Reviews

n the opening of the movie, a voice-over ponders over the how luck plays crucial part in life than one hates to admit. How a tennis ball hits the net at pivotal moment in a match and how an inch will decide the victory or loss. This philosophy is going to come back later, we know in the Woody Allen's Match Point, a story of lust and luck.

For the first time Woody Allen leaves his beloved Manhattan and sets this one in London where Chris (Jonathan Rhys Meyers) moves from a small town as tennis instructor at a high class club. He has given up career in tennis because he admits he has the talent but not the focus. We believe him. He is sort of guy who will take the shortcut to success and avoid the hard word. He is befriended by an upper class lean bloke Tom Hewett (Matthew Goode) who acts entry point to a world of wealth and luxury. They bond over common love for opera where he meets Chloe (Emily Mortimer) Tom's sister, who can't take her eyes off Chris. He plays his cards well without coming off as desperate and is on his way up the ladder where easy money is.

Trouble enters in form of a sultry siren Nola (Scarlett Johansson), a struggling American actress and Tom's fiancé. They meet at party in Hewetts' country house over a game of TT. Jonathan Rhys Meyers's searching, cold, calculating eyes are set on her the moment he sees Nola. They later meet after Nola blows off another audition and goes to a bar to vent the steam. At this moment, after a few drinks conversation gets more direct. These are two outsiders in the world they are about to commit. Nola says he is going to do good unless he screws the whole thing by making a pass at her. Their flirtatious talk back and forth are some of the best screen verbal foreplays in movies.

Chris: "So you are aware of your effect on men?" Nola: "Men always wonder I would be something special" Chris: "And are you?" Nola: "Well, No one's ever asked for their money back"

They are going to have an affair, on and off sort which leads to a tragedy which involves a murder. Thanks to the trailer it's not like am giving away anything.

It's debated Woody Allen made come back with this film which is partially true. This is Woody's one of the best works, his personal favorite. This is polished assured work from the man in top form making his frame as lustful and glowing as the characters in them to deliver its cynical themes. They are blissfully free from his influences and reference talks and stays close to the ground without losing any Allen incisiveness in dialog. Movie a pleasure, an entertaining drama deals with the nature of lust, its consequences (pointed self-reference would be Allen's own Crimes and Misdemeanors) and third entirely new angle luck, which gives this movie its final splendid kick. It is Allen's imagination and cruelty of fate movie finally settles on. Although almost playing out like a well-structured play but in terms of cinema it is a well disguised darkest film noir you will ever come across

We are at an art gallery in a painting exhibition. Appropriately low key. City is Mumbai. Kitu Gidwani is manager of the whole thing and announces artist decided to make an appearance and should say a few words. Artist Arun (Aamir Khan) is visibly reluctant presence facing the crowd or art-lovers whatever says in man-of-few-words fashion that it's a tribute to people from different states and raises a toast to Mumbai, "To my muse, my whore, my beloved…."

Kiran Rao's debut film also a tribute to this bustling city of millions where four characters randomly run into each others' lives and make an impact. Like us meeting people and our story meets their story, vice- versa and streams go on. At the same gallery amongst the attendant an American NRI on sabbatical Shai (easily find of the year, inspired casting) meets Arun. Art talk, smoke, alcohol mix well. Fingers touch, so does the bodies. But the night-after ends badly because of Arun being asshole finding it difficult to say simple words 'not looking for something serious'.

There is a dhobi guy Munna (Pratiek, natural brilliant) who Shai befriends. She from another world treats him well, equal, goes to street photography with him to Nagapada, Machali market etc which is of course local to him. This boy, a wannabe actor (Salmaan being his idol) falls for the girl of course in the course, but never crosses his boundaries. They belong to different worlds (for society different classes) he and she both knows. Their odd, tender love-story or story, unsullied, forms the core of the Dhobi Ghat for me. There is definite chemistry between them. But never spoken of. Captured in gestures. Stolen yearning glances. Half chances. Even obvious finale burst out is still with no words. There is a beautiful night scene shot in rain where Shai and Munna have a drink at her place, later she falls asleep, air is electric, boy is tempted, leans for a kiss, backs out at final moment, leaves.

Meanwhile on other thread Arun looking for inspiration changing homes stumbles into few video tapes, sort of video letters of a recently married and migrated girl previous tenant of the flat Arun is living. Her name is Yasmeen (Kirti) and tapes are addressed to her brother back in her home town describing city from her eyes. He is hooked, possessed by these tapes, like porn her manager taunts. We don't blame him. Scenes in these tapes are almost poetic. We literally see how innocence is crushed in this endless city which swallows, sees everything from great successes, glamour to horrors of the fate, people.

All the principal characters are kind of chasing other. Munna chasing Shai, Shai-Arun, Arun-Yasmeen and Yasmeen her dream in city (which is fifth character in the movie). We go after things most try to attract us, evade us. And it's city like this which can shelter such diverse characters with desires, caution secrets, waiting to be discovered, fulfilled, hurt.

Lensed on slick, clean canvas and dream background scored by Gustavo Santaolalla movie is shot guerrilla-style on location minimalist approach, low on budget, rich in content. In this character driven piece ninety six minutes no interval (finally nice to see some arts winning over commerce) eventually everyone will get some kind of closure or otherwise. Just like in real life. Their stories are scripted like in a diary, aptly titled Mumbai diaries told soulfully by its sensitive director. Lovely.

Trio with their deep sea diving instructor (Katrina) having dinner. Arjun (Hritik) has just overcome his water phobia that day. When asked he is sure, "Ab Koi Dar Nahi. Jeene Ka Bhi Nahi". Imraan (Farhaan) jokes, "Oh, Ek Hi Doobaki Me Zindagi Ke Saare Raaz Khul Gaye"(one dip and all mysteries are unlocked). Arjun asks Imraan to come closer, breathes in and exhales and whispers, "It's quite simple you know.... bas saans lete raho"(You need to just keep breathing). Above everything else Zindagi Na Milegi Dobara, speaks language friends speak. The close ones I mean. The ones make life fun. Know your secrets and fears. Movie gets it. Slam dunk. The right tone developed over years of chemistry and history. "Three Musketeers" reunited for a bachelor trip in here definitely have all that. Zoya Akhtar's smart, first-rate writing and its humor carries this breezy flick fluidly giving us these characters with their idiosyncrasies and baggage discovering few things, resolving few unresolved issues, facing their fears and giving us many many moments to cherish along their journey. And the pleasure of ZNMD is just hanging out with these amigos on their adventures in their sojourns, their soirees.

