Bollywood SuperStars

Is ROCK ON!! DIL CHAHTA HAI 2, one is tempted to ask. DIL CHAHTA HAI was a trendsetter when you look back, paving way for storytellers who wanted a new story to tell. Now, the DIL CHAHTA HAI team of Ritesh Sidhwani and Farhan Akhtar with director Abhishek Kapoor deliver ROCK ON!!, a film that makes you understand the true meaning of friendship. Put your hands together for one of the finest films of our times. Put your hands together for a director who pulls off a challenging subject with élan. Put your hands together for the actors who pitch in superlative performances. Write your own movie review of Rock On!! ROCK ON!! is not just about music. It's about relationships. And relationships can get really complicated and messy as all of us would agree. ROCK ON!! captures it so beautifully, so sensitively, so effectively on celluloid. Everything is in sync here, everything is just perfect. Flaws? Perhaps, the slow pacing. But come to think of it, you can't play with the edit in a film like this. ROCK ON!! also works because you can relate to the characters, you can relate to the moods, the egos, the highs and the lows... default-300x250.tpl In a nutshell, here's a film you just can't afford to miss. We've had our share of masala films week after week. Now have a look at a film that India can proudly showcase to the West. ROCK ON!! simply rocks! ROCK ON!! is the story of four friends [Farhan Akhtar, Arjun Rampal, Purab Kohli, Luke Kenny] who put together the greatest band this country has ever seen, Magic, but never make it. Years later, fate conspires to bring them together again and set them on a journey back to where they left off... a soul-searching pilgrimage into their past. ROCK ON!! bears some resemblance to the Hollywood film THAT THING YOU DO [Tom Hanks], but it could be a mere coincidence. Director Abhishek Kapoor sets it in the Indian milieu efficiently. Watch the bonding shatter into pieces for no fault of anyone in particular actually. It's the circumstances that play the villain here and Abhishek captures it on lens so beautifully. The fragile relationships, how piece after piece is put together and the journey to the climax… the narrative is so compelling, it makes you feel you're witnessing all of it first-hand. Shankar-Ehsaan-Loy's music is perfect. It's completely in sync with the mood of the film. Connoisseurs of music have already showered the music with rave reviews and rightly so! Jason West's cinematography is fantastic. The screenplay and dialogues are commendable. Every performance in the film deserves brownie points. Farhan Akhtar makes his debut as an actor and he displays rare maturity for a first-timer. Known as an accomplished director all along, Farhan will now be acknowledged as a mature actor as well. Arjun Rampal delivers his finest performance to date. Watch him emote those tough emotional moments and also as a failed person in the latter parts and you'd realize that he has only grown with the passage of time. Superb is the word! Purab Kohli is tremendous and so is Luke Kenny. Purab has always delivered fine performances, but he's touched a new high this time. Luke is equally charged. Prachi Desai scores in her very first feature. She has a challenging role and footage-wise too, it's substantial. Prachi brings in a lot of freshness and poise. Plus, she's a competent actor. Shahana Goswami is a talent to watch out for. Her performance is one of the most difficult ones for a newcomer and the confidence with which she carries it deserves to be lauded. Koel Purie has a brief role and she enacts it quite well. On the whole, ROCK ON!! is an amazing experience. The highpoint is the emotional quotient, the skilful performances and the superb execution of the subject. At the box-office, this urban film holds tremendous appeal for metros and mini-metros. Business at multiplexes of Mumbai, Pune, Delhi and NCR, Kolkata and South in particular should be excellent. Very strongly recommended!

Director: Satish Kaushik Producer: Bhushan Kumar & Krishan Kumar Music Director: Himesh Reshammiya Lyrics: Sameer Cast: Himesh Reshammiya - Monty Oberoi, Urmila Matondkar - Kamini, Dino Morea - Ravi Verma, Gulshan Grover - Sir Judah, Danny Denzongpa - Mr. Oberoi, Rohini Hattangadi, Shweta Kumar - Tina TRACK LISTING 1. Lut Jaaon Lut Jaaon (05:36) Click here [...]SHARETHIS.addEntry({ title: "Listen to the songs of Karzzzz", url: "http://www.ebolly.com/2008/08/25/listen-to-the-songs-of-karzzzz/" });

The great debate between science and superstition continues, but RGV's new film PHOONK tilts in favour of superstition. Surprising, isn't it? The makers of the film had organized a contest. You'd be given a handsome reward if you've the courage to watch PHOONK all alone in a theatre, we're told. Honestly speaking, PHOONK isn't scary by any standards, but as a subject, it works big time because somewhere deep within us, we've heard of the power of the unknown. Whether you're superstitious or not, you may've heard tales/experiences concerning jaadu tona. And you're all eyes and ears the moment someone comes up with an alibi. Write your own movie review of Phoonk PHOONK is easily amongst RGV's finest works [although BHOOTH was scarier] and it holds your attention all through. As a viewer, you're keen to know how RGV would culminate this story. The culmination, of course, would meet with extreme reactions. Some would rubbish it, but the believers might endorse the finale. In my individualistic opinion, it's outstanding! All said, PHOONK is a fantastic experience. The subject -- black magic -- is its biggest star and that alone would ensure House Full boards outside plexes/cinemas. Rajeev [Sudeep], a successful construction engineer, with a loving wife and two children, is an atheist to the core. He scowls at people who believe in the dark forces, till one day when an evil is let loose in his happy home, which threatens to destroy his family and shake up the very foundations of his convictions and beliefs. Thanks to the hype and curiosity generated around the movie, you expect to be scared from Scene 1 itself. And RGV emphasises on lighting and artefacts, besides an eccentric woman [Ashwini Kalsekar], to create the right atmosphere. default-300x250.tpl Of course, you do get the jhatkas in a scene or two, but you don't clasp your hands tightly even once, nor does your heart goes dhak-dhak at a lightening speed. Gradually, RGV plays with the camera [excellent camerawork by Savita Singh] and sound [Kunal Mehta, Parikshit Lalwani] to heighten the impact. Like all RGV films, the camera angles bear the unmistakable RGV stamp, while the background score [Bapi-Tutul] takes an ordinary scene to the next level. RGV is back with a bang. There's a certain consistency from start to end and this time, he gets the right subject to prove his detractors wrong. Every sequence bears the stamp of a genius that RGV is, hits and flops notwithstanding. The performances are uniformly good. Sudeep impresses you with an excellent performance. Amruta Khanvilkar is efficient. Baby Ahsaas Channa makes a strong impression. Ashwini Kalsekar is top notch. Zakir Hussain's tantric act is superb. Ganesh Yadav lends good support. K.K. Raina and Lilette Dubey, both doctors, are competent. Kenny Desai, Anu Ansari and the actress enacting the role of Sudeep's mother are perfect. On the whole, PHOONK is a fascinating cinematic experience on a subject that's rarely tackled by the dream merchants in Bollywood: Black magic. The subject itself is the biggest star of the film, which would ensure a flying start at the box-office and in turn, prove a jackpot for its producers who've distributed the film themselves.

