Gori Tere Pyaar Mein Rediff Review!

Gori Tere Pyaar Mein is essentially two different films separated by an intermission, writes Paloma Sharma.

On the poster of Gori Tere Pyaar Mein, Imran Khan and Kareen Kapoor Khan sit on opposite sides of an unfinished bridge with the words ‘Only love can bridge the gap’ written below them. If only the director had been able to perform the same function.

Gori Tere Pyaar Mein is essentially two different films separated by an intermission, with a few, weak common threads between the two.

Sriram Venkat (Imran Khan) is a US-returned architect who cares about no one but himself. He has no ambitions in life other than living comfortably.

Dia Sharma (Kareena Kapoor Khan) is a Punjabi 'charity worker,' who has devoted her life to bettering the world.

Sriram is shallow. Dia is an inch away from enlightenment. Their paths cross.

But is it meant to be?

The first half of the film begins with some glycerin-induced tears and less than two minutes later, your senses are assaulted by Imran Khan and Esha Gupta (yes, random famous people also show up here) making out in a club to the lyrics of a song so absurd that I won’t care to repeat them.

The torture continues.

Sriram’s parents decide to marry him off in order to make him more responsible (because, hey, that’s the sensible thing to do). This is where Sriram goes from architect to serial flashback-er. He tells his bride-to-be, Vasudha (Shraddha Kapoor), about his relationship with Dia -- which is a most appropriate thing to do, especially since Vasudha is in love with someone else.

The flashbacks go on and on, even though they weren’t needed. An hour and half into the film and you’re still waiting for it to start.
However, if you can survive the first half of it, you’re in for a time-pass treat.
The second half of the film is like Karan Johar’s version of Lagaan -- villages are pretty, villagers are prettier and everything is sparkly clean. However, at least the story is intriguing, even though it does remind one of Ramaiva Vastavaiya.
Despite being a little corny, Sriram’s transformation and his search for a deeper meaning to his materialistic existence is an enjoyable watch. Add to that a couple of gags here and there, Anupam Kher as a corrupt collector and the lovely Naina, sung by Neeti Mohan and Kamal Khan, and you have an entertaining combination.
The trouble with Gori Tere Pyaar Mein is that this film seems like you’ve seen it somewhere before. It feels like a spin-off of Ek Main Aur Ek Tu with a different setting but similar characters and a similar story.
Imran Khan plays Imran Khan (again) and not Sriram Venkat. Khan is awkward unless he’s giving you his chocolate boy smile or looking forlornly into the distance.
Kareena Kapoor Khan is several shades better. She’s believable for the most part except when, being an activist, she does a dance number whose lyrics describe how lovely her derriere is in quite a few analogies.
Anupam Kher is fabulous, as usual, as is the little boy who kept trying to steal Sriram’s sunglasses every chance he got.
The soundtrack, especially the lyrics, is best not spoken about except for Naina (which I’m playing on loop ever since I’ve watched the film).
Gori Tere Pyaar Mein is two hours and 28 minutes long and follows a non-linear narrative. This was absolutely unneeded. Despite all the flashbacks, the story was predictable and the first half could have been cut down significantly. This film is a case of shoddy editing, writing and direction.
Gori Tere Pyaar Mein’s saving grace is that it is a love story and the second half will manage to melt your heart, if only slightly. It’s the classic opposites attract story and hey, if you’re into that kind of thing, this might be your kind of film.
Rediff Rating: **1/2

Actual Reviewer 

Irandam Ulagam Review from Rediff!

amil film Irandam Ulagam is a visually stunning fantasy story set in an imaginary world that describes a love that transcends human understanding of time and space writes S Saraswathi.

Be it Kadhal Kondein, 7G Rainbow Colony or Mayakkam Enna, romance has always played an integral role in director Selvaraghavan’s films and he has always approached it with his own distinctive style, ignoring the time-tested formula.

With a tagline that reads ‘How far will you travel for love’, his latest film Irandam Ulagam, starring Arya and Anushka Shetty, has been generating a lot of buzz.

And just as the tagline suggests, the film is all about a love that transcends time and space, exploring the possibility of a parallel world.

The music too has been creating quite a sensation. Harris Jayaraj handled the initial soundtrack, while later Anirudh Ravichandar was signed to compose the film's background score. Vairamuthu has penned the lyrics.

Irandam Ulagam, which is dubbed in Telugu as Varna is produced by Param V Potluri for PVP Cinema and is also being released in other languages such as Hindi, Georgian, Russian and Turkish.

Irandam Ulagam revolves around two love stories simultaneously occurring in two parallel worlds. One is the real world we know and understand and the other is a fantastical world filled with mythical creatures, enchanting forest, mysterious hills, and majestic views of the horizon.