Groom to be is Kabir (Abhay) engaged to Natasha (Kalki). With a geeky glasses and somewhat sensible head over his shoulder you sense, he keeps the bunch harmonious, at least tries to. Arjun (Hritik, in his best performance), typical "corporate slave" (after money all the time), "whore" (always thinks of career), no-ones' type (three holidays in a year). He is angry intense one. His plan is to earn till 40 and then retire. Laila (Katrina) asks, "How does he know he will live till 40?" True. Seize the moment my friend, she tells him opening a world full of other wondrous stuff. Third is goofy Imaraan, clown of the group played phenomenally by Farhaan Akhtar. His Clark-Kent job is ad copywriter who also is a closet-poet and a bohemian. Together they three form a delectable diverse group.

Their bachelor trip is the pact they decided in their youth where two has to participate in adventure sport chosen by each. Everyday ennui will sure get shot of adrenaline no doubt stunningly breathtakingly shot scenes in Spain. Beautiful lush perfect backdrop. These in company of each other let it go and come out exhilarated or peaceful at the other end. Each venture is bookend by Imraan's profound poetry. "Aankhon me hairaaniyan lekar chalo to zinda ho tum". Fabulous.

There might be flaws in this movie. I am not at all interested in knowing them or will not go looking for them. I'll leave it those who want to miss what this wonderful wonderful film has to offer. Cheers!

"I love God, father. That's why I am 'dying' to meet him", says Ethan Mascerenhas (endearing Hrithik) once a celebrated magician, presently a quadriplegic RJ who inspires thousands through his show also penned a book titled 'learning to fly' in his conditions; now seeking grant from the court about appeal of his own mercy-killing. He is on dialysis, his liver is malfunctioning, his condition is only worsening and so his suffering. He wants it to end, with dignity. He even launches a radio- show calling 'Project Ethanacia' for votes from his audience gathering public support so that court will have to listen to his plea.

He is looked after by Sophia (Aishwarya holding her end fiercely) who is more than his nurse, gets heart-broken when she reads about the plea from newspapers, expresses her disturbance overtly. Her duty is more of devotion while he is more connected to her than dependent. Unspoken intimacy we know. Despite him paralyzed neck-down her presence adds strong sexual undercurrent to the film. Their odd romance takes up only a portion of story which I wished would have been sizable later.

Amongst other smaller characters populate Ethan's life are a lawyer friend Devyani (Shernaz Patel), a caring doctor (Suhel Seth) and an aspiring magician Omar Siddiqui (Aditya Roy Kapoor) whom Ethan agrees to mentor shares a wonderful scene with Hrithik where he teaches him to create paper-snowfall by rubbing palms together out of wet tissue. Ethan once a master perfomer watching this with wide smile and content eyes in the moment confesses, "It's the applause I miss the most Sophie." I wish there were more of such deeper side of his. There are other beautifully shot magical acts we witness through flashbacks from Ethan's glory days also playing foils to his now crippled state.

Its director Bhansali is known for working on grand scale where I had my reservation in case of Devdas or Saawariya getting lost with overdoing but here he paints vast canvas with broad stokes and aesthetic mania which takes most of our awe where you sense the grandeur of imagery in nearly every frame. Blue and black dominates the palate with stark contrast of red whether in Sophia's lips or scarf. Location is Goa where Ethan lives in mansion like house which will allow director for adding more touches like Italian sculptural art. But the euthanasia case which is movie's subject is the weakest part making most of the later half of film, fails to convince you any which way. I was disappointed when film stopped being sensitive and got sentimental. Still their is enough magic in this to pay you a visit.

Philosophies of two principle characters defines them. Sultan Mirza (Devgn) repeatedly quips, "Jab Dost Banake Kaam Ho Sakata Hai To Dushman Kyu Banaye?" (why make enemies when you can work out by making them friends?). More of Godfather philosophy. He is a smuggler alright but never peddled anything more than goods like gold. He divides Mumbai in five territories not to make rivals within themselves. each enjoying their part of share, less harm more harmony. Cash keeps flowing in. He is a wise fellow and already Robin Hood like local figure.

Second one is of malicious Shoaib Khan (Hashmi), a small-timer dreaming big, "Zindagi Ho To Smuggler Jaisi, Saari Duniya Raakh Ki Tarah Niche Aur Khud Dhue Ki Tarah Upar". He may lack wisdom of his master who took him under his wings but not brains nor ambition and has plenty of greed. Power hungry kind. His blood is always up. He smirks at territory marking, "Mumbai hai ya Draupadi?". He is unscrupulous and corrupt who smuggled not only gold but drugs, guns, started contract killings and emerged as most powerful threats, wanted by Interpol and whose net worth is in billions today.

I liked Once Upon a Time in Mumbai, Milan Lutharia's 70′s retro mafia flick more of origin story of a master and his protégé alliance and their fall out. Based on Haji Mastan (disclaimer denies that though, more of a wink) and Dawood Ibrahim. Haji was kingpin of Mumbai smuggling syndicate who went into politics eventually while Dawood transformed it into sprawling organized crime citadel. Loaded with one-liners (so much so it hurts sometimes), heavy style and filled entertaining performances feels like the right kind of cinema director had in mind. Gangster lifestyle streams in front of us where nylon printed shirts was in fashion, Mercedes logo entered frame before vehicle, clippety-clop race- courses were gambling hang outs, booze, smoke, glamour parties sporting dance numbers (they chose who else than great RD Burman) evoke that period faithfully.

It also makes room for some old-fashioned romance. Mirza woos bollywood starlet Rehana (Kangana), Shoaib solicits neighbourhood girl Mumtaaz (Prachi). Apart from the romantic angle it brings out their lead characters itchings. Rehana complains "Log pine ke bad romantic ho jate hai aur tum flashback me chale jate ho" while he broods over his tormenting past when he used to be dock-worker. She suggests there should a film on you which will be instant hit, a homage to Amitabh Bacchan's Deewar. Shoaib on other hand drinking hard can't swallow low life at any cost he clears to Mumtaaz. While Hashmi pleases in his flashy role, Devgn plays his role with simmering intelligence. Worth your ticket's money.

