With the advent of the New Year 2016, there are an array of films that have been lined up for release during the year. Kick-starting this year is the Bejoy Nambiar directed WAZIR, a film that's based on chess. After the yesteryear's cult film SHATRANJ KE KHILADI, the Amitabh-Farhan starrer WAZIR seems to be the only film that has chess as its central theme. Will WAZIR 'check-mate' its opponents (competition) or will it get 'beaten' at the box-office, let's analyze.

There's a popular rule in the game of chess, which states 'If you find a good move, look for a better one'. Loosely based on this thought, the film's screenplay (Bejoy Nambiar and Abhijat Joshi) takes the viewers through a gamut of emotions in the film.

The film starts off with 'musical introduction' of the dynamic ATS officer Danish Ali (Farhan Akhtar), his wife Ruhaana (Aditi Rao Hydari) and their only child Noorie. One day, when Danish is out with his family, his razor-sharp eyes spot a dreaded terrorist Rameez (Naseer Husain). What follows after that is a series of chase sequences, which results in the sudden death of the innocent Noorie. Completely shattered by the death of his child, a mentally disturbed Danish Ali lands up 'eliminating' Rameez, which results in him being suspended from his service. Unable to bear the grief, one day, just as he is about to kill himself, there enters a chess champion named Panditji aka Omkar Nath Dhar (Amitabh Bachchan) in his life. He, then, teaches Danish the 'similarities' between the 'game of life' and the 'game of chess'. Gradually, the two become the best of buddies and start spending time over drinks and chess. One fine day, Panditji reveals to Danish that his daughter was murdered by the politician Yazaad Qureshi (Manav Kaul) and that he is waiting to take revenge for the same. Danish joins Panditji in his battle against Yazaad Qureshi. As days pass, Danish realizes that Yazaad Qureshi is not just a mere politician, but is more than what meets the eye. Just when Danish plans to eliminate Yazaad Qureshi, Panditji gets 'attacked' by a certain mysterious villain named 'Wazir' (Neil Nitin Mukesh). What happens towards the end is something that turns Danish Ali's world upside down. Who is the real 'Wazir', what happens to Panditji in the end, does Danish Ali become successful in eliminating Yazaad Qureshi is what forms the rest of the film.

Director Bejoy Nambiar, whose last film as a director was the action-thriller DAVID, returns to the silver screen with his latest flick WAZIR. The sad part is that the film falls flat, courtesy, the poor and aimless direction. Like his earlier film DAVID, WAZIR too falls under the category of 'high on style, zero on substance'. WAZIR, which starts off on a promising note, starts losing its steam as the film progresses, because of too many dull moments in the film. The film suffers big time from the lack of able direction, unconvincing plot and for the want of a good and flawless screenplay. The film's script is so convoluted that it leaves the viewers with more questions, rather than giving out answers! What one fails to understand is that how can the director afford to do many senseless things in the name of 'cinematic liberties'. How can he explain the fact that, despite Farhan Akhtar being suspended from police service, he still carries a fully loaded gun and can 'call for action' as and when required and many such instances. All in all, WAZIR is a perfect example of a good concept gone wrong… terribly wrong.

As far as the performances are concerned, it is indeed the megastar Amitabh Bachchan who leads the way as Pandit Omkar Nath Dhar. Even though he plays a handicap in the film…in no way, that acts as a handicap in him delivering a superlative performance. On the other hand, Farhan Akhtar excels in his character of an ATS officer. He does total justice to the mannerisms and behavior as a tough cop. He successfully delivers numerous shades to his performance. Neil Nitin Mukesh, who was a part of the goldmine hit Prem Ratan Dhan Payo last year, disappoints sorely in WAZIR. He is totally wasted in the film. Ditto for John Abraham. On the other hand, Aditi Rao Hydari delivers what is expected of her. Other actors in the film help the film in moving forward.

In a film like this, where the story plot is the mainstay, there is hardly any space for music. Despite the film boasting of an array of music directors (Shantanu Moitra, Advaita, Ankit Tiwari, Prashant Pillai, Gaurav Godkhindi, Rochak Kohli), the songs fail to leave an impact. It is actually the music that slows the pace of the film. At the same time, the film's background music (Rohit Kulkarni) is impactful and effective. While the film's cinematography (Sanu Varghese) is decent, the film's editing (Vidhu Vinod Chopra, Abhijat Joshi) lacks style and substance.

