Dhoom 3 Review from Yahoo!

‘Dhoom 3’ is big on style and completely delivers on the entertainment quotient. The fact that it comes at a cost of suspension of logic at times, I guess is a given. What rankles is that a film with Aamir Khan is expected to have some kind of coherence to rationale. The film’s adherence to plot points slips every now and then but they make up for it with super chase sequences.
The ‘Dhoom’ franchise has always been obsessed with the anti-hero. From Hrithik Roshan’s different looks in ‘Dhoom 2’ to the suspense around who will be chosen as the next villain has always garnered attention. Much before the shooting started we were already discussing who would be the female lead opposite Aamir Khan, what would be his look, what would be different in this installment of the action flick?
I guess as far as the anticipation around the anti-hero is concerned, ‘Dhoom 3’ does complete justice – Aamir’s screen presence from his very first appearance is commanding. His well-chiseled body as he looks over the Chicago skyline, his open challenge to the police and the sequences where he drives dangerously through downtown, shows that Aamir relishes brandishing his craft, every time attempting a role that is completely different from what he has ever done before. More than once you find the audience breaking into spontaneous applause.
And because you know Aamir’s craft you wonder why you never see him execute any of the robberies, you repeatedly see the chase but never the actual act. You would excuse this in the prequels but not when Mr Perfectionist is involved. It also baffles you when you see that the climax is as predictable as the rest of the series.
Even though you understand that the actual heroes wouldn’t actually have much to do in this film, it is still exasperating to see Abhishek Bachchan sleepwalk through another film. I guess he still feels that getting cast in a film is his birthright.  He plays his role straight, bringing no variation or novelty to his portrayal. Abhishek’s character has been so relegated to the background that the director doesn’t even bother with providing him with a romantic interest any longer.
Jai (Abhishek) and Ali (Uday Chopra) have no spunk and bring zero comic relief. Their wisecracks have been done to death and I couldn’t manage a genuine laugh in all the banter that kept going back and forth.

Kudos to Katrina Kaif for having us take notice of her in a role that is a little longer than a cameo. Watching her in ‘Kamli’ and ‘Malang’, as her skin shimmers and she displays immense flexibility and fitness, you realize how much hard work has gone into preparing for it.

It is sad that the romantic track and the emotional bits just pull down the pace of the plot. It is also interesting to see how Jai (Abhishek Bachchan) uses emotional manipulation as bait, clearly incapable of doing anything smarter. With better opponents for the very savvy illusionist/joker/thief the film would have been at a completely different experience.
Except the ‘Malang’ song there’s not much to say about Pritam’s music.
If you are still wondering why I gave the film 4 stars after all I have said, I must accede that the 4 star rating is very generous and it is because the film was super entertainment, the first half really has edge-of-the seat tension and the twists are really well executed. To give the film its due it is definitely the best ‘Dhoom’.

Rating:****
http://in.movies.yahoo.com/blogs/movie-reviews/yahoo-movies-review-dhoom-3-113327588.html

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 

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 

Dhoom 3 Review from Nowrunning!

There's a reason why Yash Raj Films is the biggest and the most prestigious banner in the Hindi Film Industry because when they make films people WATCH! 

There's a reason why Dhoom 3 was meant to release towards the fag end of the year because one needed a grand finale for an eventful 2013.

There's also a reason why you should watch this film. It's GRAND!

Dhoom series have always been formula films with the good against the bad, the cops and robbers, the bikes, the stunts, the hotties and handsomes. But with the entry of Aamir Khan to the franchise, YRF has taken the film to another level. The movie brings to fore an emotional undercurrent which has been missing in the earlier two parts and strikes a chord with the masses in the very first 15 minutes.

Dhoom 3 Pictures   57 Pictures

46 More Movie Stills. Click to View All

Major credit goes to the veteran superstar Jackie Shroff and the little wonder Sidharth Nigam who build the premise of the film so strong that the unfurling of the following events give an elevated experience.