The source material for the new film by Roman Polanski may not be by any stretch a great book (by Robert Harris). Some may say it is just run-of- the-mill political thriller. But what Polanski, at his best, master of paranoia made something extraordinary in his latest small, scaled, smart noir The Ghost Writer. Mood is set in very first night shot of a ferry in the rain with pulsating background score, an abandoned car in the middle of the road, a corpse is washed out at the shore. That body is of former ghost writer of former Brit prime minister Adam Lang's (very good Pierce Brosnan) memoirs. Lang is clearly based on Tony Blair and his relationship with US and Bill Clinton presidency. Ewan McGregor steps in his replacement (his character is never named) who will be paid handsomely but need to finish the half finished manuscript in a month on a private isolated island Martha's vineyard in US where Lang is currently living where he is greeted with Lang's Assistant Amelia (Kim Cattrall, Sex and the City) who might be his mistress and his flinty wife Ruth (Olivia Williams) who plays significant role in his political career.

Even before landing on the coast uncertain writer starts seeing things just like with Johnny Depp in Polanski's Ninth Gate. Manuscript being snatched, odd faces. Polanski creates grim atmosphere using palate of gray, blue, black and hostile characters with cloak and dagger. Things starts to look strange and soon stranger. Ocean, rain, air feels menacing; even its sense of humor where author increasingly gets trapped in and nothing seems going his way. In one scene where he introduces himself to Lang as "Hi, I am your ghost" and Lang is pulled back not amused. Lang's past comes in the spotlight for war crimes and whole island turns into a crisis war room kind place and things start to unravel while writer soon starts to discover or stumble on the mysteries, conspiracies those are starling pushing him deeper in grave danger or in his own grave.

This is old-school thriller rarely made these days without a false note. Sense of paranoia and dread is not only in its lead but induced in the audience, a rich rewarding Hitchcockian experience till end and it has one of masterful last shots in movies. A minor classic. Seek out this ghost.

Film opens with voice-over by its hero Karan (Shahid) detailing its period. 1994, India, Bombay. He jokes that time it was Bombay and not Mumbai where he explains word FM meant Finance minister and not FM radio, cell phones existed only in science fiction, Mumbai-Delhi calls used to cost 90 Rs and not 90 paise over STD. This is the setting where we see India wasn't this free market and custom-duty was a bitch. I remember Anurag Kashyap blogging that story always needs its milieu. This one has got it.

Boy is from typical working class with father whose life he doesn't want live of 25 years sitting behind same desk. Fresh graduate topper believes gains of his efforts should be entirely his own and not of his boss or firm. Soon he devices a scam and gathers his crew to help the con. He is smart for sure. An idea to get away with custom duty. They buy foreign stuff cheap at Bangkok. There is a twist in the shipment which you better catch on screen. Then make phony scene refuse to claim the shipment leaving it in custom warehouses only to buy it back at customs auctions without custom duty now, so at scrap prices. Profits are huge.

Con is successful and crew is happy. Love-interest perky, bold, wannabe model Bulbul Singh (Anushka) with slang (f off) who while kissing hungrily inside car warns Karan, panting, this is not serious to which guy replies that should be my line yaar. Their romance connects well. Other two are rather two dimensional ones can be summarized – one is womanizer (Veer Das) other one is drunk (Chyang). Foursome makes good company till first half of the film. Really good.

But all is not always ends well. It's kind of perennial screw up, filmmakers continue to botch the second half of a promising film. Turning a fun-con into boring predictable morality lesson. Shifting story to US where new cons, more success, then success getting to head, egos, fights, alcohol, aiyaashi, inevitable break up. Protagonist learning lessons hard way. Papa don't preach or do it well.

When they stop having good time, how can we? Audience slowly realized film is sagging. "How much more is left?", someone asked sitting behind me. She was right though. But still for its better half it's not all bad company.

Dark and disturbing. Dibakar Bannerjee's cams hand-held, close circuit and string operation spy in his latest experimental and phenomenal outing titled Love Sex aur Dhoka are not passively shooting images. They are probing for human behavior, capturing human actions sweet, selfish, sinister, savage. They form the conceit of the three loosely interconnected stories (Ameros Perros style) which contains all the elements of its title love, sex and deceit (dhoka).

It begins with fairly simple at surface a naive teenage romance between poor guy rich girl who at a film institute. Boy is from scheduled caste (special case) . Girl's father is filthy rich marble tycoon and a filthy man. Guy documents his love story, idolizing 'Adi sir' (Aditya Chopra) and calls his girl 'Simaran'. Influence of pop culture is high in our or any society. Honor killing vaguely lurks around the corner.

Second one of three I thought is the most remarkable involves a MMS scandal. A security camera is installed in a shop. Apart from spotting shoplifting and other offenses it opens doors to quick cash to some by selling the footage of occasional shootout in the shop or couple making out sometimes more than that. An attendant in this supermarket (best performance in this natural acting talent lot) ends up as victim. Color of her skin (not fair) makes her behenji type but also easy to trap. Guy really falls for her in process of vicious manipulation eventually succumbs to frailty and chauvinism.

Third one though a familiar case of casting couch the sting operations and exposes but underneath deals with relationship between the victim, her exploiter and her helper (a reporter) which ends on a tender note.

We live in voyeuristic world. These tales often shocking are inspired from this very world. Film portrays its festering ramifications evident around us. Director behind has previous credits Khosala ka Ghosala and Oye Lucky Lucky Oye under his sleeves. He is a consummate player. LSD is a great follow up. More ambitious yet moderately scaled. I always see people nag from all corners that we make same crap over and over again. Now for films like these audience should make an effort from their side. This is solid instance of what sharp mainstream cinema should be. Don't be scared by "experimental" tag. Contraption is brilliantly executed. This is unflinching, stark, uncompromising, unsparing look at the contemporary society.

John Houston's Maltese Falcon (1941) has a memorable scene. Humphrey Bogart's Sam Spade creates quite ruckus outrageously shouting at the "Fat man", breaking a glass for the effect snapping he means business and giving him a deadline. He walks out with a grin on his face facing audience happy with the bluff-show he put up just in there. Protagonist Karthik is no Sam Spade. He is shy and reserved, quite a loser in life. But after a 5 am call his life is turned upside down. He walks in the office, floors his boss with his worth, bags the job, money, new luxury cabin, position and then like in the same vein as Bogey chortles with the getaway and so are we.

Before this transformation we meet him as a sad figure for sure. We see him being bullied then fired by his boss. Alone on his birthday with zero social-life and unnoticed by his long crush (Deepika, gorgeous presence) after years of working in same office. He tries to commit suicide. A call saves his life. Strange thing voice identifies himself as Karthik. Spooky? Yes. It changes his life. All things negated earlier are now reality. Call becomes his secret. Central conceit of the film forms its title.

