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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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Chandigarh, An NGO, Ekatra, Monday released a documentary film highlighting the plight of families of farmers who committed suicides in Punjab.
The documentary film covers Lehra Gaga and Andana blocks of Sangrur district, around 100 km from here, where many cases of farmer suicides have been reported in the last few years.
Inderjit Singh Jaijee, who [...]

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Just a thought before I review this film… When you saunter in for the screening of a movie directed by a celebrated film-maker, a movie which has had a good run at film festivals, a movie which tilts towards art house cinema, it is expected that the critic shower the film with lavish praises and speak of it in glowing terms.

If you don’t, get ready to be ostracized by pseudos masquerading as messiahs of parallel cinema, get ready to be labelled a nincompoop by netizens, get ready to face the constant bitching and loose talk by the ‘Balcony Class’ presswalas. Believe me, a few people are in awe of such cinema and feel they need to prove how cerebral they are by praising such films.

Now to the review! Either the film works or it doesn’t. It’s all about the story and how convincingly the storyteller narrates it. If the story is absorbing, you can’t take your eyes off screen. If it isn’t, you break into a yawn, you fidget with your cell phone, you start looking at all places, except the screen.

What you’re attempting to say, is important. But how many people actually follow what you’re saying, is even more important. ROAD, MOVIE narrates the journey of a young man and the people he encounters on his way. But the problem is, what is ROAD, MOVIE trying to say? You’re clueless!

Is it about the water mafia? Is it about a touring cinema? Is it a love story between an educated youth and a gypsy? Is it a road movie? The sole factor that stands out in this film is its breath-taking locations/visuals. They are more striking than the story. And that’s the sad truth!

Also, why is it that India is often projected as a land of snake charmers, as a poverty-stricken, hunger-stricken, drought-stricken country with beggars and slums all around? Is that what India is, in their eyes? Is this what we are trying to sell to the West and the world in general? That’s really sad!

Final word? ROAD, MOVIE caters to a very, very, very, very tiny section of movie-going audience, who have an appetite for ‘festival films’.

Vishnu [Abhay Deol], a restless young man, itches to escape his father’s faltering hair oil business. An old truck beckons, which Vishnu sees as his ticket to freedom. As he sets off across the harsh terrain of desert India, he discovers he’s not merely transporting a battered vehicle, but an old touring cinema.

Along the way, Vishnu reluctantly picks up a young runaway [Mohammed Faizal Usmani], a wandering old entertainer [Satish Kaushik] and a gypsy woman [Tannishtha Chatterjee]. Together they roam in the barren land, searching for water and an elusive fair. The journey turns dire when they are waylaid by corrupt cops and a notorious water lord.

ROAD, MOVIE starts off very well, but loses focus midway. Abhay’s interaction with the kid and also Satish Kaushik is thoroughly enjoyable. But as the story unfolds, the movie loses its grip and starts going in circles. The plot works till Abhay and Satish screen the movie for the cop, but the portions thereafter aren’t engaging, except for a sequence or two in between.

The portions depicting the fair leaves you confused. Was it for real or a dream sequence? Also, the sequence with the water mafia [Yashpal Sharma] is absurd. This sequence - when Abhay trades off water for hair oil - doesn’t gel well with the mood of the film. Even the romantic track between Abhay and Tannishtha looks far from convincing. The finale too lacks clarity and the remix version of ‘Tel Maalish’ is hardly there.

Director Dev Benegal seems to have concentrated more on visuals than narrating a gripping story. Frankly, the story is so fragile that it’s difficult to hold your attention in those 90 odd minutes. The screenplay is bland and what makes it worse is the fact that the plot unravels at a lethargic pace. Dialogues are well worded at places.

Abhay Deol is a complete natural and this film proves it yet again. Satish Kaushik is first-rate. Mohammed Faizal Usmani impresses. Tannishtha Chatterjee does well. Yashpal Sharma is wasted. Virendra Saxena is efficient.

On the whole, ROAD, MOVIE is more for the festival circuit and some connoisseurs of art house cinema, who may savour it. That’s about it!

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Just a thought before I review this film… When you saunter in for the screening of a movie directed by a celebrated film-maker, a movie which has had a good run at film festivals, a movie which tilts towards art house cinema, it is expected that the critic shower the film with lavish praises and speak of it in glowing terms.

If you don’t, get ready to be ostracized by pseudos masquerading as messiahs of parallel cinema, get ready to be labelled a nincompoop by netizens, get ready to face the constant bitching and loose talk by the ‘Balcony Class’ presswalas. Believe me, a few people are in awe of such cinema and feel they need to prove how cerebral they are by praising such films.

Now to the review! Either the film works or it doesn’t. It’s all about the story and how convincingly the storyteller narrates it. If the story is absorbing, you can’t take your eyes off screen. If it isn’t, you break into a yawn, you fidget with your cell phone, you start looking at all places, except the screen.

