Movie Review : Drishyam - Does Not Paint A Good "Drishya" AKA "Picture" !

In a hilly town in Goa, cable company owner Vijay Salgaonkar (Ajay Devgn) lives with his wife Nandini (Shriya Saran) and two daughters. Vijay loves his family to the core and can do anything for them as long as it does not involve (too much) money. Salgaonkar stays away from his family on most nights. The phone's off the hook all night and there's no way for his family to reach Vijay if there's an emergency. No, there's no paramour here. Vijay's only liaison is with films. This 'IVth fail' orphan is loved by all the residents of the town, save a certain police officer Gaitonde (Kamlesh Sawant). Gaitonde's corruptness meets a tough contender in Vijay's straight-backed-ness, and the latter lets slip no opportunity to douse the former with vitriol.In Vijay's happy family life, there arrives a Sam. Stalker par excellence, and after Anju's (Vijay's elder daughter) happiness. A bizarre turn of events lands this Sam, the son of Inspector General Meera Deshmukh (Tabu), among the 'missing'. The story takes numerous twists and turns, much like Goa's serpentine roads, and finally, it reaches a climax. One, which leaves you with a 'What the...'. Take it whichever way you want to.

Director Nishikant Kamat's Hindi remake of the 2013 Malayalam Drishyam has many praiseworthy parts, and even more bleh-inducing ones. Touted as an edge-of-the-seat thriller, this Drishyam does take you to the edge of the seat occasionally, only to push you back to comfort. The film sees some classy acting by its two leads, Ajay Devgn and Tabu. While Ajay manages to convey his honest do-gooder well, Tabu's shades-of-grey policewoman act is first-rate. On screen, the electric chemistry between the two is palpable to the hilt. But that's hardly enough to redeem this Drishyam.

Shriya Saran is shrill in parts and horribly over the top in others. She tries to fit into the role of Vijay's loving wife and doting mother to their children, but can't make an impact. Among the film's other pivots, Rajat Kapoor as Meera's husband is a joy to watch. Ishita Dutta fizzles out in an unimpressive debut. She weeps at the drop of a hat, and while some of it is understandable; the rest, not. Kamlesh Sawant's Gaitonde is good in the comic scenes, but tends to get on one's nerves in his machismo-brandishing ones.

Jeethu Joseph's story is fresh. However, the way it pans out spoils the game. Making a character crack a case in her mind and recite all its nitty-gritty, for example, feels forced. Drishyam's near-three-hour runtime could have been reduced a LOT more. Aarif Sheikh's scissors should have been sharper. Goa, from the rocky terrains to the quarries, has been captured well on film, thanks to Avinash Arun.The film takes a lot of time to establish the story. At the end of the first half hour, you're left teetering on the edge of your patience. And just when you are about to snap, wham! The turn of events draws you in into the story. The joy, however, is short-lived, as long-drawn sequences are used to portray the simplest of happenings. Just putting across the Salgaonkars' sense of fear needs many minutes, a task which could have been accomplished in one-fourth that time. The boredom compels one to nitpick: A space in between 'head' and 'quarters' on the Police Headquarters' signboard, for example, can't be un-noticed.

At one point in Drishyam, Vijay sermonises that he 'can do anything to save his family'. Makes one snort in disbelief. Yes, this is the same man who, to watch films uninterrupted, avoids taking calls from his family all night, come hell or high water.

Among Vishal Bhardwaj's songs, Carbon Copy and Dum Ghutta Hai deserve a special mention.

In all, Drishyam squanders much of its potential, leaving one wondering what the film could have been, had it been executed well. Watch it if you have to, for Ajay and Tabu's display of duelling willpowers.

My Rating :

Cheers !

Jeetendra AKA The Bunnyman

Movie Review : Bajrangi Bhaijaan .... Salman Khan's BEST Film So Far !!

If you think you have to leave your brains at home for a Salman Khan film, be surprised. This one will need you to take your heart along with your brains as well. For above everything else, 'Bajrangi Bhaijaan' sure has its heart in its right place.

Year after year, Salman Khan wins hearts with his mere appearance on the silver screen. And no matter what else a film has got to offer, everything fades in front of the aura of Salman The Superstar, Salman The Superhuman. However, Kabir Khan's Bajrangi Bhaijaan is not quite in that bracket. It does have Salman, sure, but he's hardly the driving force of the film; contradictory POVs be damned. What shines through more than anything else in this film are two people - Nawazuddin Siddiqui and child artiste Harshaali Malhotra.

"Surat dekhi hai iski," asks Salman's Pavan Kumar Chaturvedi to a policeman in a police station, while trying to explain Munni's (Harshaali) plight. And by the end of this near-three-hour film, the girl's face is among the things that stay with you.

