Jilla Review from Times of India!!

Movie Review: It looks like Vijay has realized that he can be in mass masala films that are not only entertaining to his fan base but also to every segment in the audience. He did this earlier with films like Ghilli, Pokkiri and Thuppakki, and does it now with Jilla. This time, he shares the glory with Mohanlal, who plays his godfather in the film. The plot revolves around Sivan (Mohanlal), a don in Madurai, who brings up Sakthi (Vijay), whose father died for him, as his own son. The two are a formidable force in the city but circumstances force Sivan to ask Sakthi to become a cop. But when an accident results in the death of several innocents, Sakthi wants his father to turn over a new leaf. But the older man is not in the mood to heed his advice, and soon, the two are on opposing sides.

As far as commercial films are concerned, Jilla is definitely assured filmmaking. Neason understands that the conflict between Sivan and Sakthi is what powers his film and sets up the initial clash between these two characters very well. Sakthi's realizes the error of his ways after a horrible blast, which happens because of Sivan's decision. The scenes following this blast are quite horrific for this kind of film but they are so effective in making us understand why someone as loyal as Sakthi will shift sides and decides to take on the person who is his father figure. The confrontation scene is very well shot and the dialogues too are punchy in this scene. Vijay and Mohanlal are very good here. Vijay utters Sakthi's lines in a nonchalant way (Unakkaga enaku pidikadha khakhi potu police aanen illa, enakkaga nee ippo nallavana maaru) while Mohanlal treats Sivan's lines with seriousness, and so we get to see where each character stands — the son only wants his father to change but the latter will not give an inch from his position and is even ready to banish him from the house. When the intermission point arrives, we eagerly anticipate what might come next.

Neason also keeps Sivan's character in the grey area — he never has any remorse for the blast, he even brokers for a pharma company which is banned everywhere in the world; he is so egoistic that he wants to put Sakthi in place at any cost. Which is why, we feel cheated when the director decides to bring in another antagonist who wants to bring down the father-son duo. Thankfully, our disappointment doesn't last long as this character poses a formidable challenge to Sakthi and that keeps this segment engaging. He even has a minor victory when he manages to kill a character close to Sakthi and Sivan.

The lighter portions too are done with confidence. Neason understands the irony of a guy who hates the khakhi falling in love with a woman who is a cop, and treats the romance in a playful manner. He even approaches the scene in which Sivan urges Sakthi to become a cop in a similar vein. A godfather asking his son to do something he hates is heavy duty drama material but the director sidesteps this by going for a good-humoured tone, and just to not make it appear too frivolous, makes Sakthi tell his mom that he will do anything to not see his dad tearing up again. He also manages to get away with the implausible scenario of a don's hireling becoming a cop.

The main issue with Jilla is that it is overlong. Neason, probably in an effort to make it a wholesome entertainer, keeps packing in scenes oblivious to the running time. So, we have an unwarranted sub-plot involving Sakthi's sister and forcefully fitted songs which only make the film lengthy. Also, his tendency to cut to a childhood moment every time he wants to make an emotional statement becomes gratuitous after a point — the film itself begins with Sakthi as a boy; when Sakthi is injured, he recalls a moment when Sivan rushed to him when he injured himself as a boy; when his brother talks about growing up holding Sakthi's hands, he cuts to a montage of two boys holding hands.  

Rating:***1/2
http://timesofindia.indiatimes.com/jilla/movie-review/28650403.cms 

Sholay 3D review from Bollywood Hungama!

What can one convey or enlighten about a film that has the word 'Classic' written all over it? One of the most appreciated and admired movies... also, one of the most discussed and analyzed movies ever, SHOLAY, directed by one of the finest storytellers of India [Ramesh Sippy], now unveils in a new avatar -- 3D. Watching the film in 3D is truly an experience. And for those who haven't watched the original version, all I'd say is, watch it pronto, for you cannot replicate a film like SHOLAY. Ever.

The 3D version of this all-time classic should work for two reasons: One, the simplicity on display, when one compares it with the recent releases that are infested with VFX. Two, the invigorating and revitalizing drama [writers: Salim-Javed] that leaves you awestruck, even though you may have lost count of the number of times you've watched this incredible entertainer. The icing on the cake are the well-defined characters -- Thakur, Jai, Veeru, Basanti, Radha and of course, Gabbar. 

