Batman V Superman Dawn of Justice English

In the recent past we have been witness to the sudden rise of superhero films which tell the story of god like characters battling the forces of evil. These films that time and again are made on massive budgets boast of high octane action sequences, immense CGI and of course even bigger budgets are met with overall positive response at the box office. In fact within the Indian market such films have managed to capture the audiences interest, and eventually making it big at the box office. Now after the unconventional anti-superhero film DEADPOOL that released earlier this year, we see the release of a superhero film BATMAN V SUPERMAN: DAWN OF JUSTICE, that promises to tell the story of an epic battle between a caped crusader Batman and a god like alien being Superman with the inclusion of an Amazon warrior princess Wonder Woman. But will the film that features the biggest names in the superhero kingdom live up to expectations or will it buckle under the pressure of a heavy weight title is the question of the hour. This review might contain spoilers.

The story of BATMAN V SUPERMAN: DAWN OF JUSTICE starts off following the titanic battle between General Zod and Superman that has quite literally razed Metropolis to the ground. The aftermath of this legendary battle leaves Superman as a rather controversial figure with many still looking at the being as an emblem of hope, but a growing number of people consider him a threat to humanity and seek justice for the chaos he brought to Earth. Fearing that the actions of Superman if left unchecked, will lead to a rather bleak future with such a reckless power left ungoverned, Batman dons his mask and cape to fight Superman's wrongs, while the world wrestles with what kind of a hero it really needs. While the rivalry between them is furious, fueled by bitterness and vengeance, and nothing can dissuade them from waging this war, a dark new threat arises in the form of a third man: Doomsday, one who has a power greater than either of them to endanger the world and cause total destruction.

The film starts off with a profile of Batman and his origins talking about the killing of Bruce Wayne's parents Martha and Thomas Wayne and the young lad's eventual metamorphosis into the caped crusader. From there the viewer is then taken through the events unfolding in the city of Metropolis and its eventual destruction when the Man of Steel battles General Zod. Up till now (read in the previous Superman film MAN OF STEEL) the view was that of an outsider witnessing the battle. However in the film we see the battle like one of the many citizens in the city affected by it which paints a rather gruesome scene considering the fact that this was actually the introduction of Superman to the world. While the aftermath of the battle left the city in shambles, Superman emerged as a god like figure, however like any such figure there are always those who look at the darker side, at the death and destruction that usually follows an event where Superman has intervened. Much the same Bruce Wayne shares a similar view with an understanding that if left unchecked, Superman will eventually live long enough to be the bad guy. With this in mind Bruce sets out to destroy the Man of Steel as his alter ego Batman. From here on what follows is a battle of the ages with both heroes going toe to toe in combat.

While the film does boast of high octane action sequences, mega explosions and high tech gadgetry, it is also filled with too many verbal sequences. As a direct result of this, BVS tends to drag with characters engaging in dialogues that stretch. However, just as the viewer begins to lose interest with the ongoing banter, the film's director Zack Snyder throws in a plot twist that sends everything haywire. The action sequences that feature the Bat are well choreographed and detailed, while on the other hand, the ones with Superman seem a bit too easy though both are equally well executed. Another highlight of the film that viewers have been eagerly awaiting was the introduction of Gal Gadot as the Amazon warrior princess Wonder Woman/ Diana Price. Here unlike the rumours Gadot does enjoy ample amount of screen time considering that this was supposed to be just an introduction. In fact the viewer sees her on screen as Diana Price much before her arrival on screen as Wonder Woman. Though well detailed her part looks like it has been pushed into the script to ensure visibility for a sequel that has been planned later. Coming to the villain, Lex Luthor unlike the comic character is featured as a bratty adolescent with daddy issues. Jesse Eisenberg as Lex seems creepily jittery but does manage to do a good job of playing the evil multimillionaire genius.

