Cast: Akshay Kumar, Ayesha Takia, Jaaved Jafferi, Sharmila Tagore, Benjamin Gilani, Girish Karnad, Rushad Rana, Anant Mahadevan, Uttara Baokar

Director: Nagesh Kukunoor

In his latest, Nagesh Kukunoor dumps earthly pleasures for supernatural hi-jinks, by making his hero capable of seeing the third dimension: Akshay stares deeply at photographs and zip, zap, zoom, he’s back at the time the pictures were taken. Mumbo-jumbo or Ripley’s Believe It Or Not?

Canada-based Jai (Akshay), protector of grizzlies, loves his girl-friend Sheela (Ayesha) and hates his dad’s (Benjamin) big business interests. And then one day the latter pops it, in the middle of an ocean, on a pristine-white yatch, surrounded by wife (Sharmila), and cronies (Girish, Anant, Rushad). Accident or murder?

Kukunoor uses the lush green of the Canadian countryside to give us one of the most picturesque films we’ve seen in a while. His story is interesting too, though you get the niggling feeling that it depends, for its tone, a tad too heavily on sundry Hollywood thrillers: it’s got a live-in couple (Akki kneels on the rumpled bed and asks if Ayesha will marry him; the latter clasps her French-manicured hands, and nods, eyes brimming over), a mom who wears well-tailored pants and jackets, a weirdo sleuth (Jaaved) who suffers from an obsessive compulsive disorder, and a colourful psychic (Uttara) who reads cards.

‘8X10 Tasveer’ sucks us in with a nice, brisk start, but Kukunoor doesn’t make of his surprising change of genre—from situational comedies to freaky thrillers—as much as he should have. Situations get into a repetitive loop, and the pace flags. As Akshay prepares to go into one of his many, many trances—hold up photo, stare, let head loll back, breathe loud, and voila, see what happened—you wonder what the film’s editor was doing.

The lead role is tailor made for Akshay, who displays splendid dare-devilry in breathtaking jumps off cliffs, and racing up and down steep slopes. But the rest of it keeps going off track. And the over-stretched climax, involving Akshay and Ayesha and guns and a bloody shovel, is just plain cheesy.

Banner: Gopi Krishna Movies Pvt. Ltd.
Cast: Prabhas, Krishnamraju, Anushka, Namitha and others
Direction: Mehar Ramesh
Production: Prabhod and Narendra
Music: Manisharma

1. Prabhas Looks 2. Stylish Representation 3. Manisharma's Music 4. Gripping First Half 5. Stunning Action scenes 6: Anushka's Looks 1 . Weak Climax 2: Lack Of comedy in 2nd half

Prabhas as the ruthless Billa is a revelation. Stylish, menacing and electrifying, he seems to have thoroughly enjoyed the challenge and has completely lived up to it


Action scenes are the highlights. The car chase sequences are first of its kind in Telugu , with Prabhas’s racing image adding to the grandeur. Sound effects are perfect and in sync with natural sound and the credit goes to

Manisharma does it once again. The pictursising of the songs is quite appealing

. The two biggest assests of the film are costume department and cinematography section.The cinematographer’s work is of superlative nature and the result is an absolute visual delight. Seamless editing adds to the flow of the film.

On the whole, neatly packaged, Billa has lived up to its hype. If you are looking for an enjoyable fantasy ride, you wouldn’t be disappointed.


BO verdict : Hit

Delhi-6 - A Masterpiece indeed

Well, 'Rang De Basanthi' was about embellishing the young rebels with spirit-of-patriotism that had a very colorful appeal. Yippee!! Rakeysh Mehra is back with a bang emblazoning Delhi fantastically. Trust us; it's an unforeseen 'Wall of Old Dilli' where nothing rules, but everyone is surmounted with humanity. Of course, the auteur unravels the beauty of not just the street corners, jelabi shops, but heart-binding relationships… An appealing relationship between various communities has been decorously depicted that draws us straight into streets of Chandni Chowk. Perhaps, it's not 'too-sweet-for-the-heart' moments as there are peculiarities of caste-communalism differences that get us through a chain of unexpected sequences.