The great debate between science and superstition continues, but RGV's new film PHOONK tilts in favour of superstition. Surprising, isn't it? The makers of the film had organized a contest. You'd be given a handsome reward if you've the courage to watch PHOONK all alone in a theatre, we're told. Honestly speaking, PHOONK isn't scary by any standards, but as a subject, it works big time because somewhere deep within us, we've heard of the power of the unknown. Whether you're superstitious or not, you may've heard tales/experiences concerning jaadu tona. And you're all eyes and ears the moment someone comes up with an alibi. Write your own movie review of Phoonk PHOONK is easily amongst RGV's finest works [although BHOOTH was scarier] and it holds your attention all through. As a viewer, you're keen to know how RGV would culminate this story. The culmination, of course, would meet with extreme reactions. Some would rubbish it, but the believers might endorse the finale. In my individualistic opinion, it's outstanding! All said, PHOONK is a fantastic experience. The subject -- black magic -- is its biggest star and that alone would ensure House Full boards outside plexes/cinemas. Rajeev [Sudeep], a successful construction engineer, with a loving wife and two children, is an atheist to the core. He scowls at people who believe in the dark forces, till one day when an evil is let loose in his happy home, which threatens to destroy his family and shake up the very foundations of his convictions and beliefs. Thanks to the hype and curiosity generated around the movie, you expect to be scared from Scene 1 itself. And RGV emphasises on lighting and artefacts, besides an eccentric woman [Ashwini Kalsekar], to create the right atmosphere. default-300x250.tpl Of course, you do get the jhatkas in a scene or two, but you don't clasp your hands tightly even once, nor does your heart goes dhak-dhak at a lightening speed. Gradually, RGV plays with the camera [excellent camerawork by Savita Singh] and sound [Kunal Mehta, Parikshit Lalwani] to heighten the impact. Like all RGV films, the camera angles bear the unmistakable RGV stamp, while the background score [Bapi-Tutul] takes an ordinary scene to the next level. RGV is back with a bang. There's a certain consistency from start to end and this time, he gets the right subject to prove his detractors wrong. Every sequence bears the stamp of a genius that RGV is, hits and flops notwithstanding. The performances are uniformly good. Sudeep impresses you with an excellent performance. Amruta Khanvilkar is efficient. Baby Ahsaas Channa makes a strong impression. Ashwini Kalsekar is top notch. Zakir Hussain's tantric act is superb. Ganesh Yadav lends good support. K.K. Raina and Lilette Dubey, both doctors, are competent. Kenny Desai, Anu Ansari and the actress enacting the role of Sudeep's mother are perfect. On the whole, PHOONK is a fascinating cinematic experience on a subject that's rarely tackled by the dream merchants in Bollywood: Black magic. The subject itself is the biggest star of the film, which would ensure a flying start at the box-office and in turn, prove a jackpot for its producers who've distributed the film themselves.

The serial bombing of suburban trains in Mumbai in 2006 is a nightmarish incident the nation would never forget. And Mumbaikars still get gooseflesh recalling the ghastly incident. MUMBAI MERI JAAN recreates the incident on celluloid, but is not about terrorism per se. It talks about the aftermath of this tragedy and how the lives of five people, not remotely connected or associated with one another, gets affected in the process. MUMBAI MERI JAAN is more of an emotional journey. Five varied stories unveil in those 2 hours [a concept that's fast catching up with Bollywood] and each makes a statement. Write your own movie review of Mumbai Meri Jaan Nishikant Kamat's first Hindi venture is one of those films that don't deviate from the core issue. It may not be foolproof in terms of writing, but the execution is so compelling that one overlooks those minor blemishes in the narrative. default-300x250.tpl MUMBAI MERI JAAN is more of a tribute to the never-dying spirit of this dynamic city called Mumbai. A film that every citizen should watch! On July 11, 2006, the local train service, known as Mumbai's lifeline, was struck by a series of bomb blasts. MUMBAI MERI JAAN explores the impact of this devastating incident on the lives of people of Mumbai. From a brilliant broadcast journalist to a patriotic corporate man; from a retiring policeman at the twilight of his life to a rookie cop at the dawn of his career; from an angry and xenophobic unemployed young man to a coffee-vendor struggling to survive and belong: MUMBAI MERI JAAN follows the lives of people from all strata of Mumbai's bustling society as they tackle the aftermath of a fatal incident that brings out the best and sometimes the worst in them. MUMBAI MERI JAAN looks at the common tragedy, but diversifies into five different stories at the very start itself. Each of those stories and the characters depicted in those stories are relatable. If you haven't witnessed these people, there's a possibility that you may've heard or read about them. Amongst the five stories, the ones that leave a stronger impression are Paresh Rawal-Vijay Maurya, Irrfan Khan and Kay Kay Menon. Soha's story may not appeal as much since it tends to go overboard, while Madhavan's story has its moments, but is not as impactful. Nishikant Kamat has executed the sensitive subject with gloves, handling each of those five stories with care. A number of emotional moments in the narrative move you and at times, depress no end. Credit must also be reserved for its writer as also the art director, who has recreated the ghastly incident so realistically. Every performance in the film is applaud-worthy. Paresh steals the show. This performance should easily make it into the Top 5 performances of the year. Irrfan is marvellous. Watch him hate the fragrance of the perfume soon after he has been insulted at the mall. It's superb! Kay Kay is fantastic. The actor makes his part appear so real. Soha is a surprise. Watch her emotional breakdown at the morgue and you know that she has gradually evolved into a terrific actor. Madhavan is equally competent, conveying so much even when silent. Vijay Maurya is superb. His scenes with Paresh are incredible. On the whole, MUMBAI MERI JAAN is a well-intentioned film that should win praise for its execution and performances. It's more for the discerning viewer, those who swear by serious cinema.

