NAYA PATA: a new address to new-age Bhojpuri Cinema [3.5/5]

In one of the most unsettling scenes, an old forlorn man in his late years is seen enquiring for the easy-availability of ice slabs in his village as his son might take more than a day to come to perform his last ceremonial services after he’s dead. Now, I haven’t seen a single scene so emotionally charged up with plenty rich sensitivity in recent Bollywood. So, I am sure you’ll rub your eyes in disbelief that this is actually happening in a Bhojpuri film and not some mainstream Hindi cinema. Released by PVR, Pawan K Shrivastva’s NAYA PATA never ceases to surprise you even for once with an honest and wholehearted effort to break the jinx that has already put Bhojpuri Cinema on the spot.

In his very first outing, Pawan decides to take you through the throbbing pain of migration in hunt for better job opportunities for young blood in metros. After spending 25 years in Delhi, Ram Swarath Dubey is returning to his native place Chhapra in Bihar. In midst of switching between two different addresses, survive the soreness of identity getting lost and a certain kind of discomfort that doesn’t allow him to feel his roots. No wonder, he gets restless when someone addresses him ‘Dilli wale baba’ (the grandfather who belongs to Delhi). Things get worst for him as loneliness approaches the poor old man, after his son too leaves the place to get settled in one of the bigger cities.

NAYA PATA scores big time in its sincerity that doesn’t get diluted by any of the gimmicks Box Office demands. Shot authentically and esthetically on real locations with challenging lighting techniques responsible and well-efficient to set the desired mood on screen is one of few highlights. The man behind camera Saket Saurabh deserves an accolade. In others, the film is blessed with excellent music sense. With a recurring rendition of Bade Ghulaam Ali Khan saab’s ‘Yaad piya ki aaye’, use of Kabir’s Nirgun and the extracts from ‘Shakespeare of Bhojpuri’ Bhikhari Thakur’s writings and the essence of true folk, this is an album you would be asking for soon after leaving the theatre.

Though the film could not save itself from falling into ‘the very first effort in filmmaking’ syndrome; resulting in performances that look less confident, clumsy and extremely cautious to camera; it’s Abhishek Sharma as the main protagonist and Chandra Nisha as a supporting character who outshine rest in the cast. They both get it as real as it could be especially Chandra Nisha. She is effortless and totally in control. And finally the director, Pawan K Shrivastava should be given every credit to bring back possibilities in Bhojpuri Cinema. There’s a ray of hope and a streak of light on the other side of tunnel and Pawan cements that belief- that hope we all have been dropping after the saddening emergence of so many Ravi Kishens, Manoj Tiwaris and Nirahuas. This is a dawn of new age cinema in Bhojpuri…and I would die to see NAYA PATA leading the way with immense social responsibility and sincere creative accountability for a huge cultural restoration.

NAYA PATA is a new address to Bhojpuri Cinema. Come, visit without any hesitation, inhibition or apprehension! It is here to bring the change and you should be a part of it! [3.5/5] 

नया पता: भोजपुरी सिनेमा का नया पता! सरल, सहज और संवेदनशील [3.5/5]

कुछ साल पहले नितिन चंद्रा की 'देसवा' देखने का अवसर मिला था।  फिल्म से बहुत सी शिकायतें थीं, कई बार फिल्म खुद उन रास्तों पर भटकती नज़र आती थी, जिनसे बचकर नए रास्ते तलाशने की उम्मीद नितिन ने जगाई थी। शुक्र है, और साधुवाद पवन के. श्रीवास्तव को, जिनकी भोजपुरी-मैथिली फिल्म 'नया पता' ऐसी कोई भी गलती दोहराने की भूल नहीं करती और भोजपुरी सिनेमा को नयी प्रगतिशील दिशा देने की ओर एक मजबूत-एक अडिग कदम बढ़ाती है।