Precisely, the film possesses the best attributes of getting ennobled as 'World Cinema'. Maybe, the plot is a bit clichéd to 'Swadesh' where an NRI makes his way to India getting adhered to scenario bounded with happiness and tribulations.

So if you are guessing what could be the common traits between 'Rang De Basanthi' and 'Delhi-6' here we have it for you in a platter. An enriching characterization with the finest narration is what you will witness. Rakeysh brings in a couple of metaphors that goes more relevant across the characters; 'Kaala Bandhar' and Stage Play of 'Ramayana'. Indeed, Rakeysh deserves special applause for these exceptional motifs…

When his Naani (Waheeda Rehman) loves to breathe her last not in New York, but in her hometown Chandni Chowk of Delhi, her grandson Roshan (Abhishek Bachchan) fulfills the wish. But sooner, he gets more glued to the new land of fun, frolic and happiness where everyone is blessed with a good heart and his friend. He finds elated amidst the kites, pigeons, sporting snookers with Uncle Ali (Rishi Kapoor) and tasting jelabis. On the pars, he is stuck with puzzling thoughts about witnessing untouchables, an arrogant police officer (Vijay Raaz), and his uncles (Om Puri, Pawan Malhotra) who've risen within their house. And finally, the sweet Bittu (Sonam Kapoor) caged in a circle of ancient-culture.

If you're a good analyst of films, there's something uniquely trenchant with Rakeysh. Unlike other flicks that have carried on with the First-Second half, the director has inherited the narration with 3-Act formulas. Something that isn't common, right? Yeah, 'Delhi-6' is yet another example to suggest the changing face of Bollywood. Getting on with the metaphors of 'Kaala Bandhar' and 'Ramayana' stage plays, he tries pulling the realistic pictorials. When the throngs are bounded devotionally watching the mythological drama, politicians interrupt it. And again, watch the special performance of Lord Shiva's 'Rudra Thandava' for the politician.

It's all about – Even Gods get down for the sake of politicians in the present world. Years back, one incident had really shaken not just the Dilliwalas, but the entire Nation and it was the 'Monkey Man' terrorizing the streets. Blending it to the script, the idea has worked out well. The director's portrayal of the Hindu-Muslim communal conflict and the solution drawn out it is quite appealing.

The characterizations have been brilliantly designed. Rightly as Sonam suggested 'it is Delhi who's the protagonist', it's true and we feel it too. There aren't too many locations, but patently the streets of Chandni Chowk have been decorously portrayed. Hats off to cinematographer Binod Pradhan for a spellbinding piece of work. You don't see Abhishek and Sonam alone presented with prominence, but everyone seems to have had a vital role to play. Be it Rishi Kapoor with his hidden love or the so-called untouchable Divya Dutta; they're top-notching with their performance. Abhishek Bachchan is up with his usual resplendence while Sonam seems to have matured up from her 'Saawariya' days.

The musical score by A.R. Rahman is 'wordlessly colossal', especially the number 'Masakali' is a rich fiesta offered to the audience. Don't miss his background score in the penultimate sequence where there's hunt for the 'Kaala Bandhar'.

Precisely, the screenplay is intricately beautiful that you don't feel like watching the film but taking a walk down 'Delhi-6'.

On the whole, 'Delhi-6' is an incredible flick in terms of all panoramas. The film is simply prodigious with flawlessness and a piece of work that takes Indian Cinema to the next level.

Verdict: The real taste of Delhi.

Drona - Better luck next time Nithin

The theme of a don who lives in a den in an island and forms a group to train kidnapped children into criminals for doing anti-social elements for person benefits is already told in the yesteryear super hit film ‘Rakshasudu’.

