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Movie Review "PK"

Movie Review " PK "

Rating:
 
4.5
Star Cast: Aamir Khan, Anushka Sharma, Sanjay Dutt, Sushant Singh Rajput, Boman Irani, Saurabh Shukla

Director: Rajkumar Hirani

Towards the end of P.K., Rajkumar Hirani’s new film with Aamir Khan in a lovable lead role, a Hindi film song about human values, sung by Mukesh, starts playing accidentally on a chunky tape recorder. It is the simplest of ironies considering the scene—nobody can miss it—but the juxtaposition of song and circumstance buttresses the film’s thesis in the most charming, non-confrontational way possible. This is typical Hirani. His three earlier films, Munna Bhai M.B.B.S (2003), Lage Raho Munna Bhai (2006) and 3 Idiots (2009), too combined the collective agony over systemic rot with a unique sense of childhood wonder and imagination. Buffoonery and physical humour are not ruled out. It works, even though it might mean breaking down an idea or argument to such a skeletal degree that intellect ceases to matter. It is argumentative, activist cinema softened by farcical humour and elemental emotions, and can appeal to the intellectual and the philistine alike if they are generally okay with the hyperbolic trappings of mainstream Hindi cinema. P.K. is firmly in that mould, although it presents its case better. Hirani and his writing partner Abhijat Joshi write a deft screenplay on the rationalist’s or agnostic’s argument: that propagators of organized religion thrive on the fear of those who flock to them. Aamir Khan plays the title role, an unworldly character torn between logic and faith, perplexed by his inability to understand the ways of faith and dogma. He meets a journalist, Jagat Janani or Jaggu (Anushka Sharma), a reporter with a television news channel who finds potential for a provocative story in PK’s journey from a Rajasthani village, where the burly head of a local brass band (Sanjay Dutt) sheltered him, to consumerist Delhi. PK is in desperate search of a remote control, and to get to it, he has to deal with the manipulations of religious heads, including a guru who “communicates” with God and offers remedies for any life-threatening problem. Jaggu convinces her editor (Boman Irani), a market savant more than an editor, to let PK begin a conversation about organized religion on their channel. The media team pitches PK against the guru and forces a national debate. PK is unwittingly the rationalist, and clearly represents the writers’ voice and world view. The lengthy film, spanning about 3 hours, progresses in vignettes, all emphasizing PK’s point. We see PK approaching the doors of a mosque clutching two bottles of wine, barrels of milk spilling over oversized Hindu gods, PK walking into a church filled with devotees with a Hindu pooja thali and incense sticks, and an unforgettably funny sequence of PK’s encounter with a performer painted blue as the Hindu god Shiva, in a public toilet. The gentle ironies do not hide the film’s unflinching view on majoritarianism and religious oppression. I don’t remember the last time a Hindi film-maker made such fun of the devout Hindu. It is a splendid thing to happen once in a while in cinema, because idol worship and religious taboos play out routinely in most films. Khan is immersed in PK’s innocence and staunchness, though he uses staple tricks to communicate the oddball mannerisms of his character. The overarched eyebrows, widened eyes and pursed lips seem laboured in some of the scenes, though the sharp dialogue makes it easy to ignore this. We have seen Khan as an impossible amalgamation of philosopher, gentleman, superhero and comic in 3 Idiots. Here too, the projection of a man who knows it all without knowing anything about the world has an exalted aura. But PK is still an extremely lovable and winsome fellow, and Khan has much to do with that. Sharma’s Jaggu is a competent act, without frills or gimmicks, and in their small roles, Dutt, Irani, Sushant Singh Rajput and Saurabh Shukla leave their mark. The plot begins to bloat after the interval and the histrionics of staged debates, reiterating the theme, scene after scene, argument after argument, begins to tire. But even so, PK’s potential triumph over an exploitative godman, the villain of the film, is a climax worth the wait. Through the movies of Raj Kapoor, Bimal Roy and others, Hindi film lovers of a certain vintage are familiar with romantic ideas like love for humanity and rejection of religious and nationalistic barriers. But with a cross-country, inter-religious love story in their screenplay, Hirani and Joshi are closer to Nehruvian ideals of rationalism, scientific temper and socialism. P.K. is a dialectic on religion on the big screen, without much of the splendour of cinematic technique. It is rooted in dialogue, scene and character, like Hirani’s other films. But the director’s biggest feat is the idea, its effortless translation and its politics. Someone in the broad-stroke canvas of populist Hindi cinema has finally spoken on behalf of the agnostic. Given the news headlines, how much more relevant can that get?



