Katti Batti Movie Review: The Tragic Death of Romantic Comedy

You can also read this review at Mad About Moviez.

I didn’t have much expectations from Katti Batti. The trailers looked somewhat drab, the music – a vital ingredient of any worthwhile Hindi rom-com – was uninspiring, and most annoyingly Kangana Ranaut looked like stretching her ‘Tanu spirit’ beyond the thresholds of predictability and well into the zone of annoyance.

15 minutes into watching the film, almost all of my aforementioned fears came true. One by one. Even though director Nikhil Advani, who seemed to be meandering for over 2 hours, suddenly jumped on to a tragic track towards the end trying to salvage some pride, but alas, it was well and truly late by then. I had already proclaimed ‘Katti’ with Katti Batti.

Nikhil Advani, a man who started his career with the remarkable Kal Ho Na Ho (and continues to live in the shadow of that iconic film), but has gone on to direct duds like Salaam-e-Ishq, Patiala House and most recently Hero, further prolongs his bad run through Katti Batti. The film neither manages to garner the goodwill of a typical rom-com nor does it make you pull out tissue papers through its belated tragic twist. Not just that, Katti Batti also lacks conviction, originality and a proper execution of ideas and ends up being an outright boring film.

Madhav Kabra aka Maddy (Imran Khan) is an architect who is in love with Payal (Kangana Ranaut) from the moment he saw her for the first time in college. The two do not hit it off instantly, largely thanks to Madhav’s creepy, ‘chipku’behavior, but eventually end up being in a live-in relationship for good 5 years. Things change when Payal walks out of relationship one fine day, leaving behind a whining, sobbing Maddy. The entire film revolves around Maddy’s desperate bid to get Payal back into his life while she shrugs off his advances rather heartlessly. A tiny Kal Ho Na Ho meets The Fault in Our Stars kind of twist in the end tells us that Payal does all of this knowingly; deliberately trying to push Maddy out of her life. Why? Because, she has, wait for it, cancer! Sob. Yawn. Sob. Yawn.

Katti Batti suffers from severe identity crisis. It does not know whether it is trying to be a treatise on break-ups and relationship issues, or it is trying to be a cute, little tear-jerker. Needless to say that while trying to be too many things at a time, it ends up being almost nothing. Consider these – the tongue-in-cheek humor and LOLworthy moments, of which we got a glimpse in the trailers, are as scarce in the film as rains are in Rajasthan. Call it smart trailer cutting or a bluff on the part of the makers, Katti Batti does not have humor, light-heartedness that it shamelessly promised. Also, rhe film never really builds up the romance between its lead pair – there is no breezy college dating like 2 States or a cool live-in relationship drama like Salaam Namaste. We are repeatedly told that Maddy and Payal were ‘living together for 5 years’, but we are shown no glimpses of their love, chemistry and camaraderie. As a result, it hardly bothers you when Payal leaves Maddy, or you are further disinterested when you see the later chasing the former to get things back on the track! Phew!

Similarly, the film is also not a definitive take on relationships and strings attached to it. In fact, it ends up projecting its male lead as a sheer loser who runs after the car of his ex-girlfriend like a dog and its female lead as a cruel, chaalu girl who treats men like doormats. Through the film, you feel sorry for the characters as they are poorly written and are projected in an even worse light. By the time the director tries to turn the tables by coming up with the big revelation, you are both fed up and tired by the entire sham of a rom-com that’s dished out in front of you. Maddy and Payal are simply poorly sketched out characters that fail to find any resonance with its audience.

But there are a few bright spots in Katti Batti. And surprisingly, it’s Imran Khan who is shiniest of them all. The actor, who is coming back to the silver screen after a hiatus, is affable and somewhat convincing as Madhav. He does well in the ‘crying scenes’ and you do feel for the poor guy at times, especially that dog-chasing-the-car kind of sequence. Puns and taunts aside, this character lay within the strengths of an actor like Imran Khan, and he does try hard, but is undone by a shoddy script and an even shoddier direction.

On the other hand, Kangana Ranaut replicates her Tanu act (just replace mostly Indian dresses of TWM and TWMR with some weird western outfits) through most of the film. She is predictably ‘free-spirited’, believes in ‘time-pass’ and flashes a packet of condom to a complete stranger. And not to forget, there are some trademark not-so-funny one-liners that ‘establish’ her as a ‘free woman’. But sadly, these repeated theatrics seem as fake as those feminist posts shared by thousands on Facebook every day.

Katti Batti is also let down by a below par support cast that does not have even one actor of caliber. Similarly, Shankar-Ehsaan-Loy’s music is also very average with only ‘Sau Aasoon’ getting registered in your memory. The film’s cinematography is effective while the makers could have definitely chosen a better costume designer for its lead pair.

By the time Katti Batti nears its conclusion, there are some touching scenes of Imran taking care of a cancer-afflicted Kangana, but it comes too late in the day. You feel bored, cheated and tired by then and you simply want to curse Nikhil Advani for making a mess of a film. Yet again. Stay away.

Rating: *1/2 (Poor)

P.S. – Want to know what could be your expression if you still choose to watch this film? Check out Imran Khan’s expressions in the last image of this post.

I Love New Year: Canned But Not Devoid of Juice

If you decide to watch Sunny Deol-Kangana Ranaut starrer I Love New Year (stylized as ‘I Love NY’), which in all likelihood you would not, do not enter the theater with any pre-conceived notions. Yes, the film has been delayed for a couple of years and it is definitely not the best Hindi rom-com that you are likely to come across, but it is not unwatchable. In fact, I Love New Year genuinely tries to be different from run-of-the-mill rom-coms and attempts to tell a unbelievable story through believable means. Most of the film’s pitfalls are inflicted by the cruel fact that lost time and momentum makes any product stale and mediocre. Adding salt to the injury is Kangana Ranaut’s decision to mostly disassociate herself from the film and Sunny Deol’s lack of enthusiasm in promoting what is one of his better performances in recent times. More on this later.

Sunny Deol plays Randhir Singh, an ageing and unmarried Punjabi (no prizes for guessing that), who lives in Chicago with his father (Prem Chopra). A day before the new year, Randhir has a drinking binge with his friends and is in the process transported to New York. In New York, Randhir mistakes Kittu Verma’s (Kangana Ranaut) flat as his own and there begins a series of confusions and misunderstandings that spill well into the upcoming new year.

