Review of Hindi Movie "Aao Wish Karein"

Every kid imagines what it would be like to be an adult. He wishes he could grow up quicker. Of course, once he grows up, a small part of him wishes he could go back to his childhood days. Quite an irony, isn't it?

There's a line in AAO WISH KAREIN that goes, 'If you want to be a part of a fairy tale, it's important that you believe in it [fairy tale].' The statement is applicable for everyone desirous of watching AAO WISH KAREIN. In terms of concept, AAO WISH KAREIN bears a striking resemblance to the Tom Hanks starrer BIG [1988]. A decade-and-a-half ago, the Salman Khan - Sridevi starrer CHANDRAMUKHI also tackled a similar theme. In that respect, the concept isn't alien at all. 

It's not sacrilegious if a film bears an uncanny resemblance to another film [it could be a coincidence], but films like these need to be well-structured and most importantly, supported by incredible actors who can make you believe in fairy tales. Also, the makers ought to take a stand at the very outset: Should it be targeted at kids or youth? You just cannot sit on the fence. In this case, you don't know if AAO WISH KAREIN is aimed at the kids or is it a breezy romantic flick, targeted at the youth. 

All said, AAO WISH KAREIN has some endearing moments, but not enough to salvage it.
12-year-old Mickey's life was almost like a fairy tale: A beautiful family, best buddy Bonnie and his angel on earth - Mitika [Aamna Sharif]. One fateful day, Mickey's fairy tale is shattered into a million pieces. He realizes he's an adopted child and his 23-year-old angel Mitika too calls him a kid. A heart-broken Mickey sits all by himself until Hitchcock [Johny Lever] appears. Mickey hopes for a miracle to happen. He wishes to become big. To his astonishment, he wakes up next morning and realizes that his wish has been granted. He has indeed turned big. But was this miracle a blessing or a curse in disguise?

The choice of the subject is perfect. But there's an inherent flaw in the story and that is, the 12-year-old kid seems to be in love with the pretty woman, but the moment his wish his granted and he transforms into a grown up man overnight, he continues to behave like a kid. Romance, therefore, just doesn't exist and even if it does, it's far from exciting.

Ideally, the writing would've worked had the kid-turned-grown up behaved like a grown up.

The culmination to the story is well penned, but, again, it might not work in entirety. The writers could've run their imagination wild, given the fact that they were writing a fairy tale, instead of taking the safe route here.

Director Glen Barretto has handled a few individualistic scenes well, especially the ones between Aftab and Johny Lever. Music is soothing to the ears, but the non-promotion or lack of popularity will make the effort go unnoticed. At the same time, there are too many songs in the second hour, which weren't required frankly. Keshav Prakash's cinematography is top notch. The locales of Himachal Pradesh and Goa are well captured on celluloid by the DoP.

Aftab pitches in a sincere performance. He looks the character. Aamna is easy on the eyes, although the role doesn't demand histrionics. Johny Lever is first-rate. Rati Agnihotri is good. Yatin Karyekar is alright. The kids are full of energy. Riteish Deshmukh makes a brief appearance towards the end.

On the whole, AAO WISH KAREIN is engaging in parts, but how one wishes the film would grab your attention in entirety. The wish of striking a chord and hence, succeeding at the box-office won't come true for this reason.
 

Review of Tum Mile

In TUM MILE, a couple faces two storms. The storm within, when they come face to face after their breakup. The storm outside, when a natural calamity strikes Mumbai on 26th July, 2005 [unprecedented rainfall devastated Mumbai on this date].

After JANNAT, director Kunal Deshmukh [KD] chooses a love story yet again. It's about an estranged couple, but the wallpaper in TUM MILE is the Mumbai floods. Naturally then, the expectations from TUM MILE are colossal, given the fact that TUM MILE is the first film that attempts to chronicle the natural calamity on celluloid, with seriousness.

