BhootNath Returns Review from NowRunning!!

This is the sequel to the 2008 BhootNath, like the predecessor it showed a lots promises to be funnier and entertaining. Since this is the second to the comedy ghost series released this year and look to working out with the general audiences in Hindi cinema. This is only to be released from Gang of Ghosts, a supposed comedy cum satire on the growing commercialization of India and this is second of horror comedy satire with the sequel BhootNath Returns.

Released in between Indian Election League(IEL) which is bigger heat that has gripped as a fever to everyone over India, BhootNath Returns is the story of a disappointed and embarrassed ghost Bhootnath (Amitabh Bachchan) who gets mocked in the Bhoot World for not being able to so much as even scare a child.

In his defense, he states that it was their flaut that the child could see him and demands another chance to redeem his lost reputation. He gets a chance to prove himself by scaring at least ten children and is sent back on Earth. However, sadly enough, he is too simple a ghost for children to be scared of him and what's sadder is that yet again, another child, Akhrot (Parth Bhalero) this time, can see him. Together they agree to help each other and their friendship sees them get involved in a cause that is bigger than they had ever imagined. To move ahead they will need to take on one of the country's most powerful and corrupt politician Bhau (Boman Irani). In a world, where a common man is afraid of politics, will a common man's ghost overcome his fear to stand up for what's right and fight against injustice?

Director Nitesh Tiwari couldn't have chosen a better time to come out with a film that revolves around Politics and urges people in its own satirical way to vote. However, what starts out as an entertaining fair turns into a drag preachy dialogue which neither caters to the young minds nor to adults.

The movie starts off interestingly. The concept of a Bhoot World and the idea to send Bhootnath back to regain the fear that's required to be a "Bhoot" is refreshing and interesting. Even the point where Bhootnath decides to contest for elections for there isn't a rule anywhere that the candidate needs to be alive and the way he works his strategy around is all very interesting. However, the filmmaker stumbles in taking it all the way. Half way into the film and you are put through enough sermons and election advertisement urging you to vote for a change. That's when not just the pace of the film slumps but also your interest in it.

Music by various composers including Yo Yo Honey Singh and Meet Bros is average at best with only a song or two standing out.

The film works primarily for the entertaining pair of Big B with the little wonder Parth Bhalero. The little actor is spot on with his mannerisms, dialogues and acting. And it wouldn't be wrong to say that he outshines even Amitabh Bachchan in a few scenes. However, needless to mention that Sr. Bachchan too is perfect in his part. Boman Irani too adds to the much needed comic relief but his portion is more evil this time than comic.

To sum it up, Bhootnath Returns is not as witty or humorous as it appears from its trailers. A film that could be entertaining all the way had it not lost its plot.

Rating:**1/2

Dishkiyaoon Reviews from Now Running!

You know you aren't needed back in the industry when you disappear and aren't remembered by anyone. As rude as this sounds but we wish it could've been made clear to Mr. Harman Baweja who hardly shows any sign of improvement in his comeback film after a long haul -Dishkiyaoon.
The movie happens to a maiden production venture by Shilpa Shetty which also stars Sunny Deol and except for the latter's presence there's hardly a reason why one should watch a apology of a screenplay as Dishkiyaoon.

Dishkiyaaoon Pictures   17 Pictures

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Following an edgy childhood, Viki Kartoos (Harman Baweja) wants to make it big in the underworld. Under the mentoring of Mota Tony (Prashant Narayanan) Viki enters the underworld and aims to be known as the number one gangster in India. The movie traces his highs and lows of Viki Kartoss in the underbelly of Mumbai.
Directed by Sanamjit Singh Talwar, Dishkiyaoon still has a first half that may hold the attention of junkies of gangster flicks. The first half does depict an innovatively shot interaction between Sunny Deol and Harman Baweja as we are taken in the early life of Viki Kartoos, his psyche, his traumas and his indulgences, all while the two are inside bars much against your knowledge. But it's the second half which meanders into paths so meaningless that you are left exasperated.
It's high time filmmakers understand, going by the current trend at least, that the audience has actually become quite choosey about the films they watch and content is the key. Dishkiyaoon is an example of good packaging with shallow product which also is the case with its lead actor Harman Baweja who focuses more on highlighting his chiselled torso than his expressions.
Sunny Deol who attempts a Haryanvi character for the first time tries hard to do justice to a character that suffers mediocrity while debutant actress Ayesha Khanna lacks promise and appears to have only been kept for songs and all the commercial trappings.
Throughout the film Viki Kartoos keeps reiterating his mantra that being smart is enough for him in his field, only if the makers could stick to the story in a similar fashion we would've had a far better film than Diskiyaoon. A complete shot in the dark.