The serial bombing of suburban trains in Mumbai in 1996 is a nightmarish incident the nation would never forget. And Mumbaikars still get gooseflesh recalling the ghastly incident. MUMBAI MERI JAAN recreates the incident on celluloid, but is not about terrorism per se. It talks about the aftermath of this tragedy and how the lives of five people, not remotely connected or associated with one another, gets affected in the process. MUMBAI MERI JAAN is more of an emotional journey. Five varied stories unveil in those 2 hours [a concept that's fast catching up with Bollywood] and each makes a statement. Write your own movie review of Mumbai Meri Jaan Nishikant Kamat's first Hindi venture is one of those films that don't deviate from the core issue. It may not be foolproof in terms of writing, but the execution is so compelling that one overlooks those minor blemishes in the narrative. default-300x250.tpl MUMBAI MERI JAAN is more of a tribute to the never-dying spirit of this dynamic city called Mumbai. A film that every citizen should watch! On July 11, 2006, the local train service, known as Mumbai's lifeline, was struck by a series of bomb blasts. MUMBAI MERI JAAN explores the impact of this devastating incident on the lives of people of Mumbai. From a brilliant broadcast journalist to a patriotic corporate man; from a retiring policeman at the twilight of his life to a rookie cop at the dawn of his career; from an angry and xenophobic unemployed young man to a coffee-vendor struggling to survive and belong: MUMBAI MERI JAAN follows the lives of people from all strata of Mumbai's bustling society as they tackle the aftermath of a fatal incident that brings out the best and sometimes the worst in them. MUMBAI MERI JAAN looks at the common tragedy, but diversifies into five different stories at the very start itself. Each of those stories and the characters depicted in those stories are relatable. If you haven't witnessed these people, there's a possibility that you may've heard or read about them. Amongst the five stories, the ones that leave a stronger impression are Paresh Rawal-Vijay Maurya, Irrfan Khan and Kay Kay Menon. Soha's story may not appeal as much since it tends to go overboard, while Madhavan's story has its moments, but is not as impactful. Nishikant Kamat has executed the sensitive subject with gloves, handling each of those five stories with care. A number of emotional moments in the narrative move you and at times, depress no end. Credit must also be reserved for its writer as also the art director, who has recreated the ghastly incident so realistically. Every performance in the film is applaud-worthy. Paresh steals the show. This performance should easily make it into the Top 5 performances of the year. Irrfan is marvellous. Watch him hate the fragrance of the perfume soon after he has been insulted at the mall. It's superb! Kay Kay is fantastic. The actor makes his part appear so real. Soha is a surprise. Watch her emotional breakdown at the morgue and you know that she has gradually evolved into a terrific actor. Madhavan is equally competent, conveying so much even when silent. Vijay Maurya is superb. His scenes with Paresh are incredible. On the whole, MUMBAI MERI JAAN is a well-intentioned film that should win praise for its execution and performances. It's more for the discerning viewer, those who swear by serious cinema.