Had KD limited himself to narrating the ups and downs in a live-in relationship, TUM MILE may've struck a chord. But if you're attempting a disaster movie [its promotions send out strong signals], you'd be eager to know how KD recreates the horrors of 26th July on celluloid. Let's not forget, the catastrophe is still etched in our memory and has tremendous recall-value. 

While KD succeeds in depicting the tiffs between the lovers, it's the disaster aspect that doesn't make much of an impact. That's because you strongly feel that the infamous Mumbai floods should've been given more prominence, instead of using it as a tool to take the story forward. 26th July, 2005 rang an ominous bell for most, but amidst all the chaos and the tragedy, it re-united two star-crossed ex-lovers.

Two people [Emraan Hashmi, Soha Ali Khan] meet after a hiatus of six years. What starts off as a seemingly innocuous encounter on the same flight back to Mumbai, ends up as a rollercoaster ride through some of the darkest hours of Mumbai, as they see the city get swamped with disaster and loss... and are forced to stick together in this time of crisis.

26th July, 2005 remains etched in your memory and I'm sure, every Mumbaikar would've a story to tell vis-à-vis what transpired with them or their beloved/relatives/friends/acquaintances on that fateful day. TUM MILE also highlights the dilemma of a couple, who once shared a beautiful relationship, but have moved on in life after they split, till they meet again on 26th July.
 Opposites attract and so do Emraan and Soha in TUM MILE. Although their story goes back and forth several times, the narrative doesn't confuse the viewer one bit. So far, so good.

But the problem lies in integrating the natural calamity with the love story. Even if you're a non-Mumbaikar, you'd vividly recall the images that were flashed on news channels continuously or perhaps, you may've watched the footage on internet. But in TUM MILE, the nature's fury doesn't come across strongly or effectively. In a few scenes, yes, you do draw parallels with real life, but the impact it ought to make is just not there. Something is amiss!

KD has handled the love story very well. The tiffs between Emraan and Soha are so identifiable. The 'Dil Ibaadat' song in particular completely moves you. But how one wishes the film would've focussed more on the characters' attempts to escape or cope with the disaster or its aftermath.

Pritam's music is melodious to the core. The cinematography does justice to the beauty of South Africa [romantic portions] and also during the flood sequences. But the usage of stock footage, at places, doesn't work. The computer graphics could've been better and more effective.

Emraan takes giant strides as an actor. He continues to surprise in film after film. Grossly under-rated despite having delivered competent performances in the past, here's hoping that people wake up to this talented actor after TUM MILE. Like Emraan, Soha too has evolved into a truly fine actor and TUM MILE proves it. The best part is, Soha is extremely natural and that's what makes her sequences so believable.


Sachin Khedekar is there for just one sequence. Mantra, as Emraan's friend, is confident.


On the whole, TUM MILE caters to the youth mainly. At the box-office, the Vishesh Films - Emraan Hashmi combo has cultivated a strong fan-base over the years and coupled with good music, which is also very popular, the film should find itself in the comfortable zone. However, the super-strong opposition in 2012 [also highlighting a disaster on celluloid and which has had a wide release in India] might eat into its business at places.

source: indiafm

Moview Review AJAB PREM KI GHAZAB KAHANI

Rajkumar Santoshi has changed lanes. Known for intense, hard-hitting movies [with the sole exception of ANDAZ APNA APNA], Santoshi now attempts a rom-com in AJAB PREM KI GHAZAB KAHANI, his new endeavour. That's something we all know by now, right?

But not many of us know that Santoshi is equally at home handling a comedy. And AJAB PREM KI GHAZAB KAHANI proves it.
If you're attempting a rom-com, you need to get a few things right...
One, the romance should be livewire. Ditto for the chemistry between the on-screen pair.
Two, the film should make you laugh. As simple as that!

In AJAB PREM KI GHAZAB KAHANI, the romantic moments are endearing. Most importantly, the on-screen chemistry is electrifying. Ranbir and Katrina look great together!

