India Masala
Bollywood and culture in an emerging India
Saheb Biwi Aur Gangster Returns: Rerun of the quirky and violent
(Any opinions expressed here are those of the author, and not necessarily of Thomson Reuters)
A politician learning to video chat, a man trying to draw blood with a rusty knife and a newbie MLA who doesn’t know what a police FIR is - moments that make Tigmanshu Dhulia’s “Saheb, Biwi Aur Gangster Returns” a film that successfully marries the quirky with the violent.
Dhulia’s sequel to his 2011 film takes off smoothly from where the original left off. Jimmy Shergill plays Aditya Pratap Singh, a crippled erstwhile royal trying to hold on to his power while Mahie Gill plays his alcoholic, erratic wife Madhavi. Both hate each other but stay married anyway for practical reasons.
Aditya falls for the beautiful daughter of a neighbouring king and blackmails her father into agreeing to their match. What he doesn’t know is that Ranjana (Soha Ali Khan) is already in love with Inderjit (Irrfan Khan) who has a grudge against Aditya.
I, Me aur Main: Let down by inconsistencies
(Any opinions expressed here are those of the author, and not necessarily of Thomson Reuters)
I have to confess I didn’t go into Kapil Sharma’s “I, Me aur Main” with too many expectations. The posters certainly did nothing to pique my excitement. But 30 minutes into the film, I was intrigued. This wasn’t a run-of-the-mill story; the protagonist was someone you would want to hit on the head within the first half-hour.
Murder 3: Doesn’t go in for the kill
The latest addition to the “Murder” franchise is a lot of things, but one thing it isn’t is true to its name. Don’t expect a lot of shooting and slashing.
“Murder 3” is a Bhatt franchise, so the title hardly matters. All movies associated with them have pretty much the same structure and tone, a little bit of skin show, some nasal, high-pitch songs and the mystery element that forms the major chunk of the film.
Special 26: The heist that almost worked
(Any opinions expressed here are those of the author, and not necessarily of Reuters)
Bollywood hasn’t had an impressive track record with thrillers. Most have been slow and predictable while some were downright preposterous.
Vishwaroopam: Saga of faith in troubled times
(Any opinions expressed here are those of the author, and not necessarily of Reuters)
For a spy thriller that has been in the spotlight for all the wrong reasons, “Vishwaroopam” is surprisingly tame.
Race 2: Slow and unsteady doesn’t win this race
In the world created by Abbas-Mustan, if you are a multi-billionaire who wants to build a casino and are refused permission by the government, you invite the official responsible out for drinks, dance with him and then shoot him in the middle of a crowded discotheque and walk out without batting an eyelid.
In this world of “Race 2”, you can get away with stealing the Shroud of Turin with something as simple as a decoy bomb and people use “sensor technology” to play card games and spy on their loved ones. It may have looked cool 20 years ago, but now it’s just a tad ridiculous.
Inkaar: Just say no to this one
(Any opinions expressed here are those of the author, and not necessarily of Reuters)
Sexual harassment at the workplace, office politics and the question of whether women can make it to senior management in misogynistic companies plague many professionals in India.
Matru Ki Bijlee Ka Mandola: Done in by half measures
(Any opinions expressed here are those of the author, and not necessarily of Thomson Reuters)
You know it’s a bad omen when a scene in a Vishal Bhardwaj movie reminds you of one in Shirish Kunder’s last film. I felt the dread creep up on me as I watched a scene where a breathless reporter reports a UFO sighting in an Indian village — reminding me of a similar scene in “Joker”, a film that ranked as one of the worst of 2012.
Table No. 21: Passable fare
(Any opinions expressed here are those of the author, and not necessarily of Thomson Reuters)
As thrillers go, Aditya Datt’s “Table No. 21″ isn’t likely to keep you on the edge of your seat, but you won’t be making a beeline for the exit either. This is one of those in-between films that won’t really make it to your list of must-see movies.
Rajdhani Express: The train wreck from hell
(Any opinions expressed here are those of the author, and not necessarily of Thomson Reuters)
Ashok Kohli’s “Rajdhani Express” is one of those films which will force you to answer some existential questions. Questions such as “Why am I here?” “What am I doing with my life?” and most importantly, “How did a movie like this get made?”
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The Wall
