Himmatwala movie review

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1.5 / 5

The promos of Sajid Khan’s remake of the earlier Himmatwala screamed out aloud that the 80s will be back and we were led to believe that the movie would be an unabashed commercial masala with oodles of glamour, sentiment and of course over-the-top heroism.

What we get from the movie is pretty much the same but the comedy quotient of the movie is what makes it watchable right till the end. The plot is typical of a 80s movie – that of an invincible hero coming back to his village to unite with his mom and sister and also to avenge the evil guy who happens to be the village’s head honcho. There is a small suspense about the hero and of course we have a glamorous heroine as part of the mix too.

Paresh Rawal in a weird makeover and with a funny accent exhibits his full histrionics range and is a riot. Mahesh Manjrekar, though the villain, comes a close second in the comic histrionics department.

Ajay Devgn as the all-conquering hero has solid screen presence and is at ease in the comic scenes and also while bashing countless goons to pulp. But the action choreography is too far-fetched like other recent Bollywood mass movies and the involvement of a tiger in the fight scenes incites as many laughs as the funny scenes.

The songs of the movie such as Naino Mein Sapna and Taki Taki, which are already on air, showcase Tamannah flaunting her ‘hour glass’ curves without any inhibition. She sure steals the show whenever she appears on screen as the typical commercial cinema heroine who dominates the songs, with her sexy navel and shapely thighs garnering all the eyeballs. On the whole, she has all the qualities to become Bollywood’s next dream girl and she performs confidently in the limited scope she has.

Among the other performers, the perennial mom Zareena Wahab and Leena Jumani as the sister in distress are adequate and provide plenty of old-fashioned mush. Ritesh Deshmukh has a sad cameo while Adhyayan Suman proves why he was a failure as a lead hero. He has no screen presence whatsoever.

Sachin and Jigar have composed the title track ‘Thank god it’s Friday’ and we have the bubbly Sonakshi Sinha grooving stylishly to this track. The item song Dhoka towards the end is an eye sore though.

Though Himmatwala wouldn’t appeal to the current multiplex audiences who have been bred on city-based subjects, those looking for some mindless fun and popcorn entertainment might find this passable. Single screens are bound to offer good patronage given the massy nature of the film.

Verdict: Typical hero-centric masala with slapstick comedy being its highpoint

Kedi Billa Killadi Ranga movie review

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2.75 / 5

Theni Kesavan and Patta Murugan are thick friends and Rajini fans since childhood and they are jobless loafers around Trichy. They have few more friends and their only work is to indulge in petty talks, drink and loaf around a railway station where Murugan's father works.

Both of them get lucky in love after some struggles with Mithra and Paapa respectively and they aim to make it big as politicians by eyeing the local elections.

The scenes revolving around the public political meetings, the events on the election day and on the counting day are all hilarious.

The movie offers plenty of LOL moments and the comedy timing of Siva Karthikeyan and Parotta Suri is supreme. There are many instances and enjoy them with a crowd in the cinema hall. Vemal is adequate as a small-time local and the two girls Regina and Bindu are cute enough. Bindu's big eyes are such a delight while  Regina looks homely.

Yuvan's songs such as the haunting Deivangal Ellam, Konjum Kili and Oru Porambokku lift the movie a notch and his RR sounds good in the romantic and sentimental scenes.

KBKR also has a really heavy father-sentiment portion towards the end which is sure to leave a lump in the throat of every young guy watching. Delhi Ganesh and the other father character are natural to the core. Death has been used as a 'script tool' to evoke sympathy and it works big time.

On the whole, KBKR is a perfect summer stress-buster and is worth a watch with family and friends. You won't mind watching it again too. Go, laugh aloud and enjoy in the theater... 

Chennaiyil Oru Naal movie review

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3 / 5

The Tamil remake of the acclaimed Malayalam hit Traffic, Chennaiyil Oru Naal, comes with a stellar cast list and fair bit of marketing push thanks to the involvement of Sun Pictures.

The movie serves as a nice platform to educate the audience about the novel concept of organ donation. It does so through an action-packed premise which also tugs at our heart strings, as a police car has to deliver a heart from Chennai to Vellore just in time to save the life of a 13 year old girl.

A lot of characters are involved in this gripping mission such as the police commissioner who has to manage the entire logistics and practicalities of the trip, a tainted police constable who seeks redemption, a narcissistic superstar who encounters the realities of his personal life and a young doctor who is caught in a fix to name a few.

The emotional quotient of the movie is also pretty high as we have one family which is grieving the loss of their dear one while another is desperately waiting for the heart to arrive.

So we have dramatic action on one side with a nice emotional undercurrent running through. The script is the main selling point of Chennaiyil Oru Naal and kudos to the director Shaheed Kader and the screenplay writers Bobby-Sanjay and Ajayan Bala.

The movie does have some unwarranted frenzy towards the end and this episode turns out to be a bit far-fetched as the car is in a race against time through a crowded narrow alley to reach Vellore in time. But, the overall motive of the movie and the way it has been presented makes this particular episode just a minor blip.

Chennaiyil Oru Naal owes a lot to the solid performances by all the acclaimed actors in the cast. Cheran has the best role as the man who executes this high-stakes mission while Sarath Kumar is the brain of the mission as the city’s police commissioner.

Prakash Raj as the self-centered superstar, Radhika as his concerned housewife, Prasanna as the distressed doctor, Jayaprakash and Lakshmi Ramakrishnan as the grieving parents and Parvathi Menon as the heartbroken girlfriend are among the other notable performers. We also have Mallika uniting with her Autograph pair Cheran after close to a decade and Iniya’s role throws the script open to more tension in the second half.

Suriya is also there in the movie in a cameo which could have been woven better into the script. The star also promotes the cause of organ donation in the end as the credits roll.

Mejo Joseph takes care of the music and there are a couple of songs at the start as the premise and characters are set up. His RR is mushy and dramatic as per the demands of the script.

The cinematography by Shehnad Jalal shines in the scenes when the accidents in the movie are portrayed and also while covering the fast moving car on the highways of the state.

Mahesh Narayanan’s editing patterns add to the excitement and tension among the audience when we are waiting to see how all the characters are thrown into the mix by one particular incident. Interesting work indeed

On the whole, we have a movie which offers excitement and also educates us about a vital concept which can prove to be a life-changer to any of us in need.

Verdict: Definitely worth a watch for its novel intent and the way it has been presented.