Not many are aware that SHOLAY did not take off the way it should, when it first released in theatres. Gradually, a few weeks later, SHOLAY attracted audiences in hordes and ran for more than five years non-stop at Mumbai's Minerva theatre, besides celebrating Golden Jubilee and Silver Jubilee in several cities and towns then. Furthermore, the film set new records across the country, immortalizing the characters, the songs and the dialogue... just everything associated with the film. 

Having grown up on SHOLAY and the masala films of yore, the 3D version of the film helps you relive the moments associated with it. Especially the evergreen, iconic dialogues delivered by Gabbar and Thakur. Sample these…

[Delivered by Gabbar] 
'Tera kya hoga, Kaaliya?'
'Jo darr gaya, samjho marr gaya'
'Holi kab hai, kab hai Holi?'
'Bahut yaarana lagta hai'
'Kitne aadmi thhe?'
'Yeh dushmani bahut mehengi padegi Thakur, bahut mehengi'
'Yeh haath humko de-de, Thakur'

[Delivered by Thakur] 
'Jao, jaake kehdo Gabbar se, Ramgarh-walo ne paagal kutton ke saamne roti daalna bandh kar diya hain'
'Yeh haath nahin, phaansi ka phanda hain, Gabbar'
In fact, the dialogues -- memorable all -- reverberate even after almost four decades. 

With 3D, every pivotal character stands out [quite literally!] in the film. A special mention ought to be made of the train sequence, the climax scene where Amitabh Bachchan blows the bridge with the last bullet and when the goons chase Basanti, who is on her tonga…

The music of SHOLAY is timeless, much like the dialogues. Even though the songs have been heard/watched over and over again, the 3D effects add sheen to the same. The music by R.D. Burman is easily amongst his best, in my opinion. 'Yeh Dosti Hum Nahin Todenge', 'Jab Tak Hain Jaan', 'Mehbooba' and 'Holi Ke Din' are simply inimitable. Also, the contribution by DoP [Dwarka Divecha] is simply invaluable. I'd also like to mention the immense contribution by the team that brought this much-loved classic in 3D. 

SHOLAY was truly the biggest film of its times and having stars like Dharmendra, Sanjeev Kumar, Amitabh Bachchan, Hema Malini, Jaya Bhaduri and Amjad Khan in a frame was magical. Also, who can ever forget the supporting cast -- A.K. Hangal, Satyen Kappu, Asrani, Sachin, Viju Khote, Mac Mohan, Jagdeep, Leela Mishra, Iftekhar... Every performance was beyond perfect! 

On the whole, there are films and there is SHOLAY. Frankly, it would be sacrilegious to miss this classic. Watch it. Now.

Rating:*****

http://www.bollywoodhungama.com/moviemicro/criticreview/id/514744

Dedh Ishqiya Review from Bollywood Hungama!

It's a well-established trend to have a franchise or a sequel as a meritorious follow up to a triumphant prequel. The year 2013 ended on a high, with the third installment of the lucrative DHOOM franchise rewriting the record books. Now, in the second week of 2014, a sequel to the immensely likable ISHQIYA [2010] is out to woo the spectators -- DEDH ISHQIYA. But unlike most franchises/sequels, which have an urban backdrop, DEDH ISHQIYA, much like its predecessor, is set in the hinterland, has an unassuming, homespun feel and an old-world charm to it. But let me make one thing clear: Cosmetically, the two films may be in the same space, but the stories are in sharp contrast to one another.
 
Abhishek Chaubey created an out of the ordinary world in his directorial debut ISHQIYA. The tale of a love-lorn and ruthless woman Krishna [portrayed by Vidya Balan], who uses Khalujaan and Babban to settle scores, caught the attention of cineastes for varied reasons. Besides a differing plot and an enthralling screenplay, that film had wit, conspiracy and romance that was so unconventional and individualistic on the Hindi screen then. DEDH ISHQIYA continues the escapades of Khalujaan and Babban, but the duo has the extremely desirable, sophisticated, but a secretive woman [Begum Para] and her confidant [Muniya] for company. In addition, while the first part was a love triangle, with both Khalujaan and Babban falling in love with Krishna, DEDH ISHQIYA has two love stories running concurrently. 

