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 Hostel Review - solid idea gone awry

When you step out of school, you look forward to the life in college and of course, 'freedom'

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Yeh Faasley Internet Movie Online

Remember the 2005 film, MAINE GANDHI KO NAHIN MARA directed by Jahnu Barua? The film in which Anupam Kher holds himself responsible for killing Mahatma Gandhi? Now, in 2011, Anupam Kher plays a character in YEH FAASLEY, who's accused of killing his wife. Although poles apart, the courtroom scenes and Anupam Kher are the common elements in both the films.

YEH FAASLEY basically explores a father-daughter relationship. Arunima (Tena Desae) is all excited to be back home after completing her studies, so that she can be with her father Devinder Devilal Dua aka Dev Dua (Anupam Kher). Dev is very protective about Arunima which is evident when he bashes up a guy who gets cheeky with her at a wedding. It's clear; Dev can go to any extent for her daughter. 

Meanwhile, there's an unsaid bond of love between Manu (Rushad Rana) and Arunima and Dev is very happy for them. All's well till the day Arunima finds a will written by her mother, who passed away in an accident when Arunima was just two. Why someone would make a will at such a young age, is what leaves her perplexed. There's clearly more to it than what meets the eye. Her attempt to know more about her mother goes in vain as Dev doesn't like to talk about her. In fact, he even hides some important things about her from Arunima like her being a professional singer and her closeness with musician friend Digvijay Singh (Pawan Malhotra). A relentless Arunima, in her quest to find the truth about her mother, comes to know that Dev was apparently responsible for her death. Will she ever get to the bottom of the secret is what ensues. 










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Angel Internet bollywood movie

Angel

Hindi films have often depicted rare illnesses/disorders/disabilities... Ghajini [Anterograde Amnesia], PAA [Progeria], My Name Is Khan [Asperger Syndrome], Taare Zameen Par [Dyslexia], Black [Alzheimer's], Karthik Calling Karthik [Schizophrenia], Guzaarish [Paraplegia]. Now Ganesh Acharya's Angel talks of Cerebral Palsy. Like his peers, Acharya isn't merely highlighting a disability. Angel is primarily a love story... a hatke prem kahani in filmi ling

Love can happen anytime, anywhere, to anyone. It can happen to people who have arrived at the sunset of their life and also to those with serious disabilities. Though we talk about how love is the purest emotion, our society, very often, does not accept love when it doesn't fit into our perception of love. To cite an example, love between an elder person and someone half his/her age or love between members of the same sex or between disabled individuals may make us uncomfortable. We get judgmental at times, thinking that we are right, while others - those who don't act according to what we feel is right - are labeled as rebels, oddballs and misfits. Angel does that. It goes into the unconventional zone, depicting a love story between a social misfit and a woman suffering with Cerebral Palsy.

There's talk that Angel is similar to Guzaarish. It's not. Nor is it similar to Sadma. In Guzaarish, Hrithik was completely paralyzed below his neck, while Madalsa's character in Angel can move and crawl. The fact is Angel borrows heavily from a South Korean film called Oasis, directed by the acclaimed Lee Chang-dong. In fact, if you've watched Oasis [it's one of my favorites], it has the quality to stay fresh in your memory even after you've watched incalculable films subsequently. But Angel fails as a film to strike a chord.

The subject material is stunningly bold-n-beautiful, but the challenge lies in implementing it with conviction. Ganesh Acharya had handled the emotional moments with flourish in his directorial debut Swami, but he doesn't get it right this time. He had an opportunity to offer a convincing vision of what love actually means. But the writing lets him down and therefore, Angel doesn't come across as an intriguing human drama. The delicate love story lacks the sensitivity, feeling, compassion and understanding it deserves.

Final word? Angel is just not a compelling human story!

Abhay [Nilesh Sahay] flaunts society's rules, unaware of or unconcerned with the consequences of his actions. After serving his sentence for the manslaughter that he had committed, Abhay decides to meet the family members of the deceased man and apologize for his reckless act. When he arrives at the address, he finds a couple moving out of their room, handing their disabled sister, Sonal's [Madalsa] responsibility to a caretaker [Rakhi Vijan]. Sonal suffers from Cerebral Palsy, while her brother and sister-in-law cash on her disability. Abhay is attracted to Sonal and leaves behind his phone number.

