Aishwarya delivers baby girl

All eyes are on the legendary Bachchan family not for any of their upcoming films but for the latest addition to their family.

The news is that Aishwarya has delivered a baby girl today morning. Tweeting about this, father Abhishek Bachchan announced, "IT'S A GIRL!!!!!! :-)))))". While Amitabh Bachchan obviously overcome with the joy of being a grandfather said, "I AM DADA to the cutest baby girl !!"

Chitrangada brings sexy professor look back!

Remember Sushmita Sen as the sexy and stylish college professor in "Main Hoon Na"? Now Chitrangada Singh is set to recreate the same magic as a uber chic economics professor in "Desi Boyz". Chitrangada's character required her to look edgy, smart, stylish and yet mature. So her stylist went with fringes for her hairdo. According to a source, a renowned stylist from London was approached to design her get-up for the film. The look turned out to be so classic that when Chitrangada met an Indian lady, who teaches mathematics at London's Trinity College, she came and asked the actress if she was really playing a university professor in the film. "The professor told Chitrangada - 'Well, we look nothing like you, so can I get a picture with you', " said a source. "Desi Boyz", which also features Deepika Padukone, Akshay Kumar and John Abraham, releases Nov 25.

Chitrangda sues Arjun Rampal for harassment

The dusky actress plays a predatory woman who falsely accuses her boss in Sudhir Mishra's upcoming film. Did anyone say, Aitraaz? Sudhir Mishra's new film has distinct echoes of 2004 Priyanka Chopra-starrer Aitraaz, in which Chopra played an ambitious woman in the corporate world. In Mishra's film, Chitrangda Singh plays a woman who gets carried away by her ambitions and ends up accusing the man she loves (played by Arjun Rampal) of sexual harassment. Said Mishra, "I haven't seen Aitraaz. But a woman who loses her sense of self in a corporate set-up to pursue her ambitions can be very dangerous." In the director's words, Singh plays a 'slut' in the film. On the sets then, Mishra had a simple brief for his leading pair: Hate one another. "A role of a woman, who tries to destroy the man she loves, has never been done in Hindi films. And Viacom 18, the producers are running scared . They want the character's greyness to be toned down, and prefer it if Chitrangda is shown repenting towards the end of the film. Even Priyanka Chopra did at the end of Aitraaz, " said a source. But Mishra is reportedly unwilling to take things down a notch. "It's a film describing sexual dynamics in the corporate world. Chitrangda plays a woman who gets carried away by her ambitions. By contemporary definitions of womanhood, her character would be called a slut and she is unapologetic about the ruthlessness of her ambitions, " he said.

How did Ranbit get Katrina and Deepika under the same roof?How did Ranbit get Katrina and Deepika under the same roof?

Ex-beau to both Deepika and Katrina, Ranbir invited them to a special screening of his film It is widely known that Katrina Kaif and Deepika Padukone cannot see eye to eye. But for rockstar Ranbir, it looks like the two women were ready to fine-tune their personal equations. Both the actresses were seen under the same roof after a long while, as Ranbir arranged an exclusive screening of his film Rockstar for his friends from the industry. Says an eye-witness, "Deepika, Katrina and even Anushka were at the film's screening at Yashraj over the weekend. Ranbir was keen that all his closest friends watch it." Apparently, Deepika and Anushka were seen chatting up and having a good time, while Katrina preferred keeping to herself. However, there is little doubt that Kat was there to watch the film. Adds the source, "For Ranbir, at the moment, what's most important is to know what people think of the film. He has always maintained a very cordial relationship with his exes. Deepika recently invited him for her housewarming party as well. As far as Katrina goes, she is someone whose opinion would matter to him as well. There were points during the film where onlookers caught Deepika crying." However, Dippy and Kat apparently made sure they didn't cross paths and Anushka acted as the buffer. "Anushka doesn't really have any history with Ranbir so she was comfortable. The tension between the other two girls was reduced." Ranbir, Imtiaz and their gang headed back to choreographer Ahmed Khan's house to party through the night, but the girls chose to stay away. They left the venue in their respective cars post the screening."

Rs 100 crore to protect RA.One

Apparently, the film even beats '3 Idiots' with its whopping insurance cover With RA.One releasing today amidst much festive frenzy, it is learnt that actor-producer Shah Rukh Khan is equally aggressive about insuring his film. Industry sources reveal that the film has been insured for over Rs 100 crore. And this, even before Yash Patnaik sued the production team, for using his story to make the movie. Considering that the film cost about Rs 150 crore to make, SRK opted for the insurance to safeguard the interests of his film well in time, says our source. "As the creator and owner of the content, Shah Rukh has protected himself not just against production liabilities, but also Errors and Omission (policy). The Yash Patnaik issue is covered and not a cause for concern, " explains our source, adding that Sunil Lulla's company which is distributing the film is also guarded by the policy that covers Distributors' Loss Of Profit (DLOP). Interestingly, SRK's aggression vis-a-vis insurance is evident on the basis of the Rs 100 crore plus insurance policies that protect the movie, as compared to about Rs 75 crore for 3 Idiots initially. But that's not to say that the cover for the industry's biggest hit was any low. "What makes you think that the fees of Aamir Khan, Rajkumar Hirani and Vinod Chopra were slashed to compromise on the film's budget? 3 Idiots was an expensive film, " states our source, adding that after the release, the DLOP policy was almost doubled in a week. Therefore, after RA.One's release, it won't be a surprise to hear of Sunil Lulla's company enhancing the policy to cover their losses, up to 60 days. "RA.One is SRK's most ambitious project. And whether in India or abroad, no Hindi film has been marketed and promoted like this, " he concluded.

Lov Ka The End (2011) *Dvd Scr RIP* Watch Online/Download

Yash Raj's first attempt at making a self-proclaimed full-blown anti romantic-comedy seems more of a half-hearted attempt at taking the route less-traveled by the banner. The idea seems inspired but the execution isn't much exciting.

Rhea (Shraddha Kapoor), defined as a sweet simple college virgin in the film, is in love with the filthy-rich Luv Nanda (Taaha Shah). But Luv is not only cheating on Rhea but also involved in a cyber race of uploading explicit videos of girls and winning brownie points for his exploits. When Rhea realizes this, she soon gets over being a crybaby and decides to get even with Luv.

Dharti (2011) *DvdRIP* Watch Online/Download

Serious Political Suspense Thriller, that is what Dharti is and I don’t think I’m mistaken while saying that this is the first time a Punjabi film has fallen into this category. Its a pleasing thought that such a film has been made and on such a large scale. In more than normal way this shall be considered a risk on the part of producers to grab upon such a theme. It is a bold step in Punjabi Industry and it signifies the trust of big production houses in the audience of Punjab that they are mature enough to accept a movie like this. However the film was promoted as something largely associated with Air Force, but it didn’t have much to do with that. It’s just that Jimmy Shergill’s background comes from Air Force as he is the Squadron leader. Apart from that he is mostly wearing his Air Force uniform and wears Aviators. Nothing more than that. This was a letdown as I was hoping it to be a patriotic film on national level. In truth the film is largely based on politics in Punjab.

Haunted 3D (2011) *DVDRip Watch Online/Download

Haunted 3D
A; Horror
Dir: Vikram Bhatt
Cast: Mahaakshay, Tia Bajpai, Achint Kaur, Mohan Kapur, Arif Zakaria
**

What's it about: There's something about this genre that fascinates Vikram Bhatt. We don't blame him, he's made a couple of horror/romantic thrillers in the past and seems like he's developed an affinity towards creaking doors and foggy hill stations.

With Haunted he tries to do many things at the same time create horror at the centre of a love story and use the 3D medium to raise the scare-o-meter. Beginning in Ooty, the film revolves around a haunted house that has a murky story dating 80 years back in time.

Mahaakshay (formerly Mimoh) heads this spooky hunt as he's sucked into the shady past of the house and its residents. There's ample of blood, gore and ghost busting lasting over two hours.

What's hot: Bhatt knows how to create the right setting to start the drama. This is his playground and he uses all the familiar elements well to create suspense and intrigue. As soon as we enter the haunted house the action starts.

