India Masala

Bollywood and culture in an emerging India

Kurbaan: Old wine, better packaged

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If you watched Kabir Khan’s “New York” this summer, you won’t find much novelty in Rensil D’Silva’s “Kurbaan”. The storyline is pretty much the same, except for a few cosmetic differences.

There is an educated, suave man living a double life as a terrorist, his beautiful wife who doesn’t know about his identity and the “third man” who tries to help the family.

However, D’Silva still manages to draw you into his story, thanks to some taut moments, a fast-paced first half, and some slick packaging.

Kareena Kapoor plays Avantika, a New York professor who falls in love and gets married to colleague Ehsaan Khan (Saif Ali Khan).

Sikander: Good idea but not so good execution

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Films on Kashmir and its insurgency are few and far between in Indian cinema.

The last such film I watched was Santosh Sivan’s “Tahaan”, a movie that tried to tell the story of this troubled paradise through the eyes of a child.

Director Piyush Jha tries to do the same thing with “Sikander” — the film’s protagonists are both teenagers, reacting to the violence and chaos around them.

Is “New York” a balanced film?

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By international standards, Kabir Khan’s “New York” is an extraordinarily ordinary film. It hasn’t impressed critics abroad and reviews in international media haven’t been very charitable.

But even if you were to ignore the mediocre performances and shallow characterisation, “New York” does raise several issues about life for South Asian Americans after 9/11.

New York: A film that will grow on you

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Coming as it does nearly three months after a big-ticket Bollywood release — Kabir Khan’s “New York” is a relief.

The story of three friends whose lives change in the aftermath of the September 11 attacks in New York, the film manages to hold your attention for the most part, mainly because of some astute direction and its performances.

A Wednesday — a thriller with a difference

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A film that lasts under two hours is a rarity in Bollywood. And when the film pits an anonymous caller against Mumbai police, curiosity is aroused.

A WednesdayNeeraj Pandey’s film “A Wednesday” starts promisingly with staccato shots of a man placing a bag at a railway terminus and in the washroom of a police station.

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