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movie script are like rubber band. Try stretch the group beyond a tip and it’s sure to provide away. The script of ANAMIKA suffers for this cause!Director Ananth Narayan Mahadevan present every series with greatest care till the interval point. You’re hooked, you’re elated to the world of Mrs. Anamika Sisodiya, the nature who continue to haunt everybody in this movie, even after she’s gone. You keenly look ahead to the twist in the tale.Alas! What eventually unfolds, although filmed with the same genuineness, lacks conviction. It also fails to shock you because midway through the trip, you know what the result would finally be. It doesn’t keep you guess. And that’s bad information for any thriller!

Frankly, a anticipation saga works only if it is backed by a hard climax. In ANAMIKA, the worry gradually builds up till the peak, but the end is so tame, so contrived that you exclaim, ‘Gosh! What was that?’

As a narrator, Ananth almost gets it right — he has handle the multifaceted theme like a pro, even extract persuasive performance from his set of actor, has worked hard on maintain the frame of mind of the film from create to end — but he’s disappointment by the writing in the next hour.ANAMIKA tells the tale of an escort Jia [Minissha Lamba], who gets wedded to Vikram Sisodiya [Dino Morea] after a 2-day courtship. Before marrying Jia, Vikram confesses that his first wife, Anamika, had die under strange situation.

Vikram and Jia fly to Vikram’s family home in Gajner in Rajasthan. The house, a palace to be exact, is being looked after by Vikram’s early days friend Malini [Koena Mitra]. Now begin the story… everybody in Gajner appear to be fanatical with Anamika and Jia starts sensing it. In fact, Jia is continually compare to Anamika. Worse, she even sees Anamika’s strength in the palace.In a turn of proceedings, Anamika’s dead body is bare and the police [Gulshan Grover, Dino's brother-in-law] revive the case. All fingers point towards Vikram. Is he the murderer?

insecurely based on the novel ‘Rebecca’, ANAMIKA is a hard subject to make. But after the initial hiccups, the director succeed in connecting the viewer in the strange world of Anamika. The backdrop of Rajasthan, the isolated fortress and the reference to Anamika at every point only deepens the mystery. So far so high-quality!Almost the entire first half is executed with élan by Ananth, who’s only full-grown as a narrator over the years. But, as mention earlier, the writing [in the second hour] acts as a killjoy. Without wanting to reveal the peak, let’s just say that it’s one of those tame and unsurprising endings that we’ve visit time and again.

Anu Malik’s melody is pleasant, but the songs [the ones filmed in Thailand] and the composition in exacting of these track don’t really gel with the frame of mind of the movie. Pushan Kripalani’s photography is alright. The dramatic locales of Rajasthan, the manufacture plan [Gayatri Marwah] as also the style is praiseworthy. Aadesh Shrivastava’s backdrop score deserve particular mention. It’s outstanding.Dino Morea surprise you with a controlled presentation. Also, he carry the royal look persuasively. Minissha Lamba is a exposure. She’s getting better and better with every let go. Koena Mitra is unequaled. Gulshan Grover is effectual. Achint Kaur is highly capable. Vishwajeet Pradhan and Jatin Grewal are okay.On the entire, ANAMIKA is disappointment by its writing in the second hour. At the box-office, the not-too-interesting face-value joined with the continuing cricket mania will only go next to it.

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!

I thought a film marketed with a rugged look would be an action flick. But, surprise-surprise Tashan is an out-and-out comedy. The action makes you laugh, the romance makes you laugh louder, and it is so funny that the characters make you laugh even when they are seething with anger. And the beauty is I haven’t been able to figure out whether any of this was intentional!

Speaking of beauty, after a long time have I seen India shot so beautifully. Kerala, Rajasthan, (Ladakh?) were all saturated with color, alright. Nevertheless the way the intrinsic beauty of these places was shot made me want to find out exactly where those places were and when I could go there.

But alas! Come action sequences, and the camera blows its horn too hard. It doesn’t allow the audience to register the seemingly interesting stunts. Similarly, there were glimpses of interesting editing decisions. Like when a character says ‘BITCH’ with a long ‘i’ and the scene cuts to a long shot of a beach or when “kabhi kabhi” is playing and a car falls down a cliff when the song reaches “tujhe zameen par bulaya gaya” (you have been called to the earth) part. That the car flying in the air was very shoddily animated is a different story altogether.

However, what really surprised me is that the four main characters in the film had actually different traits which were more-or-less consistently adhered to. What’s more, each one had a story arc too!? - Very atypical of a Hindi movie in this genre. An underworld don, a wannabe don with super-powers, a supposed simpleton, and a lady with a mission - all with brain and brawn. (yes the girl too! YAY!!) Sounds like a decent enough premise. But something grossly went wrong in the execution. And I could complain about artistic liberties taken, if only there was any art in sight.

A big fat finger can be pointed at the dialogues. My fears came true, as in the word “the” was overused. I think the writer was pretty sure people are going to go off to sleep. Which is why the name of the movie is repeated every half hour - to orient the people who have just woken up! Also, Hindi-fying of English was done in such abundance that I was soon immune to it. So, while it didn’t bother me, it didn’t make me laugh either. Sure, there were obvious tributes to Deewar, Sholay, and Jaane Bhi do Yaaro. Would have been good if they were done well, though.

What is amazing is that despite really lousy dialogues, each one of the four actors has given a good performance. Having the right expressions (exaggerated as they might be) to rise above the bad lines must be applauded in any case. Certainly, the roles must have looked interesting at script stage for established actors like them to give Tashan space in their portfolio. Of course, Kareena overshadowed the male trio put together in the “looks” department. By the way, am I the only one here to sense that Akshay Kumar and Saif Ali Khan are too old and too mature in this industry to flout their ’sexiness’ in such an inelegant, uncouth way?

