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Issme action bhi hai, emotion bhi hai, romance bhi hai, drama bhi
hai. Issme Salman Hai. Yeh 'Dabangg' Hai. That's right, before the first
decade of the current Millennium comes to an end, 'Dabangg' has to be
the first ever masala film after a long time that turns out to be the
most unabashed display of star power. Really, all that you remember once
the show of 'Dabangg' ends is Salman Khan.
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I think there is a stigma attached to the marital life in general and
the religious life in particular of the trinity of Khan actors like
Aamir Khan, Saif Ali Khan and Shah Rukh Khan. All three of them had
ended up marrying their ladylove or childhood sweethearts albeit
belonging to the Hindu community. So you had the coupling of Aamir Khan -
Reena Dutta, and now Aamir Khan – Kiran Rao, Saif Ali Khan – Amrita
Singh, then Saif Ali Khan – Rosa Catalano (Not married) and now Saif
Ali khan – Kareena Kapoor (This couple is yet to tie the knot) and
above all Shah Rukh Khan – Gauri Chhibber.
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Pradeep Sarkar after delivering a
critical and box office success with his debut feature Parineeta had
faltered in his next one, Laga Chunari Mein Daag but with Lafangey
Parindey he has managed to get back in form and has succeeded in giving
masala entertainer. The only thing that goes against it are the
predictable plot points and the slow pace. But despite its few flaws LP
is still worth a watch for its unusual lead pair Neil and Deepika and
good direction aided by nice music.
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There is a lingering moment towards
the end of this unvarnished look at life, way beyond the poverty line,
when the village strewn with vehicles, equipments and over-curious
mediapersons is suddenly emptied out. What we are left to look at is a
village, a family, a life and a situation on the same threshold of pain,
humiliation, hunger, and poverty, where the whole rigmarole had
started. The silence between that moment of excruciating emptying-out and
embracing that emptiness is so palpable that we the audience cannot
miss its significance.
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Aamir Hussain Khan hails from a typically staunch, conservative and
orthodox Muslim family originating from the Khan clan of Peshawar.
Belonging to the Shia clan he has never hidden the fact that right from
childhood he was quite liberal minded and moreover a rebel person at
heart. He has always made it very clear that more than believing in and
having total faith in Islamic religion he has always and completely
reposed his faith in ‘Allah’(God), the one and only supreme power of the
entire universe.
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Aisha is based on Jane Austin’s
popular novel Emma. Western filmmakers have attempted the big screen
versions of Emma before and Rajshree Ojha has come up with a competent
if not a fabulous Indianised version of the same with Aisha.
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Boy hates mushy love stories, doesn’t
believe in love and all those things that come along with it whereas the
girl is a big believer in romance and is living her own perfect love
story with a childhood pal. Boy meets this girl and don’t get along but
eventually love strikes! First for the girl but the boy rejects it
explaining that he only thought of her as a friend. Soon love strikes
him too but by then it is too late. He tries to woo her back and ends up
doing all those mushy things that he hated in the first place. Punit
Malhotra’s debut directorial venture, I Hate Luv Storys works well when
it tries to poke fun at these elements but eventually falls in the same
clichéd trap when it comes to delivering as a film.
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Since the time of the announcement of
Mani Ratnam’s Raavan, curiosity about how India’s most accomplished
filmmaker manages to do a modern day adaptation of the mythological
epic, Ramayan, has known no bounds. Thankfully, Mani succeeds in his own
inimitable way. His team’s painstaking hard work shows in every frame
of the film and his actors help him raise the film’s bar.
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It is said that the epic saga of
Mahabharata contains all the stories that exist in this world, be it
lies, deceit, lust for power, revenge. In short all those that can make a
solid impact. Prakash Jha taking a cue from this has set his big
canvass film Rajneeti against an Indian political backdrop. But then at
the same time he has merged dollops of The Godfatherwithin it.
Nonetheless, the end product makes a compelling watch.
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Hrithik Roshan’s Kites may make his fans very happy by the way he has
been presented (and he enacted) in the film but those looking out for a
never seen been before experience that was promised through its mega
marketing blitzkrieg will be in for a major disappointment.
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Karan (Shahid Kapoor) is clear that he doesn’t want to spend his life
as a worker drone like his dad. Karan dreams of getting rich quick. He
starts out as a carrier for a small-time smuggler and eventually moves
his way up to bigger con jobs and bigger bucks. Three friends Bulbul
(Anushka), Zing (Meiyang Chang) and Chandu (Vir Das) join him on this
stratospheric journey, which ends in self-destructive decadence,
avarice, fighting, break-up, regret and various life lessons learnt with
most important one being honesty is the best policy.
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After a long painful drought (thanks to the exam season and IPL
matches) of plain boring to irritating films arrives Sajid Khan’s
Housefull. While in totality it does fall short of being the big great
summer entertainer that it is been claiming to be, it however manages to
bring many laughs for you. However, eventually it settles down in
familiar territory.
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Katrina Kaif surely has proved her acting caliber on the silver
screen. From her first film Boom to Rajneeti She has experimented with
her look, performances and above all she has improved dancing as well as
her speech skills too. Undoubtedly, the directors and the producers
have broken the myth that she is just a glam doll. The credit
nonetheless goes to Prakash Jha for his film Rajneeti in which Kats has
taken the trouble of dubbing the dialogues in pure Hindi.
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