 

 

Movie Review: Horrible Bosses 2

Movie Review: Horrible Bosses 2
Rating:  (3/5)

    CAST:
        Jason Sudeikis as Kurt Buckman
        Jason Bateman as Nick Hendricks
        Charlie Day as Dale Arbus
        Jennifer Aniston as Dr. Julia Harris
        Kevin Spacey as Dave Harken
        Jamie Foxx as Dean "MF" Jones
        Chris Pine as Rex Hanson
        Christoph Waltz as Bert Hanson

Rating: R (for strong crude sexual content and language throughout)
Genre: Comedy
Directed By:
Written By: Sean Anders , John Morris , Jonathan Goldstein , John Francis Daley
In Theaters: Nov 26, 2014 Wide
Runtime:
Music composed by: Christopher Lennertz
Screenplay: John Morris, Sean Anders

The comical trio, Nick, Kurt and Dale are back with yet another adventure and this time it’s kidnapping! No matter how much these men try to get the better of Life, they always end up plotting the unbelievable. Director Sean Anders introduces a plot punctuated with high doses of crass and situational humor.The ensemble cast reprise their respective roles remarkably. The amazing chemistry of the three actors is the main highlight of the film. Though the story is predictable, it is the rib-tickling dialogues and the spontaneity of the characters that makes this film a complete entertainer.

The sequel is about the story of Nick (Jason Bateman), Kurt (Jason Sudeikis) and Dale (Charlie Day). They have decided to set up a business together. However, their lives turn upside-down when Burt Hanson (Christoph Waltz), a wealthy businessman and his cocky son, Rex (Chris Pine) swindle them and steal their idea. Furious and desperate to retrieve their investments, they end up planning a kidnapping. Their entire mission rests on the untrustworthy Dean Jones (Jamie Foxx). So will the trio be able to avenge their losses or mess it up yet again? This is the climax you have to watch out for!

Jason Bateman, Jason Sudeikis and Charlie Day, who play Nick, Kurt and Dale, will have you rolling on the floor laughing. Chris Pine joins the cast as the spoilt rich brat, Rex and is a treat to watch. Jennifer Aniston, Kevin Spacey and Jamie Foxx also shine in their roles.
Horrible Bosses 2 is full of crass jokes and may be inadvisable for people who do not enjoy this style of humor. Plus, if you are looking for a twist or a mind-blowing ending then you might be disappointed, since the story-line is predictable and similar to the previous installment.
 
Why you watch this film?
 
A must-watch for people who enjoy crass and situational humor. Horrible Bosses 2 is a slapstick comedy that will make you laugh till you drop. The film is complete entertainment package with a stupendous cast, rib-tickling dialogues and an engaging climax. So this weekend, go on a hilarious caper with the comical trio Nick-Kurt-Dale.