Sonal calls up Abhay one night. Slowly, a friendship begins to blossom between Abhay and Sonal. One fateful night, Sonal's brother and sister-in-law catch Abhay and Sonal making love. Abhay is arrested and it's up to Sonal to try to absolve Abhay, who is accused of raping her. The world is against them...

Angel had the potential to move you with a compelling love story, but the writing is amateurish, while the execution of the material is equally childish. There are gaping holes in the screenplay and one wonders how it was okayed in the first place. For instance, the caretaker is never around when Nilesh visits Madalsa. StrAngely, not even once do the neighbors living in this busy chawl spot Nilesh taking Madalsa out for an outing.

That's not all, the songs are like the unwanted guests here that pop up at regular intervals. From the rustic chawl, the lovers suddenly start singing songs in Switzerland and are back to the chawl in Mumbai the moment the song ends. The climax takes the cake. It is most hurried and looks like a screenplay of convenience, with Nilesh being released from prison and cleared of rape charges so easily. The music doesn't work, except for the title track. But the placement of songs is a problem. Cinematography is good. Dialogue are below the mark.

Given the poor script, there's not much the lead actors can really do. Madalsa does try hard and so does Nilesh. Both make a sincere attempt and the earnestness shows. The sole sequence which really appealed to me is when Madalsa feeds Nilesh; it's a touching moment. Aroona Irani is as usual. Manoj Joshi is loud. Kishori Shahane Vij doesn't get scope. Rakhi Vijan is passable.





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free internet tees maar khan movie

Farah Khan tried all the industrial tricks to give a real hit during the Christmas with the hit pair Akshay Kumar and Katrina Kaif in Tees Maar Khan. However, all the hypes created around ‘Sheila Ki Jawani’ could not safeguard this latest Farah Khan flick.
Akshaye Khanna plays a superstar Aatish Kapoor, who dreams to win an Academy Award one day. Katrina is a wannabe actress Anya, who also happens to be the girlfriend of Tees Maar Khan (Akshay Kumar). The conman disguised as a Hollywood filmmaker ‘Tees Maar Khan’ plans a big train robbery of 10, 000 kilograms of antiques and goes for a fake shooting of a film. He even goes on signing Aatish Kapoor as the hero and appoints some villagers for this purpose.

But then, the viewers will scratch their hair to find logic behind Aatish signing for the act. The film does not have the typical flavor of Farah Khan films. It seems she messed up the things after signing Akshay and Katrina or more concentration went to the much talked item number ‘Sheila Ki Jawani’. The spice factor is missing and tries to go by the slapstick way.
The film is a remake of 1966 movie Caccia Alla Volpe but one change in the Hindi version is that the robbery is shifted to train than the original ship. However, Farah could play around the interesting train plot and somewhere the magic and charm got lost. It seems Sheila is the only spicy thing in the story with her raunchy choreography.