Coming to the performances in the film, Henry Cavill who featured as Superman in MAN OF STEEL seems a bit more narcissistic as Superman when compared to his earlier portrayal of the character. Though he does a good job of playing Clarke Kent/ Superman, there is a lot that could have been improved especially in terms of facial emoting. In fact Cavill could have brought more to the role with more detailed expressions of pain, anger, fear and love. On the other hand, Ben Affleck, whose casting as Batman raised many question fares much better than his in-film superhero rival, bringing a dark and brooding sense of gravity to the film, as compared to Cavill's noble, higher than thou demanour as Superman. However more often than not Affleck's Batman comes across as a spoilt brat who is jealous of his rival's growing popularity that is also in part fueled by his rage. Jesse Eisenberg's high strung character of Lex Luthor brings a much needed respite the brood fest. His character that speaks in riddles adds lightness to the otherwise dark storyline. Gal Gadot's appearance as Wonder Woman though brief is a delight to watch as she bravely laughs in the face of danger as her alter ego Diana Price.

In terms of direction, Snyder delves head on into a dark, gory, brutal depiction of the unfolding story with a reference to Batman's origins, the night Bruce Wayne's parents died. While most of the acting he elicits from the lead pair (Cavill & Affleck) depends on their strong jaws, Snyder does manage to weave light moments into an otherwise dark plot. When it comes to story and writing, one sore point that fails to be mentioned is, 'How is it that Batman AKA Bruce Wayne, whose base is Gotham city, suddenly shifts to the neighbouring city of Metropolis?' Though the rest of the film plays out as expected, there are times when the film drags. However, Snyder again manages to twist the plot with an intense action sequence that jolts the viewer.

Overall, Snyder's second Superman movie outing brings in Batman, introduces Wonder Woman, gives us a quick peek at Aquaman, Flash, and Cyborg working hard to set up DC's own multi-hero franchise, the Justice League of America. However, despite the film's high points, it is riddled with loopholes and simply put rather clichéd climactic scenes that leave the viewer dejected.

All in all despite the immense hype and publicity, BATMAN V SUPERMAN: DAWN OF JUSTICE is strictly worth just a onetime watch for the true die hard fans. While Batman and Superman fans might find a few scenes likeable, there is an overpowering sense of wanting more.

Rocky Handsome

With the long weekend in place, this definitely looks like a fun week for movies. On the films' front, this week sees the release of the action packed ROCKY HANDSOME that stars Bollywood's action hero John Abraham. While there have been many action films that Bollywood has witnessed, this week's release promises to be a bit different as it also shows a strong bond between John Abraham and a small girl. Will ROCKY HANDSOME prove to be a 'handsome' hit at the box-office or will it meet an ugly fate, let's analyze.

The film starts off with an extremely silent Rocky (John Abraham) buying fishes and flowers. The very moment he smells the flowers, the film goes into a 'flashback mode' followed by the introduction of Rocky's beautiful wife Rukshida Kabir Ahlawat (Shruti Hasan). When the movie is brought to the present day, a cute little girl by the name of Naomi (Baby Diya Chalwad) gets introduced. She is a frequent visitor to Rocky's pawn shop. On one such visit, when she starts conversing with the ferocious looking Rocky, she confesses that all her friends call him as 'Handsome' and that, she has been deliberately told to stay away from him because 'he had committed a crime', something that her heart refuses to believe. As days pass by, she opens up about her dreaded life before Rocky. She confesses that her mother (Nathalia Kaur) is a hardcore drug addict who gets beaten up always by some men. The unsaid bond of friendship gradually increases between the two and Rocky (without saying) becomes extremely protective about her. One fine day, when Rocky enters his shop, he becomes shell shocked to see that his shop has been broken into and that some men are driving away with Naomi in their captive. All of this leads to a deal that Rocky strikes with Naomi's kidnappers Kevin (Nishikanth Kamath) and his psycho brother. As per the deal, Rocky should deliver a certain (drug) consignment to an assigned place, in return of the freedom of Naomi and her mother. And when Rocky lands up at the assigned place for the delivery, he realises that the police has cordoned the area. What follows after that is oodles and oodles of violence including many merciless killings and brutal murders all for a single reason. Amidst all this, the police department discovers Rocky's past that shocks the daylights out of them. What is the reason for all the killings, what is Rocky's past and what reference has it got with his present, does Rocky become successful in tracing out Naomi and her mother... is what forms the rest of the film.

