This CHASE for the truth ends in nail biting, tense and unusual climax which will leave you spell bound.
It is said that you are innocent till proven guilty, but what happens when the law is interested in punishing the accused without verifying his innocence or guilt? What happens when the law upholder are ruthless and have no scruples?
All these questions are answered in CHASE…

Think Fast…

Run Faster…”

Chase movie is based on the finding a truth. The movie theme revolves around a murder case in which Sohail is involved. He is monitored by Insp. Siddharth. In this scenario, Nupur Chauhan is Sohail’s close friend.
Chase Hindi movie revolves around the hunt for Sohail. The movie takes us through the streets of Mumbai in the search of truth with an exciting and thrilling CHASE. Finding the truth reveals the biggest truth about political system also.
Chase movie raises many questions about criminals and crimes also. The movie tries to give all the questions in a sequence of story.
Chase 2010 movie has introduced bike racing, crime, challenging thriller, action, politics and romance in the street of Mumbai.
Action of this Bollywood movie is very challenging just like Prince 2010 movie. Chase movie is based on the concept of “think fast… and run faster…” The movie has tried to introduce the race of life in the modern era.
Chase movie is based on the most popular game – CHASE, run after or hunt. The movie is just like a game of Chase where all players run after each other. We all know that Chase is an exciting game. The movie has also tried to introduce some excitement to the audiences.

Chase movie revolves around Sohail who is accused of a murder. Sohail runs from the law to prove his innocence. D.I.G. Ranveer Tyagi and Inspector Siddharth run after Sohail. Nupur Chauhan is involved with Sohail in Chase Hindi movie.

Conventional characterizations come up in the form of a standard sidekick friend (Shubh Joshi) who introduces Aman to Professor Pashupathi (Rahul Dev) who knows it all. Together they set out on a ‘soul’ searching journey and end up in long-lost village Dak Bungla where some Ramu kaka character is waiting for them. The girl gets in ‘grave’ trouble and lands in coma. The guys attempt to dig the past.
Absurdly, an electronic item number takes you into flashback mode narrating a raja-rani kahani and through tavees , tantra -mantra and Theban language, the spirit is traced. Finally a zombie emerges to spread havoc and has to be traditionally terminated. Vikram Bhatt’s treatment never goes away from his previous horror flicks like Raaz and 1920 and perhaps, for him, being in his ‘elements’ means switching from ‘fire’ to ‘water’. So while the spirit was set afire in the climax of Raaz , here its ashes has to be immersed in water

To an extent the horror in Shaapit is initiated through its story and Vikram Bhatt and Dhiraj Rattan sketch out an eventful screenplay. Aman’s stint in the library in the first half, Shubh’s time-travel in the past and the professor’s psychometry experiment are riveting experiences. But resorting to regular clichés like the heroine walking in white at midnight, carrying a lamp or the professor getting possessed in the climax dilute the impact. Vikram derives the period setting from 1920 and the contrived conflict of the heroine struggling for life in hospital in the climax is an exact replication of the climax of Raaz . The end of this Bollywood Filim stretched and could have been less exasperating.

Let’s get this straight – Hindi Filim Kites is no masterpiece. Rakesh Roshan comes up with a story which dates back to the Kati Patang era. Romance is brewed amidst Bollywood clichés where the heroine invites hero to dance in rains while leaving inhibitions behind or the hero lends his coat to the heroine when she is drenched. The characterizations are conventional and the plot is predictable. What still keeps you attached to Kites is Anurag Basu’s sublime direction where he binds you emotionally with the sheer intensity of this heartrending love story.

Jai (Hrithik Roshan) earns his livelihood in LA by taking Salsa classes and doesn’t mind some extra bucks by crooked means. Luck comes knocking at door when one of his students Gina (Kangana Ranaut) falls in love with him and he gets to know she is daughter of a millionaire, Bob (Kabir Bedi). His pretentious affair with Gina introduces him to Natassha (Barbara Mori), fiancée of Gina’s brother Tony (Nicholas Brown).

Jai and Natassha hit it off instantly and discover true love in their lives, much against their manipulated relationships. Together they elope inviting the angst of Tony who is out to get them at any cost.