The film’s story is reportedly based on a popular Russian rom-com. That scope of inspiration aside, the story does have merits of its own. The premise of a drunk ageing bachelor from Chicago landing up straight in the bedroom of a young, vibrant girl in New York is quite tempting. Love as a subject has been so thoroughly explored by all the filmmakers that any innovation in ‘how they actually meet and fall in love’ ends up exciting me. The setting of the story is simple and real with most of the action unfolding inside an apartment. The indoor setting, the smooth flow of one scene into another, quirky and smart dialogues, they all set up a nice little mood for the film.

However, the bright side of the story and screenplay mostly ends here. There’s is too much left to chance and destiny in the whole proceedings. The film’s climax is rather underwhelming and you wonder if the film could have ended good 15-20 minutes before. As the film has seen the light of day after being in cold storage for long, there are some tacky dubbing and visual patches. The climax looks incomplete and the overall film does bear the stain of having a somewhat stale look.

Let;s now talk about the performances. Kangana Ranaut did not want this film to be released. When you will watch I Love New Year, you will exactly know the reasons behind the film’s leading lady’s inhibitions. Miss Ranaut perhaps did not want the film to release because her acting looks very unpolished and poor. In fact, there are some scenes where Kangana makes you laugh unintentionally because of her funny accent and problematic dialogue delivery. It is clear that she has come a long way in these two years and her apprehension about the film was very much related to her own performance. However, I sincerely feel that once a film has been completed, it becomes the producer’s property and the actor has little or no right to try and stall its release. Moreover, no matter how bad you were in your skills in the past or how fine-tuned you are now, an artist must stand by his or her work all the time. Specially, when big money and livelihood of many is at stake.

Sunny Deol gets out of his comfort zone and tries his best to give a sincere and composed performance. His chemistry with Kangana does look a little odd, largely because of the 30-year age canyon that separates the two. Though, Deol does a fine job of the difficult task assigned to him, you end up wondering why would have the makers thought of casting him in this role? Did they want to go for an unusual pairing? Then, why not choose an older actress opposite Deol or a younger actor opposite Kangana? I mean all the good acting talent of Deol and Kangana aside, there are some close-up scenes where the two look like father and daughter! T-Series should fire their casting director (or have they done that by now?).

I Love New Year’s biggest plus is Pritam’s music. From the peppy Gudd Naal Ishq Mitha to sombre Judaai, the film’s soundtrack is soothing and melodious. In fact, you may want to hunt for the film’s songs and download them – a definite good addition to your playlist. The film’s production value, editing, dubbing and sound design aren’t great. That’s most likely because of the huge gap between production and release of the film.

Overall, you feel letdown by I Love New Year, not because it’s a disastrous film, but because it’s been handled disastrously. What could have been a light, little rom-com is eventually a half-baked embarrassment that does more harm than benefit to reputation of everyone involved. Watch it if you want to see how mediocre Kangana was as an actor just a couple of years ago or if you want to see a calm, caring Sunny Deol who still has some acting chops left in him.

Rating: ** (Average)

The review is also published on Mad About Moviez.

Tanu Weds Manu Returns Review: You Will Like the Film, Not Tanu & Manu Themselves

Tanu Weds Manu, Anand L Rai’s much-liked rom-com that released in 2011, managed to break quite a few, if not all, shackles when it comes to predictable love stories. But, Tanu, the feisty, unconventional protagonist of the 2011 film is somewhat underwhelming and repressed in this sequel. Equally cut to size, barring a few kilos that he seems to have gained, is Manu (played by R Madhavan), the inconspicuous and ‘boring’ hero. The task of seeing through this rather ‘forced’ sequel is assigned to Kangana’s double avatar, Kusum aka ‘Datto’, the Haryanvi athlete studying at Delhi University who happens to be Tanu’s doppelganger.

Tanu Weds Manu Returns flatters to deceive since beginning. Starting four years after the marriage of the unlikely couple Tanu and Manu, the film initially ignites hopes of looking into the subject of post-marital discord with doses of earthy humor. When Tanu leaves behind Manu in a mental asylum in London and comes back to her den in Kanpur, you shift a little in your seat quietly telling yourself – okay, let the madness begin. However, right after the first half an hour and well till the end of the film, Tanu Weds Manu Returns makes you question the logic, the rationale of the supposed dissonance between the lead couple and their means to overcome it. So, it is rather unfathomable when Tanu who returns to Kanpur with same swagger and rowdy spirit that had made her stand out, miraculously melts down towards the end and almost surrenders herself in order to get back in Manu’s life. So much for her free spirit, unconventional ways, in-your-face attitude and walking in slow motion to Move on, Move On? Was the sequel made to somewhat tame or to show Tanu her true place?

On the other side of the spectrum is Manu’s character, which becomes worryingly unidimensional, his motives become disturbingly unclear and there are stages in the film when you almost want to take decisions on his behalf – because, you know he is screwing it up big time! Manu’s character in this film, unlike in the prequel, is shockingly underwritten and his chemistry with both Tanu and Kusum is left rather untapped.

But, all is not unwell with Tanu Weds Manu Returns. All through the film’s 2-hour runtime, you are treated with some fine, humorous writing courtesy of Himanshu Sharma, who also wrote Rai’s previous films - Tanu Weds Manu and Raanjhanaa. That the writer has a penchant for earthy humor and whistle-worthy/crowd-pleasing one-liners was very much on display in Raanjhana, where he almost managed to make stalking acceptable with his superior writing. Here as well, you have glimpses of his talent, mostly displayed via hilarious lines delivered by a brilliant Deepak Dobriyal who reprises his role of Manu’s confidant and best friend, Pappi.

Another actor who gets the share of some fine writing is Mohammad Zeeshan Ayub as Chintu, a character that defines himself as ‘kandha’ or shoulder to Tanu whose heart’s been freshly broken. Chintu’s character is not just funny but is also very well-defined in terms of small town sensibilities and mannerisms. But, the biggest show stealer is Kangana Ranaut’s portrayal of a young Haryanvi athlete with short hair and slightly bulging teeth (hence, the nickname ‘Datto’). She is so believable and lovely as Datto that you almost root for her towards the climax despite knowing in your heart that the film is going to travel the predictable path. The way Kangana pulls of thick Haryanvi accent, body language and mannerisms of a young student cum athlete is truly remarkable. The film never caricaturizes her character or the overall Haryanvi connection, except for a brief sequence where you are preached about female empowerment and how everyone should let the women have some freedom of choice! Fake feminism, eh?

Interestingly, while Kangana pulls off the double role superbly, it’s her original character of Tanu that somehow gets overshadowed in the process. The blame for the same mostly lies at the writer’s door who has not done justice to Tanu’s part except for some repetitive insinuations towards her being flirtatious, strong-headed and sometime almost cynical. R Madhavan, the greatest representative of common Indian lover – the one who is a little plump, ages ‘normally’, wears glasses, has a boring job, but is a sweetheart from inside – is suitably restrained, understated yet charming as Manu but is undone by the monotony of his character. That Madhavan is a brilliant actor is showcased on more than one occasions where the actor steals a scene or two without speaking a single word. His shy looks, roving eyes, conceived emotions, believable behavior are all at display but that solid meat at the center is missing.