Film is pitched in as a thriller, a psychological one and when romance of story dominates and marks the peak moments, it's not a good sign. Frankly, conceit is weak and guessed before I got in my seat. Lurching in second half movie never tightens its grip on audience. Still it sparks with witty moments not to forget this an attempt which tries to divert from the conventional cinema.

A word for Farhaan. He established himself as one contemporary breed of directors who makes urbane and smart mainstream films is definitely emerging as promising actor. He made his acting debut with Rock On! followed by a brilliant feat in Luck By Chance. He is like James Stalwart to me. Understated and striking.

For him alone I can recommend this film but honestly overall it's partially worth. So final verdict – Rent it.

Marathi film industry was almost dead for me and was only churning out the usual potboilers and non-funny- at-all-and-assault-on-senses comedies from some years. But it's showing signs of recovery and some promise lately. One such entry is Natrang.

Guna (Atul Kulkarni, can't praise enough for his dedication) is an avid Tamasha (folk dance) fan and has talent for writing. After loosing his job he swears to build a troupe but the realizes most important thing they need to find is lead dancer. Pandoba, manager of the troupe played with naturalistic swagger by Kishor Kadam accidentally stumbles upon Naina (Sonali Kulkarni) in Kolhapur ("Lanket Sonyachya Vita"). Pandoba convinces mother (his old flame)-daughter to be partner in the troupe but they want a nachya in their group otherwise threatens to call whole thing off. This sends Guna in real conflict where he has to choose between his social-family-personal image or his dream. He chooses latter in process rises in art industry and falls on personal and social fronts.

Tamasha is famous-infamous in the marathi folklore for various reasons. Making a movie around the secondary character in the show itself is surprising. But he is not mere an actor but a writer (shaahir) of his plays. He plays the part as no one else would and eventually realizes no one else could have. Society often destroys what it doesn't understand. People fail to see he is just a man doing his job. Off-stage he is man he used to be. His on stage image is mistaken with his own sexual orientation. His rebellion is received as an outcast. From society, from family, from his mistress herself who love him all right but in one revealing scene she tells like an actress shelf life of nachya will be short lived. She doesn't want to commit. He is shaken. So are we.

This one is more of biopic of an unusual folk artist but also a very sad one where he has to undergo the ordeal of social banishment, constant humiliation and harrowing acts of cruelty. I was reminded of another film which won Hillary Swank her first Oscar Boys Don't Cry. Writer- director sure deserves the accolades that is been showered on him. Capturing the idyll milieu quite well director moves from laugh to grave subject of its title commendably. Still there were few things where I find it is kind of limited from going for greatness. Like Guna's own personality gets lost in the midst of commercial game where he becomes a pawn or in portraying his relationship with women which is never fully realized. Or film doesn't fully convey the real puzzling situation of fame and infamy he is trapped in.

These are few flaws that bothered me but let me not undermine what this film can mean to Marathi cinema. At one point, Guna decides to come up with what he does best – his own art- as an expression for his salvation. A play around Arjun-Brihaanadda where THE man of all time had to disguise himself as a woman under the circumstances demanded. It's a brilliant idea. And so is the music of the film.

Artist eventually resurrects and refuses to be beaten down and continue to pursue his passion. He succeeds and so does the film.

Gajhini started it with its hundred and fifty crores of business. Span is widened. Suddenly Hollywoodland is not the only place filmmakers are limited to lay their hands on source material especially for action movies. Wanted by what I gather from around is the most wanted film for makers and takers as well. Originally made in Tamil as Pokiri, followed by Telugu remake and now here it is B-grade B-version. Each shares genes of a superstar of their native woodlands with the other. Ours stars Salman Khan and Wanted is destined to be a hit for sure. Producer Boney Kapoor imports director from South, elastic Prabhu Deva (debut) and casts one of Bollywood superstar. Name is Radhe, just Radhe, a killer for hire who can take on an entire army and can action sequences starts like a video game with Sallu taking controls just thrashing till game over. "I work for money", he says without flinching it as its most self- marketed line and a principle together. His employers are city mafia dons. Everyone is eager to buy his services and his loyalty. Salman stands in mid-fight of two gangs making room for plenty of brainless action whacking, thrashing, crushing bones, clenching fists and flying fury and whirling beaten up goons bodies crashing. Apart from lynching the killer has heart too and he loses it to bubbly Ayesha Takia. She works in a call-centre and has extra-fit body, thanks to her regular aerobics which hero and villain (Mahesh Manjarekar plays the filthy cop) equally appreciate. And by the way there is twist ending to win more applause from Khan Aficionados and justify this theatre of cruelty. Salman apparently looks awake after so many sleepwalks in previous endeavors. He is in his full superstar mode and I can hear whistles and applauses from front rows. This is a ridiculously over the top B-grade entertainment targeted for mass pumped with South Indian steroids. If you are Salman Khan you are anyway going to see it. Rest and whoever would want to keep safe distance from Wanted.

There is plenty to criticize about Ashutosh Gowarikar's What's Your Rashee. For instance its infinite length, fact that Harman can't act Saala, some Gujju not so funny dragging sections, but there is one thing that really can't be ignored is Priyanka Chopra on screen in twelve different forms with costume designer working on her wardrobe one after another and mostly handing her almost backless Cholis. Guy is Chicago settled NRI Yogesh (without h) Patel who is being tricked to fly back India (same as in Hadippa second in this week), has a task at this hand. Find a bride in seven days, marry the girl possibly rich and payback the debts of his uncle with dowry and fortune he will be inheriting for writing birthday cards to his rich maternal grandfather. Jetlagged or strained on one insomniac night he picks up a book same as film's title and decides to meet one girl of each rashee (sun sign).

He meets one after another caricature girl with distinct trait, a good natured Virgo doctor, a sensuous sagi saadhvi (astrologer), a mysterious Scorpio with passion for modeling, a business hotshot looking for contract marriage and prenup agreement, a minor Gaaon Ki Gori, a Cancerian with a past, a plucky Gemini, odd fish Pieces who believes in reincarnation and soul mate and there are many more. Most of them come with a song-n-dance routine and many are good distracters.

Astrology is fascinating stuff. I remember jumping on Goodman's Love sings and Sun signs, parallel cross checking with each girl guy traits I know of. It was fun and sometimes astonishingly interesting read. So does our reputed director of Lagaan and Swades trying reinventing himself with a comedy cum musical succeed? Not really and I am not surprised. There is already a problem with this kind of premise as twelve characters will be fighting for screen time, limiting character developments and lack of coherent story but at the same time it can be funny vignettes quilted together with a common thread. Unfortunately writer-director Ashutosh Gowarikar lacks the comic flair required for this kind of material to pull off an interesting encounters one after another. He seriously needs a good editor who can chop and cut the flab instead of stuffing it with each and everything you shoot (three hours plus for a comedy? come on!). Harman Baweja is as bland and flat as they can get. Leading guy demands charismatic persona that can click with audience as a groom running on stopwatch looking for the perfect bride in game of luck and chance. Gowarikar also can use a new casting- director.

