Movie Review : Dashavtar

Kamal Haasan in 10 different roles. 10 different roles mean 10 different stories. 10 different stories mean more than 3 hours of filmed entertainment. Does it sound exciting? Take a guess!
When you buy a ticket of DASHAVTAR [dubbed Hindi version], you also wish you would’ve taken the writer of this film along, who knows the film inside out, because it’s very, very, very, very, very, very, very, very, very, very [10 times!] difficult to decipher what’s going on, what this marrrrrrrrrrathon film actually wants to convey.

The problem [and it’s a big problem here!] is, well, Kamal Haasan’s 10 roles, which are linked in a chain. The writer has to do justice to each of them, right? But barring the scientist and the ex CIA officer, the remaining parts make zilch impact.

DASHAVTAR has a screenplay of convenience. Perhaps, the writer’s sole intention was to project Kamal Haasan in 10 different roles and prove how versatile an actor he is. Whether the screenplay would make sense or not is not important, actually.

To cut a really lonnnnnnnnnnng story short, DASHAVTAR is an unbearable experience. Watch 10 different classics of this great actor instead of this 10-in-1 film.

DASHAVTAR begins in the ancient times and shifts to 2004. A computer chip containing a dangerous biological material goes missing from a lab in America. A scientist, Govind, well aware of the dangers, launches a hunt for the missing material, which takes him to India.

DASHAVTAR is more of an exercise to prove that Kamal Haasan can carry off 10 different roles. But in an effort to do so, the writing takes a complete backseat. There are so many loopholes in the screenplay, it’s unbelievable. Either the writer doesn’t know what screen writing is all about or he has decided to take the viewer for granted.

The only time you want to compliment the writer is, when he comes up with a cure for cancer. A bullet in your chest can throw the tumour out of your body. Bravo!

Himesh Reshammiya’s music is of fast-forward quality. Barring the ‘Mukunda’ track, the remaining songs are hard on your ear drums. The action scenes are very gimmicky.

Of the 10 roles, Kamal Haasan appeals only as the ex CIA agent. However, the makeup looks fake for a few characters. Asin is terrible. She irritates after a point. Mallika Sherawat suits her role. She’s good. Jaya Pradha is wasted. What did she see in this role?

On the whole, DASHAVTAR is a poor show all the way. Hugely disappointing!

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Movie Review : Meri Padosan

Some people are completely clueless about screen writing. There has to be a start, a middle and an end in every film. MERI PADOSAN has a start, but the middle and the end are so amateurish that you wonder how films like this are envisioned in the first place.
The concept – a reality show – has taken Indian television by storm. Director Prakash Saini and writer Taarun Takshaay could’ve come up with a hilarious fare, but what comes across is so boring and tedious that you actually want to make a hasty exit from the auditorium.

Viju [Sanjay Mishra] is a clerk, while Kavita [Saadhika Randhawa] is a doting housewife. Everything is fine till a struggling director Shyam Gopal Verma [Sarwar Ahuja] comes to stay with two friends Prem [Snehal Dabhi] and Aslam [Khyali] in the neighbourhood.

Shyam gets to know that Live India channel has invited film-makers to make a short film. Now Shyam starts thinking of the concept he should submit to emerge a winner. He watches Kavita waiting for Viju and decides to film their romance discreetly.

Forget laughing, one doesn’t even smile in most parts of this film. The jokes are non-appealing and at times, crass. The culmination to the tale is equally confusing. Music is dull.
Barring Sanjay Mishra and to an extent Sarwar Ahuja, the performances are lackluster. Snehal Dabhi is getting typecast. Khyali is a bad actor. Saadhika Randhawa doesn’t work. Heena Tasleem has nothing to do. Mushtaq Khan is okay.

On the whole, this padosan is just not welcome!

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Movie Review : 8×10 Tasveer

8 x 10 TASVEER disappoints. The film goes wrong, in fact horribly wrong, in the penultimate 20-25 minutes, which is the lifeline of any suspense-thriller. Nagesh Kukunoor has missed the bus this time!

Nagesh Kukunoor enters a new zone with 8 x 10 TASVEER: Suspense-thriller. His choice of the genre and subject material is also right. Yet, 8 x 10 TASVEER goes wrong, horribly wrong.