‘Drona’ is a rehash of the story with bit of changes here and there. Starring Nithin, Priyamani in the lead cast, J Karuna Kumar has debuted as director with this film, presented by D Saraswathi and produced by DS Rao on Saikrishna Productions banner.

Story

Drona (Nithin) is the only son of Mukhesh Rushi and Sita. Drona’s father Mukesh Rushi is an honest and dedicated Police officer. Drona likes his mother Meenakshi (Sita) so much and love her as his own life. When he was a child Drona steals his father’s revolver to scare his friends. On knowing this his father scolds him, consequently Drona leaves his home and gets lost.

After 10 years, he comes back to his parents with the name Chandu. A Neighboring girl Indu (Priyamani) likes Drona/Chandu a lot. On a fateful day, she finds out that Chandu is none other than the long lost boy, Drona.

What are the consequences that made Drona to comeback after 10 years and get introduce in a disguise? Why was Sarkar group searching for Drona? To get the answers watch ‘Drona’ on screen.

Performance of Cast

Nithin looks determined on screen to taste success and has dedicated himself to come out with a slick performance. He has succeeded in his attempt but the long known vintage plot drags his meticulous trails back and doesn’t reap what is expected out of it.

More than Priyamani, her body acts in the film with abundant glamour in almost all scenes. She has been roped in to give the oomph factor and it does bolster the movie.

Mukhesh Rushi and Sita as Nithins parents gave a good performance. *Kelly Dodge, debuted as a villain with ‘Don’ (Nagarjuna starrer), he has appreciably portrayed the role of Sarkar. Dr.SivaPrasad also did well as Mama. Raghubabu, Sunil, Venu Madhav as Nalla Balu, have done well within the scope of their roles. Bob Anthony as Dange has displayed some good acting skills this time around.

Work of the Crew

Anup Rubens, the music director of ‘Jai’ scores in the background music but it’s a disappointing act when it comes to the songs. The numbers are badly orchestrated and are a major con for the film.

Photography by Bhupathi is beautiful and riveting. Art director Prakash’s work is laudable with the construction of the Den set and for the songs. Fights composed by Selvam Prakash have a touch of realism and is neat. Editing by Gautham Raju is average. Overall, the making value of SaiKrishna Productions is good.

Director’s Portrayal

The director has earlier worked in the direction division of SS Rajamouli and debuted as a director with ‘Drona’. The way he rendered the story line is good but the story is a stale and creates a feel of Deja vu. The director relied more on action and glamour rather than the script which is the heart for any movie. His efforts should be appreciated but it’s a big question if it will bring the audience to cinema halls to make the movie a hit.

Criticism

‘Rakshasudu’ starring Chiranjeevi and Radha was a super hit film of those times and ‘Drona’, the new comer in the same line is disappointing. The storyline has not been properly altered to suit present society and the director has missed to make changes in it.

Flicking a story from the past is not new nowadays, but a sensible filmmaker will surely make his director’s touch felt in the script which will make it a big hit if rehashed. But, the makers of ‘Drona’ didn’t do it and this negligence won’t go unnoticed which will cost them bitterly. Karuna Kumar should rework his skills and make a better comeback next time.

For Nithin, alas! What can we say expect it’s a sad disappointment for the actor who looked forward eagerly to a hit. Let’s hope he gets lucky next time.

Verdict: Disappoints at many instances

Director: Priyadarshan
Cast: Irrfan Khan, Lara Dutta, Shah Rukh Khan
Rating:


Priyadarshan decides to make (rather remake) another film. Perhaps his criterion for remake depends more on the ease of adaptability, over appeal in the original source. That leads to bland attempts like Billu .

Irrfan Khan is given the onus to act while Shah Rukh uses the attempt as a testimonial to himself. The curvaceous profiles of Deepika, Priyanka and Kareena are supposed to make up for the flatness of the plotline.