'राम स्वारथ दुबे, ग्रा.पो.- तेज़पुरवा, थाना-मरोढ़ा, जि.-छपरा', रोजगार की तलाश में २५ साल पहले दिल्ली जा बसने वाले राम स्वारथ दुबे का यह नया पता वास्तव में उनका अपना ही गाँव है, जहां एक बार फिर वो अपनी पहचान तलाशने की कोशिश कर रहे हैं। पलायन की त्रासदी और पैसे कमाने के उहापोह में रिश्तों के प्रति उदासीन रहने का दुःख लिए घूम रहे दुबे जी की पीड़ा तब और बढ़ जाती है, जब उनके गाँव की ही एक लड़की उन्हें 'दिल्ली वाले बाबा' कहकर बुलाती है। सच है, कुछ जड़ें अपनी ज़मीन कभी नहीं छोड़तीं और कुछ पौधे ज़मीन बदलने पर फलते-फूलते भी नहीं। हालात और बिगड़ते नज़र आते हैं जब दुबे जी का बेटा भी अच्छे मौके की बांह पकड़े गाँव का दामन छोड़ देता है।

'नया पता' राम स्वारथ दुबे के जरिये गाँवों के रेहन-सहन और सीधी-साधी-धीमी रफ़्तार ज़िंदगी को बखूबी सामने रखती है। रियल लोकेशंस पर, कुछ बहुत ही जरूरी कलाकारों और ढेर सारे रियल कैरेक्टर्स के साथ शूट हुई इस फिल्म की यही एक बड़ी खासियत है, इसका बनावटीपन से बिलकुल दूर होना! हालांकि इस वजह से कही-कहीं पर नाटकीयता की कमी महसूस होती है जो अक्सर सिनेमा के बड़े परदे पर आपको बांधे रखने के लिए जरूरी होता है। बड़े गुलाम अली खान साब की 'याद पिया की आये' का नवीन प्रस्तुतीकरण और कबीर के निर्गुण और भिखारी ठाकुर के गीतों से सजे गाने जो सिर्फ बैकग्राउंड का हिस्सा हैं और 'लिप सिंक' की प्रक्रिया से खुद को दूर रखते हैं, फिल्म को एक नयी ऊंचाई पर ले जाते हैं। साकेत सौरभ अपनी लाइटिंग तकनीक से दृश्यों में जान फूँक देते हैं। किरदार जब कुछ नहीं भी कहते, फिल्म के दृश्य बहुत कुछ कह जाते हैं। फिल्म अगर कहीं ढीली पड़ती है तो सिर्फ नए कलाकारों की झिझक और उनमें साफ़ दिखते अनुभव की कमी की वजह से, फिर भी मुख्य भूमिका में अभिषेक शर्मा और सह भूमिकाओं में चंद्रा निशा अपनी छाप छोड़ने में कामयाब रहते हैं।

'नया पता' के साथ पवन के. श्रीवास्तव भोजपुरी सिनेमा में एक सरल, सहज और संवेदनशील सम्भावना की झलक प्रस्तुत करते हैं। फिल्म के एक दृश्य में अकेलेपन से ग्रस्त, अपनी पहचान खो देने का डर लिए दुबे जी गाँव के एक आइसक्रीम फैक्ट्री में बर्फ की सिल्ली पता करने पहुँचते हैं, इस चिंता से की उनकी मृत्यु पश्चात उनके बेटे को आने में ३६ घंटे से अधिक लग सकता है। भोजपुरी सिनेमा छोड़िये, हिंदी फिल्मों में भी मैंने इतना संवेदनशील-इतना मार्मिक वृतांत हाल में कम ही देखा है। बहू पहली बार घर से बाहर जा रही है तो सिन्धोरा [सिन्दूर रखने के लिये बॉक्स] के साथ उसकी विदाई की रस्म, उदास तन्हा रातों में नाखून से दीवार पर चूने की परत कुरेदना, दिल्ली के छोटे से कमरे में प्रेशर कुकर में पकती दाल और फिर चम्मच से सीटी उठाना, आज की फिल्मों में कहाँ दिखता है? तो अच्छा लगता है।

अंत में, 'नया पता' भोजपुरी सिनेमा का नया पता है। तमाम रवि किशनों, मनोज तिवारियों और निरहुआ जैसे ठट्ठेबाज़ों से अलग, भिखारी ठाकुर के 'बिदेसिया' की दुनिया! देखिएगा ज़रूर!! [3.5/5]  

EK VILLAIN: An intense love-story or unintentionally funny thriller? [2/5]

Negative attracts. Villains get most of the claps. Well, mostly. So in case, if you make it to resist yourself from falling over your current heartthrobs on screen; Shraddha Kapoor riding high on AASHIQUI 2’s success and the cute-faced, no-nonsense and impressively the most sincere looking student of Kjo’s school Sidharth Malhotra respectively for boys & girls; you have also on board one of the most deliciously mystified villain played by Riteish Deshmukh. A perfect casting, quite enticing in this case is a fool-proof strategy to bring big numbers in theatres and at the box-office both. Half battle is won.  