Sanjay Chhel has penned a number of comic fares. Obviously, when Chhel takes charge and decides to helm a project himself, you expect his film to be one wacky ride. Indeed, MAAN GAYE MUGHALL-E-AZAM is wild in parts, thoroughly enjoyable at times, but you don't exclaim 'maan gaye' in the end. MAAN GAYE MUGHALL-E-AZAM prompts you to break into guffaws. Even the one-liners -- Chhel's a pro at it -- are dipped in wit-n-humour. Plus, the camaraderie between Paresh Rawal, Rahul Bose and Mallika Sherawat is superb. Write your own movie review of Maan Gaye Mughall-E-Azam Lekin kahani mein problem hain… Chhel tries to pack sooooo much in one film. Love triangle, patriotism, terrorism, songs, the theatre group's woes… the outcome is clearly erratic and inconsistent. The comedy works, not the terrorism angle. Chhel seems inspired by JAANE BHI DO YAARO, but this inspiration could've done with a gripping screenplay. Another sore point is the absence of good music. default-300x250.tpl To sum up, MAAN GAYE MUGHALL-E-AZAM is, at best, an average fare. Watch it for the humour and also bravura performances by its lead actors. Circa 1993: St. Louise, near Goa, is on a high alert due to illegal activities like RDX and arms landing at the coastal area. Set up in the same town is Kalakar Theatre Company, a theatre group of self indulgent dreamy actors who are always left with no choice but to perform the same age-old period play 'Maan Gaye Mughall-E-Azam' every time. One fine day, they get to know that an underworld don is planning a bomb blast in the country. The drama company gets into the act to save the entire city from this blast. MAAN GAYE MUGHALL-E-AZAM takes time to come into form. But when it does, the humour is unstoppable. Sure, you may find the theatre group's drama [Akbar, Salim, Anarkali] amateurish, but it works big time. In fact, the audi will reverberate with wild laughter at several places. But the writing lacks meat and that takes away the sheen. The pace picks up, drops, picks up again, drops yet again unfailingly. Humour is the highpoint of MAAN GAYE MUGHALL-E-AZAM and Chhel hits a boundary there. Ditto for his dialogues. Anu Malik's music is lifeless. Barring the title track, the remaining numbers are simply add-ons. Madhu Ambat's cinematography is fair. MAAN GAYE MUGHALL-E-AZAM belongs to Paresh, Rahul and Mallika. Paresh has mastered the art of making people laugh, but when you watch him in this film, you realize the tremendous potential this terrific actor possesses. Watch his take on Akbar or step in as Kay Kay's double; he's in top form. Mallika stands on her feet despite a giant called Paresh Rawal. Scrutinize her as Anarkali at the outset and later, as an aspiring actress; she's fantastic. Rahul Bose is known for serious and intense roles, but he breaks the shackles with MAAN GAYE MUGHALL-E-AZAM. His timing is perfect. Surprisingly, Kay Kay isn't in form this time. Pawan Malhotra does very well. Zakir Hussain doesn't get scope. Ditto for Tanaaz. Manoj Joshi is wasted. On the whole, MAAN GAYE MUGHALL-E-AZAM is an ordinary fare, laced with great humour at places. Average.

Sanjay Chhel has penned a number of comic fares. Obviously, when Chhel takes charge and decides to helm a project himself, you expect his film to be one wacky ride. Indeed, MAAN GAYE MUGHALL-E-AZAM is wild in parts, thoroughly enjoyable at times, but you don't exclaim 'maan gaye' in the end. MAAN GAYE MUGHALL-E-AZAM prompts you to break into guffaws. Even the one-liners -- Chhel's a pro at it -- are dipped in wit-n-humour. Plus, the camaraderie between Paresh Rawal, Rahul Bose and Mallika Sherawat is superb. Write your own movie review of Maan Gaye Mughall-E-Azam Lekin kahani mein problem hain… Chhel tries to pack sooooo much in one film. Love triangle, patriotism, terrorism, songs, the theatre group's woes… the outcome is clearly erratic and inconsistent. The comedy works, not the terrorism angle. Chhel seems inspired by JAANE BHI DO YAARO, but this inspiration could've done with a gripping screenplay. Another sore point is the absence of good music. default-300x250.tpl To sum up, MAAN GAYE MUGHALL-E-AZAM is, at best, an average fare. Watch it for the humour and also bravura performances by its lead actors. Circa 1993: St. Louise, near Goa, is on a high alert due to illegal activities like RDX and arms landing at the coastal area. Set up in the same town is Kalakar Theatre Company, a theatre group of self indulgent dreamy actors who are always left with no choice but to perform the same age-old period play 'Maan Gaye Mughall-E-Azam' every time. One fine day, they get to know that an underworld don is planning a bomb blast in the country. The drama company gets into the act to save the entire city from this blast. MAAN GAYE MUGHALL-E-AZAM takes time to come into form. But when it does, the humour is unstoppable. Sure, you may find the theatre group's drama [Akbar, Salim, Anarkali] amateurish, but it works big time. In fact, the audi will reverberate with wild laughter at several places. But the writing lacks meat and that takes away the sheen. The pace picks up, drops, picks up again, drops yet again unfailingly. Humour is the highpoint of MAAN GAYE MUGHALL-E-AZAM and Chhel hits a boundary there. Ditto for his dialogues. Anu Malik's music is lifeless. Barring the title track, the remaining numbers are simply add-ons. Madhu Ambat's cinematography is fair. MAAN GAYE MUGHALL-E-AZAM belongs to Paresh, Rahul and Mallika. Paresh has mastered the art of making people laugh, but when you watch him in this film, you realize the tremendous potential this terrific actor possesses. Watch his take on Akbar or step in as Kay Kay's double; he's in top form. Mallika stands on her feet despite a giant called Paresh Rawal. Scrutinize her as Anarkali at the outset and later, as an aspiring actress; she's fantastic. Rahul Bose is known for serious and intense roles, but he breaks the shackles with MAAN GAYE MUGHALL-E-AZAM. His timing is perfect. Surprisingly, Kay Kay isn't in form this time. Pawan Malhotra does very well. Zakir Hussain doesn't get scope. Ditto for Tanaaz. Manoj Joshi is wasted. On the whole, MAAN GAYE MUGHALL-E-AZAM is an ordinary fare, laced with great humour at places. Average.

