Debutante directors have new stories to tell. Predictability is passé, unconventional is in. First-time director Sourabh Shrivastava's OH, MY GOD!! may give an impression that it's yet another offshoot of BRUCE ALMIGHTY [the source of GOD TUSSI GREAT HO], but the fact is that OH, MY GOD!! reminds you of the Hrishikesh Mukherjee/Basu Chatterjee films of the 1970s and 1980s. Like most debutante-helmed vehicles, OH, MY GOD!! comes with its share of plusses and minusses. In this case, the aces overpower the deficiencies. OH, MY GOD!! may not be the ideal multiplex fare, but it has its heart in the right place. Write your own movie review of Oh, My God!! Rajendra [Vinay Pathak], a simple salesman with big dreams, a hardcore Dhirubhai Ambani fan, wants to make it big in life through ethical means. Suman [Divya Dutta], his loving wife, stands by her husband at all times. As Rajendra continues to fail in his various money-making schemes, Suman pleads with God to help her husband. default-300x250.tpl What follows is a series of hilarious encounters where God [played in human form by Saurabh Shukla] tries to help Rajendra become successful, but is constantly frustrated as Rajendra fails to recognise the opportunities. Given the fact that OH, MY GOD!! has been shot in 19 days, it doesn't look like a hurried job at all. Sourabh takes a simple story of a simpleton and narrates it in the most simplistic manner. The film has a lethargic pace in the first hour and that tapers the effect to an extent, but its back on its feet, post intermission. Note the sequences in the second hour. Vinay Pathak watching the bagful of currency with disbelief -- it's wonderfully executed and enacted. God's [Saurabh Shukla] emergence every time Vinay decides to abandon the bag, is another interesting aspect. The finale -- when Vinay throws the money on the street -- is brilliant. In short, the film redeems itself in the second hour. Sourabh Shrivastava knows the grammar of film-making well. The hand-held camera movement [Amol Rathod] is perfect, but at a few places, static frames would've worked better. The background score is effective. OH, MY GOD!! rests on Vinay Pathak and Saurabh Shukla's firm shoulders and both deliver natural performances. Vinay is very believable in the latter reels, while Saurabh is equally credible. Divya Dutta is first-rate as the doting wife. Gaurav Gera does well. Harsh Chhaya is okay. On the whole, OH, MY GOD!! is a feel-good fare, with a strong second hour. At the box-office, it should grow with a strong word of mouth.

It's often said that cricket and Bollywood are two major passions of Indians. Director Chandrakant Kulkarni's MEERABAI NOT OUT narrates the story of a cricket enthusiast who goes to the extremes -- even on the day of her engagement -- to watch a game of cricket. But interesting ideas don't necessarily translate into interesting films. MEERABAI NOT OUT suffers because there's not much meat in its script. It's only during the penultimate moments that things begin to move, but that isn't enough to salvage the situation. Write your own movie review of Meerabai Not Out Also, though the film talks of cricket, there's not much excitement for a cricket fanatic either. A sports-based theme works only if the viewer becomes involved in the proceedings, when he/she becomes a participant. In MEERABAI NOT OUT, you're just a mere spectator. This one's more of a love story, actually! default-300x250.tpl Meera [Mandira Bedi], a mathematics teacher, has been a happy single for quite a while now. The great love of her life has been, and will always remain, cricket and Anil Kumble. The problem that worries her family is Meera's still-single status. Enter Arjun [Eijaz Khan]. Meera realizes that there's more to life than praying for Team India and Anil Kumble. So, while her heart beats for Anil Kumble and India's fortunes, the more important question is: Will Meera be able to commit to her non-striker beau? MEERABAI NOT OUT may give an impression of being a 'cricket film', but it's misleading. It's primarily a love story. In fact, a major part of the screen time is devoted to the love story, which, frankly, lacks the fizz. It's only towards the pre-climax, when the lady doesn't show up for her own engagement ceremony on time, that things start moving. Come to think of it, even that looks far-fetched, for no person in his/her senses would give priority to watch a match on the day of her engagement. And if she had to catch a match, she could've done so on her TV set. Why travel all the way to the stadium? Despite the hiccups [read faulty writing], director Chandrakant Kulkarni has handled the penultimate sequences well. The cricket match in the end -- between Mahesh Manjrekar and Eijaz Khan -- is interesting. Also, the finale -- Anupam Kher participating in a quiz show and Mandira answering the question right -- is well-treated. There's not much scope for music in the enterprise. The sole track that merits a mention is the one at the very start [the promotional track]. Dialogues are well-worded at places. Mandira acts her part well. She impresses more towards the finale. Eijaz is confident and if given an opportunity, can only go further. Mahesh Manjrekar doesn't really get scope, except towards the finale. Anupam Kher is efficient. Pratiksha Lonkar is wasted. The actress enacting the role of Manjrekar and Mandira's mother is perfect. Anil Kumble is passable. On the whole, MEERABAI NOT OUT is a below average fare. At the box-office, this maiden will be run-out in the initial days itself!