Rating: *1/2

Bewakoofiyan Review from Now Running!

It's Delhi's noveau riche Gurgaon world bathed in cosmetic conceit. Sonam Kapoor and Ayushmann Khurrana blend into this gleaming kingdom's excesses effortlessly. The two of them are so good as a couple, imagining them apart for even a portion of the bitterness that bites into the narrative during the second-half becomes unbearable.

Debutant director Nupur Asthana's film is a bright scrambled world of wealth, luxury and the yuppy club's unstated desperation to move up the corporate ladder. It is also, by its very definition, a ridiculously self-important delusional world.
There is an interestingly crafted fight scene between the film's lead pair where Mayera reminds Mohit that she has not bought a new pair of shoes during the last two months because of his job loss. That she doesn't realize how ridiculous she sounds to Mohit is a measure of the underlining irony that the narrative scrapes out of these characters while portraying the exacerbated materialism of the go-getting generation.

Ayushmann looks like the guy next-door who wouldn't mind pulling a few strings to float higher than the level allotted to him by fate. He brings a suave arrogance to his role and creates a cohesive graph for his character. He is an actor to watch.

Habib Faisal's writing is smart and amiable, crowded with quaint colloquialisms culled from the capital youngster's language. The writing also surprises itself by becoming inwardly-drawn and introspective at the most unexpected moments. That the screenplay has got Ayushmann to play the cool guy whose perfectly laid-out plans fall apart, is a stroke of luck for this likeable film.

Ayushmann looks like the guy next-door who wouldn't mind pulling a few strings to float higher than the level allotted to him by fate. He brings a suave arrogance to his role and creates a cohesive graph for his character. He is an actor to watch.

Habib Faisal's writing is smart and amiable, crowded with quaint colloquialisms culled from the capital youngster's language. The writing also surprises itself by becoming inwardly-drawn and introspective at the most unexpected moments. That the screenplay has got Ayushmann to play the cool guy whose perfectly laid-out plans fall apart, is a stroke of luck for this likeable film.

Rishi's Sehgal is a pompous name-thrower with an inflated sense of self-worth, over-possessive about his only daughter's life and preferences. V.K. Sehgal is a striking image of a man on the verge of erupting into a self-deprecatory laughter, if he only he knew how funny his quirks look from the outside.
Of course it helps Ayushmann that he has Rishi Kapoor to play his girlfriend's hawk-like father. Rishi's character of the IAS officer on the verge of retirement (with a companion from his work place who typically, offers his "humble" advice on every matter) is brilliantly written.

So many of Rishi Kapoor's scenes with Ayushmann stand tall because of the way the two characters meet as adversaries who fortunately love the same girl in different ways. Sonam as the girl torn between an autocratic dad and unreasonable lover is so in-character you wonder whether the role and its fetish for designer labels were written specially for her.

Bewakoofiyaan Pictures   30 Pictures

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Rishi brings to the characters a cornocupia of "cool". Seldom in his any other recent film except "Do Dooni Chaar" has this brilliant actor expressed such pleasure in putting forward his character's point of view.It's no coincidence that film too was written by Faisal.

"Bewakoofiyan" has nothing new to say. And that is its greatest virtue. It is "Meet The Parents" where the father and the prospective son-in-law's roles are better played than the original. Yes, Rishi and Ayushmann are better than Robert de Niro and Ben Stiller were in the Hollywood film about the father of the bride.

