Reason behind her Deepika breakup with Ranbir

The buzz around Deepika and Ranbir that had filled in the Bollywood air following the shooting of Bachna E Haseeno, disappeared right after the duo parted their ways. Why they broke up is a secret till date. For the first time in an interview, the leggy actress reveals that she broke loose from Ranbir for his straying habits. What Deepika stated is quite contrary to the rumors that she parted from him because he had begun to like Katrina. Why was Deepika tight-lipped about the cause of their sudden estrangement? That too is a mystery. While being interviewed by an esteemed daily, the Bollyhood hottie said that when she was in a relationship with Ranbir, she was committed to keep up with it. Being a Capricorn, she knows only to give. She added that in each of her relationships, it was the guy to have strayed. She can turn blind to something, if it happens only one time. But she cannot ignore it if it repeats itself over and again. However, Deepika, who is on a high over the release of her latest movie Lagangey Parindey in which she plays a blind girl opposite Neil Nitin Mukesh, is happy with her pairing with liquor baron Siddharth Mallaya. She is quite careful about her present relationship.

Will Aamir Khan ever do this Rs.5 crore movie

Director Kundan Shah is planning to cast Bollywood perfectionist Aamir Khan in his next project titled Tycoon. However, due to some reason, Shah wants to keep the budget of the movie within Rs 5 crore, which won’t be possible if he has to pay Aamir his present market value. So, the director has probably expressed his desire to Aamir to consider some cut in the fee. The director is planning to develop Tycoon in the line of his 1983 comic movie Jaane Bhi Do Yaaron, which is still regarded to be a benchmark for black comedy in Hindi cinema. The project of Kundan has excited and tempted Aamir but he wants it to be like any other big budget movie of him and he should be paid the usual fee. Recently, Kundan Shah has been seen visiting Aamir Khan several times, probably to discuss the script. Confirming the news, Shah stated that he has talked with Aamir for this comedy flick titled Tycoon and it would be of the same genre of Jaane Bhi Do Yaaron. He said that the movie will have an added flavor of romance also. Kundan added that if he pays Aamir his market price, it would turn out to be another 3 Idiots and he has no such plans. Aamir has not yet shown green signal officially. Only time will tell if Aamir considers the fact and goes ahead with Kundan’s Tycoon.

Watch Online movie Lafangey Parindey

Starring: Neil Nitin Mukesh, Deepika Padukone, Manish Chaudhary and Piyush Mishra Director: Pradeep Sarkar Rating: *** 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. Nandan Kamthekar aka One Shot Nandu (Neil) works for Usmaan bhai (Piyush Mishra) as a fighter for his betting games. In the Tilakwadi basti that he lives in Mumbai, also stays Pinky Palkar (Deepika) an ace skating dancer who aspires to win a TV reality show contest and break out of the lower middle class life. A botched up job for Usmaan bhai along with his mentor Anna (Kay Kay Menon) leads to a big mess for Nandu. Pinky’s life changes over night too as all her dreams get crashed with her accident that leaves her blind. Circumstances lead to Nandu helping out Pinky and teaming with her to participate in the talent hunt show which she always dreamt of winning. How it changes all equations for Nandu and the people connected to him forms the rest of the plot! Pradeep Sarkar should be commended for opting for a completely different genre to the female oriented subjects he has been adept at. However, Sarkar has ensured his female lead’s character is pretty strong enough. The Mumbai chawl setting appears authentic and so do the characters inhabiting it. The action and skate dance sequences have been imaginatively shot. The songs too don't act as speed breakers. The only major flaw of the enterprise is the sense of déjà vu one gets of films like Jeetendra – Hema Malini starrer Kinara and Aamir Khan’s Ghulam. But then that is a minor flaw, as the screenplay is infused with plenty of good moments that need to be experienced on screen. Neil Nitin Mukesh convincingly adapts himself as a Mumbai tapori despite his suave persona befitting a rich dude. Deepika Padukone is only getting better with each film and with this one she treads successfully on a difficult character graph. She is effortless in her blind girl act and very good in emotional scenes. Piyush Mishra as the bad ass don is super cool in his act and is fun to watch mouth some really acidic lines laced with humour. Kay Kay Menon in a short but significant part is effective. All the actors playing Neil’s friends are very good. Manish Choudhary (last seen in Rocket Singh) playing a Police investigating officer delivers a fine act too. The two kids of Tilakwadi are hilarious to watch, especially Ameya Pandya in his tapori kid act. R.Anandh’s music is fresh with Man Lafanga and Dhatad Dhatad being the pick of the lot. N. Natarajan Subramaniam’s cinematography is good and captures the dark night Mumbai sequences well. Editing by Sanjib Dutta however could have been better as the film drops pace in regular intervals. Bosco Caesar’s choreography is innovative. Do give Lafangey Parindey a chance. It is definitely not a waste of time. Its characters succeed in endearing themselves to you. It may not be an ace but its still a quality product from Yash Raj Fims and marks the return to form of Pradeep Sarkar.