As the film begins, one is treated to the devastatingly beautiful scenes of Kashmir. And you don't want to blink for even a moment, lest a shot is missed. The camera zooms in on a gathering in front of a TV set, somewhere in the mountains of the Sultanpur district in Pakistani Kashmir. Cheering to Shahid Afridi's sixes, a heavily pregnant woman declares that her yet-to-be-born son would be called Shahid.

Six years later, on board the Delhi-Lahore Samjhauta Express, the woman is accompanied by her daughter, Shahida. On their way back to Pakistan after a mannat in a 'Hindustani Dargah', Shahida gets off the train, and is lost. She reaches Kurukshetra, and happens to cross paths with Pavan Kumar Chaturvedi aka Bajrangi, a hard-core devotee of Lord Hanuman. Pavan takes the mute Munni to Delhi, where he lives. After several twists and turns and revelatory moments, Pavan and his landlords, Rasika's (Kareena Kapoor Khan) orthodox Hindu parents, realise that Munni a) is a Muslim, and b) belongs to Pakistan.

Movie Review : Bahubali - The Beginning - A Visual Extravaganza !!

Baahubali is undoubtedly the most prestigious project that has come out of Tollywood in the recent times. Directed by the genius Rajamouli, this film has Prabhas, Tamannah, Rana and Anushka in lead roles. Touted as the biggest motion picture in India, Baahubali has hit the screens on 10th July 2015. Let’s see whether it lives up to its hype or not. I of course saw the Hindi dubbed version of it. 

Story:-

Shivudu (Prabhas) is brought up by some native villagers. He grows up with special skills which turn out to be a mystery for every one. One fine day, he spots Avantika (Tamanna) and falls in love with her.

As time passes by, he comes to know that she and her group are trying hard to rescue the royal princes Devasena (Anushka) from the evil clutches of Bhalaladeva (Rana). Shivudu decides to help Avanitka and enters the Mahishmati Kingdom.

As soon as he lands there, he comes to know that he has a past associated with both Mahishmati and Bhalaladeva. What is that past ? What does Shivudu have to do with Mahishmati ? Who is Shivudu in real life. To know answers to these questions, you need to watch the film on the big screen.

Plus Points:-

As you start watching Baahubali, one thing that hits you instantly is the scale of this magnum opus. The extravagant sets, spectacular visuals and the sheer magnitude has not been showcased in any Indian film before. One cannot shy away to laud Rajamouli for thinking something this huge and also executing it on such a mammoth scale. The war sequences and the way they have been executed are in true Hollywood style.

Prabhas is terrific in a dual role and is the apt choice as Baahubali. No one except him could have done justice to the role which is larger than life and has many heroic moments. His sheer screen presence and emotional performance will be immensely loved by his fans. As expected, Rana is menacing as the baddie Bhalaladeva. This is a dream role for him and he gives a top notch performance as the bad guy.

It is quite surprising to see the amount of detailing that has gone into every aspect of this film. What catches your attention right away are the terrific visual effects. There are certain scenes in the film which will just leave you spell bound. Tamanna is gorgeous as Avantika and plays her part well.

Ramya Krishna is elegant as Shivagami and brings a lot of depth to the film. Nasser and Satyaraj play their roles perfectly. Second half of the film has a lot of emotions which elevate the film to another level.

Minus Points:-

The story line of Baahubali is quite routine and predictable. The actual film kick starts only during the second half and ends abruptly which might leave you a bit unhappy. Anushka has nothing much to do in the film as her character will be revealed only during the second part.

Certain war sequences have been dragged out and could have been trimmed to decrease the run time. There is so much hype surrounding the film that certain unwanted songs side tracks the film. The romance between Prabhas and Tamanna also looks exaggerated at times.

Movie Review : Guddu Rangeela

Guddu was a stupid Shah Rukh Khan film, Rangeela was a terrific Aamir Khan film.

Subhash Kapoor’s Guddu Rangeela might have nothing to do with the Khans or their 1990s films, and yet it falls, fittingly enough, halfway between a really fun ride and a film that goes nowhere. It has an intricate, interesting plot and a set of fine actors visibly having a good time, but it lacks finesse and consistency.

Still, thanks to the actors and the brisk narrative, it’s certainly worth a watch.

Guddu and Rangeela, played by Amit Sadh and Arshad Warsi, are a pair of singing-dancing scamps who cross paths with too many gangsters, and, with a big debt on their heads, they take on a lucrative mission to kidnap a deaf-and-dumb girl.

This kidnapping happens within seconds; one moment the girl is being asked if she prefers Shah Rukh or Salman, the next she’s been carted into the back of a Scorpio. (See what I mean about a brisk narrative?)