The narrative sparkles with a mischievous elegance. The winking homage to the go-getting glam-set of Delhi works mainly because the three protagonists are so immersed in the goings-on they make us forget that we've seen most of these conflicts over and over again in the past. In terms of the fluency with which the cliche about the love birds and the girl's disapproving dad is tackled, "Bewakoofiyaan" is a marked improvement on Yashraj Productions' last two pretentious hammy films "Shudh Desi Romance" and "Gunday".
Miraculously this film with its gleaming polished surfaces neither gasps nor laughs at the ignobility of upward mobility, Ayushmann's performance is oh not so hammy. A pure delight to behold after Ranveer Singh and Arjun Kapoor's over-energized bravado in "Gunday".

Rating:***

Nowrunning Review Page.

Yaarian Reviews from Bollywood Hungama!

Divya Khosla Kumar is no stranger to the entertainment industry. Besides directing several videos, she has also acted in a big-budget film starring A-list actors [AB TUMHARE HAWALE WATAN SATHIYO]. So when Divya -- the wife of the head honcho of T-Series [Bhushan Kumar] -- decided to make a feature-film, everyone expected her to start with top of the line stars/creme-de-la-creme in her maiden venture. Instead, she chose to cast rank newcomers in principal roles -- a move that raised eyebrows.

Post the super-success of STUDENT OF THE YEAR, helmed by Karan Johar and AASHIQUI-2, helmed by Mohit Suri, which was a game changer, several studios as well as reputed raconteurs are executing qualitative projects with fresh faces. YAARIYAN, which marks the directorial debut of Divya Khosla Kumar, stands out from films of its ilk. Reason: While the principal cast boasts of freshers, the making, opulence and splendor is at par with any mega-budget film attempted in Bollywood. The question that crosses your mind is, is YAARIYAN equally big in terms of content? Let's evaluate...

First, the plot! The film starts with the college principal [Gulshan Grover] summoning five students, handing them the responsibility of saving the college campus from a foreign hotelier who intends making a resort. The deal is that in order to save the college, the Indian students should outdo their Australian counterparts in the test of physical and mental abilities. While there are the expected ups, downs and betrayals, what triumphs in the end is friendship, as the title suggests. 

I genuinely believe that the teenage years are the best phase of your life. When one is well ensconced in the dreamy world. When life is yet to throw challenges towards you... Divya Khosla Kumar attempts to encapsulate that period through the lead characters of her movie. In fact, it won't be erroneous to state that YAARIYAN attempts to pay tribute to that phase of an individual's life. 

Evidently, Divya Khosla Kumar seems to be an ardent fan of movies such as JO JEETA WOHI SIKANDAR, KUCH KUCH HOTA HAI, JAANE TU... YA JAANE NA, 3 IDIOTS and STUDENT OF THE YEAR, since there are faint echoes of such acclaimed films in her maiden endeavor. Of course, the premise of YAARIYAN is dissimilar and so are the character sketches.

The first half of YAARIYAN has its moments of fun, although the narrative tends to go astray at times. If one were to pinpoint the deficiencies, the romance between the professors appears forced in the narrative. Also, Himansh's cousin being attacked by members of the Australian team lacks conviction. The humor/liveliness also dries up after a point and one feels that the first half -- which commenced with lively and funny moments -- could've been succinct by at least 10/15 minutes. 

However, the writing gets consistent in the post-interval portions. The mountain biking race as also the rock climbing contest is the mainstay of the film. They are brilliantly executed! Prior to that, the tender moments shared by the lead pair works decently well too. Divya also gets the intensity in the emotional sequences spot on. Additionally, the dazzling locales and magnificent cinematography translate into a truly good looking film. 