Even though he gives away too much right in the beginning, it still keeps us engaged to know what might happen next. Spirits with unfinished business is a common peg to hinge your plot on, but here we get transferred to a lengthy flashback that explains the whole phenomenon well.

Cinematography and background music adds to the drama. Special effects and make up are remarkable, especially in the case of Zakaria and Kaur who must have gone through strenuous hours to look like that.

What's not: Haunted is way too clich ©d in many places to appreciate it as a cohesive work. The dialogues, scenes and scares have been done before. Even though the medium (3D) is new, Bhatt fails to capitalize on it. When Hollywood films like SAW are using it to its advantage we yet are confused with this technology.

Everything starts on the right foot, but soon there's way too much happening. When we get transported back in time, the story becomes predictable. Some scenes will raise chuckles when not expected. The rape scenes are cringeworthy and extended for no reason whatsoever.

Once we see the ghosts in their form and shape they lose the element of surprise. Major pain is the climax that goes over the top in every department.

Dialogues are corny and regressive. Mahaakshay fits the role, but needs to loosen up a bit. He has the same sullen expression through out, but lights up when he breaks into a popping-locking dance routine. Tia has the looks but lacks the ability to grasp your attention for long.

Arif and Achint deliver exactly what's expected from them. The music is below average and none of the tracks stay with you after the end.

What to do: Haunted fails in the attempt to come out as a solid effort, but has a few moments of genuine scare that are far and few.

Naughty 40 (2011) *Dvd RIP* Watch Online/Download

Govinda Ala Re!, playing his age for the first time and yet a boy at heart. Whoopee! Naughty @ 40 directed by Jagmohan Mundra finally releases and brings to you the same buoyant and bubbly Govinda of yore. But the movie is new, and Govinda portrays a character who is trying to lose his virginity at the age of 40 with the help of two oddballs. So, would you like to know what this naughty man at 40 is up to?

First things first. How on earth could a 40-year-old man remain a virgin? Does it ring a bell with you? Yes, the movie is inspired from the Hollywood hit Forty year old virgin, but since it’s a Bollywood film things are a bit different here. Govinda is not the man with whom the audience would like to sympathize, but he is a mischievous man and likes to be vulgar rather than vulnerable.

The storyline - In his drive to be a complete man, he has his father Anupam Kher and a loyalist Shakti Kapoor as the experienced guides; the two love to device every kind of devious set-up for Govinda, but what transpires turns out to be a bit tragic for our hero. He is still far from his life’s goal. Then a small family outing in Manali helps the man to get married to a much younger girl, played by Yuvika Chaudhary. Though the girl is sweet her childishly impish ways make Govinda feel bored of marriage. So our naughty man gets physical to a firang babe. Yes, his biwi does come to know about this. A knotty situation for this naughty man.

Not again! - The second half of the film is a tad similar to many of Govinda’s earlier films where he is shown easily juggling the two ladyloves. The songs of the film lack the punch, and the jokes at times can be tagged pedestrian if not nasty. Too much of Govinda can also make you feel tired, almost like a forty someone feeling twice his or her age.

The enjoyable moments! - When the movie comes alive with a splatter of animated adult jokes, but you have to search for those moments in the haystack of the plot. Govinda’s awesome with his comic timing especially when he breaks into loud laughter. Gosh! The man still bursts with vim and vigour; he is dyed-in-wool entertainer, indeed a charmer and he still dances his way to the audience’s heart. Effortless!

Performances - Nothing is wrong with Govinda - virgin at 40, he is insane, inane and innocent, all in this movie. Yuvika Chaudhary, who is seen for the first time as a lead actress, tries to be like one of Govinda’s heroine. She does leave an impression with her acting, gesticulations and bubbly onscreen persona. And what to expect from the actors like Anupam Kher, Shakti Kapoor and Sanjay Mishra, who are natural and just spontaneous.

By now you must have understood that Naughty@ 40 is strictly a Govinda affair, and if you don’t let your mind get boggled by silly-wally bawdy jokes, you can enjoy this film. Jagmohan Mundra of Provoked fame has tried to deviate from socially relevant cinema and comes up with a nice rib-tickler.

Entertaining in parts and fits, Naughty@ 40 is for those who are either die-hard Govinda buffs or are looking for some naughty fun this weekend.

Shor In The City (2011) *Dvd Scr RIP* Watch Online/Download

A mixed bag- terrific, experimental cinema with cinematic delicacy but could have been exceptional.

By Jyotsna Kumar

Delhi 6, Dhobi Ghaat they both had themes, they both lacked story in particular yet they spoke to us, some ignored but some understood and now Shor in the City joins this league, as it tried something similar. One maddening city and three different stories, Shor in the City is a social fabric on the city Mumbai-the city where there is so much noise that doesn’t allow you to even hear your own sound at times, and at times you need the noise to absorb all other noises.

You must have noticed those curious faces of your friends and family the moment you step out of a theater after watching a recent flick. They all want to know the story of the film but is that trend still on or is it a passé? Hard to tell, because these days a whole lot of movie-makers are experimenting with different narratives on different subjects and so there’s hardly any story to converse but lot to discuss with respect to the theme. Shor in the City is one such flick where the theme overpowers respective plots in the film.

The narrative flags-off with the chronicles of Ganesh Chatturthi where Abhay (Sendhil Ramamurthy) –the NRI, trying to set-up a small business. In his quest to earn profit he’s encountered with unfriendly trio who forcibly offer him help only to reveal their murkier side to extort hefty extortion money.

On the other side, there is another bunch of threesome- Tilak (Tusshar Kapoor), Mandook (Pitobash Tripathy) and Ramesh (Nikhil Dwiwedi) who hopelessly engage into petty thefts and one day manage to slip out a bagful of arms and a bomb from a shady guy in a local train. The movie has explored the eccentricities and craziness of these characters to the hilt. When at one instance, Mandook needs some thrill in life as he decides to explode the bomb live in the city as he’s never seen anything being blown-up alive, and so the trio goes ahead with the plan. The dichotomy of the situation is when they have to travel the length and breadth of the city on Tilak’s motor-bike to locate an empty spot as Mumbai is never empty. And when they finally narrowed down a spot, the place still finds a kiddo roaming around. Also, during the climax, amidst the animosity, the trio provides a their every bit of humour when at the time of bank robbery Tilak quickly withdraws and says-“Main sirf moral support ke liye aaya hoon” and

Ramesh is disappointed to see only eight thousand rupees in the bank, and so, he waits for the bank manager to open the locks.

The third angle of the film revolves around an aspiring cricketer-Savan (Sundeep Kishan) who is hopelessly in love with his neighbour who is soon to be wed and on the other hand, needs ten lacks to give as a bribe to one of the T20 match selector.

The chaos and madness are the very substance of Shor in the City but somewhere the soul of the film, a concrete story is missing. The characters were well etched out where you feel sympathy for Abhay-caught up in the cobweb of hooligans. Sincerity in the eyes of Tilak, who runs a pirated publishing business but despite of it displays high degree of principles and moral values. Also, Tilak’s simplicity comes across naturally when he finds out ‘the deep philosophy’ of life in the pages of The Alchemist. Savan’s frustration and helplessness is relatable. But on the other hand, Tilak’s wife Sapna and Preeti Desai, Sharmili and Radhika characters are not given much attention hence; their characters are lost in the film. The music is fabulous especially the track Sahibo and Karma is a bitch, only if they were used well. The editing could have been sharp. The writing is refreshing, the screenplay is engaging on many instances comedy is not forced and is situational. The cinematography is ok and the sound is one department that deserves all applause especially after the bomb explosion sequence. The performances are exceptional but it was Pitobash Tripathy performance as Mandook that takes the cake. His peculiarities are so convincing that you beg for more screen time of his.

All in all, after long time, good news for the cine-goers but my only suggestion is that don’t keep your hopes so high and for those who come with the expectation that it’s a dark comedy then it’s not. And now a big round of applause to Ekta Kapoor and her banner who give us a daily dose of tears through her Saans-Bahu drama on idiot box but on the other hand treat us to the terrific, experimental cinema as cinematic delicacies. Woman, you are complete paradox in that retrospect. Final word for the director duo- Raj-Krishna, a very good attempt which could have been exceptional.

