India Insight

Movie Review: Raja Natwarlal

(Any opinions expressed here are those of the author and not of Thomson Reuters)

Kunal Deshmukh, going by his filmography, loves two things – Emraan Hashmi and cricket. After “Jannat” – a movie about cricket and match fixing – and the caper film “Jannat 2″, director Deshmukh seems to have combined the storylines for his latest offering – a caper film about cricket starring Hashmi.

Raja NatwarlalRaja Natwarlal” is a flimsily written and half-heartedly directed film, which falls short of its lofty ambitions because no one associated with it seems to have any concern for detailing or authenticity on celluloid.

Hashmi plays a cocky, but good-hearted con man, who decides to rob 8 million rupees from a gangster. When his partner-in-crime Raghav (Deepak Tijori) has a change of heart and decides to return the money to Varda Yadav (Kay Kay Menon), Raghav is shot dead.

Raja (Hashmi) decides to take revenge. He enlists the help of his friend’s mentor Yogi (Paresh Rawal) and puts together a motley crew, almost the equivalent of an Indian Ocean’s Eleven.

The con, which involves selling Yadav a cricket team in a domestic Twenty20 tournament is where the film really falls apart. There are so many loopholes in the plan, and so much is left unexplained that, at the end of the film, the audience might feel they are the ones being conned.

Movie review: Supercop ‘Singham Returns’ with a roar

(Any opinions expressed here are those of the author and not of Thomson Reuters)

He can punch legions of hired hoodlums into submission. Troublemakers on speeding bikes can’t get past him, for he grabs them by their collars without suffering so much as a sprain. His stunts are out of this world, because gravity bends to his will and friction doesn’t slow him down.

4Meet Bajirao Singham, the one-man army in director Rohit Shetty’s ‘Singham Returns’, a black-and-white world of sententious dialogue, over-the-top action, loud background music and mildly entertaining humour.

To quickly summarise the plot, Singham (Ajay Devgn) is Mumbai’s Deputy Commissioner of Police, a supercop blessed with infinite courage, phenomenal crime-fighting abilities and an unassailable character. Assigned the task of protecting upright politician Gurukant Desai (Anupam Kher), Singham comes in direct confrontation with Desai’s political ally, the unscrupulous Prakash Rao (Zakir Hussain) and his partner-in-crime — a wily, pot-bellied and all-powerful ‘godman’ called Baba (Amol Gupte). Singham must also try to clear the name of his colleague Mahesh, a low-ranked police official who was inexplicably discovered dead with a huge stash of unaccounted money.

Movie Review: This ‘Pizza’ is half-baked

(Any opinions expressed here are those of the author and not of Thomson Reuters)

If the rule of thumb to gauge the worth of a horror movie is how badly it scares you, then Akshay Akkineni’s supernatural thriller ‘Pizza’ is successful only in parts. That’s tragic, considering the plot held promise and would’ve worked had it been treated more intelligently and with attention to finer detail.

pizzaaKunal (Akshay Oberoi) and Nikita (Parvathy Omanakuttan) are a married couple. Kunal is a pizza delivery man while Nikita writes horror novels. Money is scarce and they struggle to make ends meet. One night Kunal delivers a pizza to a woman (Dipannita Sharma) at her bungalow.

Soon he finds himself trapped inside the house and from then on, the film is about Kunal stumbling upon bloodied bodies, his close encounters with demons, and his attempts to escape. Add to the mix Kunal’s wife who goes missing after she turns up at the bungalow following his frantic call for help.

Movie Review: ‘Lekar Hum Deewana Dil’ is an insipid disaster

(Any opinions expressed here are those of the author and not of Thomson Reuters)

Director Arif Ali’sLekar Hum Deewana Dil” will try your patience from the word go, so here’s a game you can play to make the experience more tolerable. It’s called ‘Spot the Movie’ and its rules are simple: name the films that this particular snorefest reminds you of. I promise you, there’ll be many.

In “Lekar Hum Deewana Dil”, Karishma Shetty (Deeksha Seth) and Dinesh ‘Dino’ Nigam (Armaan Jain) are college classmates in Mumbai who get along like a house on fire. Everyone else is convinced they are in love but the lead pair says they are just good friends. Such good friends that Karishma begs Dino to marry her to avoid the arranged marriage her rich, tyrannical father has planned for her. They elope when neither family consents to the match.

With little money and an unfinished education, it doesn’t make sense. But what is an eloping Bollywood couple if not ridiculously optimistic? The two travel deep into the country’s heartland. One of their stops is Dantewada in the state of Chhattisgarh, where they spend time with and even shake a leg for – hold your breath – a bunch of friendly Maoist rebels. Egos clash, quarrels ensue and things fall apart in general before there is enlightenment and reconciliation.

Movie Review: ‘Humshakals’ is best avoided

(Any opinions expressed here are those of the author and not of Thomson Reuters)

In the opening scene of director Sajid Khan’s “Humshakals” (lookalikes), Ashok Singhania (Saif Ali Khan) rattles off a series of unfunny jokes at a club as unamused guests flee. In a way, the scene is a sign of things to come, portending a long-winded tale with dull, contrived and ineffective humour.

