“Luv Ka The End” is Yashraj Film’s first foray into a genre they call “youth films”, or films they think are tailor-made for the under-25 audience. But as all teenagers will know, there’s a thin line between being cool and trying too hard. This film is trying too hard, and there’s no two ways about it.
It’s OK not to have too many expectations from “Shor in the City” — I know I didn’t. After all, it doesn’t have a great star cast, there hasn’t been too much buzz around it and except for the music (the lilting ‘Saibo’ number especially), the promos didn’t really stick in your mind.
The one thing you must appreciate about Onir’s “I Am” is the attempt to do something away from the trodden path — India’s first crowdfunded film. Director Onir and his team invited ordinary citizens and film lovers from all parts of the world to contribute to the film by donating as little as 1,000 rupees in return for a mention in the film’s credits as a co-producer.
Rohan Sippy’s “Dum Maaro Dum” attempts to take a hard look at the drug mafia in the tourist haven of Goa through the eyes of a ruthless police officer.
At one point in director Mrighdeep Singh Lamba’s movie “Teen Thay Bhai”, one of the protagonists wakes up in a police van, looks around blearily and asks his brothers, “Where are these police constipators taking us?”
I’m going to keep this one short because there’s really not much I can say about Anees Bazmee’s “Thank You” that I haven’t already said about films of this genre – in other words, the “leave your brains at home” films that we seem to churn out with alarming regularity.
Director Anand Rai’s “Tanu Weds Manu” is a romantic comedy about a meek doctor who falls in love with a feisty, rebellious Kanpur girl, as a result of which he finds himself in the middle of what can only be described as a sticky situation, and staring down the barrel of a gun.
The Union Budget is on everyone’s mind and affects Bollywood too. Here’s what people from the Indian film industry have to say —