House Full Movies

It’s rough to make a joke. It’s even tougher to make people laugh. With MR. WHITE MR. BLACK you realize that director Deepak Shivdasani’s intentions may be genuine, to make a full-on performer, but the movie fails to transport you to ha-ha-land. It takes off with gusto, but the vehicle runs out of gas suddenly, leaving you trapped halfway.

MR. WHITE MR. BLACK borrows heavily from the tried and tested material. There’s a bit of GOPI KISHAN [Suniel Shetty's twice role won praise then]. Plus, the usual masala that worked at a point of time. However, despite its lackluster content, there’s no denying that a few scene do make you flex your facial strength, even though the jokes are quite childlike. sadly, things take a complete U-turn in the second hour, with this slapstick proving more of a disaster for the hapless watcher.In short, MR. WHITE MR. BLACK is a half-baked fare that try too hard to divert, but fails.

Gopi [Suniel Shetty], a simpleton, arrives in Goa from Hoshiarpur. His assignment - to hand over a part of land to his childhood companion Kishen [Arshad Warsi]. Kishen swindle people with a little help from his accomplice [Atul Kale], to earn enough money to educate his sibling Divya [Mahima Mehta], who’s study in London. Kishen, however, has managed to hide his line of work from Anuradha [Rashmi Nigam] by cooking up an alibi of a twin brother, Hari, who’s the bad guy.

Kishen avoid Gopi like he’s bad information. He’s not going to give up his flourishing commerce and travel to Hoshiarpur just to take possession of a measly piece of land. Meanwhile, diamonds worth Rs. 25 crores have been stolen by three girls, who are now holed up in Goa. Kishen traces the three girls and succeed in rob the diamonds. But the diamonds actually belong to a don, Laadla [Ashish Vidyarti], who has also reach Goa.

That Deepak Shivdasani has an eye for style is visible at the very outset, when the three girls do a heist in broad daytime. The film actually starts off with a beat! A few portions thereafter are evenly attractive, but the writing unexpectedly deviates into surplus territories in the next hour.

get, for instance, Suniel’s nature. He wants Arshad to go back to Hoshiarpur to fulfill a assure, but the reason don’t come across powerfully. Note another point. When the three girls understand that the diamonds have been robbed from their storeroom and they begin a search for Arshad, the story abruptly shifts to various sub-plots: The love attention, followed by the mandatory songs, another 15-20 minutes are devoted to Arshad’s sister’s wedding and much later, the original proprietor of the resorts [Sadashiv Amrapurkar] re-appears on the sight. The three girls eventually show up in the climax. Truly, the second half is disordered!

Deepak Shivdasani shows a style for comedian fares, but is letdown by a hotchpotch script. melody is equally unproductive. ‘Samundar’ and ‘Gopi Kishan’ are standard compositions, but the remaining tracks are lackluster. Thomas Xavier’s photography, surprisingly, lack sheen.

Suniel Shetty repeats his act with no some difference. Ditto for Arshad, who is livewire in some portions only. in the middle of ladies, Anishka Khosla [resembles Preity Zinta from some angles] is an okay performer. But what is the gifted Sandhya Mridul doing in a film like this? Rashmi Nigam looks pretty, that’s it! Sharat Saxena is the only actor who stand out. Ashish Vidyarthi is noisy. Shehzad Khan is funny. Vrajesh Hirjee and Upasana Singh’s path is half-baked. Manoj Joshi deserve a better role. Sadashiv Amrapurkar and Atul Kale are drivable.

On the entire, MR. WHITE MR. BLACK promise only a few moment of amusement, which isn’t sufficient. At the box-office, an loser!

It would be wrong to slot KRAZZY 4 as a comedy. Sure, KRAZZY 4 remains faithful to the ongoing trend of providing laughs at the oddest of things, but it’s more of a masala fare that’s evocative of the 1980s cinema. Packaged in a modern avatar, of course.

