Vidiyum Munn Review Rediff!

Rating:***1/2

Artist, photographer, visual designer, writer, director and producer, Balaji K Kumar is a man of many talents.  This Chennai-born, Los Angeles based filmmaker is already a name to reckon with in Hollywood.  His Twelve twisted tricks won him the Golden trailer award in 2002; while his film 9 lives of Mara, a cult classic,received a tremendous response and went on to receive a host of awards.  

Balaji makes his debut in Tamil cinema with Vidiyum Munn starring Pooja Umashankar and child artist, Malavika Manikuttan. 

Vidiyum Munn is a suspense thriller that revolves around a sex worker who puts her life in danger to protect an innocent 12-year-old from the clutches of pimps and prostitution. 

Rekha (Pooja Umashankar), a professional sex worker, is brainwashed by her pimp Singaram (Amarendran), into getting hold of a 12-year-old to service a high-end client.  Though reluctant at first, she is lured by the money and the prospects of a better life.

But even as she escorts an unsuspecting Nandhini (Malavika Manikuttan) to the client, she is filled with guilt.  Her conscience troubles her so much that she decides to save the girl and escapes from the city with her, but not before something goes terribly wrong.

Now a bunch of ruthless killers want to hunt them down.  Who are these men and why are they chasing two hapless females is what forms the rest of the story.

Pooja, who was last seen as a blind beggar in Bala's Naan Kadavul makes her comeback in Tamil cinema after a four-year hiatus.  She once again proves her versatility by her realistic portrayal of a seasoned sex worker who is resigned to her fate.

But it is young Malavika Manikuttan, who steals the show.  Her character is quite complex, requiring her to be bold, street-smart and defiant, while at the same time appearing vulnerable and innocent too. 

There are no dramatic flashback scenes to explain how Pooja and Malavika Manikuttan are caught in this dangerous web, but their quiet acceptance of the most horrifying events perhaps reveals even much more.

Vinoth Kishan, as Chinnaiah, one of the villains, appears absolutely terrifying with his compelling eyes and just a handful of monosyllabic dialogues.  Then there is Mani (Muthukumar), Devanayagi (Lakshmi Ramakrishnan) and John Vijay as Lankan, every one fits into their role perfectly and the results are impressive.

Music by Girishh Gopalakrishnan is sensational; it helps create the atmosphere heightening every emotion, and maintaining the suspense and thrill.  Cinematographer Sivakumar Vijayan, a debutant, has shot most of the scenes at night in dimly lit locations that intensify the story and provide the right ambience.

The only minus would be the length and the lack of pace, despite of the deadline of 24 hours, you don’t feel the clock ticking, the sense of urgency is missing.  But that takes nothing away from the anticipation and thrill you feel as each scene slowly unfolds itself.

Director Balaji undoubtedly is at the top of his game, narrating a tale filled with emotions; greed, lust, fear and desperation set in the backdrop of a cruel and aggressive world, where people only look out for themselves, it is either kill or be destroyed yourself.

The stark simplicity of the dialogues, the well-etched characters, the intriguing plot, the captivating music, the cinematography, but most of all the brilliant twist at the end makes Director Balaji K Kumar’s Vidiyum Munn a must watch.

http://www.rediff.com/movies/review/vidiyum-munn-is-brilliant/20131130.htm

Bullet Raja Review Taran Adarsh!

Rating:****

In this fast-changing scenario, a majority of stars as well as film-makers are experimenting with characters/plots they haven't embarked upon earlier. Trudging around the unexplored trail seems to be the new mantra for the dream merchants. Spanking new combinations are getting formed. Innovative and ground-breaking concepts are being attempted. The intention is to offer wide-ranging, all-encompassing entertainment to the up to date, insightful viewer. Reaching out to the pan-India audience and magnetizing the Indian diaspora globally also appears to be the objective.