The film's director Nishikant Kamat, who has made varied films in the past like DRISHYAM, FORCE, MUMBAI MERI JAAN, brings an action packed entertainer in the form of ROCKY HANDSOME, which happens to be an official remake of the South Korean film THE MAN FROM NOWHERE). He has effortlessly blended style and content and has maintained a fine balance between jaw-dropping action and heart-rending emotions. One has to give it to the action directors for raising the bar for action films, with ROCKY HANDSOME. Full credits go to Nishikant Kamat, John Abraham and the film's stunt directors (Suniel Rodrigues, Kecha Kammpakdee)

ROCKY HANDSOME has a story (Ritesh Shah) that is extremely average, which could have been much better. The same holds for the film's screenplay (Ritesh Shah) that definitely could have been tighter at many places. Despite the fact that the film has a small runtime, the film's story and narrative looks highly disjointed at places, which may just act as a speed breaker with the audiences' likings. The film also sees many clichés, which just could have been avoided. The flip side is that the film boasts of some of the high-octane action drama (including the blood soaked action punches and gun fights) that Bollywood has never witnessed before. The film's adrenaline rushing action provides reasons enough to keep the audiences engrossed till the end of the film. The film's first half takes some time to firmly establish the plot; the real story starts post the kidnapping of the girl and her mother. One has to give it to the director Nishikant Kamath for having wonderfully combined nail-biting action in the song 'Teri Toh Yaad Sataye'. One word to describe the unusual combo of fight and song is 'outstanding'. The USP of the film, however, has to be its climax, wherein John Abraham enters the villain's den and the action that follows after that. One really has to applaud Nishikant Kamath for the way he has presented the film - extremely stylish.

As for the performances, it's an out and out John Abraham flick, in which he leads the way from the very start. Even though he may not have many dialogues in the film, his breath taking action is what does most of the talking. Readers may know that, ROCKY HANDSOME is his second film with Nishikant Kamath, the first being FORCE. With ROCKY HANDSOME, John Abraham (who can rightly be called as the 'soul' of the film), takes the film notches above what one has seen in his earlier films. He has very sensitively handled the strong bond of relationship between him and the little girl. Even the reason for which he saves the girl in the film seems extremely valid. In simple words, one can very rightly say that John Abraham has carried the film on his brawny shoulders, essaying a part that fits him like a glove.

He is followed to a close second by Nishikant Kamath himself, who does full justice to his villainous avatar. The conviction and the confidence with which he has acted in the film, he lands up spitting terror with a capital 'T'. Shruti Hassan, who has a special appearance in the film, does justice to whatever little screen time that she gets. Baby Diya Chalwad delivers a very innocent performance, which is bound to strike a chord with the cinegoers. The other actors help the film in moving forward.

Even though the film's music (Sunny Bawra, Inder Bawra, Ankit Tiwari) is average, it's the film's outstanding background score (Sunny Bawra, Inder Bawra) that makes the film feel very international. While the film's editing (Aarif Shaikh) is watertight, the film's cinematography (Shankar Raman) is superlatively spellbinding.

On the whole, ROCKY HANDSOME is for people who like action. Despite the film having a simple plot, it has been garnished with engrossing drama and action stunningly. One can find the right mix of tension, action, emotion under one roof. A well-made action thriller!

Kapoor and Sons

Every Friday, Bollywood witnesses a new film with varied genre. This week's release KAPOOR & SONS is a family drama about a dysfunctional family of three generations. Will KAPOOR & SONS witness a 'SON-rise' at the Box-Office, or will it spell doom for the makers, let's analyze.