Watch Online Peepli [Live]

Cast: Omkar Das Manikpuri, Raghuvir Yadav, Shalini Vatsa, Farrukh Jaffar, Malaika Shenoy, Vishal Sharma, Nawazuddin Siddiqui, Sitaram Panchal, Naseeruddin Shah, Aamir Bashir Producer: Aamir Khan Director: Anusha Rizvi Rating: **** It is a miracle that a script like "Peepli Live" has been turned into a movie and has got a commercial release. It is certainly surprising that a mainstream filmmaker like Aamir Khan decided to invest money in a movie that puts the spotlight on grave issues like the plight of Indian peasants. And, of course, kudos to journalist-turned-director Anusha Rizvi for penning down a story that focusses on rural India and its problems at a time when most Bollywood filmmakers are busy luring NRI audiences with mindlesss comedies and designer dramas. According to a report, 200,000 farmers have ended their lives since 1997 and it is said that the rise in indebtedness is the root cause of farmer suicide. Anusha's directorial debut follows this theme in "Peepli Live" - albeit as a satire. The film also takes a look at how media and politicians use such tragedies to up their TRPs and votebanks respectively. The real issue dies under their rat race. Set in a small village, the film follows the plight of a farmer's family. Natha (Omkar Das) and Budhiya (Raghuvir Yadav) are brothers who had taken a loan against their land. Their only source of livelihood is put under the hammer when they fail to repay the money. They try to seek the help of a local politician, whose job is to serve the people. But he shoos them away saying the government gives compensation to the families of those farmers who commit suicide. Initially, the brothers ignore the suggestion, but Budiya convinces Natha to sacrifice his life for the sake of the family. It's election time in the region and a local newspaper owner sends his reporter Rakesh (Nawazuddin Siddiqui) - who otherwise doesn't want to budge from his comfort zone in search of stories - to the village. Rakesh comes to know of Natha's decision to end his life and reports it. The news creates a sensation in the political arena and before it can be brushed under the carpet, somebody gives the lead of the Natha story to Nandita Malik (Malaika Shenoy), an elite English channel journalist. She grabs the opportunity and dashes off to Peepli as the news promises good TRPs. As soon as her report is flashed comes an avalanche of reporters to the village and there begins a media circus as every journalist vies to sensationalise the issue. Rakesh, who actually filed the story, becomes a mere puppet in the hands of Nandita and when he tries to tell her about another farmer's death, she refuses to report it as she doesn't see it as a TRP booster for her channel. The irony is that nobody - be it reporters or politicians - tries to know why Natha decides to take his life. In fact, no one is interested in solving his problem as they have their own agendas. "Peepli Live" is a satire that shows the reality behind media houses, politicians, bureaucrats and their apathetic approach towards problems. But the script is written in a such a manner that it makes the audience laugh. India promotes itself as one of the fastest growing economies in the world, but the film shows the miserable condition of farmers who continue to end their lives after living in extreme poverty. A report says the highest level of farmer suicides has been reported in Vidarbha, Maharashtra - reportedly 4,000 farmer suicides per year. In recent times, farmer suicides in Chhattisgarh have been hogging the limelight as well as in Punjab. First time director Anusha has not only written a taut script but also executed the story effectively. It seems the film is her attempt to enlighten viewers about the social dilemma that our country is facing and her experience as a journalist is quite visible in her storytelling. The actors -- from Omkar Das, Raghuvir and Shalini Vatsa as Natha's short tempered wife Dhania to Malaika Shenoy and Vishal Sharma -- are brilliant too. If Omkar and Raghuvir bring forth the sufferings of farmers, Shalini, an M. Phil from Jawaharlal Nehru University, should be applauded for playing the role with such ease and perfection. Malaika and Vishal fit the bill of English and Hindi channel reporters respectively. Anusha blends the miseries of farmers and subsequent political and media reactions seamlessly in "Peepli Live" and that makes it a must watch.

Watch online Once Upon A Time in Mumbaai

By Subhash K. Jha Starring: Ajay Devgn, Emraan Hashmi,Randeep Hooda, Kangna Ranaut, Prachi Desai; Directed by: Milan Luthria; Rating: *** ½ It's the way he looks at the camera. Almost as if it doesn't exist. Ajay Devgn as Sultan Mirza is NOT Haji Mastan, please note. He's just this Robin Hood in the 1970s who happened to be a smuggler and who at some point in the taut plot, locks horns with a junior recruit who, please note, is NOT Dawood Ibrahim. So who, in the name of immoral crime and haphazard policing, are these two men? So stylishly masculine, so sweaty in their realism and so menacing in their demeanour and complete denial of the existent morality they remind you of the anti-social heroes from Sam Peckinpah's Westerns? "Once Upon A Time In Mumbaai" takes us back to the beginnings of gangsterism in Mumbai. Milan Luthria excels in creating smouldering combustive stress between two mean menacing men… Remember Devgn (who back then was Devgan, just as Mumbai was Bombay when the film under review unfolds) and Saif Ali Khan in Luthria's "Kachche Dhaage" and on a more satirical note, John Abraham and Nana Patekar in "Taxi No 9211". In "Once Upon A Time…." the conflict between Devgn (who is NOT Haji Mastan) and Emraan Hashmi (who is NOT Dawood) is placed in a far more complex and challenging scenario. The screenplay (Rajat Arora) takes into view the entire gamut of grime in the canvas of crime that cannot be hidden by the surface glamour and glitter. The vintage cars, the costumes and that attitude of rebellious abandon comes through in the inner and outer styling of the characters. The people in Luthria's panoramic view of Mumbai in the late 1960s and 70s are steeped in a cinematic realism. Neither a part of that period nor a completely true representation of an era gone-bye-bye the characters hover in a no-man's-land populated by fascinating details of past recreated with a tongue-in-cheek broadness of purpose. There are bouts of suppressed satire in the way the whole era of the genesis of the underworld is represented. For example Emraan Hashmi befriends and sleeps with a woman who looks a lot like a Bollywood actress whom Raj Kapoor had introduced in a film and Dawood had befriended and allegedly impregnated. Often the characters are an amalgamation of furious folklore and long-forgotten newspaper headlines of the 1970s. Kangna Ranaut plays an actress from the 1970s who gets the hots for the Robin Hood-styled smuggler-hero. Later she is discovered to have a congenital heart disease (a la Madhubala who came two decades before the events of this film are supposed to unfold). But look at the irony! It's her smuggler-hero lover who dies of a wounded heart. Maybe we shouldn't give away the plot. Because the plot never gives itself away. It never betrays a phoney intent of purpose. The narrative unfolds through the first-person narration of a troubled wounded cop, played with remarkably restrained bravado by Randeep Hooda. Indeed this is the most accomplished performance in the film. He's partly a gallant law enforcer and partly a victim of a system that breeds inequality, corruption and finally, self-destruction. Hooda is wry, cynical, bitter, anguished and yet able to see the humour of a situation that one can ride only by sublimating its gravity. As for Ajay Devgn, he continues to evolve with every performance. As a gangster from the 1970s Devgan brings on the table a clenched self-mocking immorality. He stands outside the character even while internalizing the performance. Director Milan Luthria imparts a keen eye for details to the storytelling. Some bits in the second-half get shaky, such as the predicable club songs and the repeated use of overlapping editing patterns to convey the rising tension between the mentor and the protégé turned tormenter. But the director's command over the language of outlawry is unquestionable. Emran Hashmi as Devgn's uncontrollable protégée gets the look and body language right. His courtship of Prachi Desai to the accompaniment of romantic hits from the 1970s (e.g Raj Kapoor's "Bobby") is engaging. Understandably, the two ladies are reduced to pursing their lips and wringing their hands as the story progresses. The film's best, most charming and heartwarming moments come in the early stages of the drama between Devgn and Ranaut. Their growing fondness for one another is recorded in scenes and words written by a poet who can see the humour behind mutual attractions. The real hero of this film is the writing. Rajat Arora's dialogues flow from the storytelling in a smooth flow of poetry and street wisdom. Aseem Mishra's sharply -evocative cinematography gives to this rugged-and-razorsharp look at Mumbai's mythic mating with crime, an urgency that simply can't be ignored.