Soodhu Kavvum music review

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2.75 / 5

Composer Santhosh Narayanan is back to consolidate with his latest soundtrack for Soodhu Kavvum, after a successful debut in 2012 thanks to Attakathi and Pizza.

Come Na Come starts weirdly with a man detailing the recipe for some weird dish and then the catchy ‘Come Na Come’ refrain starts. The beats of the song are groovy while the vocals sound untrained. The rap is another likable part of the song along with the recurring and imaginative violin usage. Don’t miss the female voice which goes ‘Hey Ennada’ from time to time.

In Mama Douser, Andrea is in top form in a typically energetic jazzy number. Though there have been similar jazz numbers before, Andrea coupled with the terrific instrumentation make this one enjoyable. Notice the trumpets and the guitar solo towards the end.

Ellam Kadandhu is a nostalgic trip down memory lane to a bygone era. This old-school song sure comes as a pleasant surprise. Have to see the movie to get the idea behind such a song.

Sudden Delight is an eclectic theme with a mix of chaotic electronic sounds and striking strings. The vocal element in the theme is very limited.  

Sa Ga has a beautiful string symphony at its heart and Divya Ramani comes across as a fresh voice.

Kasu Panam is an electronic dance track with contrasting earthy vocals. Gaana Bala is in charge of this song where a video-gameish sound keeps repeating throughout.

VERDICT: In all, Santhosh Narayanan lives up to his reputation as an ‘out of the box’ composer.

Vallinam music review

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3 / 5

Director Arivazhagan of ‘Eeram’ fame is back with Vallinam starring Nakul and Mrudhula Basker. Thaman is in charge of the music yet again.

The title song of Vallinam comes across as fierce and one with lot of drive. The trumpet arrangements are all dramatic and the vocals are spirited. This one will scorch the screens with the right visuals. A typical Thaman mass song on the whole

Simbu, Thaman and Mukesh team up to give this typical youth anthem, Maaman Machan, which is understated yet peppy. The rhythm of the song never goes overboard and there are some nice electric guitar touches peppered across it. The ‘Simbu Hit’ tag will be attached to this one too in all probability.

Nakula is a sensual melody rendered by the inimitable Andrea with Nakul providing apt support in a little portion. Expect some passionate visuals on screen. The song also has some elegant notes on the keys in the interlude.

Haricharan is spunky as ever in Uyiril Uyiril which has racy electronic beats and a nice sporadic guitar presence. This has turned out as a nice romantic dance number. The ‘Idhudhano’ ‘Adhudhano’ ‘Avaldhano’ refrains give the song a lot of pep.

The reprise version of Uyiril Uyiril has Thaman in his customary auto-tuned nasal avatar. The strings in the base are the lifeline of the song and make it haunting.

VERDICT: Vallinam’s music is youthful, peppy and romantic as well.

The Intouchables (2011)

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The plot of this movie is based on a true story involving a quadriplegic and his caretaker.

Philippe is a wheelchair bound quadriplegic who always needs a few volunteers to aid him in his daily life. He hires a brash young man named Driss as his caretaker and despite Driss’ irreverent and even at times insensitive manners, Philippe takes a liking towards him as there is something basically good and likable about Driss.

Driss’ health and strong physique are also clinching factors though his family life is shaky to say the least. He had even served a small prison sentence for a thievery.

Despite the movie’s premise about a quadriplegic, there is hardly any melodrama as the bonding between Philippe, Driss and the female helpers in the house is endearing. They bond over music, painting, car rides, outdoor walks, massage sessions and also share their little life secrets with each other. Philippe also talks to Driss about how he is sexually turned on through his ears, in the movie’s most hilarious segments.

The efforts made by Driss to unite Philippe with his epistolary love Eleonore and their paragliding adventure are other highlights in their remarkable journey together which is inevitably parted but on perfectly healthy and fruitful terms.

The music score of the movie is lilting and the visuals are also poetic. The lead actors, Francois Cluzet and Omar Sy are charming and brilliant. You must watch how both these actors make us root for them despite their diametrically opposite characters and behavior. Audrey Fleurot adds some much needed feminine oomph to the movie while Anne Le Ny is likable as well.

Don’t miss this for the overwhelming feel-good appeal it holds. Life can be so beautiful and optimistic indeed.

3G movie review

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1 / 5

Sam and Sheena are a young couple who are holidaying in exotic Fiji. All is well until Sam buys a second hand mobile phone enabled with 3G. He starts receiving mysterious calls at odd times of the day and acts as if possessed by an other-worldly spirit.

What is the root of all these mystery calls and why is Sam possessed? That is 3G for you.

Among the movie’s highlights are the lovely Fiji locales, the absolutely hot bikini babe Sonal Chauhan who puts on a feast of her fab body in tiny clothes, covering just the bare essentials, and the handsome Neil Nitin Mukesh who tries his best despite the incoherent script of the movie.

The film also has some hum-worthy songs early on when the love between the lead is established in exotic Fiji. As expected we have tales of spirits, weird tattoos as part of justifying the movie’s horror content.

The movie’s entertainment is limited to shots of ‘Miss Hot Pants’ Sonal’s long legs, her navel and boobs in the many soft porn love making scenes between her and Neil. We also have some hardcore porn scenes shown on video as the movie ends by enlightening us with some random stats about the number of people who see porn every minute thanks to 3G technology and also how viewing porn can ruin relationships!!!

A big bore on the whole and the element of interest towards the end is a case of too little too late.

Silver Linings Playbook review

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Pat is a middle-aged man who returns home from a mental health facility in Baltimore. He makes an effort to patchup with his estranged wife Nikki by doing everything in his power to control his mood swings and also his weight issues. He hesitates to take his medicines and has a legal restraining order on him. His therapy sessions with his doctor are also a necessity.

His father is a control freak whose only motto in life seems to be the victory of his favorite Eagles team in the football league. He follows all sorts of superstitions (juju as they call) and deems his son as his good luck charm. He in fact places bets on his team and is banking on them for money to start a restaurant.

The movie has a nice father-son angle going, though it isn’t mushy and obvious. Pat’s mother is a typical sweet lady who stands by her son and tolerates his antics at all sorts of odd times even in the middle of the night.

We then have Tiffany, a firebrand of a woman and a young widow, who has her own issues. She is straightaway attracted to Pat and does what she can to help Pat come out of his mood swings and bipolar behavior. Whether she helps Pat come out of his mess and whether her love for Pat bears fruition is the climax of this feel-good movie about imperfect people and their quest to find a silver lining in their life.