I've often said that comedy is serious business and the audience has moved over from banana peel humour in movies. The comedy in AJAB PREM KI GHAZAB KAHANI - though it borders on absurdity - is funny in most parts. Sure, there're times when you feel that the humour looks forced [climax fight especially], but you don't grudge it since Santoshi's intentions are crystal clear from Scene 1 onwards: Entertainment ke liye kuch bhi karega.

Another factor that goes in its favour is Pritam's music, who belts out a couple of lilting tracks.

On the flip side, the film could've done with a fresh plotline. When you talk of 'Ghazab Kahani', it has to be ghazab by all means. It shouldn't fall prey to predictability, but the second hour succumbs to mediocrity occasionally.

Yet, despite the blemishes, AJAB PREM KI GHAZAB KAHANI is a full-on entertainer. One thing is for sure, you'd fall in prem with Prem and his antics. An ideal date movie that should connect with the youth.

Prem's [Ranbir Kapoor] fundas in life were very simple - be happy, make others happy. A case of mistaken identity leads Prem to almost kidnap Jenny [Katrina Kaif], who was brought up by indifferent and uncaring foster parents.

Prem falls in love with Jenny, but realizes gradually that Jenny is in love with someone else [Upen Patel], the son of a conniving politician [Govind Namdeo]. Prem decides to sacrifice his love and get the lovers married.

In the first sequence, Santoshi makes it loud and clear that AJAB PREM KI GHAZAB KAHANI is very unlike his previous ventures; this one harbours on illogical situations. Right from the time Ranbir sets his eyes on Katrina [the yellow outfit episode], the film is a roller coaster ride.

A few sequences entertain you thoroughly. Sample these: Katrina slaps Ranbir when he stammers as well. She feels he's imitating her; Ranbir's sequence in the church; Salman Khan's cameo; the love-hate relationship that Ranbir and his father [Darshan Jariwala] share; the sequence at the party; the interval point when Ranbir falls on the ground literally... the first hour of the film simply rocks!

But the second hour makes you a little grumpy. The third angle of the triangle [Upen Patel] isn't convincing, while his father's [Govind Namdeo] track is beaten to death. Even the villain [Zakir Hussain] is a sore point.

Watching the second hour makes you feel that the film may've had a longer running time and in order to bring down the length, a number of scenes must've been chopped off, which, in turn, must've resulted in continuity lapses. For instance, Katrina's kidnap by the villains looks too sudden. When and how did it occur?

Yet, there're two sequences in this hour which are remarkable and which should bring the house down. One, when Ranbir wears Katrina's top to hide her presence in the house and the climax fight, when Katrina mistakenly bangs Ranbir a couple of times.

Directorially, Santoshi proves the naysayers wrong and bounces back with a film that the youth would relate to. You can't write off the maker and AJAB PREM KI GHAZAB KAHANI proves it. Pritam's music has 'Hit' written all over it. S. Thiru's cinematography is first-rate.

Ranbir Kapoor is the next big thing and AJAB PREM KI GHAZAB KAHANI proves it yet again. He's charismatic, emotes exceptionally well and tickles your funny bone without making faces. It's a fantastic performance all the way. Katrina Kaif continues to surprise. She surprised you in NEW YORK. She surprises you again in this film. She scores in both emotional and light scenes. Also, Ranbir and Katrina make a wonderful on-screen couple.

Darshan Jariwala is exceptional. Smita Jaykar is very good. Upen Patel is decent. Govind Namdeo is getting typecast. Zakir Hussain is fair. Navneet Nishan is alright.

On the whole, AJAB PREM KI GHAZAB KAHANI entertains majorly. At the box-office, the fantastic pre-release campaign coupled with the terrific chemistry between Ranbir and Katrina, excellent music by Pritam and tremendous appeal for youth should ensure a big start for the film at the ticket window. The business prospects seem excellent, thus ensuring handsome returns for its investors.

source: indiafm.com

Movie Review Jail

Madhur Bhandarkar is synonymous with thought-provoking, hard-hitting films. Right from CHANDNI BAR to FASHION, the expert storyteller has made movies that hold tremendous shock-value. In turn, Madhur has cultivated a rich fan-base for his films.