Most storytellers seek inspiration from Hollywood films. But very few film-makers look at what our auteur have to offer. MAHARATHI is the cinematic adaptation of Uttam Gada's Gujarati play, which was a huge success two decades ago. Another reason that enhances the curiosity is the fact that it brings four of the finest talents of the Hindi film industry together. But not all plays are fit for cinematic adaptations. MAHARATHI may be a hugely successful play, but it's not as engaging as a cinematic experience. Let's face it, cinema and theatre are two different mediums altogether! Write your own movie review of Maharathi Also, MAHARATHI is not one of those Bollywood thrillers where everything, right up to the minutest detail, is spoon-fed to the viewer. Besides, it falters, loses balance and gets clichéd and contrived when the director and writer decide on winding up. And that's not good news for any thriller. default-300x250.tpl Subhash [Paresh Rawal] has spent the last ten years unsuccessfully trying to get acting parts in films. One night, he saves a man's life. He accompanies the injured man back home. Subhash is awe-struck at the affluence of Mr. Adenwalla [Naseeruddin Shah]. Subhash realizes this may lead to a generous tip. Soon enough, Subhash is hired by the grateful Adenwalla as his driver. The wife, Mallika [Neha Dhupia], resents Subhash for his proximity to her husband. Subhash is now firmly ensconced in Adenwallas' house and discovers his wife's evil designs. On the other hand, Adenwalla, driven to the point of insanity by his money-hungry wife, decides to take the ultimate revenge. He commits suicide! Subhash recognizes this as an opportunity to rid himself of a lifetime of middle class mediocrity and poverty. He collaborates with Mallika to acquire all the money and property. Working hand in glove, they get a caretaker [Tara Sharma], with the help of their family lawyer Mr. Merchant [Boman Irani], to be a witness to an ailing Mr. Adenwalla's presence in the house. But the best plans can go awry and this brings ACP Gokhale [Om Puri] and Inspector Borkar [Vivek Shauq] into the picture. The problem with MAHARATHI is its inconsistent script. To start with, there should've been a valid reason for Naseer to commit suicide. In the first place, if he had to teach Neha a lesson, why should he shoot himself? Why not shoot Neha instead? Much later, even Neha's death looks unbelievable. Another pertinent question that crosses your mind is, why does Naseer bequeath his riches to Paresh? In fact, he barely knows Paresh. The Boman track in the end is quite confusing as well. On the brighter side, MAHARATHI has several well-executed sequences and that's why the deficiencies in the script bother you. It could've been an engaging experience, which it isn't. Director Shivam Nair has shot the film well, but how one wishes he would've opted for a far more convincing screenplay. There's no place for songs in the film and the sole track towards the end -- the promotional number -- looks out of place. Cinematography is striking. With a crème de la crème cast on hand, it's natural to expect sparkling performances from the cast. Naseeruddin Shah is convincing. Paresh Rawal scores yet again. Boman Irani is in form. Om Puri deserved a meatier role. Neha Dhupia is okay. Tara Sharma is fair. Vivek Shauq is hardly there. On the whole, MAHARATHI has some curiosity-value thanks to its interesting cast and an equally inviting promotion. But the film lacks the power of an arresting script. That, in turn, will make the journey tough for the film.

Ok, so Chandni Chowk To China is a huge film by all standards. After all Akshay Kumar and Deepika Padukone are coming together in this film which is supposedly based on Akshay's own life story. Moreover, both the films by director Nikhil Advani, Salaam-E-Ishq and Kal Ho Naa Ho, have boasted of some very good music. Still, one has good, not extraordinary expectations from the music of Chandni Chowk To China. Reason? The album has songs by composers as diverse as Shankar-Ehsaan-Loy, Kailash-Paresh-Naresh, Bappi Lahiri-Bappa Lahiri and Bohemia. Frankly, when something like this happens, i.e. coming together of various composers, as an audience, one tends to be a little wary about the music. Whether it would come with a consistent sound? Whether each of the composers would have indeed come up with their best? Will someone end up compromising since the entire responsibility of creating the soundtrack doesn't lie on him? MUSIC Write your own music review of Chandni Chowk To China Thankfully, all fears are laid to rest once you are through hearing the album 'at least twice'. Yes, at least twice because Chandni Chowk To China (CC2C) isn't one of those 'let's make an instant impact' kind of an album that works in the very first hearing. And this is pretty much because of the 'consistency in sound' factor! In the six unique songs that form a part of the film's soundtrack, there is so much happening in all directions that it is impossible to catch the sound and announce a genre after the first listening. One has to be patient enough with CC2C and once you have been successful in doing that, it will rock you. default-300x250.tpl And rock one does with the title song 'Chandni Chowk To China' by Shankar-Ehsaan-Loy that is all set to be a rage in a fortnight from now. A fun track with funnier lyrics, it has a good fusion of Indian, Western and Oriental rhythm which accounts for a deadly combination. A unique number in quite a few aspects, it certainly must have been a difficult tune to compose, especially after considering the fact that it isn't one of those typical love songs or an item number. The remix version that appears later only adds to the fun. What takes the cake though is another number which has the same title i.e. 