Super Cassettes Industries Ltd. (T-Series) will release the music of Subhash Ghai Film Yuvraaj on October 1. “It is a pleasure for us to make the announcement of the release date of the music,” said a T Series spokesperson. “We are proud of our association with Showman Subhash Ghai for all Mukta Arts ventures. [...]SHARETHIS.addEntry({ title: "T-SERIES TO RELEASE YUVRAAJ MUSIC ON OCT 1", url: "http://www.ebolly.com/2008/08/21/t-series-to-release-yuvraaj-music-on-oct-1/" });

Bollywood actress Shilpa Shetty, who is now hosting TV show “Bigg Boss”, said she was shocked to hear that British reality TV star Jade Goody, a participant on the series, had been diagnosed with cancer.SHARETHIS.addEntry({ title: "Shilpa was shocked to hear that Jade had cancer", url: "http://www.ebolly.com/2008/08/21/shilpa-was-shocked-to-hear-that-jade-had-cancer/" });

There is a strong buzz that Aamir Khan send his Ghajini co-star Jiah to acting classes before her shooting for the film began.SHARETHIS.addEntry({ title: "First learn how to act, Aamir to Jiah Khan!", url: "http://www.ebolly.com/2008/08/21/first-learn-how-to-act-aamir-to-jiah-khan/" });

It is something that none except Shilpa Shetty �s family and very close friends knew. But now the secret is out. SHARETHIS.addEntry({ title: "Shilpa Shetty well-kept secret is out", url: "http://www.ebolly.com/2008/08/21/shilpa-shetty-well-kept-secret-is-out/" });

When Prakash Jha is busy thinking about his modern big screen adaptation of the epic Mahabharata, Mani Ratnam is to bring out a film based on the other immortal epic Ramayana on to the big screen. SHARETHIS.addEntry({ title: "Mani Ratnam takes on Ramayana", url: "http://www.ebolly.com/2008/08/21/mani-ratnam-takes-on-ramayana/" });

Kareena Kapoor and Saif Ali Khan’s relationship has taken another step. Kareena is going to be a part of the Pataudi family’s yearly reunion in Saif's ancestral village, Pataudi, in Haryana. This is a privilege that none of Saif's women from his past relationships have had.SHARETHIS.addEntry({ title: "Kareena Kapoor and Saif Ali Khan’s relationship has taken another step", url: "http://www.ebolly.com/2008/08/21/kareena-kapoor-and-saif-ali-khan%e2%80%99s-relationship-has-taken-another-step/" });

We've been hearing whispers in the industry for a while that Nana Patekar and TV actress Narayani Shastri are rather fond of each other. SHARETHIS.addEntry({ title: "Nana karte pyaar tumhise kar baithe?", url: "http://www.ebolly.com/2008/08/21/nana-karte-pyaar-tumhise-kar-baithe/" });

Debutant actor Harman Baweja, who is foraying into the film world with the much talked about futuristic film Love Story 2050, says he has sorted out his problems with Kareena Kapoor created by fabricated remarks.The actor says he was shocked and embarrassed after reading reports about him making uncharitable remarks about Kareena. The remarks attributed to him about Kareena being 'robotic' in her performances had upset Harman.SHARETHIS.addEntry({ title: "All is well between Kareena, Harman", url: "http://www.ebolly.com/2008/08/21/all-is-well-between-kareena-harman/" });

Indian Idol winner Abhijeet Sawant says he is set to change his 'romantic' image with his acting debut in "Lottery"."The movie is not at all a romantic flick. It is in total contradiction with what audiences must be expecting from me. It is basically a thriller," Abhijeet told IANS over phone from Mumbai. In the film, Sawant plays an accountant working in a fashion magazine, who gets trapped in a murder case.SHARETHIS.addEntry({ title: "Abhijeet Sawant set for image change with film debut", url: "http://www.ebolly.com/2008/08/21/abhijeet-sawant-set-for-image-change-with-film-debut/" });

Superstar Shah Rukh Khan's six-pack abs in Om Shanti Om gave a complex to many including 20-year-old Aditya Narayan, best known for hosting "Sa Re Ga Ma Pa Challenge 2007". He says he was ashamed of his paunch after seeing King Khan's toned body."When I saw Shah Rukh's six-packs in 'Dard-e-disco' song in Om Shanti Om, I felt so ashamed. At 42, he is so fit, so popular and has so much money. And at such a young age, I had a paunch. I was so ashamed," singer-actor-anchor Aditya told IANS over phone from Mumbai.SHARETHIS.addEntry({ title: "Shah Rukh’s six-pack abs put me to shame: Aditya Narayan", url: "http://www.ebolly.com/2008/08/21/shah-rukhs-six-pack-abs-put-me-to-shame-aditya-narayan/" });

Bollywood icon Amitabh Bachchan has rubbished reports that he is teaming up with Rekha in the Disney-produced film "Marma Yogi". The news stating that the timeless Amitabh-Rekha pair was likely to come together again had been published in a national daily. The report, which had television channels going berserk, now turns out to be totally unfounded. SHARETHIS.addEntry({ title: "Rekha and I working together, rubbish: Big B", url: "http://www.ebolly.com/2008/08/21/rekha-and-i-working-together-rubbish-big-b/" });