The film’s soundtrack is not as memorable as its prequel’s, except for the ‘Swagger’ song that’s clearly the USP. The background score and cinematography are well-oiled to capture the small town milieu. Ditto for editing, which is crisp and smart, ensuring that you never real check your watch!

Tanu Weds Manu Returns would have been a brilliant standalone film but is a little underwhelming as a sequel. You may end up liking the film but you somehow do not empathize with or root for its principal characters – Tanu and Manu – which is quite strange. In fact, all your sympathies are directed towards Kusum, who ends up being a sacrificial lamb in what is nothing more than frivolous and undefined post marital discord between Tanu & Manu. Add to this, the several untied knots in this supposed love triangle. For instance - while you can understand Manu being drawn towards Kusum as she heavily resembles his wife, you somewhat keep asking yourself this question about Kusum eventually reciprocating Manu’s feeling– why would a young college athlete fall for a 40-yeard old, almost-fat, divorced man who initially stalked her liked a goon?

All in all, points to the makers for trying because rarely does Bollywood go beyond the standard template of ‘happily ever after’. Tanu Weds Manu Returns is that rare mainstream Hindi film that tries to dispel the myth of 'all is well that ends well’ but eventually falls prey to the same predictable temptation of setting everything right at the end. The film is brave, ridiculous, funny, empowering, and powerless - all at the same time. Like how love is.

Watch it because Kangana Ranaut is in form, there are some genuine laughs and madness. You will most likely come out of the theatre with a smile on your face but you will realize that the charm of the original Tanu and Manu has eroded. May be that’s what happens when you are married off for four years.

Rating: *** (Good)

Movie Review: 'Roy' is Over-smart, Pretentious and Hollow!

The problem with a film like Roy is that it takes itself way too seriously. The writer-director (Vikramjit Singh) seems to be hell-bent on making you realize that he has watched all the major Hollywood thrillers, perhaps has a bag full of world cinema DVDs and is also very neat when it comes to understanding the cinematic grammar. Sadly, while trying to impress one and all with his supposed cinematic know-how, Vikramjit only manages to make a film that’s awfully boring, heavily pretentious and criminally hollow.

Click here to read the full review. Now, read my reviews for latest releases every Friday-Saturday exclusively on www.todaybollywood.com

Shamitabh Review: Captivating Concept, Brilliant Bachchan, Uneven Execution

R Balki has a knack of coming up with brilliant ideas but falling just a little short of perfect execution. His previous films, ‘Cheeni Kum’ and ‘Paa’ were very high on thought, thoroughly enjoyable but do not really make it to your list of ‘my god, what a film!’ With Shamitabh, writer-director Balki, once again shows that he is a master when it comes to envisaging the unusual and unique. Yes, it takes a lot of guts and conviction to juxtapose arguably the nation’s most recognizable voice over someone else.

Read the full review here: http://www.todaybollywood.com/movies/shamitabh-review-captivating-concept-brilliant-bachchan-uneven-execution/

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Movie Review: 'Hawaizaada' is aesthetically pleasing, but perpetually boring!

As a premise, the story of an Indian scientist of pre-independent era overcoming all odds to fly the world’s first ever aircraft sounds quite fascinating. But, glaring loopholes emerge when the director tries to weave narrative around a supposed aviation breakthrough that is not really accounted for in the history books. Hawaizaada makes no effort to legitimize Shivkar Bapuji Talpade’s exploits as an aviation scientist, and in the process ends up being an unbaked product which is part fanciful and part illogical.

Read the full review here: http://www.todaybollywood.com/movies/movie-review-hawaizaada-aesthetically-pleasing-perpetually-boring/

Remember to read reviews of upcoming films every Friday and Saturday, now exclusively on www.todaybollywood.com.

Movie Review: This ‘Baby’ is Worth Your Day Out!

When was the last time you saw an action-thriller that did not let your mind wander even for a minute? Think. Madras Café? Special 26? A Wednesday? Whatever your pick is, do notice that you are most likely to name a Neeraj Pandey film when it comes to genuine action thrillers that keep you on the edge of your seat. Pandey does it again with ‘Baby’. Although, ‘A Wednesday’ remains my favorite in this genre, ‘Baby’ is nothing less than a giant leap when you ponder over the sheer dearth of quality thrillers in the Hindi film industry.

Read the full review here:

http://bit.ly/15x4EMS

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Watch 'Alone' with your friends and have a little laugh about it!

Based on the 2007 Thai film of the same name, Director Bhushan Patel’s ‘Alone’ does little justice to what is an otherwise interesting premise of a love triangle between two human beings and a ghost! Apart from a couple of genuine and praiseworthy creepy scenes, ‘Alone’ suffers from what plagues most of the Hindi films belonging to this genre. So, there are squeaking doors, a barking dog, a couple of weird looking dolls (which no normal child would pick up to play) and of course, a protagonist who hears and sees things only after she goes to bed in her cute little knickers.

Read the full review here: http://www.todaybollywood.com/movies/menu-reviews/watch-alone-friends-little-laugh/

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'Haider' Takes the Kashmir Dare and Is Almost There

Shakespeare would have been proud of Vishal Bhardwaj, it's a given. One cannot imagine better Indian adaptions of Macbeth and Othello than Maqbool and Omkara respectively. I mean, even if you match title to title, Maqbool and Omkara sound super cool, and these names have a certain 'ring' much like their Shakespearean counterparts. With Haider, Bhardwaj does something unusual and daring, he amalgamates the bard's Hamlet with Kashmir. The resultant is a dramatic and dark cocktail of personal strife and collective sorrow of Kashmir, sorrow that has been mostly ignored by the mainstream Hindi cinema.

Kashmir is not just a shooting location in Haider, it is one of the film's main protagonists. Full credit to Vishal Bhardwaj for an imaginative, sensitive and well-researched portrayal of Kashmir of the mid-90s, the era when the state was battling incessant militancy and unease. It requires a lot of courage and conviction to call a spade and a spade and Bhardwaj does exactly that when he calls AFSPA as 'chutzpah'. It is by far the most quirky take by any Indian film on the draconian law that gives sweeping powers to the armed forces in the strife-torn areas. There is no chest thumping about nationalism nor there is any over-dramatic cry for the 'Kashmiri' cause. Haider beautifully balances its narrative by giving a voice to grievances of all the sides, however, it largely focuses on the plight of the average Kashmiri who is torn by the unrest in the valley.