Bradley Cooper plays it perfectly as the man struggling with his own mind and striving to make something meaningful out of his life. The scenes when he reaches a manic stage are really well done by the handsome actor. Jennifer Lawrence is an absolute firecracker, exhibits a range of emotions easily, particularly when she is hyper, and her supple dance frame is hot to say the least.  Robert De Niro plays the dad who is a sports freak, a caring dad and a control freak. A nice role easily pulled off by the legend.

Jacki Weaver as the mom, Chris Tucker as Pat’s crazy friend Danny and Anupam Kher as the doctor add weight to the movie in their own ways. It is entertaining to watch Anupam’s antics at the Eagles game and to hear him say ‘cocksucker’. And after hearing the name Nikki countless times in the movie we get to see her in the end.

The climax, though fairytale, is feel-good and it is always heartening to see characters with all their imperfections and struggles, find some solace and silver lining in their lives.

Don’t miss this, for the uninhibited performances of Jennifer Lawrence and Bradley Cooper and the inherent goodness in the movie. Kudos to David O. Russell and team

The Darjeeling Limted (2007)

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After the death of their father, three brothers Francis, Peter and Jack, head together to India on what they call a spiritual journey and to also meet their long lost mother and take her back with them.

The three brothers are immature in their own ways and they haven’t achieved an inner peace with each having their own issues. Francis in particular is a real control freak and sort of a jerk.

Their journey together happens mostly on Indian trains replete with hot stewardesses open to sex and making out in the restrooms, and other typical Indian elements.

The brothers inevitably reach a point where their lives undergo a spiritual awakening. They fall in love with India; enjoy its sights, culture and people. In the end they also manage to meet their mother and encounter some key life changing moments.

The key cast members are adequate enough with Owen Wilson having a really weird and heavily bandaged makeover. Owen gives rise to some humor too thanks to his antics. Adrien Brody and Jason Schwartzman as the younger brothers provide an apt foil. There are lots of Indians in the cast such as Irrfan Khan, Amara Karan as the hot and slutty stewardess Rita and Waris Ahluwalia as the no-nonsense chief steward.

The music score is a major plus and gels along with the poignant, feel-good nature of the movie. Robert Yeoman has showcased a vibrant and energetic face of India.

A decent feel-good trip, on the whole

Karuppampatti movie review

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1.25 /5
A dutiful son returns to India to wash away the domestic sins committed by his dead father. This journey takes him to his dad's native village, Karuppampatti, and he intends to unite all his long-lost relatives together to celebrate Pongal. He even uses Bill Gates as a tool to achieve his intentions!!!

We are also shown the father's flashback in a city college. He turns out to be a really mean and heartless young punk with the taste for the high life. His life take a turn for the worse after he moves to Paris and this leads to his ultimate demise.

Ajmal plays both the father and son and tries his best. He goes overboard on many occasions but is a looker for sure. His attempts at dance fall flat though and his voice sounds too delicate.

The romance between Ajmal and Aparna is lifeless and a total drag, comedy by Jagan is OK with some nice youthful double-entendres but heroine Aparna is a total plastic dud with hardly anything natural about her

Among the pluses would be the movie's visual tone ... it looks sleek and polished ... The Disco song is really peppy and has come out well on screen too.

This movie would have worked with Ajith, Vijay or Suriya 10yrs back. Ajmal is no hero material despite his good looks

VERDICT: Probably people who watch TV mega serials would like this stale melodramatic movie. There are many aunties in the movie mouthing cliched family based dialogues and this just brings on the serial effect even more. Still if you are really bored, you may try this out for some gags.

Maranthen Mannithen movie review

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0.5 / 5
Prior to the release of Kumar Nagendra’s Maranthen Mannithen, there was a slight confusion as to whether it is a Tamil – Telugu bilingual or it is a Tamil dubbed version of the Telugu original Gundello Godari which released a few weeks back. The music of Maestro Ilaiyaraja made sure that there was some expectation attached to the release of the movie today.

It begins interestingly enough with a hush-hush marriage between Malli (Aadhi) and Chithra (Lakshmi Manchu) under mysterious circumstances, followed by a raging flood which devastates the entire village. Malli jumps into action and makes sure that he and Chithra hang on to their lives. Then, they decide to uncover the secrets in their respective lives to make sure that they die without any guilt.

The film then moves to flashback mode as we are shown what Taapsee has to do with Aadhi’s life and in the same way the men in Lakshmi’s life are also brought to light.

Even though the ambitious attempt to portray a flood ravaged situation is appreciable, the usage of miniatures, green screens and VFX is evident. This entire attempt turns out to be tacky. Otherwise the visual tone of the film is rich thanks to the magnificent Godavari river backdrop that is present in most of the scenes. The cinematographer M.R.Palanikumaar has done a decent job and that counts as the only positive aspect of the film.

Both the lead characters’ flashback scenes have nothing interesting or marked. Taapsee’s character has been fleshed out as one who is on a hormonal overdrive, constantly lusting on Aadhi. Lakshmi’s pre-marriage life has its share of womanizers too and the resultant melodrama is dated and passé.

Though Taapsee looks ravishing, such an inconsequential role which solely intends to showcase her physical attributes, doesn’t look good on her resume. It's just a feast of Taapsee's navel and shapely hips in this horny role. Aadhi’s physique and manly edge are obvious pluses but his emotions need more work. Lakshmi Manchu looks too mature to be playing lead roles opposite men who are much younger to her. Her close-up shots tell a story for sure. ‘Yaaruda Mahesh’ Sundeep shows some promise as Lakshmi’s childhood flame and with good scripts he is bound to make a mark. The rest of the character actors are all familiar faces in the Telugu industry.

The film’s dubbing leaves a lot to be desired. The lip sync is out of place at many instances and certain portions in Telugu have been retained. When they have decided to dub a movie, why not dub entirely rather than leave a few scenes untouched?

Rooster fights are supposed to be a crucial aspect of the script in Lakshmi’s flashback portions but one such sequence has been entirely passed off just with the appropriate sound design in place. No visuals of roosters fighting at all! When they have taken the efforts to portray floods through CGI, they could have attempted the same for this rooster fight sequence too.