When it comes to escapist cinema, a gifted writer can make his imagination run really wild. Think of a crazy story, come up with outrageous and zany situations, rope in actors who'd look believable in those parts... hey presto, a crazy potboiler is ready to be served. Rumy Jafry, who has penned some crazy comedies in the past, does just that. He borrows [partly] from BRUCE ALMIGHTY, also [partly] from YEHI HAI ZINDAGI [Sanjeev Kumar] and [partly] uses his imagination to come up with GOD TUSSI GREAT HO. But this khichdi isn't as delicious as one expects it to be. First, the plusses! Write your own movie review of God Tussi Great Ho GOD TUSSI GREAT HO has some really interesting moments. At least two sequences -- [i] When a dejected Salman throws the taveez in the air, the taveez reaches God, later God appears in human form and [ii] Salman invents a chair that acts as a lie detector and teaches Sohail Khan a lesson -- are pure magic in terms of writing, in terms of execution, in terms of performance. default-300x250.tpl Another ace is Salman Khan. The boyish appeal, the mischievous look, the loud-but-lovable act just cannot be overlooked. But GOD TUSSI GREAT HO isn't as captivating and arresting at times. The potential to come up with an energetic second half are immense in a film like this, but Rumy Jafry's writing is plain mediocre. Besides, the second hour is lengthy, it gets tedious ['Lal Chunariya' song should be deleted right away]. Also, the pre-climax and climax don't sweep you off your feet. In a nutshell, GOD TUSSI GREAT HO does appeal, but in bits and spurts. Not in totality. An average experience! At the end of the worst day in his life, Arun [Salman Khan] angrily rages against God for making his life miserable. To his astonishment, God [Amitabh Bachchan] appears before him in human form and endowing Arun with all of His divine powers, challenges Arun to take on the big job and see if he can do it any better. Arun responds to his newfound powers with childlike zeal and sets off making one decision after another. The love of his life Alia [Priyanka Chopra] is astonished at the 'new' decisive and confident Arun. He thinks he can make the world a happy place by granting everybody their wishes. But to his horror, this results in unprecedented mayhem. Ultimately, Arun realises that he is only human, and being God is tougher than he thought. Rumy Jafry has penned several solid entertainers for David Dhawan and the formula looms large all through GOD TUSSI GREAT HO. Rumy rides on myths and comedy to get it right and it really works at times. However, after a point, the writing doesn't spring any surprises. You know exactly what's in store next and that's what bogs the film down. In terms of impact, the best portions are between Bachchan and Salman, between Salman and Anupam Kher and between Salman and Rajpal Yadav. These tracks charge up the scenario. But how one misses a meatier script in the second hour. Directorially, Rumy Jafry's work gets easier thanks to the presence of seasoned actors. But he needs to polish his skills as far as technique is concerned. The film could've been stylishly shot. Sajid-Wajid's music is strictly okay. However, the picturisation of songs camouflages the deficiency. Ashok Mehta's cinematography is perfect. The production design/making could've been grand, given the presence of such powerful names in the cast. Special effects lack finesse. As always, Amitabh Bachchan is competent. But GOD TUSSI GREAT HO belongs to Salman Khan, who seems to be in form this time. Priyanka doesn't match Salman's enthusiasm. Also, why is her look so inconsistent in the film? Sohail Khan is alright. Anupam Kher is fantastic. Bina Kak is fair. Rukhsaar doesn't get much scope. Rajpal Yadav provides a few laughs. Dalip Tahil is as usual. Upasna Singh is getting typecast. Ditto for Sanjay Mishra. On the whole, GOD TUSSI GREAT HO is average in merits, providing a few laughs intermittently. At the box-office, the holiday weekend should benefit the film. But beyond the weekend, the journey could be uneven. However, single screens should fare better in the Hindi belt.

When it comes to escapist cinema, a gifted writer can make his imagination run really wild. Think of a crazy story, come up with outrageous and zany situations, rope in actors who'd look believable in those parts... hey presto, a crazy potboiler is ready to be served. Rumy Jafry, who has penned some crazy comedies in the past, does just that. He borrows [partly] from BRUCE ALMIGHTY, also [partly] from YEHI HAI ZINDAGI [Sanjeev Kumar] and [partly] uses his imagination to come up with GOD TUSSI GREAT HO. But this khichdi isn't as delicious as one expects it to be. First, the plusses! Write your own movie review of God Tussi Great Ho GOD TUSSI GREAT HO has some really interesting moments. At least two sequences -- [i] When a dejected Salman throws the taveez in the air, the taveez reaches God, later God appears in human form and [ii] Salman invents a chair that acts as a lie detector and teaches Sohail Khan a lesson -- are pure magic in terms of writing, in terms of execution, in terms of performance. default-300x250.tpl Another ace is Salman Khan. The boyish appeal, the mischievous look, the loud-but-lovable act just cannot be overlooked. But GOD TUSSI GREAT HO isn't as captivating and arresting at times. The potential to come up with an energetic second half are immense in a film like this, but Rumy Jafry's writing is plain mediocre. Besides, the second hour is lengthy, it gets tedious ['Lal Chunariya' song should be deleted right away]. Also, the pre-climax and climax don't sweep you off your feet. In a nutshell, GOD TUSSI GREAT HO does appeal, but in bits and spurts. Not in totality. An average experience! At the end of the worst day in his life, Arun [Salman Khan] angrily rages against God for making his life miserable. To his astonishment, God [Amitabh Bachchan] appears before him in human form and endowing Arun with all of His divine powers, challenges Arun to take on the big job and see if he can do it any better. Arun responds to his newfound powers with childlike zeal and sets off making one decision after another. The love of his life Alia [Priyanka Chopra] is astonished at the 'new' decisive and confident Arun. He thinks he can make the world a happy place by granting everybody their wishes. But to his horror, this results in unprecedented mayhem. Ultimately, Arun realises that he is only human, and being God is tougher than he thought. Rumy Jafry has penned several solid entertainers for David Dhawan and the formula looms large all through GOD TUSSI GREAT HO. Rumy rides on myths and comedy to get it right and it really works at times. However, after a point, the writing doesn't spring any surprises. You know exactly what's in store next and that's what bogs the film down. In terms of impact, the best portions are between Bachchan and Salman, between Salman and Anupam Kher and between Salman and Rajpal Yadav. These tracks charge up the scenario. But how one misses a meatier script in the second hour. Directorially, Rumy Jafry's work gets easier thanks to the presence of seasoned actors. But he needs to polish his skills as far as technique is concerned. The film could've been stylishly shot. Sajid-Wajid's music is strictly okay. However, the picturisation of songs camouflages the deficiency. Ashok Mehta's cinematography is perfect. The production design/making could've been grand, given the presence of such powerful names in the cast. Special effects lack finesse. As always, Amitabh Bachchan is competent. But GOD TUSSI GREAT HO belongs to Salman Khan, who seems to be in form this time. Priyanka doesn't match Salman's enthusiasm. Also, why is her look so inconsistent in the film? Sohail Khan is alright. Anupam Kher is fantastic. Bina Kak is fair. Rukhsaar doesn't get much scope. Rajpal Yadav provides a few laughs. Dalip Tahil is as usual. Upasna Singh is getting typecast. Ditto for Sanjay Mishra. On the whole, GOD TUSSI GREAT HO is average in merits, providing a few laughs intermittently. At the box-office, the holiday weekend should benefit the film. But beyond the weekend, the journey could be uneven. However, single screens should fare better in the Hindi belt.