The plot rolls on and quickly establishes its heroes and villains, setting us up for a fun melee, with some anti-Khap commentary thrown in.

The problem can be illustrated by the fact that the girl, Baby, played by Aditi Rao Hydari, fiery-eyed and fierce, isn’t mute after all. That plot-point lasted all of two minutes.

Despite the fun opening song Mata Ka Email, the fact that Guddu and Rangeela are professional performers is never used again either. (See what I mean about utter inconsistency?) Kapoor tries so hard to make sure his film is quirky that he doesn’t care about how clever or funny it actually is, and Guddu Rangeela could well have fallen flat -- except for the actors.

Ronit Roy leads the pack, playing a small-town Melisandre as he enforces Khap rules and tells parents to strangle their disobedient daughters. As Billu Pehelwan, Roy is intensely demonic and utterly believable as a local tough, snarling a 'rrrap' sound to makes sure even goats leap out of his rampaging path. He’s super.

Arshad Warsi could, to be fair, now sleepwalk through a part like this. Then again, it’s Warsi’s sheer likeability that keeps the film going at least in the first half.

Aditi Rao Hydari is perfectly cast as a bright-eyed girl who knows more than she lets on, and the actress looks luminous -- particularly when surrounded exclusively by laffangas.

It takes a while for Sadh, the laffanga in love with her, to find his groove; the first few scenes see him very uneasy, but he gets better and his body language feels less forced.

There’s a fine moment the two actors share where he propositions her with strikingly succinct bawdiness -- I doubt any film has had a one-word seduction -- and he nails the delivery while her eyes instantly brim with scorn even as her tongue is too busy telling him off.

Movie Review : Dil Dhadakne Do

Like Zoya Akhtar’s previous film Zindagi Na Milegi Dobara, Dil Dhadakne Do is also about a trip that changes the travellers’ perspective towards life. Just that this time the journey is long, less memorable, and screeching to a halt often. 

The rich have their own set of problems and their lives are as miserable as any middle-class guy’s life. This is the theme of a film which has the Mehras, led by a self-made business magnate Kamal Mehra (a golden-haired Anil Kapoor), at the helm of affairs. The family’s 25-year-old son Kabir (Ranveer Singh) is expected to take over the business from his father, but he wants to add wings to his life: He's more keen on aviation, of all things. His elder sister Ayesha (Priyanka Chopra), we are told has a 'business acumen',  but she couldn’t claim the CEO’s chair because she is married and the Mehra household is too fond of their male scion. Kamal’s wife Neelam (Shefali Shah) is a sharp-tongued, insecure woman who is struggling hard to keep up with her husband’s flamboyant image. 

The second branch of this 169-minute long saga features a free-spirited dancer Farah Ali (Anushka Sharma) and her roller-coaster romance with Kabir Mehra.

There is a third set too. This set of characters, who make Dil Dhadakne Do a crowded film, include Ayesha’s patriarchal husband Manav (Rahul Bose) and her former best friend Sunny (Farhan Akhtar). 

The Delhi-based Mehras look happy and content from outside, but their empire is crumbling. And unlike a conventional business family, what do they do to keep everything floating? Surprise, surprise! They plan a two-week long cruise trip to attract investors. 

Just that they have no idea that this trip is about to change their perceptions forever. It’s going to be a life-altering experience for the people who are buried under pressure to behave the way the society wants them to behave. 

The duo of Zoya Akhtar and Reema Kagti has come up with a story that deals with frivolous and almost non-existent issues. It’s hard to believe that the rich and mighty of the Delhi society are so not connected to the ground realities. And even if they are pretentious and pompous, it’s highly improbable for them to be like this confused lot. 

The central thread in itself is philosophically disturbing. Here’s a family where everybody knows everybody’s dark secrets, and they have been fairly quiet about it since the beginning. They seem to believe that this is how it’s supposed to be. It appears that their brains are conditioned by the way they are, and that means absolute approval to the existing patriarchal values. Later, when it comes to personal freedom and making a choice, they keep pretending that they are taking a stand without doing anything about the wrongs already done. Kabir knows about his father’s affairs and his mother’s pathetic position in the family, yet he falls back on his father’s shoulder when the family is neck- deep in choppy waters. 

Similarly, the miserable woman in the body of Neelam Mehra keeps speaking the same language as her husband. In fact, the regret in her expression is quite perceptible when she denies Kamal some playful bedtime moments. In short, most of the primary characters, except Priyanka Chopra's perhaps, are at ease with status quo, still they keep complaining. 

Interestingly, a sequence in the film shows Farhan Akhtar indulging in a verbal battle with Rahul Bose over 'women's liberation'. It’s weird, to say least, to see two men debating over giving more power to women, with the woman in their life, Priyanka Chopra, sobbing all through. Woman, wake up, you run a business conglomerate and have just featured in a Forbes’ list. This wasn’t expected of you. 