KAPOOR & SONS starts off with the 90 year old Dadu (Rishi Kapoor) 'practicing' death sequence at the dinner table. This is followed by a day in the life of the Kapoor family that consists of Harsh (Rajat Kapoor) and his wife Sarita (Ratna Pathak Shah) along with Dadu. The scene then shifts to the introduction of Harsh's elder son Rahul Kapoor (Fawad Khan), who happens to be a hugely successful writer living in London and Harsh's younger son Arjun Kapoor (Sidharth Malhotra), living in New Jersey, who happens to be a college dropout -turned-bartender, now 'trying' to be a writer. Right from the word go, he feels being treated as the black sheep of the family, because of which, he feels that his parents had always seen their 'perfect son' in Rahul and that they love him more than him. This is what creates a rift between the two brothers. One day, when both of them get a phone call informing them about the hospitalization of Dadu, they both rush to India (Coonoor to be specific). Despite their differences, they try to be good to each other for the sake of their family. One day, after an extremely tensed up argument, when Arjun attends a party to chill out, he accidentally meets the 'chull-buli' Tia Malik (Alia Bhatt), who is always full of life. Their friendship gradually blossoms into love. On the other hand, at the behest of an estate agent, Rahul (who is unaware of Arjun's feelings for Tia) also meets up with Tia in order to buy her ancestral estate for his company. Tia gets infatuated by Rahul on a drunken night. Amidst all this, Dadu confesses about his last two wishes before he dies. While the first one is to be buried and not burnt after his death, the second wish is to have a happy family photograph, comprising of all the members. On the 'D-Day' of the family photograph, the can of worms is opened which leads to flaring of tempers, ego clashes and the family photo is session doesn't happen. Post that, the family becomes furthermore distorted and disjointed.

What are these startling revelations that breaks the Kapoor household, does Dadu's last wish of having a joint family photograph get fulfilled, whom does ultimately Tia settle for: Arjun or Rahul is what forms the rest of the film.

KAPOOR & SONS happens to be director Shakun Batra's second film as a director, (the first film being EK MAIN AUR EKK TU). With KAPOOR & SONS, Shakun Batra has taken a gigantic leap as a director. He delivers a film that doesn't look like fictional movie, but a true life tale of every family. Barring a few scenes (in the second half), Shakun delivers one of the finest products in the form of KAPOOR & SONS, a new-age film that can easily be termed as one of the finest films of the year. His direction is such that it feels like the camera is just following the characters while they go about with their lives. While the film's first half sets the tempo and the mood, it's the second half that acts as a huge 'revelation' in the true sense of the word. One has to give it to Shakun for being successful in dodging the 'suspense' till the end. A very proud and a well deserving pat on the back to the film's writer Ayesha Dhillon and also Shakun Batra for 'gifting' a film that the audiences will never forget. The film's screenplay is brilliant. This duo should be applauded for the way they have sketched every single character and their respective quirks. The humor is very well weaved in the film.

Some of the most remarkable scenes of the film include Alia Bhatt's emotional break down when she talks about her family, the confrontation scenes during the film's climax and Fawad Khan's moments with Ratna Pathak Shah. The director needs to be awarded brownie points for the finesse with which he has shot these scenes and the flawless narrative that binds the film without any loose ends.

As far as performances are concerned, the film totally belongs to Fawad Khan, Ratna Pathak Shah and Rajat Kapoor. It's extremely endearing to see Rishi Kapoor playing a 90 year old man with the heavy make up. Its something that has never been done before in Bollywood. One has to watch his trysts with his 'I-papad' to know what we are saying. Rishi also brings maximum humor with his cute act as the loveable grandpa. Fawad Khan, on the other hand, surprises everyone with his exceptionally sensitive performance that can be rightly termed as a 'straight-from-the-heart' act. The emotional bond that his character develops with the audiences is so strong that almost everyone will want to have a son and a brother like him. The sensitivity, with which he has handled his character and the film, is really something that needs to be seen. The term that best describes Rajat Kapoor and Ratna Pathak Shah's performances in the film is 'outstanding'. They two talented actors get to show their full potential in the film. Sidharth Malhotra is decent in his role of the black sheep of the family and the way with which he has held burden of his character is really good. Alia Bhatt, on the other hand, has comparatively less screen space. But she simply owns the scenes she is in. Her onscreen chemistry with Sidharth Malhotra is sweet.