Watch Online I Hate Luv Storys Movie

Starring: Imran Khan, Sonam Kapoor, Sammir Dattani, Sameer Soni and Kavin Dave Director: Punit Malhotra Rating: *** 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. I Hate Luv Storys’ main lead character, J (Imran Khan) tries to poke fun of all the mush and romance ideas that generate from Bollywood. Ironically, working with Bollywood’s King of mush, filmmaker Veer Kapoor, he barely manages to keep a straight face about all that’s happening around him. A complete opposite of J, Simran (Sonam) joins Veer Kapoor’s production as a set designer. As expected clashes take place between the two but eventually they end up becoming good friends. Gradually she ends up falling for, Mr. Wrong at the risk of dumping her loyal perfect Mr. Right Raj (Sammir). J rebuffs her. Hurt, she tries to get over her fixation for J and decides to concentrate on her relationship with Raj. But by then J has fallen head over heels in love with Simran and wants her back. How he tries to use all the tricks from the clichéd Bollywood references and much more to woo Simran back, forms the rest of the film. First timer, Punit delivers big when it comes to giving the film a fresh treatment in terms of narrative and style and laces it with some extremely laugh out loud one liners. But as a writer, he falls short of offering anything new when it comes to the script. Agreed, it tries to take a funny look at the romance seen through the typical eyes of Bollywood, by doing a parody of sorts on filmmakers. He includes his own producer Karan Johar, Sanjay Leela Bhansali and even Aditya Chopra in it but one fails to understand why Punit doesn’t give a new perspective about the same in his own film given the resources he had in hand. The jovial first half has its moments but the second half tends to drag, especially since you can predict well in advance how and where it is all heading. But, full marks to his actors including the periphery ones, who keep it rocking with their perfect acts. Vishal and Shekhar’s chart topping music also aids IHLS and lifts it above the average. The innovative production design works well with the theme of the film. Ayananka Bose continues to surprise with camerawork with each passing film. She has captured the New Zealand locales superbly. Imran Khan, after a lackluster performances in Kidnap and Luck is back in top form and very much at ease playing a rom com lead. He adds more fun to his character with his body language and facial expressions. Sonam Kapoor is aptly cast as the dreamy lover girl and wows in her more contemporary city gal avatar unlike her first two films Saawariya and Delhi 6 which presented her in a more ethnic way. The chemistry between this fresh pairing is amazing. Kavin Dave as Imran’s office colleague is hilariously good. The graffiti on his Tees make you LOL as well. Sammir Dattani delivers his lines monotonously. Perhaps he was asked to appear as a boring boy friend. But he does it well. Sameer Soni is fun with his take on Karan Johar and so is Aamir Ali as the hot shot romantic star of the film he is shooting. Bruna Abdullah is smoking hot in her special appearance as Imran's flirt interest. IHLS is fun till it lasts but once you come out of the cinema hall you realize that it fails to make an impact as a romantic comedy thanks to the feeling of déjà vu. IHLS works as pure popcorn fun.