But this is not the only ill-conceived scene in the film. Kamal is admitted in the hospital and his wife tells him that she has always dreaded the day when he would leave her. She very dramatically says, "Tum mujhe bhool gaye Kamal". Within seconds Kamal promises to not tread the ‘morally corrupt’ path and she goes back to her usual self of a doting wife. No agony, no anger, no remorse, nothing. 

Don’t get me wrong. I am not against the family values imbibed in our culture, but such docile characters can’t help the cause the director so proudly preaches through a dog Pluto (Aamir Khan’s voice) in the film. 

The climax is another big let-down. On second thoughts, it’s similar to many other sequences in films that build up just fine in the beginning, only to give it all up at the most critical time. The ultimate moments of DDD are completely out-of-sync with the rest of the film. I don’t want to give out important plot twists but it’s bizarre to see ‘so called, educated’ characters possessing the IQ of a toddler. 

Music Review : Hamari Adhuri Kahani

Hamari Adhuri Kahani is an upcoming romantic drama, which has been directed by Mohit Suri. Famed for his notable works Aashiqui 2 (2013) and Ek Villain (2014), Suri returns yet again, but this time with a fresh star cast. Starring Emraan Hashmi, Vidya Balan and Rajkumar Rao in pivotal roles, Hamari Adhuri Kahani is reportedly based on the love story of film producer Mahesh Bhatt’s parents. Scheduled for release on 12 June, the film has a high level of expectations from the mass audiences, who have made Suri’s previous two films blockbuster hits. The music to the film has been composed by Mithoon, Jeet Ganguly and Ami Mishra. Does the music to Hamari Adhuri Kahani have anything that’s worth listening to? Is it as good asAashiqui 2 or Ek Villain? Read on to see what I thought of it!

To start off we have the title track ‘Hamari Adhuri Kahani,’ performed by the one and only Arijit Singh. The song has a nice eclectic mix of instruments such as the piano, violin and the flute; all of which gives it a hauntingly beautiful composition. Although the song itself is quite long, nevertheless, it is still a praiseworthy attempt on Jeet Ganguly’s part; who has put a lot of heart and soul in to making of this. In addition, Arijit performs well throughout the song and doesn’t fall flat anywhere. Though its impact is not at the same level as the super hit romantic number ‘Tum Hi Ho,’ Arijit has still done a respectable job and gives the song the body which it needs. There is also a second version sung by Jeet Ganguly, which is good in its own right; but probably not as memorable as Arijit’s version. This is definitely one of the big highlights of the album and therefore worth checking out.

Next is ‘Humnava,’ which has been composed by Mithoon and sung by Papon. This is probably one of my favourite songs in the album, which has been composed with a great deal of thought. I love the style of music which Mithoon adopts for his compositions, which gives it more originality. I also enjoyed listening to Papon’s vocals, who is not your typical commercial Bollywood playback singer; yet manages to do justice to the song. Another great tune which certainly deserves your time.

Following this is ‘Hasi,’ which has been composed and sung by Ami Mishra. If I was forced to choose one song from this album that I consider being my favourite, then it would definitely be this one. I love the use of the guitar and drums which gives a musically Western feel; yet the lyrics and vocals from Ami make it Indian at heart. Though the lyrics appear to be a ‘been there, heard that’ sort of thing, I still think the song overall has a unique style and melody to it which stays with you. There is also a female version sung by the wonderful Shreya Ghoshal, which is also well produced, with great vocals from Shreya. Thus, Ami has done an excellent job with this song and I think it will very much grow in popularity amongst music lovers and fans of the film itself! This will probably be the next ‘Sunn Raha Hai Na Tu.’

Movie Review : Tanu Weds Manu Returns

Movie sequels are all too often horribly musty affairs. Tanu Weds Manu Returns isn't one. The film begins four years after the marriage of Tanu (Kangana Ranaut) and Manu Sharma (Madhavan) who’re now struggling to get along with each other. After a serious clash that lands Manu in a mental asylum, Tanu finds herself back in India with her family. Manu follows soon after his friend Pappi (Deepak Dobriyal) rescues him. Both are in their respective hometowns and things just get worse when Manu decides to send his wife a legal notice. 

It pushes Tanu to become the same old fiery and brash woman she used to be and this time, she goes out seeking the attention of Raja Awasthi (Jimmy Shergill). Meanwhile, Manu falls in love with a student athlete from Delhi University, Kusum (also Kangana), who happens to be a look-a-like of Tanu. Matters get complicated once it is learnt that Kusum is supposed to get married to Raja. And more confusion follows when Kusum also falls for Manu and accepts his marriage proposal instead. Now the stage is set for yet another wedding, which can’t happen until Tanu and Manu are divorced. What follows is what the rest of the film is about.