But apart from a brave, honest and intimate take on Kashmir, Haider also boasts of a heartfelt portrayal of mother-son relationship. Tabu and Shahid Kapoor put up pitch perfect performances as Gazala Meer and Haider respectively, to gift us one of the best Ma-beta jodi of Hindi cinema in recent times. With Hamlet as its inspiration, this mother-son duo share a unique bond that is simmering with love, longing and a strange shade of hatred from Haider's side. Tabu steals the show as Shahid's mother and it is such a joy to watch the great actor on screen after so long. One could only wish to see more of her on the silver screen and thank Vishal Bhardwaj for giving this acting powerhouse another meaty role post Maqbool.

Shahid Kapoor shows yet again that he is a terrific actor and comes up with a layered performance that is at times restrained and mostly vulnerable. Irrfan Khan makes a huge impact in a very brief role as the mysterious Roohdaar and Kay Kay Menon looks cunning enough as Haider's uncle Khurram. Shradha Kapoor comes of age in role of Arshi and takes a big leap in the acting department. She shares a lovely chemistry with Shahid, and the two light up the screen every time they find some room for romance. The film's cinematography (Pankaj Kumar) is first rate, so is the soundtrack and background music. Also, the film's dialogues are truly memorable that are sprinkled with doses of humor, intrigue and pain.

But everything is not hunky dory with Haider. The second half seems a bit dragged specially after a stunningly impactful first half. Bhardwaj fails to resist the temptation of getting into self-indulgence and pretentious symbolism towards the fag end of the film. So, there are graveyard caretakers singing 'So Jao' and digging graves for themselves, Haider holding and talking to a human skull as if it were a trophy and this over-dramatic sequence also a has a young boy watching and asking questions. Trying to pass on a commentary on Kashmir's present and future, Mr. Bhardwaj? It does not come out well, eh? Also, at times conversations on Kashmir seem a little forced and contrived. Kulbhushan Kharbanda's character gives us a sermon on how one 'inteqaam' would only lead to another inteqaam, and it only comes across as the director's attempt to balance out the anti-India or anti-army tirade in the film.

But overall, Haider is a fantastic film and to see or not to see it is never a question. But is it Bhardwaj's best work till date? I would stop short of claiming anything like that and would still rate Maqbool as the affable director's finest work.

Rating: *** 1/2 (Very Good)

'Bang Bang' Could Have Easily Been Titled 'Blah Blah'

Bang Bang makes you feel uncomfortable. Two incredibly good looking actors hop across some exotic locations, fire guns and machine guns as frequently as one pees after gulping a few bottles of beer, and if all of this does not make you sulk about limitations of your own life, they also kiss and dance, and flaunt their sculpted bodies all through the film.

Yes, Bang Bang is a kind of film that makes your body suffer from acute inferiority complex and forces you not to see the mirror for sometime. But sadly, that is all that the film offers- some stunning visuals, some jaw-dropping action sequences and plenty of sculpted body show by its lead actors. Apart from it, the film is a big letdown that becomes boring and predictable within 10-15 minutes of its initial run time.

Clinging on to a wafer-thin story line (if you decide to call it a story), the film starts with a hilarious 10-15 minute sequence featuring a guest appearance from Jimmy Shergill and the film's main antagonist Danny Dengzongpa. It reminds you of the terrible action films of the late 80s and early 90s where the 'hero' would throw some cheesy patriotic dialogues and the 'villain' would rebut citing his own 'lambe haath' that could buy off every damn politician, policewalla or judge of the country. Yes, you are reading the write review. Hrithik Roshan, the 'hero' of this film, would not takeover the proceedings well into 15-20 minutes. Yawn, you are already sleeping.

Then, there is an irritating Katrina Kaif and her annoying personal life of a 'bank receptionist'. The bank is funnily called 'Bank of Simla'. And there is robbery of Kohinoor diamond from London and the MI6 is rolled over by Javed Jaafri (one of the villains, who has also the responsibility of being comical) and his gang. However, the most funny and outrageous part of the movie is how much of snowfall they attribute to places like Shimla and Dehradun! Too much of unbelievable blah blah.

Hrithik tries hard to wrest control of the situation on several occasions, and he mostly succeeds, but obviously he can't fill in for the missing story and semblance of some substance in the film. The action sequences are well-shot and at times sunning, the locations are picturesque, but the overall proceeding has a constant stamp of dullness. Hrithik flaunts his abs and stunningly fit physique on several occasions, in fact, the director treats his body like one of the main leads of the film. Katrina looks beautiful, her skin as radiant as the Taj, but fails to make any mark with her acting (not saying that I expected anything significant.)

Watch Bang Bang only if you are a die-hard Hrithik fan or you get inspired by seeing people who are physically super fit. All in all, the film is nothing but the makers' tribute to good looks of Hrithik Roshan, and Roshan's own contribution to the club of '100 crore films' that otherwise suck big time.

Oh yes, and the film is a remake of Tom Cruise-starrer 'Knight and Day'. But, who cares. Yawn.

Rating: ** (Average)

'Mary Kom' is Neat, Sincere and Inspiring

Attempting to make a biopic on a sportsperson is tricky enough, add to it the fact that the subject in question still happens to be active and very much in the news; then you are virtually playing with fire. Howsoever ignorant the Indian public may be about the Northeast, most of them would have at least gone through the real Mary Kom's Wikipedia page since a movie on her life was announced. It is in this context and the fact that you already know which way the boxing match in the climax would go, 'Mary Kom' stands out and deserves praise. Debutante director Omung Kumar and story & screenplay writer Saiwyn Quadras smartly go up, close and personal into the champion boxer's life and beautifully weave the narrative around her life's challenges and predicaments.

The film interestingly and cleverly does not follow Mary Kom's career's most recent events (the boxer's bronze medal winning effort in the last Olympics Games). Starting from Mary's younger days in Manipur where she battles insurgency, poverty, her father's resistance and society's prejudices, the film eventually closes after tracing the boxer's unbelievable comeback to the top (wining the 2008 Women's Boxing World Championship Gold in China) after getting married and delivering twins, and while battling the sports administration's apathy.

The film's biggest strength lies in the way it depicts Mary Kom's unusual relationship with three important men in her life- her husband, coach and father, and how it shapes the boxer's life on and off the boxing ring. Darshan Kumar as Onler Kom, Mary's out-of-the-world husband beautifully underplays his part and ends up making you smile and dote over him (and of course, the 'real' Onler). The actor as the ever-supportive husband, friend and motivator who gives up his own career, baby sits the twins and digests all the barbs of the world for being a man who 'lets his wife go out and get beaten', looks very believable and effective. Shiv Thapa as Mary's maverick coach is affable and outstanding.

