The Hindi Filim Gullu Dada Returns is another of those no-frills comedies imbibed with the Hyderabadi flavour, whose key source of humour is the local dialect. It revolves round a young resourceful man Aziz (Aziz Naser), who wants to have a lavish wedding reception but doesn’t have enough money in his kitty.

His friends are too broke to lend him any money, so despite being the right-side-of-the-law kind of person, he is forced to borrow from the loan shark Gullu Dada (Adnan Sajid) – fully meaning to pay him back. Now Gullu Dada is a source of much terror for his borrowers. The rest of the story deals with Aziz’s repayment blues.
Gullu Dada’s antics – his attempts at romance, his extortion rounds, and his being outwitted by Aziz – are what lend this film the humour tag. Surprisingly, there’s much less comedy in this one than you’d expect. Maybe because it’s not too noisy – there is thankfully very little physical humour, no crude jokes, and a fair bit of situational and dialogue-oriented comedy.
However, how much you enjoy this flick depends on how much you live and love the Hyderabadi accent. The net result, for several, is a brief collection of mildly funny moments.
There’s visible effort in weaving out an actual story instead, and make things more conventionally filmi – imagine a half-hour-long depiction of a traditional Muslim wedding, right from the engagement to the Walima.
Adnan Sajid dominating the script does well for the flick, since he puts in an energetic show. Aziz Naser has a mix of scenes that’ll make him look good as an actor – including a heavy-duty emotional one. The rest of the cast is amateurish, however, especially the women. The real focus here is on the accent, though – needless to say, everyone gets that right.

The dull cinematography and the technical values keep the flick out of the reach of any new patrons – it’s ultimately only those who’ve watched the crew’s earlier work who’ll end up watching it. The wedding sequence consists of interesting dholka he geet but otherwise, the soundtrack has a number of ’80s-’90s film songs accompanying the comedy on display.
In sum, Bollywood Movie Gullu Dada Returns is decent and light-hearted enough to cool off, but if you’re unaccustomed to the franchise, there’s not much you’re missing.

When Lamhaa’s tagline went – ‘The untold story of Kashmir’, it inevitably pushed many to wonder what new can be told of this disputed, distressed place that hasn’t been captured by so many movies and documentaries before. The good news is –there is something new!

The film has captured the ‘Kashmir state of mind’. With no one you can really trust you still need to run your life. Who is on your side? Military…really?? – all these questions are definitely etched on a Kashmiri’s mind especially in the present situation where a curfew has only recently been lifted from the valley and by the time this article runs may be imposed back again without really surprising many.
The movie establishes the one fact, which we already know but just sort of remain indifferent to. The lives lost in this battle are just the innocent ones’. And not any wise politician or vile master-jihadi’s.
A few days ago reputed journalist Barkha Dutt tweeted– ‘India-Pakistan relationship of schizophrenic extremes. Either Sentimentalism or Suspicion. Desperately seeking a saner middler ground’. So true!
Let’s not wash people over with the sentimental requirement for peace. Let’s not even provoke each other with thoughts of suspicion. Let’s do the sane thing. Respect each other’s boundaries, values and identities and just go on with life without really pissing each other off. That would be so much profitable…both in a humane sense and in the economic sense for India and Pakistan.
Even though a normal citizen can’t spring into productive action…the least one can do is say a silent prayer for this hell on heaven to get over with…
The cinematography is not all ooh-la-la. It’s shaky and there’s a glitch with lip sync at times. Like there’s a reporter who keeps saying –I’m from Zee news, but his mouth hardly ever pulls to the shape that happens when you say Zee! Also, some scenes bear a striking resemblance to those from Oscar winning movie The Hurt Locker. Editing is crisp, doesn’t make you yawn. Music is good, soothing.
However, coming from the director of Parzania, the movie as a whole was just a bit disappointing.
Sanjay Dutt looks so ruggedly handsome, mashallah! He is a natural actor and easily pulls off his part. Bipasha Basu has come of age in this film. Her acting credentials have gotten spruced up! Anupam Kher is convincing. Kunal Kapoor could have been better. His expressions do it, but his voice doesn’t match up to the pain or passion of the situation. Maybe he needs dialogue delivery lessons.