Woody Allen’s Match Point is evidently the reference point for the core correlations in the film. But come to think of it, thematically Kites isn’t much different from Rakesh Roshan’s decade-old flick Koyla where Shah Rukh Khan elopes with the fiancée (Madhuri Dixit) of the antagonist (Amrish Puri) who is out to get them. Also writers Robin Bhatt and Akash Khurana seem to draw from Deepak Tijori’s character from their first script Aashiqui for the friend’s character (Anand Tiwari) here who helps them on the run.

However director Anurag Basu scores in inciting sparkling chemistry between the lead pair as Hrithik Roshan and Barbara Mori take to each other naturally. Despite being unfamiliar with each other’s languages, they communicate through symbols and connect through momentary monosyllables establishing that love has no language. While the freshness of Barbara’s face is well-tapped, at the same time there is also a desi streak in her looks that wins her a familiar stamp of approval. She appears cute while speaking in broken English and radiates a stimulating smile that brightens up even the most mechanical scene. The palpable passion between Hrithik and Barbara when they come close for the first time is almost a reconstruction of a scene from Anurag Basu’s Life in a Metro where forbidden lovers Shilpa Shetty and Shiny Ahuja share a moment of intimacy. The final frame of this Bollywood film is visibly derived from that of James Cameron’s Titanic and its then that you realize that the two films also share similar character conflicts – the hero winning villain’s fiancée.

Debutant director Abhinav Kashyap chooses to walk the road that makes a complete U-turn from brother Anurag Kashyap’s edgy, hard-hitting, realistic cinema and opts for a signature tune that re-invents the age-old formula in aaj ka idiom. Plot-wise, the film might make you cringe with it’s hackneyed tale of two squabbling step brothers who have the arduous task of keeping the great Indian family together. And guess who’s making life even more difficult for the parivaar? Who else but the local goon (Sonu Sood) who tries to play one brother (Arbaaz Khan) against the other (Salman Khan).
But all this brouhaha about a non-story is truly irrelevant, because there never was supposed to be a story in Dabangg. The only factor that was supposed to be there was Salman Khan, Salman Khan, Salman Khan…followed by some more Salman Khan. So just sit back and savour the star power of an actor who chooses to enunciate the role of a thoroughbred entertainer. Salman’s corrupt cop act as Chulbul Pandey, playing Robin Hood in a semi-rustic environment is so engaging, you are willing to forgive and forget everything else. As soon as you begin to realise the film hasn’t moved at all in terms of story, bingo! There comes Salman swinging his bare fists around, ducking bullets, spewing mischievous threats and abuses, making eyes at his girlfriend (Sonakshi Sinha), creating chaos in his dysfunctional family and breezily breaking the rules with his brattish ways. And in case you still tend to get a bit restless, there is the Pelvic! Watch him gyrate in sync with all those uproarious tunes and you’ll be down to your last coin, having flung all the loose change you have on chartbusters like Munni Badnam Hui….And finally, if you still want more, there’s the shirt-ripping sequence, where our desi hulk gets to showcase his sculpted torso without having to unbutton it. It simply tears on its own! Now didn’t we tell you Bollywood films have their own undefinable logic….

Dabangg is designed as a vehicle to showcase the star charisma of Salman Khan and the actor literally hits bull’s eye. He has a ball on screen and makes sure you join the party too. Aiding him are two special factors: the excellent action choreography by S Vijayan (watch out for all of Salman’s slow motion antics and the Matrix bends and leaps that are sure-fire taali-seeti fare) and the foot-tapping music score by Sajid-Wajid and newcomer Lalit Pandit. The locales of the film too are exotic and re-create the hinterland ambience that is becoming so popular in Hindi cinema today. Set in a small, sleepy, one-horse town in Uttar Pradesh, Dabangg creates an alluring canvas of decay and dissolution, even as it celebrates the ordinariness of the aam aadmi’s life.
In terms of performances, the show is definitely anchored by Salman Khan , but debutant Sonakshi Sinha too stands tall. As Salman’s silent, shy, yet gritty girlfriend, she has great screen presence and a spontaneous charm. Bad guy, Sonu Sood too ends up as an interesting adversary to our local Robin Hood while Arbaaz Khan articulates the angst of the underdog brother. But hey, in the end, Dabangg is not about theory and analysis; it’s only about the Zandu Balm effect of cinema: completely home grown, hybrid, purely desi stress-busting therapy. Period.