Music Review : ABCD 2

Remo returns back with the sequel to his successful dance-centric film, this time spearheaded by Varun Dhawan and Shraddha Kapoor, along with Prabhu Deva. The last ABCD had some good numbers which were completely overshadowed by the eclectic dance moves. Will this time also the soundtrack meet the same fate?

This time, UTV and Remo has retained Sachin-Jigar to work the magic again. The lyrics is handled by Mayur Puri, and the album has ten songs to listen to. Let’s see how each song fare…

Chunar: When you listen to an album for a dance-centric film, you would certainly expect it to start off with a dance based number. However, the album surprisingly starts off with this ode to all the mothers. And what a beautiful start it is! Sung by the ever-dependable Arijit Singh, this song can be heard on a loop as many times as you want! The lyrics and the use of classical instruments works well. All in all, a great start!

Sun Saathiya: You have seen Shraddha Kapoor show some amazing moves in the video of this song. Sun Saathiya is a lovely ballad with Priya Saraiya doing a wonderful job carrying the song on her shoulders. Divya Kumar enters the song later and lends her ample support. The song catches up pace in during the interlude, but it doesn’t affect the overall impact of the song. Brilliant!

Bezubaan Phir Se: The best song of the original ABCD, Bezubaan, returns here in the form ofBezubaan Phir Se. But this time, it goes one level higher, as it ropes in Vishal Dadlani, who shines in his full-throated rendition, with Madhav Krishna as an added flavor to the male vocals. Anushka Manchanda brings in her ethereal voice in the proceedings as well. In the final portions, the song gets into super-fast mode, which I am sure, is a cue for some amazing dance moves. However the best part of the song is when we hear the strains of the original song. Loved it!

Happy B’Day: Give way to this year’s party song, as Happy B’Day is definitely going to rule the discs for months ahead. Varun Dhawan gives the intro to the song, before Sachin-Jigar and D. Soldierz enter the revelry. The best bit was their take on ‘Jai Mata Di‘ chant, where they exchanged those words with Happy B’Day! The lyrics by D. Soldierz may sound totally inane, but do they matter in these kind of songs! Totally rockin’!

Music Review : Tanu Weds Manu Returns

Like Tanu Weds Manu had Sadi Galli, Tanu Weds Manu Returns too has one guest composition, by Tanishq andVayu. Like the former, this one too follows the techno-folk mix route, and this one too is a fun ride. Some interesting use of folk instruments in the backdrop (the flute, and  that harmonium towards the end deserve a mention), even asBrijesh Shandilya & Swati Sharma do the vocal honours very well, of lyrics written by Vayu (particularly loved theBanno Tera Swagger Laage Sexy line). Lead composerKrsna and lyricist Rajshekhar take over the reins from here on (incidentally both of them debuted in part 1 of the movie). And their first song is Ghani Bawri, a richly arranged (Haryanvi?) folk piece full of energy. Something that works perfectly to singer Jyoti Nooran’s strength, and she owns it. Stripped off all its folk instrumentation, Aditya Dev’s remix doesn’t hold your interest much.Mat Ja Re has a nice tune, but the arrangement sounds dated (cannot take the combination of dafli + melancholy any more). Ankit Tiwari sounds better than he usually does, singing this one.

There is something odd about Anmol Malik’s (Anu Malik’s daughter, for the uninitiated) accent in Old School Girl at times, but the song is nicely done otherwise – in terms of tune, singing and arrangement. Truly an old school jazz piece, like its title, with some excellent trumpet solos by Joseph Monsorate. Krsna sticks to the same tune but changes the instruments for Haryanvi Version – mandolin (Tapas Roy), guitars (Sanjoy Das) and accordion (Lewis Kane) take the lead here – Sanjoy is especially fab. The Haryanvi-accented singing by Kalpana Gandharv too is brilliant !

Bombay Velvet ( Not So Velvety .. )

Bombay Velvet follows Balraj (Kapoor) and Rosie’s(Anushka Sharma) stories. She is a nightclub singer and he is a streetfighter turned henchman. Rosie has suffered abuse since she was a little girl and Johnny has survived poverty. He is in a hurry to become a “big shot” and gets picked up by journalist and businessman Kaizad Khambatta (Karan Johar introduced in a yellow jacket). Khambatta sets up a nightclub called Bombay Velvet, where he can entertain clients who need persuasion and where liquor flows despite prohibition. Johnny and his friend Chimman are given the task of running Bombay Velvet.