A film like KRAZZY 4 is easy on your brains. It rests on a thin plot, but the makers have tried to package the proceedings with entertaining stuff from Scene A to Z. Sometimes it works, at times it doesn’t. But the pros overshadow the cons in this case. Also, let’s get one thing straight. This isn’t path-breaking or ground-breaking cinema by any chance. It’s targeted at the aam junta, not connoisseurs of cinema.

Also, one of the trump cards… sorry, make it two, are the dance numbers filmed on the two superstars — SRK and Hrithik. Just these two numbers are enough to satiate the hunger of an avid moviegoer. Even the Rakhi Sawant track is an asset, since it’s hugely popular with the desi junta [like 'Main Aayee Hoon U.P.-Bihar Lootne' and 'Beedi']. It would be wrong to slot KRAZZY 4 as a comedy. Sure, KRAZZY 4 remains faithful to the ongoing trend of if laughs at the oddest of things, but it’s more of a masala fare that’s reminiscent of the 1980s cinema. Packaged in a modern avatar, of course.

A film like KRAZZY 4 is easy on your brains. It rests on a thin plot, but the makers have tried to package the proceedings with entertaining stuff from Scene A to Z. Sometimes it works, at times it doesn’t. But the pros outweigh the cons in this case. Also, let’s get one thing straight. This isn’t path-breaking or ground-breaking cinema by any chance. It’s targeted at the aam junta, not connoisseurs of cinema.

Also, one of the trump cards… sorry, make it two, are the dance numbers filmed on the two superstars — SRK and Hrithik. Just these two numbers are enough to satiate the hunger of an avid moviegoer. Even the Rakhi Sawant track is an asset, since it’s hugely popular with the desi junta [like 'Main Aayee Hoon U.P.-Bihar Lootne' and 'Beedi'].

In a nutshell, KRAZZY 4 isn’t the kind of cinema that would invite debates or discussions. Its intention is to make people leave the cineplex with a smile and it succeeds in its endeavour.

Arshad Warsi is Raja: Truly the angry young man! His blood boils, his fists clench and he’s ready to beat the daylights out of anyone who upsets him in some way, Irrfan Khan is Dr. Mukherjee: He has decided that he’s the Captain of the team! But so obsessed is he by the need to be in control of a situation, he doesn’t realise he’s totally lost control of himself and his mind.

Rajpal Yadav is Gangadhar: He’s marching to a beat only he can hear; he’s fighting for a cause that’s long over. But in his mind he’s still fighting for Swaraj. Suresh Menon is Dabboo: He’s everybody’s pet and however far gone the rest may be, when it comes to Dabboo, everybody’s protective. Even if he can hear and understand, Dabboo refuses to speak. And nobody knows why!

Dr Sonali [Juhi Chawla] treats them all. She has faith that all it needs is a little time and lots of patience to make them part of the mad, mad, mad world out there… Rakesh Roshan’s story takes a leaf out of ONE FLEW OVER THE CUCKOO’S NEST, while Ashwani Dhir’s screenplay tries to pack everything that’s available on the shelf. The first hour is quite enjoyable, with a few sequences compelling you to flex your facial muscles?

But the problem lies in its second hour. More purposely, the writing relies on the age-old stuff to reach the finale. Too many cinematic liberties have been undertaken in this hour, just to reach the culmination and it doesn’t in truth work at times. Even the end outside the hospital looks manufactured.

Jaideep Sen shows a flair for comedy, but had the debutante director opted for a slightly novel screenplay, it would’ve taken the film to another level. A few comic scenes are well executed and in terms of execution, Jaideep knows the grammar right. Ashwani Dhir’s screenplay may lack novelty, but the dialogues penned by him are witty and enjoyable. Cinematography is nice. Rajesh Roshan’s music is up to the mark. The two tracks, filmed on the superstars, are top notch and what enhance the effect are the choreography and construction design [of SRK track] and the visual effects [in Hrithik track].

