Sanju - Teaser Review

The much-awaited teaser of the Rajkumar Hirani-directed Sanjay Dutt biopic Sanju is here.

In it, Ranbir Kapoor can be seen in six different looks of Dutt that depict six phases of his life. And then in typical Hirani fashion, and in a Munna Bhai accent, Ranbir introduces Dutt's life.

The teaser then jumps into a montage of Sanjay Dutt's life, from his onscreen journey to the multiple affairs to his AK-56 rifle case. The teaser underlines the many lives Dutt has lived within one lifetime: from luxury to captivity, from being loved to being punished.

From the first shot of the trailer itself, you will find yourself adjusting your eyes to make sure you're watching Ranbir Kapoor, and not Sanjay Dutt, in the teaser. The similarities are uncanny, and full marks to Ranbir Kapoor for carrying off the character so well.

Ever since the film was announced, it has been in the news for several reasons — leaked pictures wherein Ranbir Kapoor looks like a carbon copy of Dutt, and the ensemble cast including Sonam Kapoor, Paresh Rawal, Anushka Sharma, Vicky Kaushal and Manisha Koirala (among others).

The most important reason behind this surging enthusiasm is undoubtedly Sanjay Dutt.

From his younger days to superstardom, from his infamous drug scandal to the 1993 Mumbai blasts case — the upcoming film promises to bare it all.

For his part, Ranbir also had to undergo major physical transformation. While Ranbir will be seen as Sanjay Dutt, Manisha Koirala is playing the part of his mother Nargis Dutt and Paresh Rawal will be stepping into the shoes of Sanjay's father, Sunil Dutt.

This biopic was earlier scheduled to release in March, but later got shifted to 29 June.

Nanu Ki Jaanu - Movie Review

Cast: Abhay Deol, Patralekhaa, Rajesh Sharma, Manu Rishi Chadha, Himani Shivpuri & Brijendra Kala

Director: Faraz Haider

Although Abhay Deol is the leading man of Nanu ki Jaanu (Nanu’s Beloved), the film belongs, in my humble opinion, to Rajesh Sharma. In what appears to be subliminal messaging snuck in by this brilliant character artiste, in a scene towards the end where he is supposed to be weeping, he turns his head gently sideways and gives the impression that he is masking a laugh. Whether or not this was his intention, it feels like an encrypted note aimed at the viewer, with Sharma’s expression seeming to say: I cannot believe I am actually working on this bizarre nonsense AND you dunces are watching it!

The other two actors in this scene, Deol and Patralekhaa, on the other hand, try to look invested in the film till it takes its last gasping, rasping breath. It is tempting to ask why they bothered at all, but the truth is, I can see what they might have spotted in the project’s concept.

Nanu Ki Jaanu is a remake of the 2014 Tamil hit Pisaasu (Devil). Although the original is not named in this one’s credits, its producer Bala and director Mysskin are listed in the acknowledgements, and the story is credited to Mysskin. I have not seen Pisaasu, but from the trailer and reviews it comes across as a somber horror flick that Faraz Haider decided to turn into a horror comedy for Hindi audiences.

The idea is not bad at all – since rationalists brush aside the possibility that ghosts exist, it makes sense to make a film that pokes fun at those who believe in spooks. And frankly, sizeable parts of Nanu ki Jaanu’s middle portion are quite uproarious. When viewed from start to finish though, the kindest thing that can be said about it is that it is uneven.

Haider’s introduction hints at a film that is vastly different from what it turns out to be. The director also fails to make a credible transition from the humorous passages to the grave latter part. And the end is maudlin to the point of being embarrassingly silly.

In the opening moments, Nanu (Deol) and his gang barge into the house of an elderly gentleman, and threaten him into signing a flat’s ownership over to them for a pittance. The scene is trying too hard to be amusing, but is not.

Cue: change in tone: shabby ‘item’ song.

Cue: change in tone: Nanu is driving down a main road when he stops to take a call on his cellphone and sees a crowd running towards a woman (Patralekhaa) lying bleeding on the ground, her scooter beside her. Since no one else does anything but stare, Nanu rushes her to a hospital where she dies on arrival, her hand in his as life ebbs out of her body.

The episode leaves the ruffian shaken and, much to his gang’s dismay, too soft to lead them through the house-grabbing assignments that follow. What comes next is a bunch of laughs interspersed smoothly with scares as we try to figure out with Nanu & Co whether he is genuinely suffering from a psychological problem or the ghost of the dead girl is actually haunting his Noida flat.