Meanwhile, Jimmy Mistry (Manish Chowdhary), Khambatta’s childhood friend, current friend and editor of “Glitz”, makes Rosie his mistress. He then sends her to Bombay Velvet to do some digging about Khambatta. She’s supposed to seduce Johnny for information and she does, only to fall in love with him in earnest. And so begins a love story full of betrayals and danger. (That Mistry conveniently disappears later in the plot is another matter).

Consider the elements that Bombay Velvet has been trumpeting (pun intended). It’s supposed to be an epic love story mounted on a grand, lavish scale set in the Bombay of ’50s and ’60s. The sensational promise of jazz, cabaret, nightclubs; a distressed, heavily made up singer with heavy gowns and big red flower bows in coiffured hair; a perpetually beaten up boxer, madly in love with her; a sly Shylock. The big appeal is the backdrop — the city’s post-independence history of mill strikes, rooted in a non-fiction book, Mumbai Fables by Gyan Prakash.

Trailer Review: ABC’s Quantico - Feat. Priyanka Chopra !

A diverse group of recruits has arrived at the FBI Quantico Base for training. They are the best, the brightest and the most vetted, so it seems impossible that one of them is suspected of masterminding the biggest attack on New York City since 9/11.

“Quantico” stars Priyanka Chopra as Alex, Dougray Scott as Liam, Jake McLaughlin as Ryan, Aunjanue Ellis as Miranda, Yasmine Al Massri as Nimah, Johanna Braddy as Shelby, Tate Ellington as Simon and Graham Rogers as Caleb.

“Quantico” was written by Josh Safran. Executive producers are Josh Safran, Mark Gordon and Nick Pepper. “Quantico” is produced by ABC Studios.

Music Review : Dil Dhadakne Do

Dil Dhadakne Do is the eagerly awaited Zoya Akthar venture, hot on the heels of Zindagi Na Milengi Dobara. It re-assembles the winning musical-lyrical combination of Shankar-Ehsaan-Loy and Javed Akhtar and features vocals from Siddharth Mahadevan, Sunidhi Chauhan, Sukhwinder Singh, Farhan Akhtar and Priyanka Chopra amongst others. 

The title track certainly starts things off with bang. The techno-rock track features an infectiously catchy hook with decent lyrics to boost. Priyanka Chopra encapsulates the attitude and confidence of the track perfectly but Farhan Akhtar’s vocals sound rather strained at times. Otherwise, the track has all the making of a chart buster.

Pehli Baar is classic rock and for that matter classic Shankar-Ehsaan-Loy. It is a very like-able duet by Sukriti and Siddharth with a trendy yet old-worldly charm to it. Siddharth is particularly outstanding, his vocals a brilliant mix of the new and the old and Sukriti complements him well. Lyrics on the other hand are strictly okay but other than that it is quite a nice track.

Gallan Goodiyaan is an up beat track of the Punjabi persuasion and Sukwinder Singh, Shankar Mahadevan and Yashmita Singh definitely bring their special brand of enthusiasm to make it all the more enjoyable.

In Conversation with : Photoinked

Lots of activity is happening on the Blog ! ...The BUNNYMAN is working to the best of his abilities to bring you guys almost of everything that's happening....(yeah I create a build up...hehehe )... ;-) 

 Photoinked

Here is my 1st ever conversation / interview / creative audit ..etc.. Of Photoinked .... This generation shows a lot of promise , I haven't said anything new here I'm aware but facts should be sighted as many times as 1 can...kicked with this thought I met the team @ Photoinked  and got into a conversation which was fun , informative and full of positivity ... 

Fantastic four is what I call these young minds, who've started their journey of dreams and also firmly believe in achieving them. Aditya Chavan, Manas Dhuru, Rohan Raj Sinha & Riya Shah are the founding members of Photoinked  - which is your one stop shop for photo shoots , product shoots , wedding shoots, fashion shoots , mid size event shoots.. 

Music Review: Bombay Velvet

Hello Folks !...Like I said...The Chronicles of the BUNNYMAN will not restrict itself to movie reviews only...it'll go ahead... so here is my 1st Music Review...

The Music of the film is by Amit Trivedi and Mikey McCleary... Back in the ’60s, Mumbai, or Bombay as it was known then, had a swinging jazz scene – or so director Anurag Kashyap or composer Amit Trivedi would have us believe. The film reportedly revolves around a nightclub and hence we are treated to a bouquet of 14 compositions, 15, actually, if you count Fifi, composed by Mikey McCleary. 