'Chandni Chowk To China' but altogether different setting, tune (by Bohemia), lyrics and presentation. All set to be a flagship number of the album, just like it was in case of Snoop Dogg version of 'Singh Is Kinng', this track is a show reel for Akshay Kumar, the real life star, as demonstrated through the lyrics of the songs itself which go into a holds-no-bar approach while proclaiming Akshay to be the biggest start that the country has seen in the current times. Watch out for this one! Another number which is primarily focused on Akshay again, though this time on his reel life character of Sidhu, is 'S.I.D.H.U. ' Coming with an out and out Indian feel to it, courtesy the tune by Kailash-Paresh-Naresh and a small town setting (in case of CC2C, a narrow lane setting due to Akshay's upbringing in Chandni Chowk), this is one track which requires multiple hearing to be grasped. In the beginning, it sounds like an advertisement jingle but as one delves deeper into the song's setting (which talks about the young man called Sidhu who is a simpleton and is loved by all), it does ultimately settle down. Surprisingly, there isn't much fun in Bappi Lahiri-Bappa Lahiri combines 'India Se Aaya Tera Dost' which is a take off on yesteryear's 'Bambai Se Aaya Mera Dost'. Though lyrics have been turned around a little and accompanying music made somewhat zanier, the final effect is just not enticing enough. Will picturisation make a difference here? Unlikely since the song tends to be a little screechy on ears. Thankfully, 'Tere Naina' by Shankar-Ehsaan-Loy acts as a soothing balm since the love song instantly reminds of the likes of a 'Chup Chup Ke' (Bunty Aur Babli) or 'Falak Tak' (Tashan) or 'Bol Na Halke Halke' (Jhoom Barabar Jhoom). No, the tunes aren't similar here but the genre, i.e. pure Indian melody is. A beautiful sounding number that leads a listener to 'Chak Lein De' which is made entirely for an Akshay Kumar fan. A track composed by Kailash-Paresh-Naresh that gives the sense of a revolution in the making, it doesn't go ballistic in creating a jingoistic flavor to the proceedings but remains subtle yet strong. A situational number (that also appears in a remix version) which is expected to make its presence felt at multiple junctures in the narrative. LYRICS Rajat Arora goes all out in getting the right fun quotient in place while writing the title song of CC2C. He writes 'Tere Naina' as well while contributing to 'India Se Aaya Tera Dost' but it would still be the title track that would come easily to kids and would be grabbed by elders alike. Kailash Kher writes 'S.I.D.H.U. ' and 'Chak Lein De' and once again delivers something which is non-filmy. Bohemia certainly had a task in hand to write a song (the other version of 'Chandni Chowk To China' which required Akshay Kumar to be shown in a particular light) and it seems that the superstar himself had a lot to contribute with words here. VOCALS Neeraj Sridhar has seldom failed and he impresses yet again with his rendition of 'Chandni Chowk To China' as well. Anushka Manchanda comfortably adds on another hit to her tally while letting her hair down for the same track but it is Shankar Mahadevan who takes the tempo of the song to a different level altogether whenever he comes into the picture. However, the voice which would be heard for many more weeks to come would be that of Akshay Kumar who holds center stage for the other version of 'Chandni Chowk To China'. Pretty much comfortable behind the mike, he makes sure that he is not just seen but also heard. Bappi Lahiri is a disappointment with 'India Se Aaya Tera Dost' though Kailash Kher gets a different flavor altogether to an out and out commercial film like this with his rendition of 'S.I.D.H.U. ' and 'Chak Lein De'. However, the moment the voice of Shreya Ghoshal is heard, all is forgotten as she pairs up with Shankar Mahadevan for 'Tere Naina'. She gets into an experimental mode here in her rendition and succeeds once again. OVERALL The album comes with a wide range and this is what works in its favor. Rohan Sippy's last major production, Bluffmaster, also had an ensemble score and the sound there was more Western in feel to go with the mood of the film. In case of CC2C, the sound is more rooted and yet comes with a good enough range to be offered to a listener. Chandni Chowk To China is clearly the next musical hit in the making. OUR PICK(S) 'Chandni Chowk To China', 'Chandni Chowk To China' (Akshay Kumar version), 'Tere Naina' [Play Songs] HOT FAVORITE(S) FOR YOUR MOBILE AND iPOD Chandni Chowk To China, Chandni Chowk To China (Akshay Kumar version), S.I.D.H.U.

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