One morning when he wakes up a wound of gun shot on his arm after committing the extremely dangerous theft in the history all the time. The thrill of the film is observed from the beginning of the film when the leading character Prince (Vivek Oberoi) fails to recall his past and for his unanswered questions, he sets on a never ending track. When he follows the questions he is able to find his identity and his name to be ‘Prince’ and he used to work for a man Sarang.
For adding more confusion in story, three girls clam to be his girlfriend Maya and Prince is being chased by the secret services of India – the CBI, I Grip and the white collared criminal in world. After some time, Prince feels that his life is only for five days. Finally the whole story is about how the central character Prince manages to trap himself from the web of deceits and saves the world.

The movie gives a big disappointment from the very beginning. The plans are good but the execution of those is awful and immature. Nothing is interesting to see in movie and neither comedy nor the action is good and sometimes you bang your head in full frustration. The acting in film puts almost you to sleep. There is nothing special for three actresses Nandana sen, Aruna Shiels and Neeru. Their look is ok but actingwise there is not any idea. So you watch the movie, if you are die-hard Vivek Oberoi’s Bollywood Movie.

Expectedly our hero Immi (Shahid Kapoor) lands up at the spot and wins Priya’s heart through his premeditated ways by sneaking beforehand into her personal dairy. Love blooms and soon goes kaboom. Both part ways leaving it on destiny to make them reunite. Three years later both are individually engaged to someone else. But like all archetypal love stories of Bollywood, in the climax, both the hero and heroine are destined to run away from their respective marriages and run into each other.
While too many coincidences in any screenplay is a sign of weak writing, the story of Milenge Milenge relies so much on destiny that it employs flukes of fate as its USP. While writer Shiraz Ahmed uses references from several films like Maine Pyaar Kiya (cigarette scene), Ishq (fake principal scene) and Shola aur Shabnam (boys in girls hostel scene) while penning scenes in the first half, the actual story unfolds in the second half and is directly derived from Serendipity . How one wishes the proceedings in each protagonist’s hunt for the other was more eventful rather than Immi sobbing before a bank manager and Priya broadcasting her love on radio stations in vain. Rather the continual near misses remind the viewer of Boney Kapoor’s earlier production Sirf Tum.
When Himesh Reshammiya exercises his shrieky vocal chords every now and then in the background, you wonder whether watching him onscreen is a comparatively easier task? The theme track ‘ Kuch Toh Baaki Hai ’ which keeps repeating through the film is a fatal mixture of ‘ Dil To Pagal Hai ’ and Atif Aslam’s ‘ Judaa Hoke Bhi ’ ( Adat ). Director Satish Kaushik tries his best to add charm to this romantic-comedy but the comedy doesn’t click and the romance is left to destiny. Rather he amuses more as the comedy sidekick mouthing his trademark gibberish dialogues.
Both Kareena Kapoor and Shahid Kapoor are earnest and their chemistry is credible. But why do every other character artist in the film from Satish Shah to Delnaz Paul end up hamming. Panini Rajkumar (yesteryear actor Rajkumar’s younger son) is plastic personified. Aarti Chhabria and Sarfaraz Khan lack screen presence.

Watch it only if you are just interested to see Kareena Kapoor when the term size zero wasn’t coined. Else The Bollywood Movie Milenge Milenge doesn’t score too much above zero.