Amit allegedly worked for six years on the score and utilised the services of Prague based musicians and programmers to bring in the authentic jazz sounds. So the celli, trombones, violins, accordion, clarinet, saxophones, trumpets, not to mention the thumping brass section and the drums and percussion were played by master musicians and not put together on a synthesiser.  The result is a glorious amalgamation of sound that rolls over you, song after song, like waves and makes you hit that repeat button time and again. Kudos to Amitabh Bhattacharya too, who has tried to write about loss and suffering and life’s little tragedies in a style reminiscent of the jazz and blues lyrics.

It’s a coming-of-age album for Neeti Mohan, what with six songs to her credit. One can see that she grows more confident with each offering, her hesitance leading to joy as she opens up both her lungs and her soul to come alive as a fully throated jazz singer. Her first outing in the album is the monologue Mohabbat buri bimari. This conversation piece has the singer waxing on the fickle nature of love. Neeti’s version is a flirty little piece; she keeps to the tune mostly and does an improv towards the end. Shefali Alvarez’s version is a more vibrant rendition. It reminds one of smoke -filled speakeasies, where crooners belted out their sorrows, as the regulars drank to the rhythm. Shalmali Kholgade also has given her take, in a version remixed by Mikey McCleary. Though it’s pleasant to hear, one questions the need for it, as Amit Trivedi’s two versions are better than Mikey’s. 

PIKU - MOTION SE HI EMOTION ( LITERALLY !! )

What goes in one end, comes out the other. Any mention of human excretion usually elicits an ewwwu !! of disgust. Polite society demands euphemisms, especially when it is about adults and their digestive tract functions.

Shoojit Sircar had gone full frontal in ‘Vicky Donor’, using wiggly sperm to tell a heart-warming tale. Here he switches his attention to, as they say, the backside. In other words, shit, which usually gets shovelled out of view, never to be mentioned again. Not in ‘Piku’. Emphatically, vocally not. Shoojit Sircar’s lead character lets you know loudly and clearly where he is at, before flushing the evidence noisily down the Delhi-Kolkata toilets he inhabits: the crusty Bhashkor (Amitabh Bachchan) will remind you of your dyspeptic uncle whose life revolves around his `motions’, and his `peti’ of homoeopathic pills which is lugged wherever he goes.

Piku gives the go-by to the usual trappings of Hindi cinema and offers a fresh and deliciously quirky take on a deeply layered father-daughter relationship, which despite all the odds stands "Unshaken" ! 

12 STOREYS BY ERIC KHOO - A Intense , Compelling, Moving And Most Importantly A "Thinking" Film !

As the poster of the film says... 12 Storeys is a film that has Desire , Hatred and Lust all woven amazingly well by the craftsmanship of the director Eric Khoo.

Eric Takes up the theme of urban isolation and alienation in modern Singapore. Four sets of narratives – ‘Sister’s Keeper’, ‘San San’, ‘China Bride’ and ‘Spirit’ – are built and set within one Housing Development Block (HDB) block, all of which come together to portray a day in the lives of the ordinary. In ‘Sister’s Keeper’, a domineering eldest brother, Meng, attempts to put his rebellious younger sister, Trixie, and little brother, Tee, through the wringer while their parents are away. Meng’s persistent interrogation of Trixie’s personal life leads ultimately to something far more explosive. ‘San San’ tells the story of a woman who lives with only suicide on her mind. Fat, silent, and alone, she constantly hears the ghost of her mother upbraid her as she used to when she was alive. Ah Gu, a middle-aged man, brings home a pretty young wife, Lili, from China in ‘China Bride’, only to find himself struggling to cope with her high material expectations. Their relationship is caught in mounting frustration and disappointment, especially as they realize their expectations does not map onto reality. 

There is also the story of ‘Spirit’, about how the ghost of a young man makes his rounds, observing the rest of the households after he has jumped from that very block of flats. 

Just Who IS THE BUNNYMAN ??

It's an ELEPHANT !!... No It's a BULL !!.. Naaah... It's THE BUNNYMAN !! ...

Slower than a SNAIL !! .. With No ESP(s)... Will NEVER !! Come between YOU and a GUNSHOT !! (I ain't BULLET PROOF !) ... Doesn't Wear A Mask , A Cape and his Undies Outside (pssst...sometimes not even inside....Come on man ... I live in a HOT & HUMID Climate / State/ City etc... !! ) ...Roams Free in plain sight... wants to be DISCOVERED !! .. (Otherwise Why the HELL would I BLOG !! and by now you guys know that I ain't so easy to miss cause I a V shaped psyche...only in my case the V is like UPSIDE DOWN or उल्टा .. LOL !!   ) ... But has 1 power (or so he thinks) of WRITING ! and bringing his Blog readers GENUINE , UNBIASED , NON-PAID (on 2nd thought I'd not mind the cash flow)  Reviews on / of FILMS, MUSIC , FOOD , ART and all that jazz ! :-) 

iLo iLo - A Beautiful & Relate-able Tale / Film by Anthony Chen

So I'm back... new day new post... !!.... I've already told you'll that my love and quest for movies surpasses languages ....So here's a review of a BRILLIANT !! short film by Anthony Chen ... By me The BUNNYMAN !! ;-) 

I got invited to the preview screening by the  Singapore Consulate - Mumbai on 31st of March 2015 @ NCPA , for the critically acclaimed short film ilo ilo by Anthony Chen .. 