Arshad Warsi is the best of the lot. His character is bound to work with the moviegoers. Irrfan’s role doesn’t offer him that much scope. Yet, the actor enacts his part with precision. Rajpal Yadav is quite funny next to places. Suresh Menon is a disclosure. He hardly utters one word in the film, but he delivers with expressions. Juhi Chawla doesn’t acquire ample opportunity. Dia Mirza is efficient. Zakir Hussain is okay. Rajat Kapoor is relegated to the backseat. On the whole, KRAZZY 4 is slightly above the average mark, but the brand [Rakesh Roshan] coupled with the presence of the two superstars in its songs and of course, some great actors in comic roles should ensure constructive returns at the box-office.

                   
Vijay Anand’s evergreen classics TEESRI MANZIL and JEWEL THIEF have been stimulation for many a film-maker over the decades. A number of films have on loan from these two classics that are rightfully recognized as textbooks in film-making. Director Rohit Shetty also appears like a big fan of TEESRI MANZIL, since the script of his third outing SUNDAY is structured on those lines. But, in actuality, SUNDAY is stimulated by the Telugu film ANUKOKUNDA OKA ROJU [2005].

A lady is killing at the very outset and the pieces of the jigsaw puzzle are fixed in an interesting and fashionable way. Any whodunit works if and only if the needle of suspicion points at the various assorted characters all through the narrative. And SUNDAY has that quality, it keeps you guessing! As a storyteller, Shetty whitewashes his previous highly competitive works [ZAMEEN, GOLMAAL] and comes up with his most watchable experience so far. Oh yes, there are glitches [in the second hour specifically] and Shetty should’ve taken care of them, but let’s not fuss over trivial matters.

To sum up, SUNDAY strikes the right balance between the two diverse genres [suspense, comedy]. It’s a film that holds appeal more for the aam junta, not for the hard-nosed critics. SUNDAY can be summed up in four words: Engaging, engrossing, entertaining and enjoyable! A dead body found floating in a lake… Unexplained scratch marks on her neck… Supari killers out to kill her… A taxi driver who yells ‘bhoot, bhoot’ every time he sees her…

Sehar’s [Ayesha Takia] world turns topsy-turvy when she gets a clue about the missing Sunday of her life, which points to a possible violent attack on her. A.C.P. Rajveer [Ajay Devgan] takes up the case to sort out the complicated and jumbled up threads of Sehar’s life. In the process of solving Sehar’s case, it comes to light that on Sunday, different people interacted with her and amongst them, one could be the accused. The lot included Ballu [Arshad Warsi], the taxi driver and his friend Kumar [Irrfan Khan], a struggling actor, Ritu [Anjana Sukhani], Sehar’s close friend, a scary and suspicious character [Murli Sharma], who resides in Sehar’s society and the group whom she had come across while partying at the discotheque. Rajveer is convinced that Sehar is innocent, but he is also equally sure that she is linked to everything. Is Sehar really as innocent as she claims to be?

Even though the two genres [suspense, comedy] move concurrently, the suspense element isn’t heavy on your mind and nor are the comic portions of the nonsensical variety that one laughs at the spur of the moment and forgets all about them the very next moment. The funda is clear: Make a wholesome entertainer that works for an avid moviegoer. Although the story isn’t path-breaking, the script [K. Subhaash, Robin Bhatt and Tushar Hiranandani] holds your attention all through the first hour. The writing is highly competent in this hour. It’s only in the second half that things slow down. Reason? There’s an unwanted song ['Pyaar to Hona Hi Hai'] and an unrequired, long-drawn chase [with cars somersaulting in the air], that tapers the impact. Even the climax should’ve been more convincing. The shock-value — so vital when the murderer’s individuality is unveiled — is missing in the end. Also, a more prominent actor would’ve only enhanced the impact.

