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 Taran Adarsh!

Picture this... The men are no less than superheroes. They speed across freeways. Glide beneath a racing van on their mean machines. Vroom at improbable speed on their motorbikes. Climb down skyscrapers. Perform acrobatic feats. Escape crashes and resist bullet abrasions. From gymnastics to gravity defying stunts to adventure sports to stretching the laws of physics, they know it all. Hang on, there's more! They are the master of masquerades, camouflaging their facade more rapidly than chameleons change colors.

The men and their mean machines are back and so are huge muscles, hot wheels and loaded weapons. The fresh installment of DHOOM stretches into a novel territory this time [circus, magic], promising thrice the exhilaration. DHOOM has expanded into a money-spinning, lucrative franchise and it only gets larger in terms of scale: the budgets are getting monstrous and the star power, colossal. The question is, is it superior than the earlier installments? You may ask, the game of cops and thieves is hackneyed and trite, but do these movies with a thrill every minute even necessitate a storyline? In this case, what keeps you transfixed are the high-octane stunts, high speed chases and dazzling action sequences highlighted by an enigmatic star cast. Additionally, the anxiety and conflict between the two factions sets it apart from its predecessors. Add to it is the extravagant production design that leaves you flabbergasted. You have to give the credit to the producers [Yash Raj] for making the director's grandiose vision come alive on celluloid.

Final word? DHOOM-3 delivers *more* than what it promises. The latest installment ups the ante as mean machines blaze across the screen in a dazzling display of stunt choreography. But it's not all metallic or mechanical mayhem... this one has heart and soul too -- an invigorating and intense drama with heart rending emotions!

It would be sacrilegious to reveal the plot of DHOOM-3, since there's a suspense angle to it. But let's make it succinct. It narrates the story of Sahir [Aamir Khan], who decides to avenge the injustice meted out to his father [Jackie Shroff] and how the cop, Jai [Abhishek Bachchan], gets on his trail.

The latest chapter of DHOOM, directed by Vijay Krishna Acharya, delivers everything you anticipate from it, so there's no room to grumble, frankly. All those who have loved the previous installments -- and even the cynics too -- are sure to get swept away into the world of Sahir, Jai, Ali and Aaliya. Agree, the narrative moves in the same vein and you might find a few episodes implausible, but in terms of overall impact, it surpasses the earlier installments by leaps and bounds. You watch the proceedings with rapt attention, transfixed to the big screen, despite a run time of almost 3 hours. Clearly, the director knows what the spectator wants and he gives it to them.

The best part is, there's no bond or connection with the earlier DHOOM installments. Those who haven't watched or perhaps don't vividly recall the 2004 installment, or the subsequent one in 2006, need not worry, for the third chapter has a fresh plot and barring Jai and Ali, the focus is on Sahir and Aaliya, the newest incumbents. While the premise has ample twists and turns, the screenplay does a great job of upping the thrill quotient. Also, the narrative advances at an eloquent tempo, with the director making the spectator hold his/her breath and cheer at the same time. The motive is to offer unabashed entertainment and Vijay Krishna Acharya thrives completely in his endeavor.

A significant contribution to the DHOOM series has been by the action choreographer and the fights, thrills, chases and stunts in DHOOM-3 are pulsating and most significantly, trendily implemented. The razor-sharp editing, awe-inspiring cinematography and well designed CGI also merit an enthusiastic round of applause. Pritam's musical score captures the mood of the film well. While 'Dhoom Machaale' continues to feature in this film too, 'Malang', 'Kamli' and 'Dhoom Tap' stand out as well. The choreography of 'Malang', besides the spectacular and extravagant production design, is astounding.

Aamir transforms into a meat machine with DHOOM-3. Displaying his well-toned physique with ropey veins and performing acrobats incredibly, the actor makes you wonder, is there anything Aamir can't do? He's the life and soul of this enterprise. Abhishek holds his own especially when in face-offs with Aamir. And that, truthfully, is an immensely flattering remark for his admirable effort. Katrina looks ethereal and her acrobats will catch you unaware. Moving with incredible grace in dance numbers, she's sure to astonish the viewer with her dexterous act no end. Uday is amusing and delightful, contributing vastly to the light moments in the enterprise. Jackie Shroff is wonderful, getting his character spot on. Child artiste Siddharth Nigam is a talent to watch out for. He's superb! Andrew Bicknell as the antagonist is first-rate. Tabrett Bethell is alright.