Now what was that? This is one question that haunts you at the end of the show. And, seriously, you want to direct this question to Kukunoor, who is also credited as the writer of this film.

Okay, let’s dissect… The concept is interesting. The atmosphere is perfect. The mystery deepens with each passing minute. Just when you thought that Kukunoor had pulled it off, a twist in the tale pulls the carpet off your feet. The film crumbles and the impression generated by some brilliantly executed sequences evaporate into thin air.

For any whodunit to succeed, it ought to hold your interest till the very last frame. Most importantly, the answers raised in the screenplay have to be convincing and justified. But 8 x 10 TASVEER gets unbearable towards the penultimate 20-25 minutes. When the mask is taken off the killer’s face, you are surprised. But the reasons that compelled him to act that way are childish. What happened, Mr. Kukunoor?

To cut a long story short, this tasveer is out of focus!

8 x 10 TASVEER is about Jai [Akshay Kumar], who possesses supernatural powers. Jai is of Indian origin who works as a forest ranger in Canada. His life is shattered by a loss of an important person in his life – his father [Benjamin Gilani]. This personal tragedy leads him to use his unique supernatural powers to unravel the mystery.

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Now let’s get to the root of the problem: The discrepancies in the script. Of course, 8 x 10 TASVEER is a whodunit and it would be sacrilege to reveal the end or the identity of the killer, but the reasons that compel the murderer to commit crime after crime are unbelievable and far from convincing.

The moment the truth is out in the open, from that point onwards, the writer doesn’t have convincing answers to offer. There are so many gaps that remain wide open till the end.

Nagesh Kukunoor goes two steps ahead as a technician, but five steps behind as a storyteller. The film has been shot stylishly and the breath-taking locales of Canada and South Africa only give the film a picture perfect look. But the screenplay is faulty. So faulty that you exit the auditorium with questions and more questions in your mind. The outcome fails to convince.

Vikas Sivaraman’s cinematography is top notch. The locales are splendid and the DoP has captured them with élan. There’s no scope for music in the film and the three songs [opening titles, romantic song and end credits] are passable. The background score [Salim-Sulaiman] is electrifying.

Akshay pitches in a sincere performance. 8 x 10 TASVEER is a complete departure from the kind of films the actor is popular for and it only goes to prove that he’s ready to experiment. Ayesha is natural. Sharmila Tagore is graceful. Jaaved Jaaferi is first-rate. Girish Karnad, Benjamin Gilani, Ananth Mahadevan and Rushaad Rana are perfect in their respective roles.

On the whole, 8 x 10 TASVEER disappoints. The film goes wrong, in fact horribly wrong, in the penultimate 20-25 minutes, which is the lifeline of any suspense-thriller. Nagesh Kukunoor has missed the bus this time!

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Movie Review : Aa Dekhen Zara

AA DEKHEN ZARA had the potential to be an exciting fare, but the post-interval portions prove a deterrent. The fantastic promotion coupled with the popular musical score will ensure ample footfalls in the opening weekend, but the film lacks the stamina to run steadily.

An interesting thought may not necessarily translate into an interesting screenplay. AA DEKHEN ZARA is a prime example of this statement.

Think about it… A man inherits his grandfather’s camera and with the camera comes the ability to see the future. What an idea, Sirji… But AA DEKHEN ZARA is akin to a bottle of soda, which starts off with a lot of energy, but the fizz settles down faster than expected.

AA DEKHEN ZARA had great potential to be a riveting thriller, but halfway through the film, you realize that the writers have run out of ideas. In fact, by the time the film reaches the finale, the viewer is terribly confused [like the writers of this film]. This is one jigsaw puzzle that remains unsolved even after its culmination.

In a nutshell, AA DEKHEN ZARA promises the moon, but what you eventually get in return is merely a mirage.

Ray [Neil Nitin Mukesh], a struggling photographer, has nothing going for him… until he inherits a very special camera from his grandfather which changes his life in a way that he could not have imagined in his wildest dreams.

The power of the camera changes Ray’s destiny overnight. His life becomes one big roller coaster ride that takes him from rags to riches and also helps him meet the love of his life, Simi [Bipasha Basu], who is a DJ with a mind of her own. Everything is hunky dory.

As they say with great power comes great responsibility and in Ray’s case, also great danger. He must now face up to the dark side of reality and win not only against the evil forces, but also against fate.