ISHQIYA was sharp, spicy and volatile, with impulsive characters and a storyline taking a somersault every few minutes. DEDH ISHQIYA is no different. It transports you to a diverse world, but like the first part, this one focuses on love and deceit as well. Also, it's far more complex this time around... and the truth hits you like a ton of bricks! 

Begum Para [Madhuri Dixit-Nene] of Mahmudabad is hosting a festival of poetry and music in her mansion. The country's best poets are in town. Khalujaan [Naseeruddin Shah], posing as the Nawab of Chandpur, is participating as a poet in the festival. He is not there merely to show off his poetic wares, but to impress the widowed Begum who, as the grapevine suggests, is scouting for a husband -- preferably a poet. 

Babban [Arshad Warsi] arrives in Mahmudabad to take Khalujaan back to their old life, but his plans alter the moment he sets his eyes on Begum's maid and confidant Muniya [Huma Qureshi], a brash and sexy young woman. Muniya too has plans of her own. She leaves the palace every now and then in a disguise to meet gangsters in dark alleys. The palace is rife with intrigue... 

Unlike the promos of the first part, which communicated quite a bit about the film, the promos of DEDH ISHQIYA maintain the element of mystery around the characters and its plot. Sure, one is familiar with Khalujaan and Babban, but the new characters that Abhishek Chaubey introduces us to in DEDH ISHQIYA -- Begum Para and Muniya specifically -- are shrouded in secrecy/ambiguity. While ISHQIYA was earthy and rustic, one gets to witness an alternate universe in DEDH ISHQIYA. There's a lot of poetry, music and color this time around. At the same time, there are layers to the story that baffle you. Garnished with chaste Urdu and peppered with unconventional humor and simmering sexuality, the characters indulge in a treacherous game yet again. This time, it's even more dicey and perilous. 

Abhishek Chaubey deserves colossal admiration for taking the story forward by retaining some characters and adding several new ones. The screenplay is capricious and unpredictable, imparting a flavor that's distinct and one you most certainly haven't experienced heretofore. Also, a section of the audience may find the chaste Urdu a tad strenuous to comprehend [although the sub-titles make it quite effortless to decipher], but come on, when you have a film based in Punjab or a South Indian state, the essence of that sector has to come to the forefront, right? 

The music [Vishal Bhardwaj] is a sore point and one misses winsome tracks like 'Dil To Bachcha Hain Ji' and 'Ibne Batuta' from ISHQIYA. This film deserved an entrancing score, also because the emphasis is on poetry this time. Dialogue, also penned by Vishal Bhardwaj, are the mainstay and the backbone of the enterprise. The lines are loaded with wit and the usage of Urdu is prudently juxtaposed in several sequences. The DoP captures the old-world charm wonderfully well and the visuals are absolutely stunning. 

Expectedly, Naseeruddin Shah is supremely efficient as Khalujaan. Getting into the skin of the character, the actor gives it all to the film, delivering a performance that's sure to be recalled amongst his premium works. Matching Naseer is Madhuri Dixit-Nene, a powerhouse of talent. Cast in an unconventional role, it's a colossal leap for the actress who has several power-packed performances in her repertoire. She also deserves kudos for opting for an unconventional, avant-garde character, which will only win her tremendous admiration and honour in times to come. Arshad Warsi is in terrific form yet again. The actor, a spontaneous performer, wows you with his brilliant act. In fact, Naseer and Arshad are a delight to watch in several sequences, with both complimenting each other from commencement to conclusion. Huma Qureshi is fantastic and if one were to say so, catches you with complete surprise. Her sequences with Naseer, Madhuri and Arshad reiterate that she can stand on her feet, despite being pitted against top notch actors. Yet another performance that stays with you is that of Vijay Raaz. One of the finest talents around, I am sure, DEDH ISHQIYA will make the film fraternity realize that you cannot ignore him for long. Salman Shahid is top notch in a cameo. Ravi Gosain does a decent job. Manoj Pahwa registers a solid impact.