Divya deserves kudos for accepting the challenge of directing freshers in her debut film. The best of storytellers are not afraid of taking risks and Divya seems to be one of those. Her handling of the humorous moments as well as the emotional ones with maturity confirms the fact that she knows the craft well. But one does feel that the writing could've been sharp edged at places. One of the USPs of the film is -- no prizes for guessing this one! -- the musical score, which has the word 'Chartbuster' written all over it. In fact, every track has caught on big time with listeners, especially 'Baarish' [soulful], 'Sunny Sunny' [a rage with partygoers], 'ABCD' [foot-tapping], 'Allah Waariyan' [melodic] and 'Meri Maa' [makes you moist-eyed]. Cinematography is top notch, with the DoP [Sameer Arya] capturing the spectacular locales with flourish. The opening and end credits are also innovative and catch your eye! 

Now to the performances! Agree, the beginners don't set the screen ablaze at the very start itself, but the performances grow on you gradually. Himansh Kohli is earnest and endearing. He has the makings of a fine actor. Rakul Preet looks beautiful and acts confidently. The way she emotes with her eyes is commendable. Nicole Faria, Dev Sharma, Shreyas Pardiwalla, Serah Singh and Vikas Verma are appropriate in their respective parts. Evelyn Sharma looks gorgeous and does a fine job.

Gulshan Grover is wonderfully restrained. Deepti Naval and Smita Jaykar are perfect.

On the whole, YAARIYAN has a gripping second half, smash hit musical score and the youthful romance that should lure and entice its target audience -- the youth. A treat for youngsters and young at heart!

Rating:****

http://www.bollywoodhungama.com/moviemicro/criticreview/id/566831 

Dedh Ishqiya Review from Times of India!

Story: A team of con men fall for a Begum and her female confidante. Does their love fructify?

Review: Dedh Ishqiya is a sequel to the zany 2010 black comedy Ishqiya. Like its prequel, the idiom and the setting are rural. The spoken language is Hindi with a peppering of heavy-duty Urdu. Thank God for the English subtitles in circuits except the Hindi belt! What's also nice is the contemporary thought woven in (with references to Iphone-5 and hamburgers in New York). So, the desi-yuppies can connect.

The plot, with many interesting twists, is about the irrepressible team of crooks, Khallu and Babban (Naseeruddin Shah and Arshad Warsirespectively). When these two arrive in Mehmudabad, Naseer finds himself magnetically drawn to the local heiress, Begum Para (Madhuri Dixit Nene). And Arshad falls head over heels in love with the Begum's aide, Muniya (Huma Qureshi). The uncle-nephew team chase their love interests and build castles in the air about sex, life and wealth.

The women, Begum Para and Muniya, also have a back-story. Para is the widow of a debauched Nawab who gambled away his wealth on men and wine. Her crazy suitor, Jaan Mohammad ( Vijay Raaz) wants to bail her out.

In their attempt to live happily ever after, Begum and Muniya devise their own Thelma and Louise (the 1991 Hollywood flick) kind of plan. Not willing to give up, Khallu and Baban try hard to fit in.

Vishal Bharadwaj's dialogue keeps you in splits. The free usage of words like sex and chu**yapaa tickle the funny bone. Naseer is back in super-form after straying in outings like Jackpot. Ditto Arshad. Madhuri looks gorgeous but the dhak-dhak girl (now woman) falls short on the oomph meter, as compared to Vidya Balan in Ishqiya. Huma Qureshi is interesting.

Rating:***1/2

http://timesofindia.indiatimes.com/entertainment/hindi/bollywood/movie-review/dedh-ishqiya/movie-review/28591895.cms 

Dhoom 3 Review from Times of India!

Story: Chicago is hit by a mysterious thief targeting one bank - can Mumbai cop Jai Dixit catch the shadowy chor?

Review: Straight up, Dhoom 3 makes you laugh, gasp - even sniffle. The most emotional of the Dhoom series yet, this is Aamir Khan's show all the way. As revengeful circus star Sahir, whose father Iqbal (Shroff) dies after losing his beloved Great Indian Circus to a stony-hearted Chicago bank, Khan is terrific. The Dhoom series usually showcases brawn on bikes but in this one, mind meets machinery, Khan's brain almost visibly ticking behind his eyes, calculating every second before he vrroooms off on a bike - across a wire stretched high between buildings, beneath a mega-truck, even underwater.