So saving grace is Priyanka Chopra with her screen presence keeps it going. Despite limitation of script she survives the challenge and walks out clean from this astro-mess of a story. Honestly I wasn't grossly disappointed as I switched off my brain when found what movie is up to (it took half an hour to introduce Priyanka Chopra). Instead, fancied lying on couch on one of those late nocturnal sleepless nights in front of my TV set with a glass of beer. If you decide to watch it anyway, my advice will be, don't take any of it serious, feel like catching it on tube and you might enjoy it rather than resenting. And watch if for Piggy Chops.

Shaurya (means valor), Samar Khan's remake of the Broadway play A Few Good Men by Aaron Sorkin which later adapted for screen by the same title starring Tom Cruise and Demi Moore but is better remembered for histrionics shown in the climatic showdown by Jack Nicholson. I think this film is better than A Few Good Men and in here Kay Kay leaves the screen blazing with his powerhouse performance as power drunk army legend cum tyrant.

Movie is a court marshal courtroom drama. In the terror sensitive area one night a search mission a high ranked officer is shot point blank in face by its very own fellow troop officer Javed Khan (Vikram Dobrayal, a talent later tapped by Anurag Kashyap and Vishal Bhardwaj) for the motive unknown till a cavalier lawyer finds the reasons behind the shooting as well himself in the course of the movie. Lawyer is Siddhant (Rahul Bose with usual conviction) an army lawyer who spends his time off the court in adventure sports like bungee-jumping or late night partying, a staple of young generation refuting to take on responsibilities. In a way Shaurya is his coming-of-the-age story as well. With some quick developments he is soon embroiled in the same case he is least eager to take on. Clueless is what and mocked by local journalist (Minisha Lamba) and many others his own friend played unevenly by Javed Jaffery he slowly makes his way to path of self discovery.

There is a timely scene where foolhardy Sid is quite for the first time in the movie introspecting in army mess, joined by journalist who orders a chilled beer and cracks, "It doesn't fit in small town morality, right?" He describes an incident from his childhood to her when he accompanied his dad on rock climbing and narrowly escaped death in a blind valley. While dangling with the help of branch or something he says when he saw down at that never ending valley suddenly it was peaceful, he felt strong. Then coming back to present sighs, "Aaj Vo Saali Khaai Kahin Nazar Nahi Aa Rahi.."(Damn! that valley is no where in sight)

Digging secrets and investigating the case leads to call Rudra Pratap Singh to the witness box but of course. He is a legend someone says in the movie you just don't call him. He is played by Kay Kay with the blend of narcissism and aristocratic swagger simply blows your mind. There are specifically two scenes when he is called for trial which stands out and highly explosive. One is set outside the court where he invites Siddhant for a drink beside a bonfire to shake him up. He mocks his mild reaction ("Nice") to the how Single Malt tastes and therefore entire younger generation which is nothing but about convenience, fast food, consumerism and their absolute inability to feel what a purist like him and his clan can. "Duniya Me Do Hi Anubhav Shudha Hai major, Ek Shaurya Aur Dusara Single Malt", he says. Kay Kay never underplays it. Second the big revelation finale in the court with ideology going ashtray and communal hatred flowing in their so called pureblood. These are extremely well written and brilliantly acted scenes.

And yes, film does suffer from a bit of bad editing (some unnecessary scenes, songs pops out of nowhere etc.), obligatory romance between lead pair and the issue it is tackling though executed well I felt director took an easy way out. Despite few reservations movie is worth recommending. It has some good writing and excels in the scenes with Kay Kay. In the end, film has its heart and this is a film cares about its characters and makes us care about them. Why don't filmmakers legally buy the copyrights and call it a remake or mention its sources? It would have been more honorable.

Screen is split in two. In frame one, Charlie (Shahid like never before, outstanding) flying high, gloating on his luck just entered his trailer to collect the fortune he stumbled upon, but greets uninvited guests, a Jai-Maharastra propaganda politician Bhope (new found talent Amol Gupte) and his minions. Bhope is looking for Guddu (Shadid, again) Charlie's twin brother who married his sister Sweety (Priyanka in such a fiery, naturalistic performance). Being an UP native, Guddu can clearly put an end to Bhope's political career. Guddu, in other frame is arrested by corrupt cops mistaken for Charlie for the high narcotics drug deal payload, the very same fortune Charlie was collecting to cash in the first frame. Circle is complete. Stakes are high. Everyone is balls deep in the game. Screen flashes "1/2" instead of "interval" card and we manage to catch some air in this breathless manic ride. Vishal Bhradwaj's Kaminey is one of those tense, rich entertainments falling in the genre Quentin Tarantino and Coen brothers bred since their emerging heydays.

A departure from dark, his previous two superb back to back adaptations of Shakespeare's great tragedies (Maqbool-Macbeth, Omkara-Othello) supremely talented writer-director reinvents himself with his latest. Still you sense the same filmmaker is present behind every frame. Setup this time is entirely pulp. Characters are gloriously straight off the neo noir literature pagess. Dialogues are deliciously crisp and plot is with a pulse. Working on his own screenplay and with editor Kaminey (means scoundrels) kicks into overdrive from scene one. It tells story of night that changes the life of its twin protagonists with speech impediments. One lisps, other stammers. Plot is convoluted with drugs, money, shiny stones, race fixers, corrupt cops, double crossing agents, crime syndicates, politicians, lover walking jagged razor edges, and a little divine intervention. Teamed up with editor director tells his story with brilliant inter cuts, that loopy, elliptical way. Pop culture references subtle and are of not from west but of our own golden age of cinema (of R D Burman mostly) which adds up are cinematic pleasures, one specifically nuanced one 'Duniya me…' where shirtless Charlie plays the holy-grail guitar at perfect moment. Music by (director again) is a sensation. Dhan Ta Nan is a masterpiece.

For two third of film its gritty dramatic narration just flows flawlessly. It's only last act of the movie doesn't keep high as its predecessors. The back story of twins in extended monologues almost breaks the momentum of its previous two swift acts. And finally it spins out of control for its hyper action comic Reservoir Dogs climax climax on large scale. But it doesn't take away what Kaminey has achieved and has to offer and will open doors for pulp genre in here. Word is Go. Don't miss this bewilderingly bewitching piece of pure entertainment.