On the whole, DEDH ISHQIYA is a worthy follow up to the widely admired ISHQIYA. Powerful writing, superb direction and outstanding performances make DEDH ISHQIYA a must watch. Just don't miss it!

Rating:****

http://www.bollywoodhungama.com/moviemicro/criticreview/id/547314

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 

Oru Indian Pranayakatha Review from TOI.

Story: The film is about the life of a young political leader and his association with a woman who comes unexpectedly into his life.

Oru Indian Pranayakatha oozes with fond recollections from some of the earlier accomplishments of Sathyan Anthikad. It narrates the tale of a youth who chooses politics as his career. His acts and motives - all driven by ambition - are drenched in sarcasm, something highly redolent of Sandesham.
 
The transformation of Sidharthan (Fahadh), the young political leader is then triggered by his association with a woman, who is smarter and more sensible than the lead male characters in Anthikad's films. Amala Paul plays a Canadian citizen of Malayali origin named Irene Gardiner. 

In a film that treads at a studied pace with hardly any eventful situations, the good-natured moments belong to Fahadh. His insouciant charm blends with an earthy humour. Fahad is unabashed while bringing out the inflated ego of an aspiring young politician and his associated cockiness. His indulgence in self-debasement is hearty and his open exposition of ignorance is ridiculously funny.

Amala Paul is more mature while dealing with emotional outbursts. She unassumingly lets Fahadh devour the fun whenever they share comic situations, something that works well for her as she seems perfectly in control. The plot is more or less confined to him, his foiled ambitions as a politician, his romance, his feelings for a woman who brings about a slow shift in his life. It is this apparent simplicity that makes the film at once engaging and more often banal. 

The joviality happens naturally, the mush is forced and jarring. There is not even a faint attempt at doing away with stereotypes although there are glimpses of promise at certain moments which never really crystallize into a heart-warmer of a film.

Rating:***
 
http://timesofindia.indiatimes.com/entertainment/malayalam/movies/movie-reviews/Oru-Indian-Pranayakatha/movie-review/27751337.cms

Ezhu Sundara Rathrikal Review from Times of India!!

Story: The film moves around relationships of four individuals that get intertwined resulting in complexities that affect their lives.

Lal Jose dabbles in a maze of relationships in Ezhu Sundara Rathrikal. It's about people who are waiting to get married and those who are already married. The film leaves links inter-connecting all those involved in it. The result is a narrative that goes slightly out of control after the initial good-natured humour which Dileep brings to the table.

Aby (Dileep) is an ad-maker waiting to get married to Ann (Parvathy). His old flame Rima Kallingal returns to the city where he lives and their encounter sets off a series of events bordering on confusions, misunderstandings, sense of guilt and the pain of loss.

Lal Jose intently tries to hold the complexities with a sense of triviality. He does away with tears and piano at times of grave emotional crises and would instead squeeze in cartoonish sequences. The light-hearted treatment works to an extent, but not for long as the narrative is crippled by a sluggishness that results from a poorly conceived script.

There is a mad rush towards the end assembling a jumble of events to materialize a set of twists just to put things in order. In spite of all its earnestness, the attempt fails pushing the movie to levels of mediocrity. Dileep holds on to his casual, ticklish humour which salvages the film to a certain extent.

Rating:***

http://timesofindia.indiatimes.com/entertainment/malayalam/movies/movie-reviews/Ezhu-Sundara-Rathrikal/movie-review/27751741.cms

Thalaimuraigal Reviews from Times of India!

Synopsis: A haughty old man, who is estranged from his son for over 12 years, starts looking at life in a different perspective when his grandson comes to stay with him. 

Movie Review: For retired Tamil teacher Subbu (Balu Mahendra), it is his religion, caste and language that are close to his heart. For 12 years, he has not been on speaking terms with his son Sivaraman (Sashi Kumar), a doctor, who married Stella ( Ramya Shankar), a Christian girl and an orphan, against his wishes. But when Sivaraman hears that his father had suffered a stroke, he goes to his village at the insistence of Stella, who wants their son Aditya ( Master Karthick) to get to know his grandfather.

