movie-reviews

Kaho Naa... Pyaar Hai

Fri, 15 Jan 2010 13:00:42 +0100

Released: January 14, 2000

Starcast: Hrithik Roshan, Amisha Patel, Anupam Kher

Rohit,a poor singer and Sonia,the daughter of a very rich man,fall in love. While on a cruise ship, they get separated from the rest of their party and end up on a deserted island. They live happily here for a few days until they are rescued. Sonia's friends help Rohit to make a name for himself so that they can get married. But before he reaches this goal, he meets an untimely death. Sonia's father sends her to live with her cousins in New Zealand to get over her heartbreak. In New Zealand she meets Raj Chopra who looks exactly like Rohit.

বিল্লু বারবার

Thu, 14 Jan 2010 04:32:50 +0100

পরিচালনাঃ প্রিয়দর্শন
অভিনয়ঃ ইরফান খান, লারা দত্ত, শাহরুখ খান প্রমুখ

এক গ্রাম্য ক্ষৌরকার বিল্লুর (ইরফান) চিত্রতারকা বাল্যবন্ধুর দৌলতে অসাধারণ হয়ে ওঠার কাহিনী।গ্রামে শুটিং করতে আসা সুপারস্টার সাহির খান (শাহরুখ) এর সাথে,বিল্লুর বন্ধুত্বের সূত্রে পরিচিত হওয়ার বাসনায় গ্রামবাসী নানাভাবে বিরক্ত করে বিল্লুকে।কিন্তু প্রবল আত্ম-সম্মানী বিল্লু নিজের দারিদ্র্যের কারণে সাহিরের সাথে যোগাযোগ করতে রাজি হয় না।কিন্তু মানুষের দাবি না মেটানোর জন্য তাকে নানা মূল্য দিতে হয়।শেষ পর্যন্ত বিল্লুর কি হয়,সেটা আগে বলে দিলে ছবির মজা চলে যাবে।ছবিতে লাস্টে কি হয়,সেটা জানার জন্য আপনাকে নিজে ছবিটা দেখতে হবে।

চরিত্রাভিনয় এ ছবির সম্পদ।সবাই দাপটের সাথেই অভিনয় করেছে ছবিতে।প্রিয়াংকা চোপড়া,দীপিকা পাডূকোন ও কারিনা কাপুরের উত্তেজক আইটেম নাম্বার শাহরুখের "ক্যামিও" ইমেজকে পরিস্ফুট করার পাশাপাশি ছবির আকর্ষক প্রোমো তৈরিতেও বেশ সাহায্য করেছে।ছবির বিশেষ আকর্ষণ কিং খানের গ্যালারি শো,তার বহু হিট সিনেমার মুহুর্ত,ভক্তদের উল্লাসের সুপরিকল্পিত কোলাজ চোখ ধাঁধিয়ে দেয়।

তবে প্রীতমের সংগীতের আমাদের সবার আরও বেশি প্রত্যাশা ছিল।খুদায়া খ্যায়র গানটির ক্ষেত্রে মেলোডি ও হিপহপ বিটের সুন্দর মেলবন্ধনের জন্য গানটি ভাল লেগেছে।কিন্তু সবকিছু ছাপিয়ে গল্পের মানবিক গভীরতাই হৃদয় স্পর্শ করে।

দোস্তানা

Mon, 11 Jan 2010 07:40:18 +0100

পরিচালনাঃ তরুন মনসুখানি
অভিনয়ঃ জন অ্যাব্রাহাম, অভিষেক বচ্চন, প্রিয়াংকা চোপড়া প্রমুখ