Chalo Dilli (2011) *Dvd Scr RIP* Watch Online/Download

Chalo Dilli
U/A; COMEDY
Dir: Shashant Shah
Cast: Lara Dutta, Vinay Pathak, Akshay Kumar
**

What's it about: Lara Dutta and Vinay Pathak definitely make an odd pairing almost like Nicole Kidman and Will Ferrell in Elf. The only difference being while the latter worked cause of the two talents put together the former doesn't quite make the same impression.

Set against the rickety backdrop of a journey from Mumbai to Delhi via some perilous adventures Chalo Dilli has Lara in the role of an investment banker who's surrounded by the luxury of assistants and Louis Vitton accessories.

Not knowing what's going to happen to her over the period of the next few days she makes a journey to Dilli but lands up in Jaipur and has a bumbling simpleton Manu (Vinay) to blame.

As expected they are opposites, while she rolls her R's while speaking he spits out tobacco between every pause. Despite their mutual dislike for one another the two have no choice but to make the most of the given situation.

What's hot: There are moments when the film sparkles and they come in the form of witty one liners or punches. Pitching Lara and Vinay opposite each other and putting them in the most awkward situations manages to bring out some humor.

Most of the chuckles come when they are stranded in a remote village and begin their journey to Dilli. Vinay Pathak is an absolute charmer and plays his part to perfection. His Manu feels like a bloke you could meet somewhere during a train journey. Lara brings the correct dose of sarcasm and rebuttal to her character.

What's not: The film's biggest drawback is the fact that it falls into the dangerous trap of coming off as one-dimensional. Once we are introduced to Lara and Vinay, there's nothing different or new that we can expect. Most of the arguments, fights, banter and goof ups are super predictable.

Also the second half, especially the climax is more sugar coated than a Hersheys bar. Instead of getting preachy and wanting to send out a message, they should let it be a fun affair.

The serious dramatic overturn towards the end punctures the average run of the film towards the very end. There's a serious overkill of trying to get the audience's waterworks running. But it just doesn't seem genuine. The songs are strictly average and Yana's Laila act does nothing to impress.

What to do: Chalo Dilli sets out on the right footing but doesn't quite make the impression one would expect.

Zokkomon (2011) *Dvd Scr RIP* Watch Online/Download

Starcast: Darsheel Safary, Anupam Kher, Manjari Phadnis, Asin
Director: Satyajit Bhatkal
Music director : Shankar Mahadevan, Ehsaan Noorani, Loy Mendonsa

Kunal (Darsheel Safary) is an orphan, who has lost his parents in an accident three years ago, and is being taken care of by his school authorities. Soon, Kunal has to go to his uncle’s village as the uncle is his legal guardian. The uncle, Deshraj (Anupam Kher), runs a school in the village and stays with his wife and a pampered son. Deshraj is evil and makes the students do all the menial work like cleaning and sweeping the floor. He also holds sway over the superstitious villagers, being hand-in-glove with a fake Swami, whom the villagers respect a lot.

Soon, Kunal realises that his new home and school have no place for him. He makes friends with two of his classmates, Rani (Gargi Datar) and Arju (Jai Vyas). One day, they accidentally reach a deserted bungalow which is said to be haunted. But Kunal, the brave one, enters the bungalow and comes out unhurt.Deshraj falls upon bad times and needs Rs. 60 lakh urgently. He and his wife hatch a plot to kill Kunal so as to inherit the Rs. 75 lakh that Kunal’s parents have left for him. Quite inexplicably, Deshraj takes Kunal to Mumbai and leaves him alone in the middle of an amusement park instead of killing him as per plan. He comes back to the village and declares that Kunal is dead.

Kunal finds a friend in Mumbai in Kitu (Manjari Fadnis), a street-smart girl. Much against his wishes, Kitu soon decides to take him back to his uncle. As they are about to leave by train, Kitu is apprehended by the police. She asks Kunal to continue on his journey, promising that she would join him.

Back in the village, Kunal is taken to be a ghost and everyone runs away from him. Only Deshraj knows that Kunal is back for real. He now plans to murder his nephew once and for all. Not knowing what to do, Kunal lands up sleeping at the haunted bungalow, where he meets Magic uncle (Anupam Kher again), a scientist who leads an isolated life in the bungalow. Years ago, Magic had come down to the village to get rid of the villagers’ superstitions but had failed in his mission. Magic inspires him to use science in the fight against superstition.

The duo soon gets to hard work and they are ready with ‘Zokkomon’, the superhero avatar of Kunal, who can fly.Now, Kunal a.k.a. Zokkomon gets down to the job of terrorising the evil school teachers. The children become his fans and start imitating him and fighting the exploitation by the school authorities. Deshraj, on the other hand, is waiting for an opportunity to get his hands on Kunal. Soon, Zokkomon exposes Deshraj and the fake Sawmi.

As a result, the villagers start shedding their superstitions. Kitu also arrives in the village and finds Kunal. What happens thereafter? Is Kunal/Zokkoman successful in his mission? Is he able to survive in spite of Deshraj’s evil designs? What happens to Deshraj and the villagers? The climax reveals the rest.

Final Word : On the whole Zokkomon was not able to create a mark in the box office

Dum Maaro Dum (2011) *Pre DVD RIP* Watch Online/Download

Lust, drugs, mafia and to add a little more spice to it we have Deepika Padukone performing a sensual item number,and it’s all there in Rohan Sippy’s long awaited Dum Maaro Dum. The movie is about different lives in Goa. Every one linked with drugs or love. It starts with Tani and Lorry (Pratriek Babbar) getting admission in US universitiesbut lorry does not get a scholarship forcing him to depart from his love for four years. When one is depressed he looks for comfort in liquor but Lorry goes astep forward and ends up relieving his pain with dope and sex. But his hopes return as his friend gives him a choice to do a minor drug transfer in return for $15000 for his admission. Initially confused he decides not to but eventually turns towards it.Everything is set for him to go, but as luck has it he is caught in the airport by ACP Vishnu Kamath (Abhishek Bachchan)

The story of Kamath is then shown. Once a corrupted officer of the narcotic department, his life changes when he loses his wife (Vidhya Balan) and son in a car accident. Now he has been appointed to clear all corners of Goa. He appoints a team which includes Mercy and Sandesh Rane who one by one clear out all drug joints of Goa.
Now this rings a alarm in the house of Lorsa Biscuta who is the head of all drug deals in Goa. He owns most of the joints and has a hand in all kinds of business happening in Goa. All drug dealers are running scared and business seems to be slipping away when Biscuta turns to a secret friend Micheal Barbosa, who has never been seen before. Now Kamath is in the hunt for Barbosa. Mean while Lorry has been taken in lock up and fearing the worst for his family he doesn’t say a word. But determined to save him, his friend DJ Joki (Rana Daggubati) keeps talking to Kamath. And also he takes the help of his other friends to root out information about Barbosa just to be caught by Biscuta and beaten by him. Joki is in this because he lost his love Zoe (Bipasha Basu) to Biscuta as she also fell into this drug trap. Zoe now works for Biscuta. Zoe meets Joki and he asks her to help him free lorry from the cops. She falls for him again and after making love to him she records Biscuta talking about deals and gives it to Joki. But Biscuta finds out about this and gets rid of her

In this encounter Kamath finally finds out whom or rather what Barbosa is. But before he can close the case he is killed by Rane who turns out to be a traitor and an important man of Biscuta. Amidst all the incidents Joki finds out about everything and himself solves the case of Barbosa. He gets hold of all the drugs and calls Biscuta and makes a deal, he asks Biscuta to clear his and Lorry’s name. But while doing so he calls Rane. He takes Rane to the place where he has hid all the drugs. On the way he confronts Rane and kills him.
Next he calls Biscuta and tells him that it is the end of the story. Biscuta runs to the funeral of Kamath. We are then shown that all the drugs are kept inside the electrical furnace. Now with Kamath, everything that Biscuta owns is burnt to ashes. It’s a happy ending for everyone as Tani returns from USA and is reunited with Lorry. Now what exactly Barbosa means is something the movie needs to be watched

.