ILO ILO 

The film festival marks the start of the celebrations lined up to commemorate Singapore’s 50^th year of independence and the 50^th anniversary of the establishment of diplomatic ties between Singapore and India. more on the festival will be written @ the end note of the blog (remember the social message always has to come LAST... hehehe).

At sharp 6:00 pm The little theater @ NCPA preview screened the movie...99 mins of no drama or hamming is what the film gave to it's viewers... ilo ilo is set in Singapore during the 1997 Asian financial crisis/ recession of a middle class family...and is primarily the tale of  a bond / friendship between a boy and his Filipino maid ...such close is the bond that it becomes the reason for igniting the mother's jealousy towards the maid , because she thinks her boy / son is getting more close to the maid than her ...  At the start the maid is new to the place and the family and the boy tries his best to harass the daylights out of her !...but her economic scene back home is not such that she can backtrack so her persistence with genuine care makes her win the boy's heart who now calls her auntie  :-) 

Anthony Chen

So this is the tale in a nutshell (I've avoided some parts of the story because I think when you write a review of / for a film you should leave something for the audiences to explore themselves)...where a  debutante director Anthony Chen  who's also very young himself ! (just 30) tries to tell the viewers that in today's world where working parents are a fact of life and an unsaid norm ...such a scenario is possible ...his treatment to the subject is very mature and at the same-time is not very heavy or taxing on the viewers, because this if not treated lightly could have easily become a film that would give the viewer a heavy heart but you leave the hall with a smile on your face and that's the beauty of this film ..must say he surely knows his work...and as they say when brilliance is an inborn trait the AGE doesn't matter ! ...If I was to compare it with an Indian film makers style then I'd say it comes very close to the styles of Sai Paranjpe and Basu Chatterjee...where cinematic treatment comes very close to REALISM ! ....which is why I say it's relate-able.

I was also placing and evaluating this in current times and to my surprise I think this is a universal phenomenon in all the so to say developing countries so yeah this is also a crossover film for me...I'm not a parent yet (at least of what I know..hehehe).... this can be the case with India's urban cities too ! ...  for all those working parents ...I ain't saying it's bad of course with the cost of living going up both the parents have to and should work...but try spending some golden/quality time(s) with your child in his / her's growing years (I'm aware it's easily said than done, but no harm trying) .. otherwise what you''ll end up doing is thinking of a situation / scene who's existence in reality is questionable, which the mother in this movie does.

Why The Name BUNNY ??

As I sit down to write my 1st post I feel an influx  of IDEAS, THOUGHTS & ADRENALINE RUSH !! in me ...and I have Lawrence Fishburne as Morpheus speak those GOLDEN WORDS !! / LINES to me from the movie MATRIX "Welcome To the REAL world ...NEO !! " ..Nope I'm not saying I'm NEO.. but then again Never did He believe in himself as well. 

Coming from a family that even till today takes an active interest in CINEMA  and produced and launched Aparna Sen in her 1st movie with JEETENDRA named VISHWAS (1969) ... It's no ROCKET SCIENCE to kinda guess that you'll be named after a popular Bollywood figure ! ... only in my case it was or is JEETENDRA (THE KING OF WHITE) ... yeah that's what I have as a name JEETENDRA ...now it's not bad...but you'd agree that there isn't a SINGLE comeback from where you've showed up at your school in WHITE TENNIS shoes and uniform and your homies  start to pick on you for the COLOR ... !! ...And then the enemies .. of course even GOD has enemies !!.. why wouldn't I ?? (LOL) !!...they start calling u JEETU...!!... Grrr... :-P

This is where I tried selling my nickname which my maternal grandmother (Naani yaar !!.. sorry I'm just being to politically correct) gave me BUNNY !!.. now this too wasn't easy because it sounded to gayish and girlish ....but then I had to stick to one !...so I hard sole this and after a point of time as I was growing up AGE-WISE... HORIZONTALLY I'm still GROWING !! (LOL) ..In college girls started finding the name CUTE !! and the theory goes that if the girl likes it then it's GOOD !! (LOL).... 

FINAL APPROVAL came when the super hit movie Yeh Jawaani Hai Deewani realized 2013 and RANBIR KAPOOR's name in the movie was BUNNY !!... DROP .. DEAD.... SOLD !!...