Ilaiyaraja’s scores for the movie are uninspiring with each number having shades of his yesteryear numbers. With the movie having a 80s setting, the songs sound apt for the period but there is hardly any memorable number. And two crass item numbers, one in each half, are a real eyesore. Raja’s background score makes a mark in certain scenes.

In all, the movie suffers from lack of nativity and its content is also heavily dated and pedestrian.

Verdict: Dreary and Forgettable

Children of Heaven (1997)

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An Iranian film Bacheha-Ye aseman directed by Majid Majidi

A movie that talks about the purity and innocence of kids, shown through a very young brother-sister pair, Ali and Zahra, who belong to a family that lives on the fringes of society. The brother loses his sister's pair of shoes by mistake and given the poverty in his family, he can't afford to tell his father or mother that he has lost the pair as they can't afford to buy a new pair till the end of the month. He and his sister decide to share his sneakers and they wear the same pair to school, as their timings aren't the same. As soon as the girl kid completes her classes for the day, she rushes back to hand over the sneakers to her brother who then rushes back to the school again.

This routine carries on as Ali and Zahra hide this from their parents. As the tagline says, though it's a little secret, it results in their biggest adventure. An adventure which includes many events like one part of the pair falling into the gutter and Zahra chasing the shoe, the brother taking part in a marathon just to get the third prize which is a pair of sneakers, the siblings communicating at night through written words on paper just so that their parents don't find out, Ali gifting a special pen to his sister, Ali and Zahra washing the dirty shoe together and many more little endearing moments.

The movie's musical score has a heavily haunting contribution by the flute. The scenes when Ali and his dad go to the upmarket areas of the city on a Friday to make some money by gardening, are lifted heavily by the music. The aforementioned long distance running competition in the end makes for really emotional viewing as you get sucked into Ali's sincere and almost divine intentions behind taking part in the race. The scene when he convinces his master to let him take part in the race is again brilliantly done.

Amir Farrokh Hashemian as Ali and Bahare Seddiqi turn out to be among the most natural kids ever onscreen. They look so innocent, cute and never once does it seem like they are overdoing or even acting. It is as realistic and endearing as it can get.

One of the best ever feel-good movies for sure. Simple intentions and gives a real emotional high. Salutes to Majid Majidi. 

Jolly LLB movie review

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2.5 / 5
The interestingly titled Jolly LLB has a unique ensemble of talented actors like Arshad Warsi, Amrita Rao, Boman Irani and Saurabh Shukla. Subhash Kapoor is at the creative helm of affairs.

The movie is a legal drama which pits an underdog rookie lawyer who moves from Meerut to Delhi, Jagdish Tyagi aka Jolly (Arshad Warsi), against an influential big shot senior lawyer Tejinder Rajpal (Boman Irani). The matchup arises from a Public Interest Litigation (PIL) filed by Jolly in relation to a high-profile Land Cruiser ‘hit and run’ incident, after Rajpal manages to settle the initial case in favor of his rich clients citing lack of proper evidence, to prove the death of the five footpath dwellers.

Jolly’s initial motivation in filing the PIL is to quickly become rich and famous in the media thanks to the high profile nature of the case, but he slowly realizes that money pales in front of the fight for justice.

The movie’s legal drama is engaging and it has been presented in such a way that the rookie Jolly works his way through the case with experience. He observes the much senior Rajpal, learns the legal procedures, experiences his share of setbacks thanks to his inexperience and impulsive nature and finally matures as a lawyer.

There are also bits of humor sprinkled across the legal proceedings which makes it lighter on the audience. Other aspects of legal proceedings like manipulation of facts, evidences and corrupt cops are also there in the movie.

Boman Irani as the rich senior lawyer with questionable virtues is totally convincing thanks to his presence, confidence and command over the language. Arshad Warsi is the earnest underdog who wins our loyalties easily. Though his journey from being self-centered and money minded to an honorable pursuer of justice is predictable, it is endearing nevertheless. Saurabh Shukla delivers the performance of the movie as the judge. His sly remarks, the appropriate displays of restlessness and total command are a treat to watch. The intense scene when he puts down Boman and proclaims that it is his court is the highlight of the movie. Amrita Rao is cutesy and plays her little part in Jolly’s life as his girlfriend.

The movie has another really hilarious character in Mukund Bhatt as Jolly’s ‘hardly fit’ bodyguard and his antics will surely make you laugh in one particular song.

Jolly LLB could have done without its songs as they are mere speed breakers. The background music, the cinematography and other elements are handy enough and the core legal drama isn’t hassled by these departments in anyway.

Given the fact that legal dramas are generally bound to be interesting due to the inherent tension and emotional core, Jolly LLB is no exception either.

Verdict: This ‘underdog’ legal drama has its heart in the right place

Dead Poets Society (1989)

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The movie is set in the Welton Academy, one of America’s most prestigious preparatory schools where discipline and conformance to rules is of prime importance. All the students here are molded to be among the herd with academic brilliance being their only motive.

In such a setup, arrives an imaginative, intuitive, 'out of the box' and extravagant English teacher Mr. John Keating, a former student of Welton himself. His teaching methods are delightful and interesting to say the least. He encourages the boys to seize their moment and to make their own way with independent thoughts. ‘Carpe Diem’ is his simple motto for the students which means seize the day and the students are inspired to say the least. Each of them takes up the activity which is closest to his heart and follows it with complete passion and involvement.

Thanks to a ritual/meeting which Keating took up during his student days, one by the name Dead Poets Society, the boys’ lives are changed forever. While their thoughts are liberated and they even go to the extent of being ant-establishment, one of the boys, Neil Perry, isn’t able to balance his love for acting and the stress, pressure that he is put under by his conformist parents.

How Neil’s fate changes the lives of all the other boys and Mr. Keating, is the finale of this moving tale. The film is sure to move you with its uplifting intentions. The final scene in particular stands for the power and positive influence that a teacher can wield over his students. Goosebumps moment.

Robin Williams’ is a true master-class performance and the actor is free-spirited to the core. Ethan Hawke as Todd Anderson, the kid with confidence and inferiority complex issues, delivers a very subtle and natural performance. Robert Sean Leonard as Neil Perry, Josh Charles as Knox Overstreet - the kid who is madly in love with Chris and Gale Hansen - the rebellious kid, complete a wonderful cast list which delivers big time.

The music soars at just the right moments like when the kids enjoy a lighter moment with Mr. Keating on the field and during the emotional scenes.