Typically, in any whodunit thriller, the final revelation act should and must act as a bolt from the blue to the viewers. In the case of WAZIR, this is completely missing. It seems that the film's makers have taken the audiences and their sensibilities for granted.

On the whole, WAZIR, despite boasting of some of the great performances, reasonably fails to leave the desired impact because of its convoluted script. At the box office, the film may just about appeal to a handful of the multiplex audiences who would want to get a taste of Bollywood entertainment in absence of any new film releases since past three weeks.


The pre-Christmas week has finally arrived. The best is always reserved for the last and it has been a tradition to have at least one biggie unfurl in the Christmas week, before the curtains fall on the on-going year. 2015 has been an erratic and inconsistent year vis-à-vis box-office returns, with less highs and substantial lows puncturing the spirit of the film fraternity. Nonetheless, there's no harm in hoping that the year would terminate with a big bang. The Hindi film industry is on tenterhooks, craving for a Blockbuster and the extended holiday period [Christmas and New Year celebrations] promises to usher in the much-needed respite, thus ending the dry spell at the ticket counters.

After delivering the monstrous hit CHENNAI EXPRESS, Shah Rukh Khan teams up with the Hit machine -- director Rohit Shetty -- yet again. Also, Kajol, SRK's co-star of several unforgettable films, adds incredible weight to this keenly anticipated project. In addition, several enviable names, on and off screen, lend muscle to the enterprise. The canvas is gigantic as well. It can't get bigger than DILWALE, honestly.

Rohit Shetty is synonymous with audience-friendly movies. Most critics may deplore his work, but the paying public -- the ones who matter ultimately -- reveres his cinema. He promises dollops of entertainment and encompasses just about every ingredient available on the shelf, which the hoi polloi laps up with glee. His movies may not offer ground-breaking stuff, nor do they pick up meritorious awards, but he whips up a storm at the box-office every time he attempts a high-on-entertainment fare. Naturally, one expects DILWALE to surpass SRK-Rohit's previous endeavor by a wide margin.

Come to think of it, DILWALE is similar to CHENNAI EXPRESS in several ways. Rohit Shetty focuses on the love story yet again, while the light moments, high-octane drama and aimed-at-masses dialogue -- the staple ingredients or fodder that contribute to a masalathon -- adorn the goings-on wonderfully. At heart, and true to its title, DILWALE remains a love story, not an assemblage of sequences to win and woo the spectators.

Last word? DILWALE delivers what it promises: Entertainment in enormous doses. Rohit Shetty's latest creation speaks the language that the masses comprehend. It's one formula that can never go out of fashion, if handled smartly. And, don't we know by now, how proficient Rohit Shetty is when it comes to delivering a full-on entertainer in his unmistakable style.

The gist of the story: Raj aka Kaali [Shah Rukh Khan], a don, now leads a changed life in Goa. His world revolves around his brother Veer [Varun Dhawan]. Veer falls in love with Ishita [Kriti Sanon], who happens to be Meera's [Kajol] sister. Raj and Meera's paths had collided in the past and that becomes an obstacle for Veer and Ishita.

First things first! Speculation is rife that DILWALE is an updated/modified version of HUM [1991], but that's not true at all. Most love stories navigate identical paths and DILWALE is no different. Rohit Shetty stresses on vintage stuff [love triumphs against all odds], but he along with screenplay writer Yunus Sajawal narrates it smartly, peppering and garnishing the proceedings with sub-plots that keep you completed captivated, while the dialogue [Farhad-Sajid] act as the icing on the cake. The twists and turns involving SRK and Kajol is clearly the USP of the enterprise. In fact, the two turning points in the love story, both in the first half, will catch the viewer completely unaware.

Sure, DILWALE has its share of blemishes that cannot be overlooked either. The writing stagnates at regular intervals… The villain's track could've been more persuasive… The pre-climax, when things are sorted out between SRK and Kajol, seems convenient… However, these are minor aberrations. For, the plusses easily outweigh and outnumber the minuses here.

The soundtrack [Pritam] gels wonderfully with the genre of the film. 'Gerua', filmed most exquisitely, is a rage already and definitely the pick of the lot. 'Manma Emotion Jaage Re' is another groovy track that has caught on in a big way [the social media is flooded with its Dubsmash versions and that clearly indicates its popularity]. 'Janam Janam' is another soulful composition, while 'Tukur Tukur', which comes at the end credits, is a vintage track that's mandatory in a biggie. The best part is, the songs are appropriately interspersed in the scheme of things. The background score [Amar Mohile] is creditable and in sync with the on-screen situations.