Movie Review: Happy New Year

Movie Review: Happy New Year

Rating:   4.5 (4.5/5)  Good
Starring:
Shahrukh Khan, Abhishek Bachchan, Deepika Padukone, Jackie Shroff, Sonu Sood, Boman Irani, Vivaan Shah
Genre:
Comedy
Directed by:
Farah Khan
Written by :
Farah Khan, Althea Kaushal,
Mayur Puri (dialogues)
Story by:
Farah Khan
Narrated by:
Shahrukh Khan
Music by:
Songs:
Vishal Shekhar

Background Score: John Stewart Eduri

Cinematography: Manush Nandan

Edited by: Anand Subaya

Production company: Red Chillies Entertainment

Distributed by: Yash Raj Films

Release dates: October 24, 2014

Language: Hindi

Budget: Rs.1.50 billion (US$24 million)

Producer/s: Shah Rukh Khan, Gauri Khan

Music Director: Vishal-Shekhar

Having had two huge box-office hits with ‘Main Hoon Na’ and ‘Om Shanti Om’ – the successful pairing of Farah Khan and Shah Rukh Khan are back with a new film – ‘Happy New Year’.

The premise is simple. It’s the Christmas–New Year holiday season. The biggest dance event in the world, the World Dance Championships, is being hosted in Dubai. While all eyes are on the different world-class teams that have gathered, there are a few unlikely entrants who have somehow managed to stumble into the competition.

Happy New Year is built around 5 disparate characters who are fighting a most unlikely battle.. a battle of international proportions.. but it’s a battle being fought on a dance floor. Where the rest of the world’s competitors are battling for national pride and glory on the world stage, our 5 are dancing for a different cause.. revenge, retribution and closure. This is Team India, a group that has no confidence in its own dancing abilities, but is competing for a cause very important to them.

With the city of Dubai as the backdrop, and its global village ambience as its setting, Team India set about their task of staying in the competition. What follows is a manic run to the finish, where our characters face several challenges in their quest for victory as the film reaches its climax, a climax that is full of national pride, diabolical revenge and triumph.

How this bunch of losers transform themselves into a team that performs really well and how they win over the hearts of the people in the city and across the world, forms the rest of the story.

The movie Happy New Year directed by Farah Khan is one of the most high budgeted films of this year and is expected to become one of the most highest earners also.

Multi-starrer movie Happy New Year featuring Shahrukh Khan and Deepika Padukone is the film trending everywhere now. With the hit pairing of Shahrukh Khan and Deepika Padukone coupled with other stars including Abhishek Bachchan, Sonu Sood, Boman Irani and Vivaan Shah, Farah Khan's Happy New Year has been one of the most awaited flicks this year. After breaking all records with Chennai Express, Shahrukh and Deepika's pairing in Happy New Year, along with SRK's eight-pack abs, will certainly be a pleasure for the fans. Although, the movie Happy New Year's storyline is not anything out of the box, but as they say, 'When King Khan is there, have no fear'. The story of Happy New Year revolves around six loosers who decide to turn their fortune as they believe every looser gets a chance to become winner.

And in order to turn their fortune, the bunch of loosers led by Shahrukh Khan take part in an international dance competition in an attempt to rob a bank locker full of diamonds in Dubai which belongs to Jackie Shroff. While, Shahrukh Khan along with his team of awkward dancers offer silly yet interesting humour, the film also includes some high-flying action.

All the characters of Happy New Year, Shahrukh Khan as Charlie, Deepika Padukone as Mohini, Abhishek Bachchan as Nandu Bhide, Sonu Sood as Jagmohan Prakash, Boman Irani as Temhton Irani and Vivaan Shah as Rohan Singh have some different and unusual qualities which come together as a team to try the impossible. To know whether they come out victorious or remain same bunch of loosers, you will have to watch the film. Combination of Farah Khan's direction along with Shahrukh Khan's charisma and Deepika Padukone's glamour leaves little scope for the audience to give Happy New Year a miss. However, performance by other stars also seemed promising.