Final verdict:

Your expectations will be failed when you expect a glossy romance, but ofcourse the thrillling elemnet by Ramesh sippy will defenitely win the hearts of people who like action packed movie

Rating : 3/5

Teen Thay Bhai (2011) *Pre DVD RIP* Watch Online/Download

Movie Review: The good news is that Bollywood is brimming over with fresh talent as more and more young film makers don the director's hat and try their skills at story telling. Their's is a young vision and a modern sensibility that tries to steer clear of formula and cliche. And even if it looks at formula, it dabbles with it differently, as was evident in Dabangg.

Teen Thay Bhai may have been produced by Rakeysh Mehra but it has been directed by first-timer Mrigdeep Singh Lamba who does show promise as a filmmaker to watch out for. Just that his first film ends up as a half-blown venture where there are too many theatrics and too many loosely edited scenes to allow the film to unfold as an uninterrupted laugh riot. Now that's sad, because in terms of characterizations, the film is riveting. Om Puri's loud, crabby, me-centric Punjabi businessman act is quite funny, specially when it comes to his attempts to get his overweight daughters married. as the quack dentist with the quirky hobby -- he loves to iron clothes -- is absolutely mercurial, even as his love story with village vixen, ends up as the finest track in the film. Ragini herself makes an interesting shift from television to films with her breezy act as the boisterous Punjabi girl who loves to lie. And finally, there is who pitches in as the third brother, a wannabe actor, inspired by pulp. His rendition of the happy-go-lucky yokel is completely over the top and tends to get too melodramatic, here and there. But by and large, between them, the three brothers create a tantalizing trio that keeps rubbing each other off the wrong side.

The film however lacks consistency and some of the comic situations fail to evoke any humour. While the brothers try to co-exist peacefully in the ramschackled bungalow and almost end up killing each other, the drama holds your interest. But as it moves out into the wilderness, with blondes, dogs, drugs and cops, it loses track.

Watch out for the zany music track (Sukhwinder Singh and Ranjit Barot) with Mohit Chauhan and Daler Mehndi giving a lively rendition to Gulzar's funky lyrics, some arresting performances by the key players and Ashok Mehta's camerawork which creates magic with Kashmir. And yes, there's making his debut in Hindi cinema as the angsty Punjabi dadaji. Yograj Singh, who? Sadda Yuvraj Singh's daddy! All this might help you tide over the intermittent yawns that threaten to cloud an otherwise smart comedy.

Thank You (2011) *Dvd Scr RIP* Watch Online/Download

Anees Bazmee seems to be re-visiting familiar terrain with his new film. is heavily inspired by his earlier comic caper, No Entry, where had the onerous task of curing a motley group of errant husbands from their chronic infidelity. This time, it is who wields the baton -- or is it the flute -- to underscore the sanctity of the institution of marriage. Is this a case of playing safe for the director who has recently burned his hands at the box office or is it a drought of story ideas that seems to be Bollywood's biggest scourge?

Repetition notwithstanding, Thank You ends up as timepass fare, although it isn't as rollicking as No Entry. The first half of the film seems to be an exercise in nothingness and has you fidgeting in your seat as you try to look for the rare laughs in a script that is supposed to be funny. The bit-on-the-side sequences of the three husbands are hardly hilarious nor does the fuming wives club set the screen ablaze with hysteria. It is only in the second half that the film acquires form and substance and has you grinning at certain goof-ups. Akshay Kumar's elaborate plans to set the three marriages straight provides scope for actors like Irrfan Khan and Suneil Shetty to kick up a bit of fun, although has hardly any humour tailored into his role. By and large, he remains dour and angry as he begins to suspect his sweet wife Sonam of adultery. The girls, on their part, mostly remain cosmetic with Sonam looking terribly out of sync, Rimmi not being allowed to play her feisty self and Celina being forced to do the disappearing act for a large part of the film.

So what's funny about Thank You? It's the guys who reiterate the worn-out cliche that fidelity isn't an intrinsic part of male physiology. Add to this the high production values -- glitzy locales, jazzy styling -- and Pritam's pop numbers and you have a film that can be an average weekend getaway. Nothing more, not even Mallika Sherawat's item number.

F.A.L.T.U (2011) *Dvd Scr RIP* Watch Online/Download

The first thing that you notice about F.A.L.T.U. is it's energy. The story might remind you of 3 Idiots but the big difference is there is no rona dhona, excessive or little sentiment. The narrative does look juvenile, especially the clichéd ending but what holds your attention is the pace, it moves fast, doesn't give you time to get bored and before you sense monotony creeping in, you move onto a different scene. Also what makes the film an interesting watch is the absence of romance amongst the innumerable young and natural actors.

Except for the title, nothing about the film is faltu, not the plot or even the narrative. It's completely colourful like a party and the story goes on like a party. Many students who pass out of school with just pass marks get into a college which is not registered just to escape from parent's harassment and have a ball in the campus. Most of them are either not inclined in studies, have poor IQ, lazy or plain irresponsible. They know they cannot get admission in a college as all of them ask for 70 percent and above.

This story is designed to raise a question..what about the rest of the students who get pass marks of 36 or end up anywhere between 36 and below 70. A student asks, "Why doesn't the college fail us instead of giving us pass marks which don't guarantee us an admission?" Well, four students find an answer for this and inadvertently come up with a bogus college overnight just to overcome a temporary problem and end up providing an educational cover for scores of students like them.

The rest of the story is predictable, parents getting to know the truth and the students dealing with the outcome in a simple way. What makes it similar to 3 Idiots? The architects of F.A.L.T.U. realize the key to success is by encouraging each one of them to choose a subject of their choice, what they like most or inclined to and have the potential to excel. Instead of dragging tutors to educate them for the simple reason that they might let the cat out of the bag they bring in digital education.

The finale is dramatic and artificial though, they force their way into a dance competition of schools and emerge winners bringing legibility and legality to their college. The biggest relief again is that there is no lamba chauda moral lessons by Mithun Chakraborty who plays a cameo. Talluri Rameswari makes a brief appearance and has exactly two words to speak. Everything is brisk, light but with a message. Dialogues too are fresh, colloquial and some which refer to homo-sexuality could have been censored.

One character that stands out is that of a student's father who owns a scrap shop, who sees a meaning and a discovery in everything that's discarded but fails to notice the unutilized intelligence of his child. Songs are vibrant and peppy. F.A.L.T.U. is a film that would appeal to the youth and also the adults, it is light-hearted but with a message in allusion to the lop-sided educational system. But for the plot and endearing and confident performances by the ensemble cast, you would definitely term the film completely faltu.

Finally Remo D'Souza has the potential in him to make a fine film, far better than this but so far so good, he has dished out a fair film, a pucca time pass.

Game (2011) *Dvd Scr RIP* Watch Online/Download

The first half of Game is truly interesting, three men and a woman are guests at a breath-taking and a beautiful home of a billionaire at Samos Island, a private one in Greece. The richie rich Kabir Malhotra is played by Anupam Kher who sends lovely hand-written letters in Hindi and invites them over. While showing off his priceless wine and bonsai that flowers once in 27 years he reveals his intention rather abruptly on why he'd called them over.

In front of his house he has a twin tower like memory apparently put up for his dead woman and illegitimate daughter Maya (Sarah Jane Dais). The three men have destroyed Maya's life over different period and they are here as Malhotras has planned to take revenge by punishing them and summoning the vigilance officer the next day to his home. The conversations are recorded and give away the clue that something could go wrong with Malhotra and as expected he is found dead in his study next day.

We are offered a glimpse into Maya's life from the time she was abandoned and how she was used consciously or unconsciously by the three men. To break the strain over the eyes, these men are shown as hailing from different locations all over the world. Abhishek Bachchan's brief romantic interlude looks superficial and he shedding tears suddenly in one scene looks copious. His nonchalant, indifferent and cool attitude throughout the film takes away the seriousness from his role.

His long jog, hop, skip and jump run beginning from his flat to some insignificant by-lane in Istanbul fails to stupefy everyone except Kangana Ranaut. The lady's accent and expressions don't match her smart formal clothes. Neither does Abhishek's identity revelation shock you, you react with a simple oh, okay expression. The first half of the story is absorbing, keeps you thinking but post interval, the director brings about many inconsistencies in the script.