In the real world, Anushka plays Ramya, a doctor, who is in love with Madhu Balakrishnan (Arya), a college professor. While in the fantasy world, she plays Varna, a high spirited, warrior-like character who deeply values her freedom. She is desperately pursued by Maruva (Arya again), who is madly in love with her.

Alternating between both worlds, the story progresses smoothly, like your average love story, until just before the interval, when the director introduces a dramatic twist.

The visual experience created by cinematographer Ramji is truly spectacular. He deserves full credit for bringing to life a beautiful new world, a magical place shrouded in mystery and filled with brilliant colours.

The music heightens the atmosphere and Anirudh has done exceptionally well. The songs, the lyrics, the picturisation as well as the vocals, everything fits beautifully.

Both Selvaraghavan and Arya are known to experiment with their films and characters and have been quite successful. In fact, 2013 has proved to be a great year for Arya, who had two back-to-back box office hits, Raja Rani and Arambam.

Anushka not only shares equal screen space with Arya, but also plays quite a significant role. In fact, the story revolves around her and she has performed admirably.

Though a lot of effort and hard work has been put in by the entire team, the result is not quite what you expect.

The film has an unreal fairytale-like quality that prevents us from feeling the intensity, passion and pain of the characters. It seems more like a child’s bed-time story.

Everything from the unique costumes, make-up and body language gives the film a storybook and dream-like quality.

Irandam Ulagam is an ambitious project by a director who always strives to give a different and unique experience to his audience.

Rediff Rating: ***

http://www.rediff.com/movies/review/review-irandam-ulagam-is-a-mystical-love-story/20131122.htm

Gori Tere Pyaar Mein Yahoo Reviews!

Cast: Imran Khan, Kareena Kapoor Khan, Shraddha Kapoor, Anupam Kher

Direction: Punit Malhotra

Rating: **1/2

I have always maintained that Karan Johar teaches his protégés well; they almost always get the entertainment quotient and the slick productions qualities right but alas that can’t be said about ‘Gori Tere Pyaar Mein’.

The production is so slick that even when Dia Sharma (Kareena Kapoor Khan) and Sriram Venkat (Imran Khan) choose to stay in a dusty Gujarati village, they are always impeccably dressed. Imran’s white linen shirts don’t even have a speck of dust on them, Kareena’s kohl-lined eyes are always perfectly done and she exhibits the most extensive cotton kurta collection possible in a poor village. I guess she dresses immaculately to express solidarity with the impoverished village folk.

And this in effect is what exposes the inherent superfluousness of the plot. Sriram actually makes a very valid point when he erupts and blames Dia of being a hypocrite. The fundamental problem with ‘Gori Tere Pyaar Mein’ is that there isn’t an iota of conviction in the narrative - whether it’s the heroine’s activism, the hero’s love for the heroine or the entire living-in-the-village, among-the-poor, understand-their-plight charade that they carry on throughout the second half.

What really doesn’t help their cause is the complete absence of chemistry between the film’s lead stars, Imran and Kareena. I understand that we have established at the onset that our social activist is older than our chocolate boy but that doesn’t mean that their relationship has to be asexual. There is not a single passionate embrace or kiss or even a look that can allude to some latent attraction underlying their relationship.

In fact, the only thing that rings true is how mechanically Sriram goes through the motions of an arranged marriage, even after the girl has told him that she is in love with someone else. So self-absorbed is our hero that he refuses to be the fall guy and insists that if she is so hopelessly in love, she should gather the courage to tell her parents. The director doesn’t romanticize the arranged marriage set-up nor is there any dramatic meltdown. And what really makes the situation funny is how deftly the prospective bride Vasudha (Shraddha Kapoor) manages to systematically brainwash our vulnerable hero into believing that he is still in love with his former girlfriend, and thus ensuring her escape. That I thought was really well played.

The film tends to gloss over a lot of real issues. Why take them up when you can’t do justice? Stick todil, dosti and friendship and you’ll have a winner all the way. Real issues just expose a pretentious approach and superficial concern for social causes like education, poverty, illegal land acquisition and sanitation.

‘Gori Tere Pyaar Mein’ is an insipid love story dragged down by a flimsy plot that limps on at a tedious pace.

Actual Review Links:

http://in.movies.yahoo.com/blogs/movie-reviews/yahoo-movies-review-gori-tere-pyaar-mein-120554266.html

Singh Saab The Great Movie Review from NDTV!

Rating: ***1/2

Cast:Sunny Deol, Urvashi Rautela, Amrita Rao and Prakash Raj
Director: Anil Sharma 

SPOILERS ALERT

There is something to be said about that 'dhaai kilo ka haath' which Sunny Deol patented in well-made action films like Ghatak, Ghayal and Gadar - Ek Prem Katha. Lately, his career was eclipsed by wrong choices. Maybe, the 'haath' (hand) was not in the right place.