Post SHAGIRD [which was disregarded by cineastes, despite strong merits!], PAAN SINGH TOMAR and SAHEB BIWI AUR GANGSTER franchise, Tigmanshu Dhulia has shaped an indelible impression on the viewer's psyche. Consequently, Tigmanshu's cinema is now anticipated with gusto and zeal by movie aficionados and enthusiasts. However, what raises eyebrows -- and logically so -- is Tigmanshu's teaming with mainstream actors [Saif Ali Khan, Sonakshi Sinha] in his new outing. Furthermore, the gifted director goes all 'commercial' to entice that fragment of audience [masses] that enormously add to the big booty. 

The promos of BULLETT RAJA compel you to visualize that this is yet another gangster film with hi-octane drama and power-packed dialogues designed for the masses. The question is, is it one? If true, can Tigmanshu pull it off? Besides, is BULLETT RAJA Tigmanshu's big ticket break? 

BULLETT RAJA narrates the story of Raja Mishra [Saif Ali Khan], a commoner, who gets transformed into a notorious, care-a-damn attitude gangster. A faithful friend and a loyal lover, living life on his own terms, setting his own rules, commanding respect and fearing no one, Raja, in his true inimitable style, takes on the system that creates people like him. 

BULLETT RAJA takes you back to the cinema of yore. A commoner revolts against the system and sets his own rules, shaking the law makers and entrepreneurs in the process. As he gets more and more commanding and authoritative, the powers that be decide on clipping his wings... and eliminate him. Like several films made in 1980s and 1990s, BULLETT RAJA talks of a commoner who revolts against the very system he once devotedly followed. This is Tigmanshu's take on camaraderie, matters of the heart and sacrifice. 

Tigmanshu's cinema has often existed in the pragmatic zone, besides being entrenched in the heartland/interiors, and BULLETT RAJA is no exception. It's raw, unrefined and harsh, much like Tigmanshu's earlier endeavors. Sure, the protagonist may bring back memories of the characters we've watched over and over again on the big screen, but the fact remains that everything happens for a legitimate, justifiable reason here. Notwithstanding the oft-repeated premise, the screenplay has ample twists and turns and leaves you wondering, what's gonna happen next? In fact, the games people play -- not just the politicians -- only envelopes you into the proceedings. The icing on the cake is the twist towards the penultimate moments. 

BULLETT RAJA also works thanks to the dialogue [brilliant; also penned by Tigmanshu] and of course, the casting. Saif has often stolen the thunder from his contemporaries in varied films [recall OMKARA] and the actor, known for stylish, metro-centric characters, is sure to surprise you yet again. More on that later! 

Hiccups? The film stagnates after a brilliant start. The portions in Mumbai and the song that ensues ['Tamanche Pe Disco'] is a put-off. Also, while the songs match the tone of the film, the soundtrack is plain ordinary. 

Technically, this is amongst Tigmanshu's polished and genteel efforts. The background score is effectual, enhancing the drama at key points. Action sequences are realistic. Thankfully, there are no South-style stunts here! 

Saif slips into the unconventional zone without a glitch. The actor delivers an unblemished performance, dominating every scene he appears in. He seems to have worked hard on getting the diction right, while the body language is impeccable as well. It's a seamless leap to look the character. Jimmy Sheirgill is admirable, essaying his part with absolute understanding. The bonding between Saif and Jimmy is simply splendid. Sonakshi Sinha is charismatic and does very well in the required space. 

BULLETT RAJA is embellished with an exceptional supporting cast and each of them adjoin immense credibility to their respective characters. Vidyut Jammwal is luminous in a cameo. He adds solid muscle to the post-interval portions. Raj Babbar plays the scheming politician with incredible ease. Gulshan Grover is first-rate. Ravi Kissen is in terrific form, enacting the negative part with gusto. Chunkey Pandey leaves an impression in a brief role. Vipin Sharma is super. Deepraj Rana, Vishwajeet Pradhan and Sharat Saxena are perfect. Mahie Gill sizzles in the song and sequence. 

On the whole, BULLETT RAJA is Tigmanshu Dhulia's most 'commercial', mass appealing film thus far. One more superior endeavor after the immeasurably acknowledged PAAN SINGH TOMAR and the vastly admired SAHEB BIWI AUR GANGSTER franchise, all of which belong to completely diverse genres of cinema. Enjoyable, engaging and extremely distinctive, BULLETT RAJA is not to be missed!

http://www.bollywoodhungama.com/moviemicro/criticreview/id/566240

Nadan Review From Nowrunning!