BACHNA AE HASEENO is special. Ranbir Kapoor is cast opposite teen deviyaan -- Bipasha Basu, Deepika Padukone, Minissha Lamba. It's produced by a premier production house, the credits read 'Story by Aditya Chopra' and most importantly, it's helmed by Siddharth Raj Anand, who merged form and content so beautifully in SALAAM | NAMASTEY and TA RA RUM PUM. The expectations, therefore, are humungous. Before we go any further, let's clear a misconception at the very outset. BACHNA AE HASEENO is not inspired by THE BACHELOR [the industry feels so, hence this clarification], but it bears an uncanny resemblance to the yesteryear film TEEN DEVIAN [1965; Dev Anand, Nanda, Kalpana, Simi Grewal] and Telugu film NAA AUTOGRAPH [Raviteja, Bhoomika, Mallika, Gopika, Kanyaka]. Of course, Chopra and the screenplay writer try to be different and any resemblance with any film could be purely coincidental. Write your own movie review of Bachna Ae Haseeno Now let's move on! BACHNA AE HASEENO has a great cast, great chemistry amongst actors [so sizzling, it could melt butter], great locations [jaw dropping actually] and some great moments. But all these factors combined together don't make a great film. BACHNA AE HASEENO suffers, to a major extent, due to its screenplay running out of steam in the second hour. default-300x250.tpl The gist of the story is truly captivating -- the guy is a complete flirt, he wears his heart on his sleeve. Enter three women in different stages of his life. Love is in the air. Two dream of marrying him, but he ditches them and the third, whom he intends marrying, says a blunt 'No' to the offer. Heart-broken, the guy realizes his folly and plans on doing prayashchit. He goes back to the first two women and apologises. Wow! A story to bowl you over indeed! BACHNA AE HASEENO has splendid moments in the first hour. In fact, the three stories, minus the culmination of course, are beautifully told in the first hour itself. There're some attention-grabbing moments in this hour [details later] and you genuinely feel exhilarated after having watched those portions. Now to the second hour -- the guy repents for his misdeeds and years later, goes back to the first two women in his life. That's where the problems surface... From the writing point of view, the first story [Minissha] is given an appropriate and beautiful culmination in the second hour. But the second [Bipasha] and third [Deepika] stories face rough weather. These stories don't work and therefore, colour your judgement on the movie. Like it happens with most Hindi films, the writing is the culprit here as well. It lacks the power to keep you hooked in the second hour. In a nutshell, BACHNA AE HASEENO could've been the ideal youthful entertainer, occupying the position that JAANE TU... YA JAANE NA enjoys amongst the yuppy crowd. But as things stand now, it's a great looking film with nothing outstanding about it. Strictly okay for a single watch, that's about it! Meet Raj [Ranbir Kapoor]. He falls in love thrice... The film talks of three love stories: Raj and Mahi [Minissha], Raj and Radhika [Bipasha], Raj and Gayatri [Deepika]. Different ladyloves at different times in his life. And each of them teach him a little bit about love and a little bit about life, in their own sweet, sexy or sassy way. Director Siddharth Raj Anand knows the craft too well by now and his handling of the romantic and emotional scenes is worth appreciating. Take the sequence at the airport -- Minissha stands stunned listening to Ranbir's tale of 'conquest', with tears rolling down her cheeks. The silence says it all! Note the sequence when Ranbir woos Bipasha, but eventually dumps her on the eventful day. It's raining and Bipasha just can't come out of the shock. The silence is deafening! Note yet another tragic end to the love story, when Deepika refuses the wedding proposal from Ranbir. Flashes from the past come alive at this point. It couldn't get better! Post-interval, Ranbir's story with an already-married Minissha and her husband is equally moving. Ranbir's apology looks convincing and the culmination to this chapter couldn't be better. Ranbir moves on to Bipasha and it's here that the writing begins to go downhill. She's a wounded tigress and no amount of cajoling or apologies from Ranbir would melt her. So far, so good! But the path she uses to teach Ranbir a lesson is weird, sorry ludicrous. The third story, with Deepika, is written in haste, one presumes. The girl suddenly has a change of heart and wants to marry Ranbir, she even writes to him everyday, not knowing that he's out of town. The culmination to this story is amateurish and one wonders whether the writer was in a tearing hurry to end the movie since the 2-hour mark had already been crossed. Directorially, Siddharth Raj Anand offers stunning visuals and some really fine performances, but is letdown by the script. Vishal-Shekhar's music is just alright, nothing to rave or rant about. Barring 'Khuda Jaane' and 'Lucky Boy', the remaining songs don't have a lingering effect. Cinematography is a class apart. Besides, the cinematographer gets some spectacular locales and he does complete justice to it. Dialogues are good at times. Ranbir Kapoor is marvellous. An incredible actor. One will run out of adjectives and personifications describing his performance. Amongst girls, Bipasha Basu stands the tallest. First RACE and now BACHNA AE HASEENO, the actress is finally getting the right roles that do justice to her talent. Also, she looks fab! Minissha doesn't work at the start, but scores in the emotional scenes, especially in the second hour. Deepika is a sore point. Her role isn't convincing and that's the reason why this performance doesn't work. The only consolation is, she looks gorgeous. Kunal Kapoor is supremely efficient, handling his role with utmost maturity. Hiten Paintal is a revelation, a talent to watch out for. His camaraderie with Ranbir is top notch. On the whole, BACHNA AE HASEENO has an interesting first half, but a weak second hour spoils the show. At the box-office, thanks to the hype built around the film, the opening weekend should be great, but beyond that, has tough chances of sustaining. Multiplexes at some big centres would be better, but that's no consolation.