Humshakals With “Humshakals”, Sajid Khan returns with his particular brand of slapstick comedy (remember “Housefull?). The plot is predictably threadbare. Ashok is taking care of his comatose father’s business empire; he’s an amateur comedian, a devoted son and a caring lover. Kumar (Riteish Deshmukh) is his best friend. Then there is Kunwar Amar Singh (Ram Kapoor), Ashok’s scheming maternal uncle who wants to seize his property by proving he is mentally unstable.

Confusion arises when Ashok and Kumar are admitted to the ‘Cray G. Mental Asylum’ (you read that right) and are mistaken for a pair of doppelganger patients with the same names. If that isn’t bizarre enough, there is a third patient called Joe in the same institution who is a lookalike of the scheming uncle.

Movie Review: Bhoothnath Returns

(Any opinions expressed here are those of the author and not of Thomson Reuters)

The one thing to be said for Nitesh Tiwari’s “Bhoothnath Returns” is that it has impeccable timing. At a time when India is caught up in election fever, and every TV news channel is celebrating “the dance of democracy”, the film delivers the same message, albeit with a higher budget and a stronger medium than public service advertisements.s

Combining a children’s film with a sermon on the importance of voting couldn’t have been easy, and at times, the film falters. Yet, you cannot help but warm up to the characters and the rather uneven storyline, thanks to the generous dose of honesty that director Tiwari brings to the table.

Amitabh Bachchan reprises his role as Bhoothnath, an amiable ghost in the land of spectres, depicted in the film as an idyllic European village with meadows and towering castles. Ridiculed because he couldn’t spook earthlings in the first film, Bhoothnath is sent back to scare a few kids, so that he can fulfil his ghostly duties.

Movie review: Youngistaan

(Any opinions expressed here are those of the author and not of Thomson Reuters)

Syed Ahmad Afzal’s “Youngistaan” is supposed to be a funny and clever look at the reign of a carefree young man who finds himself sworn in as the prime minister of India.

Abhimanyu Kaul (Jackky Bhagnani), the son of the incumbent premier, is partying one minute and sitting by his dying fathers bedside the next. Our young hero is oblivious to his parent dying of cancer and knows nothing about the vagaries of politics in India, but is still trusted with the highest office in the country.

Abhimanyu’s wardrobe undergoes a transformation — from grungy tees to crisp, linen shirts. He makes rousing speeches at the United Nations and pushes for youth reform. What does not change though, is his whiny girlfriend and her whims and fancies, which the young prime minister insists on fulfilling, even when they are unreasonable and childish.

Movie Review: Bewakoofiyaan

(Any opinions expressed here are those of the author and not of Thomson Reuters)

Nupur Asthana’s “Bewakoofiyaan” deals with money, its effects on modern-day relationships, and how couples deal with societal pressures.

But the treatment of the film is quite outdated. There are autocratic fathers who don’t trust their daughters, and grown men who are out of a job but splurge on vacations and designer clothes.

None of the lead characters invite your sympathy or attention — whether it is Mayera (Sonam Kapoor), a spoilt, petulant girl who thinks her boyfriend’s credit card limit is a sign of growth; Mayera’s loud, blustering father (Rishi Kapoor) who doesn’t think twice before spying on the boyfriend; or Mohit Chaddha (Ayushmann Khurrana), the boyfriend in question.

Movie Review: Gulaab Gang

(Any opinions expressed here are those of the author and not of Thomson Reuters)

Soumik Sen’s “Gulaab Gang” wants to assure us, through its promos and marketing campaigns, that it speaks of women’s empowerment and the power they can wield against a corrupt and insensitive system.

On the contrary, this is a movie that does women’s empowerment a huge disservice — it depicts the protagonists as one-dimensional characters; equates justice with mob violence; and would have you believe that the punishment for a heinous crime is to slice off the perpetrator’s body parts.

There is so much sanctimony stuffed into “Gulaab Gang” that you find it hard to take anything in this 135-minute film seriously. Madhuri Dixit plays Rajjo, the fierce leader of a women’s group that has its own justice system and aims at standing up for victims of domestic violence or those oppressed by the dowry system. She locks up government officials who refuse to provide the village with electricity — and minutes later, breaks into a choreographed dance number.

Movie Review: Queen

(Any opinions expressed here are those of the author and not of Thomson Reuters)

At one point in Vikas Bahl’s “Queen”, lead character Rani has too much to drink on the streets of Paris. She bursts into loud sobs over her broken marriage, but perks up when she hears a Hindi song. Kangana Ranaut, who plays Rani, changes her body language in a flash, easily transitioning from despair to euphoria.

It is Ranaut’s ownership of the character, as well as director Bahl’s conscious attempt at a subtle, screwball comedy that makes “Queen” soar, making it a film where viewers root for the main character and find her naivete charming.

Rani (‘Queen’ in Hindi) is a timid Delhi girl, one who never disobeys her parents and holds her fiancé in such high regard that she declines a job offer because he doesn’t want her to work.

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