I’m not from Kashmir, have never been to. So can’t really vouch for the authenticity when it comes to portrayal of people’s emotional state in the valley or the research done for the film. So here’s a request. If you are from Kashmir, please do watch this film and post your feedback. Because even as Anupam Kher’s character accuses the media saying– Aapki media ko Aishwarya ko chand dikha ya nahi isse khabar banti hai. Hamare yehan kitni beewiyon ne apne khaawind ko saalon se nahi dekha, iski koi parwah nahi – the media really needs a stronger shake from real people to wake up from the apathetic sleep. This, of course applies if and to those who are.
This is not any entertainment Hindi movie; this has a cause as the reason for its make. Anyone who takes things seriously about the whole Kashmir (or war) issue should definitely give it a dekko

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.

Gaurav Bajaj who earlier debuted with Phir Kabhi does a fair job. Nina Sarkar is impressive in her debut role. Veteran actors like Paintal and Daisy Irani have been literally wasted in this Hindi movie. Ace stand up comedian Naveen Prabhakar playing the comic goon Girgit and Delna Mody who plays Diana the female villain succeed in deriving a few laughs.

While the film does bring back the memory of Abbas Mustan’s Tarzan the Wonder Car made in 2004, it does hold some appeal for children. Let them watch it if they have nothing else to do.
The Bollywood Movie Vroom – Adventures of Smarty the magical car- Average entertainer

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.

Evidently designed as a project to glorify his heroism, Salman Khan is the single reason you sit through the film. Sadly Salman can’t solely substitute for the abundant ambiguities in the film. Writer Shaktimaan fails to develop Salman’s story into a compelling screenplay falling prey to outmoded clichés and the film merely ends up being a love story between two warring families with the age-old revenge angle thrown in for good measure.
With shot-takings derived from Jodhaa Akbar ‘s battlefield sequences, the film starts on an interesting note. But the pace soon drops as an uninspiring love story takes precedence and too much of time is expended in song and dance. Though the narrative in first half doesn’t move beyond their redundant romance, the chemistry between the couple is palpably missing.
Half a dozen character artists are stuffed in the Pindari community, though none of them are established or contribute competently towards the war. Like many of those histrionic action sequences from the film where the hero makes a late entry to win instant applause, the film picks up pulse in the latter reels. The swayamvar sequence (derived from Dharam Veer ) and the climatic combat between father-son (inspired from Mard ) makes way for some dense dramatic moments. But Veer is excruciatingly long at a runtime that doesn’t justify its frail storytelling.
Action director Tinu Verma does a decent job in directing the stunt sequences but at several instances the rope tricks show off. Cinematographer Gopal Shah adds the requisite regal touch to the film, as his camera hovers vibrantly in action and battle sequences to capture accurate animated frames. Sanjay Dhabade’s art direction and Anna Singh’s costume designs somewhere fuses the period feel with a contemporary touch. Sajid Wajid’s musical score is pleasing to the ear and goes in sync with the period setting.

Salman Khan takes absolute precedence amongst everything else and roars through a powerful performance. The warrior character befits his stud and sturdy image and he doesn’t have to try too hard. Prominent in every frame of the film, he overshadows everyone else so much so that supplementary actor-brother Sohail Khan doesn’t even get one consolation solo scene. That thankfully moderates the trauma since all Sohail does is his brand buffoonery. Mithun Chakravarthy is the only one who stands on his own other than Salman Khan adding life to his character. Zarine Khan is a replica of Katrina Kaif and using the same dubbing artist only adds to the analogy. Lisa Lazarus is absolutely wasted in a two scene role. Jackie Shroff repeats his humdrum villainous act. Puru Rajkumar is unintentionally funny in his accented English.

The Bollywood Filim Veer doesn’t offer variety. But if you are a veracious Salman Khan fan, Veer is watchable

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.