Back in form with a bang in Singh Saab The Great, Sunny delivers a wallop. Looking every inch the Sardar in-charge, he furnishes the film with a flair that is quite engaging. No, he doesn't wrench off a hand-pump to thrash the goon. But yes, he does turn a static jeep from back to the front with his bare hands.

And guess what? He looks every bit convincing doing the heroic hijinks in a country certainly not meant for the weak and the infirm.

When we first meet Singh Saab (The Great) in this non-stop actioner, we are told by his on-screen aides that Singh has formed a political party called Aam People's Party. Now, if that reminds you of a certain Kejriwal's Aam Aadmi Party, then I am sure the resemblance is not coincidental.

God knows, we do need a change in governance and in the rampant corruption in the country. Anil Sharma's over-zealous though never-misplaced passion to put across Sunny in a messianic mould works to a large extent. The film is an old-fashioned, very simply written morality tale between an idealistic hero and a villain who rules a backwater town with an arrogant ruthlessness that romances decadence and debauchery.

What works well for the film are the powerfully executed confrontational sequences between Sunny and the arch-villain Prakash Raj. While Sunny shows exemplary control in the inherently melodramatic milieu, Prakash Raj tries a variation on his stereotypical villainy. He comes up with a character who's a Bihari goon who can at the drop of a hat, break into a song and dance while executing the sleaziest of deeds and dialogues.

God knows, we need a bit of humour in the decadence.

It's a murky world of compromised morals out there made bearable by larger-than-life heroes who know they are up against impossible odds, and yet find a kind of subverted comfort in making their unbelievable hero-giri credible by dint of their powerful screen images.

Sunny Deol has that kind of a presence. While romancing the mean, he is also capable of infusing moments of goofy tenderness in his scenes with his screen wife, played by a pretty and reasonably watchable debutante Urvashi Rautela. Their glaring age difference is also brought to chuckling notice by a script whose USP is its determination to not act over-clever while executing an old-fashioned revenge tale.

Amrita Rao struggles to give substance to an under-written role of the narrator and journalist who seems to have only one assignment, to trail Singh Saab (The Great) through his crusade against corruption. Clearly, she's ready to fall in love with the Missionary Man, if only the script would allow her.

You've seen the noble bureaucratic hero in different uniforms,take on the corrupt villain in numerous films. What works in Singh Saab The Great is the way the action scenes flow in motions of choreographed contemplation. Action directors Tinu Verma and Kanal Kannan lend a rigour to the narrative.

While the plot tends to sag under the weight of italicized cliches, the twists and turns are negotiated by the technicians with ample aplomb. The sound design is deliberately exaggerated and meant to manipulate moments of machismo. S Gopinath's cinematography captures the feverish flourish of men on a rampage with gusto. The art director makes innovative use of rusty-brown colours that lend a bronzed hue to the brawn festival.

It would be the easiest thing in the world to dismiss Sunny's pronounced heroism as archaic and 'loud'.But don't be hasty in your judgement.

Anil Sharma and Sunny Deol's combustive force earlier yielded the powerful Gadar - Ek Prem Katha. This time they aspire to the same level of dramatic velocity, and succeed to an extent.

There is a virility and fluency to the storytelling. Singh Saab The Great is a homage to the cinema of the 1980s when Sunny was the daredevil determined to bring on a social reform. Somewhere, that hero lost his way. It's good to have him back.

http://movies.ndtv.com/movie-reviews/singh-saab-the-great-movie-review-897?fb

Aarambham Review from Now Running!

Rating:**

Remember how the "Die Hard" series in the fourth and fifth instalment was all about Bruce Willis performing age-defying stunts and entertaining fans of the franchise; likewise Tamil film "Arrambam" is all about Ajith Kumar. 

Glorifying actors, already being worshipped as gods, Tamil cinema continues to make films that are aspirational but empty from the inside. 

Ajith's "Arrambam" is undoubtedly highly stylish, but otherwise it's just another cliched revenge drama.

Mumbai police receives a tip off about three bombs planted in different parts of the city, ready to explode in about 15 minutes. The anonymous caller happens to be AK aka Ashok Kumar (Ajith), who is on a mission to avenge the death of his close friend. 

Aarambam Pictures   50 Pictures

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AK's hit list comprises of some of the most influential names in society, including the homeminister played by Mahesh Manjrekar. With the help of his comrades, AK begins eliminating them one by one but everything doesn't pan out the way he had originally planned.

"Arrambam" is not bad but the problem with it is that it lacks creative touch. What I fail to understand or find irritating in most revenge-based dramas is why these films always need to have an emotionally manipulative back story. Why can't they for once try something different?