Last year when I saw and liked Anurag Basu's Metro, the part appreciated most was Sarmaan's hilarious call-centre segment where everyone was screwing everyone. Later a month or so I rented Billy Wilder's classic The Apartment and shocked to discover particular segment in Metro was lifted from this entire movie. Yes, I was disappointed. I couldn't enjoy a virgin Wilder classic experience but there was a grin on my face definitely how director didn't ruined the borrowed material and did the justice to piece of plagiarism, if there is any such thing exists. Similar experience to greater extent I had last weekend with DilKabaddi which I thoroughly enjoyed, is a straight rip-off of Woody Allen's outstanding Husbands and Wives (1992). But this time there was a strange sense of familiarity with the characters instantly. Their idiosyncrasies somehow carried a floating signature.

In Woody Allen's favorite territory- man-woman relationship, which he explored over three to four decades. This one is a comedy of marriages, divorces, break-ups, reconciliations and re-marriages in the wake of characters' mid life crisis and their inherent urge for infidelity. Film introduces its two principal couples setting the mad-com tone of the film. Sameet (Irrfan) and Meeta (Soha) announces they are separating in the house of their best friends Rishi (Rahul Bose) and Simmi (Konkana Sen Sharma). Second couple is rattled; especially Simmi (soon starts questioning her own relationship). They start to reason why their friends are separating. Simmi asks if Meeta is cold in bed. Rishi reasons yeah as she is too "intellectual" types. Later in one scene Sameet confesses Meeta is too arty and he's tired of watching art movies. With his newly found partner he can watch Welcome without guilt. (Hilarious).

Separation follows Meeta start dating Simmi's colleague Rahul Khanna while Sameet packs his bags and moves in with his gym instructor (Payal) for a bawdy romance full of kinky thrills. Story then probes lives of second couple which turns out more interesting that it seems. Rishi is a literary college professor who regards most of his colleagues as womanizers but for him it's too hard to cross the line now but soon is pulled with infatuating force in the direction of one of his young pupils Raga (well cast). On other hand Simmi is more dangerous types as described by her ex-boyfriend "passive-aggressive types". Tagging her husband as "too critical" she shares her poems silently nourishing hidden feelings to her sensitive and perfect-husband-material colleague Rahul Khanna. No one is innocent in this world.

Characters learn a lot in the course of their infidelity and desires. Sameet who feels his wife gives him stress all the time realizes, only after basking in bed one too many days and nights of course, and realizing there is no way they can appear socially together (one laugh out loud sequence in a party continued in his house), wants to reconcile. He believes now, "Sex for the sake of sex is a disease. Saathi sathi hota hai". In another one oddly touching scene one character shares a passionate kiss with his long time crush in a perfect romantic setting but confesses he can't go on doing it. Walking in rain, he confides in us he just wants to go back home and hug his wife.

Almost filming scene to scene faithfully director makes material more comic and less cynical but keeps the playfulness same in the treatment. Characters talk directly into the camera. Interviews acts on behalf of audiences asking right questions. Actors are doing well here especially Irrfan who plays parody of cheating husbands with such flamboyance and such ridiculous colors; it is sheer brilliance of the actor.

I was the sole soul in my flock to enjoy this desi version of Woody Allen. This is one is about marriages. Even if you are not married you can enjoy it. Like one of the characters says who wrote an article once on Paris and she's never been Paris, you don't have to, she says, "it's a trick".

"Terrorism can never be justified", says FBI officer Roshan played by ever dependable Irrfan Khan to Omar (Neil Nitin Mukesh) an undercover agent who is planted in his friend Sam's (John) house. In the wake of 9/11 thirteen hundred suspects were arrested and detained to prison camps by federals where they were tortured and kept under inhuman conditions. Whatever happened over there was dark spot in their history but that doesn't justify turning into terrorists bombing buildings and killing anyone for that matter. Officer further tells him, yes, those were desperate times. It wasn't easy for anyone and in desperate times governments make mistakes, people take wrong decisions.

In-charge of highly sensitive terror suspect case in spite of him being a Muslim he says this can only happen in America. He is fighting for protecting that freedom.

New York Kabir Khan's second feature film (after fairly good topical entertainment Kabul Express) this potent moment in the entire film.

First thing that captured my attention towards Delhi 6 during its promotional days. Writer-director Rakeysh Om Prakash Mehra, second A R Rehman in top form and third Sonam Kapoor dancing on rooftop with pigeon Masakkali on her head. Hype and hopes were already surrounding around the venture as director's last maverick outing was Rang De Basanti. A young NRI (Abhishek) from New York takes his dying grandmother (Wahida Rehman) back to her own land to spend last days where our hero with faux, annoying American accent meets all other caricatures which populates this misfire. A mythical creature is born in Ramleela festive days called kala-bandar who supposedly beats, robs people. How NRI is drawn into circus resulted which eventually turns ugly in communal riots is what Delhi 6 is all about. Mehra's conceit of using kaala-bandar to tell his story as a satirical drama (at least initially it gave me that impression) works a little in beginning. How minor accidents and coincidences are blown out of proportion by locals and fueled by media junket does its bit. And it has Rehman's some of the best works and Prasoon Joshi's fresh lyrics (Dil Gira Daffatan, Rehna Tu). But director fails to control the tone of the film and couldn't resists turning his material into a message movie. Communal riots, superstitions, castism, Indian living united in diversity? Are we still on that? It's becoming quite a drag frankly.

There is a fleeting scene in Zoya Akhtar's remarkable new film Luck By Chance where an aspiring, struggling young actor Vikram (Farhan Akhtar) nervously enters a big budget movie premiere party. His friend who is an assistant director in Mahesh Bhatt studio has taken him along as return of a favor. Place is bustling with actors, directors, writers, big shots, and crackerjacks of film industry we reckon. He starts walking the noisy venue. Camera starts following him in commotion and calms down somehow, now fluidly capturing Vikram's point of view which is nothing less than surreal. He seems gliding though the glamorous starry room checking artists, celebrities in flesh chatting, giving interviews, drinking, cracking up from touching distance. There is something deliberately dreamy about this shot. Director has given the protagonist his moment. This is what he is aiming at.