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Tanu Weds Manu

Another new romantic comedy about a wedding, but also prove to be a party to remember. A London-based Delhi boy and his family arrive at a Kanpur household kicking off a vibrant ruckus of prattle and curiosity. Tanu Weds Manu is a colorful and playful wedding drama that suffers from a wafer-thin plot and lack of chemistry between the lead pair.Like his directorial debut STRANGERS, director Aanand L Rai opts for unconventional and unpredictable situations in TANU WEDS MANU. Of course, the fact that Tanu and Manu would tie the knot sooner or later is at the back of your mind, even before the reels have begun to unfold, but you want to experience their journey - their voyage from strangers to lovers. Meet Manu as R. Madhavan, a seedha saadha Doctor from London. Intelligent, temperate and from a respectable family, the perfect groom which every parent wants for their daughter. When he arrives in India, he realizes that India has changed and so have the people. The Indian women in particular are more attracted towards the Western lifestyle. Family pressure leads him to Kanpur to meet Tanu that’s Kangna Ranaut, the quintessential small-town girl who has studied in Delhi.Anand Rai’s Tanu Weds Manu is a colorful and playful wedding drama that suffers from a wafer-thin plot and lack of chemistry between the lead pair, but survives simply because it is an endearing film with a lovable supporting cast, and provides a delectable experience of small town India. Tanu (Kangana Ranaut) and Manu’s (Madhavan) tangled relationship kicks off on a shaky note with the scene where the all-too-simple NRI doctor groom falls in love with a sari-clad bride-to-be who has passed out after taking sedatives. Creepily, he even takes a photo of her unconscious state and steals a kiss. Thus begins Manu’s inexplicable infatuation for Tanu. His only reaction is to smile in front of her, while hers is to selfishly play games with his heart.The NRI male lead – Manu – is so shy and simple in his bespectacled niceness that he becomes a one-note character. Tanu, on the other hand, displays an intriguing package of character traits, even throwing in a fleeting hint of her bi-curious sexuality (cleverly handled by Rai). Yet her characterization also hits an extreme note and you’re left wondering why these two should ever be together The film works, oddly enough, because of its ambience. The people and places around Tanu and Manu make the film enjoyable. Deepak Dobriyal as Manu’s loyal buddy Pappi is a delight with his spontaneity. His reactions to the various situations evoke the most laughs. Eijaz Khan as buddy #2 Jassi also adds spunk to the goings-on, while his new bride Payal, played confidently by Swara Bhaskar, proves to be a much more interesting and dynamic character than her best friend Tanu. Tanu Weds Manu will be categorized in the same genre as other charming and revamped rom-com wedding flicks Jab We Met and Band Baaja Baraat. And for the most part, Rai succeeds in making the story and situations reflective of today’s India. But, unlike the other two films mentioned, this film lacks the crackling lead pair that would have made it a much better experience. 










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Anjaana Anjaani

Anjaana Anjaani, the story of two strangers, Ranbir Kapoor (Aakash) and Priyanka Chopra (Kiara), who meet on a lonely street at midnight and turn into soul mates. They have a common goal to end their life and promise each other to complete experiences before they accomplish that.

On the surface the film has a noble message that life is beautiful and must be valued but there is something unconvincing the way movie unfolds, the characters on the verge of suicide appear far from depressed or worried. Anjaana Anjaani has a great star cast, great chemistry, a decent plot, a decent direction and a wonderful cinematography, what it lacks is a mature script. It appears as if the makers were in hurry to complete the script and in turn the movie, which is why director was dodging between a serious note and a comic undertone at the same time, which leaves audience confused and doesn’t seem entertaining at all.

 The story drags endlessly, the film has exotic locations, great costumes (Watch for Ranbir Kapoor and Priyanka Chopra’s stunning clothes) but no soul, it is a synthetic love story and probably the only romantic film with the most forgettable music, which is a big turn off at least for me, as we have come to expect something really great from Vishal Shekhar, who gave music to “Bachna Ae Haseeno”.

 Still my verdict will be that you should watch this movie only for the great performance of Ranbir Kapoor and Priyanka Chopra otherwise there is nothing much that you are missing; I give movie a 3 out of 5 stars

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Be forewarned. De Dana Dan is the most bizarre film from the maharaja of laughathons, Priyadarshan. Not even in your wildest dream you'd think that Priyadarshan would place almost an entire film in a hotel and have its entire cast, comprising of 26 [or is it 27?] characters, most of them weirdos, interacting with each other. Brings back memories of Blame It On The Bellboy? May be! But Priyadarshan needs to be credited for pulling it off. There are times when you laugh hysterically at the most outlandish jokes and situations. There are times when a raised eyebrow or a wide-open jaw makes you break into a guffaw.

Buzz up!

Be cautioned. De Dana Dan is a loud film, with each and every character screaming on top of his/her voice, with the characters shouting, running, even floating and swimming in the end. But what do you expect in a Priyadarshan film that has a title like De Dana Dan? The promos never promised path-breaking or thought-provoking cinema that would give birth to debates and discussions. So why look for logic in this one?

