids then disappear and re-emerge only in the second half. This makes it clear that things are going to happen at random in the film. A few scenes that stand out and are actually funny are Nandan discussing the contents of the DNA report and Popat Jamal (Rajpal Yadav) claiming to be Vaani’s husband. Popat also single-handedly contributes to the humour in the climax. But as mentioned before, it was not enough. Ideally, the whole film should have been hilarious, just like the first part. Meezaan Jafri is strictly okay. The actor tries his best but in some scenes, his comic timing is not upto the mark. A role like this required a far more talented actor. Pranitha Subhash puts up a confident act and leaves a mark. Shilpa Shetty looks ravishing and proves that she can still deliver a fine performance. Sadly, her screen time is limited. Paresh Rawal’s track is funny but the humour is weak. Performance-wise, he’s first-rate. Ashutosh Rana has a lengthier and even stronger role. He goes a bit overboard but manages to entertain. Tiku Talsania also gets his act right, especially in the DNA report scene. Manoj Joshi is alright. Rajpal Yadav has a small role but brings in big laughs. Johny Lever is good in the cameo. Akshaye Khanna is nothing great in the special appearance. The child actors do well but their track is not well utilized. The actors playing Meezaan’s sister and brother are average. Anu Malik's music is forgettable. <em>'Chura Ke Dil Mera 2.0'</em> is the best of the lot because of Shilpa’s sensuous moves. <em>'Pehli Baar', 'Chinta Na Kar', 'Aao Chalein Hum'</em> and <em>'Hungama Ho Gaya'</em> are disappointing. Ronnie Raphael's background score is better and is in the Priyadarshan zone. Ekhambhram N K's cinematography is breath-taking. The locales of Manali are well captured. Selvakumar's production design is very superior. In fact, the film looks like a rich product. The costumes are glamorous, especially the ones worn by Shilpa Shetty. M S Aiyyapan Nair's editing could have been tighter. On the whole, HUNGAMA 2 is not as funny as one expects it to be. The film suffers due to the long length, insipid script, weak humour and lack of logic. A major disappointment.

source https://www.bollywoodhungama.com/movie/hungama-2/critic-review/hungama-2-movie-review/