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Been there, seen that, moved on. RUNWAY doesn’t have anything new to offer, it’s a run of the mill action love story recited in the most

routine manner. It reminds you of the Emraan Hashmi starrer AWARAPAN, but it is too ordinary and hardly has anything going in its

favour.

Allan [Amarjeet] becomes a contract killer to save his love Melvyna [Deepal Shaw]. Melvyna had unfortunately fallen prey to drug addiction

and was now battling for life, getting treated for drug addiction and other complications which had raised their ugly head due to prolonged

drug abuse.

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Allan wants her to live and wants to save her at any cost. He requires money for her treatment and takes the contract of killing the

billionaire casino owner Victor.
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The problem is, RUNWAY is handicapped by poor direction [Suniel - Praful]. Besides, the screenplay is too weak since the story wastes

valuable time in ineffective emotions and scenes, whereas the encashable portions have been cut short. Especially the climax, which has been

altered so severely that it gives an incomplete feeling. The beautiful locales of Mauritius too haven’t been explored completely.

Music by Shamir Tandon is dull, except the hit track ‘Khuda Kay Liye’, which is consistently repeated in the film.

Amarjeet is okay as an actor, but does well in action scenes. Tulip Joshi under-performs. Deepal Shaw is below average. Sharat Saxena has a

minimal role. Shawar Ali puts on an act. Lucky Ali is adequate.

On the whole, RUNWAY is saddled with a weak script and therefore, has limited chances.

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Been there, seen that, moved on. RUNWAY doesn’t have anything new to offer, it’s a run of the mill action love story recited in the most

routine manner. It reminds you of the Emraan Hashmi starrer AWARAPAN, but it is too ordinary and hardly has anything going in its

favour.

Allan [Amarjeet] becomes a contract killer to save his love Melvyna [Deepal Shaw]. Melvyna had unfortunately fallen prey to drug addiction

and was now battling for life, getting treated for drug addiction and other complications which had raised their ugly head due to prolonged

drug abuse.

Write your own movie review of Runway

Allan wants her to live and wants to save her at any cost. He requires money for her treatment and takes the contract of killing the

billionaire casino owner Victor.
default-300×250.tpl

The problem is, RUNWAY is handicapped by poor direction [Suniel - Praful]. Besides, the screenplay is too weak since the story wastes

valuable time in ineffective emotions and scenes, whereas the encashable portions have been cut short. Especially the climax, which has been

altered so severely that it gives an incomplete feeling. The beautiful locales of Mauritius too haven’t been explored completely.

Music by Shamir Tandon is dull, except the hit track ‘Khuda Kay Liye’, which is consistently repeated in the film.

Amarjeet is okay as an actor, but does well in action scenes. Tulip Joshi under-performs. Deepal Shaw is below average. Sharat Saxena has a

minimal role. Shawar Ali puts on an act. Lucky Ali is adequate.

On the whole, RUNWAY is saddled with a weak script and therefore, has limited chances.

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Myth: NEW YORK is about 9/11.
Fact: It’s not. But it reflects the mood that’s prevalent across the globe, post 9/11. The world is divided today. No two opinions on that!

Myth: NEW YORK bears a striking similarity to KHUDA KAY LIYE.
Fact: Nope. KHUDA KAY LIYE and NEW YORK may belong to the same family, of an innocent person being picked up for questioning after the WTC catastrophe, but the similarities end there. In fact, KHUDA KAY LIYE and NEW YORK are as diverse as chalk and cheese.

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NEW YORK, helmed by Kabir Khan, attempts to be as real as possible. A tale of friendship, with terrorism as the wallpaper, NEW YORK hits you like a ton of bricks at several points in the narrative. In fact, there was a possibility that NEW YORK may turn out to be a dry experience, a documentary perhaps, but the drama is so well structured and so gripping that you get sucked into the world of Sam, Omar and Maya from its inception.

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NEW YORK is a triumph for Kabir Khan, who deserves distinction marks for handling the subject with remarkable maturity. Also, this film should be a turning point for John, Katrina and Neil. More on that later…

The verdict? NEW YORK is, without doubt, one of the finest films produced by this premier production house, Yash Raj. Grab a ticket today!