Now, let’s have some crisp, meaty, tense, on the edge plot that could have the audience seated for longer than interval at least. Plot? Really? Aren’t we asking for much, especially in Bollywood? But why to worry if there are plenty of inspirations floating all over the cinema-world! And the team chooses South Korean revenge thriller I SAW THE DEVIL.  With added melodic music that includes an item number too, anyone would have predicted ages before going on the floor that the film will be a success in all respects. It looks. It sounds. It appears but sadly and only on paper. It’s time to face some reality. Mohit Suri’s EK VILLAIN is a mishmash of a love-story that tries hard to be intense and an unintentional revenge drama that thrills only at one occasion or two.

Ethically, there is not much to unravel in the plot as it being a suspense thriller, though you can easily predict it from a mile away. So, let’s stick to the characters and not the major events. Shraddha Kapoor plays Ayesha- a girl in high spirits with her bucket-list of dreamy wishes like watching peacocks dancing in the ‘first’ rain of the season, catching a butterfly and you can go on & on with a wide-eyed expression of ‘How romantic!’ on your face. She also loves to talk in a manner tried & tested well before by all prominent Bollywood heroines from Hema Malini in ‘SHOLAY’ to Asin in ‘GHAZNI’. She comes last in the list of ‘who performed well’.

In execution of one of these silliest wishes, she seeks help of a cold-blooded murderous henchman Guru, played by yours truly Sidharth wearing a grumpy look on face from the acting rulebook. What happens next? Any guesses? No, he doesn’t kill the girl. No, the girl doesn’t kill him for what he’s done but they both fall in love. I bet you haven’t had it in your weirdest dream. Enters Riteish playing Rakesh, a simple-sober-soft spoken regular guy who doesn’t want much in life but to be a hero for his son and wife! With a nagging, beating & harassing wife [played by Aamna Sharif], it is quite an impossible task. So, the constantly piling anger, frustration and rage arouse the violent streak in the guy. How the three cross each other’s path is better left unspoken.

At best, EK VILLAIN is a melodramatic average Bollywood thriller with predictably ridiculous storyline that barely imposes any sense of emotional connect to any of the characters. They are loud screaming hard to make themselves noticed. The twists and turns are some relief in order to infuse some excitement. In one of scenes, Kamaal Rashid Khan of ‘DESHDROHI’ is seen justifying domestic violence on women as a part of common middle-class men’s stress-release process. If a writer could come up with such character on screen that too without giving him a proper lesson at the end, I mourn the death of sensibility in such creative area of work. Even my anger is piling up for obvious reasons! Let’s end it here and here! [2/5]

TRANSFORMERS: AGE OF EXTINCTION : Strictly Average! A tighter and smarter script could have done better! [2.5/5]

Intrepid-enterprising-invincible hero, uncontrollable baddie, his almost never-ending line of goons, superficial writing with dialogues hardly having any weight to it, a paper thin plot, lots of heavy non-stop action and an exhaustingly killing length of almost 3 hours…isn't it what we all are watching every month or so gift-wrapped as a new bollywood release; either a south-remake or just a remake, how does it matter?? So, what precisely is the property besides being labeled as a ‘Hollywood’ film that makes any distinction in case of Michael Bay’s TRANSFORMERS: AGE OF EXTINCTION? Well, it sure is the bigger canvas to showcase splendid execution of gasping action and the next level in thrilling visual graphics. Yet, the outcome is very much like those fun-rides in amusement parks that leave you all drained out.