The screenplay writers should’ve worked harder on the second hour, since that’s the most important aspect of any whodunit. Yet, all said and done, director Rohit Shetty steers the film through turbulent waters with his specialist implementation. The songs — by various music composers — give the film a varied sound. ‘Kashmakash’ [Shibani Kashyap] is the best of the lot. Filmed on Esha Deol [excellent], the song boasts of an imaginative picturization. ‘Manzar’ [Raghav Sachar] is another winner. This one’s filmed on Tusshar [dances very well]; it has a catchy beat and an equally arresting choreography. The stunts [Jai Singh] are stylishly executed. Aseem Bajaj’s cinematography is topnotch. He proves yet again that he’s amongst the best in the business. Dialogues [Sajid-Farhad] are admirable; very much in snyc with the mood of the film. The sets, especially in the Esha Deol track, are awesome.

The performances are likable! Known for intense roles, Ajay Devgan shows a flair for comic moments and get it right. SUNDAY would only multiply his fan-following since the actor has started deviating into areas that he seldom visited as an actor. As always, Arshad Warsi is in terrific form. It’s a treat to watch him essay his role with such precision. Irrfan is another actor who surprises you all the while. In fact, this combo — Arshad and Irrfan — praise each other very well. Ayesha Takia is a whole natural. The best thing about her is, she never makes you feel she’s acting. She just slips into her role so well. Her introduction — her dubbing for an cartoon film — is excellent. Anjana Sukhani doesn’t get any scope. Mukesh Tiwari is first-rate. Murli Sharma, Vrajesh Hirjee and Ali Asgar are alright.

On the whole, SUNDAY is a well-made entertainer that has the potential to click with moviegoers. It also has the benefit of having open weeks ahead, with no major opposition till 15th February. Should end the drought that the industry is facing after a spell of flops.

You do not desire to leave your seat during interval, fearing that you may miss an important link in the narration. And if you thought you had read the suspense, wait till director Anand L Rai executes the killer punch at the end, which leaves you absolutely flummoxed. This absolutely is the best thriller in recent years.

Rai makes excellent use of Black & White at interesting moments during the narration which lends a touch of Hollywood to the film. The script is a winner so is the direction, production values, editing and the performances of all four actors - Kay Kay Menon, Sonali Kulkarni, Jimmy Sheirgill and Nandana Sen.

Two complete Strangers meet while itinerant overnight, in a business class compartment in England. Sanjeev Rai (Menon), a successful businessman and Rahul (Sheirgill) a struggling writer begin telling each other their problems. While Rai’s wife (Sonali) is close to lunacy after losing her only son in an accident, thus making life for Rai difficult, Rahul’s wife (Nandana) is the one blamed for the breakdown of their marriage. Before the journey ends, they both make a decision to kill each others’ wives.

View Strangers Movie Stills

Kudos to Rai for absorbing the viewer with simple, stylish narration. Slowly, he unravels the mystery, layer by layer, taking the viewer by surprise. He makes excellent use of flashback to keep the viewer guessing. STRANGERS is an excellent narration of love, marriage, deceit, betrayal and murder. Rai is supported by Sanjay Sankla who makes deft use of the shears to give the film that thrilling edge with his slick editing. Flawless. Manoj Gupta with his super cinematography captures the mood of the moment as well as the beauty of London which gives the movie the complete look.

Now for the acting; Kay Kay Menon as the troubled husband, who has to live with his lamenting wife, and whose idea is to kill, is first rate. But, to be honest, he has been overshadowed by the ostentation of Jimmy Sheirgill who is improving with every outing. As the doubting companion and a flop writer, who worries that his wife is sleeping around, Jimmy is simply marvelous. Nandana Sen as the troubled wife who is accused of being a ‘loose’ woman is a revelation. She puts in that extra something in every scene that adds to her character. Sonali Kulkarni has a brief role, but it is enough for her to stamp her class. Sometimes, all you need is one scene to create an impact. As a mother always yearning intended for her dead son, who drives her husband up the wall, she leaves her mark. In the end, as a watcher, you are in such a vulnerable position, that you do not know which of the four characters to feel sorry for! This again is thanks to Rai’s handling of the cast, and treating every character with respect.

To go or not: Absolutely. This is a must watch for every lover of thriller. Sadly, even though this is a first rate movie, the same cannot be said of the marketing. It will find its audience within the Metros.