Chicago forms a super backdrop for Sahir's stunts, the grainy stone of its buildings the perfect texture against which those bikes purr past with velveteen growls. Scrawling 'Teri aisi ki taisi' on its vaults and scattering the bank's money across Chicago's skies, Sahir makes the local police look as intelligent as turkeys. But things change when Mumbai cop ACP Jai Dixit (Bachchan), with bike-and-babe-mad subordinate Ali (Chopra), arrive and figure out why - and how - Sahir is breaking the bank.

Dhoom 3 rests on Khan's magnetism, his actor's eyes and jaw-line, his abs playing a part too. But the film is powered by its action. With WOL (whistle-out-loud) moments, this is super-slick and on an extravagant scale, using Chicago's skyscrapers like sexy statues arching into the sky. Alongside,Dhoom 3 features the franchise's tongue-in-cheek cheekiness, Ali, fida over blonde policewoman Victoria (as in 'secret'), Jai telling him to focus not on Kamasutra but kaam. As circus star Alia, Kaif provides soft romance, her fitness and innate grace redefining sexiness, making even potentially risque sequences - she lands her job following a speedy striptease - look delicately sensuous. Alia's charming beauty stops our protagonist in his tracks - but for how long?

Clocking in at nearly three hours, Dhoom 3 is slightly extensive. But it holds advantages, the first, that sizzling Dhoom tune, all leather, boots and electric guitars, which straightens sagging scenes. The second - sharp performances by Khan, Bachchan (an underrated actor, whose ability to drawl languid lines with intense looks stands out) and Chopra, who sprinkles lightness and fun. And the third - Dhoom 3's story with a twist wrapped around it, like the ribbon around a Christmas gift. Merrily unwrap - flying out of the Great Indian Circus, Dhoom 3 is great fun.

Rating:****
http://timesofindia.indiatimes.com/entertainment/movie-reviews/hindi/Dhoom-3/movie-review/27677238.cmshttp://timesofindia.indiatimes.com/entertainment/movie-reviews/hindi/Dhoom-3/movie-review/27677238.cms

Dhoom 3 Review by India Today!

Welcome to the flying world of YRF's Dhoom 3. I say so because here a motorbike can fly efficiently and if the need arises then it can also become a speed boat and if you push it further it can also function underwater. Well it's not just cool bikes even an auto rickshaw can fly here!

Vijay Krishna Acharya's Dhoom 3 is another visual treat where you get to see a fancy foreign city, cool bikes, police cars and good stunts but that's about it. The Dhoom series theme music when clubbed with the action stunts in the latest installment provides some entertainment because what you end up watching is not all that bad. But if you are looking for any logic, you are watching the wrong film.

Sahir (Aamir Khan) loses his father because a Chicago bank doesn't allow him to continue his circus and asks him to shut shop. Since then his mission is to shut the bank down, he wouldn't settle for anything lesser! A talented circus boy grows up and continues to run the circus and rob the same bank living in the same city, but of course he is never caught because he is no less than a magician. Robberies are well planned and executed by him. In the United States no security agency has managed to catch him and no camera has captured his face while he is on the move. Post the robbery he returns to the circus as if nothing ever happened.

Since he leaves a message in Hindi each time he robs a bank the management calls for some help from India. ACP Jai Dixit (Abhishek Bachchan) and Ali Akbar (Uday Chopra) take charge of the case in Chicago and the local police take a back seat. As one would only guess, each time Sahir is one step ahead but what's surprising is how useless the entire security system is made to look. When Sahir hears of Jai's arrival, he immediately plans to meet him and take him into confidence which will help him understand his game-plan. Although what's questionable here is the very fact that why would a cop who is just handed over an important case come to trust an unknown person in an unknown country. It is far from my understanding at least.