Just as it seems like Nanu Ki Jaanu might add up to something after all… Cue: change in tone: love angle.

Cue: change in tone: messages.

Cue: change in tone: lively song with end credits.

The middle bits are fun. The scene involving the redoubtable Manu Rishi Chadha’s character Dabbu trying to scare off the spook is a scream. Chadha brings to that very long segment all the comical depth that made Hindi film-goers sit up and take notice of him in Oye Lucky! Lucky Oye! (2008) and Phas Gaye Re Obama (2010). (Note: he is also this film’s screenplay and dialogue writer.)

Haider’s direction is too ham-fisted to make optimum use of his talented cast though, making Nanu Ki Jaanu a bumpy ride, until it gets to its it's-so-bad-that-it-is-good finale.

Deol, who started off with such promise in films like Socha Na Tha (2005) and Oye Lucky! Lucky Oye! Has featured in very few good projects since then. The beguiling innocence he brought to those early works and the finesse of his performance in the more recent Shanghai (2012), is proof enough that he cannot be written off. His performance in Nanu Ki Jaanu is uninspired though.

Patralekhaa, who shone in Hansal Mehta’s Citylights (2014), has almost nothing to do in this film. Sharma seems to give up part way through it. Only Chadha crackles till the end.

Parts of Nanu Ki Jaanu feel as if the production team stopped bothering with it. If you have spent money on making a film, how much would it cost you to throw some extras into a hospital scene? Or to consult grammar experts before flashing “After Few Days” and “After Few Week” on screen to indicate the passing of time?

And oh ya, Messrs Haider and Chadha, if you want to pack in messaging about beef terrorism, speaking on cell phones while driving and helmets for two-wheeler drivers, please do not make it all sound so contrived. Granted though that the point about domestic violence is well – and subtly – made.

The crux of this entire affair is that Nanu Ki Jaanu is unsure of what it wants to be, the team lacks the ability to make it everything they want it to be, and the film therefore ends up flailing its arms all over the place. It is scary in a few parts and funny in more, which is why it is so sad that in the overall assessment and especially in its finale, it turns out to be such a loosely handled, low-IQ mess.

My Rating: 1/5

Beyond the Clouds - Movie Review

CAST: Ishaan Khatter, Malavika Mohanan, Gautam Ghose, GV Sharada

DIRECTION: Majid Majidi

Iranian filmmaker Majid Majidi (Children of Heaven, Baran) brings a sibling relationship story to the streets of Mumbai. Childhood tragedy and adulthood mistakes leave a brother and sister to survive as best as they can. In the quest to keep their head above water, certain decisions, wrong turns and misjudgements lead them into dark spaces. But just when you think all hope is lost, the universe drops a most unexpected lifeline.

Amir (Ishaan Khatter) is a street-smart drug peddler. His sister Tara (Malavika Mohanan), who works multiple streams to earn a living, is imprisoned for attempted murder. The victim, Akshi (Goutam Ghose) lies in a hospital bed. His death will certainly mean life imprisonment for Tara and his testimony could get her acquitted. Amir is devastated that his only person he can call family is in this predicament. Here is a character full of bravado and bluster, but who achieves very little. His decisions are largely questionable – antagonising the patient, making a deal with the devil etc.

There is an easy offer of redemption delivered to both Amir and Tara and this is the soulful part of a rhythmically uneven narrative. The opening scene itself is incongruous with the rest of the film – Amir and his friend ride around the city on a bike, weaving in and out of crowded streets while making drops. They end up in a garage and dance on cars, like John Travolta and his gang did in the 1978 hit movie Grease. That’s the only time we see this tonal inflection.

AR Rahman’s music is equally imbalanced. The character’s diction and speech also do not match their environment – instead of street slang, they speak in complete, pure and grammatically well-formed Hindi sentences (dialogue by Vishal Bhardwaj).

Anil Mehta’s cinematography brings a layer of intensity and captures the by-lanes and grittiness of the city. Majidi’s effort to spotlight how children, especially those born in poverty, are often the blameless and luckless victims of the legal system is tripped up by its blatancy. One child is growing up within a prison while others are coping with the outcome of a dead parent.