Omar [Neil Nitin Mukesh] has gone abroad for the first time in his life and soon enough, he begins to see and love America through the eyes of his American friends, Sam [John Abraham] and Maya [Katrina Kaif]. But an incident changes the world round them.

At this point enters Agent Roshan [Irrfan], an FBI agent, who sets the ball rolling for a series of tumultuous events that turn the lives of these friends upside down.

NEW YORK affects you like no other Hindi film has done so far [on 9/11]. In fact, there are portions that give you goose bumps, especially towards the second half of the film, when John recounts his past.

One of the reasons why NEW YORK works is because not once does Kabir Khan borrow from the past or tilt towards predictable stuff. You just can’t guess what and where the story is headed and what the culmination would be. The director and his team of writers establish the plot and characters beautifully, but the real action is reserved for the second half. The nightmarish experience that John undergoes is disturbing, but lifts the film several notches up.

But NEW YORK has its share of loose ends. The film dips in the second hour. It tends to gets lengthy before it reaches a powerful, brilliantly executed climax. Also, a few sequences only add to the length of the film, which could’ve been curtailed in the writing stage itself.

Director Kabir Khan picks up a real incident — innocent civilians being suspected as terrorists, soon after 9/11 — and weaves a brilliant tale around it. The screenplay is its biggest star, without a doubt. Given the fact that NEW YORK isn’t one of those routine masala fares, Kabir has injected songs only when required. Cinematography is striking.

Now here’s another surprise. John, Katrina and Neil, all actors, deliver their career-best performance. If the first half belongs to Neil, John takes over the second hour completely. John is superb when he recalls the past. You can feel his pain, that effective is his performance. Also, note his expressions towards the end. This is a different John, for sure. Just one word for his performance — fabulous!

Neil was remarkable in JOHNNY GADDAAR, but disappointed in AA DEKHEN ZARA. Fortunately, he’s in top form this time around. Katrina gives you the biggest surprise. Known for her glamour roles, Katrina proves that she can deliver if the director and writer offer her a role of substance. She’s outstanding. In fact, people will see a new, different Katrina this time. Irrfan is, as always, first-rate.

On the whole, NEW YORK is amongst the finest films produced by Yash Raj. At the box office, there’s no stopping this one. Go for it now!

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Just last week, Vashu Bhagnani showcased his son Jackky Bhagnani’s acting skills in KAL KISSNE DEKHA. This week, another father - Arvind Patel - attempts to showcase his daughter Gayatri Patel’s dancing skills in LET’S DANCE, directed by Aarif Sheikh. Come to think of it, such launch pads often act as a showreel for furthering the career in Bollywood. In that respect, LET’S DANCE succeeds… to an extent.

But there’s a hitch! The film bears an uncanny resemblance to Ramgopal Varma’s immensely likable RANGEELA and Yash Raj’s utterly forgettable AAJA NACHLE. No issues if LET’S DANCE seeks inspiration from elsewhere [coincidence?], but in an effort to showcase Gayatri’s dances, the remaining aspects take a backseat. The dances appeal, but the love story doesn’t. And the crime angle, injected in the plotline, is a big bore.

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Let’s be specific. Gayatri’s dances are a treat [she dances exceptionally well], but her love interest cuts a sorry picture. The street children’s connection with a crook also seems unwarranted.

In a nutshell, LET’S DANCE will be best remembered for Gayatri’s exuberant dances. That’s it!

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LET’S DANCE is about a girl who gives direction in life to a group of street kids. Young and peppy, she is a dancer who runs her own dance school and plays the catalyst in the story. She comes in contact with a bunch of street kids and hence, begins a journey she believes in.

Editor-turned-director Aarif Sheikh has shot the film well, but he could’ve done with a tighter script. Music is a plus point, but what stays with you is the choreography of all songs, especially ‘Taare Todh Ke La’.

Gayatri Patel is a fine actress and her dancing skills catch your attention. The two heroes don’t cut ice, but the kids do, mainly the eldest kid who talks and behaves like a real tapori.

On the whole, LET’S DANCE is too ordinary, with its share of limitations.

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There are times when you genuinely feel that there’s bankruptcy of ideas in Bollywood. And you feel strongly this when you watch a film like HUM PHIRR MILEINGE.