Movie Review : "KICK"

Movie Review :"KICK"

Star cast: Salman Khan, Jacqueline Fernandez, Randeep Hooda, Nawazuddin Siddiqui, Mithun Chakraborty, Archana Puran Singh, Saurabh Shukla, Sanjay Mishra, Kavin Dave, Sumona Chakravarti

Director: Sajid Nadiadwala

Rating:  (3/5)

 

Salman Khan plays the role of the fun-loving Devilal whose only aim in life is to get a 'kick' in whatever he does. A chance encounter with the Poland-based Shaina (Jacqueline) leaves him besotted. But the love story is short-lived because she cannot handle Devi's lack of commitment. A year later, her family fixes her match with the no-nonsense cop Himanshu (Randeep Hooda) who has come to Poland to catch the one heist-master who has evaded him so far - Devil. Himanshu is convinced that Devil would be pulling off his biggest robbery soon. What happens when both Shaina and he realise that Devi and Devil are indeed the same person forms the rest of the story - with baddie Aslam (Nawaz) adding more thrills to the proceedings.

Salman, the star machine, is the Pied Piper of Hindi cinema. He *doesn't* promise path-breaking or art house cinema. The focus is on those three magical words: Entertainment, entertainment and entertainment. And that's what matters to a wide majority of movie-going audience.

Sure, the charismatic star's newest outing KICK is a remake of the super-successful Telugu film KICK [2009; directed by Surender Reddy and starring Ravi Teja, Ileana D'Cruz and Shaam]. But there's a world of a difference between KICK, directed by Sajid Nadiadwala, and Salman's last few entertainers. This one's more stylized, has opulence and gloss reeking in every frame and is very international in terms of execution.

At some point, a canny producer was sure to realise that all that matters in the kind of movies Salman Khan does nowadays is Salman Khan.

After looking at, for example, Bodyguard or Ready -- hideous, tacky eyesores that nonetheless rule the charts -- it was only a matter of time before he'd see little need for an expensive, credit-hogging middleman and chuck this "director" fellow out.

Blasphemous, I know, but with films like this, it's hard to argue.

I remember a Mithun Chakraborty interview many moons ago where the actor -- speaking of his heartland-conquering B-movies -- described a continuity error, a fight scene where he was wearing a red shirt in one shot and a blue shirt the next.

The director asked Chakraborty to reshoot but he laughed off the idea, saying it should be released as it was, and that his audience bothered only about him, not trifles like that.

He was right, the film was a hit, and, alarmingly enough, our biggest blockbusters today seem to run on the same principles. Especially those that star Salman.

It is a pleasant surprise, thus, to see producer Sajid Nadiadwala taking his directorial debut seriously, making sure every part of the engine is slickly oiled.

The loopy script coasts along breezily, Ayananka Bose's cinematography is lush (and frequently more artful than you expect from a Salman project), the girls are considerably attractive, and -- perhaps most importantly -- the film smartly avoids the self-serious drivel that can ruin a shamelessly silly action film. (Case in point, the ponderous Dhoom 3, Kick, in one line, is basically Dhoom done right. But more on that later.)

The plot is threadbare enough to not matter.

Shaina, a psychiatrist narcissistic enough to wear her name on a chain and depressive enough to turn 'sex' into 'sorrow' while playing Scrabble, is lamenting the loss of her lover.

She tells her new suitor, a cop, about her ex, a guy called Devi Lal who did anything for kicks. (Including, presumably, always refer to them in the singular.) Devi quirkily won her over, but things soured and he dumped her, and she's oh so heartbroken.

The cop, Himanshu, tells Shaina he can empathise, because he too has someone in his life: a masked master-thief he just can't get a hold of. (Ahem.)

No points for guessing the man of their dreams is the same. Salman Khan doesn't often bother to act these days, swaggering through most of his parts without any consistency, yet he seems to be playing this Devi/L properly and in character, perhaps freed by the insouciance of the anything-goes role.

Even in weak scenes, his screen presence is extraordinary. He's clearly having a blast not having to mouth lewd lines or take his shirt off.

Every now and again, Kick delivers flashes of that gleeful spontaneity we saw in him back in Pyar Kiya Toh Darna Kya when he was hopping around one-legged in a chicken-coop calling himself Murgaman.