ভাড়া বাড়ি খুঁজতে গিয়ে স্যাম(অভিষেক) এবং কুনালের (জন) গে কাপলে পরিণত হওয়ার গল্পটি নিয়ে স্ক্রিনে যতই ঢাকঢোল পেটানো হোক না কেন,সেটি স্রেফ গাঁজাখুরি।
গল্প কিছুটা এরকম,স্যাম এবং কুনাল হন্যে হয়ে ভাড়া বাড়ি খুঁজছে ! অবশেষে তারা একটি বাড়ির সন্ধান পায়। কিন্তু বাড়িওয়ালি তার অ্যাপার্টমেন্ট শুধু মেয়েদেরকেই ভাড়া দিতে চান,কারণ ওই অ্যাপার্টমেন্টে তার বোনের মেয়ে নেহা(প্রিয়াংকা) একা থাকে। শেষ পর্যন্ত কুনাল আর স্যাম সমকামিতার অভিনয় করে এবং সেই সমকামিতার সুর বাজালেন পরিচালক মশাই,তার রেশ চলল গোটা ছবিজুড়ে।এমনিতেই বিতর্কিত বিষয় তার উপর জোর করে হাসাতে গিয়ে চিত্রনাট্যের বারোটা বেজে গিয়েছে। এমনকি মোহময় মায়ামি,শুরতেয় আইটেম নাম্বার এবং তাতে নৃত্যরত শিল্পা শেঠি ও একগুচ্ছ বিকিনি পরা ব্লন্ড সুন্দরীও সেয় গলদ ঢাকতে ডাহা ফেল। এই বছরের অন্যতম বড় রিলিজের এহেন পরিণতি দেখতে সত্যিই খারাপ লাগে।

বিঃ দ্রঃ
১।ছবিতে অভিষেক পেশায় একজন নার্স
২।অভিষেক-জনের মগ্ন চুম্বন দৃশ্য
৩।কাতুকুতু দিয়ে হাসানোর চেষ্টা

গোলমাল রিটার্নস

Mon, 11 Jan 2010 07:32:53 +0100

পরিচালনাঃ রোহিত শেট্টি
অভিনয়ঃ অজয় দেবগন, কারিনা কাপুর, শ্রেয়াস তালপাডে, তুষার কাপুর

ছবিটি দেখতে দেখতে শারমান যোশির অভাবটা প্রত্যক্ষভাবে অনুভব করা যায়। প্রথম গোলমাল এর সাথে তুলনা করলে এই রিটার্ন অনেক ফিকে মনে হবে। ১৯৭৩ সালে মুক্তি পাওয়া “আজ কা তাজা খবর” এবং ২০০৫ সালে রিলিজ পাওয়া “নো এন্ট্রি” এর গল্পের প্লট মিলিয়ে নিলে গল্মাল রিটার্নস এর ককটেল পাওয়া যাবে। ভইনয়ে অজয় দেবগন কাজ চালিয়ে দিলেও,কারিনার “সাইজ জিরো” জাস্ট সহ্য করা যায় না। আরশাদ ওয়ার্সির অভিনয়ে নতুন কিছু ছিল না। তবে শ্রেয়াসের অভিনয় ভাল হয়েছে।কিন্তু বোবা চরিত্রে তুষারের অভিনয় মাঝে মাঝে বিরক্তিকর ছিল। পরিচালক রোহিত শেট্টিকে একান্ত অনুরোধ,এই গোলমাল রিটার্নস এর যদি আবার রিটার্নের কোনো সম্ভাবনা থাকে তাহলে তুষারকে কথা বলার সু্যোগ করে দিয়েন,তাতে তুষারের সাথে সাথে আমাদের কানও বোধহয় একটু স্বস্তি পাবে !!!

Golmaal

Sun, 10 Jan 2010 16:54:06 +0100

Sure, GOLMAAL - FUN UNLIMITED is a comedy, but in terms of content, it's not remotely similar to the two comic capers that struck gold this year -- MALAMAAL WEEKLY and PHIR HERA PHERI. Yes, GOLMAAL - FUN UNLIMITED pursues the three golden mantras that NO ENTRY, MAINE PYAAR KYUN KIYA, GARAM MASALA and PHIR HERA PHERI followed religiously: [i] Leave your brains at home, [ii] Don't look for logic and [iii] Turn a blind eye to the cinematic liberties.

