THE AMAZING SPIDER-MAN 2: A regular popcorn fling! Nothing new to offer!! [2.5/5]

How can you not find it amusing when Spider-man himself starts humming his own signature tune in midst of his early face-off with some notorious criminals! In the very next, you get to notice that how miserable, messy and misunderstood a superhero’s normal life can be when at home. Interesting take but that’s that. If you’re seriously looking for something additional, something extra to the previous Garfield starrer movie, I have to break your hearts coldly. Marc Webb’s second in the series THE AMAZING SPIDER-MAN 2 has nothing new to offer and is a regular popcorn movie that trusts blindly on its own set of rules to entertain.

Taking story forward from where it ended in the first, the quest for his parent’s inexplicable disappearance still drives Peter Parker anxious and restless when he learns his childhood buddie Harry [Dane DeHaan] is now the new inheritor of OsCorp., after his father’s death. Meanwhile, Max [Jamie Foxx]-an almost invisible ordinary yet extremely susceptible loner and an electric engineer at OsCorp is the new accidental victim of its illegal human-animal mutation program. The ‘Electro’ is his new avatar with super-electric powers. Now, Harry has some hereditary illness that demands Spiderman’s blood as its venom and his only hope is Electro. Together, they are on to wreck-ruin & smash the New York City and the lives of its people, and Spider-man has to prove himself again, in hard times when his love life too is not very smooth.

THE AMAZING SPIDER-MAN 2 shows great promise in glimpse and pieces where a humorous, realistic and sympathetic touch to Spider-man’s regular day-to-day life is being portrayed but soon, it gets derailed or rather I would say takes a U-turn to its own guarded path to entertain, entertain and entertain…and that’s when the jinx of getting in routine hits. Even the drama here is so ‘seen-it-before & sensed-it-before’. Is the fear of losing his love while he’s on his ‘saving the world’ mission not a typical superhero setback?? Also, the rise of villain here is very much a forced practice without having much of a strong explanatory shield to it. Though the visual effects are at par, especially Spider-man’s final face-off with Electro and Harry-turned into-Green Goblin at the magically lit Times Square, it is the sparkling chemistry between Andrew Garfield and Emma Stone that pulls off most of the scenes.

The 3D effects are worth taking the ride. Watching Spider-man shuffling and juggling in the center of New York City skyscrapers, that too in a rhythmic slow & fast motion technique, is more than just a visual treat. Before getting thinned and restricted by VFX extravaganza in later part, Jamie Foxx makes an incredible impact with his simpleton Max in the first. Emma can never get it wrong with her twinkling and ‘communicating in good volumes’ eyes. Dane DeHaan plays it well but his major will strike soon in the next as suggested at the end.

There should not be any expression of surprise if I say THE AMAZING SPIDER-MAN 2 belongs to Andrew Garfield. He’s witty. He’s charming. He’s expressive. And he shoulders the responsibility in a skilled manner. I wish the plot would have been more responsible with a new, fresh and innovative approach. The glimpse and suggestions are there in portions. Watchable! [2.5/5]  

KAANCHI: Average mash-up of uninspiring Events! The old Ghai is missed! [2/5]

It is said that once Charlie Chaplin entered a Chaplin look-alike contest and came second in impersonating himself, now that’s an excellent example of compliment for the artist. But if the showman Subhash Ghai wants to make a Subhash Ghai film and ends up making it look like some hardcore fanmade job, it doesn’t leave much scope for any admiration. His latest KAANCHI is a strictly average mash-up of uninspiring events lifted and borrowed mostly from his own works in the past.

KAANCHI tells us about a simple, straightforward and bold girl from some remote village in Uttarakhand [Ghai’s new discovery Mishty], who doesn’t think twice before standing up against the injustice. When a corrupt politician [Mithun Chakraborty] and a rich businessman [Rishi Kapoor in a Malya inspired character], the brothers-cum-partners in crime join hands to grab an illegal land-deal, Kaanchi’s love-interest Binda [PYAAR KA PUNCHNAMA fame Kartik Tiwari] takes the torch to bring them out in the light. Meanwhile, the infatuated son and worthy successor of the evil forces has lusty intentions towards Kaanchi. The fate has worst for her in its kitty but it’s the undying determination that makes her constantly move forward in this fight against injustice.