This is the set up of Balu Mahendra's Thalaimuraigal, a drama on human relationships that puts across the one question that matters in the end — 'who am I?' Midway into the film, Aditya gives a photograph of himself to his asks his grandfather if he could say who the person in the photograph is. The old man replies that it is just a piece of paper and questions the kid who he really is. Subbu delivers this line in a haughty manner, probably expecting his grandson to acknowledge his lineage (in the form of religion and caste) but even he doesn't realize the profoundness in his question. In a later scene, the village's pastor asks the boy if he is a Hindu or Christian, and the kid says that he is Aditya, and only then we realize how the boy has come to terms with his self.

It is this kind of understatement that sets Thalaimuraigal apart from current films. The scenes mostly come across as moments captured from the life of the film's characters rather than as part of a narrative. The director shoots the film with minimal fuss — the shots are held longer than in present-day films, and the camera often stays at rest, capturing everything in its frame. Ilaiyaraaja's background score too features large stretches of silences that feel alien to the insistent sounds in commercial films. Even the emotional scenes are not underscored with stirring music and it is left to us to imbibe the emotions from the performances. And this simplicity is reflected even in the scenes showing the bonding of grandfather and grandson. The kid doesn't know Tamil (Stella is from Bangalore and she converses with her husband mainly in English) and the old man isn't used to English. He begins teaching the boy Tamil and we see shots of them learning from each other at various locations and at various times, and they build up a rapport over time.

It is only in the pre-interval scene that there is a sense of urgency — a lady comes to Subbu and pleads with him to save her son who has been bitten by a snake — and the scene feels quite cinematic but this is probably because it is in our habit to expect a twist during at the interval point.

The only problem with the film is that it resolves many of the characters' issues quite conveniently. It redeems Subbu when he starts bonding with his grandson but never quite acknowledges his patriarchal mindset that dashed the hopes of his daughter. We get a scene where the daughter tells her brother that their father took out the anger he had for his son on her by putting an end to her studies and turning her into a child-bearing machine. But we never see Subbu recognizing his failings with respect to his daughter. In fact, while he instantly develops an attachment with his son's offspring, we are left wondering about his relationship with his other grandsons, who were born to his daughter. Maybe, Balu Mahendra wants to tell us that it is not possible to right all the wrongs we have done in our lifetime.

We also wish that the argument between Sivaraman and Stella over Aditya staying in the village had a bit more bite. It is a bit hard to believe that he gives in so easily when Stella counters his very valid reservations with the simple point that Aditya will learn much because Siva himself had studied in the village. Less practical and more romantic.

But there is plenty of genuineness and warmth, which, elevated by the minimalist storytelling and genteel performances (director-actor Sasikumar's cameo is the only false note) turn this simple film into the feel-good film of the year.

Note: Strictly for those who like leisurely-paced slice of life films that are more enlightening than they are entertaining.

Rating:****

http://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/moviereviewarticlelist/thalaimuraigal/movie-review/28019810.cms

Agadam Review from Times of India!

Synopsis: Three men bury a woman they have murdered in the middle of the night. They get an unexpected visitor, who wants to do business with them. Soon, the ghost of the dead girl turns up before them sending them running for their lives.

Review: Oh, the irony that is the interval! You only have to feel sorry for Mohamad Issack. He has made a film that has been certified by the Guinness World Records as the longest uncut film but his very achievement is tarnished by the fact that the film is cut (read stopped) midway by the theatre operator for the interval.

In fact, indirectly, this very act is a statement on the significance of Issack's efforts. Watching the film, we realize that it isn't ambition or the subject of his movie that has necessitated this attempt but the need for such a gimmick to attract an unsuspecting viewer. This is novelty for novelty's sake, nothing more.

The film's plot heavily draws on Karthik Subburaj's trendsetting Pizza. If the latter film had an individual trapped in a lonely mansion that has a ghost, here it is four characters who are scared to death by a ghost in a house. The difference is that while Vijay Sethupathi was the protagonist there, here, the victims are all corrupt men, who distribute expired medicines and murder those who try to expose them. There is also a twist towards the end, as in the earlier film. And, like Pizza, this one too has been shot on a shoe-string budget.