Kick perfunctorily skips through most of the emo stuff -- inevitable scenes showing character motives and changes of heart -- in its quest to find the shiniest Bhai moments.

The film is predictable, the script is lazily convenient, and yet there's a surefootedness in the way Nadiadwala jauntily carries on increasing the tempo, piling on the Khan.

His cinematographer shows some masterful framing and composition, capturing the energy of the moment very well most times, and at other times making things look very pretty.

Jacqueline Fernandes looks good as a bimbette taken in by Khan and, despite her unfortunate dialogue delivery, isn't ever around in stretches long enough to be grating.

Mithun (yes, he of the red/blue shirts) plays Salman's father; Nawazuddin Siddiqui makes bottle-popping noises with his mouth and borrows Manoj Bajpai's Aks laugh to play villain; and Randeep Hooda is the cop who intriguingly enough appears to be quite turned on by the crook he's after. If all that sounds trashy, well, it is.

But it's mostly fast enough to feel like a blast. At its worst -- and there are more than a few scenes that are too long, too mawkish -- Kick is at least entertainingly cheesy in a drinking-game sort of way.

It's never objectionably bad, and that hasn't been said about a Salman Khan film for around fifteen years.

While on the 90s, there seem to be peculiar (but again, amusing) tributes of some sort: a kooky flashback about Salman's childhood is animated a la Def Leppard's Let Get Rocked; and an item song starring the ravishing Nargis Fakhri takes place in some freaky netherworld equally fit for both Alisha Chinai and The Undertaker. It's almost trippy.

The rest of the film is The Salman Khan Show.
 

Movie Review “Transformers: Age of Extinction”

Movie Review “Transformers: Age of Extinction” Critic's Rating: *** (3/5) Cast: Mark Wahlberg, Stanley Tucci, Kelsey Grammer, Nicola Peltz, JackReynor, Bingbing Li, John Goodman, Ken Watanabe, John DiMaggio, Reno Wilson, Peter Cullen Direction: Michael Bay Genre: Action Duration: 2 hours 46 minutes The Autobots are in hiding as they're being hunted down by the CIA with the help of a ruthless bounty hunter Transformer. When a broke inventor accidentally 'finds' Optimus Prime, the CIA and the Decepticons make a beeline for them. Transformers takes a little time to really build up, with the necessary character-establishing scenes of the humans. Cade Yeager (Wahlberg) lives in the Texas countryside with his daughter Tessa (Peltz). Struggling to pay the bills, he invests every cent into buying and re-purposing what Tessa calls 'junk'. She is skeptical that the eager Yeager will one day make a game-changing invention. Yet later, when the pace kicks in, Bay ensures that you are blindsided by a juggernaut of metal. CIA agent Harold Attinger (Grammer) finds out that Yeager knows where Optimus Prime (Cullen) is. Attinger gets a Decepticon called Lockdown, whom he has formed a tenuous alliance with, to track down the Autobot leader as well as other Autobots because they are no longer welcome on Earth. The technology that makes the Transformers is then recycled and reverse-engineered by tech tycoon Joshua Joyce's (Tucci) company KSI, to create a new breed of Transformers. But does Joshua really understand the alien technology well enough to create and more importantly, control? Prime regroups with Bumblebee, Hound (Goodman), Drift (Watanabe), Crosshairs (DiMaggio) and Brains (Wilson) to fight the Decepticons. Yeager,Tessa and her boyfriend Shane (Reynor) help out. But while the effects are totally off the hook, the dialogues sound like a random collection of one-liners. Indeed, the machines display a wider range of emotions. But then again, you don't watch a Michael Bay film for intense dialogues. The idea is, why shoot a person just once when you can take a cannon instead and literally shred not only the person, but the car next to him, the building behind him and a few bystanders, with a few hundred bullets and shells for good measure. Be it fiery photogenic explosions, smashing buildings, mega monster battles and more, there is no doubt that action rules this film.