Rating:**1/2

After the much impressive 'Celluloid', it's on a rutted ride down a hilly slope that Kamal takes us on, in 'Nadan'. It's not just the ride that tires you to bits, but the sights and spectacles that pass by have a recognizable feel that brings about tedium in no time. 

Devadas (Jayaram) is an accomplished actor from the theatre, who has seen better days. He helms the theatre group called Sargavedi, and basks in a rich tradition that has been shaped by his predecessors. By the late 90's, he's on the verge ofbankruptcy, is jobless, has ruined his familial life beyond repair and is all set to go insane. 

Nadan Pictures   54 Pictures

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'Nadan' narrates the decline of an art form that has almost submissively, given way to more assertive forms ofentertainment as the mimics show and the cinematic dance. It also attempts to trace the lives of a few hapless individuals who over the years, had lost the ability to distinguish between life and theatre, with both having blended into one. 

There is a shift in focus from the professional life of the actor on to his personal life, and when Jyothi (Remya Nambeesan) walks in as the new lead actress of the troupe, Devadas rediscovers his passion for the art. In no time, he turns into an obsessive lover, that has his disgruntled wife (Sajitha Madathil), walk out with their two kids in tow.

'Nadan' does make some genuine efforts to capture the reality of life's struggles, and yet it manages to do so only peripherally. The tears are shed, and the air remains pungent with heavy sighs, and yet if we fail to identify with several of those characters on screen, it's simply because, it tries to be excessively high on mood.

Perhaps the most disappointing part of 'Nadan' is its stretched out climax, that takes melodrama on to higher levels. Almost dragging Devadas out of the murky misery that he had resigned himself to, the filmmaker adds on an almost synthetic feel that appears all out of place.

It's heartening to see Jayaram in a role that requires him to be someone more than acustomary husband that we quite often get to see him as. And he does grab this opportunity with a vengeance, and comes up with a brilliant performance. Remya Nambeesan and Sajitha Madathil establish their presence without much of an effort.

The real performer of 'Nadan' is of course KPAC Lalitha, who excels as a theater artist trying hard to make both ends meet, at the dusk of her life. There isn't perhaps another actress who could have brought out the anguish, gloom and desolation that Radhechi goes through, as convincingly as Lalitha does in the film.

'Nadan', at times even looks like a hysterical expression of distress that gets its modulation a bit too wrong. The wails of despair appear a bit too loud, which makes it a hit and miss affair that only fleetingly touches our hearts.

http://www.nowrunning.com/movie/13103/malayalam/nadan/4484/review.htm

Vishudhan Review Nowrunning!

Rating:**

Vysakh's 'Vishudhan' is a moralistic fable that has chosen as its protagonist a priest, thereby attempting to disguise a customary revenge tale under the garb of a controversial story. At the center of it, it is nothing more than one of those accounts where a man is forced to take upon evil single handedly, finally seeing to it that justice is served.

Father Sunny (Kunchacko Boban) is ordained as the new priest in a hamlet ruled over by Vavachan (Hareesh Peradi), and soon discovers that an old age home run by the rich man is just a cover to generate cadavers for his medical college. Sister Sophy (Mia George) offers the priest concrete evidence to support his doubts, and before they know it, the priest and the nun are accused of having an illicit relationship and are shown the door out, from the church.

Visudhan Pictures   20 Pictures

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The controversial element in 'Vishudhan' is likely to emerge out of nowhere, if and when the film is viewed as an affrontation on a religious institution and the principles and codes that it upholds. On the other hand, it could also be viewed as a tale of two individuals caught in the torrents of fate, who are forced to take decisions that transform them into two new entities. 

What is unbelievable is the transformation that Sophy undergoes in no time; and there are occasions in the film, where she almost seems ecstatic at the decision that she has taken, with her straightened hair and chic clothes. That is perhaps a bit difficult to take in, especially since she was a devoted servant of the church not so long back.

While the former half of the film is fairly entertaining and does have its share of fine moments, the latter half degenerates into a messy account of a battle for justice. For most of its part, it fails to sustain your interest, and merely skims over from one predictable situation to the next. 