When credit rolls in Rab Ne Bana Di Jodi a voice-over of Surindar Singh Sahani played by Shahrukh Khan in trimmed mustache and without furrowed brows shows us his honeymoon album with disarming charm are some of the embracing moments you will witness in a movie. It captures the spirit of Surinder Sahani whom we now call Suri. He is a simple man. Bathing under tap water, having bread-butter from his toaster every day, attire entirely formal with the exception of doohickey sports shoes. He carries a laptop shoulder bag and rides iconic Bajaj scooter, works in some firm called Pujab Power (may be a government job). This man can easily go unnoticed or disappear altogether in crowd. At first he can be mistaken as a parody of common man as measures to establish him are such extremes and efforts can be damned as effusive or maudlin but there is indelible sincerity in all this manifestation.

While promoting the film SRK told media his director described Rab Ne Bana Di Jodi as a love story of ordinary man. His director is not ordinary let me unnecessarily remind you. Aditya Chopra is in our top filmmakers gave two timeless classics DDLJ and Mohobbattein. Indeed I will take his word and expect something magical again. My expectations were not unreasonable.

Suri's eyes catches Taani (debutante enchanting Anushka Sharma, boy! she can dance) while sipping some Mazza or Slice with straw. He tells us shyly it was love-at-first-sight. In hurriedly quick cutting scenes they get married as a result of a mishap. Girl has just lost her father. On the night of wedding he collects all his belongings in a box and moves out to store-room on terrace. Camera swiftly moves up from terrace room to down on both. There is a beautifully poignant scene where she confesses that she will surely be a devoted wife but can't love him ever. He tells her he didn't know what love really is and didn't know any "ladies" until her. Now our hero wants to win her heart. This is so far and, start of a beautiful love story, right? But no, spell is broken by entry of Suri's alter ego -Raj.

Suri gets into new avatar of Raj with the help of his buddy Bobby (Vinay Pathak) who runs a saloon (they share some cracking moments). Raj is clean shaved, no mustache, spiked-hair and goggles. Why do this? He wants to be hero to the girl of his dreams. She doesn't recognize him at all. Ironically he is parody of Bollywood pop culture buffs. He bluffs "style", "attitude", paints himself in all possible colors, try to appear flamboyant, quote endlessly sometimes famous often corny songs-dialogues from n number of movies and act funny (not in a charming way). He annoys her (and audience) with his ceaseless flirting and clowning. She doesn't recognize him and they end up as dance partners in a competition.

Film crumbles from entry of the second character and grows in absurdity to sheer disappoint until it bounces back in its near damn good climax in flash-dance-glory. It does intermittently come to life, throws some dilemmas and asks difficult questions. What if girl falls for the second guy? She is a chaste girl, a loyal wife. Yes, writer-director's exalted faith in pure love that runs through his previous works is still here but his protagonist is lost amid filmy treatment and director's ambiguous approach. I wish this would have been the ultimate love story our bespectacled Clark Kent but no. Damn it Suri, we wanted you more!

Bond is mourning, traumatized by love-betrayal of Vesper Lynd. He is not sleeping much, drinking hard, haunted by Vesper. He is more and more bitter, grim and murderous. There was a ring of ambiguity to her act but enough to torment for rest of his life. He needs to know. Now this should lay ground for a wired revenge picture given Bonds new writers team and creators form in fantastic Casino Royale. Blowing all that in pieces sequel Quantum of Solace is a nosedive. This is an 'action film' constantly reminds you of Bourne flicks (a touchstone for future action films someone rightfully said) not at all reaching any near of them. Biggest blame is director Marc Foster who seemed and now proved unlikely choice (Finding Neverland and Stranger than Fiction). If there is anything that engages is Daniel Craig who is still solid in this otherwise botched piece. Craig gives body and soul to his performance. Looking like hell and cruising like a mad storm, Craig is a raging bull here but sad thing is movie engages him only in fights but never pauses or shift gears in between fights to show haunting of lost love, the driving force of his vengeance, his mission. All slickness, wit and class of Casino Royale is gone instead movie throws us in galore of pointless action.

I always wondered how Bollywood gets away with so much plagiarism so blatantly without facing any law action. Filmmakers, musicians, screenwriters rob Hollywood and other factories for stories, screenplays, music, and what not (I remember even Ashutosh Govarikar's debut film was fickle attempt to remake Brian De Pelma's Body Double, David Dhavan's Partner(Hitch), almost all of Bhatt camp movies Raaz (What lies Beneath). If it is done right or at least watchable (Zaher(Out of Time), Mujhase Shaadi Karogi mild recommendations) audience never minds this overt larceny. Vivek Agnihotri (he made Identity into some ridiculous Ek Tufaaani Raat) set his eyes on great Usual Suspects and tried to concoct a popcorn flick with potboiler intentions. Film suffers from poor writing (adaptation is more appropriate word), direction, production values (one robbery sequence where I burst out laughing). As if enough damages hasn't done there are one or two miscasts like Suniel Shetty (biggest miscast in any film anyway, though credit him for dragging himself so long with help of industry Dosti-Yaari) to do the rest. But movie has some real good songs-item songs, Tanushri Datta cleavage and new twist ending. Watch if you stumbled on this flipping channels.

Showcasing Farhaan Akhtar's brilliant debut as actor-n-singer and Shankar-Ehsaan-Loy's chart-burning music, writer-director Abhishek Kapoor's new film Rock On!! indeed turns auditorium into rock concert. It tells story of four friends, their lives, rock band, passion for music. In that sense, Rock On!! is maverick in its theme as rock music and feels like a companion to Dil Chahata Hai.

Opens with a bang on streets with "Socha hai" track. Then switches to present day where we meet four members of the band living adult life of compromise and disappointments though some are successful. Lead vocalist now investment banker Aditya Shroff's (Farhaan Akhatar) life is on auto-pilot with a beautiful loving wife Saakshi (adorable Prachi Desai). Lead guitarist Joe (Arjun Rampal) still struggling to find sure foot in music industry married to college sweetheart Debbie (Shahana Goswami) who had aspiration of stylist. KD (Purab Kohli) joined his father's jewelry business goes alone to discs while keyboard artist Rob is working with Anu Malik studio having other issues. Their loneliness, mechanical lives, austerity is captured and conveyed with precision. Movie cuts back and forth with brilliantly done flashbacks serves perfect foil to their present day lives. One day Saakshi discovers husband's buried past in archives and a reunion is in sight to recreate the magic one more time.

Reason why Rock on!! works so well as it embraces music and its characters equally neither upstages other. And it does that with no shred of pretentiousness or sensationalism giving movie its sincere and earnest tone. Characters instantly click and become real people. Surprisingly debutant Farhaan delivers film's key performance. In his husky baritone he finely portrays Aditya as multi-faceted character. Watch callous Aditya replying his friends about smoking. Or in that outrageous scene with wife Sakhshi which catches fire but slowly, started with a glass of scotch and a bit of contemplation.

