SHAANDAAR MOVIE REVIEW

Bottomline : Creating their own world of comic-book characters, whimsical situations and highly stylised set pieces, the makers of Shaandaar have taken insanity to a different level altogether that might even put an Anees Bazmee film to shame. Yet, if you're willing to overlook the silly and predictable story, there is good fun to be had in this two and a half hours of inspired lunacy.

Review: Let me start off by saying Shaandaar is the kind of film you'll either guiltily embrace or passionately despise. Imagine a world where people get into a private jet and fly miles away from life's problems, or a world where the domineering head of the family sneezes to an instant death, or a place where a bunch of characters get high over mushrooms and pot brownies and start doing the weirdest things possible. If all this seems absurd, then Shaandaar has much more in store for you. It is de facto a combination of the traits of the two production houses of the film; the elaborate set pieces of Dharma (run by KJo) and the quirkiness associated with the Phantoms (of which director Vikas Bahl is a part). However, even amidst this ludicrosity, Vikas Bahl, of Queen fame, does a good job of giving us some charming moments and genuinely funny scenes and credit must go to the actors who seem to be having a great time. It is a treat to watch the father-son pair quibble over Shahid's romantic overtures towards Alia and Pankaj Kapoor, as usual, is terrific as the person who is Nana Patekar from outside and Amol Palekar from the inside. Shahid and Alia share a warm chemistry that's easy on the eyes and Amit Trivedi's soundtrack is as unconventional (though not among his best works) as Vikas's hand at exaggerated comedy. Agreed, this is a far-from-perfect film and there are bizarre moments that stick out like a sore thumb, but Shaandaar manages to keep you engaged till the end even as madness and mayhem break loose, especially in the last 15 minutes of the film. This can, in fact, be termed as a zanier version of Dil Dhadakne Do.

I'm going with 3/5 for Shaandaar. It's nowhere close to the unabashedly hilarious Tanu Weds Manu Returns, but it has enough fun and froth to keep it afloat. If you don't mind watching a film where the actors seem to perform on their own and not to a script, then you may as well give Shaandaar a chance. 

TALVAR MOVIE REVIEW

Bottomline : Shot in a docudrama fashion, Talvar, directed by Meghna Gulzar, is both riveting and equally disturbing at the same time. It cleverly exposes the flawed legal system while driving home the point that truth can, sometimes, be stranger than fiction.

Review: Bollywood had hit rock bottom in the last few weeks with big flicks like Katti Batti, Hero, Welcome Back bringing disgrace to an industry already accused of portraying banal cliches film after film. Finally, Vishal Bharadwaj and Meghna Gulzar have come to its rescue with Talvar, a realistic and inherently dramatic account of the Aarushi Talvar double murder case in 2008 which shook the roots of the middle class. Meticulously researched and written by Vishal Bharadwaj, Talvar points fingers at many but never affirmatively concludes how the murder took place. It could have easily taken the garb of a crowd-pleaser by offering more convenient solutions but instead digs deep into the actual facts and study of the complex emotions everyone attached to the case goes through. All this, coupled with a haunting background score (Again, by Vishal Bharadwaj), crackling dialogue (especially in the final act) and superlative performances make for an engaging piece of cinema which otherwise could have been quite a tedious affair. It is exciting to see how Irrfan unravels the mystery thread by thread to finally become convinced that the parents are innocent and it is equally disturbing to see how the people involved in a dirty political nexus act steely to prove otherwise. To be frank, the film feels longer than its two-hour running time and also gets repetitive on certain occasions, but these are just minute hiccups in a film which is gripping for most part.

However, it is the pitch-perfect casting which breathes life into this dark film. From being shocked at the demise of their daughter to being helpless when accused of killing her, Neeraj Kabi and Konkona Sen Sharma are brilliant. All the sidekicks, including the cop who rushes to the conclude it is a case of honour killing, the unrelenting helper in Kabi's clinic and many others in smaller roles strike all the right notes and succeed in keeping the proceedings as natural as possible. But the star of Talvar, undoubtedly, is Irrfan Khan. Sporting the role of an investigating officer who's hooked to the 'snakes" game on his phone even as the father breaks down during an interrogation session, Irrfan steals every scene he is in to deliver a performance that is nothing short of terrific.

I'm going with 3.5/5 for Talvar. Unlike the absurdly melodramatic "No one killed Jessica", this one is a brave, uncompromised film that is worthy of your time.

BAJRANGI BHAIJAAN MOVIE REVIEW

Bottom line : The aptly and powerfully titled Bajrangi Bhaijaan, with all its flaws and melodrama, still stands as a film with noble intentions with its heart in the right place and a terrific performance by the cute little Harshali Malhotra.

Review : Director Kabir Khan, like all his films so far, has yet again set his story against the strained relations between India and Pakistan. But Bajrangi Bhaijaan, amongst other sub-plots, is a tale of love which drives an Indian to go the full hog and send a displaced Pakistani girl back to her home soil.