With JAIL, Madhur not only makes you visit a prison, but also makes you peep into the psyche of a prisoner. In the recent past, Sriram Raghavan's EK HASINA THI [2004; Saif Ali Khan, Urmila Matondkar] and Nazim Rizvi's UNDERTRIAL [2007; Rajpal Yadav] narrated the travails and anguish of innocents who were falsely implicated in a case. Besides, Nagesh Kukunoor's TEEN DEEWAREIN [2003; Naseeruddin Shah, Jackie Shroff, Nagesh Kukunoor] too narrated the story of three convicts. But JAIL is different from the above-named films.
Besides watching a thought-provoking story on celluloid, one has also come to expect incredible performances in a Madhur Bhandarkar movie. And JAIL too is embellished with superb performances from its key actors.

JAIL transports you to a hitherto unknown world that most of us haven't seen and if this is its USP, it's also something that might go against it. Irrespective of how strong its merits are, a section of moviegoers [read families/kids], who generally tilt towards feel-good/sunshine/entertainment-filled cinema, might skip this film due to its dry [and at times depressing] theme.

In a nutshell, JAIL mirrors a reality in true Madhur Bhandarkar style. It's hard-hitting, it's compelling, it's thought-provoking. The efficient storyteller has the courage to speak a new language in every film and for that very reason, JAIL should be on your agenda.

Parag Dixit [Neil Nitin Mukesh] is living a dream life -- a great job and a loving girlfriend [Mugdha Godse]. However, things take an ugly turn when, after a series of unfortunate events, he suddenly wakes up in jail. Parag is perplexed. The only salvation he finds is in Nawab [Manoj Bajpayee], a convict, who believes that Parag is innocent.

Soon, Parag is left with a choice, to either live a life with hordes of broken hearts and shattered souls amidst the prison walls or hope to see freedom some day.

JAIL involves you from the very start. The inmates, their crimes, their individual stories… you get drawn into a world that's very real. So real that you feel it's happening right in front of your eyes.

Madhur has a knack of narrating stories and he narrates the story of Parag Dixit with razor-edge sharpness. Besides, JAIL also enlightens you of the legal process, which also acts as an eye-opener.

At the same time, the legal procedures and also the behavioural pattern of the inmates tend to get repetitive after a point and that's when you start feeling restless. Nonetheless, the post-interval has some interesting twists-n-turns, like the convicts' escape from the police van; prior to that Neil and Manoj exchanging stares before Neil perches himself in the van; Neil getting thrown in a dark cell, spending the next few days in solitary confinement; a convict using the garbage van as the means to escape; another convict realising that his wife is now a cop's mistress. Also, the climax is touching and moves you.

Madhur hits the right note yet again. Madhur, Manoj Tyagi and Anuradha Tiwari's script involves you in most parts. Raghuvir Shekhawat's dialogues are true to life. There's no scope for music in a film like JAIL, but the three songs are smartly integrated in the storyline. Kalpesh Bhandarkar's cinematography is top notch. Special mention must be made of Nitin Chandrakant Desai's prison set, where the film is entirely shot.

Not only does Neil Nitin Mukesh deliver his finest performance to date, but the performance would easily rank amongst the finest this year. He conveys the pathos and helplessness that this character demands with amazing understanding. He deserves all praise for his extra-ordinary portrayal.

Manoj Bajpayee pitches in a memorable performance. In fact, the supremely talented actor is in form after a long, long time. He's subdued all through, which only goes to prove that he knows the craft so well. Mugdha Godse underplays her part beautifully. Also, she carries the non-glam look well.

Aarya Babbar is fantastic. This film should make people sit and notice this young actor. Chetan Pandit is first-rate. Rahul Singh is excellent, especially in the sequence when he confronts his wife. The actor who plays the part of Joe D'Souza is effective.