With a strong likeness of TAAL and PARDES in visual representation and the happening of the events in the film, there is hardly any scene that is not seen before on screen. It is clearly evident that Ghai still lives and breathes in the same world he was in 10-15 years back. No signs of evolution registered! The sights of villagers singing and dancing in chorus on a big community ground having tricolors in their hands are so so done to death. There is no escape for you from watching our leading lady seducing the villain to acquire some important information kept in a micro SD card and if that doesn’t prove to be the cause of death of your interest in the film, you will have to witness another baddie kidnapping family members of the other side. Am I in 2014 or transported in 70’s Bollywood??

On the performances, the new find Mishti looks fresh and a stunning treat for camera lenses and viewer’s eyes. About acting, all I can say is she’s confident but a long way to gain other’s in her. Kartik impresses in his comparatively shorter role. Rishi Kapoor and Mithun Da do it with ease, since that come with the experience they have but their roles will not be much of an unforgettable experience. If anyone who really gets into the skin of the character, it is Chandan Roy Sanyal as a corrupt cop-turned-good helping soul to Kaanchi. He brings life to every frame he’s in.   

Talking about a Subhash Ghai Film and not mentioning its music? Now, that’s another shame. Ridiculous lyrics [one goes like, “Tu mushtanda tu sexy, tu chalti phirti taxi"], lackluster tunes and a totally average album!! I wish you could watch the weirdest medley of the year titled as ‘Kambal ke neeche’ where Mahima Chaudhary makes a special appearance! It’s hard to sit through such idiocy in times where we intent to talk about changing times and still go back to old formulas for safe way of entertainment.

To put this in short, KAANCHI is a 2 hour 30 min long missing report where we see all our hopes to find glimpse of the Subhash Ghai style of filmmaking die sooner or later! Disappointing!! [2/5]   

REVOLVER RANI: Loud, laborious and lethargic desi-ode to Tarantino! [2/5]

In Sai kabir’s REVOLVER RANI- an underwhelming homage to Quentin Tarantino style Filmmaking, Sai often takes his narrative to a local TV News anchor who loves to connect and end every breaking news piece with some popular Bollywood songs. Her local flavor in the diction, interesting writing and primitiveness in the enactment never goes wrong, not even for a single time. This is probably one and only element in the film that is constantly entertaining, remarkable, convinced and believably relatable. For the rest, REVOLVER RANI is a loud, laborious and lethargic outing in search of pleasurable entertainment.

The daredevil dacoit of Chambal, Alka Singh [Kangana Ranaut in form] is a tigress with gun in her hands that can walk fearlessly into its rival’s den, shoot its mouth off, shower as much bullet in the stock and return back winning all the claps and whistles. ‘Fashion, fun and gun’ is what describes her ferociously wild flashy character the best but at the same time, she is a trapped soul in the hostile world of politics, power and position driven by bullet and ballot both. If not fighting back in stride with her rival gang the corrupt politician trio Tomar brothers [Zakir Hussain, Kumud Mishra & Pankaj Saraswat], Alka loves to explore the arena of love with her lover Rohan [Vir Das in a regular but meatier role], a struggling actor in Bollywood. Things go erratic when Alka gets pregnant and that could possibly turn into a serious threat to all the prospects her mentor [Piyush Mishra saving some grace] had eyed for.

Sai sets the mood perfectly with real locations, interesting characters, local dialect and the scheming political scenario everyone can relate to. Extended shootouts weaved in with gun-shots and music, satirical approach in the narrative and the stylized action sequences are clearly Tarantino effect but it’s the lifeless story and scattered screenplay that hardly do any better to the promising premise. Entertainment comes in bits and pieces and for the most, the whole 2 hour 15 minutes looks like a never ending journey in the tiring terrain of Chambal itself. Music is another letdown as it plays one of the most prominent parts in such film and can never be less than a driving force to the film.     

Kangana Ranout, after her super-delightful performance in QUEEN is back with a character that needs guts and a certain kind of spark to set the screen on fire. Sadly, Kangana puts her best but the writing doesn’t give her what she deserves. Vir Das is likeable in parts. Watch him explaining how his situation in the film at that time finds similarities with Hollywood actor Daniel Day-Lewis and it’s all about being a true actor. Funnier than you think! Piyush Mishra shows his mastery over the art and though he’s more visible in second half, he captures your attention in total effect. Zakir Hussain, Kumud Mishra and Pankaj Saraswat as witty villains are good to watch.