At the end, there will nothing define as WHO WAS WRONG and WHO WAS RIGHT? It is just as it happened with Akira Kurusowa’s RASHOMON. The ultimate decision about the right judgment lies in the hands of no one, but you. Might be for the situation, there may be few debates popping up sooner after the show is over as few people may advocate for Beera, while others Raghini and Dev.
Unlike other films, it’s best to make few points on the technical aspects. This is outstanding and you could have guessed it just with the list of the technicians. First of all, Manirathnam’s ability to shoot major portion of the film besides, inner and nearby locations of waters has to be appreciation. The backdrops of locations maybe different, but the continuities have been strictly followed as audiences may not feel the difference anywhere.
In fact, the story’s proceedings are mostly happening over there. You would not have found any sequences related to an unexpected character proposing the ladylove in water. Yes, the scene where Abhishek Bachchan expresses his love for Aishwarya between the waters is simply superb and for sure there are possibilities of audiences keeping quiet with shock or may freak out raising for applauses.
For the performance, Abhishek Bachchan is exposed in a completely different manner from Manirathnam’s yesteryear films Yuva and Guru. Try to grasp on his performance of Aishwarya Rai, the victim trying to attack him and yet he reciprocates with a different gesture. But the man who steals the show is South Indian actor Chiyaan Vikram. He is fit and more perfect and this one does not look like debut film in Hindi. He is so well versed with dialogues. His introduction is not as formal as it happens with his previous Tamil films.
When it comes to dialogues, Aishwarya Rai gets more footage just as she emotes well wedged between confusions on finalizing her life’s way.
The supporting actors like Ravi Kissan and Priyamani (one of the important characters in this film) have done the best performances. But some of the conversations pertaining between every character look like a stage play. Vikram’s body language speaks more than his dialogues while yesteryear actor Govinda has got far away from those clownery acts. Every character has its own definitions and conclusions as director Manirathnam does justice to the roles he has designed.
More than songs, the background score by A.R. Rahman will surely receive more welcome as the musician has well performed enhancing the breathtaking shots of Santhosh Sivan. But it’s weird to see that Manirathnam’s ‘GURU’ climax shot of freeze-and-frame is used at more sequence. For exemplification, the ‘KATA KATA’ has similar shot that causes a sort of pain in the neck. It could have been done even without it. Sreekar Prasad’s editing is crisp as before as he doesn’t try anything new. But the best of all picturing is ‘BEHNE DE’ that has everything superb – music, camera, lyrics and performing levels of actors.

There are some emotional criteria involving Abhishek Bachchan and Priyamani and their heart-binding scenes at certain portions will attract the audiences of all centres.
On the whole, Hindi Movie Raavan is a great movie at Indian standards that will be regarded as the best flicks of contemporary period.
Overall the movie is a good one and will give satisfaction to the viewers… Mani Rathinam can relax for some time and let me appreciate he and his team for the good work.

Where’s the story you ask? Somewhere in the second half (thankfully)! What’s the story you ask? A masala mix of several potboilers (thanklessly). Hetal’s father Batuk (Boman Irani) who is not on talking terms with his daughter ever since her love marriage decides to pay her a visit in London. A comedy of error follows as Aarush is mistaken to be Hetal’s husband. The conflict is as old as Rajesh Khanna’s Joroo Ka Ghulam (1972) to Rishi Kapoor’s Honeymoon (1992). More confusion ensues with the entry of Sandy’s brother, Krishna (Arjun Rampal) as a fake family is set up to win his consent for the marriage. The setting is as ‘familiar’ as Hrishikesh Mukherjee’s Golmaal to Rohit Shetty’s All The Best (with Arjun almost recreating Sanjay Dutt’s part) or the more recent TV sitcom Sajan Re Jhooth Mat Bolo . Further Arjun and Akshay play Sach Ka Samna until the moment of truth arrives in the climax amidst laughing gas.
While one doesn’t expect much from producer Sajid Nadiadwala ’s skills as a storywriter, the screenplay by Sajid Khan, Milap Zaveri and Vibha Singh is hugely disappointing for being patchy and contrived. One wonders whether the actors go overboard to make up for the weak writing (esp. in the first half) or whether the writing is intentionally shallow to allow the actors to clown around.
There are some genuinely funny moments in the second half esp. Boman Irani sleepwalking through his portrayal of Gujarati Sholay . Unfortunately it fails to salvage the harm caused by the bland, boring and banal first half. Also this time Sajid fails to show the finesse of Farah Khan in pulling off spoofs.

Shankar Ehsaan Loy come up with a peppy and foot-tapping musical score. ‘ O Girl You’re Mine ’ is a breezy number while the ‘ Dhanno remix ’ is refreshingly recreated. But what’s with the ludicrous lyrics? ‘ Volume kum kar papa jag jayega ’ only complements the loud comedy of the film and ‘ Aaja tujhe heaven dikhaoungi ’ is certainly not hell-uva material. Vikas Shivraman’s cinematography is menthol cool, Farah Khan’s choreography is graceful and Aki Narula and Shabina Khan’s costume designs are trendy.