Aided by a wonderful support cast, Priyanka Chopra gets into the role of Mary Kom with her heart and soul, and boy it shows! The actress is almost flawless in her dialogue delivery and diction, powerful and fierce when she is punching her opponents, and vulnerable and excitable when she is confronted with emotions. This is easily one of Priyanka's finest performances that is oozing with sincerity and dedication. The gorgeous actress has gone de-glam, bulked up and trained really hard to play her part and it has come out magnificently on the screen. Thankfully, the director does not fall prey to the temptation of trying to make Priyanka 'look' like Mary Kom. This is an out and out commercial film that never tries to come across as something which it isn't or cannot be (characters maintain a consistently believable accent while they speak in Hindi, no one goes overboard in trying to look and sound like a Manipuri).

But, everything is not ten on ten in the film. The film's soundtrack, although played in the background, is a big downer and distracts you many a times from the narrative. Also, the first half of the film gets a tad slow towards the interval and you suspect that the makers look a little lost while trying to bridge the pre-marriage and post-marriage events of Mary's life. The climax of the film also looks a little over-dramatized, especially when most of the film moves you without trying to be too dramatic.

All said and done, Mary Kom definitely has more pluses than pitfalls and it surely qualifies as a fine biopic that never lacks purpose and honesty. Watch it for Priyanka Chopra's stellar performance, balanced storytelling and to get inspired from one of India's greatest sportswoman's unbelievably remarkable journey to the top.

Rating: *** 1/2 (Three and Half - Very Good)

'Kick' Review: Watch it (Only) for Some Moments of Madness

Let me put out a disclaimer first up. Before catching the midnight show of Kick, I coincidentally watched Salman Khan's 1999 hit Hum Dil De Chuke Sanam on TV. This review may, therefore, be a little biased in favor of Khan, whom I absolutely adored in the aforementioned SLB film.

There is little doubt that there used to be a good Salman Khan, all throughout the 90s and at least through the first half of the first decade of the new millennium. And then, he was hit by a formula that worked - formula of remaking action-comedies from down south. The dividends gained were super rich, superstardom achieved in the process was almost Rajnikanth-like. It is in this context that Hum Dil De Chuke Sanam and several other films of the 90s make you miss the real Salman Khan. Anyways, lets not take anything away from the new-age, muscle-flexing, bone-cracking, train-stopping bhaijaan who has now become a legend in his own right.

So, does Kick carry forward the new-found larger than life image of Salman Khan? Oh yes, it does and in fact goes the extra mile in mystifying the superhero Khan image who can do anything and everything possible on earth. Okay, not just on the earth but the entire universe. So, you have comic strips of the 'Kick Puttar' writing with both of his hands, working on a laptop upside down, riding a bicycle on rooftop railing, and doing much more that only possibly son of Jaadu can do.

Kick celebrates the legend, and the life and times of Salman Khan. Every single frame and scene of the film worships the superpowers of Khan without formally proclaiming him as God's messenger. All of this mad fixation and obsession with Khan would have made for a delightful cinema experience; after all we have whistled in the past for Chronicles of Bachchan and Rajnikanth; if only the makers of this film would have settled for a bit of method in their madness.

The writing and editing of the film is pedestrian, almost cringe-worthy. There are so many unanswered questions at the end of the film that you will not bother to remember them. And yes, you will wonder how can writers (Rajat Arora, Chetan Bhagat, Keith Gomes and Sajid Nadiadwala- who also happens to be the unworthy director) take your wisdom for granted and offer you such a substandard product in the age when every film is scrutinized with the precision of a hawk's eye. Also, in its zest of showing more and more of Bhaigiri the film is somewhat never-ending. It goes on and on without caring for your aching brain and back.

But nonetheless, in between the nearly three-hour long 'test of patience', there are some genuine moments of madness. Some scenes that make you realize that Salman is a born entertainer and if given an opportunity, he can actually make you laugh like a hyena. Special mention should be made for his hilarious yet effortless dance moves on 'Saat Samandar' and 'Party All Night'. There is also a scene where Salman lands up in jail and enacts a laugh riot with the inimitable Sanjay Mishra as the inspector-in-charge. But rest assured, these moments are rare and few, and you will need to really wait for them. And when these moments come, make sure you grab them with both your hands and feet.

There is no need for you to bother about the story, the plot or the climax, because there is hardly any. Randeep Hooda is efficient as the super cop, Jacqueline Fernandez looks pretty and gets substantial screen time, given that it is a Salman Khan film. Nawazuddin Siddiqui tries hard to come across as a menacing villain, but ends up tickling your funny bones instead.

All in all, Kick will give you a kick if you are ready to wait and have patience. And also, if you are ready to make the most of the 'moments of madness'.

Okay, at the end of the film, you will also wonder if you have adjusted your patience and acceptance levels (with regards to a Bollywood film) in the last few months/years. Or if now, you expect the least from Salman Khan these days. Go, take your Eidee and also think a little.

Rating: **1/2 (Average)

'Cocktail' Belongs to Deepika Padukone!

Cocktail arrives with a huge baggage of expectations. The promos and music of the film gave us the belief that it perhaps has all the ingredients of an 'urban epic' on contemporary friendship and romance. So, does the trio of Saif Ali Khan, Deepika Padukone and Imtiaz Ali (Co-writer) succeed in scaling new heights of romance post their highly successful outing in 'Love Aaj Kal'. The answer is- yes, but only partially. While the first half of the film is full of some beautiful light moments, the second half is stretched and aimless at several places. In between all of this, there are some quirky dialogues, memorable sequences and an incredibly brilliant musical score.

Saif Ali Khan plays Gautam, a 'flirt' who can not control his urge to go behind beautiful women. More often than not he succeeds in charming women of all hues and nationalities, Veronica (Deepika Padukone) being the latest of them all. Veronica, herself, is a free-spirited 'rich bitch' who in a sense is the female version of Gautam. But all her flings aside, she is a girl with golden heart who helps out Meera (Diana Penty), a simpleton who has just arrived in London from India, and has to deal with the shock of a fraud marriage. Veronica and Meera live together and soon Gautam moves in on the virtue of being former's 'boyfriend'. They are visited at their apartment by Gautam's loud Punjabi mother (Dimple Kapadia) who is bride searching for her son. What follows next is a cocktail of triangular romance between Gautam, Veronica and Meera.