In terms of plot, GOLMAAL - FUN UNLIMITED doesn't offer path-breaking stuff, but sometimes there's more to a movie than story and this is one of those rare occasions when all the other elements pull together and lift the production. Frankly speaking, GOLMAAL - FUN UNLIMITED delivers what it promises: Enjoyable moments, amusing jokes and non-stop entertainment.

Wait, there's another reason why GOLMAAL - FUN UNLIMITED works…

When you come across a tagline that states 'Fun Unlimited', expecting loads of laughter and entertainment is foremost on your mind. Comedy is the flavor of the season and the feeling that GOLMAAL - FUN UNLIMITED may be one of those biggies trying to capitalize on the trend does cross your mind.

Comedy isn't all in the material. Having funny lines and amusing gags is only half the battle. The rest is in the delivery and that's where the actors [Ajay, Arshad, Tusshar, Sharman] excel. Some of what's found in GOLMAAL - FUN UNLIMITED is laugh-worthy also because of the way in which the actors emote and react.

To sum up, GOLMAAL - FUN UNLIMITED may not be the funniest film ever, but it qualifies as a qualitative, well-shot, thoroughly enjoyable entertainer.

The story revolves around Gopal [Ajay Devgan], Lucky [Tusshar Kapoor], Mahadev [Arshad Warsi] and Laxmi [Sharman Joshi] -- four guys bound together by their child-like notoriety, aimlessness and petty business of conning people for fun and money.

Gopal is the wisest and the wickedest of them all and the motto of his life is to eat, drink and make merry. Mahadev and Lucky are also of the opinion that only idiots work and wise men use them in more ways than one to make their life comfortable. As for Laxmi, he is sincere and God-fearing.

Due to their notorious acts, they are thrown out of college and have nowhere to go. Soon, they discover a bungalow that is inhabited by an old, blind couple [Paresh Rawal, Sushmita Mukherjee], whose son, daughter-in-law and grandson are in America.

Gopal and his friends force themselves in the bungalow and make Laxmi pretend that he's Sameer [the blind couple's grandson]. But the story doesn't end there. The four wayward guys fall in love with the same girl [Rimi Sen], suddenly discover a treasure chest and in the end, face the wrath of a gangster who lands up at the bungalow to retrieve his diamonds, which are hidden in the treasure chest.

Writer Neeraj Vora and director Rohit Shetty's fundas are clearly visible at the outset. There's no effort to present a never-seen-before story. Instead, the duo pack those 2.30 hours with gags, punches, witty one-liners and moments that make you smile/laugh from Scene A to Z. Of course, a majority of comic portions work, but there are a few blemishes that stand out.

The college professor [Manoj Joshi] works every time he appears on screen, but the local thug/money lender [Mukesh Tiwari] doesn't. This character seems unwanted/forced in the screenplay and has not much relevance with the main plot. Similarly, the love story between the four guys and the lone heroine appeals, but the villain [Anupam Shyam] isn't convincing enough. Of course, he is not the usual seething-with-anger villain, but a comical character. Yet, Vora could've made the character crazier than what he already is.

Nevertheless, there's no denying that a number of funny moments succeed in bringing the house down. Manoj Joshi's lengthy outburst when he dismisses the four guys from the college is hilarious. Another sequence that's remarkably executed is that of Sharman poisoning Ajay's tea, hoping to eliminate him. The barrage of slaps that both Sharman and Arshad receive in the process is simply maddening. Also, Manoj Joshi arriving at Paresh Rawal's house and Ajay and Arshad impersonating the old couple, with a take-off on BLACK, is another highlight. It's simply howlarious!