As always you can make out Aamir Khan has worked hard for this particular role and it shows in many parts but it doesn't match to what Hrithik Roshan did in Dhoom 2. Neither does Aamir pull off the action very well nor the dance steps. Katrina Kaif plays Aaliya, Sahir's love interest; she has a very short role in the film. She puts a great show together in her opening scene and then she has very little to do. Abhishek Bachchan and Uday Chopra's famous chemistry from the previous films does show in some portions. Music by Pritam and Julius Packiam is below average.

Dhoom 3 is full of loop holes, over-the-top acting and an overdose of action that doesn't fit well all the time. The timing is right so the film will run to packed houses but it's surely not a film that I would recommend as your last outing for 2013!

Rating:**
http://indiatoday.intoday.in/story/dhoom-3-movie-review-aamir-khan-katrina-kaif-abhishek-bachchan-uday-chopra/1/332052.html

Read more at: http://indiatoday.intoday.in/story/dhoom-3-movie-review-aamir-khan-katrina-kaif-abhishek-bachchan-uday-chopra/1/332052.html

Dhoom 3 Review by Rediff!

Dhoom 3 continues the tradition of extravagance in adventure and expenditure by roping in the fastidious Aamir Khan as its latest star antagonist, writes Sukanya Verma.
The Dhoom brand has always been about the bad guy. It may not necessarily glorify evil but glamourizing its illegal and implausible actions takes precedence in the Yash Raj produced series.

If Dhoom worked John Abraham’s Fast and Furious energy for a renewed take on the classic thieves versus cops theme, Dhoom 2 upped the ante with its scale and a smoking chemistry between Hrithik Roshan and Aishwarya Rai Bachchan.
Dhoom 3 continues the tradition of extravagance in adventure and expenditure by roping in the fastidious Aamir Khan as its latest star antagonist.

Realistically, of course, Dhoom is a fun albeit dumb franchise that is unapologetically nonsensical, intellect proof and relies on the shenanigans of its smooth, superficial villains and their hot pursuit at the hands of police officers -- deadpan Jai (Abhishek Bachchan) and dummy Ali (Uday Chopra).

Only this time Vijay Krishna Acharya (of Tashan fame) takes over Sanjav Gadhvi as director.

Ever since its first promo came out, know-alls drew visual comparisons to The Dark Knight, Now You See Me and The Prestige. They aren’t too off the mark.

Let’s just say, the crucial plot points/imagery of these fine films left a lasting impression on Acharya and Aditya Chopra, sharing the credits for Dhoom 3’s story, which revolves around a circus showman (Aamir Khan) and his dramatic connection to two publically executed bank heists in Chicago. 

Filmed extensively on location in the US, Windy City’s towering landscape lends Dhoom 3 a unique ambiance, which Acharya cleverly showcases through his mercurial screenplay. 