As much as the music sounds soothing to the ears, it does feel a bit awkward to see this odd pair break into a song and groove routine, especially given the circumstances that they live in. And with a priest (Lal) who folds up his cassock to deliver a blow or two the unyielding, making an entry, the perfunctory story design seems all set for a decline. 

This is perhaps Kunchacko Boban's best performance till date, and his efficiently restrained, and yet evocative performance is worth a standing applause. Mia George is quite effective as the nun who is thrown out of church, while Hareesh Peradi excels in the role of the baddie.

Some films are remembered for an actor, and 'Vishudhan' does have one such performer, whose name I have not yet been able to identify. This actor appears in the role of Krishnettan in the film, and the octogenarian with his stellar performance, leaves a lump in the viewers' throats. I also have a very special word of appreciation for Sasikumar, who appears in the role of a Bishop, and who is undoubtedly one of the most serene looking bishops whom we have ever seen on screen.

If 'Vishudhan' ultimately ends up being a formulaic piece of film making, it's because it sticks to the conventional mode. In fact, it does not go anywhere where you don't expect it to, and it refrains from taking up any risks along the way. 

http://www.nowrunning.com/movie/14185/malayalam/visudhan/4480/review.htm

Vidiyum Munn Review Nowrunning

Rating:***

Films on child trafficking usually throw at us startling facts and numbers in an attempt to emotionally hijack us but debutant Balaji K Kumar's "Vidiyum Munn" avoids all such genre cliches and sticks to presenting a well executed thriller that intrigues with suspense from start to finish.

Although inspired from British thriller "London to Brighton", to which the makers have not given due credit, "Vidiyum Munn" stands out as one of the better thrillers of the recent past.

When Rekha (Pooja), a hooker, flees town with 12-year-old Nandini (Malavika) after committing the biggest mistake of her life, her pimp (Amarendran) is given the ultimatum to produce her along with the girl in the next 24 hours to avert a threat to his own life.

Vidiyum Munn Pictures   42 Pictures

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It's not the usual thriller flick that you watch and forget as you walk out of the movie hall. "Vidiyum Munn" lingers on in your head for a long time. Cut from the same cloth used to produce thrillers such as "Pizza" and "Yuddham Sei", it's the suspense that guides the film to the finish line. That suspense, with the help of a few characters, is strongly weaved into a labyrinthine story that you will only appreciate when it reaches its climax.

Having worked in Hollywood for over a decade, Balaji, who had earlier directed English thriller "Nine Lives of Mara", gives the film a treatment that's akin to the west in terms of the overall presentation.

One of the concerns of the film might be its slow narrative that runs a little over two hours. The film could've been shorter, considering its genre and the not-so-popular star cast. But thanks to the hypnotic soundtrack of Girishh, the music keeps you hooked for the most part. His music not only heightens the suspense in the story but also serves in building the mood of the film.

Instead of wasting time on explaining circumstances that led Rekha to become a prostitute, Balaji focuses only on the plot which is the hunt for two characters. This is very smart of him and proves that he knows how to use his craft effectively. He also avoids too many characters and throws the spotlight on only those that are linked to Rekha and Nandini.

For not giving credit to the original, "Vidiyum Munn" will lose some respect from the audience. Although it's not a frame-to-frame copy, but those who have watched the British thriller can find a few similarities in the remake. Nevertheless, it's a bold film that doesn't hesitate to tread a path very few filmmakers even aspire to walk on.

Pooja Umashankar in her comeback role is good but she easily gets superseded by child artist Malavika, who acts effortlessly as the runaway kid.

John Vijay gets a little irksome at regular intervals especially with his style of dialogue delivery but he also provides the occasional laughs with his witty one-liners while Vinoth Kishan plays a powerful baddie with very few dialogues.

"Vidiyum Munn" is a step closer to alternate Tamil cinema which majorly caters to those with some intellect and not to entertainment seekers.


http://www.nowrunning.com/movie/13517/tamil/vidiyum-munn/4479/review.htm

Bullet Raja Review Nowrunning!