Cocktail boast of some endearing moments in the first half. The unique bond shared by the three leads brings smiles on your faces, and some of us can even relate with the principle characters and the kind of fun-filled situations they land in. Proceedings breeze past in front of you as long as Veronica and Gautam are into their non-committal relationship, and share a very warm camaraderie with Meera. Problem surfaces as soon as cupid strikes the trio in Cape Town, and the awesome threesome undergo emotional distress. There are some sluggish talk heavy scenes in the second half that induce yawning. Also, the predictable path of the storyline post intermission leaves a lot to be desired. But, despite all these flaws Cocktail manages to sail through mainly because of its very entertaining first half, cleverly juxtaposed musical score and brilliant performance from the self-proclaimed rich bitch Veronica, that is Deepika Padukone.

In fact, Deepika comes across as the cornerstone of Cocktail. She looks absolutely stunning and sufficiently wild as Veronica, expressing and holding back emotions with aplomb. You are not just mesmerized by her sumptuous looks, impeccable wardrobe and scintillating grooves, but also by the way she handles difficult emotional scenes post interval. Cocktail is surely one of Deepika's finest performances till date, at par with Love Aaj Kal, and should bring in a flurry of award nominations for her.

With films like Salaam Namaste, Hum Tum and Love Aaj Kal to his credit, Saif Ali Khan by now is an expert at playing the quintessential urban dude. But in Cocktail, Saif looks cocky at places. There are a few scenes where the actor displays his perfect comic timing, but in a lot of scenes he looks jaded and out of touch. Also, he looks 'aged' at many places and some of his supposed one-liners fall flat. The debutante, Diana Penty, comes across as a pretty lass and gives an average performance. She has the habit of being monotonous with her body language and facial expressions despite the sombre nature of the character she plays. Dimple Kapadia as Saif's mother is very effective while Boman Irani does not get his share of brilliance despite of having ample screen time. Randeep Hooda in a cameo is a total waste.

Director Homi Adajania easily comes out of the dark mould of his debut film 'Being Cyrus'. He shows good craft in creating some identifiable characters but struggles in execution of emotional scenes. Interestingly, Homi seems to be in command till the story (Imtiaz Ali, Shaad Ali) proceeds in its merry path, but falters as soon as writing goes slightly weak. Anil Mehta's cinematography captures London and Cape Town beautifully. Special mention should be made for remarkable camera work inside the night clubs that plays a crucial role, along with the music, in pushing the audiences in party mode.

Pritam's music is uplifting, perhaps his most accomplished work since Love Aaj Kal. 'Daaru Desi' and 'Tumhi Ho Bandhu' are peppy while two tracks (Angrezi Beat and Main Sharabi) borrowed from Honey Singh's album 'International Villager' are like icing on the cake.

On the whole, 'Cocktail' is a heady blend of some fun-filled and  few ordinary moments. Despite its 10-odd minutes of surplus length and untidy second half, the film rides high on Deepika Padukone's spirited performance and Pritam's foot-tapping music. This one is to be watched with your dosts and yaars, followed by some Desi Daru (afterwards)! A cool summer gift from Bollywood.

Rating- ***3/4 (Good)

Bol Bachchan is Consistently Watchable

Ok, I have this feeling that Bol Bachchan was conceptualized and made for Abhishek Bachchan. You may argue that there is nothing strange in a film being made with a certain actor in mind. But, here the concerned actor happens to be Abhishek Bachchan, whose career has nosedived in the last few years. He hardly has had any credible film under his belt off late, and he is struggling badly when it comes to box office numbers with even newcomers like Imran Khan and Ranbir Kapoor putting up much better performances, both critically and commercially. And also, Bol Bachchan is not a film that will enhance Junior AB's credentials as an actor, that dream project kind of thing that every hero/heroine dreams about. So, what do I mean when I say Bol Bachchan was made for Abhishek Bachchan? Ok, to put it in straight words, Bol Bachchan was filmed to gift a 'hit' to Abhishek Bachchan! And guess what, after watching the film you realize that Abhishek, finally, will actually have a hit to his credit. Thanks to Rohit Shetty and his brand of Cinema!

Bol Bachchan revolves around a predictable 'comedy of errors' plot. This formula of mistaken identity in Bollywood is as old as AK Hangal. And our very own Mr. Shetty has milked this formula like no one else, minting in hundreds of crores of rupees through Golmaals and All the Best (My favorite Rohit Shetty Film). What is different with Bol Bachchan then? Here, Rohit Shetty pays a tribute to the original Golmaal, the cult classic from Hrishida, in his own signature style but does not attempt to become over smart. He keeps it simple, interpreting the original in today's times, without tampering with the 'soul' of Golmaal.

The story, as you may already know and guess, is quite predictable. Abhishek Bachchan plays Amol Palekar's part while Ajay Devgn (why this missing 'a' in Devgn?) reprises Deven Varma's role. Both of them are sufficiently funny, specially Ajay who delivers some horrendously humorous 'English' one-liners like 'Hard work is the keyhole to saxophone' and 'Boy in armpit, hyper-noise pollution in city'. He is Rohit Shetty's go-to man and he does not disappoint one bit. And yes, there is ample dose of car flying sequences and Ajay beating the hell out of goons, while the camera wanders across his muscular body. 

Abhishek Bachchan, for whom this film was made, is brilliant at places and ordinary sometimes. He revisits his Dostana days through the character of Abbas Ali and comes out with flying colors. He looks sincere throughout film and seems keen on making the most of this wonderful 'hit' formula in hand. However, it is Krushna, the marvelous stand-up comedian of 'Comedy Circus' fame, who disappoints out of the entire principle cast. He looks uneasy in front of the camera and your wait for a moment of comic brilliance from his side never ends. Archana Puran Singh, Krushna's judge at Comedy Circus, plays her 'double role' with required humor and perfection. And the two leading ladies, Asin and Prachi Desai, are perfect eye candies, roaming around the picturesque Rajasthan village in their beautiful traditional Indian dresses. 

As for the director Rohit Shetty, kudos to him for creating a niche brand for himself in this industry. We need him in the fray, as much as an Anurag Kashyap or Imtiaz Ali. I think he knows his target audience as well as any other filmmaker, and is proud of his own limitations and strengths. 

All in all, Bol Bachchan is certainly not an ideal comic flick. But it is very much tolerable and in fact quite humorous at places. Film's more than 2 and half hours of length is a problem, so is Himesh Reshammiya's uninspiring music and Asin-Ajay's half-baked love track. But the major objectives of this film, like all of Rohit Shetty's films, such as madness and buffoonery  are duly achieved.

Your chest will certainly not become a blouse after watching Bol Bachchan, but you will get your intermittent dose of laughter and fun. This one is a typical popcorn and Pepsi stuff from Rohit Shetty factory!