Despite being sociable to human race, Autobots are now declared fugitives and being hunted down by government agencies. The human loss in the Chicago invasion surely had its consequences. Meanwhile, a small time inventor-cum-single father of a teen Yeager [Mark Wahlberg] buys a junky truck as a piece of scrap that turns out to be none other than the most imperative transformer, loved as Optimus Prime. Now the battle is against the government backed Decepticon Lockdown and Galvatron- a re-embodiment of Megatron created by a hardcore businessman Joshua…and the world will witness another massive act of destruction of sky-high buildings getting all smashed, streets being blasted into dirt & dust, bullets roaming in the air like bees on the loose and men running for their lives. Wait; there is more in the box! The gigantic robotic dinosaurs enter to make it bigger than ever before. I wish the plot would have been heavier in substance than lengthier in implementation.

TRANSFORMERS is a series loved for its well-designed action sequences and this latest in the line is no exception. Mostly difficult to sit through, partly impressive to approve! Like in a particular scene, the blasts happen in such rhythmic and photographic manner that it looks more like a bombing celebration. Though it’s momentary but it stays with you as a scenic beauty you have ever seen on screen. What one misses the most is an effective interlacing of emotional perspective. The bonding of a totally caring & concerned father with his teenage daughter and her boyfriend is so done in the past. Instead watch out for the Autobots rejoicing the return of their chief Optimus Prime. It’s more heartwarming reunion. Dialogues are very regular and of sub-standard. You rarely bother yourself to clap your hands or remember it after leaving the premise.

Of the performances, Stanley Tucci as the businessman who desperately wants to make transformers of his own succeeds in generating some likability. Mark Wahlberg is seen doing this earlier before. The visual effects and the 3D elements are worth praising the efforts but for how long could you keep busy yourself doing that is completely upto your level of excitement, patience and fan-fare. 

At the end, the bigger is not always the better. TRANSFORMERS: AGE OF EXTINCTION is strictly average action entertainer that will become a part of history sooner the next superhero movie enters with another advance level visual graphics. The worst thing about technology is that it never stays for long...emotions do. I wish it would have relied on that more! [2.5/5]      

HUMSHAKALS: Leave Entertainment, this is an insult to Cinema! [0.0/5]

Disclaimer: The fact that I had admired Sajid khan long back for being literally an encyclopedia to 70s-80’s Bollywood, especially with all the lesser known junior artists, character actors and the inside out gossips from every corner of the Bombay Film Industry, now hardly there to exist. Sajid Khan as a filmmaker has completely lost the respect even for being the tiniest part of this creative medium. So if in this review of mine, I sound unapologetically personal and too harsh sometimes, it’s purely intentional. Follows the review…

HUMSHAKALS is as illogical, as weird as its title. Neither there is a word like it in any of the dictionaries in the world, nor does this maddening world exist anywhere in this universe. Since it is supposedly a comedy of errors, I am going to try my best to make you laugh, or smile for that matter with some of its jokes. While working at a food-joint, one ‘Ashok & Kumar’ of the 3 look-alikes [Saif & Riteish; don’t bother who are the others] serves parathas made with cocaine and everyone around starts moving as either zombies or more like bhangra-lovers. Save yourself to witness them making ‘Vodka ke Parathe’. Don’t try this at your home!

The next ‘Ashok & Kumar’, escapees from mental asylum are seen playing with the life-supportive ventilator of an old man in coma [Akash Khurana as if he’s more comfortable there than being in the main league] as if it is some video game. Insensitive? Wait, there is more. The warden at the so called ‘CRAY G. Hospital’ [Played by Satish Shah] keeps torturing the patients with his favorite electric treatment performed with naked wires. Now, where on earth one uses that technique is barely matters if you are in a Sajid Khan World. This is the world where drops of a drug can turn you in dogs. People still apply Chloroform on hankies to make their targets passed out. A lollypop can heal the mental stroke.

Even all these can be overlooked if the very idea of entertainment is right, seriously, but it’s always like asking for too much from a Sajid Khan Film. Actually, it is an insult to your intellect and sensitivity as a human being. Homosexual men are again and again being portrayed as ‘always aroused’, moaning sex-starving guys. Characters cross-dress to seduce their look-alikes and fall into hysterically annoying love-cum-rape scenes. Songs come out of nowhere to just make it a loo-break in every 20-min or something. Considering the degree of stupidity Sajid throws at you, this is one nice & smartest move to keep viewers fresh like new from scratch. You should better take each one of them to survive the whole film.