Come to think of it, your imagination can run wild with a premise like the one in AA DEKHEN ZARA. But the film runs out of fuel midway.

Director Jehangir Surti has an eye for visuals, but he ought to know that the viewer wants to listen to a good story, told in the most simplistic manner. You ought to be extra careful if you’re attempting a suspense thriller. You need to disentangle the knots in such a way that the mystery doesn’t remain a mystery in the end. In this case, it still remains a mystery.

15 minutes into the film and you’re drawn into Neil’s world. You are exhilarated every time he wins a lottery or race. The introduction of the negative force [Rahul Dev] is smartly handled as well. But the plot slackens thereafter.

Let’s get specific, the second hour is a problem. The screenplay should’ve packed some great moments, but the writers seem to take an easy way out. Sample this. While on the run, Neil and Bipasha suddenly break into a dance in a tacky pub. Prior to that they jump from the roof of the hotel and land straight into the pool. The cat and mouse game gets more and more confusing with the finale only adding to the chaos.

Jehangir Surti can’t do much since he’s saddled with a poor script. Music is the sole saving grace. The songs are youthful and energetic, one of the reasons why AA DEKHEN ZARA has generated tremendous interest. Cinematography is good. The chase and stunts are well canned.

Neil Nitin Mukesh showed great promise in his debut film and you only expect him to climb the ladder in his next release. Sadly, the screenplay doesn’t give him that opportunity. Bipasha Basu is alright. She looks great though. Rahul Dev is perfect for the part. Biswajeet [Neil’s grandfather] has a tiny role. Sophie Chaudhary adds to the glamour quotient. She doesn’t get much scope, frankly. Bobby Vats is okay.

On the whole, AA DEKHEN ZARA had the potential to be an exciting fare, but the post-interval portions prove a deterrent. The fantastic promotion coupled with the popular musical score will ensure ample footfalls in the opening weekend, but the film lacks the stamina to run steadily.

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Movie Review : Barah Aana, Firaaq, Lottery, Straight!!, Aaloo Chaat

Movie Review: Barah Aana
Rating: 60%

Barah Aana is a story that revolves around the friendship between a driver called Shukla (Naseeruddin Shah), a watchman Yadav (Vijay Raaz) and a waiter Aman (Arjun Mathur). Naseeruddin brings with him the maturity and dependency that you can expect from a man of his age. Raaz on the other hand is lazy and mischievous man who prefers life that is easy and laid back. And finally there is the young Arjun who is simply brimming with ambition and wants to make it in life.

Movie Review: Firaaq

Rating: 60%

I went to see Firaaq with really high expectations after all the stunning reviews it had got at various festivals. Alhough the film was a tad moving, it wasn’t as great as I expected it to be. But one thing is for sure that although you may not like it immediately after you see it but some images of it will remain with you long after.

Movie Review: Lottery
Rating: 20%

The film thoroughly disappoints. Abhijeet Sawant who makes his Bollywood debut in this film needs to stick to singing. There is a reason why he has been given a great voice – can he first make it completely in that sphere before he decides to turn to acting. And if he does want to act, can he learn how the art works first? Rucha Gujrati comes across as those teenage girls who dream of being an actress in Bollywood and will take any role that comes their way. That is a well thought of, good or even worth their while is completely forgotten. Let’s not even get into the remaining cast.

Movie Review: Straight!!
Rating: 20%

I will say that there were two things that did stand out. One was the acting of Anuj Chowdhury. With the right director and script, the boy can work. The other is the different locales where the film has been picturised in London. So in the current times of the credit crunch and lay offs, if you cant afford a trip, you can make yourself happy with the sights on screen!

Movie Review: Aaloo Chaat
Rating: 40%

As a part of the audience, I yawned through most of the film and was so restless all through out. I actually knew the end even before we got there because the script was so filled with the same situations that we have seen on so many occasions in so many movies that this film felt more like a hot pot of all those films.

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Movie Review : Delhi 6

Rakeysh Omprakash Mehra thinks out of the box and it’s more than evident now. First AKS, then RANG DE BASANTI, now DELHI 6. A two-liner of the story may give you an impression that it’s similar to UTV’s earlier outing SWADES, directed by Ashutosh Gowariker: An American of Indian origin returns to his roots and decides to stay back in India. But DELHI 6 bites more than it can chew.