If this movie doesn’t impact you after it ends, then nothing ever will. MUST WATCH

The Color of Paradise (1999)

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Iranian film Rang-e khoda directed by Majid Majidi


Mohammad is a kid with special abilities but God doesn’t give him sight. He studies in a blind school in Tehran and is very industrious, studious and constantly keeps revising his lessons even in the things and objects that he feels and touches. He has a special connect with nature and constantly listens to what animals and birds are communicating and also feels the little elements of nature that he can. He tries to decipher a pattern in all the objects that he feels through Braille. That scene when he puts a couple of newly hatched fledglings back into their nest on top of a tree is such a touching little one. The innocence and purity behind his actions are truly humbling. The young kid indeed resembles a young Rafa Nadal, as my friend pointed out.

During his 3 months summer break, he is taken back to his village by his reluctant dad who feels his blind son would be too big a burden for him to handle. He has two daughters and his mother and is a poor man who struggles to make ends meet. He is eyeing another marriage and is somehow hell-bent on sending Mohammad away from home. He just wishes to pass on the burden and responsibility of raising Mohammad on to someone else.

Mohammad is overjoyed on being at home and enjoys the company of his sisters, his grannie and above all his outside trips with them. Mohammad is also showered with a lot of care and affection by his grannie and his sisters and he even impresses the teacher and kids at the local school. How his father’s self-centered motives and actions affect the family and what happens to Mohammad is the crux of this tale.

Straightaway we connect with Mohammad and more than a feeling of pity, we also start admiring his innocent and likable ways. The fact that he is intelligent is another admirable treat in him. Other characters like the grannie, the teacher at the blind school, the blind carpenter and the two sisters also impact you with their compassion towards Mohammad.

The father is a man who has been weakened by the losses in his life and he starts doubting his survival even more due to the presence of his blind kid. Towards the end, he repents for his actions and decides to make amends as the consequences of his motives and actions start increasing the toll on his life.

The visuals bring about the pristine beauty of the hills and the various seasons. The musical score reaches a crescendo during the poignant and touching moments and increases the impact.

A delicate treat for movie lovers, in all

Mere Dad Ki Maruti movie review

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3 / 5
Maruti couldn’t have asked for a better in-film brand integration campaign as Mere Dad Ki Maruti has more than a fair mention of one of Maruti’s cars, Ertiga, in almost the entire duration of the movie. Other than being just a vehicle for promoting Ertiga, the film offers plenty of wacky fun thanks to the situations which keep cropping up.

The plot is about Sameer (in his own words an irritating, irresponsible and good-for nothing college kid) who sets his eyes on the new Maruti Ertiga that his dad has purchased, on the eve of his daughter’s marriage, as a sign of goodwill to his son-in-law. Sameer uses the car to impress the hottest girl in his college, Jazzleen, on their first date. After having his share of fun with her, Sameer goofs up and loses the car due to his typically reckless attitude. All hell breaks loose and how he manages to restore parity is the crux of the movie.

The movie works due to the performance of all the actors, be it Ram Kapoor as the loud Punjabi dad who can’t tolerate his son’s hasty ways, Saqib Saleem as the boyish Sameer who has the IQ levels of a kindergarten kid, Rhea Chakraborty as the ultra-hot, girly but dumb Jazzleen and Prabal Panjabi, Sameer’s partner-in-crime and another typically immature college kid.

The lingo spoken by this college trio is typically Gen Y and their easygoing irresponsible attitude and way of life is sometimes baffling, though it is passed off as comedy. If this is how majority of the Indian youngsters really are but you deem it odd, then obviously there is a generation gap between yourself and the characters on screen. Nevertheless, the movie does have many appealing moments on a mainstream level as well, like the climax which is the real icing on an even otherwise enjoyable youthful comedy.

With a running time of just 101 minutes, the movie doesn’t drag one bit and the screenplay is coherent as it’s mostly about Sameer’s efforts to get an Ertiga in time for his sister’s marriage which is fast approaching. The Punjabi flavor in the movie is overwhelming and this is actually a Punjabi movie masquerading as a Bollywood movie. The dialect spoken is pretty hard to follow at times for the uninitiated.

The movie’s soundtrack is again soaked in Punjabi pep and rhythm and Sachin Gupta’s score for the title song and the end credits track is foot-tapping to say the least. Other elements of the movie are functional and in line with the movie’s flow.

If you are looking for a quick de-stressing outing, try Mere Dad Ki Maruti. It doesn’t have any serious intentions and its only motto, entertainment, is delivered uninterrupted and in good spirit.

VERDICT: This ‘young at heart’ entertainer is sure to leave you with a smile.

Paradesi movie review

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3.75 / 5

The daring and gutsy Bala has chosen to portray the lives of impoverished and enslaved tea plantation workers in pre-Independence India, in his latest Paradesi. The movie has absolute focus in its script and after the initial half an hour or so when the director portrays the happy camaraderie in the Salur village, he shifts base to how these villagers are taken to work in the hills, on the basis of false promises of a decent standard of living.

One may feel that Bala is glorifying pathos, sorrow, torture, pain, hunger and other dark emotions as the second half is one deep and disturbing experience indeed. Paradesi is definitely not for the 'entertainment oriented' among the audience.

The intermission visual and the climax also score high on the impact quotient thanks to the hard-hitting realism and the performance of the actors. There are many such scenes when the actors' torture and pain get to you as well and you feel so sad for their plight.

Atharvaa knocks you out with his performance as Otti Paruki aka Rasa. He is the man who does all the dirty jobs in the village and he is an absolute workhorse who does these jobs for some food and a few annas in change. He isn't respected by the folks in his village and they even hesitate to feed him properly. That scene when he feels gutted on being snubbed for food by the villagers after a marriage is heart-wrenching. His bonding, with Angamma and his grand mother, is his only solace. Atharvaa's plight will surely leave you with a lump in your throat and his climax performance is the icing on the cake. The physical and mental effort that he has gone through for this role in immense. Kudos Kid ... Hope you grow as big as Vikram and Suriya.

Vedhika as Angamma is joy uninhibited and she shows that she can emote with the ease of a veteran in the emotional scenes as well. The chemistry between Atharvaa and Vedhika shines through in the delightful Avatha Paiyya number. Dhansika as Maragadham has also invested her heart and soul into the film and a pat on her back too. The bonding between Atharvaa, Dhansika and her kid is among the few solaces in the second half which is packed with how these poor souls are exploited by their heartless employers.

