Bollywood movie Prince, Watch this Vivek Oberoi’s Upcoming Prince Movie Trailer online. Film also stars Nandana Singh, Neeru Singh. Film Prince is also releasing simultaneously in Hindi, Tamil and Telugu.
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Post RAAZ and 1920, you expect an enthralling horror film, with chills aplenty, from Vikram Bhatt. You presume his third horror film SHAAPIT would be even more scarier than his earlier works, mainly because Bhatt is now a seasoned player, as far as this genre is concerned.
SHAAPIT also makes a startling promise in its adverts - ‘Warning: Extremely frightening’. Now that’s quite a tall claim, isn’t it?
Scary movies made in Bollywood, generally, have two stories rolled into one film: The past, when the wrong was committed and the present, when the past comes to haunt the young couple. Coincidentally, both RAAZ and 1920 followed this concept and so does SHAAPIT. Only this time, the story dates back to 300 + years and then comes back to the present day.
The unspoken and unwritten rule for horror films is simple: They ought to scare you at the right places and also, the culmination ought to be the best part of the story. SHAAPIT succeeds in giving you those jhatkas at several points [there are some genuinely chilling scenes] and the culmination to the tale, although a bit lengthy, keeps you involved in the proceedings.
Final word? With SHAAPIT, Vikram Bhatt raises the bar for horror films made in India. Full marks to Bhatt for making that one kick-ass horror thriller, which easily ranks amongst the best in this genre in terms of plot, setting, technique and performances. Go, get scared!
When Aman [Aditya Narayan] proposes to Kaaya [Shweta Agrawal] and as soon as Kaaya wears the engagement ring and the couple drives off together, their car takes a spin and bounces off the road, almost killing both of them.
When Kaaya’s parents [Murli Sharma, Nishigandha Wad] hear about their daughter’s accident, they rush to the hospital to find an engagement ring on their daughter’s finger. Distraught, the father explains to the young couple that three hundred years back, their family had incurred the curse of an angry Brahmin and that curse did not allow the daughters of their family to be married.
Aman meets Pashupathi [Rahul Dev], the master of the ways of the spiritual world. Pashupathi tells Aman that in some cultures, there was a belief that a generational curse worked much after even the person who had uttered the curse was dead because, it was believed, that an evil curse when uttered stuck to an evil spirit and the spirit then became the keeper of the curse and it was the duty of that evil spirit to make the curse come true generation after generation.
Aman asks Pashupathi if there was a way to destroy the spirit and get rid of the curse. Pashupathi tells him that there was a way, but it was filled with peril. If he sets about to hunt and destroy a spirit, then the spirit would also know that it was being hunted. Aman tells Pashupathi that he would fight for his love… and so begins their journey.
Vikram Bhatt merges the past and present beautifully. The explanation offered at the very start - a spirit continues to safeguard the curse for centuries - is something that Indians, generally, would relate to.
A number of sequences bear the unmistakable stamp of this refined storyteller - Vikram Bhatt. Sample these…
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A title like LAHORE gives you the feeling that it’s an Indo-Pak story. The fact is, it is, but it’s about kick-boxing, a sport that hasn’t been presented on celluloid before, at least on the Hindi screen. Cricket, boxing, hockey and football have found their way on the Hindi screen, but kick-boxing, not to my knowledge.
Sure, there are references to the precarious Indo-Pak relations in a few sequences, but let’s get one thing clear. This is not a ‘war film’. There’s no slogan-shouting or Pak-bashing here. There’s no jingoism either. In fact, the culmination to the story — a shocker, which is sure to raise eyebrows — is absolutely outstanding and will work with both the nations.
LAHORE isn’t about kick-boxing only. It’s about relationships — between two nations and also between two brothers — with a strong undercurrent of emotions. It’s the emotional quotient, besides the penultimate do-or-die match, that tilts things in its favour.
Final word? Take a trip to LAHORE. If you’re a sportsman or even if you’re not, catch this one for sure!
The selection of the Indian kick-boxing team is to be done. The final stage of qualification is in process. Amidst all this there is a minister [K. Jeeva], who wants his favourite participant to be selected; a coach [Farooque Shaikh], who wants merit to be the order of the day; an aspirant [Sushant Singh], who dreams to qualify purely on the basis of his merit; another aspirant [Kelly Dorji], who is over-confident, well connected and aims high to represent India.