Billu (Irrfan Khan) finds it difficult to make ends meet by working as a barber (oops, is that a derogatory term? At least the multiple mute punches in the film imply so). He doesn’t earn enough to pay his children’s school fees or ensure daily bread for the family. He has less customers and more cash-crisis.

Abruptly enters Sahir Khan (Shah Rukh Khan), a Bollywood superstar who shoots for item songs while his film’s script is still being randomly written. The script is supposedly futuristic in genre but Sahir strangely insists on shooting it in a village. The unit ends up in Billu’s backyards.

Word spreads that Billu and Sahir were childhood friends following which the star-struck village lends liberal support to the poverty-stricken barber. Everyone from the village moneylender (Om Puri) to the school principal (Rasika Joshi) wants to have a glimpse of Sahir Khan through Billu. But Billu is too hesitant to approach Sahir due to the vast difference in their social status.

Priyadarshan and Mushtaq Sheikh take credits for the screenplay, though ironically they only snip out scenes from the original Malayalam film Katha Parayumpol . The retained portions are a frame-to-frame replica of the original film with no novelty. Nevertheless the storyline of the primary source in itself is one-dimensional throughout and only stressed and stretched on the barber’s starry influence with no twists or turns whatsoever.

One doesn’t expect the sensitivity of Hrishikesh Mukherjee’s Guddi with the film-inside-film setting. But the story is neither intricately woven around the film industry like in the recent Luck By Chance nor is the format entertainingly-exploited like in Shah Rukh’s own Om Shanti Om . All that the Bollywood backdrop does is make way for some superfluous item numbers or formulaic action sequences, unconnected to the core plot.

There are those regular glitches galore – like the village belle Lara Dutta is always decked up with eyeliners and lip-gloss though there’s no food for the family. The scenes shot in Sahir’s film hardly need a village setting. It’s never explained how the villagers know of Billu and Sahir’s friendship when Billu never makes it public. And perhaps the term barber and hajam sound offensive only when sung, since they are muted in songs but oddly retained in dialogues. What’s the logic? You don’t ask that question in a Priyadarshan film, even if it’s not his fault.

The director continues his brand of loud comedy though Manisha Korde’s figurative dialogues come to rescue at some instances. Finally the film attempts to reconcile its patchy plot with an emotionally driven climax but it only turns out to be an end of too much coincidence and convenience. However the culmination could still work for all those who get touched by the likes of Shah Rukh’s emotive outburst in Mohabbatien . The friendship between Billu and Sahir is never established throughout the film and only surfaces in the last scene. Some flashback account of their childhood companionship could have helped. Sadly after all this, the film doesn’t even end on a moral tone, though it had ample scope for it.

Irrfan Khan is aptly cast in the role of Billu and carries off his character effortlessly. But we have seen him play such roles so often that there remains no uniqueness in his act. Shah Rukh Khan has to just play himself which brings no challenge to his character. The onscreen and offscreen mass hysteria of his Southern prototypes, like Rajnikanth in Kuselan , is so colossal that SRK comes nowhere close in making his character ‘hero’ic. Rajpal Yadav, Om Puri and Asrani are so common to Priyadarshan films that it becomes difficult to differentiate them from their earlier works.

Reportedly, Priyadarshan plans to attempt a horror film next but the hair-raising effect has already started. That’s because you would rather want to skip visiting Billu barber’s parlour. This one’s certainly not worth letting your hair down.

A feel-good entertainer

Going by his previous record (barring Aata), Siddharth's presence in a movie generally indicates it would be a family entertainer with a love story woven in. And his latest Telugu film, Koncham Ishtam, Koncham Kashtam (KIKK) is certainly one with all the necessary ingredients for a perfect entertainer.

Siddharth seems to have the uncanny ability to pick the right scripts in this genre, and invariably succeeds in pulling it off with good support from fellow artistes and technical crew.

Here, of course the credit should go to debutant director Kishore Kumar for penning a script which is entertaining yet meaningful.