Watch Online SALT Movie

Starring: Angelina Jolie, Liev Schreiber, Chiwetel Ejiofor and Daniel Olbrychski Director: Philip Noyce Rating: *** Salt is one of those rare action flicks that has non-stop hard hitting action for ninety minutes straight and is all done with a brain. Originally, written for a male lead star, in which Tom Cruise was the primary candidate but after he turned it down because it was too similar to his role in Mission: Impossible the makers changed the script and took on Angelina Jolie to play the same role reworked for a female main lead. Evelyn Salt (Jolie) is a C.I.A. officer who is amazing at her job. She has done everything to protect the United States. One day, as she is leaving work to go home to her husband for their anniversary, a strange man walks into the C.I.A. offices with an extremely odd accusation about Salt. As she and her partner, Ted Winter (Schreiber), sit around to hear him talk, things start to get a little crazy. This man, who is considered a defector, claims that Evelyn is actually a Russian spy who has been planted in the United States to kill the President. Salt freaks out, thinking that this can't be true, and makes a run for it. Ted is on her side at first, but as the counter-intelligence officer Peabody (Ejiofor) steps in, he starts to realize that Evelyn could actually be a Russian spy. Her actions of running away are not helping her but she wants to make sure that her husband is safe, even if that means risking her life. As the movie goes on, we learn more and more about who Salt really is. The question is whether or not she can prove her innocence before being captured. The action is absolutely non-stop but the best part about it is that it's believable. Director Philip Noyce (Clear and Present Danger) does not go over-the-top to the point where the action seemed unreal. Being that this movie is about 90 percent action, there is great story-telling occurring as well. The twists and turns in the plot are very surprising and keeps you on the edge of your seat the entire time. Throughout the entire film, you will be questioning who Salt really is. As the story gets deeper you start to become attached to the character but the best part is that you don't really ever know her true intentions. That hopefully will leave the film open for a sequel. Jolie has finally bridged that gap where one is able to look at her character as an action star, rather than a female or male. Every performance in the film is strong from Jolie to the amazingly talented actors, Chiwetel Ejiofor and Liev Schrieber. The film is short (100 minutes running time), fun and you get to see Angelina Jolie kicking butt and looking hot. Do watch it on the big screen.

Watch Online Khatta Meetha

Starring: Akshay Kumar, introducing Trisha, Urvashi Sharma, Rajpal Yadav, Asrani, Milind Gunaji and Manoj Joshi Director: Priyadarshan Rating: *1/2 Satire is a genre rarely touched by Bollywood mainstream filmmakers, so when a big star like Akshay Kumar decides to co-produce one with a director like Priyadarshan with whom he has never delivered a flop, naturally expectations run high. But what one gets at the end of the day is a migraine inducer. Remake of Malayalam film Vellanakalude Nadu (1988) starring Mohanlal, Khatta Meetha neither entertains nor offers anything new. Sachin Tichkule (Akshay) is a road contractor who is forever cash strapped and in a mess after he attempts to go corrupt. His extended family consisting of a brother (Paritosh) and two brothers-in-law (Milind Gunaji and Manoj Joshi) all staying together under one roof are neck deep in corruption where PWD contracts are involved. Sachin is often ridiculed by them for being a blot to their family since he is not able to contribute anything to the family but only creating more problems paining his retired judge father (Kulbhushan Kharbanda). Problems multiply for Sachin as his ex-flame Gehna Ganpule (Trisha) comes as the new Muncipal Commissioner. First things first, if you are expecting Khatta Meetha to be a rip roaring comic affair, then let us warn you, the only genuinely comic moments of the film are all what you see in the promos. The entire film is a messed up affair with a non-existent plot joined together with some truly inane sequences. In fact, the setting also reminds one of Priyadarshan’s assistant Rajeev Kumar directed flop comedy Chal Chala Chal starring Govinda. Making it worse is the long running time of over 2 hours and 40 minutes. Priyadarshan tries to pack in too many things and fails on all accounts. He stretches his comic sequences very long, resulting in spoiling a good joke. The bridge and road contractors – Muncipal body officials and politicians nexus shown doesn’t really expose anything new and the contrived manner in which it all culminates makes you pull out your hair in irritation. What works to some extent is the authentic small town setting and a few one liners. Akshay Kumar is the only good thing about this chaotic enterprise. Be it sarcastic humour or performing the most implausible comic sequences he performs them all with full conviction. Trisha (in a dubbed voice) makes an average debut but the blame goes to makers for casting her in a role of a Muncipal Commissioner. She appears too young for it. Urvashi Sharma is good. Aruna Irani playing Akki’s mom is wasted. Kulbhushan Kharbanda has his good moments. Usual suspects of any Priyadarshan film – Manoj Joshi, Asrani, Rajpal Yadav with addition of Johhny Lever continue to assault your senses with their high decibel dialogue delivery in the name of comedy. Pritam delivers with a few good songs but with each song badly placed, half their fun is lost. Camerawork by V. Manikandan is good capturing the interiors of Maharashtra well. Khatta Meetha fails to deliver what it promises. It is neither a political satire nor a good family drama. The film is better being avoided.

Watch Online Udaan Movie

Cast: Rajat Barmecha, Ronit Roy, Aayan Boradia, Ram Kapoor Director: Vikramaditya Motwane Rating: **** In 1959 in France, a teenage boy ran away from a juvenile home. That moment in "400 Blows" was symbolic for French cinema, as with it they left the baggage of cliché behind and embraced a new, youthful vibrancy that would change cinema of the World. Fifty years later, Hindi cinema finds itself just at that moment of epiphany with this year's, perhaps even this decade's best Hindi film, in "Udaan". Will Hindi cinema hold on to the wings of this film and take flight? Rohan is just another 'average' kid, rebellious and dreamer. After being expelled from boarding school, he has to live with his authoritarian, oppressive father in the steel town of Jamshedpur. It is obvious that the apple has fallen as far from the tree as it is possible. The father runs a small steel plant and wants his son to be an engineer and enjoys defeating him in running, while the son sits on railway tracks, under a tree, by the bed of a river, composing poetry. Senior Singh cannot digest the fact that his son dreams of being a writer. So he makes his rules clear to both Rohan and his young step-brother Arjun. Rohan rebels in his own little ways, but has to concede to his fathers demands. When he comes to know that the reason for his step-brother's hospitalisation is because of a beating from his father, he seethes with rage, but can do nothing. Yet, in the end you cannot hold a rebellious spirit down and Rohan breaks free from his shackles. "Udaan" will not only resonate with those who had a troubled childhood, but with anyone who has faced oppression, or ever nurtured dreams. The film is an analogy of life and of a nation's social ethos. Another film that came out earlier this year "Leaving Home", a documentary about the band Indian Ocean, resonated with the same middle-class aspiration that "Udaan" dabbles with. There too the band members detail how they had had to fight their own parents and the system to become artists. The cast gives a stellar performance. Rajat Barmecha as Rohan is a precious find, while Ronit Roy as his father reminds you of another super-villain of world cinema, nurse Ratched in "One Flew Over The Cuckoo's Nest". Looking at his maturely restrained performance, you wonder what he is doing wasting time overacting for television. Yet, the winner is director Vikramaditya Motwane. Like Francois Truffaut with "400 Blows", his is also a delectable, beautiful debut. And like Truffaut himself, he too had been a rebel with the film being a veiled biography. Hence, in the end, when Rohan outruns his father, you cannot help but celebrate, and like "400 Blows" did, you only wish Bollywood too comes out of the shackles of its own clichés and open its arms to directors like Motwane. If nothing, the fact that even after seven months Bollywood has not had a single hit in 2010 should be sign enough for them to adopt the much needed newness. Perhaps it is too much to expect. But then, all the best things in the world exist because of these individual rebellions, from people who have run away from conventions to create their own dreans. "Udaan" is both a celebration and a triumph of that spirit rebellious.