The film's music (Amaal Mallik, Badshah, Arko) is a letdown and has nothing to boast about except for the chartbuster 'Chul' track. There could be been better tracks to complement the film. On the other hand, the film's background score really scores with the film and its narrative.

The film's cinematographer (Jeffery F. Bierman) has done an excellent job in capturing the serenity of Coonoor like never before. His camerawork is such that it never seems to interrupt the actors in their performances. The film's editing (Shivkumar V. Panicker) is excellent.

On the whole, KAPOOR & SONS makes for an excellent movie that you must watch with your entire family. This film is Beautiful kar gayi Chul!

Teraa Surroor

In Bollywood, even though there are stars and superstars, not many can boast of being an 'all-rounder'. Himesh Reshammiya is one of the few who fall under the category of an 'all-rounder'. Be it music composing, producing TV serials, judging music shows, acting in films and even producing them, Himesh Reshammiya has 'been there done that'. He may have his share of admirers and adversaries within and outside the industry, but let's face it, the man continues to score big as a musician and his movies have always been talked-about, evaluated and scrutinised feverishly (good, bad, whatever!) which, indirectly, hints at his popularity. Like him or loathe him, the fact is you can't ignore him. After having tasted success with his debut film as an actor in films like THE XPOSE, AAP KAA SURROOR, Himesh Reshammiya is all set with the second installment in the 'suroor' series titled TERAA SURROOR. Will TERAA SURROOR create music at the Box-Office or will it bite the dust, let's analyze.

The film starts off with a broad daylight murder of two individuals, which is followed by the 'spot arrest' of Tara Wadia Brownson (Farah Karimae) in a drugs case in Dublin. This is followed by a flashback of events that establishes Tara's past with her present and the circumstances under which she was arrested. Knowing about her arrest, her would-be husband Raghu (Himesh Reshammiya) packs his bags and leaves for Dublin with a vow to prove her innocence and bring her back to India. But bringing Tara back is not at all as easy as he thought it to be. The rules and regulations of the Dublin jail happen to be so harsh that the jail authorities do not even allow Raghu to meet up with Tara, as per the law. That's why Raghu immediately hires Elle Jardan (Monica Dogra), a well-known criminal lawyer in Dublin. On detailed investigation, Tara confesses to Elle that, she landed up in Dublin because of a certain 'Aniruddh Brahmin', her Facebook acquaintance, who invited her to perform on 'India Day' in Dublin. And when Elle tells her that there is no such day that exists in Dublin, the search then begins for the mysterious Aniruddh Brahmin and the reason as to why he implicated Tara falsely in the drugs case. That's when Raghu comes across Enrique Santiago aka 'The Bird' (Naseeruddin Shah), known for his innumerable jail breaks and who charges 'per word' for his advice (read techniques) on jail breaks. Enrique then chalks out a plan for Raghu, which, if not executed in 20 minutes, will prove to be a fatal disaster for both Raghu and Tara. Will Raghu be able to execute the jailbreak plan in a mere 20 minutes for his ladylove Tara, does Elle become successful in proving Tara's innocence in the case, who is the real Aniruddh Brahmin and what was the reason behind him falsely framing Tara in the drugs case is what forms the rest of the story.

The film's director Shawn Arranha, who has, in the past, directed Hide & Seek, (comparatively) springs a surprise with TERAA SURROOR. His direction in building the suspense keeps you on the edge of your seat till the end. One has to give it to him for having successfully directed Himesh Reshammiya and extracting a performance from him. Certain scenes in the film stand out completely (like the introduction scene of Naseeruddin Shah is simply fantastic and the way the suspense gets unfolded is something that needs to be applauded). Having said that, one does feel and realise that even though the film's story may not boast of novelty (it could have been much better), it does keep the viewer engaged till the end and how! On the negative side, the film's pace in the first half acts as a villain ('drags endlessly at places'). Scenes like the escape from Ireland to Mumbai could have been explained in a better manner. If that wasn't enough, even the 'infusion' of too many songs in the first half slows down the pace of the film. It's only in the film's second half that we get the answers to all the mystery. Overall, the film's screenplay could have been tighter which is a must-need in suspense thrillers.