Siddu (Siddharth) is a happy-go-lucky gen-X guy who loves to spend his time with friends, particularly girls. Though he has a MBA degree to his credit, he doesn't seem to care about finding a job. He is busy 'romancing' girls. He lives with his mother Rajyalakshmi (Ramya Krishna), a college Professor. Siddu's father Prakash (Prakash Raj mother are estranged for 18 years.

Their lives go on smoothly till Geeta Subramanyam (Tamannaah) enters. At the behest of her father Subrahmanyam (Nazar), Geeta comes to Hyderabad from her village to study. Here she meets Siddhu who is part of her cousin Swati's gang of friends.

Hate at first sight slowly leads to love. Siddu too slowly falls for her. Geeta's father is against the match. Will their love reach the final destination?

The movie is evenly paced -- the first half has all the fun in terms of friends, a bit of action, etc. The second half gets a bit more serious and sentimental, and the friends fade into the background.

But there are some interesting, refreshing moments in the film. For instance, the scene when Siddu talks to the photo of Shirdi Sai Baba and agrees to fast for Geeta's sake and then sees Geeta and her cousin dunking chicken at the restaurant while he stays hungry!

The humour is induced by Brahmanandam who as the cricket-crazy Gachibowli Diwaker breaks the serious tone at times. Venu Madhav as Siddu's friend adds a few laughs.

The characterisation is good. Both Siddu and Geeta have substantial roles and screen space. The small quarrels and the way they make-up is quite realistic.

On the face of it, KIKK is a love story. Below the surface, the film also dwells albeit briefly on the issue of parents being separated on account of the ensuing problems particularly ego. In that sense, the film offers a slice of life.

The script should take the major cake. Debutant Kishore Kumar seems to have worked hard on it and delivers a winner.
The casting is another highlight. Siddharth with his penchant for new directors and good scripts hits the bull's eye here. He adds another feather to his cap with a good performance. As Siddu, he is real, and delivers a subtle and emotional performance.

Tamannaah gives him good company and both make a good pair. She is able to deliver an understated performance too.
This is the third time Prakash Raj and Siddharth appear as father and son on screen in Telugu films. Though they don't have that much screen space, they rock. They are seen in a totally different way here. It is well known that Prakash Raj carries off any role with panache -- which is what he does here too. Ramya Krishna is a picture of elegance. Nazar is believable as the village head and portrays the dilemma a girl's father faces well.

Shankar-Ehsaan-Loy's music has been rocking the charts ever since it was released. Koncham Ishtam Koncham Kashtam has a high entertainment quotient. It's definitely worth watching.

Neo Rating:

Flicks based on tinsel town aren't new to the world of cinema. Be it Krzysztof Kieslowski's 'Camera Buff' or Federico Fellini's '8 ½'; these avant-garde films dealt with intrinsic something more than filmmaking. Precisely, it was far away from shooting spots of clapboards and 'Camera Rolling –Action-Cut'. To start off with, 'Luck By Chance' is worthy to be called as the best of its kind. Earlier, the same producers brimmed with an extraordinary flick 'Rock On' and again, here's one more tremendous piece of work accommodating itself across the 'Changing phase of Bollywood'.

Hats off to Zoya Akhtar for a splendid debut! Unlike debutants, there is nothing to be called as 'amateurish' about her work on any quotient.

Ye Kaise Ho Saktha Hai?

When you've a legend Javed and a fantastic filmmaker accompanying her on the button, with a gripping storyline and perfect casting (including guest appearances of superstars) is what makes 'Luck By Chance' fantastic. The fantasy sellers and the devoted audience, the insane love for Cinema mixed with the eccentric notion of divinity and archaic beliefs; these are the contradictions that keep this world spinning.