The focus shifts to Kuala Lumpur. Two opponents, Dhirendra Singh [Sushant Singh] from India comes face to face with Noor Mohammad [Mukesh Rishi] from Pakistan. But an unexpected incident takes place. The sports fraternity stands numb.
The two nations meet in Lahore for a fresh kick-boxing tournament. This time, Noor Mohammed comes face to face with Virendra Singh [Aanaahad], Dhirendra’s brother. Winning the game is not the only thing on his mind. Virendra wants to settle some old scores and restore the lost pride of the nation.
Debutante director Sanjay Puran Singh Chauhan gives you an insight of what to expect at the very start of the film. Thereafter, he unravels two tracks that run concurrently all through the first hour. The first track pertains to the relationship between the brothers and the second, the two neighbours — India and Pakistan — preparing to outdo each other in the boxing ring.
The highpoint of the film are the kick-boxing duels — in Kuala Lumpur first [first half] and Lahore [second half] later. The sequence at the interval is shocking and one looks forward to an equally exhilarating second hour.
But the story dips in the post-interval portions, primarily because you know where it is headed. The subtle romance between Aanaahad and Shraddha Das is well knitted, but a cricketer [Aanaahad] getting chosen to represent India for an altogether different sport [kick-boxing] is a bit difficult to absorb, although the director has justified the decision by depicting sequences where Aanaahad is shown getting trained in kick-boxing. Yet, despite that, it appears like a cinematic liberty.
But the moment the Indian team sets foot in Lahore, right till the culmination, the film regains the lost ground and moves into a completely new zone. The matches, shot deftly, are pulse-pounding and even if you’re not a sportsperson or haven’t watched a kick-boxing tournament before, you can’t help but remain hooked to the proceedings. The fight-to-finish duel is simply outstanding!
Debutante director Sanjay Puran Singh Chauhan has the makings of a highly skilled storyteller. The film has won applause and awards at various international film festivals and very deservingly so! Aiding the director in his mission are two people — the person who executed the kick-boxing sequences [action director: Tony Leung Siu Hung] and the cinematographer [Neelabh Kaul], who has captured them with such precision. There’s not much scope for music [M.M. Kreem] in the film, while the background score [Wayne Sharpe] is effectual. The production design [Kesto Mondal] deserves special praise.
Farooque Shaikh is top notch. Saurabh Shukla compliments him well. Sabyasachi Chakraborty is incredible. Sushant Singh enacts his part efficiently. Shraddha Nigam is good. Mukesh Rishi conveys a lot through silence. Shraddha Das carries the Pakistani look well. Nafisa Ali is restrained. Ashish Vidyarthi is proficient. K. Jeeva is perfect. Kelly Dorji impresses. Nirmal Pandey gets minimal scope.
As for Aanaahad, it’s the role of a lifetime. It may not be a conventional launch, but the fact is that the role seems tailor-made for him and he performs it with gusto.
On the whole, LAHORE is a small little gem that takes you by surprise and catches you completely unaware. The finale in the boxing ring itself is worth the price of the ticket and more. I suggest, you make time for this one.
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Be forewarned…
LOVE SEX AUR DHOKHA is not the archetypal/mundane/formulaic stuff that one has grown watching.
LOVE SEX AUR DHOKHA is not for the faint-hearted.
LOVE SEX AUR DHOKHA is not for the orthodox/conformists/moral watchdogs of society.
First things first! It’s not another version of Steven Soderbergh’s SEX, LIES, & VIDEOTAPE [1989], as widely rumoured. Now let me hit the nail on the head. Don’t expect the expected from Dibakar Banerjee. LOVE SEX AUR DHOKHA, helmed by the director of KHOSLA KA GHOSLA and OYE LUCKY! LUCKY OYE!, is a complete departure from what we have witnessed so far. It talks of voyeurism [it has been divided into three stories, each focussing on different plots pertaining to voyeurism]. It is brave. It is scandalous. Most importantly, it is path-breaking. You will either love it or loathe it.
LOVE SEX AUR DHOKHA is not an easy film to comprehend either. The constant shaking of camera [it's a digital film with a hidden camera playing a character by itself] may bother you initially, since this is the first time that a storyteller has used this technique in Bollywood to narrate three different stories in one film. But the material is so compelling [screenplay: Dibakar Banerjee and Kanu Behl] and the stories so captivating that you absorb this storytelling technique within a few minutes of its commencement.