Kangana Ranaut plays the head of an investigative agency and her role drags to a pointless finale. She attempts to be the perfect choice for her character not bad, but her terrible English and the director trying to replicate her role straight from some Hollywood movies misfires. The movie is not very bad, it could have still been better with a taut narration and a finale, especially in the latter half of the story.

The emphasis should have been mainly on who bumped off Malhotra rather than giving a whole lot of screen space to Kangana and her dumb-headed secretary who has no reaction on his face. She runs around showing she's in control of things and reminds you of what Rani Mukherjee did in No One Killed Jessica. This is a film that is content driven, performances are mediocre, even if they had been exemplary it would have been wasted as the finale is listless.

Sarah is forgettable and all you get to see of her is in her strange obscene cabaret dance costume and her voice message over the phone. The only part worth noticing are the picturesque locations. Game makes an interesting watch for those interested in thrillers and are easily shocked by small twists and turns, it keeps your attention for a major part of the film

The Lion of Punjab (2011) Watch Online/Download [Punjabi]

One can easily draw a parallel in Singh is King and Lion of Punjab… Just like Singh is King (in which Akshay and Om Puri go abroad), in LOP (Lion of Punjab) Diljit, Pooja Tandon and Gurpreet Ghuggi travel to Chandigarh. But unlike Sing is Kinng, Lion of Punjab is a lot more action oriented film and Diljit suits his character a lot more than Akshay did his.

In fact the biggest grace of the film is Diljit’s acting. He seems very comfortable on camera and not even once misses his cool pace in the film, moreover he justifies his character with a mix of everything… drama, comedy, action… Diljit makes a shift from his action sequences to comic scenes in such a swift way that it’s barely noticeable. I would love to see Diljit doing a full comedy movie. His dialogues seem very natural and effortless. Despite the demand of his role, he never seems pompous or boastful.

Tanu Weds Manu (2011) *Dvd Scr* Watch Online/Download

Sukanya Verma reviews Tanu Weds Manu.

A London-based Delhi [and his family arrive at a Kanpur household kicking off a vibrant ruckus of prattle and curiosity.

Following a black eye fix from a local ruffian at the railway station, the jittery visitor and Co. lose some of their inhibitions after they're greeted by a naked tot waving at them with a cutesy, 'Aaiye, aaiye.' Meanwhile, the typically enthusiastic hosts indulge them with obligatory chit-chat and (presumably) Thaggu's ladoos.

The vocabulary, disposition, sensibility, camaraderie and milieu is fond, familiar and stems from a classic set-up in upper middle-class, non-cosmopolitan North India [; all these elements composite into giving director Aanand L Rai's Tanu Weds Manu, travelling to and fro between Delhi, Kanpur, Lucknow and Kapurthala, a sense of accessibility and realism.

What ensues after the afore-mentioned scene is, however, not a commonplace eventuality. Although it's a routine arranged marriage layout for boy-meets-girl, the lady in question, is no Geet or Simran [.

A quirky creature with a picture of Argentine revolutionary Che Guevara in her bedroom, Tanu (Kangna Ranaut [ ) is the kind of girl with no real focus, only cosmetic aggression. Although she's educated, her idea of liberation is hollow rebellion -- hanging out with crooked fellas, drinking, smoking, occasionally swearing -- which gets all the more highlighted because her parents appear to be exceptionally accommodating.

For all her care-a-damn attitude, Tanu, just like her fierce curls and gentle countenance, is a fascinating paradox hopping between edgy and erratic, a soft head who sulks randomly, giggles comically, indulges in all possible shock tactics but ultimately does think there's not much difference between her and a 'bandariya.'

There's a thin line between silly and stupid but Kangna Ranaut makes Tanu work with her chirpy appeal and energy. Not really known for dialogue delivery, Ranaut uses her lumbering tongue to Tanu's advantage lending the rom-com some added lightness.

Then there's Manu . Manu, like Mohan Bhargav of Swades , is exactly the kind of too-good-to-be-true guy for whom terms like 'instantly likeable' were coined. And Madhavan suits the role to the T. He's perfectly cast as the genial, composed doctor head over heels in love with Ms High Maintenance.

Of course, they're no Joel and Clementine but the disparity is along the same lines. There are more layers to Manu than meet the eye but they're never underlined by writer Himanshu Sharma. Tanu Weds Manu engages best if you can read in between the lines and draw your own sub-text.

Sharma fails to maintain the zing till the very end though. A disappointing, lengthy and gabby third-act makes Tanu Weds Manu's running time of 2 hours and 15 minutes longer than it is. It's a shame for a script that has previously recognized the strength of communicating in silence or subtlety.

Some of the best scenes in the movie do not involve any talking. Rai captures the simplicity of eye contact and an innocuous smile in the scene when Manu helps Tanu pick a pair of earrings or her wedding lehenga. Even the talkie portions are on the crisp, terse side before Jimmy Shergill comes in to spoil the party and go on and on about what a threat he is. That last scene could have simply done away with all that filmi bak bak. Jimmy's verbal shimmy aside, Tanu Weds Manu is a pleasant experience for most part.

Wedding celebrations often make for a dazzling backdrop in romantic capers, be it Hum Aapke Hain Koun..! or Band Baaja Baarat. Tanu Weds Manu, too, employs the joie de vivre vibe to create resplendent song and dance spectacle with much help from Krsna's effervescent score ranging from thumping bhangra to rousing Sufi.

Besides its two titular characters, Tanu Weds Manu is blessed with an almost flawless supporting cast of actors like Deepak Dobriyal as Manu's fretful, fast-talking pal, Pappi. He's especially droll in the Jai Mata Di sequence while haggling with a utility services attendant. On Tanu's side, you sit up and take notice of Swara Bhaskar as her blunt and plucky BFF alongside Eijaz Khan [ her fiery 'n' fun groom. Reliable veterans like K K Raina, Rajendra Gupta and Navni Parihar competently fill in the shoes of Tanu and Manu's concerned yet harmless parents.

In a candid moment, Manu's father tells Pappi that he'll be happy if his son gets married and settles down but even if he chooses not to, 'Main apne ghar mein khushi se baitha hoon.' That's Tanu Weds Manu for you. It doesn't take offense at anything but will charm you anyway.

Rediff Rating:

7 Khoon Maaf (2011) *DVD SCR Rip* Watch Online/Download

The film is a series of one night stands when what we wanted from the director Bhardwaj was an affair to remember

7 Khoon Maaf
Director: Vishal Bharadwaj
Starring: Priyanka Chopra, Neil Nitin Mukesh, Naseeruddin Shah, John Abraham
Rating:

Imagine a cocktail party full of dangerously beautiful women and handsome but decadent men. Imagine a home where such a party is thrown--inherited furniture, heavy drapes, smoke filled air and a butler who knows the bar as well as who drinks what. Now imagine a film where a succession of such men trip in and out of the door. It makes a wonderful series of vignettes, with Susanna, the hostess, played by graciously allowing herself to be used and abused. Sadly, though, it's no more than that.

Moody, atmospheric, marked by tremendous performances, and yet somehow the parts don't make the whole. Not for lack of trying. Susannah is a tigress on screen. Sometimes slapped around, sometimes loving with abandon, sometimes happy in lust, and sometimes plain jaded, she is a woman of any freedom-loving woman's dreams. Mistress of a sprawling home, with no particular known income, she lives in decaying splendour like our very own Scarlett O'Hara. She has an ancient maid (Usha Utthup, in a surprise appearance), a discreet butler, a one-eyed jockey (for she is the mistress of several racehorses) and a loyal little boy whom she decides to put in school (a bitter-sweet debut by Naseeruddin Shah's younger son, Vivaan).

The plot is over-written as is to be expected in a film which becomes an extended cocktail party. The guests are fascinating, representing her lucklessness in love. There's the cruel army major (Neil Nitin Mukesh, excellent), the rock star (John Abraham, as good as he can get as the drug-addled, sex crazed Jimmy Stetson aka Jamshetji Rathore), the sensitive poet with a nasty streak as always brilliant), the kind doctor (Naseeruddin Shah, with a jolly Bonglish accent), the lascivious police officer (Annu Kapoor), and the handsome Russian (Aleksandr Dyachen, who should immediately be imported to Bollywood). All of them have their kinks and claws, and the pleasure is in discovering them.