Watch Online Raavan Movie

Starring: Abhishek Bachchan, Aishwarya Rai Bachchan, Govinda, Ravi Kissen and introducing Vikram Director: Mani Ratnam Rating: ***1/2 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. The film opens with policemen killed at various places around Lal Maati, a small town in Northern India. This is followed by abduction of the local police chief Dev’s (Vikram) wife Raagini (Aishwarya Rai). The dreaded low cast tribal lord Beera (Abhishek) is behind the kidnapping. Dev (Vikram) immediately gets hot on the trail of Beera with trusted lieutenant Hemant (Nikhil Dwivedi) and seeks the help of the jovial forest guard Sanjeevani (Govinda). Beera knows the dense jungle like the back of his hand and is helped by the tribals, managing to stay just one step ahead of Dev and his team. But as the cat and mouse chase proceeds between Beera and Dev, the initial hate of Raagini for Beera subsides. As Dev inches closer, the near maniacal Beera shows he has a heart too and Raagini almost loses hers to him. What follows after Beera and Dev come face to face forms the rest of the film. Taking on a mega epic like Ramayan and turning it on its head giving his own personal interpretation, Mani Ratnam dares to depart from the religious text and succeeds in showcasing how Ram can be a Raavan and how a Raavan can also be a Ram. Aided by the best technical crew of Indian cinema, Mani has made his multilayered film, a technical marvel to watch with awe. The first half moves on rapidly mostly focusing on Dev’s chase of Beera, but however it gets boring beyond a point since the story hardly moves ahead. Mani also fails to establish the exact setting of the outlaws. Are they Naxals or a modern day Robin hood gang? But it is the beginning of the second half where Mani begins to pack his solid punches and achieves the peak with an unusual climax. Beera’s background (the reason for Raagini’s abduction), Dev’s impatience to grab Beera, Raagini’s gradual change of perception about Beera and eventually the final face off between Dev and Beera have all been terrifically captured. Abhishek is nothing short of brilliant, portraying Beera. If you thought Abhishek delivered his best under Mani in Yuva and Guru, watch Raavan for his evolvement into an actor of true caliber. Aishwarya Rai delivers a top notch act. Makeup less and forever battered and bruised, Aishwarya’s eyes convey a lot more than the shrieking her character has to resort to most of the time. Vikram unfortunately is saddled with a one dimensional character for most part of the film until the climactic punch. He looks fearless and arouses enough curiosity as an actor to watch him play Beera in the Tamil version of the film. Govinda as Sanjeevani brings on the much required comic relief in the tense proceedings and succeeds. Ravi Kissen grabs the opportunity to impress with both his hands and does well. Priyamani playing Beera’s sister, in her brief role manages to bring out the pathos of her unfortunate character. Mani takes you to virgin locations within India never exposed before on screen. Be it the thick dense forests in Kerala or the same state’s dangerous Athirappally Waterfalls or the exotic Orcha in Madhya Pradesh and Malshej Ghat valley in Maharashtra, Santosh Sivan and Manikandan’s camera captures it all with super finesse. The action finale on the hanging bridge, a never seen before feat in Indian cinema makes your heart skip a beat. Oscar winner A.R. Rahman’s music coupled with Gulzar’s lyrics is mesmerizing but Mani hardly gives any time for any song to register any impact, as if in a quick hurry. The subtle statement Mani incorporates against the system on behalf of the low caste have-nots is laudable but could have been a little more elaborate. Nevertheless, as Mani Ratnam’s metaphoric interpretation of the grand epic, Raavan definitely deserves a visit to your nearest cinema hall for its plusses certainly over ride its minuses.