Bipasha had earlier made it clear that she wasn’t happy with the outcome and that’s why she kept herself away from the film promotions. I wonder what made Saif not go for that option. Watching him suffer as an actor who can’t even crack a joke properly or deliver an ordinary piece of dialogue without hamming is a terrible experience! Riteish and Ram are not so bad comparatively. We better not discuss the girls. They are hardly there to impress with their acting skills.

At the end, I hope it is the end. Let’s just not take cinema for granted in the name of entertainment. Leave Entertainment alone, this is an insult to Cinema! I just can’t throw my precious stars on such waste of time, money and efforts of thousands of people on a film-set. Stay away, or else you might release your anger, aggression and distress caused by the film upon your friends and family! [0.0/5]         

CHEF: Taste life like the best dish on menu! Sweat, simple and delicious! [3.5/5]

You don’t really have to be a cook yourself to like Jon Favreau’s tasteful slice-of-life drama CHEF, but if you are a life-lover you hardly can stop yourself from falling in love with it. Alike every nicely-cooked & well-presented dish in any of your favorite restaurant, life requires nothing but a demanding preparation, monumental effort and a good heart to top it all. CHEF takes its inspiration from the very same idea and turns out to be a deliciously sweat, simple and delightful film that has its heart right in the place.

Coming from the director of highly technological, imaginative and illusory IRON MAN & IRON MAN 2, comedy-drama CHEF emerges as a surprising but an appetite-full creation of Jon Favreau. Besides being the writer-director, he plays Carl Casper- a passionate chef trapped in a commercial restaurant run by the money-driven, dominating and unreasonable Riva, played by Dustin Hoffman. Life takes a drastic turn when Carl gets bashed up from left, right and center by a reputed food critic for not being innovative and imaginative in his servings. This is the time when his personal life too is on the edge. He should spare some of his life-chunks for his 10-year old son living with his divorced wife and in the meantime, also be looking for what he misses the most i.e. cooking what he likes to.

CHEF tempts you not only with the luscious, lip-smacking dishes of all kinds being grilled, baked, chopped, basted, fried and served artistically in the most enticing manner; in fact there is hardly any scene where the food is not being celebrated; but also with the heartfelt emotions in a simple yet relatable plot of human relationships. The sentiment of not being permitted to experiment and innovate for what you think is right and often surrendering yourself in the name of what your employer thinks is right, is never an extraterrestrial for any man of creative values. Chasing your dreams and following your heart may not be possible for everyone but when you see Carl getting on to it, you never feel isolated from the sense of achievement and contentment Carl is gaining gradually on screen.

Film also succeeds in throwing pleasant surprises on regular intervals with the most delectable short & sweet star appearances in recent. Scarlett Johansson woos the screen as Carl’s colleague at the café. Dustin Hoffman as a bossy owner is a luxury to have on board but leaves you unfulfilled wanting more of him. Robert Downey Jr plays a romantically witty more like his Tony Stark in IRON MAN. Russell Peters joins the cast as a selfie-lover cop who can’t stop asking for clicks to upload on social networking sites. Emjay Anthony as his son and Sofia Vergara as his ex-wife come up with endearing performances but CHEF is all about Jon Favreau. As the writer-director, he not only pushes his boundaries but also blesses the screen with a wonderful character lovable in all given situations.

Though in between courses you might notice something very regular and recurring, at the end it is a sweet, simple and delicious feast you won’t regret booking your table for! Likeability is guaranteed! [3.5/5]

FUGLY: Nothing but F*cking Ugly! [1/5]

In a ripped-off yet muddled climax straight from the inspirational ‘fight against system’ drama RANG DE BASANTI, one of the four protagonists in Kabir Sadanand’s FUGLY announces his decision to take on the political system soaked & sopping in corruption & criminalization of power in the most unimaginative way unlike the original. No wonder, the other more aggressive partner is seen wearing a ‘Bhagat Singh’ t-shirt in the same scene. Now, how conveniently that sense of patriotism is positioned and promoted is very much obvious but how convincing it is, sure falls in questions. FUGLY is one hell of ride that merely knows where it is headed, much like the leading characters in the film.