This is the third time in a row Ajith has played the anti-hero with elan. He is unarguably one of the more stylish actors in the industry and he has proved it time and again. 

In "Arrambam", Ajith takes the style quotient a notch further with his new salt and pepper look and leaves his fans in a celebratory mood throughout. But what he doesn't deliver as an actor is variation in his performance. 

If you pay close attention, you'll realise that his role is an extension of the one from "Billa", which was also helmed by Vishnuvardhan.

Let's also not forget that the film bears a lot of resemblance to Hollywood flick "Swordfish". If we replace the bank robbery episode in the latter with the mission to eliminate some baddies with the help of a techie to earn some technological leverage, we have "Arrambam".

Director Vishnuvardhan makes it a very stylish outing but he produces a very mediocre movie that reeks of heroism. He also makes the same mistake of compromising on content to do justice to the image of Ajith. He does everything to satisfy hardcore fans of the actor but fails to deliver a film everyone can root for.

Arya and Nayanthara play their respective parts well while Tapsee becomes irksome after a few minutes. Rana plays a decent cameo but talented actors such as Manoj and Atul are completely wasted. 

In some scenes we see Manoj mouthing dialogues in Hindi with Tamil translation but we also see him speaking in Tamil in a few instances. Are we supposed to infer that he can speak Tamil whenever he desires? The same is applicable to a few other characters as well.

Yuvan's music is a big letdown as not even a single track is hummable while the background score occasionally reminds one of "Billa". 

The cinematography by Om Prakash stands out but editor Sreekar Prasad could have cut it at least fifteen minutes short.

"Arrambam", which works solely on Ajith's charisma, can be watched for some well orchestrated action sequences.

Actual Review Link:
http://www.nowrunning.com/movie/13549/tamil/aarambam/4452/review.htm

Pandia Naadu Review from Now Running!

Rating:***

 
A grieving father conceals his happiness with an awkward smile when he comes to learn that the man responsible for his son's death is dead too. He silently walks into his room, breathes a sigh of relief and picks up his crying grandson and takes a stroll.

This is one of the most powerful scenes of "Pandiya Naadu", which unarguably is a better film compared to other two Diwali releases. It's a quintessential revenge drama supported by taut narration and wonderful performances.

Director Suseenthiran is known for his action flicks, and "Pandiya Naadu" is an actioner too, but it also has this genuine touching family angle included with a purpose. He cashes in on a strong family bond to narrate an engaging revenge story sans any commercial cliches.

Pandianadu Pictures   18 Pictures

10 More Movie Stills. Click to View All

When the local don of Madurai kicks the bucket, war ensues between his two brothers for the position he has left behind. It's just a matter of time when one of the remaining brothers, Sharath Lohitashwa, emerges victorious in the battle to take over the empire.

Sharath runs several illegalbusinesses in the city and when an accident in his granite mining factory is leaked to media by a local government officer, he kills him. To avenge the death of the officer, his younger brother (Vishal) and father (Bharathiraja) set out to kill Sharath.

"Pandiya Naadu" has a very ordinary first half with a lot of focus on family drama and romance, but it takes a detour post-interval to give audiences an engaging climax. 

It steers away stereotypes and entertains with a very strong screenplay, while strong performances by the lead cast make the film one of the best in this genre.

The film is a winner because of Suseenthiran, who knows exactly how to use his craft and never let goes off an opportunity to pleasantly surprise the audience. 

He did it recently with "Aadhalal Kadhal Seiveer" and now repeated it with "Pandiya Naadu", which gives us a much needed face life to the genre. I loved the fact that he used the family tie to never strip the film off its emotional quotient, but use it poignantly to build an edge-of-the-seat narrative. Brilliant!

For the first time in his career Vishal has shed his action hero avatar, and it worked in his favour. To see a commercial actor sans heroism is a rarity in Tamil cinema nowadays, but Vishal stood by the change, which was the need of the hour. It was a welcome relief and helped audiences to instantly connect with his character in particular.

Casting is also the film's biggest strength. 

Veteran filmmaker Bharathiraja as the father is brilliant and his subtle relationship with Vishal stands out. He gives a knockout performance that makes you root for the actor in him. 

Vikranth makes a comeback with an impressive cameo, but wish we got to see more of him.

The amateurish style action is appropriate, much better than most exaggerated action sequences in several Tamil films. 

Madhie's cinematography is top class especially during the chase sequences, while Imman's tunes and background score was satisfying.

This festival weekend "Pandiya Naadu" is your best bet at the cinemas. It's a dark horse that gallops with pride.

http://www.nowrunning.com/movie/12771/tamil/pandianadu/4456/review.htm