Praising Farhaan let's not belittle other actors. Arjun Rampal's heartfelt performance as failed artist, and Debbie plays her bittersweet character with depth. Watch Purab Kohli stuttering with eyes fixated on Koyal Puri with dork smile – followed by a karaoke scene where he croons Gloria Gaynor's "I will survive" gives movie its biggest laugh. Thought second half follows somewhat traditional path with some weak sequences, it's music and performances you care so much for.

Film wouldn't have been this good without its exuberant soulful music. I was steeped into each stage performance choreographed in the film, as each and every artist in the band physically evoke the musician's styles so authentic it feels like inside a live concert. Evident in ballad "pichale saat dino me" or melodic "Tum ho to" to exhilarating "Sindbaad – the sailor". Watch earliest in a jam packed hall with your own band. It's a finely composed rock album.

The Joker roars "Come on, Hit me!!" as he staggers on the streets of Gotham with a gun and knife out challenging the Batman riding on monster truck 2-wheeler Bat-pod in movie's biggest action sequence. There is a polarized manic jolt in his voice that shots frisson of grit. In Christopher Nolan's terrific new film The Dark Knight fierce forces of evil and good are colliding just like that shot and like never before. This one is a hell of movie!!

Compared to Batman Begins(extraordinary in every bit), Dark Knight moves out of lurking shadows and silhouettes setting bigger ambitious story on wilder canvas and into full blown reality.

Rock star of the show is of course Joker. Late Heath Ledger embodying a perfect evil genius as one of the mesmerizing and memorable screen-villains to hit celluloid. A dangerous upshot of the Batman's crusading campaign - Joker is a supremely intelligent arch rival to Batman (riveting and irreplaceable Christian Bale) and Nolan places him right at the focal point of the plot.

First two hours of movie are breathless. Joker orchestrates his own diabolical magnum opus in city of Gotham. At relentless pace we watch Joker throwing whole city in mayhem with his ingenious sinister schemes. Movie is a chase for Batman and a game for Joker. One after other ingenious schemes, Joker embroils heroes of Gotham with moral and ethical dilemmas to hammer on their faith in good. Nolan and Ledger made Joker so diabolical so complex he is not a mere villain, he becomes a force, vaults through the film, bringing Gotham on the brink of annihilation.

And Heath Ledger is shooting on all cylinders. Uncanny performance by the late actor in his final, most celebrated and by far his best role. In all his fireball scenes, with sloppy make-up and jagged tone, delivering lines like flickering matches Ledger makes every inch of Joker hypnotic and terrifying.

Loaded with dynamite screenplay by Chris Nolan and his brother Jonathan Nolan dazzles with sharp dialogues and strong characters. Batman genre has its genes in film noir (at one point we see Bruce Wayne doing ballistic analysis for the next clue) and finally we have a director who understands it. Nolan explores the dark lore with intense fascination. Apart from evil out there with arsenal, hero-villain dynamics forms the core of the film (director cites Michael Mann's masterpiece Heat as heavy influence) which is far more complex than one might possibly fathom. Movie delves on themes where these cops-criminals form a strong labyrinth connection to the point they need each other. There is a brilliant scene when hero and villain come face-to-face in an interrogation cellar where Joker tells Batman "I don't want to kill you. You…complete…me."

In Comic books city plays like a character, well, Gotham is no exception and Wally Pfister's cinematography puts a gorgeous film on screen perfectly capturing the texture of the comic book frames. Lee Smith's razor sharp editing so brilliantly done with challenge of several plots running never loses its momentum and dynamics keeps audience on the edge. And music score is operatic. These outstanding production values make a visceral,thrilling experience. This is so far the best film of the year.

Movie's grand finale is staged on an unfinished skyscraper - Joker suspended on wires floating like a Gothic shadow figure in the air, his overcoat flowing like cape unravels it all for Batman. It is the intelligence. "This is what happens when an unstoppable force meets an immovable object. We're destined to do this forever", he says. It's fascinating to watch Ledger's devil at work. My favorite shot is where Joker leans out of a police car with his manic laugh, hair flowing in the wind, blurred city lights behind him and director has injected this sinister sound. This is a hallucinating shot. This is a hunting film. Ebert says Comic book movies live and die by their villains, well then the Joker and The Dark Knight are immortal.

Now this is something hits unexpectedly. Johnny Gaddar quite thoughtfully titled like 70's hard-boiled thriller spins a devious plot and pulls off a fantastic thriller. This is one of those relentless movies just refuses to slow down. Having said that is a complement in itself. Bollywood always has flavor for romance and comedy but thriller is still not first class citizen here. In old days B R Chopra gave us real good mysteries and thrillers, in our time Abbas-Mastaan used to deliver but they have lost their way terribly these days. Writer-Director Raghvan's last venture was brilliant Ek Haseena Thi with Saif's snaky performance- his best till date. With Johnny Gaddar he exercised in the same genre and maturating it more and more. He penned a clever on-the-edge thriller and then got in director's chair doing a through job.

Plot is a classic crime setup. Five regular partners going for a deal splitting profit five ways as usual. It is fine until one of guys (of course Apana hero Neil) wants all and elope with his mistress(Rimi Sen). But of course plan will not be executed without flaws and none of the member of the crew is a rookie or push-over. Then onwards film is a gripping tale with twists and turns. It pays-off and it is also not timid to avoid contemporary cliché conclusion.

Film doesn't have A-list stars to draw attention but has actors doing their job nifty making this kind delight. Star of the show is Neil Mukesh. This is a very bold, confident feature debut for the talented actor, certainly Lambi Race Ka Ghoda for the industry. Film offers some real good scenes. I really liked the scene when a cop sitting beside the rat in the gang suggests changing the topic and talk about his favorite actor extracting a virtual confession out. And there is another scene shows glimpse of gray in human carnival when one character held on gun-point and asked about how others solve the mystery earlier and met their demise. He bleeding, about to die, smiles wicked; refuses to answer saying that will puzzle and torment him rest of the life.

Film got a vintage treatment and several references are made to some classics. One of things I admired most here, hero is not sly or wicked but the script is. There seems so many innocent thread suspended loosely initially to pay attention but double backs in as crucial smart clues later. Altogether film is a darn dandy pleasure. Full entertainment all over. Strong Thumps up JohnnyO!!