G.V.Prakash's BGM score places the movie on a pedestal and furthers the drama and intensity. A-Class work by the youngster. Most of his songs are dedicated to showing how the villagers suffer in the face of adverse working conditions. The way plague spreads due to their unhygienic living conditions in the tea plantation is sad to say the least. And the state of their medical care and attention is pathetic.

Chezhiyan's cinematography, the apt color tone and the shots in the dark are all perfectly in place as well.

Bala has also sarcastically portrayed how Christians went about converting the masses of the state and this takes a lot of guts too. Wonder if the Christians will have something to protest at the utter irreverence with which they have been portrayed. The British bosses have all been portrayed as evil womanizers who have a major addiction to alcohol.

On the whole, Bala's intentions of showing the dark and distressing tales behind the tea that we enjoy daily works big time, due to his uncompromising stand and hard-hitting film-making. In that sense, the voice-over by Rajkiran before the movie starts, is on the mark. The performances are of the highest order and all the technicians have shined in their roles.

But some are bound to question Bala's continued indulgences with the darker side of humanity. He stirs you, shakes you and leaves you pondering. If you are looking for a film to de-stress you, Paradesi is the last option as it will distress you, on the other hand. 

Vathikuchi movie review

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2.5 / 5

A share auto driver living in the outskirts of Chennai gets into trouble with three sets of people, who are after his life. The reason being his proactive helping nature which gives him an urge to question and act against the anti-social wrongdoers in the city.

It seems Chennai is replete only with gangsters and other crooked minds, as evidenced in movie after movie.

We also have his loving family, his girlfriend and her family, thereby completing a typical commercial action entertainer with its share of romance in place as well.

The movie is fairly interesting thanks to the screenplay which is engaging but it gets too far-fetched at times thereby eliciting laughter from the audience even in some serious scenes.

Deliban is convincing in the action scenes but not so in the romantic portions. Anjali repeats her Engeyum Eppodhum act and her character also has shades of Asin from Ghajini. Her experiences at the Spoken English class, her friends from the class and her episodes at trying to be the typical city girl are hilarious and entertain the audiences. Her dressing is also typical of middle class girls with some weird clothes at times. She better watch her flab.

Jegan, Sampath and Jayaprakash are the antagonists and they are all either bashed or outsmarted by the hero. Jegan's so-called evil reactions are repetitive beyond a point. Saranya Ponvannan plays another of the zillion mother roles that she has done till now.

Ghibran's songs and background score lift the movie a notch, for sure. Amma Wake Me Up has been picturized interestingly and so are Kuru Kuru and Kanna Kanna. The action choreography with ultra slow motion shots is attractive though it becomes repetitive as well.

On the whole you may give it a shot, you won't complain. The narration is interesting and though the portions with Anjali are a speed breaker, the movie on the whole is a decent action flick though it becomes illogical and unbelievable on occasions.

Forget logic, switch off your minds at some instances and you may savor this fare.

Table No. 21 movie review

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2.5 / 5

A young couple, Vivaan and Siya, land up in exotic Fiji, coinciding with their 5th wedding anniversary. It is a dream-like beginning to their trip before a mystery man, Mr.Khan, enters the scene and takes them into a fantasy game by the name 'Table No.21' which is apparently seen by millions of viewers through the net.

The game involves many questions, tasks and it takes the couple through a real roller-coaster ride as some of the tasks seem to be really bizarre and psychotic. They have to test their guts and morals as each task gets progressively tougher. The couple somehow manages to reach the final round when everything begins to make sense. It's not just a mere fantasy game as each task has a particular meaning and reason to it. The couple makes it this far only due to their real thirst, lust for money and the high-life.

Vivaan's doubt in the beginning that this is not a mere game is proved in the end as Mr.Khan's tests and tasks make perfect sense. The movie really changes track in the end, from being a mere psychotic sadistic trip to being a really impactful and powerful movie.

• Rajeev Khandelwal plays another role similar to Aamir, where he is constantly under the gun and under heavy duress. But here, he isn't merely the victim. The guy pulls off the role with ease. Tena Desae is hot to the core and her bikini scene reveals her enviable curves in all their glory. It is really weird to see her without any hair in one small portion of the movie. Paresh Rawal's caliber and choice of roles are substantiated again with this movie. His unique bald hairstyle is another highlight of the movie.
• The movie just has two songs with both of them being hum-worthy. The Fijian locations are marvelous. 
• The powerful message about ragging is actually 'out of the blue' in the end. This aspect of the movie comes to light a bit too late but nevertheless a nice ending. They could have promoted the movie more on this aspect rather than being just a movie based on a dangerous game. Dhruv Ganesh shines in the flashback portions towards the end and wins our sympathy. 

VERDICT: Interesting, has hot commercial elements and a powerful message in the end 'out of the blue'

Sundattam movie review

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1.75 / 5
Sundattam is a movie set in North Madras and the period portrayed is the 1990s, a time dominated by Rajinikanth and his Rasigar Mandrams. Carrom is a core ingredient of the movie and that is a definite pat on the back for the team. We also have the hero's instant love with his sister's friend, the opposition from her brother, his bromance with his area buddies and a gang war between two prominent gangs in the area.

The vendetta induced in a drug addicted carrom champion by the hero's own carrom expertise is the main aspect of the movie though.

A better hero, than Irfan, could have made the very same movie a commercially viable venture too. Irfan lacks screen presence and his earnest efforts can do only that much. The heroine Arundhati is tall, pretty and adequate. The songs by Britto are the main highlight of the movie with Adi Unnale, Narumagaye, the gaana song among a really likable soundtrack.

But the movie has too many cliched North Madras elements like ugly bearded males, gangsters, violence, drugs, smoking and alcohol. We have already seen this in movies like Polladhavan and Pudhupettai. In fact Irfan tries to do a Dhanush act in many places in the movie, with his boy-next-door demeanor. And the shots of drug usage by the villain are quite a lot.

But the look and feel of the 90s has been brought out very well by the production team. The props used, the vehicles, the hairstyles in vogue etc. have all come out authentically on screen.

And more importance could have been given to the hero's carrom skills which are highly spoken about but rarely shown properly. Mostly only long shots are used when Irfan is playing. And the love story and gangster elements are something we have seen in many movies before. But the carrom aspect definitely gives the movie some extra brownie points. And what is it with today's directors and tragic endings. Did Brahma G. Dev run out of ideas on how to end his film?