Rating:**

Potboilers seem to have become the need of the hour in Bollywood with even the makers, who have stuck to content driven cinema, trying their hands at experiencing what it feels to be in the 100cr club. The latest to hit the marquee is filmmaker Tigmanshu Dhulia with Bullett Raja, who for long has carved his own path with films like Saheb Biwi Aur Gangster, Paan Singh Tomar etc. Whether his sensibility syncs with commercial cinema or he loses his art for monetary gains, let's find out.

Set in Uttar Pradesh, Bullett Raja is Tigmanshu's version of Ramesh Sippy's Sholay. Both Raja Mishra (Saif Ali Khan and Rudra Pratap (Jimmy Sheirgill) become buddies for life when Raja saves the latter's life in a gang-war. The two want nothing more than a stable-simple life but fate and some conniving politicians turn them into gangsters aka political commandos of politician Ram Babu Shukla (Raj Babbar) who stop at nothing. But their meteoric rise as the dreaded duo starts coming in the way of the industrialists and other politicians soon putting them on the hit list of many. Whether the two survive or not is that follows through the rest of the plot.

Bullet Raja Pictures   68 Pictures

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Bullett Raja is nothing but Tigmanshu Dhulia oscillating between content and masala. The maker unspools a complex plot for a massy character what with the surfeit of characters that keep coming in right till the last 15 minutes of the film but at the same time, reduces his concoction to a mere case of convenience. There's ample liberty taken with the creation of characters and situations in the film. 

Almost 80 per cent of the film struggles to match the formulaic patterns of commercial cinema so you see the characters heading to Mumbai city only for a disco number, Tamanche Pe Disco (which too isn't remotely appeasing) or moving to Kolkata to dance between the yellow Taxis. Only if the director could focus on the script more than jazzy-ing his film with numbers which aren't hummable anyway, the film would've worked wonders!

Yet another eye sore is the continuity blunder. You see both Saif and Jimmy with all shapes, styles and sizes of hair throughout the film. So you'd see Saif entering through a door with short hair and exiting with straight, extremely bronzed long hair all within the same scene. You don't need a reviewer to pinpoint such glaring mistakes; it can be noticeable even to a layman.

Coming to acting, both Jimmy and Saif put up a decent show and have some entertaining scenes as friends. Sadly, the faulty character-sketch and directionless direction scars their performances too. Character actors like Raj Babbar, Ravi Kissen, Gulshan Grover, Vipin Sharma are all passable.

The worry zones are both Vidyut Jamwal and Sonakshi Sinha who barely have any contribution in the film and fail to please even at that. It's surprising why would the director introduce a love angle in a film which didn't need one and why Sonakshi would even take up a role which is more inconsequential than even a prop. Vidyut Jamwal on the other hand comes with his martial art skills and the same old straight face which refuses to emote all through his run time.

Bullett Raja had the scope to bring about some content in the current crop of massy entertainers and could cater to the intelligentsia but Tigmanshu Dhulia's inept attempt ruins all such chances. Quite a downer!

http://www.nowrunning.com/movie/11198/bollywood.hindi/bullet-raja/4482/review.htm

Khatarnaak Kanada Movie Review from Rediff!

Rating:**1/2
Kannada film Khatarnaak lives up to its name but is devoid of entertainment, and is violent and gory’ writes Srikanth Srinivasa Dialogue writer and lyricist Malavalli Sai Krishna has directed a film for the first time with Khatarnaak.

Umesh (Ravi Kale) is a budding criminal who enjoys the ill-gotten wealth that his mother encourages him to bring home. What started as a lark soon becomes a habit. Umesh grows up to be a serial killer and a rapist.

The film shows stark images of heinous crimes. Umesh is a cop. His victims are heavily bejewelled women who he has sex with and then murders so he can make off with their jewellery.

He has a penchant for collecting the women’s innerwear in his bag which gives enough clues to the police about his involvement in the crime. Umesh gives the police the slip many times but not before narrating to them how he committed the crime.

Ravi Kale has lived his role every bit as the dreaded criminal. Shobha Raghavendra as the mother excels. Rupika as the college student is adequate and so is Sharath Lohitaswa.