Ghose manages to overact even as he lies still and voiceless in a hospital bed. As the grandmother protecting her two granddaughters, Sharada’s performance is full of pathos. Khatter chips in with all his might. An energetic and physically immersed performance compensates partially for an absence of tenor. Mohanan too cannot overcome her rawness and one wonders if this is a fallout of the director’s inability to breach the language barrier.

Together their effort might be sincere but the effect of a lack of cohesion eschews the very emotional seriousness Beyond the Clouds works so hard to achieve.

My Rating: 2/5

Raazi - Trailer Review

Right from the onset of the two-minute-long trailer of Raazi, you get a sense of what the film is going to, in a good way. It is definitely going to be one of Alia Bhatt's finest performances of her promising career so far.

For director Meghna Gulzar, it will be one more feather in her cap after Talvar and for Vicky Kaushal, it will be her big bollywood breakout role. Therefore, if what you see in the trailer is further enhanced in the film, then Raazi is going to be a game changer for a lot of people.

Raazi is the tale of a young Indian woman Sehmat, who is married off to a Pakistani boy who hails from a family of army-men. Sehmat's father is a true-blue patriot (or so he thinks) and asks his daughter to be the "eyes and ears of India" in the neighbouring country.

Rigorous martial arts, shooting and fitness regimes take over and Sehma is fully equipped to be a spy. What follows is an intense tale of betrayal, lies, agenda and secrecy.

Torn between her duties as the wife of a Pakistani and her Indian-ness, Bhatt's Sehmat remains the focal point of the trailer. Her character is mysteriously splendid and so self-aware.

Kaushal, who clearly has no idea who he's married to, is faithfully by her side, unaware.

Considering the lasting impact of its trailer, Raazi looks like it has the potential to be one of the most successful films of the year.

Backed by Junglee Pictures and Dharma Productions, Raazi releases on 11 May, 2018.

Tiger Zinda Hai - Trailer Review

With the release of some remarkable movies like 'Baahubali: The Conclusion', 'Toilet: Ek Prem Katha', and a couple more lined up for the next two months, 2017 has been quite an eventful year for Bollywood so far. While, most of us are looking forward to Sanjay Leela Bhansali's 'Padmavati', let's not forget that Salman Khan is right behind him, all set to blow our minds away with 'Tiger Zinda Hai'.

Yash Raj Films today dropped the much-awaited trailer of the movie and we have now officially lost our chill. In 2012, Tiger, an Indian spy came into our lives along with his leading lady, Zoya (Katrina Kaif) who turned out to be a Pakistani agent. The two love birds disappeared from the radar of RAW and ISI and while we were dreaming about the two living a happy life, chilling on a beach with their kids; turns out that spies can't stay away from beating the lights out of bad guys for long.

Fast forward five years and our lethal duo are back in action, this time for a combined mission to eliminate a common enemy, Abu Usman, whose accent is harder to decode than a doctor's prescription. But, we guess Salman can decipher his language, so he was summoned (don't ask how the agencies got hold of him now when they couldn't in 2012, technology maybe) to take the matter in his hands.

Set in the backdrop of Iraq, an evil dictator and his terrorist organisation kidnaps a group of Indian nurses, Salman's mission is to save them from their evil clutches. In the first few seconds of the trailer, you realize what you are signing up for –killer fighting sequences, shots being fired and bombs exploding everywhere, cars and buildings blowing up and lots and lots of classic kick-ass action. Don't get confused, Rohit Shetty is not a part of this film, other directors too can blow up cars like a pro. The trailer looks amazing and there's not even a single frame that will make you snooze.

While Salman was possibly chugging down some magical potion that was originally kept hidden with Rambo, James Bond or Terminator; Katrina Kaif seems to have taken a sip as well before dealing with the bad guys. From killing terrorists with a gun that's bigger than her face without blinking an eyelid and taking down enemies like it's nobody's business; Katrina is the new superhero in the block, sans the power of Wonder Woman.

Salman Khan and epic dialogues go hand in hand and he continues this legacy in this one too. “Shikaar to sab karte hai, lekin Tiger se behtar shikaar koi nahi karta.” We won't be surprised if this statement goes down in the golden pages of Bollywood as one of the most intense dialogues ever (for reasons most of us are already aware of), after Gabbar's “Kitne Aadmi The” and Shahenshah's “Rishte me to hum tumhare baap lagte hai.”