FUGLY also gets ugly while portraying the reality through the stupidity and idiocy its characters sport in their act. Film continuously demonstrates the lecherous, lewd and lustful behavior of men of all kinds against women. That’s the reality everyone should check without any uncertainty but when it is being spoken on screen, the pain goes missing by and large. Though the sincere intention is there, the relevance and concern lose tracks soon after getting on to it. So, you see an enthusiastic journo reporting LIVE coverage of a critical patient crashing straight into the ICU. The same pretty lady also indulges herself in luring the ward-boy for sexual favors in good turn of access to the victim.

The typicality of the friendship gang is another reason for a big fail. Having a sensible guy with practical approach towards life and career [Mohit Marwah], a spoiled brat taking everything in its lightest [Vijender Singh the boxer], a chicken-heart who’s always in best of his doubts to take sides [Arfi Lamba] and a bold girl who can grab an eve-teaser by his balls literally [Kiara Advani], this uber-cool group has hardly anything new-fangled and fresh that you have never come across. The escorting incident of their life taking a full swing also resembles hugely with the plot from SHAITAN. The lingo that has been loved in FUKREY is a complete maddening here. I could hardly recall any of dialogues that is actually worth to. Jimmy Shergill holds his fort to some extent as a controlling & calculating bad cop in total power to make things worst but soon loses the steam after being repetitive and least intensifying after a point.

For a change; on the non-performing meter, Jimmy finds a place lowest of all. His is not actually a remarkable one but in the middle of such highly latent and dormant cast, he looks divine. Kiara does it good. Though he is ages behind wining an Oscar for his performance [As he had expressed his aspiration to a famous tabloid], Vijender is lovable but the one who disappoints the most is Mohit. Do not picture him in the songs and in lighter moments but watch him in the intense dramatic sequences and you will sure notice the room of improvement vast and bigger than he would imagine.

To its best, Kabir Sadanand’s FUGLY deserves stars not more than it showcases in its title-design. That’s counted to one. Don’t go anywhere near to this plain-unoriginal-uninspiring youth drama. [1/5] 

THE WORLD BEFORE HER: India within India! India Vs India!! [3.5/5]

Not sure of world outside our country but India is a difficult place to live for women. It has always been. Dreaming of a better & brighter future with its own share of freedom and individuality, apart from just being a good housewife and a responsible mother to as many kids is sure too much to ask for. So when a devoted member of Durga Vahini- the women wing of a Hindu fundamentalist group, Prachi Trivedi thanks her uncompromising, dominating and often abusive father for letting her be alive in this world, it definitely breaks your heart in pieces.

But that’s very minuscule; the bigger picture is way ahead. Grass always looks greener on the other side but things are not easier for Ruhi Singh also who belongs to a much supportive middle-class but modern family of Jaipur and is now a potential contestant at Miss India pageant. With these two different individual identities and their vastly distinguished worlds, Nisha Pahuja presents THE WORLD BEFORE HER- an absolutely amazing, powerful and emotive documentary that also entertains at large.

To show the aspirations, dreams and hopes of today’s Indian women, THE WORLD BEFORE HER handpicks two complete contrast characters and throws light on their lives under sheets. Prachi Trivedi of Aurangabad is a firm & fearless believer of Hindutva who could never blink or think twice before killing anyone against her religion or country. In her Durga Vahini Camp, young girls are taught the roots of Hindu culture and how one should protect it from other religions and the westernization taking it over. This is one Hindustan as they say. Defensive, panicky and regressively alarmed against the inevitable change world is bringing into itself!

On the other, it is all dolled up in the best of make-up & dresses Miss India aspirants who are dreaming to win the title in order to find themselves in the league of upgraded from ‘person to personality’. This is a manufacturing unit like set-up where products are being polished to their bests, in this case with Botox sessions, skin whitening treatments, extensive diction & personality booster tutorials and what not. In one deeply disturbing sequence, they all are made to parade in a sack covering their heads and upper torsos only to decide who’s been blessed with the best of legs.