But the comparisons end there. While Karthik Subburaj's film is a dazzling example of what a director with a command over his craft can do with a minimal budget, Agadam is a cautionary tale that proves that while digital has made it possible for anyone to make a film, not everyone should make one. This is an unnecessarily over-long film with a sloppy script, amateur performances, shoddy camerawork, template music and unintentionally funny sequences, with not a single redeeming feature (no, the longest shot doesn't count). The only horror here is not the one the characters experience but what we, the audience, undergo.

 

Rating:*1/2

 

http://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/moviereviewarticlelist/agadam/movie-review/28463733.cms 

Dedh Ishqiya Review from Mansa Rastogi!!

One of the biggest formulas being applied over and over again in cinema over the last few years is that of converting a hit film into a franchise by dishing out sequels one after the other only to cash in on the success of the first. Now whether those sequels have anything to do with the first one or are even closely as good as the original is a redundant query. Some of the cerebral filmmakers too have fallen into the money spinning trap so it's no surprise that you see producer Vishal Bhardwaj too doling out the sequel to his 2010 superhit Ishqiya. But does his sequel live upto the standards? Let's find out.

Dedh Ishqiya Pictures   52 Pictures

44 More Movie Stills. Click to View All

Partners in crime, Khalujaan (Naseeruddin Shah) and Babban (Arshad Warsi) are back to their silly misadventures. The setting again is the badlands of North India although with a decadent feudal system. 

Mahmudabad is the land of decrepit, crumbling Nawabs, each covering up for the bankruptcy with a sham of grandeur. Begam Para (Madhuri Dixit), an ageing widow of the late Nawab of Mahmudabad has a task at hand - to fulfil the last wish of her late husband that of re-marrying. A "Jalsa" is organised for all Nawabs, competitions held that of sher-mushairas, guns and ghazals. Enters Khalujaan under the garb of Nawaz of Chandpur followed by his Khadim Babban; the agenda - to ransack the wealth of Begam Para. Tables turn the moment Khalujaan lays eyes on Para and his heart flutters. He forgets the objective while trying to woo her only to know much later in the course, that Begam Para too, along with her aide Muniya (Huma Qureshi) has a plan up her sleeves.

The film scores ace on the laudable story of Darab Farooqui, painstakingly written screenplay of Abhishek Choubey and the saucy, witty and hilarious dialogues of Vishal Bhardwaj.

The story is extensive, there's ample back and forth, the characters are complex, each with a grey shade but it's Abhishek's master direction that doesn't leave any depiction rushed. He takes his time to establish the backdrop, that of the dying era of Nawabs. He interestingly captures their failing attempts of the few leftover Nawabs to latch on to the Nawabi royalty and its perks. He evolves his characters smartly as their real agenda blend brilliantly with the proceeding storyline. 

It all goes very good in Dedh Ishqiya till the penultimate moment and the film goes awry from thereon. It's Vishal and his protege's fascination for Tarantino that reflects in the end there the screenplay goes completely berserk and there's mindless gun-totting and bloodshed. Also the later portions of the second half appear extremely stretched and could well be edited for a crisper screenplay.

Both Naseeruddin Shah and Arshad Warsi once again form the heart of the film. Their antics and banter make for an enjoyable watch. However, this time around it's Arshad who supersedes Naseeruddin Shah's performance. 

Madhuri Dixit is luminates in her comeback film and is as graceful as ever. There are dance portions of the actress which are extremely delightful and beautifully shot. Huma on the other hand remains underutilized and hence, may be the only sore thumb in the list of actors.

Among the many character actors in the film, the one that outshines is Vijay Raaz. Not only does he get a meaty part to play but also the right director who taps his potential as an actor and extracts commendable display of acting prowess. 

To sum it up, Dedh Ishqiya falls just a step short of being flawless and that's only because of the Tarantino-esq climax. But in the rest of the portions, the film, as promised, "Dedh" (One and a half) times the fun of the original.

Rating:***

http://www.nowrunning.com/movie/10000/bollywood.hindi/dedh-ishqiya/4519/review.htm