On the whole it's not a bad film at all and you won't complain if you catch this film on a weekend on TV. But it doesn't have any major draws to attract the audience to the cinema hall.

Mathil Mel Poonai review

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1 / 5

Films which have a non-linear narrative structure and those which have more than a single story as part of the proceedings are generally interesting as we are automatically inquisitive to know whether the stories have anything in common. That point when the two stories converge is highly anticipated.

Here, we are told at the beginning that Mathil Mel Poonai is based on real life incidents. Two stories are shown in the first half – one shows a bunch of school kids who are roguish and utterly violent in their modus operandi and the other is a typical filmy love story between a beautiful girl and her driving instructor. How the two tracks converge is the interesting part of the movie which is around the interval segment of the movie.

It is actually disturbing to see small kids indulge in such violence in the first half. The director actually shocks you in the segments before the interval when the main kid by the name Johnny goes on a mad manic spree and results in a bloodbath.

Just as we expect something interesting in the second half after the interesting way in which the intermission is set up, the second half that follows is one which is mind-numbingly violent. The proceedings happen in a hilly area for the majority of this part before an inexplicable shift in terrain in the climax. How did the experienced editor duo Praveen – Srikanth miss such an abrupt transition just when we expect the movie to head towards its resolution?

Though the first half has an interesting narrative structure, the two stories if analyzed on a standalone basis are equally clichéd. The kids’ antics remind you of other movies such as Pasanga, Kalla Thuppakki to name a few. But here it is really violent and the actual reason why the kids are so fierce isn’t properly established, more than the customary blame being put on their upbringing by parents and teachers. We have a fat kid in the group as is the unwritten rule, and we have the expected farting jokes and trumpet sounds accompanying his actions.

The romance between Vijay Vasanth and Vibha has nothing new in it either and you start wondering why romance is so dumb in most of our movies. It’s a severe test of Vijay Vasanth’s capabilities as a solo hero and the sudden heroic change in his character graph towards the end is jarring. Is Vijay Vasanth better off being one among a bunch of boys, as we have seen him in movies like Chennai 600028?

The boy who has acted as Johnny really brings on the manic rage in his expressions and body language and the kid is bound to go places. The other Brahmin kid who is at the receiving end of all the violence and abuse wins your sympathy. Karthik as the elder Johnny tries to carry forward the same hyper mannerisms and rage and he succeeds partially.

Vibha Natarajan is pretty and she has been put through a strenuous physical experience in the second half. Even early in the movie the director shows that she can run pretty well and she has to do the same for majority of the second half. Towards the end she gets to indulge in some violence of her own and she even puts on a heroic visage as she spits out blood in one of the scenes. The bankable Thambi Ramiah’s clichéd comedy portions in the school portion fall flat.

Ganesh Raghavendra’s songs are pretty likable but the background music has been done in a really loud and amateurish manner. Tunes from popular movies like Kadhalir Dhinam, Pudhupettai and Nadodigal, to name a few have been used really inappropriately at places.

On the whole, the director Bharani Jayapal’s basic idea of portraying the extent to which kids can go, if they aren’t brought up in a proper way by their parents and teachers, is laudable. But we wonder if kids can go to such violent extremes just because of a few incidents which make a mockery of their self-esteem.

VERDICT: Mind-numbingly violent and farfetched.

Saheb, Biwi Aur Gangster Returns review

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2.5 / 5

Saheb, Biwi Aur Gangster Returns takes off from where the first part left off in 2011. Saheb Aditya Prathap Singh (Jimmy Sheirgill) is wheelchair bound and he has a growing number of enemies who are out to further compromise his already reducing power and influence as a king in the state of Uttar Pradesh. Politicians are out to split the state which will further push Saheb down in the power stakes. Even in his own clan, there are people who wish to see his downfall.

His wife Madhavi (Mahie Gill) is now a politician but her addiction to alcohol continues unabated as Saheb doesn’t pay much heed to her and instead sets his eyes on Ranjana (Soha Ali Khan). Sahib wishes to marry Ranjana and is prepared to go to any extent for her sake. We also have the gangster element provided by Indrajeet Singh (Irrfan Khan) who has a really old score to settle with Saheb and is also in love with Ranjana.

With so many players and a lot at stake, there is a whole lot of one-upmanship battles and scheming going on. Adultery is also a part of the game. Who survives this intense battle between human minds and hearts? Catch the flick to find out.

The film moves along at a slow clip but there is a certain tension and grip in the proceedings for sure. Mahie Gill continues being the unconventional heroine who isn’t averse to drinking and indulging in other immoral acts on screen. Jimmy Sheirgill, though wheelchair bound, is majestic and puts his gestures and voice to great use. Jimmy continues to grow in stature in film after film.

The ever dependable Irrfan Khan has another of those cunning and spiteful roles which he pulls off with ease. The baby-like Soha Ali Khan is the ice element among all the fire around and her role gains in significance towards the end. Raj Babbar as Soha’s father is also among the characters who wish to see Saheb’s fall. Mugdha Ghodse appears in an item number and her plastic expressions take the fun away from the number. And Pravesh Rana as Irrfan’s younger cop brother seems to be a promising find indeed.

There are just a few songs in the movie and Sandeep Chowta’s background music is apt for the drama that unfolds on screen. Yogesh Jani’s cinematography is functional and captures the rustic setting well.

To sum up, director Tigmanshu Dhulia is becoming an expert at crafting dramas involving characters who have shades of grey in their psyche and this one is another proof of his abilities. But since we already know what to expect thanks to the first movie, the second one doesn’t have any major spike as the template is followed consistently. Still, it is a pretty taut affair.

VERDICT: Slow paced but gripping …

The Attacks of 26/11 review

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2.5 / 5

The erratic yet legendary Ram Gopal Varma aka RGV is known for his peculiar choice of movies with flicks set around the underworld being a pet subject matter of his. He is one of those directors who can never be ignored given the love-hate relationship that fans share with him. And for his latest, he has taken a subject matter which immediately grabs our attention – the 26/11 attacks on Mumbai in 2008, one which rocked the entire nation and posed a severe test on the nation’s security capabilities.