Dibakar makes an attempt to tell you that there’s no privacy in today’s age, courtesy cell phones, spy cams, sting operations and MMS. Technology is not just a boon, but also a bane and the film reiterates this fact.
Final word? LOVE SEX AUR DHOKHA signifies the changing face of Hindi cinema. Ekta Kapoor’s first foray into experimental cinema has all it takes to be a cult film that might just trigger off a new trend in Bollywood. It’s courageous, disturbing and yet entertaining!
Story I: In a film institute in North India, a student gears up for his diploma film. With an amateur small-town cast, Rahul starts filming a love story and eventually falls in love with his heroine Shruti. They elope, get married and dream of a blissful future.
Story II: Adarsh installs security cameras in a small, upcoming 24-hour department store. In desperate need of cash to clear off his debts, Adarsh hits upon the idea of making a porn clip through the security cameras in the shop. The victim? Rashmi, who works in the store.
Story III: Prabhat - a sting journalist - attempts a series of failed suicides. He meets Naina, who is also trying to commit suicide. She had been promised a music video by Loki Local, a Hip Hop pop star. She slept with him for the same, but the video finally went to a Russian blonde. Prabhat and Naina decide to do a sting operation.
The first story starts off as a spoof on Bollywood, but you gradually realize that it bears an uncanny resemblance to at least two real-life love stories, which have had a heart-rending ending and which continue to remain in news to this date.
The second story - the MMS scandal - is scary. Just Google on MMS scandals and you will realize that so many girls have been victims of this technology. Unfortunately, in several reported cases, the MMS clips were distributed by the boyfriends themselves.
I’d like to add something more about this story… The sequence, however, is not meant to be seen as individual scene because it’s an integral part of the story. The nudity is not aimed to titillate, but repel you. The scene is so stark and shot so pragmatically that at the end of the story, you start feeling distressed.
The third story - a sting operation - mirrors an actuality, yet again. You can’t deny that the casting couch exists and people do resort to shortcuts to attain name, fame and money overnight. The sequence involving the Hip Hop pop star and the wannabe actress seems straight out of life. Also, we get a glimpse of how we consume news these days and journalists are forced to cover entertainment, instead of facts.
Director Dibakar Banerjee has a unique sensibility and a keen eye for the unconventional. His choice of subject and decision to shoot the film on a digital format needs to be lauded and also the intertwining of the three stories. LOVE SEX AUR DHOKHA is sure to shake you. It’s provocative and steamy, but it’s scandalous and startling as well.
There’s just one song in the narrative - the title track - which is already popular thanks to its catchy tune and filming. The DoP [Nikos Andritsakis] does a splendid job. Seems like the film has been shot on a handycam, security cameras placed in shops, underwater cameras and spy cameras, which is, again, very innovative. Editing [Namrata Rao] is perfect.
There was a need for fresh faces in order to portray the realism and the performances of each and every member of the cast are superb. Anshuman Jha [as Rahul], Shruti [as Shruti], Raj Kumar Yadav [as Adarsh], Neha Chauhan [as Rashmi], Amit Sial [as Prabhat], Arya Devdutta [as Naina] and Herry Tangri [as Loki Local] are amazing actors all.
On the whole, LOVE SEX AUR DHOKHA is original, innovative and ground-breaking cinema, which will shock and provoke you. The film is definitely not for the faint-hearted or those who swear by stereotypical fares, but for those who yearn for a change. The youth, especially in metros, should fall hook, line and sinker for this one. The volatile title as also the explosive content should make this low-cost film [budgeted at approx. Rs. 1.5 cr.] a commercial accomplishment!
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La Paz (Bolivia), Jorge Ramirez seemed like an amiable technician-turned cab owner who might be meeting an Indian for the first time in his life. “From India?” he asked and before I could answer yes, he added, “Shah Rukh Khan?” Before I could answer even that, he popped in a CD in his cab’s player [...]
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New Delhi, Actor Vivek Oberoi says he lost his childhood sweetheart to cancer when he was 18.
“When I was just 18, I lost my first love. My childhood sweetheart since the age of 13 died of cancer,” he wrote on his Twitter page.
The actor, who is the brand ambassador of Cancer Patients Aid Association [...]
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Appearances can be deceptive. Somehow, I’ve not been able to connect to the promos of RIGHT YAAA WRONG. And now, after I’ve watched the film, I genuinely feel that the promos don’t do justice to this taut thriller.