On the whole, DHOOM-3 is one solid entertainer loaded with attitude and star power that will leave fans of the series salivating for more. It is miles ahead of its predecessors in the DHOOM series. This will shatter previous records and set new ones. SURE-SHOT BLOCKBUSTER.

Rating:****1/2
http://www.bollywoodhungama.com/moviemicro/criticreview/id/542148 

Club 60 Review Taran Adarsh!

Rating:***

A few days ago, I glanced at a wonderful quote on life, which I deem fit to share with the readers...

"Life stops when you stop dreaming, 
Hope stops when you stop believing, 
Love ends when you stop caring, 
Friendship ends when you stop sharing." 
That, in short, is the essence of CLUB 60, directed by debutant Sanjay Tripathy. 

CLUB 60 narrates the heart-warming and uplifting journey of five irrepressible individuals linked together by the quirks of fate. The lives of each of these [Raghuvir Yadav, Satish Shah, Tinnu Anand, Sharat Saxena and Vineet Kumar] revolves around a tennis court of a club and how each of them inspire a couple [Farooque Sheikh and Sarika], suffering from post-traumatic depression, to come out of it and fall back in love with life again. 

CLUB 60 starts off with a sparkling monologue, laying the basis of the plot on which the director builds his story, delicately weaving together the lives of several individuals. Well penned and adroitly executed with a number of impeccable emotional moments, Sanjay does a credible and convincing job of exposing the depression faced by each of those characters, which, frankly, also mirrors the lives of most septuagenarians in today's age. 

Conversely, while the emotional moments do make you moist eyed at times, the light moments don't really leave much of an impact. In fact, a couple of sequences [featuring Raghuvir Yadav specifically] are far from amusing, while the track featuring Sharat Saxena in a bar and the episode that ensues seems unwarranted when one looks at the larger picture. Furthermore, the film could've done without songs. 

Though a bit stretched with a run time of over 2 hours, CLUB 60 does manage to keep you absorbed for most parts thanks to the message it attempts to convey. Additionally, the gradual progression of the story, detailing each character while taking the film ahead, is seamlessly executed, leaving the audience no time to stagnate on any particular topic. The plot also builds up to an emotional climax and what really works in favor is the optimism it attempts to convey through the characters. 

Farooque Sheikh does a splendid job, portraying the part of a dejected and disheartened father who ultimately breaks free from the shackles to lead a renewed life. Complimenting him at every step is Sarika, who proves her credentials in several moments of the film, especially the one when she breaks down. Raghuvir Yadav, as the fun-loving, overtly vocal Manubhai, tends to go over the top at times, but leaves a mark nonetheless. Satish Shah is in terrific form, enacting the part of a Gujarati entrepreneur to perfection. Suhasini Mulay, as his wife, is adequate. Tinnu Anand is wonderful, Sharat Saxena is first-rate and Vineet Kumar is convincing. Zarina Wahab appears in a cameo. Himani Shivpuri, Harsh Chhaya and Viju Khote are alright. 

On the whole, CLUB 60 talks of senior citizens facing a late-life crisis due to personal loss convincingly. An emotional journey of friendship, warmth, generosity and the indomitable human spirit, it's an honest attempt for sure.


http://www.bollywoodhungama.com/moviemicro/criticreview/id/687029 

Bullet Raja Review Rediff!

Rating:1/2

Bullett Raja is more ego trip than cinema, according to Paloma Sharma.In order to enjoy Bullett Raja, it is important to remember that this is not cinema -- it is simply an ego trip. 

Unless you can relate to the characters, Bullet Raja will bore you to death. 

Saif Ali Khan stars as Raja Mishra (pronounced: Miss-raa), a well-meaning yet trigger-happy local boy with a fiery temper. 

Raja is being chased by goons when he sees a wedding procession and joins it in order to escape. The wedding procession turns out to be headed for the local strongman's daughter's wedding.

Raja immediately befriends the bride's cousin, Rudra Tripathi (Jimmy Shergill).

After a day of dancing, leeching and drinking, Raja sneaks into the forest for some sexytime with the unnamed item girl (Mahie Gill) when he overhears a plan to assassinate his new BFF and the rest of his family. 