Also, the flashback song -- when Paresh narrates his love story and the colors change to B & W -- is a master stroke and will be loved by viewers. Ditto for the 'rape' scene [when the four good-for-nothing heroes 'save' Rimi from getting 'raped'] and also the Valentine's Day portion [Ajay presents rat poison, Sharman gifts the home-made pickle and Arshad hands over toilet paper to Rimi] are enjoyable antics.

Directorially, Rohit Shetty has not only shot the film exceedingly well, but has also concentrated on making each and every sequence thoroughly entertaining. Despite a feeble plot, Shetty and writer Neeraj Vora have ensured that the paying public gets what they seek in the film: Complete time pass entertainment. In that sphere, yes, the film rocks. Even Vora's dialogues are superb.

Vishal-Shekhar's music is decent and gels well with the mood of the film. Stunts [Jai Singh], in minimal doses, are of standard. Cinematography [Aseem Bajaj] is splendid. The film is full of vibrant colors.

The script contains enough hilarious moments to allow each member of the cast to have a chance to shine. Ajay enacts the big bully part with gusto. The actor has worked not only on his looks and physique, but also on portraying the character differently. Arshad is superb, his timing is matchless. In fact, when it comes to making you laugh, few actors can match Arshad's manic energy or consistency.

Tusshar is excellent as a mute character. The actor catches the viewer unaware with a flawless performance. Undoubtedly, this is amongst his most superior performances. Sharman Joshi is a pleasure to watch. To state that he's the most lovable character in the film wouldn't be wrong. The natural flair with which the terrific actor performs and stands out is worth lauding. Outstanding!

Paresh Rawal is in form yet again. He may not be dominating every single frame in the enterprise, but he is supremely efficient whenever he appears on screen. Ditto for Sushmita Mukherjee, who resurfaces on the big screen after a hiatus. Here's a role that does complete justice to her enormous talent. Rimi enacts the mandatory heroine part with ease.

Mukesh Tiwari doesn't really make a mark. Sanjay Mishra too is mediocre. Manoj Joshi excels in the three/four scenes that he's in. Vrajesh Hirjee evokes laughter in the 'snake fight' portion.

On the whole, GOLMAAL - FUN UNLIMITED promises laughter and entertainment unlimited. A thoroughly enjoyable fare, the film has all it takes to hit the bull's eye. This clean comedy with no vulgarity won't just make the viewers laugh with its jokes, but also make its distributors laugh all the way to the bank.

Hum Tum

Sun, 10 Jan 2010 16:53:28 +0100

Cinema that is up-to-the-minute in its attitude, yet very traditional at heart. The packaging may be contemporary, but the content is pure, unadulterated Indian emotions. Aditya Chopra and Karan Johar started a trend in the 1990s. After the super success of D.D.L.J. and KUCH KUCH HOTA HAI, film-makers in Bollywood suddenly woke up to new-age cinema, the new mantra for success.

Kunal Kohli seems inspired by the works of Chopra and Johar and his second outing, HUM TUM, borrows heavily from their works. Of course, the basic plot is inspired by WHEN HARRY MET SALLY [1989; Billy Crystal, Meg Ryan] and the film also brings back memories of Woody Allen’s ANNIE HALL [1977], but Kohli has remodeled HUM TUM on the lines of Chopra and Johar movies primarily.

HUM TUM has laughter in abundance, but an undercurrent of emotions continues to move alongside. Now to the crucial question, does HUM TUM work? For those who appreciate romantic comedies for both aspects of the genre [the ‘romance’ and the ‘comedy’], HUM TUM works to an extent!

Karan Kapoor [Saif Ali Khan] works with one of India’s leading newspapers as a cartoonist. ‘Hum’ and ‘Tum’ are his cartoon characters.

Karan meets Rhea [Rani Mukerji] in an aircraft, en route to U.S.A. They disagree on practically everything; they are complete opposites. So, to put things right, Karan innocently kisses her, which offends Rhea no end. The budding friendship ends on a disastrous note.