Unlike previous Dhoom devils who burgled for the thrill of it, Aamir Khan’s ambitions are driven by one of Hindi cinema’s most emotional, most enduring stereotype embodied with appealing emotionality by Jackie Shroff. 
High on crackling chases, curious get-ups, transformable bikes, somersaulting vehicles, theatrical flashbacks and Tom and Jerry sensibilities, Dhoom 3 alternates between sentimentality, scheming, spectacular ‘song and dance’ spectacle and slo-mo effects.
Even though it doesn’t dwell on subtext and there’s no background provided for any character apart that of Aamir’s (with some help from a sparkling Siddharth Nigam as his younger version), Dhoom 3 loads up enough ammo to fire through its nearly three hours long running time. 
And this is the part where the ‘mostly a dumb brand’ remark rings true. The big reveal pops up at interval point. Ten minutes later, it’s universal knowledge for pretty much everyone in the movie. Still, the makers choose to extend the (non-existent) suspense with a silly explanation and concoct a few more complications. Or perhaps I am just nit-picking in a film where the cops could have caught the thief in the first reel itself if they only bothered to note down his bike’s number plate, where US government calls upon two local Mumbai cops to nab an American robber of Indian origin (and there’s no outrage on television), where a chase begins in Chicago and ends in Switzerland and where, oh well, never mind.
There are two vivid reasons I indulge (and enjoyed) this I know-that you know-that I know (classic Abbas-Mastanism) is
a) because of the cunning and conviction in Aamir’s delivery. 
No matter how much he bares his gym-honed torso, he doesn’t have the physicality of John Abraham and Hrithik Roshan. But he has a knack for making even the trivial seem significant. His studious, serious approach works well in the role of a man orchestrating every single event of his life. It’s like getting inside his head and eavesdropping on the conversations inside. Talking too much about his role would amount to a spoiler. It also saves him his only criticism. 
b) Katrina Kaif. She’s the greatest special effect of Dhoom 3. Styled to perfection, the lady moves like silk -- smooth and effortless. Her stupefying acrobatics are highlighted in Vaibhavi Merchant’s magnificently choreographed sequences, which include one of the most graceful, yes graceful, stripteases I may have seen on big screen. 
Action and humour are the mainstays of the series. Though conspicuously low on the latter (no thanks to Uday Chopra’s tired jokes), Dhoom 3 lives up to its title with all the over-the-top daredevilry at display. 
Whether it’s a BMW bike doing a Batmobile or riding over a thin rope like you thought only Rajinikant can or a groovy jousting moment atop a two-wheeler and that striking, unforeseen (to me at least)) climax at the majestic Verzasca Dam, there’s plenty to keep the whistles blowing.
What isn’t is Dhoom regulars -- Abhishek Bachchan and Uday Chopra’s much jaded jodi in buddy cop mode. Bachchan’s sluggish tenacity and Chopra’s doddering comedy stands out all the more in this start-to-finish Aamir Khan show. It’s absurd to think they had any chance of outwitting Aamir even in their own franchise. 
Can’t help thinking the final scene is Aamir’s idea of blowing a raspberry in their direction, in character or out of Dhoom. Mazaa Le! 

Rating:***
http://www.rediff.com/movies/review/sukanya-verma-reviews-dhoom-3-mazaa-le/20131220.htm

Dhoom 3 Review from NDTV!

When the writer of the first two films of a successful franchise takes the director’s chair for a third shot at more of the same that is exactly what one gets: more of the same.

This time around, the bikes, babes and brawls formula is dished out even more liberally than before.

So, for the most part, Dhoom: 3 is a high-voltage action flick that relies squarely on known methods of the genre.

Actually, familiarity of this kind isn’t such a bad thing. Since the audience knows what is coming and does not have too many unsettling surprises sprung at them, acceptability is that much easier.

Despite being overlong (the runtime is 172 minutes) and a tad laden-footed at times, Dhoom: 3 stays true enough to its avowed intent to be passably engaging.

Writer-director Vijay Krishna Acharya, who scripted Dhoom and Dhoom 2, mounts this one on a scale that is no less unapologetically lavish.

He pulls off the implausible stunt sequences with a striking degree of flair – and a lot of obvious help from the CGI department.

Had the director invested as much energy on developing the characters beyond superficial levels and investing the dramatic situations with more depth than what one encounters in standard revenge dramas and cops-and-robbers capers, the third installment might have towered above the first two.

A lot of time in the first 50 minutes or so of Dhoom: 3 is wasted on the protracted ‘entry’ scenes that are apportioned to the principal members of the cast. The bigger the star, the longer is the prelude.

Aamir Khan, needless to say, takes precedence over everyone (and everything) else in the film, including occasionally the script.

From the word go, he gets to ‘perform’ an array gravity-defying acts and motorcycle stunts that are difficult to describe.

What’s more, Dhoom: 3 has the services of a full-fledged tap choreographer so that the star of the show can go beyond the bikes and biceps act and also do a Fred Astaire sans a Ginger Rogers. But since it is Aamir, it is all tip-top.

Because he moves from a scowl on the face to an occasional sparkle in the eyes and back to a stoic, deadpan countenance with effortless ease, these longish sequences do not run completely out of steam even when they overstay their welcome.