Raja decides to pick up arms for protection but unbeknownst to him, this decision gets him sucked into the dark, murky world of Uttar Pradesh politics. 

Saif Ali Khan's Raja Mishra is the less sophisticated country cousin of Agent Vinod. Aside from the diction and the tikka, they're both basically the same guy. All that Khan does in the film is look angry. 

Even his hair has more range than him.

Between him and Jimmy Shergill, the latter seems to be the more seasoned actor. Shergill's Rudra Tripathi is the right blend of slick and believable. 

Sonakshi Sinha is back to being the typical middle class, homely Bengali girl with big dreams -- dreams which she gives up at the drop of a hat to run away with her beloved Raja.

Ravi Kishan was handed an amazingly interesting character but unfortunately, the film chose to not explore its potential.

Also, it must be noted that the true star of the film is not Saif Ali Khan but Vidyut Jamwal despite him appearing only in the last half hour or so of the film.

Bullett Raja claims to be an action flick but despite the desi guttas firing almost non-stop throughout the film, Jamwal is the only one who can pull off the tough guy act with ease.

The soundtrack is mediocre and the background score inappropriate at times, almost in contrast with the emotions that the actors are trying to portray.

Bullett Raja is rife with predictable scenes, bad editing and a lack of control over the script, which spirals into an unending loop of absurdity. The pseudo-patriotism blends into personal enmity with the corrupt without much warning, leaving the viewers confused. 

While no two people can like the same kind of films or even agree on the definition of a good film, it is difficult to judge if even hardcore Saif Ali Khan fans should go for this one.

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 

• 
  
• 
  

Singh Saab The Great by Taran Adarsh!

There's a spate of desi entertainers of late. All starring top league actors and helmed by reputable names. Now Anil Sharma, whose body of work consists of desi entertainers like HUKUMAT, ELAAN-E-JUNG, FARISHTAY, TEHELKA, GADAR - EK PREM KATHA, APNE and VEER, helms yet another big ticket film with a desi angle to it -- SINGH SAAB THE GREAT.

When Anil Sharma joins hands with Sunny Deol -- the jodi has delivered one of the biggest hits of Hindi cinema in GADAR - EK PREM KATHA -- one expects the duo to recreate the epic success in their new outing. Clapworthy dialogue, fiery confrontations, hi-octane drama and of course, Sunny's dhaai kilo ka haath to vanquish the oppressors... the mandatory requirements have to be in place. And SINGH SAAB THE GREAT has it all in trademark Anil Sharma style.

SINGH SAAB THE GREAT narrates the story of Singh Saab [Sunny Deol], an honest Collector, who believes in carrying out his duties diligently. However, the crooked and shady Bhoodev [Prakash Raj] falsely implicates him in a case of bribery and gets him imprisoned. Even though Singh Saab is seething with anger, he decides to settle scores with Bhoodev differently, by bringing about change instead of revenge [badla nahin badlaav]. The ground is set for a confrontation between the honest and corrupt forces…

With not much to look to forward to in the storyline, the challenge lies in making the screenplay captivating and spellbinding and Anil Sharma and writer Shaktimaan attempt to package the film with ingredients that connect instantly with the masses. The character portrayed by Sunny is like any other character we may have witnessed in several films, but when Sunny roars, bashes the villain black and blue or pulls a tree with its roots, it appears bona fide. The larger than life character suits him and Anil Sharma and Shaktimaan make sure they capitalize on this actuality.

Anil Sharma's movies, generally, have an undercurrent of emotions. In fact, his biggest victories have stressed on emotions [his directorial debut SHRADDHANJALI, GADAR and APNE in particular] and SINGH SAAB THE GREAT too maintains an iron grip on emotions and sentiments. Like GADAR, the emotional chord is between the couple [Sunny-Urvashi Rautela] and also between the brother-sister [Sunny-Anjali Abrol] this time. But what weighs the film down is the conflict with the antagonist. It's predictable and one feels that the issue of an honest citizen waging a war against the corrupt has been done to death. Sure, a few confrontations are fiery, especially the one when Sunny and Prakash Raj meet for the first time or the one when Sunny throws Prakash Raj in the fire, but the sting operation and the fight to finish towards the climax tend to get monotonous. Besides, the intimate scenes between Sunny and Urvashi look odd after a point.