Six months later, the duo meet once again in a park in New York. Rhea hasn’t forgotten the kiss, so she decides to let the cat out of the bag. Karan loses his steady girlfriend [Shenaz Treasurywala] in the process.

Rhea and Karan continue to bump into each other at various phases of life and gradually become friends.

Rhea goes through some personal tragedies in her life, but Karan stands by her. Karan even tries fixing her up with a friend of his, Mihir [Jimmy Shergill] – with her mother’s [Kiron Kher] permission of course – but as with everything else, even this doesn’t work out. Instead, Mihir gets engaged to Karan’s friend Diana [Isha Koppikar].

But destiny has other plans for Karan and Rhea...

A film that travels three continents [Asia, Europe, U.S.A.] and 8/10 years, HUM TUM is a love story that relies heavily on romance and light moments. Though the storyline is waferthin, the twists and turns in the film keep the interest alive to an extent.

The first half has light moments aplenty. The interaction between Saif and Rani in Amsterdam is truly enjoyable and takes the graph of the film upwards. Even the twist in the tale, when Rani gets married, makes for interesting viewing. Again, the interval point -- when Saif learns of Rani's predicament -- is amongst the high points of the film.

Writers Kunal Kohli and Siddharth Raj Anand have packaged several humorous incidents in the first half. A majority of light moments are sure to be appreciated, although the tongue-in-cheek humour is the kind that would appeal more to the city audiences than the hardcore masses.

The post-interval portions begin on a promising note, but things begin to deteriorate in this half. The story actually comes to an end when the two foes turned friends develop a deep bond, but aren't able to express their feelings for each other.

The journey of the film from this point to the finale is full of hiccups, courtesy the faulty writing. The heated argument between Saif and Rani [at Jimmy Shergill and Isha Koppikar's engagement ceremony] is on a flimsy reason. Strangely, Rani packs her bags soon after this incident and leaves for an unknown destination. Why? Surely, Saif hadn't done anything drastic to deserve this!

Even the climax is not as moving as one would expect it to be – it’s clich?stuff. The culmination to the love story is not as convincing as it should've been. Perhaps, the writers ran out of ideas by the time they reached the finale, or may be they must've suddenly realized that the running time of this love story has already crossed 2.15 hours and it's time to head towards the climax zone. Besides, the pace in the second half of the film is extremely slow, which tries the patience of the viewer.

Director Kunal Kohli succeeds on two fronts; he has shot the film exceedingly well and has also extracted fantastic performances from not just Saif and Rani, but also from every character in the film. Knitting animation with the storyline was a novel concept, but it hardly contributes in moving the story ahead. Besides, the locales of Amsterdam, Paris and New York provide a rich visual feast for the cinegoer.

But Kohli isn't completely in form as a writer. The story stagnates in the second half and how one wishes Kohli and co-writer Siddharth Raj Anand would've come to the point fast, instead of beating around the bush and stretching it for another 20 minutes. Besides, the screenplay has two major twists in the first half, but no twists in the post-interval portions. Resultantly, the drama lacks a solid foundation. Even otherwise, there’s nothing much to look forward to in the second half.

Jatin-Lalit's music is amongst the high points of the enterprise. The rule of the game is that a love story ought to be embellished with a melodious score and the narrative in HUM TUM does get a definite push thanks to a lovely score from this talented music director duo. While the title track, 'Ladki Kyon', 'Chak De' and ‘Gore Gore’ sound easy to the ears, the best part is that they're well placed in the story.

Cinematography [Sunil Patel] is strikingly beautiful. Dialoges [Kunal Kohli] are natural to the core.

Casting is one of the film's strengths. It would be hard to imagine anyone other than Saif as the wisecracking Karan. Saif's style is perfect for this role; he makes Karan insufferable and likable at the same time. And, beneath it all, there beats the heart of a caring man. His arresting performance is sure to sky-rocket his fan-following amongst the youngsters.