Rating- *** (Good) 

 

'Teri Meri Kahaani' is Simply Boring

'Teri Meri Kahaani' grabbed my attention because of two main reasons. First, the film was directorial venture of Kunal Kohli, a man who I think has not got enough praise for two wonderful films that he has made- Hum Tum and Fanaa. His other two films- Thoda Pyar Thoda Magic and Mujhse Dosti Karoge (Such terrible names!) were box-office disasters, but were reasonably 'watchable'. Secondly, I was impressed with the film's title and the tagline (Thrice upon a love story). 'Teri Meri Kahaani', for me, is a wonderfully simple and effective name for a film. A name that can intrigue both the metro junta and the people from the heartland. And I am stressing so much on the film's name because nowadays there is a marked decline in the 'quality' of film names. If films like 'London Paris New York' and 'Cocktail' could have been named better, 'Dangerous Ishq' is perhaps the most horrible mainstream Hindi film title I have ever heard of.  However, film names are an entirely different topic of debate. For now, let us focus on Kunal Kohli's 'Teri Meri Kahaani'.
 
The film is a love story (but of course) set in three different eras, 1910, 1960 and present day 2012. The idea of the film, I hear, is copied from some immensely popular Taiwanese film called 'Three Times'. But this notion, whether true or not, is of little concern because 'Teri Meri Kahaani' in its own self is a heavily flawed and uninspiring film. It is tough to believe that this film comes from the director of Hum Tum and Fanaa, and Shahid Kapoor seriously needs to introspect about his choice of films and the direction in which his Bollywood career is heading!

The biggest lacuna of Teri Meri Kahaani is its very ordinary plot and screenplay. There is nothing worthy in the story to mention about, and quite surprisingly, even the expected chemistry and camaraderie between Shahid and Priyanka is missing! Out of the three story tracks, only the one set in the 1960, Bombay, leaves some kind of impact. Sadly, the present day love track looks tired and predictable while the one set in the pre-independent India looks over the top!

Unlike Love Aaj Kal, which beautifully explored definition and significance of love in two different generations, Teri Meri Kahaani does not even intend to dig deep. There are far too may songs, too many Shahids and Priyankas, virtually doing the same silly stuff in all the three romantic tracks. Even though the film is only 2 hours long, it feels like a lifetime. It is one of those films that perfectly fits the cliched bill of 'boring'. After the climax, you wonder what the filmmaker tried to convey? Did he try to sell us the idea of reincarnation and love breaking the barrier of 'saat janams'? If yes, then where was the 'connection' between the three tracks? If no, then what was binding force of these different tracks? Or, were these three stories totally independent of each other? Too many questions. But still, you dont bother much. The proceedings are so boring!

Shahid Kapoor portrays his usual self. He is simply functional. Nothing outstanding. Priyanka Chopra is also her usual self. She is simply functional. Nothing outstanding. The script lets the actors down. Had Kunal Kohli invested even half the effort, which he puts in erecting those 'fake looking' sets and milieu of 1910 and 1960, into strengthening the script, this Kahaani might have been different. As a director, Kohli fails to drive any point home. Music by sajid-Wajid is not good to ears. Somehow. There are 5 songs in the film, but only Mukhtasar is hummable. Cinematography, which is such an important element in a film that travels in different time spaces, is below the mark- flat and uninspiring. There is nothing that the camera does to help the viewer travel to 1910, Lahore or 1960, Bombay.

There is sheer lack of novelty, verve and charm in the film. Twenty minutes into the film and you are bored. You wait for the intermission, hoping it would bring something 'new'. Expectations trashed. Twenty minutes post interval, and you start praying for a quick 'climax', again hoping that the end would definitely throw in some surprise. Expectations trashed. Again.

This one is avoidable. Most Definitely. And Shahid Kapoor, please put your hands up. And be counted. Please.

Rating- *1/2 (Poor)

'Shanghai' is Full of Substance

Political thrillers are not easy to film. As a film-maker, you run the risk of treading the predictable path and may find it uneasy to effectively conclude the story. Prakash Jha’s Rajneeti comes to my mind as a recent political thriller that delved into the rather ‘known’ territory and culminated into a typical masala Bollywood entertainer. However, Dibakar Banerjee’s Shanghai is no such run-of-the-mill stuff as it absorbs you slowly but surely into its brilliant narrative. Also, the political bickering and conspiracies aside, the film leaves behind a very lucid and somewhat disturbing image of Modern India and its notions of ‘development’.

Shanghai is the story of Modern City Dreams being sold to a restive small town of Bharatnagar. The ambitious IBP (International Business Park) project has the backing of state’s political elite, right from the Chief Minister to the main coalition party or the ‘Morcha’. Standing in between Bharatnagar and its dream to become Shanghai, is renowned activist Dr. Ahmadi (played by Prosenjit), who is making the locals aware about the ‘reality’ of such development planks where the natives are ultimately the biggest losers. Clearly, Ahmedi becomes too big a thorn for the ruling coalition in the approaching election season and so the politicos decide to get rid of him. A speeding truck runs over Ahmedi, almost mowing him down and what follows next is a series of systematic administrative, bureaucratic and police cover ups to ensure that the incident just looks like another accident.

Abhay Deol plays the forthright, restrained and no non-sense senior IAS officer Krishnan, who is first the vice-chairman of the IBP project but after Ahmadi’s accident heads the govt. appointed enquiry commission to probe the incident. The actor is simply brilliant as a high-rank govt.-loyal, yet righteous IAS officer. He gets into the skin of the character which demands remarkable restrain and poise, as there are practically no give aways through body language and facial expressions. Krishnan works like a robot, is fully dedicated, shows no signs of emotion even in the midst of most tensed situations. Towards the end, Deol’s character shocks you by its sheer wit and resolve and emerges as the main cog in the wheel for the culmination of the entire thriller.

Emraan Hashmi plays Jogi, the local porn filmmaker who likes to call himself a ‘journalist’. If Deol’s character is ice-cold as far as emotions are concerned, Hashmi, perhaps for the first time in his career, rides on the wave of body language and facial expressions to come up with an impressive performance. The kisser boy is replaced by an average looking man with dirty teeth, tanned body and a pouch.  

Kalki Koechlin plays Shalini, the student cum lover of Dr. Ahmadi who bravely fights for justice in a town where everyone seems to be pitted against her and the anti-IBP activists. She emotes perfectly, delivers a very few dialogues and comes across as a very feisty and fearless character.  Film's support cast, specially veteran Farooq Sheikh and Pitobosh Tripathi are complete naturals. Sheikh shows glimpses of his brilliant self towards the climax without delivering any heavy duty dialogue. He just holds a paneer tikka in his hand, and you are impressed!