BACHNA AE HASEENO is special. Ranbir Kapoor is cast opposite teen deviyaan -- Bipasha Basu, Deepika Padukone, Minissha Lamba. It's produced by a premier production house, the credits read 'Story by Aditya Chopra' and most importantly, it's helmed by Siddharth Raj Anand, who merged form and content so beautifully in SALAAM | NAMASTEY and TA RA RUM PUM. The expectations, therefore, are humungous. Before we go any further, let's clear a misconception at the very outset. BACHNA AE HASEENO is not inspired by THE BACHELOR [the industry feels so, hence this clarification], but it bears an uncanny resemblance to the yesteryear film TEEN DEVIAN [1965; Dev Anand, Nanda, Kalpana, Simi Grewal] and Telugu film NAA AUTOGRAPH [Raviteja, Bhoomika, Mallika, Gopika, Kanyaka]. Of course, Chopra and the screenplay writer try to be different and any resemblance with any film could be purely coincidental. Write your own movie review of Bachna Ae Haseeno Now let's move on! BACHNA AE HASEENO has a great cast, great chemistry amongst actors [so sizzling, it could melt butter], great locations [jaw dropping actually] and some great moments. But all these factors combined together don't make a great film. BACHNA AE HASEENO suffers, to a major extent, due to its screenplay running out of steam in the second hour. default-300x250.tpl The gist of the story is truly captivating -- the guy is a complete flirt, he wears his heart on his sleeve. Enter three women in different stages of his life. Love is in the air. Two dream of marrying him, but he ditches them and the third, whom he intends marrying, says a blunt 'No' to the offer. Heart-broken, the guy realizes his folly and plans on doing prayashchit. He goes back to the first two women and apologises. Wow! A story to bowl you over indeed! BACHNA AE HASEENO has splendid moments in the first hour. In fact, the three stories, minus the culmination of course, are beautifully told in the first hour itself. There're some attention-grabbing moments in this hour [details later] and you genuinely feel exhilarated after having watched those portions. Now to the second hour -- the guy repents for his misdeeds and years later, goes back to the first two women in his life. That's where the problems surface... From the writing point of view, the first story [Minissha] is given an appropriate and beautiful culmination in the second hour. But the second [Bipasha] and third [Deepika] stories face rough weather. These stories don't work and therefore, colour your judgement on the movie. Like it happens with most Hindi films, the writing is the culprit here as well. It lacks the power to keep you hooked in the second hour. In a nutshell, BACHNA AE HASEENO could've been the ideal youthful entertainer, occupying the position that JAANE TU... YA JAANE NA enjoys amongst the yuppy crowd. But as things stand now, it's a great looking film with nothing outstanding about it. Strictly okay for a single watch, that's about it! Meet Raj [Ranbir Kapoor]. He falls in love thrice... The film talks of three love stories: Raj and Mahi [Minissha], Raj and Radhika [Bipasha], Raj and Gayatri [Deepika]. Different ladyloves at different times in his life. And each of them teach him a little bit about love and a little bit about life, in their own sweet, sexy or sassy way. Director Siddharth Raj Anand knows the craft too well by now and his handling of the romantic and emotional scenes is worth appreciating. Take the sequence at the airport -- Minissha stands stunned listening to Ranbir's tale of 'conquest', with tears rolling down her cheeks. The silence says it all! Note the sequence when Ranbir woos Bipasha, but eventually dumps her on the eventful day. It's raining and Bipasha just can't come out of the shock. The silence is deafening! Note yet another tragic end to the love story, when Deepika refuses the wedding proposal from Ranbir. Flashes from the past come alive at this point. It couldn't get better! Post-interval, Ranbir's story with an already-married Minissha and her husband is equally moving. Ranbir's apology looks convincing and the culmination to this chapter couldn't be better. Ranbir moves on to Bipasha and it's here that the writing begins to go downhill. She's a wounded tigress and no amount of cajoling or apologies from Ranbir would melt her. So far, so good! But the path she uses to teach Ranbir a lesson is weird, sorry ludicrous. The third story, with Deepika, is written in haste, one presumes. The girl suddenly has a change of heart and wants to marry Ranbir, she even writes to him everyday, not knowing that he's out of town. The culmination to this story is amateurish and one wonders whether the writer was in a tearing hurry to end the movie since the 2-hour mark had already been crossed. Directorially, Siddharth Raj Anand offers stunning visuals and some really fine performances, but is letdown by the script. Vishal-Shekhar's music is just alright, nothing to rave or rant about. Barring 'Khuda Jaane' and 'Lucky Boy', the remaining songs don't have a lingering effect. Cinematography is a class apart. Besides, the cinematographer gets some spectacular locales and he does complete justice to it. Dialogues are good at times. Ranbir Kapoor is marvellous. An incredible actor. One will run out of adjectives and personifications describing his performance. Amongst girls, Bipasha Basu stands the tallest. First RACE and now BACHNA AE HASEENO, the actress is finally getting the right roles that do justice to her talent. Also, she looks fab! Minissha doesn't work at the start, but scores in the emotional scenes, especially in the second hour. Deepika is a sore point. Her role isn't convincing and that's the reason why this perf