Sadhu Kokila is wasted but his background music score gels well with the narrative. M R Seenu’s camera work is exceptional. Khatarnaak is devoid of entertainment or any elements that entertain. It is violence, sex and gore. But, the movie is a wake up call for vigilance in our neighbourhood

http://www.rediff.com/movies/review/review-khatarnaak-is-violent/20131122.htm 

Shahid Review from Taran Adarsh!

 Rating:***1/2

The spectators' gradual acceptance of alternate/indie films has shown a noticeable upswing in recent years. As a matter of fact, borrowing stories from newspaper/television headlines and making realistic fares is fast becoming a norm this side of the Atlantic. The line between mainstream and alternate cinema is slowly getting blurred, since the spectator is getting a choice to relish varied genres. With celebrities backing these projects, a strong word of mouth on social networking sites and smart distribution strategy, these films reach out to a larger audience today.

Some stories ought to be told. They shouldn't be confined to newspaper cuttings or news-reports on news channels merely, forgotten/ignored soon after a new story [or controversy] takes over. And Hansal Mehta takes the brave step of tracing the journey of noted lawyer Shahid Azmi. Hansal, an accomplished storyteller who lost his way in between [read forgettable films], seems back on track as he documents the tale of the deceased lawyer. SHAHID, a mix of fact and fiction, enlightens the spectators of Shahid's journey after being arrested during the riots, right till his assassination in 2010.

A stunning documentation on the life and times of Shahid Azmi, SHAHID is brave, courageous and often disturbing and that's one of the prime reasons why it makes for a fascinating cinematic experience.

SHAHID is based on the story of slain lawyer Shahid Azmi. Accused of terrorist links, he was imprisoned before he went on to become a fearless lawyer.

While the story of Shahid Azmi makes for an interesting read/conversation, Hansal Mehta makes sure he packages the film with abundant drama [the courtroom sequences are spellbinding] in this less-than-2-hour film. But, at heart, SHAHID remains a disturbing film, with Hansal preparing the viewer at the very outset as Shahid witnesses a gruesome act. The events thereafter -- Shahid's training in a terrorist camp and on return, getting picked up by cops and imprisoned amidst hardened criminals -- are chapters that are enlightening.

Hansal tries to be close to reality, filming SHAHID at actual locales -- overcrowded neighbourhoods, congested bylanes and cafes -- which adds a lot of credibility to the goings-on. The subtle romance between Shahid and Maryam, one of his clients, deviates your attention from the heavy drama that dominates the film. But the highpoint of the film are the courtroom sequences, without doubt.

With SHAHID, Hansal takes a giant leap as a storyteller, bringing his creativity out to the fore. By casting the most appropriate names for the parts, Hansal only cements the fact that it's the material that can sweep you off your feet. The only time the film falters is when Hansal doesn't provide details of how Shahid escaped from the terrorist camp and returned to Mumbai safely. The editing [Apurva Asrani] is sharp, with not a dull moment in the narrative.

SHAHID is embellished with superior performances. Raj Kumar portrays the lawyer with brilliance. The sense of vulnerability and helplessness, the uncertain future, the aspirations and just about every emotion that the character encompasses is brought to the fore with ferocious enthusiasm by the actor. Mohd Zeeshan Ayyub, last seen in RAANJHANAA, is incredible as Shahid's brother. Prabhleen Sandhu is exceptional as Shahid's wife. Also, she has a pleasant screen presence. Kay Kay Menon and Tigmanshu Dhulia, cast in brief but significant characters, are wonderful. Vipin Sharma proves yet again that he's a remarkable actor. Prabal Panjabi is effective in a cameo. Ditto for Mukesh Chhabra, who enacts the part of a witness. He's very good. Baljinder Kaur as Shahid's mother is natural. Shalini Vatsa is first-rate.

On the whole, SHAHID is a brave film. Its gripping story, exceptional execution and bravura performances continue to reverberate much after the screening is over. Strongly recommended

http://www.bollywoodhungama.com/moviemicro/criticreview/id/563934 

Rajjo Review from Bollywood Hungama!