Susanna Sahib's search for love takes her into territory that is often horrifying, but somehow the writing ensures that each episode remains a brilliantly shot and enacted short story, never quite integrating into a whole, introducing us to several guests but not quite involving us. Vishal Bharadwaj makes Priyanka act out of her skin, and she tries hard, subjecting herself to things onscreen most Hindi film stars wouldn't (don't get your hopes up, boys, Hindi film heroine standards are low).

Bharadwaj tries to give Susanna (sometimes Sultana, sometimes Sunaina, sometimes rock groupie Susy and other times the mysterious Anna) a reality by rooting her struggles with that of India. Oh, look, as Susanna marries her first husband, Operation Blue Star is happening. Oh, look, there's the Babri Masjid demolition as she meets her Kashmiri poet, oh look again there's the Pokharan nuclear explosion. And yet again, the IC-814 hijack.

It's not to say that there is no joy in watching. Not at all. There are several. Priyanka Chopra, for one, showing tremendous courage. The men, for being uniformly engaging. The cinematography which succeeds in creating an atmosphere of lurking menace. The art direction, which almost threatens to overwhelm the film. The music, which is so perfectly matched to the movie. And yes, even Ruskin Bond, the writer, in a special role, saying the line that sums up the movie: It all comes down to love, sweetheart.

Indeed it does. Pity then that the film is a series of one night stands. What we wanted from the operatic Bhardwaj was an affair to remember.

United Six (2011) *Pre DVD Rip* Watch Online/Download

United Six: Six girls attempt to loot a bank in Bangkok and things go terribly wrong. They now want to escape. Find out more in the review.

Business rating: 0.5 star

Star cast: Parvathy Omanakuttan, Daisy Bopanna, Luna Lahkar, Mahi, Isha Batwe, Pooja Sharma.

What’s Good: Nothing really.

What’s Bad: The childish script.

Verdict: United Six is a poor show all the way.

Loo break: Anytime, any number of times!

Watch or Not? Watch it at your own risk.

White House Productions Ltd.’s United Six (A) is the story of six girls living in Bangkok. They are friends and they all are going through tough times at their work places. Jia (Daisy Bopanna) has just been fired from the bank she works in because she has turned down the sexual advances made by her boss. Frustrated, Jia decides to rob the bank and she convinces all her five friends viz. Shaina (Parvathy Omanakuttan), Maddy (Luna Lahkar), Tia (Mahi), Candy (Isha Batwe) and Tootsie (Pooja Sharma) to support her. The friends are reluctant at first but they finally relent.

The six girls rent a bakery adjacent to the bank and start digging a tunnel leading to the strong room of the bank. However, they soon give up their mission when they realise that it is an almost impossible task. They are in for a shock the following day when all television news channels break the news that the bank has been looted and that six girls are the masterminds behind the bank robbery. The police get cracking the case and all attempts are being made by them to identify the six girls.

Unable to understand how their aborted plan could have led to the bank robbery, the girls are now on the run from the Bangkok police. While hiding their identities, they have to also arrange for money to hire a launch to escape from the country.

Do the girls succeed in escaping the law? Or do the police nab them? Who is the bank robber?

Story and Screenplay – United Six Review

Vishal Aryan Singh and Kapil Mishra’s story is terribly childish. There are so many weird twists and turns that it is a shocker anyone could make a film based on such a kiddish plot. Firstly, why six frustrated girls would think of robbing a bank to combat their frustration has not been explained. A tough and risky job such as a bank robbery has been treated with such casualness, it would seem it was a left-hand job for anyone. The girls give up their mission as easily as they took it up, again revealing their casual attitude to such a serious act.

Even after they learn of the Bangkok police chasing them, they run on the streets in one group, endangering their lives no end. Their behaviour on crossing even one hurdle in their escape from the country is idiotic, to say the least. It seems strange that they never think of surrendering to the police and coming clean about their aborted plan. Although the girls are in Bangkok, they keep referring to the police as KLPD (Kuala Lumpur Police Department), obviously, just so that the vulgar-meaning abbreviation can evoke laughter. But what would the Kuala Lumpur police be doing in Bangkok?

The six girls exhibit a rare show of solidarity always and yet, when towards the end, one of them – Maddy – is left behind while the five others escape in a train, the five are shown to be hardly perturbed by the development. In short, the drama is anything but convincing.

Although the climax is meant to come as a shock, it doesn’t really shake the viewer, if only because the rest of the drama is so juvenile.

Star Performances – United Six Review

Parvathy Omanakuttan does a fair job. Daisy Bopanna is quite alright. Luna Lahkar performs reasonably well. Mahi, Isha Batwe and Pooja Sharma are okay. Others fill the bill. Since it is a girlie flick, the absence of a hero is understandable but this will go against the film’s box-office prospects.

Direction, Music & Action – United Six Review

Vishal Aryan Singh’s direction is better than his script because he has at least managed to keep the chase sequences fairly exciting. Pritam Chakraborty’s music is functional but the songs are at least fast-paced and also interesting because they go well with the mood of the film. Ashish Pandit’s lyrics are okay. Sanjay Shetty’s choreography is nice. Amar Mohile’s background score adds to the tension in some scenes. Camerawork (by Sugin Mamai) is quite nice. Action and stunt scenes, choreographed by Ron Smoorenburg and Kecha Jaika, are okay. Mukesh Thakur’s editing is fair.

watch online movie patiala house

The ICC Cricket World Cup 2011 is around the corner. The excitement among fans is humongous as we are a few days away from the opening match. So it's perhaps a great move to release a film with a cricket theme, just before the big tournament.

While we've seen many films based on cricket (LAGAAN, VICTORY, IQBAL), PATIALA HOUSE is different as it's primarily a father-son conflict, having cricket as it's backdrop.

34-year-old Parghat Singh Kahlon aka Gattu (Akshay Kumar) had given up his dreams due to his authoritarian father Gurtej Kahlon (Rishi Kapoor), 17 years ago. Despite being an excellent fast bowler, he wasn't allowed to play for Firangis (England) as their family was subjected to racist attacks many years back. Gurutej turned very aggressive post the incident and used to raise his hand or voice at the drop of a hat.

Gattu, on the other hand, has been living a mediocre life, working in a Southhall corner store for years now. The younger generation of his family blames him for setting the wrong example.

Still not over with his love for the game, Gattu discreetly practices bowling when no one is around. His neighbour friend Simran (Anushka Sharma) and her kid brother (Z) are determined to get Gattu's life back on track. Will he get his life back is what forms the rest of the story.

Nikhil Advani keeps the narrative to the point, avoiding all the redundancies in the first half. The characters and their conflicts are well established. It's a tough situation if you are in the shoes of Gattu and have to choose between your dreams and family. You really do feel for Gattu and his predicament. Simran and Zee making a spineless Gattu realise the importance of chasing dreams is inspiring. Their characters act as catalysts in moving the story ahead.

Post the interval, the Nikhil goes a bit wayward in his direction. The entire plan and more so its execution is just too convenient. The cricket scenes, though not bad, don't arouse the excitement that LAGAAN immaculately did.

The plot is no doubt predictable. You roughly know what will happen in the end. But how Nikhil reaches there is plausible. There's an endearing scene just before the interval where Priti Kahlon (Jeneva Talwar) tells Gattu that the Britishers treat Indians as equals and have hence offered him a place in their team. The lighter moments manage to bring a smile.

Manan Sagar's editing is good but the second half could have been much tighter. Cinematography by Santosh Thundiyil is nice. Shankar-Ehsaan-Loy's music goes well with the film.

Akshay Kumar, teaming up with Nikhil after CHADNI CHOWK TO CHINA, is first-rate as he delivers a very restrained performance. He looks convincing as a cricketer and never goes overboard. Rishi Kapoor plays his role to perfection. Anushka Sharma is refreshingly good and is at her chirpiest best. The boy who plays Zee is completely natural. Dimple Kapadia doesn't have much scope. Tinu Anand is good. Thankfully, the cricketers (Andrew Symonds, Herschelle Gibbs, Kieron Pollard) are just seen playing cricket and don't mouth dialogues. All the other characters are fine in their small roles.