Likewise, Rani's effervescent personality infuses Rhea with buoyancy, and, later in the film, she too shows a vulnerable side. Rani takes a giant leap as an actor, making you realize that she is amongst the finest actresses of her generation. Not only has Rani looked gorgeous, even her performance is flawless. Even though Saif and Rani's characters are polar opposites, their interaction has a charm and warmth that most film pairings lack.

Kiron Kher is marvellous. Her Punjabi dialect, coupled with her lines in English, is sure to bring the house down. Another lovable performance this! Rishi Kapoor is a delight. The actor gives his role that rare sheen that only veterans are capable of. Rati Agnihotri is first-rate in a small, but significant role.

HUM TUM has a host of guest appearances. Abhishek Bachchan's entry is sure to be greeted well. And his scene with Saif at the airport confirms yet again that he's carved a niche for himself. Jimmy Shergill is another actor to watch. He is perfect in that one scene with Rani, after she has had a heated argument with Saif. Isha Koppikar is adequate. Shehnaz Treasurywala is alright.

On the whole, HUM TUM is a decent fare, topped with captivating performances and mesmerising music. But a slow and not-too-exciting second half dilutes the impact to an extent. At the box-office, the film should fare exceedingly well at multiplexes [it's an ideal multiplex fare] of Mumbai and Delhi mainly, but its prospects at single screen theatres and also at several key centres will be below the mark. Besides, the flow of biggies from next week onwards will make a dent in its business. Its business prospects in Overseas look bright!

Krrish

Sun, 10 Jan 2010 16:20:28 +0100

Yap, finally, the much-awaited KRRISH has arrived. Armed with monumental expectations, this sequel to KOI… MIL GAYA is touted to win the hearts of kids from 6 to 60. Most importantly, KRRISH is expected to rewrite box-office history.

Since the inception of the character during the 1930s, Superman has been fodder for a variety of movies and television series, both live and animated. Though Hindi film heroes have had the qualities of Superman, it’s for the first time that a lead man with a mask and robe is about to invade the Hindi screen.

KRRISH is a crucial release for yet another reason. The Rakesh Roshan-Hrithik Roshan combo has given us back-to-back successes: KAHO NAA… PYAAR HAI and KOI… MIL GAYA. Quite naturally then, the expectations from KRRISH are humungous.

The great news is that KRRISH more than meets the expectations. The film works, and works big time, due to several reasons. Besides a novel premise for Indian moviegoers, it has Hrithik Roshan enacting a role that fits him like a glove. Mind you, the role of a man with superpowers and a robust personality to match would’ve fallen flat in inept hands and the best of techno-wizardry would’ve, hence, been ignored, unobserved and unnoticed.

But one of the major highpoints of KRRISH is its penultimate 40 minutes. The fight between good and bad, noble versus immoral, virtuous versus corrupt has been depicted in film after film. And if the fight between the two extremes is portrayed in the most convincing fashion, the viewer is bound to carry the film home and most importantly, return to the movieplex to watch the on-screen clash once again.

The collision of righteous [Hrithik] and wicked [Naseer] in KRRISH and the usage of special effects and thrills takes the film to an altogether different level. It wouldn’t be wrong to state that Hindi moviegoers haven’t witnessed something like this ever. Also, the re-emergence of Rohit [the lead character of KOI… MIL GAYA] in the story is a master stroke from the writing and execution point of view. It only strengthens the climax and makes the fight utmost convincing.

KRRISH also reaffirms the fact that Rakesh Roshan has adapted to the changing times well. While most of his contemporaries have slipped into oblivion, Roshan Sr. has moved with the fast-changing times and gathered courage to narrate a tale that’s present-day and at the same time, inventive. At the same time, KRRISH is soaked in Indian emotions [the relationship Hrithik shares with his grandmom Rekha], talks of astrology using computer as a tool and shows the protagonist with superpowers -- a story Indians can absorb very easily. Concurrently, Roshan Sr. relies on dexterously executed special effects to narrate the tale. And the pulsating stunts and thrills only act as sone pe suhaaga.