Watch Online Milenge Milenge Movie

Starring: Shahid Kapoor, Kareena Kapoor, Aarti Chabbria, Satish Shah and Delnaz Paul Director: Satish Kaushik Rating: *1/2 Milenge Milenge is a poor rehash of John Cussack – Kate Beckinsale starrer romantic comedy Serendipity (2001) that was about destiny bringing two lovers back together. But perhaps makers Boney Kapoor and Satish Kaushik were not as lucky to quickly encash on its success as their copy took a good seven years to come on screen. In the meanwhile a small film starring TV actor Sarwar Ahuja and veteran actress Tabassum's granddaughter Khushi titled Hum Phirr Milein Na Milein released and flopped last year carrying the same plotline. Milenge Milenge narrates the tale of Priya (Kareena) and Immy (Shahid) who meet each other in Bangkok and fall in love. However when Priya (Kareena) gets to know that Immy (Shahid) used her diary to know what she liked so that he could impress her, she dumps him. Immy manages to convince her to give him one more chance. And Priya writes her name in a book and Immy's name in a Rs. 50 note and gave it away to different people, adding that if they ever get back those two items it would mean destiny wants them to be together. Milenge Milenge is not only badly written and looks like an amateurish attempt but is completely dated in its approach by Satish Kaushik. The way Kareena's character is established in the opening credits is quite passé and the subsequent series of events completely bore you. The film is full of stereotyped characters and monotonous dialogues which would have not worked even back in 2005 had it been released then. Himesh Reshammiya's music also does not click. The film is shot and edited very inconsistently as well. If one expects at least the acting to be a good thing about the film then there is disappointment in this department too. Shahid carries a huge Shah Rukh Khan hangover and irritates while Kareena is just about passable. Aarti Chabbria hardly gets any scope. Rest all are plain average. The film falls completely short on any expectations that you may have. Watch it only if you have the curiosity of checking out Shahid and Kareena together for probably the last time. Otherwise please stay miles away from Milenge Milenge.

Watch Online Movie Tere Bin Laden

Starring: Ali Zafar, Pradhuman Singh, Sugandha Garg and Piyush Mishra Director: Abhishek Sharma Rating: ***1/2 There are some films that are winners right from the time their very first promo is unleashed and Tere Bin Laden is one such film! Since the time many months back the hilarious promo of this Abhishek Sharma debut directorial venture came on, tremendous curiosity value for the film arose despite the fact that the film doesn’t carry any big face value. The film thankfully lives up to the promise and entertains making it a winner in all its departments. The film narrates in a tongue-in-cheek manner a Pakistani reporter’s attempts to migrate to the US and chaos it all leads to. Ali Hassan (Ali Zafar) is an ambitious young news reporter from Pakistan Ali (Ali Zafar) who is extremely desperate to migrate to the US in pursuit of the American dream. His repeated attempts to immigrate are shot down as his visa is forever rejected. But when things couldn't look worse he comes across Noora (Pradhuman Singh) who is an Osama bin laden look alike. Ali then hatches a scheme to produce a fake Osama video and sell it to news channels as a breakthrough scoop! Unfortunately this leads to serious implications as the White House also gets involved and dispatches an overzealous secret agent on Ali's trail. First timer Abhishek Sharma shows complete command as both a writer and director. Keeping the running time just around 100 minutes, he ensures maximum laugh out loud moments. His recreation of Pakistan deserves kudos. The script is the main hero of this Tere Bin Laden wasting no time in going into unnecessary deviations. Pakistani singer Ali Zafar has been perfectly cast and shows remarkable comic talent. Pradhuman Singh is simply uproarious to watch. A great find. Sugandha Garg last seen in Jaane Tu Ya Jaane Na is another talent to watch out for. Piyush Mishra and Rahul Singh are fun too. Barry John as the American agent is good. The music is fun too and Jaideep Sahni written Ullu Da Patha stands out the most. Tere Bin Laden proves when you have a strong content you don’t necessarily need big stars. It’s a definite watch if you want to laugh your guts out!

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By Subhash K Jha Starring Sanjay Dutt, Bipasha Basu, Kunal Kapoor, Anupam Kher Written & Directed by Rahul Dholakia Rating: *** ½ Everyone, says someone important in this searing document of our times, is playing politics in the Kashmir Valley. In a milieu of all-pervasive politics, thank the Lord for a creative voice that can look into the burning Valley with dispassionate compassion. Lamhaa is one of those docu-dramas that could have easily toppled into the territory of over-statement and over-simplified politics. And boy, haven’t we seen that happen in very successful political cinema in recent times?! Rahul Dholakia who earlier made the gently persuasive Parzania on the aftermath of the Gujarat riots, doesn’t lose his storytelling equilibrium even when the sitiuations of crises described by the skilfully-written plot scream for attention. Restraint and honesty go hand-in-hand in Dholakia’s Kashmir, which we’d like to believe, is the real Kashmir, unalloyed, non-magnified, intense and utterly devoid of artifice. The camera moves restlessly through the dangerous crowded main roads and tense bylanes of Kashmir where anything can happen. The cinematographer James Fowlds seems to know the Valley of the damned with the transparent scrupulousness of an insider who can place himself outside the explosive bustle of a portion of earth that’s rapidly slipped into the stratosphere of anarchy and mayhem. The high-octane screenplay has no space or time to shed tears for the innocent and the dead. Miraculously liberated of overt sentimentality Lamhaa moves with candour and confidence through a world whose politics has become progressively impossible for the outsider to comprehend. Dholakia’s narrative moves through a labyrinth of pain and violence without trying to make common sense of them. The narrative imposes no morality on the escalated violence of the Valley. Neither does Dholakia get excessively ‘cinematic’ in his approach to the complex material. Most of the time he lets the characters be. The Valley of simmering discontent comes alive in front of us in a ferocious but toned-down swoop of politics and drama. The narrative moves swiftly and steadily through the characters’ lives. It isn’t always easy to tell who is on the right side, probably because the lines of morality are not just blurred in the Valley, they’ve almost completely disappeared.Jannat is in a limbo. Lamhaa is a tearless ode to a people who have become so isolated from the mainstream of Indian life that the adorable children openly and abusively talk of India as a separate country. The dialogues (Ashwath Bhatt) spare none, not the politicians and certainly not the other power-brokers who in the films words, have turned Kashmir into a lucrative business company. At the lowest level Lamhaa is thoughtprovoking mirror of mayhem and misapprehensions on a piece of earth that once was paradise. At the highest level it’s an even-pitched docu-drama which doesn’t mince words nor try to act cute about a throbbing crisis. The pitch is controlled even when the circumstances in the plot are totally out of control. As Sanjay Dutt walks into the volatile Valley with leonine strides we feel for a while as though Dholakia wants to insinuate a larger-than-life super-hero into headline-driven politics. But Dutt soon blends into the savage fabric of a life lived on the edge by people who have nothing to lose any more. The film is dotted with memorable cameos. Among the fringe players Shernaz Patel as a woman looking for her husband for 18 years leaves a lingering impact. Among the principal cast Kunal Kapoor as a young militant turned conscientious politician determined to gather peace into the Valley and Anupam Kher as a treacherous political leader get it right dead-on. But the real revelation is Bipasha Basu. In a powerful role that Shabana Azmi would no doubt have played twenty years ago, Bipasha sinks herself into her character imparting a dramatic resonance into the role without resorting to stock expressions. The sequence where she gets mauled by militant women is as traumatic to watch as it must have been for Bipasha to shoot. Lamhaa is not an easy film to watch. It comes to no decisive end. It takes into consideration the entire politics of Kashmir without careening towards excessive drama.This is that rare political drama where every component in the jigsaw of politics and terrorism is put on screen with a sensitivity and precision that repudiate melodramatic excesses. A word of special praise for Mithoon’s songs. The lyrically lush tunes break into the deafening sound of bomb blasts and roaring guns to remind us that once the best poets of Kashmir wrote poetry on the beauty of the Valley. The beauty of Lamhaa lies in its constant gaze at that beauty that one still glimpses in the shimmering waters of Dal Lake on a quiet and peaceful day.