Set in old Delhi, the screenplay [Rakeysh Omprakash Mehra, Prasoon Joshi, Kamlesh Pandey] takes its own sweet time to come to the point. In fact, the entire first half is dedicated to the sundry characters in the bylanes of old Delhi, where several stories run parallel with the main plot… The two warring brothers [Om Puri, Pawan Malhotra] and the wall that divides the two; the daughter of the house [Sonam Kapoor] aspires to be an ‘Indian Idol’ contestant; a moneylender’s [Prem Chopra] wife has an illicit relationship with one of his lecherous debtors [Cyrus Sahukar]; an ‘untouchable’ [Divya Dutta] makes more sense than the so-called thekedaars of samaj; a friend of the family [Rishi Kapoor] has still not forgotten his first love [Tanvi Azmi]. Oh yes, there’s also a ‘Kaala Bandar’ who spreads havoc in the locality. Really, Rakeysh tries to pack in multiple stories in those 2.18 hours.

But, alas, the problem is that barring a few individualistic sequences, you don’t carry the film home. The film is engaging in bits and spurts. Worse, it tends to get monotonous, preachy and boring and the end is so bizarre, you actually want to ask the writers, ‘Hey guys, you okay?’

Let’s cut a long story short: Rakeysh Omprakash Mehra misses the bus this time.

DELHI 6 tells the story of a young American boy Roshan [Abhishek Bachchan] of Indian origin, who comes to India for the first time, to drop his ailing grandmother [Waheeda Rehman]. She wants to retire and spend the last leg of her life back home; dissolving into the soil she was born in.

In America, having led a very western lifestyle, Roshan is not familiar with the sites and smells, the food and culture, the religion and beliefs, this huge melting pot that India is. He believes that Dadi had left her family and loved ones back in America, only to realize that how wrong he was.

The warmth and affection of the neighbourhood embraces him with open arms. Amidst all this he meets the beautiful Bittu [Sonam Kapoor], who wants to break free from the typical Indian social structure, to whom Roshan is destined to lose his heart.

That Rakeysh Omprakash Mehra is an accomplished storyteller is evident in several individualistic scenes. Note the scene when Vijay Raaz slaps Abhishek and Abhishek slaps him back. Also, portions in the second hour, when a Baba [Akhilendra Mishra] triggers off the Mandir-Masjid talk and divides the two communities, is very well structured. The sequences are disturbing and the writers and director succeed in exposing the fickle-minded people residing in the locality.

But the screenplay isn’t foolproof. The romantic track is the weakest link in the enterprise. The love story falls flat. Also, the ending is so abstract that an average moviegoer would find it difficult to comprehend what the actual culmination is. The sequence in the end, when Amitabh and Abhishek have a conversation, looks weird. In fact, ridiculous. What was the need to have this sequence? It makes no sense. Even the Ram Leela sequences, interspersed at regular intervals, are forced in the screenplay.

Rakeysh’s handling of the subject is exemplary at places. But the writing [faulty at times] as also the execution of the material isn’t the type that would appeal to all sections of moviegoers. A.R. Rahman’s music is outstanding; it’s easily amongst his finest works. ‘Masakali’, ‘Ye Dilli Hai Mere Yaar’, ‘Rehna Tu’, ‘Maula’ and ‘Genda Phool’ are amazing tracks. Ditto for Prasoon Joshi’s lyrics; they’re gems. Binod Pradhan’s cinematography is brilliant. Watch the Jama Masjid sequence [breath-taking] or the camera movements in the bylanes of old Delhi. Just one word to describe the output: Incredible!

Abhishek doesn’t work. Also, his American accent looks fake. Sonam is likable. Waheeda Rahman enacts her part well. Rishi Kapoor is wasted. He deserved a better role. Amongst supporting actors, Om Puri [powerful], Pawan Malhotra [flawless], Vijay Raaz [tremendous], Deepak Dobriyal [genuine], Divya Dutta [admirable] and Cyrus Sahukar [likable] leave a mark.

Prem Chopra is alright. Atul Kulkarni looks like a buffoon. And what is Raghvir Yadav doing in this film? Supriya Pathak, Tanvi Azmi, K.K. Raina, Akhilendra Mishra and Dayashanker Pandey are passable. Amitabh Bachchan’s presence in the penultimate minutes fails to evoke any reaction.