The trailer looks promising and Ali Abbar Zafar has done a commendable job in turning 'Tiger Zinda Hai' into a spy movie that every Hollywood or Bollywood actor would like to be a part of. The movie is slated to release on December 22.

Ittefaq - Movie Review

CAST: Sidharth Malhotra, Akshaye Khanna, Sonakshi Sinha and others.

DIRECTION: Abhay Chopra.

DURATION:1 hour 40 minutes.

The last Bollywood murder mystery I remember vividly is Manorama Six Feet Under. However, most people would categorise this Abhay Deol film as "indie" or in more polite terms, "offbeat". Aamir Khan's Talaash is probably the last mainstream whodunit to come out of Bollywood.

This is probably why interest in this Friday's release, Dharma Productions' Ittefaq, has reached new heights — we're starved of a good murder mystery.

Starring Sidharth Malhotra, Akshaye Khanna and Sonakshi Sinha — Ittefaq is a remake (I'm using this word loosely) of the 1969 film starring Rajesh Khanna and Nanda. Adopting a no-promotions and no-spoilers approach to the film ahead of its release (smart, if you ask me), the makers have been careful to not reveal anything related to Ittefaq's plot.

It's hard to have a spoiler-free opinion (and give spoiler-free updates) for a whodunit like Ittefaq. Right off the bat, Ittefaq kicks off with a car chase involving Sidharth Malhotra. During the first five minutes of the film, you get a sense of how the next two hours are going to play out. Ittefaq ticks all the boxes of a noir film — the dark undertones, mostly shot at night, sharp cuts of a wild goose chase between the police and Malhotra, deep-blue and crimson hues making up the frame, and an eerie, mysterious background score.

The opening credits of the film roll as the murder is finally introduced to us: we see Sonakshi Sinha signaling the police to her house where we find a bloodied Vikram Seth (Sidharth) a novelist, standing above a corpse. We then also meet Akshaye Khanna (Dev), the detective investigating the case (and his wife, played by Mandira Bedi).

This is a high profile case, we hear. Vikram is a UK-based novelist and is wanted by the police for two murders: his wife Catherine's, and that of lawyer Shekhar Sinha (the husband of Maya, the character played by Sonakshi). As most whodunits go, Dev's main role in the film is to debunk all the thoughts people have about the murders. The plot takes its time to unravel the small mysteries, letting you stew in your questions.

Why is Vikram not saying much? He's been kept inside a room with chai and idlis and it seems like he's traumatised. Why is Dev so suspicious about everyone? What is Maya's deal?

Akshaye as Dev has the tough cop act nailed: he sports a thick mustache, is funny at the wrong time — just to unnerve the person in front of him. Sidharth as Vikram, on the other hand, really demands your sympathy. He makes you feel right from the beginning, that he's been dragged into a mess. He claims innocence. And the first 15 minutes of the film are told to us from his point of view.

There's definitely something iffy about this case and you have your guard up. From Vikram's point of view, Maya's hiding something, and is equal parts reluctant and scared. With the advantage of having very expressive eyes, Sonakshi conveys this mystery well. Her performance is subdued and raises the right questions.

As expected, when she speaks to Dev about the eventful night of the double murders, she has a whole other point of view — one that incriminates Vikram. The confusion that Ittefaq is trying to build works on multiple levels. It thrills you, but leaves you with more questions than answers. And that's a good sign in a murder mystery. Ittefaq is deliciously aware that it is toying with your ability to pay attention.

The plot throws you hints when you least expect them and doesn't depend on tricks. All we have as an audience is the ability to put two and two together, and Ittefaq uses that to its advantage by giving us multiple points of view. As the story unravels, we are told there is a third murder charge against Vikram — by a girl who committed suicide a couple of years ago. All these loose ends dance around in front of your eyes as more details are revealed. In Dev's words: 'There are three side to this story. Vikram's, Maya's and the truth.'Each point of view is played out so convincingly by all the actors, that it's hard to come to conclusions. At this point I have my theories but I'm not going to reveal them just yet. This wait seems to be worth it.

By mid-point, the stakes have gotten higher, and the claims have gotten even more confusing. We see long, unwinding shots of both Maya and Vikram looking tense and confused. We see Dev watching them like a hawk.