Also, I had strong reservations for this one. Sunny Deol, an A-lister at a point of time, had slipped into oblivion thanks to the wrong films that he chose to act in. Two factors that really go against RIGHT YAAA WRONG.
But never judge a book by its cover [in this case, its promos]. For, RIGHT YAAA WRONG is a gripping thriller with a taut courtroom drama that catches you unaware and surprises you, especially towards its post-interval portions.
Come to think of it, a plot like RIGHT YAAA WRONG is not easy to pen and narrate. The conflict between two thick friends and how they find themselves on the opposite sides of the law ought to be handled with gloves. Most importantly, when the tension reaches its peak, the culmination has to be razor-sharp and concurrently, justify both the sides’ point of view. Fortunately, RIGHT YAAA WRONG hits the right note.
So what’s the verdict? Is watching this fare right or wrong? It’s right, I’d say!
Ajay [Sunny Deol] is a brave cop. An unexpected incident takes place and he wants his wife [Eesha Koppikhar] to kill him. Will a wife agree to kill her own husband? Why does Ajay want to kill himself?
Ajay and Vinay [Irrfan Khan] were the best of friends, but an intense rivalry leads to a battle for supremacy. A dramatic confrontation ensues, where Vidya [Konkona Sen Sharma], Vinay’s sister, chooses to support Ajay in this chase of mind games and Vinay has to fight it out.
Let’s face it, you don’t take to RIGHT YAAA WRONG at the outset. The initial portions give an impression of been-there-seen-that to the viewer. But, gradually, RIGHT YAAA WRONG starts getting into the groove, when Sunny hatches a conspiracy of his death and asks his wife and brother to execute his plans. The interval point is indeed a shocker!
The film takes off in its second half, when Sunny sticks to his alibi, while Irrfan doesn’t buy Sunny’s statement and re-opens the case. The twists and turns in this hour, interspersed with courtroom sequences, which leads to an emotional finale, are simply spellbinding.
Director Neerraj Pathak shows immense potential. He had proved his credentials as a writer earlier [GHAATH, PARDES, APNE], but with RIGHT YAAA WRONG, he proves he’s an efficient storyteller as well. Monty’s music is strictly functional and the few songs in the narrative don’t contribute much.
Sunny seems to get it right this time. He underplays his part beautifully. But it is Irrfan who lights fire in water and emerges the scene-stealer. He’s excellent all through the second hour. Konkona stages an entry in the post-interval portions and makes a stunning impact in the courtroom sequences. Eesha Koppikhar is first-rate. Arav Chowdharry [Sunny's brother] enacts his part with conviction.
On the whole, RIGHT YAAA WRONG is a powerful thriller, with a knockout second half. However, the film faces strong opposition from two quarters - IPL cricket matches and the ongoing examination period. But a strong word of mouth should change the tide in its favour. Go, watch it… this one’s a pleasant surprise!
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Generally speaking, a film starring relative newcomers and helmed by a first-time director comes with zilch expectations. And if the film in question happens to be a suspense-thriller, the debutante director has to walk a tight rope. One false step and chances are he’d fall on his face.
Debutante director Shawn Arranha surprises you in his very first outing. It may not be the most captivating thriller you’ve watched, but there are moments that keep you hooked to the proceedings. Also, a suspense saga works if you continue to play the guessing game till the end and in this case, you can’t tell who the culprit is. That is nothing short of a victory for this film!
On the flip side, the making could’ve been better in terms of production values and at times, it does give an impression of being a rushed job as far as the writing is concerned.
Love slasher movies? Watch HIDE & SEEK. It has ample adrenaline pumping moments!
They were kids - Om, Abhi, Jaideep, Imran, Gunita and Jyotika. And it all started as a game on a chilly Christmas night. But little did they expect that night that the game would change their lives forever. Twelve years later, while some still wrestled with memories of that fateful night and others left it buried deep within them, it was a past that came back to haunt them again.
Twelve years later, someone was bringing them all together. To play that game all over again. Six best friends turn into worst enemies when trapped in a shopping mall.
If you let logic take a backseat, chances are you’d enjoy this ride more. Just don’t question how one person, single-handedly, kidnaps his friends the same night and assembles them at one location, without any help whatsoever. If you skip this gaffe, the journey ahead would be riveting in most parts.