Rohit Shetty's movies are embroidered with some implausible, but incredible stunts. DILWALE has a few action pieces, but the ones featuring SRK are vibrant. Cinematography is top-quality and the DoP [Dudley] makes every frame appear larger-than-life. The panoramic locales of Bulgaria appear truly spectacular.

The principal cast provides the much-needed sheen to Rohit Shetty's vision. For the incalculable fans of SRK and Kajol, it's a treat to watch the celebrated couple after a hiatus [after MY NAME IS KHAN; 2010]. It goes without saying that the duo dominates the proceedings with their effervescent acts. SRK is at his charismatic best in the young avtaar and carries off the angry, middle-aged guy with aplomb. Kajol looks gorgeous and steals your heart with a performance that stays in your memory. Actually, her character is one of the high points of the film and the terrific portrayal takes it notches higher. Besides, the on-screen chemistry is one of the pillars on which DILWALE rests.

Varun Dhawan, the teen heart-throb, is excellent, despite being pitted with some of the best names in the business. The young actor, barely five films old, is credible in light moments and compelling in poignant sequences. Kriti Sanon is camera-friendly and confident to the T.

DILWALE boasts of a commanding supporting cast, but the ones who sparkle include Sanjay Mishra [exceptional], Johny Lever [super], Mukesh Tiwari [first-rate] and Pankaj Tripathi [competent]. Boman Irani does exceedingly well. Vinod Khannna and Kabir Bedi, the two veterans, are just right. Varun Sharma contributes amply to the comic situations. Nawwab Shah is adequate.

On the whole, DILWALE is akin to a mouthwatering meal that satiates the craving of those who relish masalathons, besides being an absolute treat for SRK-Kajol fans. An unadulterated crowd-pleaser, DILWALE delivers what you expect from a Rohit Shetty film: King-sized entertainment. Go for it!

Bajirao Mastani

Sanjay Leela Bhansali was determined to make a film on the lives of Peshwa Bajirao, Kashibai and Mastani for quite some time now. The supremely talented raconteur kept vacillating between numerous actors, before he chose on the present star cast of BAJIRAO MASTANI. Although historicals were well-liked -- and commercially feasible, if I may add -- at a point of time, the swelling budgets and comprehensive study and research that went into making a historical compelled quite a few present-day film-makers to abandon their dream projects and opt for contemporary themes. Bhansali stood his ground and waited for the opportune time to commence the project in question.

It's a pre-requisite to possess a mega budget, have exhaustive knowledge of the subject matter, possess nerves of steel to handle the gigantic cast/crew and last but not the least, the vision and fortitude to bring a historical to life on celluloid in today's times. You can face instant rejection from the paying public or face controversies and protests for deviating from facts. The film-maker has to walk a tight rope.

BAJIRAO MASTANI is Bhansali's most ambitious project to date. The love story, the conflict, the dramatic altercations, the battle sequences and of course, the ostentatious setting... BAJIRAO MASTANI is an enthralling period film that transports you to an era you had only read about in the history books. At the same time, Bhansali introduces the on-screen characters and the sequence of events with utmost simplicity so that the enthusiastic spectator is able to get the grip of the goings-on effortlessly.

Final word? Fit BAJIRAO MASTANI into your agenda of films to watch this weekend. Bhansali could've easily opted for a modern-day love story, but the fact that he chose to make a historical and one that keeps you hooked for varied reasons deserves applause and encouragement from cineastes. Sure, it's a damn good looking film, but, most importantly, it has soul too.

The plotline: BAJIRAO MASTANI takes off with Bajirao [Ranveer Singh] being appointed the Peshwa. Soon, Mastani [Deepika Padukone] seeks his help to save her kingdom. Although Bajirao is already married to Kashibai [Priyanka Chopra], love blossoms between Bajirao and Mastani.

Bhansali along with his team of writers [screenplay: Prakash R. Kapadia; additional screenplay: Sanjay Leela Bhansali and Mallika Dutt Gharde] adorn the film with fascinating characters and inspirational sub-plots that advance into a stunning culmination. Despite a run time of almost 2.40 hours, Bhansali also sees to it that the writing is taut, the pacing is just right and at no point does the screenwriting deviate into unnecessary tracks.