On the whole, JAIL is a well-made film from an expert storyteller. At the box-office, the film will appeal to those with an appetite for hard-hitting, realistic fares, but its clash with AJAB PREM KI GHAZAB KAHANI will affect its business to an extent.

source: indiatimes.com

Top 5 Movies of This Week

1. London Dreams
2. Aladin
3. All the Best
4. Blue
5. Wake up Sid

London Dreams Review

Here’s a movie that derives its basic plot from an American film (the Oscar winning Amadeus ), which was based on the rivalry between an Italian (Salieri) and a German (Mozart) composer. Served with Indian sentiments, it’s named London Dreams . Nevertheless, this globalization of cinema clicks for its worldly charm.

Arjun (Ajay Devgn) and Manu (Salman Khan) are childhood friends from Punjab. Arjun is inclined towards music, much against opposition from his family. Manu’s family wants him to learn music though he keeps running away from it.

Shifting to London, Arjun, as a child, runs away from his uncle (Om Puri) and you are supposed to believe he makes it on his own, all alone in an unfamiliar land. Until he resurfaces as an adult singing at the Trafalgar Square! An impromptu band is formed as much casually with two complete stranger musician brothers (Ranvijay, Aditya Roy Kapoor) joining him on stage. Priya (Asin) adds plain face value to the band as they win gaadi, kapda aur makaan through one transition song.

Further you are made to believe through the shallow and speedy script that after decades of separation, Manu is still Arjun’s best buddy who arrives at London airport in just his chaddi . Manu is added to the band and soon he starts overshadowing Arjun as the lead singer. Seeds of jealousy are sown in Arjun’s mind which takes the face of rivalry when Manu, a compulsive flirt, also wins Priya’s heart. Arjun starts scheming against Manu and maligning his image before the climax concert in Wembley Stadium.

London Dreams starts on a low note with an unconvincing buildup and one doesn’t mind the hurried pacing. Suresh Nair’s screenplay gains rhythm in the second half with the clash of the titans. The contrast in the characterizations of Arjun and Manu are well-defined with the former worshipping music while the latter being god-gifted. Arjun’s vulnerability to being envious of Manu’s rise is humanly portrayed giving him more of a sympathetic shade than negative. The jealousy pangs are emotionally evolved keeping away synthetic negative characters and God is attributed for blessing one with passion for music while other with talent.

Vipul Shah adds profound depth to the drama and the sensitivity in his direction makes you relate to the conflicts of both the characters convincingly. Thankfully the rivalry is more musically-driven over their contention for the same girl, thereby avoiding the tendency of the narrative to take shape of a conventional love triangle. But for a film which essentially works for the intensity of its drama, the end of London Dreams is too conveniently designed.

Shankar-Ehsaan-Loy’s rocking tunes adds immense life to London Dreams and one doesn’t mind a little overdose of songs. Notice the musical expertise extending to the screenplay in the sequence when Salman sings the same stanza in three different musical versions in Bollywood, ghazal and hip-hop style. Salim-Sulaiman’s background score is equally peppy. Sejal Shah’s cinematography is eye-pleasing and the production design is of high standards.

Finally it’s the performances that make London Dreams rock. Ajay Devgn’s restrained intensity perfectly complements the contrasting flamboyance of Salman Khan. Salman takes the lead in the second half but at no point do the performances overshadow each other. Watch out for the scene when Ajay Devgn, seized by guilt pangs, whips himself for his premeditated wrongdoings. Salman puts in a lot of heart in his act and his frivolous nonchalance never makes the drama go overboard. He is likeable as a flirt trying to woo Asin and his doped act in the final reels is compelling. Asin looks appealing and is decent in her part. Ranvijay Singh shows improvement from his debut act in Toss . Aditya Roy Kapoor looks and plays immature.

In times when most films are turning out to be nightmares, London Dreams is a decent entertainer and has its heart at the right place. For its wonderful performances, rocking music and terrific chemistry between Salman and Ajay Devgn, London Dreams is worth a watch.

Source: indiatimes.com

Aladin Review

In accordance with a prominent line from the film “ Buri aadat badal daalo, Aladin ko maar daalo ”, director Sujoy Ghosh kinda kills the magic of the legendary fairy tale character in his contemporary adaptation of the Arabian Nights account. Certainly the inspiration is interesting but the execution tends to become formulaic.