Watch Online Movie Aisha

By Subhash K Jha Starring Sonam Kapoor, Abhay Deol, Amrita Puri, Ira Dubey, Cyrus Shahukar, Arunoday Singh Directed by Rajshree Ojha Rating: *** The thing about shallow people from the beau monde is that they shouldn’t be played shallowly when brought to the screen. Sonam Kapoor in a ‘tailor’- made role (where more moolah seems to have been spent on tailoring her chic outfits than on exploring the locations , sound sights scents and , yes, sense of this embarrassing world of excessive self-preening) gets the Jane Austen character right. Quite a leap for the actress. When she had played the confused lover-girl in Saawariya Sonam had imposed her own natural-born confusions on the character rendering it shaky and disembodied. In Aisha Sonam is far more in control of her character’s misguided emotional compulsions. The fact that the young actress knows this label-centric designer world of chic shenanigans so well helps Sonam master and contour her character’s art of self-deception in a way the original author of the character would have approved. Sonam’s world harks back to Jane Austen’s giddy-headed British gentry class where match-making was not idle chatter. It was religion. When placed in the neo-rich spiced-up politically-charged atmosphere of Delhi Jane Austen’s characters seem to come alive in unexpected spurts of sassy splendour and unbridled joie de vivre. You can’t help laugh at these young often-aimless people’s selfimportance. Aisha is a 2-hour celebration of pre-nuptial rituals. Though no one says it, every girl in the picture wants only one thing. And it isn’t necessarily love, but somewhere close. The bristle and bustle of Delhi come alive through the slender intellectual faculties of the protagonists. Let’s not forget Jane Austen had applied great intellectual strength to her frail and shallow people. Aisha converts Austen’s world into a frail feisty frolicsome fashion fiesta shot with an empowering affection for the natural light that bathes these somewhat affected people. The cinematography by Diego Rodriguez and specially the songs and background music by Amit Trivedi create a multi-hued skyline in this saga of sophomore socialites, their loves, lovers and love tattle. Debutant director Rajshree Ojha gets into this world of titillating trivia and designer dreams with a wink and smile that go a long way in building a showcase around these metropolitan mannequins on a singleminded match-making prowl. The casting is as dead-on as it can get. While the guys Abhay Deol, Cyrus Sahukar and Arunoday Singh play the Brain, Nerd and Hunk with absolute relish it’s the girls who keep you chuckling and tch-tch-ing. Neha Dubey and debutant Amrita Puri put in pitch-perfect performances as sahelis bullied into alliances that seem manipulated on earth rather than arranged in heaven. They have a bright future ahead, single or not. But the film belongs to Sonam Kapoor, make no mistake of that. She makes the best of a rather rare opportunity for an Indian leading lady to be a part of Bollywood film that salutes Victorian mores and Delhi’s elitist affectations in one clean cool sweep. Engaging and endearing Aisha makes you wonder if there’s anything more important in the world than finding the right match. Maybe finding the right movie about finding the right match?