Yes, Shanghai is a performance-driven film but it also boasts of a very meticulously planned and well-executed narrative. Dibakar Banerjee is director with a difference, almost like that master-chef who knows to cook nearly all the cuisines of the world. 'Khosla ka Ghosla, Oye Lucky Lucky Oye, Love Sex Aur Dhokha and now Shanghai are all very different films albeit with the commonality of 'difference'. You call him torchbearer of Avante Garde or the New Indian Wave or whatever, but Banerjee is definitely wonderfully diverse and sensitive. Here, he adapts Greek writer Vassilis Vassilikos's book 'Z' in a very Indianized manner and deals with socio-political issues in Shanghai with brutal sincerity. Importantly, he does not look for a heroic, good-wins-over-evil kind of climax. Like the entire length of film, even Shanghai's climax depicts reality and rationality. Film's background score and camera complement the grim and disturbing mood of the film. Music by Vishal-Shekhar is passable with only 'Bharat Mata Ki' leaving some kind of impact on ears. 

Deceptive pace of story may trouble you, specially in the first hour, and a few may find it difficult to completely understand the proceedings. By intermission, you will start debating in your head- "whether this is mainstream or off-beat cinema?". But I believe this is simply good cinema. 

Shanghai tries to show India the mirror. The balloons of 'pragati' are punctured and a very raw, stinging and nearly naked reality is presented. Watch 'Shanghai' if you are ready to be provoked and surprised in a rather passive manner. It may take a bit of time to sink in but the film will make you think, and appreciate the goodness of cinema. Recommended!

Rating- ***1/2 (Very Good)

Rowdy Rathore is Unintentionally Hilarious!

We all have waited for Akshay Kumar’s return to the genre that was bread and butter for him in early days of his career. The time was absolutely ripe for him to reinvent himself as an action hero, now that every leading actor had a Ghajini, Dabbang, Singham or Don to his credit. The promos of Rowdy Rathore looked rather promising with plenty of brawn and rowdiness, some scintillating musical score and a petite young leading actress. But alas, after spending two hours and twenty minutes inside the theatre, I could not help but regret the fact that Rowdy Rathore was less of action and more of comedy, and that too, quite sadly, unintentional and accidental.

The first half of the film is extremely lethargic with Akshay Kumar playing Shiva, a thug with a good heart. The emphasis here is mainly on inciting a few laughs, but the success rate in this regard is dismally low. Proceedings pick up only after the real ‘Vikram Rathore’ makes an entry. And from here on till the time director unforgivably decides to do away with feisty Rathore in favor of Shiva, the film enjoys its honeymoon period. Akshay Kumar plays a double role but excels only in the garb of a fearless and gutsy police officer Vikarm Rathore. Though the actor carries the entire film on his broad shoulders, but is somewhat undone by confused direction and wafer thin plot.

 Majority of the film is set in a fictional village of Devgarh, which we are told is a few kilometers away from Patna. But the locales and terrain of the village belie this presumption and even the characters of the village look confused in their attempt to look and behave like Biharis. Post interval, some bad boys break into horrible Bihari accent, only to do away with it whenever and wherever they feel like. All of this confusion does not ‘angry’ you, but makes you laugh, what if sarcastically. It was absolutely fine if logic and reasoning were given a backseat in a supposed all-out action flick, but here the twin pillars of storyline are mercilessly thrown out of the window.

Some of the scenes in the first half, such as the in-built rewind and play buttons in Shiva’s head are somewhat funny, but the very purpose of making this film is somewhat lost because the director invests too much into the romantic track of Akshay and Sonakshi . The pair breaks into unexplainable song and dance sequences in the first half, which reminds you of Jitendra brand of cinema. You get a feeling that there are a few songs too many in the film, but despite the abundance of songs the lead pair lacks the chemistry and verve. Overall, otherwise, the film boasts of reasonably peppy music (Sajid-Wajid) with ‘Chinta ta chita chita’ and ‘Pritam Pyare’ being pick of the lot.(the 3 'item girls' spew venom!)

Prabhudeva is the biggest criminal here. He had all the ingredients of a potential potboiler at his disposal, yet he flounders to handle what can easily be called as the most predictable formula Indian cinema has. The double role opportunity is terribly wasted. I mean, we have seen Akshay wasting himself and being wasted by directors again and again, but here two Akshays have been left underused! It's criminal! There is no swapping of look-alikes anywhere, no thrill, no twist.

 

The story starts in a reverse narrative mode with Shiva (who is later christened Rowdy by his beloved, for no practical reason) appearing before Rathore. Then story goes in a flashback mode and Rathore is eventually done away with. And predictably, Rowdy steps into the big shoes of Rathore. He brings with him his cheeky sense of humor, visual demonstration and analysis of the 'chinta ta ta' act. Rowdy’s stupidity and the ease with which he takes over Rathore somewhat undermines the otherwise well-sketched character of the later. In the second half, there are fight scenes after every ten minutes, but none of them leave an impression on your mind or set your adrenalin pumping. And not to mention, towards the end Prabhudeva is suddenly reminded that he has a winner one-liner, ‘Faulad ki Aulad’ still in hand. So, Sonakshi Sinha makes sure that she calls Shiva by this name a couple of times. And hold on, the most hilarious aspect is yet to come, which also highlights the director’s failure to tap the potentiality of a double-role. The villains in the film are not aware that Rowdy has taken over from Rathore throughout the unfolding drama. It is only in the closing reels that Sonakshi Sinha again comes to director’s rescue, telling goons in a very nonchalant way-‘ Aur haan yeh Rathore nahin hai, Shiva hai. Mera Shiva.’ Err.

You are not angered or agitated by Rowdy Rathore. You just laugh at the sight of a promised action film turning out to be unintentionally comical. The support actors in the film are absolutely not worth mentioning, specially the main villain, whatever his real name is. Sonakshi Sinha's makes her presence felt only through her creamy waist and elaborate forehead. Her Dabanng act was much more meatier compared to Rowdy Rathore. And Prabhudeva's Wanted looks like a classic in front of this. 

Sad to see that Akshay Kumar is still doing what he should not do. And what explains Sanjay Leela Bhansali producing this film? Perhaps he is hoping to collect a few easy bucks before canvassing his own magnum opus. Yes, you need money to build those extravagant sets.

There is no reason as such to watch this film. But as the IPL is over and the June sun promises to take away your sanity, go and catch Rowdy Rathore in the nearest air-conditioned theatre. Yes, the film is this much tolerable. Only this much.

Rating- ** (Average)