Similar to the earlier series, Dhoom 3 too is essentially a cops and robber drama. Sahir (Aamir Khan) is a robber in the garb of a gymnast and a circus artist. His heists wreack havoc in Chicago city in USA, the clue that he is an Indian comes about with the message he always leaves behind in Hindi. Hence, two cops from Mumbai Police, Jai (Abhishek Bachchan) and Ali (Uday Chopra) are called in to nab the thief.

Do they manage the unmanagable? Watch out

To get the negatives out of the way first, the drawbacks of the film come in the names of formula and edit. There's nothing highly unpredictable in the film. The way the story unfurls is something that you may have thought through much in advance. Where the maker scores in such situation is the screenplay. Despite a predictable plot, the story doesn't bore you because the drama quotient is kept in check. 

Coming to the edit, it's the length of the film which can also work slightly against it. With 172 minutes and length songs, one does get exhausted by the end of the film. The movie could easily be chopped by 15 minutes at least for a more snappy and sharp approach.

As for the positivies, as mentioned above, Dhoom 3 is unlike other Dhoom series. The emotional quotient of the film is quite high but that doesn't mean one witnesses ample melodrama. There's a fair balance of unadulterated action and emotional connect that director Vijay Krishna Acharya brings about in the story. Moreover, there are ample twists and turns to not let you get bored too. 

YRF has always been known for great production quality and Dhoom 3 redefines grandeur. The movie takes the visual medium to a whole new level with the way it is shot. The larger than life robbery sequences followed by stylist and nail biting bikechase sequences and the action and stunts that follow are a complete paisa vasool. 

On the acting front, Abhishek and Uday both keep up with their act of Jai and Ali and bring nothing new to the table. The new entrants however, are the ones to be discussed. Aamir Khan partly gets his act right. There's imperfection in his act this time around and although you are impressed with the superstar in some sequences, in some parts he really disappoints. Katrina Kaif on the other hand gets a prop part yet again. The actress is introduced into the plot only to elongate the length of the screentime what with all the songs and tamashas. 

To sum it up, Dhoom 3 is bigger, grander and visually spectacular but has it's share of flaws too. A must watch for the sheer grandeur.

Rating:***

http://www.nowrunning.com/movie/8705/bollywood.hindi/dhoom-3/4504/review.htm

Thagaraaru reviews from Times of India!

Synopsis: Four thick as thieves (literally) friends earn a lot of enemy with their roguish behaviour. When one of them is murdered, the other three thirst for revenge. But who among their foes is behind the deed?

Review: Saravanan (Arulnithi), Senthil (Pawanjiy), Pazhani (Sulile Kumar) and Arumugam (Murugadas) are orphans who are close-knit friends since childhood. They are bureau pullers who do not really think anything of life, drifting along as the wind blows. They invite the wrath of a local inspector when they steal from his house as an act of bravado. They also rub the big shot (Aruldas) who had hired them for a job on the wrong side by demanding more money. And, when Saravanan falls in love with Meenakshi (Poorna), he and his friends become the target of her goonda father (Jayaprakash). When Pazhani is murdered, the other three thirst for revenge. But who among their various enemies is behind the deed?
If there is one thing that Ganesh Vinaayac's Thagaraaru has going for it, it is the director's intention to not turn his film into a typical action film. The film is actually stock full of elements that we have seen in earlier Madurai-set films — as in Thoonganagaram, we have four friends who are the protagonists, they are aimless drifters resorting to a life of crime like the guys inSubramaniapuram, like Sriya Reddy in Thimiru, the heroine, despite all her love for the hero, has an arrogance, her father, who like the father in Kaadhal, is a fearsome man in the area, a self-important cop, who is one of the adversaries of our heroes, as in Aadukalam. And yet, the director manages to spring in a surprise or two in this tale which is a conflict between friendship and love.