Rating:**1/2

 

The getting together of numerous talents in a project instinctively raises the expectations from that film. Have a look at the wonderful talent associated with RAJJO: Kangna Ranaut, Prakash Raj, Mahesh Manjrekar, Jaya Pradha, Upendra Limaye, Uttam Singh [music], Binod Pradhan [cinematography], Muneesh Sappel [production design] and Vishwas Patil [writer; who makes his directorial debut with RAJJO]… Each one of them has proved himself/herself in their respective area of work, besides winning laurels and awards for their meritorious efforts. Expectedly, one hopes RAJJO to strike a chord.

Women empowerment is being stressed upon and women-centric themes are on the rise on the big screen. The Hindi film industry has often mirrored realities and Vishwas Patil's RAJJO, a woman-centric film, attempts to portray the story of a young woman who is pushed into the flesh trade by her near and dear ones, but she puts up a brave fight against the oppressors and emerges triumphant eventually. A well-intentioned film, indeed!

Rajjo is a love story set against the backdrop of the kothas of Mumbai. It attempts to unravel the journey of a nautch girl Rajjo [Kangna Ranaut]. At this juncture enters the college-going cricket champion Chandu [Paras Arora], who belongs to a middle class Maharashtrian family. It's love at first sight for Chandu. Rajjo too gets drawn towards him subsequently and love blossoms.

Begum [Mahesh Manjrekar], a eunuch, runs the kotha. When Begum gets to know of Rajjo and Chandu, she gets them married. Handa Bhau [Prakash Raj], a corrupt politician, desires Rajjo and creates havoc in Rajjo and Chandu's lives. After facing innumerable hurdles, but handling every moment with dignity, Rajjo overcomes the impediments eventually.

RAJJO has an attention-grabbing premise and like I stated at the outset, is well-intentioned too, but the screenplay could've been far more riveting. While the first hour is plain ordinary, the director reserves the best for the post-interval portions. To give the credit where it's due, the second half does boast of several engaging episodes, but the writing tends to get foreseeable at times, which dilutes the impact slightly. Yet, the conviction with which Vishwas Patil has made the film needs to be lauded, since the message he tries to convey is praiseworthy.

Ideally, the music should've been one of the strong points of the film, but barring a track or two, the soundtrack is mediocre. Binod Pradhan's cinematography captures the look of the film right. Muneesh Sappel recreates the red light area of Mumbai with authenticity. Dialogue could've been hard-hitting. Nonetheless, the writers have abstained from using abusive language, cuss words or vulgar content, which is a plus. The director has also stayed away from incorporating titillating visuals or sensuous sequences, which could've deviated your focus from the issue.

Having proved her mettle in films like GANGSTER, WOH LAMHE, RAAZ - THE MYSTERY CONTINUES, ONCE UPON A TIME IN MUMBAAI, TANU WEDS MANU, FASHION and KRRISH-3, Kangna makes a sincere effort to look the character, enacting her part with grace and elegance. Also, she looks lovely in Indian attire. The biggest revelation, however, are her dancing abilities. She scores brownie points in that department. Paras Arora makes a worthy film debut. He's confident and self-assured, despite being pitted against reputable actors like Kangna, Mahesh Manjrekar, Prakash Raj and Vipin Sharma.

Although Prakash Raj does try his level best to portray the evil side, one feels the talented actor is getting typecast in villainous characters. Mahesh Manjrekar is, as always, first-rate. Upendra Limaye shines in the sequence when he narrates his past, while performing an encounter. Swati Chitnis leaves a mark. Vipin Sharma doesn't get much to do. The actor portraying Prakash Raj's sidekick does a commendable job. Veterans Jaya Pradha, Dalip Tahil and Avtar Gill are effective in cameos.

On the whole, RAJJO is a well-intentioned movie made with gracious objectives of drawing one's attention to the genuine issues that plague the society. However, its release timing seems inopportune. The clash with a biggie like RAM-LEELA may sideline this well-meaning film

 

http://www.bollywoodhungama.com/moviemicro/criticreview/id/560699 

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Satya 2 reviews from Taran Adarsh!