On the whole, DELHI 6 has a terribly boring beginning [first hour], an absorbing middle [second half] and a weak end [climax]. At the box-office, the business is bound to be divided. The film may record bountiful collections at multiplexes in its opening weekend. The popular music as also the fact that there’s no major opposition will benefit the film in the initial days. But the business at single screens as also the mass belt will be a shocking contrast. However, the cracks will start appearing sooner than expected, even at plexes. Thumbs down!

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Aishwarya Rai gets a miss in most Pink Panther reviews

Pink Panther 2 which releases on February 6 has received very bad reviews from people who have seen the film at the premiere and Aishwarya hardly has a mention in the reviews.

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The film has an 11% freshness rating and 3.5 on 10 score on Rotten Tomatoes.

Empire Magazine’s William Thomas’ verdict is 2 stars out of 5 and “A mirthless shot in the dark that misses the target by some distance.” Aishwarya Rai isn’t mentioned in the review at all. Owen Gleiberman of The Entertainment Weekly has given it a B- and 2 stars. There is no mention of Aishwarya Rai here too.

The Boston Phoenix calls it an “all too familiar stink,” giving it 2 stars out 4
According to Boston Phoenix, the plot is razor thin and it is full of ninny nonsense. Aishwarya Rai is only mentioned as a “Bollywood Beauty.”

Roger Moore of The Orlando Sentinel has given it 2 out of 5 stars, saying the movie “is somewhat less of a desecration of the memory of Peter Sellers than Martin’s first outing as the bumbling French detective. Martin still hasn’t bothered to learn a faux French accent. The editing doesn’t hide that even the simplest stunts are now done by fellows in snow-white wigs.” Aishwarya Rai is just mentioned as an “Indian.”

David Germain of Bennington Banner isn’t impressed with the film. Aishwarya Rai is just mentioned with other cast members. According to him, “there’s a huge error behind “The Pink Panther 2″ — other than the mistake of producing the sequel in the first place — it’s pairing Steve Martin with John Cleese, and then failing to capitalize on their potentially explosive verbal exchanges.” Harald Zwart’s direction amounts to “90 minute slapstick stretches, each trying to heighten the level of Clousseau’s idiocy.”

It must be noted that the first film also got bad reviews but was a commercial success. The fate of this film and Ash’s Hollywood innings is yet to be seen.

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Movie Review : Luck By Chance

LUCK BY CHANCE is an outstanding film in all respects. A magnificent outing from the producers of ROCK ON!!, LUCK BY CHANCE is sure to prove an extremely lucky and rewarding experience at the box-office. Strongly recommended!

One has often heard, read and seen [on screen] the positive and negative aspects of Bollywood. It would be erroneous to state that LUCK BY CHANCE does a pol-khol of the glamorous industry. Let’s put it this way: The film mirrors the behind-the-scenes drama and manoeuvring exactly the way it occurs in showbiz. Watching LUCK BY CHANCE is like experiencing it first-hand.

If you’re associated with Bollywood, if you know how the machine works, you’d laud and applaud, laugh and smile, identify and understand and at times, empathize and sympathize with the characters in LUCK BY CHANCE. Zoya Akhtar’s take on an industry that attracts millions of hopefuls year after year is bang on target.

Almost three decades ago, Hrishikesh Mukherjee’s GUDDI depicted a star-struck teenager’s [Jaya Bhaduri] obsession for a top star [Dharmendra]. Along with the core issue, the film highlighted the behind-the-scenes hard work and labour that went into making movies.

LUCK BY CHANCE taps almost every important facet of Bollywood and presents assorted characters you’ve encountered some time in life: An over-ambitious aspirant who knows to make the right moves; an actress trying hard to get that big break, even if she has to compromise; an icon of the 1970s who desperately wants her daughter to be a star; a producer who looks at riding on big names, script be damned; a failed actor now looking at direction to redeem his career.


One of the prime reasons why LUCK BY CHANCE works is because the writing [Zoya Akhtar] is simply wonderful. Right from the characters, to the individualistic scenes, to the way Zoya puts them in a sequence, LUCK BY CHANCE is easily one of the most cohesive scripts this side of the Atlantic.

The verdict? Leave aside everything and hitch this joyride called LUCK BY CHANCE. It would be sacrilege to miss this one!