At the same time, while the twists and turns help the film from never turning into a boring affair, we also wish that the film was sharper (like the countless sickles we see in it). It has tension but that isn't nail-biting. It has romance but that is so run of the mill. It has some emotional moments but we never feel that much for the main characters. The performances, while competent enough are never compelling (Arulnithi tries to be a charmer in the romantic portions but he is not helped by the broad characterization; neither his wooing in gaudy clothes nor his Dhanush-like lungi dance endear the character to us). Even the climatic twist, which is very good, at least on paper, is surprising but not truly shocking.

Rating:***
http://timesofindia.indiatimes.com/entertainment/movie-reviews/thagaraaru/movie-review/27118433.cms

Ivan Veera Mathiri Review From Times Of India!

Synopsis: Gunasekaran, a socially responsible youth, kidnaps Easwaran, the brother of Sadasivam, the law minister, after the latter orchestrates violence among students. Sadasivam loses his post and Guna releases his captive but Easwaran wants revenge...

Movie Review: You have kidnapped the brother of a minister. He is also a ruthless gangster but you have managed to keep your identity (read face) a mystery from him. You have reached the place where you are hiding him, and right at that moment, you get a call from your girlfriend. You attend the call rather than ignoring it (or even texting a 'will call bk ltr') and go on to discuss banking details, saying out loud her account number, despite the chance that your quarry could hear it and use it to discover who you are. If such a circumstance feels logical and plausible enough for you, then, Ivan Vera Maathiri is right up your street. Else, steer clear!
The film opens with visuals of violence unleashed on some students in a law college (with policemen remaining mute spectators), a not-so-subtle reference to the incidents that occurred in a Chennai law college in 2008. Gunasekaran (Vikram Prabhu), a 26-year-old advertising professional, is affected by the news, and decides to take on Sadasivam, the law minister, who orchestrated the assault. To do that, he kidnaps his brother and hit man Easwaran ( Vamsi Krishna), whom the minister has unlawfully brought out of jail in parole. Guna's idea is to hold the man hostage until his parole lapses, humiliate the minister in public and make him resign his post, and take away the power that made him a fearsome individual. Guna also meets Malini ( Surabhi), an airy-fairy college student, who falls in love with him.

Meanwhile, Sadasivam resigns and becomes the target of a police investigation, and a contented Guna releases Easwaran. Now, the prey becomes the hunter, searching for his captor, despite being pursued by the hard-nosed cop Aravindan ( Ganesh Venkatraman).

If the screenplay was the strength of Saravanan's debut Enageyum Eppothum, here, it becomes a weakness as the director's attempts to make a "different" vigilante film get lost in implausibility, patronizing (a line about girls who do not receive calls or SMSes being "good girls" is downright condescending) and sub-par acting. He has the outline of a terrific action movie plot; generally, it is the hero who is at the receiving end in the first half and goes after his tormentor in the latter portions after piecing together his identity but here, it is the opposite. However, the scenes aren't particularly interesting beyond a strictly functional level. Guna isn't directly affected by the violence in the college and so, his decision to turn a vigilante should have been compelling. But what we get are a couple of scenes where he is aroused by stray remarks. And, while his plan to hide Easwaran seems well thought out, the manner in which he goes about smacks of carelessness. He reveals his real intention to his captive, gives him a blatant clue to his identity, and worse, when the minister is arrested, lets Easwaran loose on the streets rather than ensuring that he gets into police custody. And, in the end, Aravindan is conveniently shown as someone who believes vigilantism to be good.

But the weakest section is the romantic track — Malini is certainly the latest in the ignominious list of daft heroines in Tamil cinema. She allows Guna, a stranger to her at this point, to use her house loo, and later carries a fish all over the city after he leaves it with her. Saravanan wants these scenes to be funny but they only trivialize Malini's character. And to add to her insult, we are repeatedly told, she has 18 arrears! Even after Malini and Guna fall in love, we never sense their chemistry. That Vikram Prabhu is far more convincing as an action hero than in the romantic scenes also doesn't help.

Rating:***
http://timesofindia.indiatimes.com/entertainment/movie-reviews/ivan-vera-maathiri/movie-review/27310587.cms