In a nutshell, KRRISH is a terrifically exciting and compelling experience. Move over SUPERMAN, BATMAN and SPIDERMAN. KRRISH, the Indian superhero, has arrived!

Krishna [Hrithik Roshan] is born with magical powers -- a legacy from his father, Rohit Mehra.

Free as a bird, he runs like the wind…
Like an eagle, he soars across rivers and mountain tops…
As a lion, he conquers rugged rocks without fear…

Priya [Priyanka Chopra] comes into his life and becomes his world. When she beckons him to Singapore, he follows her there. Little realizing it is destiny that has summoned him. Having sheltered him from the world, his grandmother Sonia [Rekha] reluctantly gives in to him and lets him follow his heart.

In Singapore, Dr. Siddhant Arya [Naseeruddin Shah], the megalomaniac scientist, is on the verge of changing the future forever. Only one man stands between Dr. Siddharth and his destructive dreams. Only one man has the power to block his ruthless ambitions. Krrish.

KRRISH is essentially three movies rolled into one: It starts off as a love story, changes gears and becomes a traditional superhero story and in the pre-climax, it’s the clash between good versus evil. While the first part seems like any other love story, it has its moments. Note Hrithik’s introduction and also, Hrithik saving Priyanka from an accident [their first meeting] and you know that there’s more to the film than a saccharine-sweet love story.

The first hour, in fact, may give an impression that it’s a routine fare, but knowing Roshan Sr.’s style of showing his cards in the second hour, you await the post-interval portions with bated breath. And lo! KRRISH takes giant strides in this hour. The story actually gathers momentum when Sharat Saxena spills the beans and the film goes into a flashback. From thereon, right till the end titles, it’ a different film altogether. And that’s its biggest achievement. The team of writers [Sachin Bhowmick, Honey Irani, Robin Bhatt, Akash Khurana and Rakesh Roshan] deserve brownie points for padding the film with pulse-pounding moments.

The film has its share of blemishes too. The pace slackens intermittently in the first hour, primarily because the story doesn’t move beyond the romantic scenes. Also, the music [Rajesh Roshan] isn’t as mesmerizing as the Roshan brothers’ previous works. The songs of KRRISH are functional, barring the ‘Dil Na Diya’ track, which is complimented by an energetic picturization.

The action scenes [Tony Ching Siu Tung from Hong Kong and Sham Kaushal] are superb and will be greeted by claps and cheers. Hrithik’s stunts in Naseer’s den are simply awe-inspiring. Prior to that, the chase portions -- Hrithik chasing Naseer on land, water and air -- is astounding. The special effects [Marc Kolbe and Craig Mumma, both from U.S.A.] are incredible. In fact, the special effects are a pillar of the enterprise. Santosh Thundiyil’s cinematography is exceptional. The film bears a stunning look all through. Salim-Sulaiman’s background score is of international quality. It only heightens the impact further.

To state that Hrithik is the soul of KRRISH would be an understatement. If the actor walked away with all noteworthy awards in KOI… MIL GAYA, it’s going to be an encore with KRRISH. You cannot imagine any other actor enacting the role of a gifted child with aplomb. If his mask and robe look is splendid, watch his make up, gait and mannerisms as the aged father and you’d agree, he’s one of the finest talents on the Indian screen today. KRRISH is yet another ground-breaking film in his dazzling repertoire!

Priyanka is the archetypal Hindi film heroine. Not surprising, since everyone in Hrithik’s radius is bound to get eclipsed. Rekha is highly effective, especially in the scene after the confrontation, when she narrates the true story to Hrithik. Naseeruddin Shah excels yet again. He plays the cool, calculating and conniving villain to perfection.

The remaining actors -- Sharat Saxena, Puneet Issar, Akash Khurana, Hemant Pandey, Manini Mishra, Kiran Juneja Sippy and Archana Puransingh -- are satisfactory. Preity Zinta is there for one scene.