Aladin Chatterjee (Riteish Deshmukh) is bullied in school for being namesake of the fairy tale character. Classmates often ridicule him by making him rub lamps through which no genie emerges. And one fine day, Genius, the Genie (Amitabh Bachchan) does come out of the lamp, much to Aladin’s disbelief. Genius is on the verge of retirement and has his last three wishes to grant to his final master Aladin.

In such state of affairs, what could have shaped up as a fantastic fantasy ride from hereon, merely ends up being a formula-driven love story. Ideally the viewer expects Aladin to make magnanimous wishes from the Genie to add a new flamboyant flavour to the revisited fairy tale. Unfortunately all of Aladin’s wishes are expended only in winning his ladylove Jasmine (Jacqueline Fernandez). Jasmine is predictably the new entrant in college who Aladin dreams of but doesn’t dare to propose.

Much like Aladin realizes he doesn’t want to win his love through downright magic despite having the choice, this is one Bollywood plot that resorts to minimalism (in storytelling) when it had absolute scope to get larger than life.

Then there’s also a villain in the form of Ringmaster (Sanjay Dutt) who keeps clowning around with his team of circus extras. An ex-genie, he wants to use the magic of lamp for himself over humankind. There’s also a comet whose reflection is to be captured through the conventional climax combat.

Sujoy Ghosh does make a decent attempt to interpret the anecdotes of Aladin in his own cinematic language. Characterizations of Marjina and Qasim are loosely derived from another popular Arabian Nights story Alibaba and the Forty Thieves . A female frog serves as a reference to the fable of The Frog Prince . Ghosh has a vibrant vision in depicting scenes where the Genie opens doors to Aladin’s dreams. Some characters of the Ringmaster’s crew are creatively caricatured like a Wolverine-nailed sidekick and a masked sexy figure without a face.

But soon enough the bound script (that’s Sujoy’s banner name) writing by Sujoy Ghosh, Ritesh Shah and Suresh Nair opens up to an assortment of Bollywood clichés. The basic romance plot reminds of Rakesh Roshan’s Koi Mil Gaya with Riteish playing the underdog and Genie replacing Jadoo who helps him woo the girl. Sadly Sahil Khan can’t even match Rajat Bedi in being the bad bully guy.

The scene where Ringmaster reveals the secret past to Aladin and creates a rift between him and Genie seems distinctly derived from a similar scene in Main Hoon Na where Suniel Shetty divides step-brothers Shahrukh and Zayed. Also the pre-climax song has an exactly analogous setting as the prom-night Gori Gori track from Main Hoon Na . The screenplay also turns back to DDLJ for the trademark ‘ agar ladki palat ti hai, toh pyaar karti hai ’ scene.

The VFX effects supervised by Charles Darby ( Matrix, Harry Potter ) comprise of some decently done sequences. But the director can’t ignore the inclination to include some tacky juvenile jugglery on screen like the archaic electrocution sequence catering strictly to the kids. Sabu Cyril’s art direction gives a fantasy feel to the hill-station town. There’s too much of song and dance and Vishal-Shekhar’s musical score is just passable.

One can perfectly envisage Riteish Deshmukh for the character of Aladin for the kind of expressions he is capable of. But he doesn’t go beyond your imagination. Amitabh Bachchan is vivacious as the Genie but gets loud and animated at times. Sanjay Dutt amuses to an extent through the buffoonery of his character. Jacqueline Fernandez looks absolutely stunning and can give the Kareenas and Katrinas a run-for-money through her gorgeous looks. The immensely talented Ratna Pathak Shah is wasted in an inconsequential role. Mita Vashisht almost apes Archana Puran Singh’s character from Masti but hams it up badly.

Just in case a Genie ever emerges out from your lamp, wish for once that our filmmakers come up with better ‘bound scripts’ and more enthralling adaptations. Till then all flights of fantasy should go on strike.

Source: Indiatimes.com