As for the performances, the film totally tends to rest on the shoulders of Himesh Reshammiya. Unlike his earlier ventures, after THE XPOSE, Himesh has again played into the suspense-thriller genre with TERAA SURROOR. The film sees him immensely improving in the acting department and one can safely say that he has acted better than his previous movies. His attempt to 'get into the skin of the character' really shows on the screen when we see him flaunting a toned body as per the requirement of his character. He appears slim and trim (he has lost weight for the part) and also carries his character with conviction. While the content may not appeal to universal audience, let's not forget the fact that the TG of the movie is Himesh Reshammiya's fans who will lap up the proceedings with equal enthusiasm. Besides him, there's the model-turned-actress Farah Karimae, who makes her debut with this film, is a delight to watch. Besides looking good, she has acted decently in the limited canvas which was provided to her. Besides them, there is the powerhouse performer in the form of Naseeruddin Shah, who, yet again proves as to why he is a safe bet for any film maker. His portrayal of a 'smooth-operator criminal' is simply magical. The trio of Kabir Bedi, Shekhar Kapur and Monica Dogra, despite their brief roles, deliver decent performances. One does feel that their characters could have been defined a bit more clearly. A special mention to the person who plays the villain in the film.

When you have Himesh Reshammiya as the film's music director, the music really needs to be top notch. TERAA SURROOR is no different. The film's music is simply outstanding. Tracks like 'Bekhudi', 'Main Woh Chand', 'Wafa Ne Bewafai' definitely stay with you till the end of the film. Ditto for the film's background music (Himesh Reshammiya).

A special mention for the film's DoP (Maneesh Chandra Bhatt), for not just the film bearing an upscale and glossy look, but also for successfully capturing the foreign locales (Ireland) exceedingly well on celluloid. On the other hand, the film's editing (Aashish Gaikar) is just about average.

On the whole, TERAA SURROOR is aimed at Himesh Reshammiya's fans who may want to go and patronize the movie. The pragmatic economics (cost recovery through the sale of music, satellite and other rights), no opposition and the multitude of Himesh Reshammiya's fans will ensure it will sail to safety at the Box Office.

Jai Gangaajal

The year 2001 saw the 'advent' of an extremely hardline film titled GANGAAJAL that starred Ajay Devgn, Gracy Singh and Mukesh Tiwari in pivotal roles. The film went onto become a blockbuster at the box-office. Today sees the release of JAI GANGAAJAL, that's set in the similar (if not same) premise. What one needs to understand is that JAI GANGAAJAL is not a sequel as it does not start from the point where the previous one ended. JAI GANGAAJAL is a story of the police-society relationship being revisited. It is the story of a cop with a conscience from today's day and age. While GANGAAJAL saw Ajay Devgn as the righteously tough cop, JAI GANGAAJAL sees the dawn of Priyanka Chopra as an IPS officer. Will JAI GANGAAJAL do complete justice to the legacy of GANGAAJAL or will it turn out to be an 'impurity' at the Box-Office, let's analyze.

The film starts off with the respective introductions of the corrupt cop Bhola Nath Singh aka B. N. Singh (Prakash Jha), Babloo Pandey aka 'vidhaayak' (Manav Kaul), Dablu Pandey aka 'chhote vidhaayak' (Ninad Kamat), the effeminate Munna Mardani (Murli Sharma), the IIT topper cum PhD from MIT Pawan (Rahul Bhat) and the fearlessly dutiful IPS officer Abha Mathur (Priyanka Chopra), who gets transferred to the Bankipur zilla. Ever since the time she steps into the town, Abha witnesses many unlawful things like corruption, the 'selling off' of the Khaki uniform to the lawbreakers, merciless rapes and also the farmers' suicides due to the non-payment of the loans taken. One fine day, when a thermal power corporation sets its eyes on the town, they offer double the cost of the land to all the residents in exchange for vacating their lands. While everyone abides by vacating their land (mostly) due to the fear of chhote vidhaayak Dablu Pandey or due to the lure of money, there is one fearless lady who refuses to part away with her land. Despite repeated requests and threats (in that order), when she refuses to give in to the demands of Dablu Pandey, her farmer father gets jailed in lieu of the nonpayment of loan. As the pressure starts mounting on her family, her old father surrenders to the situation by hanging himself to death. Despite her father's death, the gutsy lady still holds on to her guns and refuses to part away with her land for the thermal plant. That's when she gets picked up by the henchmen of Dablu Pandey, who, then take her to an isolated place and eventually Dablu rapes and kills her. Her kid brother Nagesh is the only one left behind. When Nagesh gets an opportunity, he picks up his school belt and strangulates Dablu Pandey in front of the whole town, which infuriates Babloo Pandey to the core and he vows to finish Nagesh by hook or crook. Amidst all this, the corrupt cop B. N. Singh develops a change of heart and keeps Nagesh under his protection.