The recipe is simple. Add DILWALE DULHANIYA LE JAYENGE, QAYAMAT SE QAYAMAT TAK, HUM DIL DE CHUKE SANAM and KABHI KHUSHI KABHIE GHAM, shake it rigorously and presto, HUM PHIRR MILEINGE is ready to be served.

To put it bluntly, HUM PHIRR MILEINGE is archaic and outdated. You actually pinch yourself while watching this one. Is this real? Perhaps, director Manish Goel is completely clueless about the kind of cinema being made these days. The direction is unbelievably weak and so is the writing.

Write your own movie review of Hum Phirr Mileinge…

Frankly, nothing works in this film, except for a couple of tuneful songs [Sandesh Shandilya], which, sadly, show up even if there’s no situation.

Given its poor script, the actors go through their parts mechanically. It’s sad to see a talent like Sarwar Ahuja being reduced to such roles. Newcomer Kkhushi [veteran Tabassum's grand-daughter] gets no scope. Also, she could’ve done without those layers of makeup.

Vikram Gokhale and Smita Jaykar [Kkhushi's parents] and Kiran Kumar and Rati Agnihotri [Sarwar's parents] are stereotypical. The actress playing Kkhushi’s aunt is loud.

On the whole, HUM PHIRR MILEINGE is boring stuff.

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Never judge a book by its cover. But we do! We tend to get carried away by eye-catching promos that a film-maker unleashes prior to a film’s release. We act in haste, rush to a nearby cineplex and soon realise that the best parts were actually highlighted in the promos itself.

That’s exactly what you feel when you watch PAYING GUESTS, helmed by first-timer Paritosh Painter.

Comedy is serious business and Paritosh Painter ought to know this by now, since he has successfully directed a number of plays in the past. Sadly, PAYING GUESTS stands on a waferthin plot, although Paritosh tries hard to add meat to the skeletal body. The film doesn’t have the power to hold your attention for the next 2 hours, although it does [intermittently] make you smile or break into a guffaw.

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Earlier too, we’ve had our macho men getting disguised as girls [Rishi Kapoor and Paintal in RAFOO CHAKKAR were hilarious], but PAYING GUESTS tries so hard to tickle your funny bone, but falls flat.

Final word? This comedy is more of a tragedy… for its viewers!

What happens when four fun-loving boys [Shreyas Talpade, Jaaved Jaffrey, Ashish Chowdhry and Vatsal Sheth] begin a crazy house hunt? In the search for a new accommodation, these crazy friends manage to convince their crazier landlord Ballu [Johny Lever] to keep them as paying guests, but Ballu has one condition, i.e. he wants only couples.

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However, the problem is they are all bachelors. Who will play their wives?

PAYING GUESTS may be a remake of a play, but it also bears a striking resemblance to Sachin’s super-successful Marathi film ASHI HI BANWA BANWI. PAYING GUESTS starts off very well, but runs out of fuel in its initial 30 minutes itself.

You do laugh aloud initially and expect to wear a smile on your face all through the film, but the smile turns into a smirk gradually. Actually, the on-screen characters laugh all the while, not the audience.

PAYING GUESTS fails to deliver thanks to a poor screenplay. Barring the four heroes and the landlords [Johny Lever and Delnaaz Paul], the remaining characters in the film just don’t work. The four leading ladies have nothing worthwhile to do and even the negative forces here [Chunkey Pandey and Inder Kumar] are wasted.

The climax - in a theatre, with every character doing a spoof - is a straight lift from JAANE BHI DO YAARO.

Paritosh Painter had an interesting idea on hand, but the writing plays the villain here. Sajid-Wajid’s music is a ear-sore. Barring ‘Jack & Jill’, the remaining songs lack energy. Visually, the film looks good, with the locales of Bangkok and Pattaya adding freshness to the enterprise.

Of the cast, Shreyas is the best, followed by Javed, then Ashish and then Vatsal - in that order. The leading ladies don’t have much to do, but Celina and Neha are most noticeable. Riya and Sayali Bhagat don’t get any scope. Johny Lever is in form and so is Delnaaz Paul. Chunkey Pandey is alright, while Inder Kumar is wasted. Asrani stands out, while Viju Khote and Paintal are okay.

On the whole, this paying guest is just not welcome!

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