The loopholes in the script are too many and while it is evident that the director seems hell bent on squeezing a lump out of your throat, he goes overboard in the last 5 minutes of the film in a scene which bears resemblance to the far-superior Taare Zameen Par. Perhaps, it wouldn't have done Kabir Khan any harm to learn a few lessons from Aamir Khan. But where Kabir Khan scores high is the genuinely sweet and heart-warming bond the two protagonists, Bajrangi and Shahida, share. Your heart pours out just to the sight of Bajrangi carrying Shahida on his shoulders like a fatherly figure and this is the only reason why Bajrangi Bhaijaan is fun to watch, even if in parts.

Salman Khan has delivered a calculated and measured performance minus the shirt-opening and mindless action scenes, which surprisingly comes off as pretty effective. Nawazuddin Siddiqui is brilliant and has yet again shown how to hold one's own even against a man of Salman Khan's stature. The three of them together give us some of the best moments of the film. The real star of the film, however, is Harshali Malhotra. She conveys volumes through her eyes without ever uttering a word. And while it is undoubtedly hard to resist her cuteness, one cannot deny she is a good actor too.

 I'm going with 3/5 for Bajrangi Bhaijaan. It is a far-from-perfect film which despite its far-fetched scenarios, works to a certain extent because of its inherent sincerity. Make sure you carry a box of tissue papers along for the film.

BAHUBALI MOVIE REVIEW

Bottomline : Beautifully shot, well acted and competently directed, Rajamouli's latest flick adds yet another feather to his cap of respectable films. And with Bahubali, he takes Telugu cinema to a different level altogether. A crowd-pleaser all the way!

Review: Right from the opening scene, it becomes conspicuous that you're in for a visual treat. From the tropical landscapes of Avatar to the battlefield of the Lord of the Rings, Bahubali may appear similar to those films but Rajamouli keeps it original and riveting for most part. It's amazing to see how he manages to strike a chord with the viewers even in the most cliched of scenes we are used to seeing in films nowadays. He doesn't weigh down the film by heavy-handed direction and keeps it engaging throughout by a masterful balance between the classy and massy elements. The story was never really the strength of the film but he still rises up to the Herculean task of creating something extraordinary out of the ordinary and succeeds to a great extent. Take that scene prior to intermission, where a mammoth statue of Rana is being erected as the people exuberantly chant Bahubali's name. It's the film's best directed scene where a feverish energy transpires through the screen and I wished I knew how to whistle out loud. To be honest, the film has its share of obstacles. The romantic track between Prabhas and Tamannah is the film's weakest link, not least because of Tamannah's cartoonish performance.

Prabhas and Rana have unmatchable personalities that nicely complement their acting skills and it's hard to imagine anybody else in their shoes. Just watch how they steal the show during the roughly 30-minute battle-scene in the film's climax. Other actors like Anushka and Ramya Krishnan do a fine job too in small but effective roles.

I'm going with 3.5/5 and two big thumbs up for Bahubali. For the director's sheer conviction and vision, he deserves a huge round of applause. It's a film you really shouldn't miss. 

ABCD 2 MOVIE REVIEW

Bottom line : An unforgivably long and tiring film which rides solely on the back of its elaborately choreographed dance sequences accompanied by uninspired and amateurish film-making. So while the body movements are a treat to watch ( amplified by 3D), the same can't be said about the acting muscles.

Review: Given the fact that director Remo De Souza was at the helm of torturous films like F.A.L.T.U and ABCD, one would not go in for ABCD 2 expecting subtlety of any kind, either in direction or acting. The audience has a fair idea of what's in store for them. But the question that begs to be asked is for how long can one enjoy dance sans an engaging plot or even mediocre acting. What is inflicted on us is, instead, a Chak De India-ish plot ( though it would be a crime to take both names in the same breath), laughable dialogue and over-the-top drama. It takes special kind of talent to make the usually dependable Varun Dhawan appear foolish with the same expression borne on his face throughout the film. Known to have an infectious energy on screen, Varun instead appears infected, not least because of the indifference on part of the director. 

Frankly speaking, there is merit to be found even amidst such ludicrosity. At least 3 dance pieces are brilliantly choreographed, including the opening sequence and the "Bezubaan Phir Se" song. Shraddha Kapoor pleasantly surprises with her hidden dancing talent and she's particularly amazing in 'Sun Saathiya' song. All dancers display an élan on stage that's hard to miss and that's the only reason why ABCD 2 is not completely unwatchable. Sachin-Jigar have come up with a pretty hummable score that's way better than the previous film. ( The makers have shown us some mercy in doing away with a role for the pesky, rotund Ganesh Acharya ).

I'm going with 2/5 and an average rating, at best, for ABCD 2. If you're a die-hard fan of hip-hop, you may give it a try. For others, Stay Away! 

TANU WEDS MANU RETURNS

Bottomline: A crazily humorous roller coaster ride that sucks you into its world from the word go with its sharp, witty dialogue and terrific performances despite having a plot that is hardly unpredictable or novel. It has a contagious charm that's hard to describe and I can't recollect the last time I laughed so hard in a film.