In nut shell, REVOLVER RANI is a sad victim of baffled screenplay that loses its steam way before the end. Even good performances and fascinating characters aren’t good enough to make your day. Avoid this messy ride of bullet, ballot and bizarre ballet of love! [2/5]

2 STATES: beautiful film but no signs of newness in the plot make it strictly watchable! [2.5/5]

In order to impress his hardcore Tamilian future in-laws when Krish [Arjun Kapoor entering into a completely new territory of Bollywood’s safest road to win hearts; the romantic comedies], a Punjabi Chap brings Engagement-rings for everyone in the family, the statement comes out loud and clear, “Marry one-marry all”. Indian weddings can never get more comprised than in this particular scene in debutante Abhishek Verman’s 2 STATES. Impressive, moving and very well done but the biggest question here is if fine film-making could really save a film with absolute no meat in the plot and all ‘done in the past’ predictability that comes handy in any such Bollywood Film. Sadly, the answer falls in negative.

Based on the bestseller of Chetan Bhagat’s kind of autobiographical novel of same name, 2 STATES tries to bring two different cultures, two different families helmed by their own set of lifestyles and ‘hard to break or mold’ establishments in thoughts, under one wedding-Mandup. Krish falls in love with Ananya [Alia Bhatt comfortably stepping in the shoes]. Ananya falls for Krish too but their families don’t as one comes from the loud Punjabi culture and the other backed by Tamilian traditions.

The boy and girl try to woo their parents in any which way they could but rather than getting excited and on your nerves to find out how, you would end up waiting with a big ‘when’ on your face. The plot that shares similarities with most of the Indian love stories produced in the past never actually rises from just looking great, vibrant and immensely fresh in every frame. No one should sink in doubts that this is one of the finest in terms of cinematography and set direction. There is hardly any frame that doesn’t make your heart feel drenched in true Indian colors.

What kills the chance is the obviousness in the way story moves forward. The sweat couple in love put one after another fall like house of the cards but towards end, it doesn’t take more than a couple of minute to set all the puzzle-pieces together. Convenience at its best! Jokes are clearly more on colour, rituals, taste and choices in art and food and anything you could think of easily. Though Verman controls himself from making characters stereotyped [Alia doesn’t carry any south-Indian accent] and that should be praised wholeheartedly!

In a deliciously ensemble cast, Amrita Singh plays a bitchy-overtly possessive Punjabi mother to Krish with fine nuisances. Ronit Roy as his unapologetic yet emotional father excels in most to bring lumps in your throat especially at the end. Shiv Subramanian and Revathy play it smooth, subtle and sweet as Tamilian parents to Ananya. Watch out for Revathy singing the soulful ‘Saathiya, yeh tune kya kiya’ from her 1991 film LOVE! Lovely addition!!

Of the lead, Alia looks garden fresh and emotes too. Her presence sparks the screen making it a picture perfect sight to rest your eyes. Arjun as a geeky, confused, nervous lover boy shows his growing confidence as an actor. In conclusion, 2 STATES is a beautiful film let down by a superficial plot and a stretched at long duration only to ruin all the promises that could have turned the table in a better direction all together. Alas, no signs of newness in the plot make it strictly watchable! [2.5/5]

BHOOTHNATH RETURNS: A serious family entertainer that could have been sweeter if shorter! [3.5/5]

If you could just overlook the overtly stretched length of the film [2 hour 35 minutes to be précised], there is an enormous chance you would discover quite a complete family entertainer in Nitesh Tiwari’s directorial sequel BHOOTHNATH RETURNS that also manages to talk about many social issues in a loud, clear and smart way. A satirical take on criminalization, corruption and commercialization of Indian politics, BHOOTHNATH RETURNS is suitably backed by juicy writing with proper dose of wit and Indian melodrama, applause-worthy performances, fearless direction and a story that touches your heart at large.

Taking story forward from the previous part, Kailash Nath played by the towering inferno called Amitabh Bachchan is sent to an afterlife ghost world which is being run in a modus operandi similar to our slow-moving, uninterested, unresponsive government offices of all kinds. Just because he could not scare a little kid Banku on earth, he’s now sent back to earth to rectify his failure. But to his bad bad luck, the kid here a rough-tongued, carefree slumdog tapori named Akhrot from Dharavi [Parth Bhalerao, equally confident and high on talent] also bounces back to Bhoothnath’s scare tactics with, “tu bhoot hai toh main daayan, shaadi banayega??” The chemistry between two sparks from the very start and they become friends forever. Things look smooth until the events and actions lead them to Bhau- the local goon-turned-corrupt politician [Boman Irani in a bit repetitive but interesting role]. And then starts the most dis-interesting game of politics for common man with a new fascinating twist! Bhoothnath is ready to contest the election against Bhau!!