Prachi and Ruhi’s worlds never really cross their paths but collide at all stages in terms of their cultural orientations, mental beliefs and personal choices in life. THE WORLD BEFORE HER honestly, impressively and without being critical to anyone specific puts the both on our table to dissect with our own receptivity and agree or disagree to either later. A very very important film! And yes, documentaries can also be entertaining. This one is a neat example! Do not miss it. [3.5/5]     

HOLIDAY: Think twice! Entertainment is off duty! [2/5]

It is quite hard to decide what is more exasperating in A R Murugadoss’ HOLIDAY- A Soldier Is Never Off Duty, the distasteful-impolite & offensive exposé of modern Indian women or the overenthusiastically proud praise of Indian Army? The leading lady here [Ms ‘100 Cr’ Sinha] is apparently a new-age rebellious daughter who could give serious threat to the mother and slap hard to her father if asked to do something not of her interest. Meanwhile, she’s also dumb as a doll to decide getting married instantly whoever comes in way as guys with sharp brain & good looks are vanishing fast from earth. Right!

And now the driving force; if not busy in trying to fulfill his lady’s wish to perform a kiss [???] or shaking his legs too often, the soldier never off duty [the ageing Akshay Kumar] constantly gets into a preachy mode to justify and establish how and why the Indian Army men are better & more dependable for country’s security than police and civilians. Yeah! Right!!

HOLIDAY- a remake of Murugdoss’s Tamil superhit THUPPAKKI is not a bad film at all as it has all the possible & potential ‘masalas’ for a ‘dhansu’ action entertainer. A hero who’s always a step ahead of villain’s deadly plans of mass-destruction, a heroine who’s ever ready to step in to the dancing shoes, non-stop action, solid dialoguebaazi but what it lacks is the sense of being and belonging. Though I know this is not a kind one should look out for much reasoning but the common sense not to be found even in traces is rather hurtful.

Film sustains and succeeds in introducing the concept of ‘sleeper-cells’ in India but sadly it is presented more of as a plain verbal threat and no inside out hard-hitting visuals to support the premise. I wish it could have explored the functioning of this dreadful modus oparandi of terrorism rather than just focusing on one man behind all this especially when you aren’t equipped with an impressive antagonist. Though he has the built and basics of a good baddie, Freddy Daruwala as the brainy guy behind terrific act of terrorism looks more like a sidekick to Vidyut Jamwal who had played the same role in the original. Govinda makes a short & sweet special appearance but looks completely off sync. He sure deserves better roles to justify his age and caliber. Sumeet Raghvan is some relief.

On the whole; with a nearly 3 hours of duration, this ‘trying to be smarter than the smartest’ thriller-cum-entertainer is like a dull, boring and extended holiday trip where you don’t really have much to explore and sight-see but the luxury and comfort of a premium hotel. Just fall in the bed, sleep, eat, sleep again and come back with a promise never to be back in the same territory again. Hope Akshay could hear this out! [2/5]

FILMISTAAN: Divided by borders! United by cinema!! [3/5]

Clad in sheer innocence & extreme enthusiasm, Sunny Arora [played by the fabulous Sharib Hashmi] is probably one fervent follower of Bollywood we all have met-seen-known at some point in our lives. Hardcore is hardly able enough to match up with his degree of intensity. No matter how hostile the situation is, he never ceases to crack the juiciest ‘filmy’ dialogues Bollywood has produced in all these years. ‘iss chalte-phirte Bombay Talkies ko ignore karna mushkil hi nahin, namumkin hai’. He’s the undividable soul to FILMISTAAN- 2012’s National Award Winning Film by Nitin Kakkar.

In the deserted Indo-Pak border range of Rajasthan, Sunny Arora- a wannabe actor working now as assistant director in a foreign documentary filmmaking crew mistakenly gets abducted by a terrorist group. Till the mistake is being corrected, he has to find a place in a small village in outskirts of Pakistan. The fellows around to accompany him are a fanatic with gun [Kumud Mishra, last seen in Revolver Rani], his sidekick [Gopal Dutt in a controlled but confident performance] and Aftab- a local distributor-cum-seller of pirated CDs of Bollywood movies [Inaamulhaq in a competent supporting role].