It looks like RGV might have wanted us to experience the severity of the attacks and that’s why probably he has shown the incidents in such gruesome detail. The entire first half is dedicated to the horrific events that transpired from the moment, a group of 10 Pakistani terrorists from Karachi enter Mumbai through the shores. The shootouts at Leopold Café, at the CST station and the Cama hospital are tough to take even for the strong hearted among the audience. Beyond a point when the film moves to its halfway point, we even start wondering why the director is subjecting his audience to such horror of a bloody kind.

After the interval, Nana Patekar (playing Joint Commissioner Rakesh Maria) takes over and lords over the film, particularly in the scene in the morgue with Kasab. The dialogues play to popular mass sentiment in this segment and earn the hoots and whistles from the crowd. Early in the movie, one tends to feel that Nana is too restrained and slow in his dialog delivery in chaste Hindi. But the lion in him comes out of its den towards the end. He even uses some expletives to the desired effect and sends us into a tizzy.

The segment when Kasab is captured has also been shown in a gripping manner and so are the scenes when Kasab is interrogated by Rakesh Maria. We get to know the extent to which Kasab is brain-washed and given a falsified understanding of Islam in the name of Jihad. Nana’s wondrous reactions during this episode are marked. Such scenes show the class that RGV is capable of, even though he has been aided by the performances of Nana and Sanjeev Jaiswal as Kasab. Though the characterization of the terrorists is pretty hollow with just black shades writ all over them, Sanjeev is authentic as the evil incarnate Kasab who realizes his foibles as he is finally hung on 21st November 2012.

Acclaimed actors like Ravi Kale and Atul Kulkarni are mere pawns in the bloodbath that unfolds with Ravi playing a crucial little role in the capture of Kasab.

The movie’s production standards are lofty particularly in the shootout scenes at the CST when loads of junior artistes are packed into the station and shot cold-bloodedly. The director hasn’t spared anyone as right from an old man to small children to even a dog, are shot on screen. The scene before the interval, when a cop struggles to walk around the CST with dead bodies around and blood splattered all over, is hard to forget.

The soundtrack just complements the movie’s flow and even the customary weird camera angles of RGV have been kept at bay.

So, on final analysis, the first half of the movie is a true test of endurance thanks to the horrifying bloodbath that we are presented but the movie makes it up in the second half when good trumps evil. We also feel that RGV could have given more importance to the NSG commandos' work in bringing the situation under control post the capture of Kasab. Rather than focus completely on how Mumbai was rocked by terror, RGV could have also devoted some screen time to how Mumbai and its heroes responded to terror, more than just the shots of their sacrifice.

VERDICT: An utterly disturbing first half is redeemed by the surge of positive sentiment in the second.

Kedi Billa Killadi Ranga music review

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3.25 / 5
My Picks – Sudasuda Thooral, Konjum Kili and Oru Porambokku in that order 

Yuvan Shankar Raja has the knack of picking the numbers that he intends to sing in his album. These numbers generally go on to become chartbusters and Sudasuda Thooral ought to join that list. The song is a fast paced melody which moves you thanks to the earnest vocals of Yuvan, the cool whistle sounds and the elegant guitar presence.

Konjum Kili is an elevating melody rendered by Velmurugan and the basic tune follows from one of Yuvan’s BGM track for Aaranya Kaandam. The song is uplifting thanks to its foot-tapping rhythm and the native string instruments which pepper the song. Velmurugan earns brownie points as well, for his involved rendering.

Oru Porambokku is the new bar anthem for the youth thanks to its cheery mood, the rustic rhythm and the colloquial lyrics. Yuvan and Simbu seem to have enjoyed themselves during this song which also has a distinctive Ennio Morricone style guitar piece.

The poignant Dheivangal Ellam has the majestic Vijay Yesudas in charge. The song talks about paternal love and is totally driven by the lyrics and the vocals. Yuvan has deliberately kept the rhythm of the song low-key and has used some cute synth sounds and chimes to complement the mellow mood of the song.

The racy and rural Ulladha Naan mocks the state of contemporary politics and has an easy charm to it. The nadaswaram interlude sparkles while the rhythm is foot-tapping. Sathyan nails the song with his taunting style of delivery.

VERDICT: Yuvan proves his class and consistency yet again with Kedi Billa Killadi Ranga’s earthy score which is sure to become popular.

I, Me Aur Main movie review

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2.5 / 5

Rom-coms which talk about a self-centered man-child who slowly realizes that life is not just about the self but also about other relationships and commitments, are dime a dozen in Hollywood. Such movies are a sure-shot stress buster and are light on the senses. Hindi cinema has also had its share of such movies with Saif Ali Khan himself playing quite a few characters of that sort, inclusive of the recent Cocktail.

Here it’s John Abraham’s turn to play such a character; that of a hotshot music producer by the name Ishaan who is commitment phobic and doesn’t wish to take the relationship with his girlfriend Anushka (Chitrangada Singh) to the next level. After getting dumped for his selfish nature and after getting some life-lessons from his new bubbly neighbor (Prachi Desai), his sweet mother (Zarina Wahab) and his plain-speaking elder sister (Mini Mathur), Ishaan finally turns over a new leaf.

We are also shown Ishaan’s work as a music producer and how he has to deal with his constantly taunting boss (Raima Sen) and his protégé’s (Sheena Shahabadi) launch.

John Abraham looks smashing and is a good fit for such a rom-com, compared to his other recent appearances in action flicks and mindless comedies. The girls and ladies are sure to drool over this handsome hunk, all over again. Chitrangada Singh is typecast yet again as the urban working woman after the recent Inkaar and she is overshadowed by the fresh and ravishing Prachi Desai who is the highlight of the movie. Prachi, in comparison to her other naive avatars, is more sprightly here and even has some drunken fun. She is a natural with expressive eyes and is a charmer all the way. How we wish for neighbors as friendly and pretty as Prachi.

Zarina Wahab plays the sweet mom and she is endearing with her cute voice while Mini Mathur, Raima Sen and Sheena Shahabadi are adequate in the parts that they play.

As with other such ‘candy-floss’ rom-coms get ready for some suspension of disbelief. But ultimately, this is a decent drama with good looking leads, catchy songs by a group of composers, some really nice moments between John and Prachi and also the inevitable ‘coming of age’ of the till-then immature hero. The director Kapil Sharma has also coated the climax with some feel-good charm. In all, you will leave the hall with the feeling that you haven’t wasted your 108 minutes of the movie’s running time.

VERDICT: Decent ‘date movie’ for the multiplex audiences.