Writer-director Nitesh Tiwari smartly makes the story move from being a satirical take on life afterlife to the dead serious issues in current political scenario in our country. After a hilariously amusing first 45 minutes that includes mainly the bonding between Bhoothnath and Akhrot, when Nitesh takes a u-turn on politics with a grim-grave real visual montage of child-labor, poverty, unemployment and hunger on a goose-bumping song ‘Saahib nazar rakhna’ you sure dip in doubts if this is the right route for a bollywood entertainer?? But the way Nitesh takes it forward, it’s amazing!                   

From long queue of dead souls in waiting to get their desired reincarnation in the bhoot-world to Bhoothnath filing nomination in the Loksabha elections, film keeps you engaged and entertained for the most part and often in a regular interval. Only letdown here is the duration that makes you wonder if the film would ever end. On the performances, I would repeat Akhrot as he says to Bhoothnath, “thoda overacting kiya tu, but India mein yehi chalta hai”. Amitabh Bachchan is exceptionally likeable and emotive, Boman as a mean-menace Bhau suits the part but it’s Parth Bhalerao who stands taller than anyone else and steals the show with his power-packed coolness and ‘bindaas’ performance! Cameo by Anurag Kashyap and a short but soul-stirring part of a dead social activist by Vijay Maurya are worth mentioning.

In these times of elections, BHOOTHNATH RETURNS is the best bet for anyone to get motivated to cast his vote as it speaks in volumes about anything and everything in Indian politics and that too without losing its spirit, sensitivity and the entertainment quotient. It dares to inherit the sparks, simplicity and sincerity in the story-telling techniques any of ‘Raju Hirani’ movies successfully emboss…and succeeds too, if not for the whole in glimpse for sure! Watch it! [3.5/5] 

DIVERGENT: …this hunger game needed more on entertainment! Still a good watch!! [3/5]

Not all Sci-fi action thrillers are heaving with meticulously detailed and extensive visual recreations of a futuristic world only can be constructed from the immeasurable usage of creativity and technology. Some play it subtle, delicate and translucently in synced with human emotions at the base. Neil Burger’s DIVERGENT is one such science-fiction based on the bestselling novel of same name by Veronica Roth.

In the futuristic society of Chicago, natives get segmented in five major factions based on their human instincts of selflessness, tranquility, honesty, intelligence and courage. A classified social structure that gives everyone a well-deserved chance to actively take participation in the growth and smooth run of the culture looks more than just impressive at first but it starts losing its sheen soon when a girl [Shailene Woodley] of her own set of fears and complexities gets identified as an another kind who doesn’t fit any of the five factions. From the time she had to choose for her preferred faction to the heartless phase in the training camp, this so-called ‘Divergent’ girl constantly fights with her inner uncertainty about her identity, abilities and the emotional strength that could drive her to any extent till she smells conspiracy against the more human-less mechanical ‘Divergents’.

‘DIVERGENT’ represents an ultra-modern version of a society that is very much identical to our caste-system where every group has its responsibility well-designed, defined and pre-decided but technology-driven. It also dares to question our missing sensitivity and compassion against each other. The combatants are being produced endlessly like on a conveyor belt but with literally no sense of right and wrong. Film slips assertively into a human-emotional drama rather going the way awe-striking action sequences charm our regular sci-fi viewers. And that makes us uncomfortable in our seats sometimes because of its a bit stretched duration and a pace that rebels to move story ahead. Though the film has a cautionary declaimer as ‘all the stunts seen here have been performed under expert supervision and it is advised to do not attempt this at your own’, leave a couple of scenes in the first half and you would hardly notice any such pulsating action sequences to fulfill the promise. Lacking in the entertainment quotient here is a big letdown.

On the performances, Shailene as a puzzled individual about her identity carries the film on her shoulders. Her character graph promises a good wide playground to perform varied emotions and she utilizes that very efficiently. Theo James supports her well as Four-the instructor at the training camp. Kate Winslet plays an important cameo and does it beautifully. Film’s biggest strength is the comforting cinematography, bright music score and visual effects that transit you in a futuristic world that’s less complicated and very much relatable. 

At the end, Neil Burger’s DIVERGENT is a good watch despite its occasionally dead pace and the shortage of jaw-dropping action sequences but not for regular hardcore science-fiction lovers. [3/5]