On the whole, KRRISH is a winner all the way. At the box-office, the film will rewrite box-office history and emerge one of the biggest hits ever. The film will establish records from Day 1 itself, while the first weekend business will be brilliant and the first week billing should shatter all previous records. A money spinner, KRRISH is a definite blockbuster!

লন্ডন ড্রিমস

Sun, 10 Jan 2010 16:21:58 +0100

পরিচালনাঃ বিপুল শাহ

অভিনয়ঃ সালমান খান, আসিন, অজয় দেভগান

দুই গায়ক বন্ধুর মধ্যকার ঈর্ষা আর হিংসা নিয়েই ছবির কাহিনী।বিপুল শাহ ছবির কাহিনী অন্য এক হলিউড ছবি থেকে ধার করলেও ছবিতে তিনি যেভাবে সম্পর্কের টানাপোড়ন দেখিয়েছেন তার জন্য তিনি ধন্যবাদ পেতে পারেন।ছবিতে বড় বড় কনসার্টের সিকোয়েন্স দর্শককে আন্দোলিত করবে।তবে ছবির গান মানসম্পন্ন ছিলনা,সালমান আর অজয়ের অভিনয় ভাল।সবমিলিয়ে ছবিটি খারাপ না।

দিল বোলে হাড়িপ্পা

Sun, 10 Jan 2010 16:22:34 +0100

পরিচালনাঃ অনুরাগ সিং

অভিনয়ঃ শাহিদ কাপুর,রানি মুখার্জি

এটি ছিল রানির কামব্যাক ফিল্ম। রানি এই ছবির জন্য নিজের লুক পরিবর্তন করেছিলেন, মেয়ে থেকে হয়ে গিয়েছিলেন ছেলে। শরীর থেকে মেদ ঝরিয়ে তিনি নিজেকে করে তুলেছেন আকর্ষণীয়, কিন্তু এতকিছুর পরও তার সব চেষ্টা ব্যর্থ হয়ে গেল,কপাল খারাপ বলতে হবে রানির। ছবিতে রানি একজন ক্রিকেট পাগল মেয়ে যে জাতীয় টিমে ক্রিকেট খেলার জন্য নিজের বেশ পরিবর্তন করে ছেলে সর্দারের রূপ ধারণ করেন। এই হল ছবির স্টোরিলাইন। ছবিতে রানি একটি আইটেম গানে বিকিনি পরে অংশ নেন, নিজের চার্ম দেখাতে চেয়েছিলেন রানি,কিন্তু দর্শক তাকে গ্রহণ করেনি, যার ফলশ্রুতিতে রানির ঝুলিতে আরেকটি ফ্লপ যুক্ত হল।

দে ধানা ধান

Sun, 10 Jan 2010 16:23:11 +0100

পরিচালনাঃ প্রিয়দর্শন

অভিনয়ঃ অক্ষয় কুমার,ক্যাটরিনা কাইফ,সামিরা রেড্ডি,সুনিল শেঠি,পরেশ রাওয়াল

ছবির গল্পের ছিটেফোটাও এই অল্প কথায় বলা সম্ভব নয়,তাই প্রথমে পরিচালকের কেরামতি নিয়ে কথা। ছবিটি দেখার সময় মনে একটি প্রশ্ন জাগবে,সেটা হল,নিজের কততম সহযোগী পরিচালককে দিয়ে ছবি বানিয়েছেন প্রিয়দর্শন?স্রেফ মজার জন্য ছবিটি খারাপ না। তবে এই ছবিতে “হেরা হেরির” মত মজা নেই। অক্ষয়,সুনিল আর পরেশ ভাল অভিনয় করলেও ছবির মাঝখানে অন্যান্য অহেতুক চরিত্রের আনাগোনা ছিল অসহ্য। তবে ছবির গানের নির্মাণের জন্য প্রীতম ধন্যবাদ পেতে পারেন।