Whether or not you want to sit through Farah Khan’s “Tees Maar Khan”, you should watch the end credits. The whole cast is shown “at the Oscars”, apparently getting Academy Awards for the film. The whole sequence is farcical and reeks of arrogance, especially when you consider the kind of film you have been subjected to.
Anyone who has lived in New Delhi or been to a wedding in the city will immediately identify with the characters and milieu in Maneesh Sharma’s “Band Baaja Baarat”.
We are nearing the end of 2010 and everyone’s making their year-end lists. Thankfully, I haven’t made mine yet, because how on earth could I leave out Anees Bazmee’s alleged comedy “No Problem” from my list of the year’s worst films? Thank God for small mercies.
If you are willing to look beyond the gory death scenes, the deafening background music and crazy camera angles, there is an interesting story to be told in Ram Gopal Varma’s “Rakht Charitra 2″.
Ashutosh Gowariker seems to have made a career out of period films – both “Lagaan” and “Jodhaa Akbar” told stories of our past, and in some way the fight for freedom. Gowariker touches on the same theme again in “Khelein Hum Jee Jaan Sey” but this time he chooses to tell a story closer to our times — just 80 years ago.
A day before watching “Break Ke Baad”, I heard director Danish Aslam say in a television interview that he and co-writer Renuka Kunzru worked on multiple drafts of the script, polishing it to such an extent that “there was no way we could make a bad film”.
If you’ve seen the earlier two “Golmaal” films, you have a fair inkling of what the third one is about. These are custom-made films, tailored to the “festive mood” when filmmakers think audiences will laugh at anything and pay any amount of money if you promise them a fun-filled entertaining film.