The stark reality of living in India juxtaposed with the fantastical world depicted on screen suddenly begins to make sense…

Sona (Konkona Sen Sharma) arrives in Bombay with her dreams of becoming a film star. Wide eyed but ambitious, she does whatever it takes, to make it. She lives on her own in a rented apartment - a luxury for most in this bustling city, and spends her time with a motley crew of loyal friends whose lives are also entwined with Bollywood, each one in search of a bigger dream.

Vikram (Farhan Akhtar) has just moved to the city leaving the comforts of his parents' Delhi home. He is a mover, he is used to getting what he wants and is smart enough to know when to demand it and when to manipulate it. He is young and handsome, and full of promise. Sona begins to enjoy Vikram's attention and affections; they develop a romantic relationship.

Rolly (Rishi Kapoor) is a successful but superstitious producer who only works with the biggest stars. He is making a potential blockbuster launching the nubile Nikki Khurana (Isha Sharwani), the 18-year-old daughter of 70's superstar, Neena (Dimple Kapadia). The hero of the film, Zaffar Khan (Hrithik Roshan), is Rolly's favorite superstar. He was launched by Rolly and went on to become a huge draw at the box office.

The wheels of fate indeed continue to spin favorably for Vikram, as elsewhere in the industry, havoc spreads on the sets of producer Rommy Rolly's new film. Vikram is called in for an audition and uses this opportunity to the fullest.

The film is about a slice of Bollywood life, in which "Kismet" plays a huge role. Here, notions of superstition, fate and destiny underline every life, as grand desires and opportunity converge to form strange patterns.

In such an unpredictable climate is success and failure that others define for you… or is it something you decide for yourself?

As mentioned earlier, casting happens to be the most promising attribute for the film. Farhan Akhtar is marvelous with his casual air. The actor never seems to have exposed his strained take of performance in any scene. He's cool carrying off everything with his penchant for perfection. Not far away is Konkona Sen Sharma. The actress with her top-notching show emotes stupendously well in various situations.

She doesn't complicate herself while getting emotional outbursts. It's merely with her facial expressions and simple gestures that she emotes so well. Precisely, watch out for her final conversation with Farhan Akhtar on shooting spot, it is too good. A 5-star credit to Rishi Kapoor for an excellent performance throughout the show. Watch out for the reflections of disappointment on his face with a lowered voice, when Hrithik Roshan walks out of his project. And again, a glimpse on his actions while Hrithik congratulates him over the phone; he eclipses everything in the frame. His intonations of appraisals for Farhan like 'Volcanoes of Talents' doubtlessly gets us to laugh.

Dimple Kampadia's flare-up lines with her daughter are worthy of applause. Juhi Chawla in her minimal role is brilliant.

Getting on with superstars making their cameo, this isn't something of a lavish show. Apart from very few, everyone has a vital role to perform. Need an illustration? It goes off with Karan Johar's talk with Hrithik Roshan at Kareena's party. Above all, Shah Rukh's portion in the penultimate sequence is worth a mention with a strong substance.

Musical score by Shankar-Ehasan-Loy is of mediocre quality as only a couple of songs 'Bhaaware' and 'Sapno Se' do well on the screen. The same scenario persists with the background score as well but it is well established on few parts. Cinematography by Carlos Catalan offers an enriched visual quality with distorted tones. He has well-designed cuts with his innovative angles adhering to emotional touch.

This is more evident during Konkona's talk with her agent (First, both the characters focused clearly, towards the end, the camera pans depicting them in silhouette). Javed Akhtar's dialogues are gripping, especially with Konkona portion during climax.

Zoya Akhtar comes up with a good screenplay that's quite lively in the first half. But it turns to be slightly flimsy in latter part till the last few minutes. Nevertheless, an appealing climax diminishes those flaws.

On the whole, 'Luck By Chance' is sure to be loved by film buffs, multiplex audiences or those related with tinsel town. With no biggies slated to release for next couple of weeks, the producers can 'Rock On' filling their sacs with profits.

Verdict: It's worth a watch!

Rating : ***