SINGH SAAB THE GREAT overstays its welcome by a good 10/15 minutes. A crisp, concise edit would've only facilitated a solid punch. The soundtrack tilts heavily towards the Punjabi flavor, with the theme song staying on your lips. It's full of vigour and vivacity. 'Daaru Bandh Kal Se' [which has surprise cameos by Dharmendra and Bobby Deol] is hummable and gels well in the context of things. Dialogue are sure to be loved by the strata of audience they are targeted at [the masses]. In fact, the single screen audience in particular will relish and applaud the jibes and retorts for certain.

Sunny Deol looks most fitting for the part. Also, the certainty and conviction with which he interprets his character is worthy of note. In addition, like I stated earlier, he looks most apt for roles where he has to illustrate muscle power. The masses should go into raptures as he delivers dynamic dialogue in his distinctive trademark style. Enacting the role of a news reporter, Amrita Rao manages to leave a strong impact, despite the fact that the film belongs to Sunny. Urvashi Rautela looks photogenic and though she's a first-timer, she seems confident in several sequences. Post WANTED and SINGHAM, Prakash Raj seems to be getting typecast in similar roles. Not his fault, but I wish to add that the gifted actor enacts his part with gusto and fervor. He matches Sunny at every step. Anjali Abrol does well.

Johny Lever is as lively as ever. Rajit Kapoor, Sanjay Mishra, Yashpal Sharma and Manoj Pahwa don't get much scope to put across their talent. Shahbaaz Khan appears in a cameo. The kid enacting the part of Sunny's nephew is cute.

On the whole, SINGH SAAB THE GREAT is atypical Sunny Deol film that a section of the audience still enjoys. The clapworthy dialogue, the raw appeal, the undercurrent of emotions and of course, the dhaai kilo ka haath should appeal to those who relish desi fares, especially the single screen audience.

Rating:***1/2

http://www.bollywoodhungama.com/moviemicro/criticreview/id/549451 

Singh Saab The Great Reviews.

Rating:**

Let's get one thing straight. If you haven't been a fan of Sunny Deol superhits like Ghatak, Ghayal, Gaddar and more, if you don't have his famous dialogues right from dhai kilo ka haath or tareek pe tareek memorized or if you don't like the high-octane raw, brawny action drama then Singh Saab The Great isn't a film for you.
The movie revolves around the morally upright government official Saranjeet Singh (Sunny Deol) who works as a collector in a small town of UP. Being a proponent of good deeds, Saranjeet Singh always stands in the way of corruption and takes on corrupt officials who are plaguing the nation. He goes to all lengths to restore truth and honesty even if it means putting his and his family's life at stake.

Singh Saab The Great Pictures   32 Pictures

23 More Movie Stills. Click to View All

Singh Saab The Great scores purely for rooting for our desi hero. Instead of adapting or being inspired by the Hollywood action flicks, the movie brings back the times of an underdog rising to fight for his, his family and his nation's pride.
There couldn't have been another actor more befitting to this story than Sunny Deol. His comeback to the action mode is brilliant. But the actor fails in emoting romantic sequences as endearingly as he used to in the past. The rust on his acting prowess, owing to the gap that came about, can easily be seen. Having a teenage debutante (Urvashi Rautela) opposite him only makes matters worse for the gap in age makes for a bad cinematic experience.
It's after long that one finds Prakash Raj playing a negative role menacingly and not making it appear like the million others he has played in the formula films of Bollywood. The battle between both Deol and Raj has its gripping moments.
Amrita Rao as a journalist who is chronicling the life of Singh Saab is average at best and doesn't add any value to the story.
SSTG has it all going for it except that the film (treatment-wise) comes a few years delayed for its time. Despite having its moments, there are portions in the film which remind you of '80s cinema. Even the production quality is jaded and gives the film a tripe feeling. Filmmaker Anil Sharma takes a very old school approach in story-telling which is decorated garishly with loud background score and melodramatic sequences.
To sum it up, Singh Saab The Great is a complete single screen film for Sunny Deol fans who are yearning to see him back in action. For the others it's just another masala entertainer.

http://www.nowrunning.com/movie/10910/bollywood.hindi/singh-saab-the-great/4472/review.htm

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 

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