Watch Movie Online Help

Starring: Bobby Deol, Mugdha Godse, Shreyas Talpade, Sophie Handa, Jyoti Dogra and Salim Fatehi Director: Rajeev Manoj Virani Rating: **1/2 Rajeev Manoj Virani's Help is a well made horror film that succeeds in giving you the requisite chills and thrills expected out of a good horror film but the problem lies with the unoriginality of the plot that seems heavily inspired from Thai film Alone. Vic (Bobby Deol) is a filmmaker in a relationship with Pia (Mugdha). There relationship is going through turmoil because of rumours linking Vic with his actress Sussane (Linda Arsenio). The couple has to immediately fly to Mauritius, after they get a call about Pia's dad (Salim Fatehi) having a heart attack. But after Pia comes back to her ancestral house strange things start happening with her. She starts seeing her dead twin sister Dia who had died when she was five. After it is known that Pia is pregnant the spirit of her twin sister completely possesses her body even making her a murderer of her near and dear ones. A baffled Vic then decides to take the help of a parapsychologist Aditya (Shreyas Talpade) to solve the mystery and save Mugdha. But as they dig deeper, Aditya and Vic are shocked by the revelations behind the strange happenings! Agreed it is an inspired film but full marks to debutante Rajiv Manoj Virani for keeping his narrative focused on the main plot and making a technically superb film. It doesn't look like his first attempt at all. For those who haven't seen the original, Help has enough genuinely spooky moments to keep you on the edge of your seats. Just like Bhoot, this film succeeds in scaring you in broad day light sequences too. All the spooky sequences have been extremely well shot be it sequences when the spirit of the little girl crawls on the ceiling scaring the daylights out of Mugdha or the climax after Shreyas comes back to Bobby and Mugdha. The final revelation is least expected and a true shocker in every sense of the word. Mugdha enacts her difficult role fairly well. Bobby Deol is earnest and does well in his part. Shreyas Talpade is very impressive, especially in the climax sequence. Salim Fatehi is good and so is Sophie Handa who plays Mugdha's best friend. Jyoti Dogra playing Mugdha's mom is terrific and gives you the chills whenever she is on screen. Camerawork by Dhimant Vyas is very good especially for the night sequences. Ashu's music is passable. Help is a fairly engrossing watch for those who like horror films. Sure it is an inspired film but which film isn't nowadays? This technically well shot film is paisa vasool where chills and thrills are concerned.

Watch online Lafangey Parindey Movie

Starring: Neil Nitin Mukesh, Deepika Padukone, Manish Chaudhary and Piyush Mishra Director: Pradeep Sarkar Rating: *** 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. Nandan Kamthekar aka One Shot Nandu (Neil) works for Usmaan bhai (Piyush Mishra) as a fighter for his betting games. In the Tilakwadi basti that he lives in Mumbai, also stays Pinky Palkar (Deepika) an ace skating dancer who aspires to win a TV reality show contest and break out of the lower middle class life. A botched up job for Usmaan bhai along with his mentor Anna (Kay Kay Menon) leads to a big mess for Nandu. Pinky’s life changes over night too as all her dreams get crashed with her accident that leaves her blind. Circumstances lead to Nandu helping out Pinky and teaming with her to participate in the talent hunt show which she always dreamt of winning. How it changes all equations for Nandu and the people connected to him forms the rest of the plot! Pradeep Sarkar should be commended for opting for a completely different genre to the female oriented subjects he has been adept at. However, Sarkar has ensured his female lead’s character is pretty strong enough. The Mumbai chawl setting appears authentic and so do the characters inhabiting it. The action and skate dance sequences have been imaginatively shot. The songs too don't act as speed breakers. The only major flaw of the enterprise is the sense of déjà vu one gets of films like Jeetendra – Hema Malini starrer Kinara and Aamir Khan’s Ghulam. But then that is a minor flaw, as the screenplay is infused with plenty of good moments that need to be experienced on screen. Neil Nitin Mukesh convincingly adapts himself as a Mumbai tapori despite his suave persona befitting a rich dude. Deepika Padukone is only getting better with each film and with this one she treads successfully on a difficult character graph. She is effortless in her blind girl act and very good in emotional scenes. Piyush Mishra as the bad ass don is super cool in his act and is fun to watch mouth some really acidic lines laced with humour. Kay Kay Menon in a short but significant part is effective. All the actors playing Neil’s friends are very good. Manish Choudhary (last seen in Rocket Singh) playing a Police investigating officer delivers a fine act too. The two kids of Tilakwadi are hilarious to watch, especially Ameya Pandya in his tapori kid act. R.Anandh’s music is fresh with Man Lafanga and Dhatad Dhatad being the pick of the lot. N. Natarajan Subramaniam’s cinematography is good and captures the dark night Mumbai sequences well. Editing by Sanjib Dutta however could have been better as the film drops pace in regular intervals. Bosco Caesar’s choreography is innovative. Do give Lafangey Parindey a chance. It is definitely not a waste of time. Its characters succeed in endearing themselves to you. It may not be an ace but its still a quality product from Yash Raj Fims and marks the return to form of Pradeep Sarkar.

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Starring: Rituparna Sengupta, Rajat Kapoor, Antara Mali Director: Amol Palekar Rating: **1/2 Loss, an obviousness in life, is extremely difficult to depict on screen. Yet to see a veteran director like Amol Palekar fail at it is a tad disappointing. But it is not just Palekar's fault. The main problem lies with a flat, one-dimensional script and lack of imagination that mars what could otherwise have been a good film. Rishi (Rajat Kapoor) a retired civil servant, even 18 years after losing his wife Savitri (Antara Mali) and son in a bomb explosion overseas, is not over it completely. He has recently married Manu (Rituparna Sengupta), who is a caring and understanding wife. On a trip to a monastery in Sikkim, he sees Savitri, now a monk, and his life is in tatters once again. He tries to come to terms with this mystery and the deep ripples in his mind, as do Savitri and Manu. The answers, are neither convenient nor easy for anyone to grapple with, as guilt, anger and frustration threaten to rip apart three lives that had reached an equilibrium. Palekar is not just a veteran actor, but a director of sensitivity and repute who had made some good films. Yet, nowhere in the film is his usual mastery of camera, tension or emotions visible. Besides the stilted script, the emotions of characters are also one dimensional, and writer Sandhya Gokhale fails in blending the beautiful landscape of Sikkim with the possibilities that were rife in the story. The dialogues are often pretentious, bordering on outright juvenile, especially in the beginning. The actors do their bit in what is possible in such a script. A film like this one, made for a very niche audience, should not take the convenient route of tying every loose end in a 'perfect' ending. That's the job of commercial cinema. A film about loss, like this one, succeeds only when it leaves the audience with a sense of loss and longing. Instead, "And Once Again" aims for catharsis with some melodramatic scenes and a convenient ending, rather than the truth, and in that lies the biggest flaw of this film.