Review : I have to admit that I wasn't particularly fascinated by Tanu weds Manu (first part), not least because it had weird characters and a love story which you could not root much for. But much like this month's Piku, the biggest strength of Tanu weds Manu returns lies in its writing. While the former gave us an insight into Bengali traits and emotions, the latter revels in unabashed humour with sparkling and amusing dialogues that form its backbone. It treads a familiar path in terms of story but it is the treatment which distinguishes it from your usual, predictable love story. So, while the last-minute turbulence the confused bridegroom goes through on the day of marriage is common, the bride's questioning him whether he's prepared or not for the marriage in the sixth circumambulation is something funny. There are many such instances when even a tepid scene is redeemed by sharp comic timing and brilliant acting. This sequel is, undoubtedly, umpteen times better than its prequel.

The sidekicks in the film are perfectly cast. Deepak Dobriyal as Manu's best friend, Jimmy Shergill as the man struggling to get on the wedding horse, Zeeshan Ayub as the rough, fearless advocate who'll go any distance for Tanu, and many others mine hearty laughs from the most unpredictable of situations and it is to their credit that the film races along without leaving you much time to crib about the minor hiccups and the convenient turns the plot takes, especially in the second half. Director Anand Rai has skillfully complemented the smart script by Himanshu Sharma and he seems to have mastered the art of an authentic portrayal of north India, which has become his hallmark.

There are a few portions in the second half that could have been obviated, but the witty one-liners, catchy songs and Kangana Ranaut more than anything else, make you carp less and accept the film as it stands. She's at the top of her game here and will make you feel for both her characters. She effortlessly slips into the role of a Haryanvi and dazzles with the terrific accent that may take some time getting used to. As Tanu, her awkward Hindi accent acts as a roadblock on certain occasions, but for most part she oozes sincerity in a role which comes most naturally to her. She's one of the main reasons why you should watch this film. Madhavan nicely reprises the role of a sweet, naive husband who's caught between his love for two girls with the same face, but strikingly different qualities.

I'm going with 4/5 for Tanu Weds Manu Returns. It's a nice way to spend the evening and I bet you'll return satisfied to the hilt. While it may not be a perfect film, it reinforces the fact that films are made to provide wholesome entertainment, which it delivers in dollops. Sometimes, that's not such a bad thing!!

BOMBAY VELVET MOVIE REVIEW

Bottomline : An ambitious film let down by a convoluted and conventional plot that is predictable at every stage of it. So, while the film is technically beautiful, there is a deep void in terms of thrill or urgency which behoves an Anurag Kashyap film.

Review : It is a given that Kashyap's films tend to get self-indulgent on many occasions but one can never accuse them of being predictable. Bombay Velvet, unfortunately, teeters between boring and predictable, reeking constantly of been-there-seen-that before moments and sacrificing story for aesthetic value. The inordinately long first half is over-crowded with twists and characters which are introduced every now and then and not each plot holds key significance by the end, except the "negatives" of photographs, a silly piece of evidence around which the entire film revolves which is stretched to the point of losing importance. Also, the film plods ahead without firmly establishing either a genuinely heartfelt love story or a revenge saga, as a result of which struggles to find its feet even as it junks in the usual double crossings, blackmailing, corrupt politicians and what not.

To give credit where it's due, the shootout scenes are terrifically shot, reminiscent of the kind of ebullience on display in his previous film Gangs of Wasseypur and you can't help wish Bombay Velvet had more elements from that mind-blowing film. Also, the attention to detail and excellent production design which transports you to Bombay of the sixties ensures the mood is set throughout. Then you have those trademark Kashyap moments when a guy ignorantly refers to Santa Claus as Santa Clock or that scene of telephonic silence between Johnny Balraj (played by Ranbir Kapoor) and Kaizad Khambatta (played pretty well by Karan Johar), or for that matter the scene where Kaizad breaks into a surreptitious laughter. These are only flashes of brilliance in an otherwise tiring film.

Music forms an integral part of the film. Amit Trivedi's phenomenal background score and soundtrack is one of the best works by a music composer in recent times. Devoid of any foot-tapping numbers or catchy fast-beat songs, the music stays loyal to the period in which the film is set and delivers accordingly.

Despite the shortcomings, one of the main reasons why Bombay Velvet remains watchable is the splendid acting. It features an ensemble of respectable actors like Kay Kay Menon, Manish Chaudhary, Karan Johar and of course, the two leads. Anushka Sharma does whatever possible within the ambit of her half-baked role, but it is Ranbir Kapoor who is the real show stealer. Nicely flowing with the shifting dynamics of Johnny Balraj, Ranbir is a treat to watch each time he appears on screen and with Bombay Velvet he has erased the stains of his previous debacle, Roy. Sadly, the script offers little room to emotionally invest in any of the characters, earnest as they may be in their performances.

I'm going with 2.5/5 for Bombay Velvet. It is an ambitious, scrupulously-mounted film but the unimaginative script has ultimately ripped this Velvet off its sheen.