The best thing about Ittefaq is that it doesn't take itself seriously. The tone of the film is light when the murder isn't being discussed. The cops joke amongst one another and the set design reveals a realistic side of the city — juxtaposing the plush homes where the murders happen with the seedy jails and underbelly of Mumbai.

One thing is certain, director Abhay Chopra knows this genre well. He makes us believe in every story, even though we know there's only one truth.

As the audience, you tend to follows Dev's trajectory because he's the suspecting eye, trying to get to the bottom of these murders — and so are you. The entire story unfolds over three days, but the film gives off a timeless vibe. It's in no hurry to unravel. I was expecting a more explosive build-up and one final mind-blowing reveal, so I guess the only flaw so to speak is an underwhelming second half.

It's not devoid of shockers but it's not unpredictable either. If you watch TV crime dramas, you'll guess this one within 45 minutes. But this is not to take away from the merit of Ittefaq. It's a tight, crisp debut by Abhay Chopra, and while Sonakshi and Siddharth both play their parts well, the real star of Ittefaq is Akshaye Khanna. Someone give this talented man more films.

My Rating: 3/5

Thor Ragnarok - Movie Review

CAST: Chris Hemsworth, Mark Ruffalo, Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban, Anthony Hopkins

DIRECTION: Taika Waititi

DURATION:2 hours 15 minutes

The moment Thor Ragnarok opens with a close up of Thor suspended somewhere in a cage, staring directly at the camera and delivering a darkly funny monologue, you know you’re in for a very different Thor movie. And the moment the camera pans to the left to reveal a fiery demon chilling on a makeshift throne arguing with Thor, you’re sure that this is going to be an incredibly entertaining movie.

Marvel and Disney have outdone themselves – Thor Ragnarok is the best film of their superhero cannon to date, thanks to the weird genius of the director Taika Waititi.

The Kiwi filmmaker brings a whole new layer of hilariously awkward comedy, self aware set pieces, eye poppingly splashy colours, 8-bit inspired music along with the MCU’s ridiculously high bar for special effects. More importantly, Waititi also finds the right balance of heroism and humor in the Thor character, something the previous films had missed, turning him into a serious bore.

If you’ve been following the sprawling timeline of the MCU, you’ll fit right into the story. The events in this film occur parallel to the stuff that happens in Guardians of the Galaxy 2, Spider Man Homecoming and Civil War, and a few months after Doctor Strange.

The fact that we’re able to follow such a complicated timeline so easily is a testament to how finely Marvel has built their storytelling machine.

Anyway, we follow Thor who is stuck on a strange planet called Sakaar, which has odd colours and is ruled by an even weirder dude named Grandmaster (Jeff Goldblum) who organizes gladiator matches of sorts. This is a problem because the villain of the week – Hela (Cate Blanchett) shows up in Thor’s home Asgaard with plans to rule the world. You can guess what happens next – Thor must escape the bizarro planet and save his people (again).

Every time there is a potentially familiar setup, the filmmaker injects his trademark visual comedy to make it all seem fresh. The film also plays like it is made by an MCU fanboy suddenly given the power to control the ship.

So the plot zooms from one awesome set piece to the other, feeding an imagination that has gone completely wild. Rocket ship blasters controlled by invisible gloves, scary looking but soft spoken aliens made of rocks, laugh out loud cameos by other superheroes, hyper kinetic action which culminates into an awesome slow motion final punch, and even the ultimate badass female sidekick called Valkyrie played by Tessa Thomspson.

Since you’ve probably already seen the trailer you would know that The Hulk has a major presence in the film. But it’s not just a presence, it’s the best rendition of the character to date.

Even if you are wowed by the spectacular action, it’s the Thor-Hulk banter that makes the most impact. Placing these two inherently serious characters in a plot device reminiscent of buddy cop and road trip comedies is a brave decision that pays off handsomely.

On the downside, despite Blanchett’s fun performance, the film suffers from the same problem that every other MCU has to date – a villain that shows great promise but disappears without making too much of an impact. With a scale this huge in these films, peppered with so many hero characters and even grey characters like Loki, it’s impossible to create a well-developed ultimate villain whose arc starts and ends in just one movie.

You should watch Thor Ragnarok on the biggest screen in your town, and to be able to enjoy the pop fizzy colour palette you should head to a theater playing it in 3D. This is a new standard set for superhero movies, and I wonder how Marvel will top this with the Infinity War movies.

My Rating : 4/5