The songs functioned like the snooze button for me. I felt like muting it off when a song started and suffered the familiar rude shock five minutes later when it ended giving charge to the louder background music. So loud that it overshadowed dialogue at many points. The lyrics, the choreography and of course the music, all seemed too generic and random. Actually a level below generic. We can see Kareena not only sporting the golden “Aishwarya look” from Dhoom 2 but she also has a few ofAishwary’s dance moves! And why was Saif Ali Khan made to look like he couldn’t dance to save his life?

Despite the things done right, while leaving the theater I was praying that Vijay Acharya hadn’t over-dosed me with whatever anesthetic it was he was using. The numbness I felt in the brain region was really scary. Anyway, all’s good, I’m out of it and hoping to keep you away from it

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.

Aamir Khan has lifted the bar with T Z P. Comparisons between Aamir and Ajay Devgan, who makes his managerial debut with U ME AUR HUM, would be erroneous, but you can’t turn a blind eye to the fact that the watcher would expect an encore with U ME AUR HUM. Will U ME AUR HUM live up to the great hype and expectations? Does Devgan have the trappings of a fine storyteller? Oh yes, he does!

Let’s come to the point right away. Devgan needs to be lauded for choosing a daringly different theme in his first appearance film and most highly, doing justice to it, handling it with extreme care. We know him as a powerful actor, now there’s yet another designation added to his name — avant-garde director.

Let’s move on to the next query! Is the real-life couple — Ajay and Kajol — as dynamic yet again? The answer is, they’re electrifying. Both pitch in bravura performances, reaffirming the fact that this jodi is amongst the finest of this generation.

One of the prime reasons why U ME AUR HUM works, and works big time, is because it’s aimed at the heart. Anyone who’s into relationships, anyone who believes in love, anyone who thinks from the heart, anyone who has watched his/her partner wrestle a grave disease, will identify with a film like U ME AUR HUM. To cut a long story short, U ME AUR HUM marks the birth of a powerhouse of talent. Watch U ME AUR HUM for various reasons, but most importantly, watch it for a new director who respects your 2.30 hours and the hard-earned bucks that you invest on watching his movie. It’s time to fall in love with love… again!

The first time Ajay [Ajay Devgan] saw Pia [Kajol], she served him drinks. She affected him more than the alcohol, it was love at first sight. The first time Pia saw Ajay, he had a drink too many. She watched him make a fool of himself and was relieved when he passed out. Ajay is on a cruise with his friends — Nikhil [Sumeet Raghavan] and Reena [Divya Dutta], unhappily married, and Vicky [Karan Khanna] and Natasha [Isha Sharwani], happily unmarried. Ajay is having a wonderful time dealing with martial strife, lots of bad language and huge hangovers, when he finds Pia and time stands still.

After a disastrous first meeting, Ajay tries everything to woo her. He wants her, by hook, crook or even her little private notebook. She’s not an easy catch at all, but finally, by sheer perseverance, he dances his way into her heart. Ajay and Pia develop a strong and special bond.

Happy marriages begin when we marry the ones we love, and they blossom when we love the ones we marry. And Ajay-Pia love each other dearly, but no marriages can be complete without problems, and Ajay and Pia have also have to face hurdles. Kajol is diagnosed with Alzheimer’s. How does the couple face the crisis? The one thing you must carry when you set out to watch U ME AUR HUM is a kerchief. For, this film makes you shed a tear at times, cry at places and weep in at least two vital sequences. But it’s not just rona-dhona that you get to see in U ME AUR HUM.

The first hour, strictly average in terms of writing, has several sunshine moments. It’s breezy, funny, at times silly, but interesting. What also catches your eye is the eye-filling cinematography [Aseem Bajaj in top form, yet again] on the cruise. The songs, the glam look, the subtle humor… you don’t take to the film instantly, but you know for a fact that a volcano is brewing.

And the volcano does erupt in the second hour! Ajay Devgan, the director, shows his expertise in this hour as the story does an about-turn, exposing the delicate, sensitive and fragile relationships. Devgan reserves the best for the concluding reels and you finally get the answers in the end.

U ME AUR HUM is more of a director’s film, than anyone else’s. A theme like the one projected in this film could go dangerously haywire if entrusted in inept hands, but Devgan seems to have done his homework well. The only glitch is the length in its second hour. A shorter narrative would’ve only helped!

Robin Bhatt, Sutanu Gupta and Akarsh Khurana’s screenplay casts a hypnotic spell in the second hour. Sure, the germ stems from THE NOTEBOOK [2004; James Garner, Gena Rowlands, Rachel McAdams], but the writers have altered the screenplay keeping Indian sensibilities in mind. It works! Ashwani Dhir’s dialogues touch the core of your heart. Every spoken sentence has a meaning. Vishal Bhardwaj’s music may not be a chartbuster, but it alternates between soulful and melancholic beautifully. Aseem Bajaj’s cinematography is topnotch. Monty Sharma’s background score is effective.

Now to the performances! U ME AUR HUM is like a medal that glimmers on Ajay Devgan’s body of work. He’s exceptional! Kajol, well, what can you say of an actress who has proved herself time and again? That she’s undoubtedly the best has been proved yet again. Sumeet Raghavan is first-rate. Divya Dutta gets into the groove in the subsequent portions. Karan Khanna and Isha Sharwani are okay. Sachin Khedekar does a fine job. Aditya Rajput and Hazel get minimal scope.

Finally, U ME AUR HUM is a well-made, absorbing love story that’s high on the emotional quotient. And that holds wonderful appeal for ladies/families mainly. At the box-office, it’s the kind of film that will gather more and more speed with each passing show. Its business at multiplexes should be fantastic. Overseas too should be outstanding. Very strongly optional!