De Dana Dan makes no qualms of narrating a story you haven't heard before. Here, the story is non-existent and it's left on Priyadarshan to mix-n-match those two dozen characters and keep the momentum alive for the next 2.45 hours. De Dana Dan promises laughter and entertainment and sticks to its promise. This one's not for the hard-nosed types, but for those who worship escapist cinema. Who want to chuckle, giggle and chortle at those mindless jokes. In short, De Dana Dan is a pure dhamaal entertainer!

Nitin [Akshay Kumar] is a butler, cook, driver, watchman, gardener to a wealthy female industrialist [Archana Puran Singh] in Singapore. Like any young man, Nitin too dreams of a better life. He desperately wants to become rich and marry the love of his life, Anjali [Katrina Kaif], who supports him financially.

Ram [Suniel Shetty], Nitin's best friend, also came to Singapore with the dream of striking it rich, but ended up a courier delivery man. He falls for Manpreet [Sameera Reddy], but her high society parents will never approve of marriage, not unless Ram has lots and lots of money.

In the midst of all this is Harbans [Paresh Rawal], a shrewd businessman, who's looking for ways to multiply his income and avoid his debtors. He decides the best way would be to marry his son [Chunky Pandey] off to a girl whose parents can give him a large dowry. He is introduced to Manpreet's parents at a function and is impressed by their social status. He introduces himself as a well-established businessman, impresses them and they decide to get Manpreet and Harbans' son married.

With several factors working against them, Nitin and Ram soon reach a dead end in their relationships. When both receive ultimatums from their girlfriends, they realize that only a life of vice can help them out of their misery. They come up with an audacious plan to kidnap someone important and demand a ransom. The kidnapping goes awry and both hide at a local hotel while waiting for the ransom money. But misfortune is never far and the kidnapping spirals out of control.

Meanwhile, Manpreet's wedding reception is being held at the same hotel that Nitin and Ram are hiding in. Soon, they are joined by a motley set of characters including a Chinese Don [Asrani], a hired assassin [Johny Lever], a ACB police inspector [Sharat Saxena], a club dancer [Neha Dhupia], an ambassador [Vikram Gokhale], a young frustrated double crossing wife [Aditi Govitrikar], a letch [Shakti Kapoor], a drunken waiter [Rajpal Yadav] and a dead body nobody wants to check into the hotel.

De Dana Dan is atypical Priyadarshan film that has the unmistakable stamp all over it. But, at the same time, De Dana Dan is erratic and uneven - energetic at times, lethargic at places. Also, the culmination to the film is very similar to the director's earlier works, with the entire cast running helter-skelter. On the flip side, you miss Akshay's presence in the second hour. He disappears [gets locked in a cupboard] for at least 20 minutes and the focus, hence, shifts to the other characters. His fans will miss his presence, for sure. Besides, the film tends to get very lengthy towards the second half and overtly verbose too.

Director Priyadarshan is synonymous with comedies and the ace storyteller promises laughter in abundance. Handling so many characters, plus making a film on mistaken identities could be very tough, but the director gets it right. Pritam's music is alright, while the RDB track, 'Paisa', is the pick of the lot. Salim-Sulaiman's background score is energetic. K. Ahambaram's cinematography is alright. The review would be incomplete if one ignored the dialogue writer's [Jay Master] contribution to the film. The lines are laced with wit and soaked in humour and bring the house down on several occasions.

De Dana Dan has so many characters that it gets difficult to pinpoint or single out any one actor. Akshay is at his best in a Priyadarshan film and De Dana Dan proves it. Suniel is natural to the core. Paresh is incredible; he pitches in a superb act. Katrina and Sameera don't have much to do. Amongst the plethora of actors, Johny Lever, Neha Dhupia, Manoj Joshi, Asrani, Vikram Gokhale and Archana Puransingh deserve special mention. On the whole, De Dana Dan is targeted at the masses and it delivers laughter in abundance. Leave your brains behind to enjoy this madcap entertainer!





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