Will Abha Mathur be able to eradicate corruption and other crimes from the town, is the corrupt cop B. N. Singh's change of heart for real or is it a mere hogwash and does Babloo Pandey become successful in killing Nagesh in order to avenge his brother's killing… is what forms the rest of the story.

Over the years, we have seen the story of an honest cop in many movies. Testimonies to this are in the form of Govind Nihalani's ARDH SATYA, E. Niwas' SHOOL and of course Prakash Jha's GANGAAJAL. Prakash Jha, whose forte has always been the hard hitting stories of the northern India with the undercurrents of heavy political upheaval, springs into action yet again with the screenplay of JAI GANGAAJAL. Despite having politics and nexus as the mainstay, he has tried his level best to keep the film's narrative as lucid (if not simple) as possible. The movie is not set in UP, Bihar or MP as most cop dramas are based but is set in heartland of India. Since we have seen similar films before (corrupt politicians versus cops), there is no novelty factor. However, Prakash Jha's screenplay is engaging. Even though the length of movie acts as deterrent in the film's progress, the positive side of the film is that it has good brand value. One has to give it to Prakash Jha's direction for having churned out some of the most memorable scenes in the film. Like the market scene where Priyanka Chopra bashes a goon in her introductory sequence, the confrontation scenes, Ninad Kamath's hanging scene, Manav Kaul mercilessly beating Priyanka Chopra.

When it comes to directing of films belonging to the 'political thriller' genre, Prakash Jha has been very good at it. JAI GANGAAJAL only acts as yet another testimony to the same. While the story establishes itself in the engaging first half, the second half revolves around the confrontation between Priyanka Chopra and corrupt villains. In the second half, the camera is not on Priyanka Chopra, but on Prakash Jha, which totally takes focus away from the central character. Despite all the odds, Prakash Jha manages somehow to keep the viewers on the hooks with his engaging narrative.

As for the performances, it is undoubtedly Priyanka Chopra who steals the show. Be it her perfect and impeccable timing, her intimidating screen persona and presence, she delivers a superlative performance, even though it may not qualify to be her career-best. She stands tall and gets her role spot on. As far as Prakash Jha the 'actor' is concerned, he pushes himself a bit too hard to get the nuances and the finer points of his character. And that very clearly shows on screen. But, that does not take away the fact that he delivers a remarkably good performance. He comes across as an excellent actor with a meaty role. Manav Kaul as Babloo Pandey is in top form. Right from his dialect to the body language of his character, Manav Kaul makes no mistakes in getting into the 'skin of his character'. Murali Sharma in a drag avatar seems a bit hard to digest initially, but his character gets embroiled into the script so much that you land up overcoming your inhibitions about his character.

Even though the film's music (Salim Merchant, Suleiman Merchant) has nothing much to boast about, it's the film's background score that works with the narrative.

While the film's cinematography (Sachin Krishn) is decent, the film's editing (Santosh Mandal) is praise worthy, although there could have been a handful of scenes that could have been chopped off that could have worked in favour of the film, especially in reducing the length of the movie. A special mention to the film's dialogues which are excellent with lines that are soaked in acid.

On the whole, with the absence of new releases in last two weeks, there seems to be no competition for JAI GANGAAJAL. Added to that a great brand value, all of which will ensure the movie to sail through at the box-office.

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