Both Akshay Kumar and Riteish Deshmukh are regular in their comic acts. Arjun Rampal is cast in a serious role and does well with the straight-faced expressions that his character demands. Lara Dutta is alluring. Deepika Padukone looks stunning. Jiah Khan pales in comparison. The gorgeous Jacqueline Fernandez adds to the eye-candy. Boman Irani induces the real funny moments. Chunky Pandey hams. Lilette Dubey is a pleasant change in a character usually designed for Kirron Kher. Daisy Irani is wasted.
The Bollywood Movie Housefull ends up being a painful experience.

But unfortunately the film falls way below the expectations and just remains on the periphery without any kind of emotional depth and feel as required by the subject chosen by the master film-maker. In fact, I would like to add that the movie frankly fits no-where in the list of all the other notable achievements made by the director in his illustrious career.
Revolving around Rajat Kapoor & Rituparna Sengupta a newly-wed couple visiting Sikkim on a business cum pleasure tour, the film actually begins when out of a sudden Rajat Kapoor faints in a Buddhist temple seeing a lady monk saying her prayers, played by Antra Mali. His past has something to do with the lady which starts haunting him and he loses all his peace of mind due to that. The story then mainly deals with this love triangle between the three characters and it goes on to reveal many dark secrets of their past disturbing each one of them individually.

Truly speaking, Sandhya Gokhale’s story was fine having both the elements of love and surprise to shock the viewer. But her own screenplay ruins the idea completely as the film never pulls you in to share the trauma faced by the trio. Further, Amol Palekar’s direction also leaves you unmoved since the characters remain few fictional people moving on the screen and never give you the feeling of some real people as experienced in all the previous projects of the director.
Rajat Kapoor as the husband is fine but I couldn’t understand why he was made to speak Hindi in his few dialogues when the film was actually made in English. Rituparna Sengupta doesn’t look like a real life character as she is adjustable to simply everything happening with the couple. Due to this fact her portrayal of Rajat’s wife appears to be a fake. Antra Mali too is not able to make any kind of impact on the viewers with her bold bald getup as the lady monk. She mostly remains silent and expressionless throughout the movie. The actor playing Rituparna’s father has a great voice and fine dialogue delivery style but the girl playing their family friend has nothing much to in the film.

Musically, the project should have been a song less venture for sure. Still Amol very strangely puts in few songs (in English), having no melody in them, which were not required at all in the first place.
In all, The Bollywood Filim “And Once Again” has nothing to offer either to the classes or to the masses. The movie never makes you feel even once that you are really watching a film directed by the veteran Amol Palekar. May be he had his own reasons of making it this way. But considering its skillful cinematography, the film can be more enjoyed as a visual trip to Sikkim and its monasteries than a movie made for the theaters.

Mansi (Gul Panag), Candy (Celina Jaitley) and Satvati (Eesha Koppikar) work in an office under a boss (Javed Jaffery) whose life and every action is driven by libido. Ignoring his dowdy wife (Divya Dutta), the incorrigible lecher doesn’t miss half a chance of hitting upon women with the hope of having some ‘good time’ with them.
When things come to a head, the three women decide to teach the horny Hardik a lesson. On the other hand, the boss’s wife (Divya) takes the help of a hubby reforming NGO, Pati Sudharak Samiti, with its hardliner head (Seema Biswas) who adopts shock methods like a volley of slaps to bring the stray husbands back on fidelity track.
There’s confusion galore after a case of mistaken identity. There’s a dead body, eunuchs, thieves, dumb docs and many more as the plot goes haywire and cooks up a hodgepodge in the name of comedy. Sadly, none of it works.

Director Manoj Tiwari hardly gets anything right in Hello Darling. The comedy is not just slapstick and inane, it borders on daftness. The double meaning dialogues don’t add to laughs either. Many situations seem deliberately stitched in the plot to make the proceedings funny. The sequence when the three actresses pose as nurses and kidnap the dead body from the hospital may draw some chuckles.
The film’s three leading ladies seem to be in competition to see who hams the most, a contest which Celina wins hands down. Javed Jaffery as the lusty lech is over the top, while Divya Dutta comes up with the only credible performance.

All in all, Hello Darling, the Hindi Movie, is rife with silliness. But if you happen to be a titillation seeker like the testosterone driven boss Hardik, you might find a silver lining in the cleavages of the hot babes.