Ramgopal Varma has delivered several exceptional gangster films. As a matter of fact, RGV has made the maximum films in this genre, creating a rich repertoire over the years. SATYA and COMPANY stand out as milestone films, which have influenced and motivated a plethora of gangster films over a period of time. It's no secret that these two films, besides RGV's Hindi debut SHIVA, RANGEELA [a different genre, of course] and SARKAR, have propelled RGV as one of the most respected storytellers of our times. Obviously, one eyes SATYA-2 with equal enthusiasm for obvious reasons. But, let me clarify, SATYA-2 merely borrows the title from SATYA, but is no sequel to the trend-setting SATYA.

The promos of SATYA-2 clearly specify that underworld never becomes redundant. It merely changes form. That, in short, is the essence of this film. Let me clarify, SATYA-2 bears no resemblance to RGV's protégé Puri Jagannadh's Telugu film BUSINESSMAN, like a section of the media would like us to believe. The plot is different and RGV makes sure even the screenplay is way different from films of its ilk.

Just when everyone thinks that the underworld is defunct, Satya [Puneet] arrives in Mumbai to reinvent it and re-establish the mafia. His motive is simple: He wants to be the undisputed don of Mumbai. To start with, Satya floats a company based on the mistakes committed by the earlier dons and executes his master plan. He eliminates three influential people to unleash terror: a leading industrialist, the Police Commissioner and a powerful media baron. What happens next?

Unlike the gangster films of the 1980s and 1990s, which integrated gruesome violence in the narrative, SATYA-2 is more about cerebral power, with violence being an offshoot of the conspiracy that the entrepreneur adopts. The protagonist is suave this time -- unlike the earlier Satya -- and uses the mistakes [committed by the earlier dons] to stay a step ahead of lawbreakers and lawmakers. The cops, obviously, are caught completely off guard, since everyone is clueless of the new criminal on the horizon, his strategies and motives.

Like RGV's previous endeavors, SATYA-2 is loaded with style and attitude. The plot too is shades different from the earlier films in this genre, with RGV moulding it in the thriller format and unleashing the screenplay at a feverish pace. The fact that SATYA-2 is not inspired by any of the gangster films attempted earlier keeps you on the edge and heightens the curiosity. But there are hiccups. The inclusion of songs is a blemish you just cannot disregard. Ideally, a film like SATYA-2 would've had a stronger impact if RGV would've avoided the songs. The songs only work as a speed breaker here. Even the one filmed in Kashmir, post Satya's marriage, is an absolute no-no, despite some stunning visuals it has to offer. Similarly, the romantic track between Satya and his sweetheart is far from mesmerizing.

Additionally, the culmination to the story will meet with extreme reactions. It's an open end and while some may like the thought [I think, it's most appropriate], the conventional types may be discontented since RGV maintains the thought with which he commenced the film: Underworld never dies, it merely changes form.

Having said that, I'd like to add that SATYA-2 has several nail-biting episodes that keep you completely hooked. Also, to give the credit where it's due, the writer does not suffer from SATYA hangover, which is a plus. The scenes are innovative, the screenplay is entrancing for most parts and the sequence of events keeps you drawn to the on-screen proceedings. The background score is effectual, while the cinematography captures the tension adroitly.

Puneet Singh Ratn brings RGV's vision to life. He springs a surprise, essaying a complex part with certainty. Furthermore, he looks intense enough for the part. Anaika [as Chitra] exudes vulnerability, but the conviction is lacking in her performance. Mahesh Thakur is top notch. Aradhna [as Special] leaves an impact. Amitriyaan [as Naara] is expressive enough. He does very well.

Raj Premi [as RK] is wonderful, while Amal Sehrawat [portraying his son TK] stands out in the sequence when he persuades his father to defy Satya. Ashok Samarth [as Solomon] is first-rate. Kaushal Kapoor [as Purshottam] delivers a power-packed performance. Mrunal Jain is proficient in a brief role.

On the whole, SATYA-2 may not be RGV's best, but there's no denying that it has the right elements that make a quintessential gangster film. However, the KRRISH-3 wave coupled with the arrival of another Superhero film [THOR: THE DARK WORLD] may affect its business prospects.

Rating:***

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