Sona [Konkona Sen Sharma] arrives in Mumbai with dreams of becoming a film star. She does whatever it takes, to make it. Vikram [Farhan Akhtar] has just moved to the city leaving the comforts of his Delhi home. He is used to getting what he wants and is smart enough to know when to demand it and when to manipulate it. Gradually, Sona and Vikram develop a romantic relationship.

Rolly [Rishi Kapoor] is a successful though superstitious producer who only works with the biggest stars. He is making a potential blockbuster launching Niki [Isha Sharwani], the daughter of 1970s superstar Neena [Dimple Kapadia]. The hero of the film, Zaffar Khan [Hrithik Roshan], is the superstar.

Zaffar decides to opt out of Rolly’s film and that creates havoc in Rolly’s life. Rolly decides to cast newcomers and finally, Vikram is shortlisted for the main role…

LUCK BY CHANCE picks up characters straight out of life and that’s the beauty of this script. The interesting part is that each of these characters has a story running parallel to the main story. Although the writing is foolproof, this review would be incomplete if one failed to acknowledge a number of scenes that are the hallmark of this enterprise…

Note the sequence when Rishi Kapoor breaking down after Hrithik has walked out of his movie. It moves you!

On the lighter side, Farhan strikes a conversation with Dimple at a movie premiere and extols lavish praises on her.

Much later, an angry Dimple instructs Isha to patch up with Farhan, soon after Farhan and Isha’s debut film has been declared a success. Watch the moments when Dimple recalls her early years.

The sequence featuring SRK.

If Zoya’s writing is superb, her execution of the written material deserves distinction marks. This may be Zoya’s directorial debut, but she treats the difficult subject like a veteran. Javed Akhtar’s dialogues are remarkable. Shankar-Ehsaan-Loy’s music is a mixed bag; the score could’ve been better. However, the choreography of the circus song is remarkable. Carlos Catalan’s cinematography captures the right moods.

Farhan Akhtar is evolving into one of the most dependable actors of his generation. He’s very real, very believable. No wonder, this character stands out. Konkona Sen Sharma is exceptional. The supremely talented actress delivers a sparkling performance yet again. Rishi Kapoor is incredible. A performance that merits the highest praise. Dimple Kapadia is in terrific form. It easily ranks amongst her most accomplished works. Juhi Chawla is first-rate. Isha Sharwani does her part well. Sanjay Kapoor springs a surprise. He registers an impact. Aly Khan is perfect.

Hrithik Roshan is truly wonderful. Note the sequence when he strikes a conversation with Karan Johar, only to realize that he himself had paved the way for Farhan in the industry. Only an accomplished actor could’ve handled this sequence with aplomb. Amongst the A-listers who make fleeting appearances in the film, the one who registers the maximum impact is Shah Rukh Khan.

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Movie Review : Victory

VICTORY is a strictly average fare. Barring a few moments in the second hour, there’s not much that you carry home.

LAGAAN and IQBAL are landmark films on cricket. The response to LAGAAN specifically was so electrifying [and emotional] that theatres turned into stadiums during the penultimate cricket match in the film.

VICTORY traverses a different route altogether: This one revolves around a cricketer, talks of the highs and lows in his life, how greed, arrogance and lust almost ruin his career, but how he regains his lost form and becomes a hero all over again.

The difference also lies in the fact that the sportsmen in the film aren’t actors, pretending to be cricketers, but real-life cricketers. And that makes the goings-on identifiable.

VICTORY may not be a true-life account of any one person, but you can’t help but draw parallels with people who led a wild life off the field. Also, any sports-based film works if it arouses the right emotions and VICTORY does so towards the final moments. But there’s a hitch. The film could’ve done with a shorter running time [instead of approx. 2.35 hours] and a tight script. More on that later!

Final words? A few interesting moments don’t really help. This one tries to hit a boundary, but ends up taking a single.

VICTORY tells the story of Vijay Shekhawat [Hurman S. Baweja], who hails from Jaisalmer. Soon, he becomes India’s latest world-class batting sensation and is catapulted to superstardom.

However, the glam and glitter makes the young, vulnerable Vijay stray from his true vocation of cricket. Unfortunately, this leads to a loss of focus and to a miserable drop in his performance. But by the time Vijay realizes his mistake, he finds himself thrown out of the Indian cricket team. Suddenly, the hero becomes a villain in everyone’s eyes. His father [Anupam Kher] suffers a paralytic stroke.