Once reached in gun-shadowed Pakistan, FILMISTAAN starts trying to make the balance between the relatable similarities, the pain of partition divided in both the parties in equal measure and the undivided love for Bollywood. In one sequence, when the camera-conscious Sunny decides to take charge of directing his own hostile video, unknowingly he turns the terrorists in a film crew with designated roles to each one. In other, Sunny locked up in a dark room starts performing dialogues of Salman’s superhit ‘Maine Pyaar Kiya’ well in sync with the movie getting played on home video outside. You might enjoy this on screen but in real; nothing can be more irritating than that. I can guarantee. FILMISTAAN does the same to you. When you enjoy it, you enjoy it to the fullest but when it gets dragged and pushy with pinch of heavy drama and a completely unimaginative climax; you sure take the back seat as a discouraged viewer in search of a better outcome.

FILMISTAAN if does cross the above-average barrier, it is all because of the two very colourful, very dynamic characters disguised as big cinema-lovers. Sharib Hashmi is a total revelation as Sunny. His energy and confidence as a fine performer never run out. Inaamulhaq provides full support with his starry-eyed movie-buff portrayal. The chemistry between the two is one of the highlights. Kumud Mishra is a veteran and though he’s there hardly speaking much, his expressive eyes do the most for him. Gopal Dutt impresses. 

In gist, as quoted by Sunny in the film, “film chahe chhoti ho, dil se banani chahiye”…and FILMISTAAN is a film made with heart, humor and drama all at its place. Flaws can be ignored if entertainment is there in a larger capacity. Watch it for a good film and good fun! [3/5]

EDGE OF TOMORROW: Cruise’s own GROUNDHOG DAY! A fantastic fun!! [3.5/5]

If you could repeatedly go back in to your past, possibilities are that you could master yourself in dealing with the hitches & glitches of life you are destined to face but will that alone be able to temper or alter the upcoming written in bold? That’s a different subject matter altogether. Daug Liman’s sci-fi alien-human war film EDGE OF TOMORROW settles its premise on the very same. Living same day again and again till you learn how to get out of this fascinating but suffocating time-loop. This is Tom Cruise’s own GROUNDHOG DAY with an absolutely engaging plot, effective action and thoroughly enjoyable humor as added bonus.

William Cage [Tom Cruise] – a ‘behind the desk’ officer in US Army Media Relations who can hardly see a pool of blood with his eyes wide open is thrown to fight in war against an alien race with prospects to bulldoze humanity from earth. In the middle of early mental-establishment of the situation, Cage gets killed and finds himself waking up where the day had just started. Now, he has to go by the day all over again to find and save a war-hero Rita Vratasky [played by Emily Blunt] who’s entirely aware and sympathetic about the entrapment Cage is in. Now, together they have to spot the way out but not without retaking the journey hundreds of times to mug up, master and overcome all the obstacles around.

In a cleverly crafted plot when you see a non-performing soldier by chance Cage taking over the situation as per his prior indulgence and presence in the circumstances before, there is no chance you wouldn’t find it gripping and winning. Also, the pre-combat practice sessions when Cage fails miserably and Rita has to kill him over and over again to restart the day, how can you not laugh over Cage’s helplessness? The action sequences are well designed and in synced with 3D effects to maximize the effect but it’s the tighter screenplay that doesn’t leave much to complain. Crisply edited sequences and the humor that comes handy with how everything just ends up in the same ‘been there-done that’ arena time and again are totally born-entertainment. There is also a breezy layer of unsaid-unexplored love between the two but thankfully Daug doesn’t dare himself to travel on that path long enough and sticks to the promise to give you an unadulterated action entertainer in true sense.  

Tom Cruise is known to bring the charm of a star along with him but in comical scenes, you have to experience it yourself. Emily Blunt is terrific and the kind of physical energy and strength she puts in her character is amazing. Together they both flash the desire to see more of them in a more romantic exposure.  

All said and done; though we have seen the allure of time-loop earlier in more than a couple of movies before, the fact that Daug Liman gives us an authentic action film that is best enjoyable in 3D overshadows the lack of novelty in the plot. It’s a fantastic fun if action, science-fiction and creature movies don’t really mean a put-off situation for you! [3.5/5]