PATIALA HOUSE is a heart-warming drama. Do pay a visit to this house with your family. A fun time is guaranteed.

watch online movie Utt Pataang

Telling the incidents that happened one night, 'Utt Pataang' is an intelligent film that entertains while maintaining a fun element right through its 100 minutes duration. What makes these 100 minutes special is the back and forth narrative that is the USP of 'Utt Pataang'. So what one gets to see are numerous scenes that are revisited later in the film while bringing with them an altogether different connotation, something that one never saw coming.

It is this narration style that makes 'Utt Pataang' stand a distance away from many other thrillers. Where 'Utt Pataang' scores is the storytelling pattern more than anything else. This is what makes this Srikanth V. Velagaleti directed film an innovative piece of cinema.

Vinay Pathak breaks up with his girlfriend (Mahie Gill) only to get hooked up with another girl (Mona Singh) with help from his friend (Saurabh Shukla). However when a French inspired gangster (Vinay Pathak again, now in a double role) joins them all, there is total mayhem that leads to an unexpected end.

For a film like this with just five principal characters to boast, it is of paramount importance to keep the duration in check. This indeed happens in case of 'Utt Pataang' where care is taken to ensure that there is not much 'utt pataang' in the very narrative.

Still, there are portions in the film where one wishes that things moved faster. Case in point being the entire French inspiration in Vinay Pathak's gangster character which is a little too stretched and actually seems irrelevant in the core context of the film. Also, Mona Singh's character stays on to be quite dull while also being a little unbelievable.

However this is compensated to a fair degree by Saurabh Shukla who makes the best use of the opportunity. He is fantastic. Vinay Pathak is good as a simpleton but just fair as a French inspired gangster. Mahie Gill looks bewitching throughout and adds oopmh to the proceedings. Mona Singh is just about average. The film is marred by barely average production values though. Also, it doesn't have any scope for music. Editing is good though, something which was required to complement the narrative and genre of the film.

30 minutes into 'Utt Pataang' and you regret the fact that why wasn't the film promoted at all. In the times when number of undeserving films are backed by an intense marketing and promotional campaign, a sweet but not so simple film like 'Utt Pataang' has come virtually unannounced. Now that's disappointing for a film which is a good comic thriller that has various moments that make one nod in appreciation.

watch online movie yeh saali zindagi

Zindagi pe tera mera, kis ka na zor hai. Hum sochte hai kuch, yeh sochti kuch aur hai', go the lyrics from the title track of YEH SAALI ZINDAGI. They are terse enough to describe what goes on in the film, and life in general. The film, just like life, is replete with unexpected twists and never ceases to amaze!

In YSZ, Sudhir Mishra's back with his HAZAARON KHWAISHEIN AISI actress, Chitrangada Singh. Being backed by Prakash Jha Productions', the film got a decent pre-release promotion and has generated enough buzz.

YSZ basically traces several characters and how their tracts are eventually connected. Arun (Irrfan Khan) meets singer Priti (Chitrangada Singh) and is instantly enamoured by her beauty. Priti gets attracted to Shyam (Vipul Gupta) who's introduced to her by Arun himself (Talk about digging one's own grave). Shyam is engaged to a high-profile minister's daughter. Petite goon Kuldeep (Arunoday Singh) kidnaps Shyam so that he can exchange him with his jailed boss Bade (Yashpal Sharma) from the minister. Priti finds herself intertwined in this messy situation and Arun wants to help her unconditionally.

It takes some time to comprehend what exactly is going on as Sudhir introduces the numerous characters and their respective tracks. The film is highly convoluted and requires attentive viewing. But it's this very complexity that makes the film special and engaging. There are various sub-plots and twists through the entire film, keeping you hooked. The writing is smart and witty complimented by superb characterisation. Also, one thing that works big time for the film is its quirky dialogues. In one of the scenes, Arun says 'Aane wali pedhi yaad rakhegi, there were fools like us' which has you in splits.

The narrative never loses steam, despite the frequent flashbacks. Sudhir precisely handles the romantic tracks and the thrilling portions. Although there's a lot of foul language in the film, it goes well with the local Delhi milieu. The MATRIX type climax is good fun to watch.

Abhishek Ray and Nishat Khan's music is very pleasing. All the songs are well interspersed with the narrative. The superb background score elevates the overall impact. Sachin Krishnan's cinematography is brilliant. Sudhir Mishra and Manu Rishi's dialogues deserve special mention.

The performances in a Sushir Mishra film are always admirable and YSZ is no exception. Irrfan Khan is simply outstanding. His subtle comedy is very effective. Chitrangada Singh looks good and acts wonderfully. Arunoday Singh (SIKANDAR, AISHA, MIRCH) plays the local Delhi thug to perfection. Aditi Rao (DELHI 6) is charming and acts well. Sushant Singh, Saurabh Shukla, Yashpal Sharma, Vipul Gupta and Prashant Narayanan are excellent in their respective roles.

YEH SAALI ZINDAGI is a racy entertainer which blends the right amount of romance, comedy and thrill. You will regret throughout your zindagi for missing this one!

watch online movie Dil Toh Baccha Hai Ji

Starring: Ajay Devgn, Emraan Hashmi, Omi Vaidya, Amisha Patel

Director: Madhur Bhandarkar

Producer: Madhur Bhandarkar, Kumar Mangat

Music: Vishal Bhardwaj

Madhur Bhandarkar’s films are always known to create a buzz across the industry. His new offering is completely out of the box for his genre of Cinema. Dil Toh Baccha Hai Ji sees the reunion of Ajay devgn and Emraan hashmi after their commercial success “Once upon a time in India”. The film explores the life of three individuals Naren Ahuja (Ajay Devgn), playboy Abhay Suri (Emraaan Hashmi) and Milind Kelkar (Omi Vaidya). Abhay and Milind are paying guests in Naren’s house.

The film starts off well with the sketches of the characters setting the right tempo. Funny man Paresh rawal’s voice over adds to the curiosity of the film. Naren ahuja{ajay devgn} falls for a girl who works as a internee played by Shazahn padamsee in his bank after getting divorced from his ex -wife. Abhay suri {Emraan hashmi} dons the role of a gym instructor/play boy. His story takes a twist when America return Nikki narang {Shruthi haasan} comes to India. Guess what he really falls for Nikki. Milind kelkar {Omi} is a poet digging out the funniest lines as one can hear. He also works in a Matrimonial site called ZhatpatShaadi.com. He falls for radio jockey Gungun Sarka {Shraddha das} who is an ultimate opportunist using Milind for all her works.

Ajay devgn excels in his role as usual. He’s tryst with comedy off late is paying off. Emraan cake walks in his role getting good lines. He is also back to his Smooching days. Omi reshuffles in his 3idiots role. He also speaks Marathi in the film. Shazahn delivers a laudable performance. Haasan is yet to start off her acting career after this film. Shraddha’s role as radio jockey and opportunist pays off well. Tiscan chopra, one of the supporting lead effortlessly portrays her character.

Well the problem with the film would be its placid second half. One wonders that he‘s dragged into the film. The film which was touted to be a romantic realistic comedy loses its way in the latter half. The writing if better would have certainly saved the film. Prittam’s music is utterly disappointing. Ravi walia’s photography is commendable. At the end of the day Madhur should realize that this genre is not his cup of tea, better he sticks to his previous genre.

Considering films coming to TV very early these days it would be good for audience to watch this flick at home.

watch online movie hostel

It’s the story of Karan (Vatsal Sheth) who takes admission in an engineering college in the interiors of Maharashtra. He stays in the college hostel, where he’s subjected to unimagined torture in the name of ragging. Some people from the college administration are also involved, but the spineless principal refuses to take any action. Karan’s only support in this turmoil is his girlfriend (Tulip Joshi).

Manish Gupta’s narrative stars promisingly with some hard-hitting moments. But it soon fizzles out as it becomes humdrum. You just have Karan being tortured in different ways, which doesn’t take the story ahead. Some of the cheesy dialogues are cringe worthy. The romantic track intended to provide some relief, in the otherwise gloomy film, lacks spunk. Even the climax, doesn’t provide any solution to the issue of ragging, making you wonder why this film was actually made in the first place.