What you’re attempting to say, is important. But how many people actually follow what you’re saying, is even more important. ROAD, MOVIE narrates the journey of a young man and the people he encounters on his way. But the problem is, what is ROAD, MOVIE trying to say? You’re clueless!

Is it about the water mafia? Is it about a touring cinema? Is it a love story between an educated youth and a gypsy? Is it a road movie? The sole factor that stands out in this film is its breath-taking locations/visuals. They are more striking than the story. And that’s the sad truth!

Also, why is it that India is often projected as a land of snake charmers, as a poverty-stricken, hunger-stricken, drought-stricken country with beggars and slums all around? Is that what India is, in their eyes? Is this what we are trying to sell to the West and the world in general? That’s really sad!

Final word? ROAD, MOVIE caters to a very, very, very, very tiny section of movie-going audience, who have an appetite for ‘festival films’.

Vishnu [Abhay Deol], a restless young man, itches to escape his father’s faltering hair oil business. An old truck beckons, which Vishnu sees as his ticket to freedom. As he sets off across the harsh terrain of desert India, he discovers he’s not merely transporting a battered vehicle, but an old touring cinema.

Along the way, Vishnu reluctantly picks up a young runaway [Mohammed Faizal Usmani], a wandering old entertainer [Satish Kaushik] and a gypsy woman [Tannishtha Chatterjee]. Together they roam in the barren land, searching for water and an elusive fair. The journey turns dire when they are waylaid by corrupt cops and a notorious water lord.

ROAD, MOVIE starts off very well, but loses focus midway. Abhay’s interaction with the kid and also Satish Kaushik is thoroughly enjoyable. But as the story unfolds, the movie loses its grip and starts going in circles. The plot works till Abhay and Satish screen the movie for the cop, but the portions thereafter aren’t engaging, except for a sequence or two in between.

The portions depicting the fair leaves you confused. Was it for real or a dream sequence? Also, the sequence with the water mafia [Yashpal Sharma] is absurd. This sequence - when Abhay trades off water for hair oil - doesn’t gel well with the mood of the film. Even the romantic track between Abhay and Tannishtha looks far from convincing. The finale too lacks clarity and the remix version of ‘Tel Maalish’ is hardly there.

Director Dev Benegal seems to have concentrated more on visuals than narrating a gripping story. Frankly, the story is so fragile that it’s difficult to hold your attention in those 90 odd minutes. The screenplay is bland and what makes it worse is the fact that the plot unravels at a lethargic pace. Dialogues are well worded at places.

Abhay Deol is a complete natural and this film proves it yet again. Satish Kaushik is first-rate. Mohammed Faizal Usmani impresses. Tannishtha Chatterjee does well. Yashpal Sharma is wasted. Virendra Saxena is efficient.

On the whole, ROAD, MOVIE is more for the festival circuit and some connoisseurs of art house cinema, who may savour it. That’s about it!

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One of my childhood memories is that of several relatives visiting us in Mumbai [presumably for a few days], but overstaying their welcome. Those days, the atithis were never looked upon as ‘intruders’.

Times have changed! If you live in a metropolis, if your spouse and you work round-the-clock and have commitments to honour, any extra person - other than those living with us or is part of our day-to-day schedule - is strictly unwelcome. His/her arrival may cause hindrance and rob you of your privacy.

ATITHI TUM KAB JAOGE? mirrors a reality, but the story has scope for not just humour and emotions, the staple diet of most Hindi movies, but there’s a generous dose of devotional quotient that is well integrated in the storyline.

Do you miss movies of yore, helmed by masters like Hrishikesh Mukherjee and Basu Chatterjee? ATITHI TUM KAB JAOGE? may not be a CHUPKE CHUPKE, GOLMAAL, CHITCHOR or KHATTA MEETHA, but it has a certain old-world charm that one misses in cinema of today.

Final word? Bring this atithi home!

It tells the story of Puneet [Ajay Devgn] and Munmun [Konkona], a married couple living in Mumbai. Their lives take an interesting turn when a distant relative, Chachaji [Paresh Rawal], turns up unannounced at their doorstep from a far-off village. The guest overstays his welcome, so much so that the exasperated couple come up with various ploys to hasten his departure.

ATITHI TUM KAB JAOGE? is a light-hearted entertainer that tickles your funny bone at several points. The best part is, you not only laugh at the funny one-liners, but also at situations, which are so life-like and which makes you connect with them instantly.

ATITHI TUM KAB JAOGE? rests on three characters primarily - Ajay, Konkona and Paresh - and director Ashwni Dhir and his team of writers [Robin Bhatt, Tushar Hiranandani] have ensured that there are ample [enjoyable] scenes that you carry home. What really takes you by surprise is the devotional factor that has been smartly injected in the screenplay. The traditional Indian audiences would love the Mata ki aarti, the Ganesh Chaturthi festival and the sanskaar that the atithi instils in Ajay and Konkona’s child.