Katrina Kaif, too, gets more than her share of an eye-popping opening burst.
It comes in the form of a hyper-dance sequence in which she starts off in a modest dungaree, discards pieces of clothing one by one as the act heats up and eventually strips down to a sensuously skimpy outfit while Aamir’s suitably impressed circus owner watches utterly transfixed.

But the film could definitely have done without the gratuitous opening scenes involving Abhishek Bachchan and Uday Chopra. We all know what tough cop Jai Dixit and his skirt-chasing sidekick Ali Akbar are all about. Who would have needed another peep into their run and chase routine?

First up, the duo takes on a bunch of Mumbai goons led by a man who is modelled on a Tamil potboiler baddie, first on an auto-rickshaw and then, you’ve guessed it, on a souped-up motorbike.
They are then deployed in faraway Chicago to stop a super-thief, Sahir (Aamir Khan), who has one particular bank on his radar.
This bloke is no ordinary anti-hero. He raids the bank’s key branches and triggers a shower of greenbacks before making good his escape.
He is a magician and circus performer who pulls the wool over the eyes of the most hard-nosed bankers and the toughest Chicago cops. So the Yankees need an Indian policemen and his bumbling aide to nab him.

He has learnt the ropes from his deceased dad, Iqbal (Jackie Shroff in a cameo), whose loan defaults put paid to his dream of keeping The Great Indian Circus in business.
The head honcho of the Western Bank of Chicago intones: “I am a banker. Everyone hates bankers.” He does not dare add: no one more so than the wily Sahir Khan.

Dhoom: 3 is fun while it lasts, but it might not leave the viewer with the sense of having watched a film that is truly unique.

But watch it all the same for Aamir Khan and the hi-jinks. 

Rating:***
http://movies.ndtv.com/movie-reviews/dhoom-3-movie-review-907 

Jackpot Review from Taran Adarsh!

Kaizad Gustad, who wowed moviegoers with BOMBAY BOYS, but got it all wrong with BOOM, returns to tell a story after a hiatus. Is his new endeavour, JACKPOT, sharp and intelligent like his first film?

JACKPOT is a thriller with comic one-liners and crazy characters, set entirely in Goa against the backdrop of casino boats. An amateur gang of young Goan con artists plan the perfect con -- no nuksaan, no pareshan. However, it doesn't take long for them to discover that a reverse con has been played back on them... 

JACKPOT starts off with a title track that seems highly inspired from the opening credits of a Bond film... also reminiscent of the one in SHAAN. Soon thereafter, we are introduced to the characters, with multiple subplots adding to the mystery... and confusion. Kaizad doesn't spill the beans at the outset and the non-linear depiction of happenings that constantly switch back and forth leave you confused, making you wonder, what's Kaizad up to? Actually, with multiple cons being played simultaneously, the viewer is at a loss when trying to figure out what the original con was. 

However, Kaizad links the uneven subplots wonderfully in the second half. With a run time of approx 1.40 hours, the post-interval portions move feverishly and the unanswered questions get an answer. The writing is smart, the pacing is just right, the twists and turns in the narrative are sharp and the culmination catches you completely unaware. Kaizad serves an intelligent thriller, while the DoP does justice to his vision, capturing the lush green spots, grey skies and the downpour with precision. The background score too gives the film an edge. 

Kaizad also integrates the songs smartly in the narrative and the romantic track filmed on Sachiin and Sunny, 'Kabhi Jo Baadal Barse', stays in your memory. Having said that, the romantic scenes between the lead pair aren't too convincing. Also, the pacing in the first half is quite erratic. 

Sachiin certainly manages to pull off a more convincing job as an actor this time. Sunny also shows a marked improvement in her performance. Naseeruddin Shah is, as always, tremendous. Makrand Deshpande does a stellar job of playing the laidback cop, getting the local dialect right. Bharath, who has a humber of South Indian films to his credit, makes his Hindi debut with JACKPOT. He's first-rate. 

On the whole, JACKPOT proves to be an interesting watch with a sharp and clever second half.

Rating:***

http://www.bollywoodhungama.com/movies/reviews/type/view/id/1328