This tragedy awakens Vijay’s conscience. He wants to redeem himself in the eyes of his father and every Indian. Against great odds, he once again makes it back to the Indian team and gets to play in the finals of the Champion’s Trophy against Australia, where he plays a stellar role in enabling India to win the Trophy.

Ajitpal Mangat chooses a difficult subject for his directorial debut. Placing immense trust on a newcomer [Hurman] and casting real-life characters could be tough and demanding, besides being expensive [cricketers’ fees and paying for the various stadiums]. But Ajitpal achieves the required results.

The initial moments are very mediocre, but the pace picks up when Hurman goes astray, when he can’t digest success, when he falls into wrong hands [Gulshan Grover]. The graph is erratic; sometime interesting, at times boring. However, what rescues the film from failing are the penultimate moments, especially the one when Hurman faces the final ball.

On the flip side, the writing isn’t convincing at several points. The first 30 minutes of the enterprise makes you break into a yawn, frankly. Also, the film is stretched in the second hour for no reason and could’ve done with some tight editing. The songs in this hour are a big deterrent.

Ajitpal Mangat makes a confident debut as a director, but VICTORY would’ve made a stronger impact if the writing [screenplay: Ajitpal Mangat, Kannan Iyer] would’ve been watertight. Anu Malik’s music is listless. Barring ‘Balla Utha’ and ‘Money Money’, the remaining songs are of the fast-forward type. Cinematography is excellent.

Hurman S. Baweja displays the required confidence. He gets the body language right, looks dapper when required and conveys the required emotions well. Only thing, he needs to control his expressions at times. Amrita Rao does very well, although this isn’t her film actually. Anupam Kher gets it right yet again, especially towards the second hour when he suffers a paralytic stroke. Gulshan Grover is very effective.

On the whole, VICTORY is a strictly average fare. Barring a few moments in the second hour, there’s not much that you carry home.

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Movie Review : Bad Luck Govind

BAD LUCK GOVIND is a good idea gone terribly wrong. At the box-office, it will run out of luck for sure.

Interesting ideas don’t necessarily translate into interesting films. That’s the problem with BAD LUCK GOVIND.

Govind, the protagonist, feels he’s one unlucky guy. Things go wrong the moment he steps on the scene. The thought is quite fascinating, isn’t it? But what eventually unfolds is highly amateurish. Writer-director Varun Khanna fails to come up with a screenplay that does justice to this unusual concept.

BAD LUCK GOVIND taxes the patience of the viewer, so much so that after a point you genuinely feel that the bad luck has rubbed on the viewer, who’s subjected to a film like this. Oh, what a waste of an intriguing concept!

BAD LUCK GOVIND is the story of a down-on-his-luck young man Govind [Gaurav Kapur]. His luck is such that even cows stop producing milk when he walks by a tabela. Even fresh milk instantly curdles when poured into a cup of tea.

Govind flees Delhi and lands up in Mumbai. But Govind’s kismat collides with six madcap underworld ‘bhais’ [Govind Namdev, Parmeet Sethi, Zakir Hussain, Vrajesh Hirjee, Lalit Mohan Tiwari and Ganesh Yadav] and a nurse [Hrishitaa Bhatt]. Eventually, Govind rediscovers the power of positive.

Any attention-grabbing thought needs to be well etched out and also needs to be executed with panache. BAD LUCK GOVIND disappoints in these two vital departments, writing and execution.

Talking of the screenplay, the one question that crosses your mind time and again is, why doesn’t Govind flee the chawl when he realizes that he’s surrounded by wrong people? What’s keeping him there? Even otherwise, the gangsters are neither dangerous, nor comic. Seriously, all efforts to make you laugh are in vain!

Even Hrishitaa’s track is half-baked. How does Govind Namdev know her father? That remains a mystery till the end.

Talking of performances, Gaurav Kapur is strictly okay, but why this need to flaunt his skinny body? Hrishitaa Bhatt does a fair job. Govind Namdev is getting typecast in similar roles. Parmeet Sethi is the best of the lot. Vrajesh Hirjee provides a few laughs. Zakir Hussain, Ganesh Yadav and Lalit Mohan Tiwari are wasted. Amit Mistry is alright. Archana Puransingh is hardly there.

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