But the writing wanders into unwanted areas, which could’ve been avoided in the first place. The raid at the hotel, where Ajay, Konkona and their son move into, seems unnecessary. Ditto for the subsequent scene at the cop station. Immediately thereafter, Ajay hires the services of a Bhai to get rid of Paresh, which looks far-fetched. These three incidents, which come back to back, only add to the length of the film. Also, Paresh breaking wind [gas/flatulence] looks funny in a scene or two, but why make it a recurring occurrence? An overdose is embarrassing!

However, the climax, which starts with the sthapna of Lord Ganesh’s idol in Ajay’s home, till the culmination of the story, makes the goings-on immensely watchable.

Director Ashwni Dhir, best known for penning comic shows, proves that he’s at ease handling dramatic [interval point] and emotional [climax] scenes with gusto. Pritam’s music is ordinary, but the songs fit well in the narrative, especially the two devotional tracks. The title track [Amit Mishra] is quite catchy. Aseem Bajaj’s camerawork is first-rate. Dialogues [Ashwni Dhir] are excellent.

Come to think of it, it requires a lot of courage to play a role that’s devoid of star mannerisms and Ajay enacts this part most convincingly. Konkona is spontaneous and a complete natural. Paresh is superb as the atithi. He’s definitely the scene-stealer! Satish Kaushik shines, especially in the sequence when he apologises to Ajay. Akhilendra Mishra, Mukesh Tiwari and Viju Khote are alright. Sanjay Mishra is first-rate.

On the whole, ATITHI TUM KAB JAOGE? is a hilarious movie, but unlike any slapstick comedy. It’s a light-hearted film with sensibility, humour and a strong undercurrent of emotion. This atithi is sure to find a place in your heart!

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Mumbai, Love story “Dilwale Dulhania Le Jayenge”, one of the biggest blockbusters of Hindi films, has completed 750 weeks of continuous screenings in a cinema hall.
This Sunday, the film completes 750 weeks at the Maratha Mandir theatre here.
Directed by Aditya Chopra and starring Shah Rukh Khan and Kajol, the movie opened to full [...]

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Mumbai, It’s not just the Indian milieu that identified with the concept of “3 Idiots” but the blockbuster also touched a chord with the Non Resident Indians (NRIs) abroad, says actor R Madhavan, who hosted “Coffee with an Idiot” in the US.
“I was struck by the level of intellectual and mass connectivity the NRIs [...]

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Mumbai, Goldie Behl is in the process of locking in on his third directorial venture and Abhishek Bachchan’s presence is a given.
“I can’t dream of making a film without him. He’s my brother,” said Behl.
He says he doesn’t want to wait as long as he did between his first directorial undertaking “Bas Itna Sa [...]

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One look at the promos of ROAD TO SANGAM and you realize that this isn’t one of those films you watch every week. ROAD TO SANGAM, in fact, pricks your conscience and mirrors a reality.

Wars have been fought and are still being fought in the name of religion. ROAD TO SANGAM tries to seek answers to the burning issue and in the process, also talks of partition and the Muslims in present-day India.

Made with honest intentions, this one’s targeted at connoisseurs of cinema.

ROAD TO SANGAM tells the story of a God-fearing, devout Muslim mechanic named Hashmat Ullah [Paresh Rawal], who has been entrusted the job of repairing an old Ford engine, not knowing its historic significance.

He is caught in a complex situation after a powerful bomb explosion rocks his town, leading to the arrest of innocent Muslim youths of his locality. A strike to work is called by the prominent leaders [played by Om Puri and Pawan Malhotra] of his community to protest against the unjust treatment meted out to those arrested youths by the police.

Will he support the protest and abandon the repair of the engine or go against the wishes of his community?

A simple, thought-provoking story, ROAD TO SANGAM has some brilliant moments and also some sequences that you carry home. But what could’ve been told in a concise format seems stretched after a point. Also, besides moving at a snail’s pace, there’s also sermonising at times, which wasn’t really required.

Writer-director Amit Rai explains his point of view, but the screenplay could’ve been firm for a stronger impact. Otherwise, the director has succeeded in extracting wonderful performances from the principal cast.

Paresh Rawal excels in this film. This is amongst his finest works. Om Puri is equally competent, although the length of his role is limited. Pawan Malhotra is efficient, as always. Javed Sheikh is good. The remaining actors enact their parts very well.

On the whole, ROAD TO SANGAM is mainly for connoisseurs of cinema and also for the festival circuit.

Rating:- [critique] * * *.

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New Delhi, Bollywood actor Abhishek Bachchan got nostalgic while filming an ad with wife Aishwarya Rai at Filmistan Studios, the same location where they gave their first shot together 11 years ago when they were mere acquaintances.
“It was here on the very same floor 11 years ago that we gave our first ever shot together. [...]

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