It takes time to get used to the plot. It does get confusing when the film goes back and forth with regularity and you wonder, what is the director trying to say? But the jigsaw puzzle slowly gets solved in the post-interval portions, although the end sends out confusing signals.
In view of the fact that it is his first film, Shawn does a commendable job. Only thing, he should’ve simplified a few things, especially the end. The songs are okay, while the camerawork lacks finesse.
The performances by the lead actors are neat, with every member putting his/her best foot forward. Purab Kohli is super-efficient, as always. Arjan Bajwa gets the look and feel of the character right. Samir Kochhar leaves a strong impact. Ayaz Khan is decent. Mrinalini Sharma springs a pleasant surprise with a ’spirited’ performance. Amruta Patki impresses as well.
On the whole, HIDE & SEEK is a gripping suspense drama that keeps you guessing till its end. Go for it, if a good suspense thriller is what you’re looking at!
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New Delhi, Bollywood actor Preity Zinta, who was Thursday appointed as the goodwill ambassador for UNAIDS in India, will create awareness against AIDS along with the members of her Indian Premier League (IPL) team Kings XI Punjab.
“All our players will sport red ribbons during their matches. In our first match against Delhi Daredevils, we will [...]
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A wide majority of Hindi movies look at urban issues. Right from the outfits to the lingo, there’s no denying that Hindi movies also look at West for inspiration. In real life too, burgers, pizzas, sizzlers and colas have replaced sarson ka saag, dal-roti and sherbat-n-gola. But you do crave for desi food when you keep munching non-desi stuff all the while, don’t you?
The fact is, desi stories, with real characters, can never go out of fashion. In fact, a number of present-day film-makers often tell me that they look upon, besides other reputed names, Hrishikesh Mukherjee as an inspiration. On one hand you had Amitabh Bachchan, the reigning superstar of 1970s and 1980s, doing a SHOLAY and an AMAR AKBAR ANTHONY and on the other hand, doing a BEMISAAL and a CHUPKE CHUPKE for Hrishi-da.
Debutante director Rahul Aggarwal also, very respectfully, credits his inspiration to Hrishi-da and his first outing NA GHAR KE NA GHAAT KE mirrors the fact at several points of the narrative. The protagonist in the film is like any other non-descript person you set your eyes on the street, who is as helpless as you and me in a life-changing situation.
A film like NA GHAR KE NA GHAAT KE ought to have a simple, uncomplicated plotline and actors who can pull off these roles without ‘acting’ those parts. While the writing is interesting at times and wobbly at places [the climax is weak], the set of actors are more or less believable.
Final word? NA GHAR KE NA GHAAT KE may not be that small little gem that sparkles brightly even in the dark, but it’s an earnest effort from a first-time storyteller [Rahul Aggarwal] nonetheless.
Devki Nandan Tripathi [Rahul Aggarwal] is a simple, rustic man who decides to try his luck in the city of dreams, Mumbai. He gets a job at the Mausam Vibhaag. In the city, he comes across an array of people who often find his innocence amusing and comical, but Devki realises that they stick with him even in the thickest of bogs that his life hauls him in.
The very first sequence of NA GHAR KE NA GHAAT KE sets the mood of the film and you instantly get drawn into the world of Devki Nandan Tripathi. While major portions of the first hour are plain ordinary, it’s the second half that catches your eye. The sequences between Paresh and Rahul are the mainstay of the film and the subsequent arrival of the villagers to prove that Rahul and Narayani are indeed married brings a big smile on your face.
But the smile transforms into a frown as the film nears its climax. The chase and the subsequent marriage in the police station premises appears filmi and a complete compromise from the writing point of view. A better culmination to the story would’ve only enhanced the impact.
Debutante director Rahul Aggarwal knows the grammar of film-making right, but a little more emphasis on the screenplay would’ve helped enormously. Lalit Pandit’s music is strictly okay. K. Rajkumar’s cinematography is alright.
Rahul Aggarwal enacts the pivotal part with conviction. Narayani Shastri does a decent job. Both Paresh Rawal and Om Puri are first-rate. Neena Gupta is wasted. Ravi Kishan carries off the loud character very well. Ananth Mahadevan is alright.
On the whole, NA GHAR KE NA GHAAT KE is a simple film told in the most simplistic manner. Should appeal mainly to those who cherish the Hrishikesh Mukherjee movies of yore.
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