Srikant Naroj’s cinematography is decent. Virag Mishra’s music is uninspiring. The editing by Sanjib Datta is good.

Vatsal Sheth delivers a good performance, but the role doesn’t allow him to go beyond a selected set of expressions. Tulip Joshi is passable. Mukesh Tiwari is very good as the bad guy. All the other actors perform well.

A feeble script makes the stay in this HOSTEL far from being a good one.

Cast: Vatsal Seth, Tulip Joshi, Mukesh Tiwari,

Director: Manish Gupta

Producer: Vicky Tejwani, Kailash Raj Gandhi, Gurpal Singh

Music Director: Himesh Reshammiya

Writer: Manish Gupta

watch online movie dhobi ghat

It often so happens, on a hot sunny day, when even the luxurious confines of your air-conditioned car seem stifling, a lonesome figure approaches your car. Even though the person approaching you is a complete stranger, the routine that ensues is strikingly customary: the beggar is greeted with either a dismissive hand gesture or an impulsive act of generosity. The routine is so placidly perfunctory that more often than not, there is not even a mere acknowledgment of the eyes. But when the eyes do meet, the gaze does bring to the fore a realization that we seldom stop and think about: beyond the black-tinted windows lies a world that we inhabit, but there also lies a world that is far removed from our own. And as the stop sign turns green and you roll up your window to once again blind yourself to a reality that is as inhuman as it is impersonal, the sheen of your window paints a canvas that fleetingly aligns the two disparate worlds. And so does Kiran Rao’s Dhobi Ghat, a movie that is a bit about you, a bit about the figure on the other side, and a bit about the reflection in between.

I was fortunate enough to catch a screening of the movie at the London Film Festival and to be absolutely honest, I am completely bitten by the festival bug. It’s a very special feeling to be sitting and watching a movie with a group of people who appreciate and honor quality cinema, but what makes watching a movie at a festival truly special is that it allows the audience the rare opportunity to interact with the director. This enables the audience to better understand the underlying motives and inspirations that helped make a germ of an idea into a 70mm reality. When asked about what inspired her to make Dhobi Ghat, Kiran started with the expected answer that she wanted to make a movie that explored the different dimensions of Mumbai. But apart from that, she said her true inspiration behind the making of the movie came from the fact that most of the houses in Mumbai come with very short-term lease agreements, which makes it virtually impossible for people to stay at one place for a long duration. She talked about how she wondered if she could write a story about a person who would be forced to move around to different parts of Mumbai (as a result of short-term lease agreements) and resultantly discover or for want of a better word, “rediscover” Mumbai.

And thus was born the story of Arun (Aamir Khan). Arun is shown to be a reclusive painter who has spent a fair amount of time in one of the many urban localities of Mumbai. Upon finding out that the lease on his current house will soon expire, he starts looking for a place in Old Mumbai where he wouldn’t be bothered to deal with lease agreements. Once settled, he finds an unusual company in the form of a set of old videotapes that were left behind by the ex-tenant of the house. The tapes belonged to one Yasmeen, a small-town girl from Uttar Pradesh who upon her marriage shifted to Mumbai. The tapes are recorded in the form of “letters” to her brother Imraan. Arun is fascinated with the tapes and finds himself drawn to the world of Yasmeen, and as Yasmeen shares her experiences in Mumbai with Imraan, Arun too finds himself reconnecting with Mumbai. A digitized phantom of a small-town girl not only helps Arun to reconnect with the beauty of a city he had lost his love for, but it also reveals a Mumbai so romanticized by the innocence of Yasmeen that makes it nigh impossible for even the reclusive Arun to not experience it first-hand. The recluse is taken out of his self-proclaimed confinement, and the city beats for him. Again.

The second story revolves around Kiran’s second inspiration for the movie, which was to explore the possibilities of a love story between two people from two different social classes. Hence, we have Shai (Monica Dogra), an investment banker from New York, who is in Mumbai to work on a photography project on small-scale business practices in developing countries. She finds a guide in her dhobi Munna (Prateik, terrific!), who aspires to become an actor and who promises to take Shai around Mumbai only if she shot a “portfolio” for him. Unaware of how servants are “treated” in the city, Monica bestows the same level of respect and affection on Munna as she would on anyone else, which leads Munna to conclude that Shai harbors romantic feelings for him. Personally speaking, out of the two stories in the movie, I found Shai’s and Munna’s story to be far more endearing because not only does the story provide Kiran the chance to ask us questions about the fragility of the fabric that holds our society together, it also allows her to showcase two completely different facets of Mumbai through two very extreme characters. Shai makes the audience come face to face with a side of Mumbai that is unfazed by its underlying socio-economic problems. She is representative of a class of people that are perfectly capable of shuttling around cities as long as they are wrapped in loins of their usual luxury and comfort. And hence, in a way she belongs to a class of people that are representative of a lifestyle, but not a city. On the other hand, Munna is Mumbai. He knows that the pelting rain means a leaking roof back home, he knows that food is not just one plate, but a plate divided in four and most importantly, he understands that an unattainable aspiration is his only driving force. Deep inside he knows that it is but a beautiful dream, yet he still chooses to believe in it. He is Mumbai’s soul, and he carries its darkest secrets.

Even though the two strands of stories within Dhobi Ghat seem unrelated, what makes the movie so fascinating is the manner in which the two polarized themes seem to permeate between each other, as if separated by a perforated line. Hence, even though Arun’s and Yasmeen’s story is largely born out of Kiran’s desire to tell a story of a person rediscovering Mumbai, it is extremely hard to ignore the love story that grows between a small-town girl (Yasmeen) and the cosmopolitan city that she now finds herself in (Mumbai). She is completely smitten by an experience that is alien to her, and in this regard, her story is not much different from Munna’s – both live in a make believe world in which their love blindfolds them from the impending tragedy that awaits them. And likewise, Shai’s story is extremely akin to Arun’s – both find themselves on a path of discovery that is laid out for them by others. But at this point, as one begins to wonder about the underlying similarities between the two stories, Kiran might as well have asked her audience the question, “Did you expect it to be any other way? Isn’t that what a city does, take a dot, finds another one, and joins the invisible line in between?” Because Dhobi Ghat is essentially about the city, about Mumbai. It is a study of how a singular city can make way for lives that converge and diverge from a single point, without compromising on its stability and structure. Dhobi Ghat is Mumbai diaries; each page a fundamentally similar story penned by different authors.

Since the movie tells the story of a city, it becomes imperative for it to effectively capture its sights and sounds, the two elements that invariably define the essence of any city. Dhobi Ghat excels in both categories. The camera speaks volumes long after the din of dialogues has died down, and manages to evoke feelings of nostalgia, delight, surprise and sorrow. Just when one has been flooded with a rush of memories over a sight of a familiar landmark, the camera yanks us out of our fond recollections and surprises us by revealing a side of Mumbai known to a very few – a perfume maker diligently working on a skill that is soon becoming obsolete in today’s mechanized world, a rat killer on his night watch, scouring the garbage for his next kill, a street dotted with thousands of people, who somehow still manage to enjoy a meal or two as chaos ensues about them. The camera reveals, not just by positioning of its frame but mainly by its decision to stand by and linger, allowing the city to tell a story of its inhabitants at a pace it deems best. However, the technical aspects that really make the movie soar are its background score and sound design. A city that is characterized by the medley of its diverse sounds, from the hawkers’ cry to the sound of rain drops, from the crashing of the sea waves to the silence of the night, the background score punctuates the dialogues in such a way that it always makes the audience aware of the presence of the city. It is Kiran’s honest attempt (with the help of the ever-wonderful Gustavo Santaolalla) to let the audience know that her characters exist because of the city, and their actions are in ways more than one governed by the collective consciousness of the city they inhabit.

Dhobi Ghat, simply put, is an attempt to encapsulate the tangibility of Mumbai from different perspectives. It does not have a definitive plot, a well-defined story arc, or an intelligent spread of the quintessential three acts. The movie simply offers a montage of the city, and the characters in it serve their purpose of offering their different outlook on it, subsequently revealing the city’s many distinct faces – some familiar, some unknown and some definitely worth a second look. As for the movie, experience it, just like you would experience a city and rest assured, you won’t be disappointed.