Clearly, Bhansali seems to be motivated by the classics helmed by the Hollywood counterparts. He has a splendid sense of narrating an epic tale, which is evident when you think of the gigantic scale of the film. The battle sequences [action director: Sham Kaushal] are awe-inspiring and have been executed with magnificence. The production design [Sriram Kannan Iyengar, Sujeet Subhash Sawant, Saloni Ankush Dhatrak] is eye-filling and makes you acknowledge the effort that must've gone into recreating the long-gone era. The apparel as well as the styling of the characters is truly majestic.

Bhansali seamlessly weaves music in the historical. Filmed with care, the songs [also composed by Bhansali] are mesmeric and have been choreographed with precision. The ones that stand out are 'Deewani Mastani', 'Albela Sajan' and 'Pinga'. The background score [Sanchit Balhara] is wonderful. BAJIRAO MASTANI is gorgeously lensed, with the DoP [Sudeep Chaterjee] capturing the colors, setting and emotions meticulously. Editing [Rajesh G. Pandey] is crisp.

Bhansali makes sure the actors get major acting opportunities this time. Ranveer Singh is stupendous and clearly in top form. He holds you attentive right from the first frame till the penultimate moments. The effortlessness with which he gets into the skin of the character is noteworthy. In addition, the chemistry with both Deepika and Priyanka is delightful. It must be said that this is his finest work to date. Deepika is enchanting as Mastani and displays the strength as an actor in several pertinent episodes. The year 2015 clearly belongs to her for choosing diverse parts and delivering winning portrayals in PIKU, TAMASHA and now, BAJIRAO MASTANI. Priyanka Chopra's portrayal of Kashibai deserves brownie points. She interprets the character with brilliance, proving yet again that she's amongst the finest actors we have today.

The supporting cast is top notch, especially Tanvi Azmi [terrific], Milind Soman [wonderful], Vaibbhav Tatwawdi [superb] and Yateen Karyekar [competent]. Mahesh Manjrekar, Raza Murad are Aditya Pancholi enact their respective parts well.

On the whole, BAJIRAO MASTANI is a cinematic gem that you just cannot miss. Tremendous performances, deft direction, power-packed screenwriting and dialogue, melodious soundtrack and of course, the lavish mounting -- this film has it all. Strongly recommended!

Hate Story 3

In a world that's obsessed with love stories', in the year 2012, Vivek Agnihotri dared to break the stereotype mould when he made the skin-show infused with revenge drama in a film titled HATE STORY. Then, in the year 2014, Vishal Pandya carried the 'legacy' with HATE STORY 2. Circa 2015, we have Vishal Pandya again at the helm of things with HATE STORY 3, whose promos have already generated a lot of steam. Will the film woo the box-office or will it lose its steam, let's analyse.

The film starts off with the inauguration of 'Vikram Dewan Memorial Hospital' at the hands of Aditya Singh Dewan (Sharman Joshi) & Siya Singh Dewan (Zareen Khan). This is followed by a 'one-on-one' interview of Siya Singh Dewan by a TV channel wherein she touches upon her past and relates that to her present day situation. The success chart of the Dewans keeps on increasing every passing day. One fine day, a die-hard admirer of Aditya and his business acumen gifts him a swanky new car which catches him by surprise. On 'investigation', they find out that the swanky and costly car has been gifted by a certain Saurabh Singhania (Karan Singh Grover), who invites Aditya and Siya for a business lunch. Amidst the lunch, Saurabh offers unlimited and seamless help to Aditya because he likes people who are self made. Just as when Aditya starts thinking about the offer, Saurabh lays a condition that he will help Aditya provided he sends his wife Siya to spend a night with him. Needless to say that, this infuriates Aditya, who walks away in a huff. This then leads to Saurabh destroying Aditya's empire slowly, gradually… but successfully. Saurabh makes his first move towards Aditya's destruction by contaminating the soft drink company owned by Aditya. And when Saurabh becomes successful in doing so, a smart Aditya, very conveniently pushes the blame to his extremely loyal company secretary Kaaya (Daisy Shah) to shoulder the blame. After this, in order to know Saurabh's game plan, the ever-scheming Aditya then sends Kaaya as a honey trap to Saurabh. A couple of events later, Kaaya gets killed with her body found amidst the bushes. Why was Kaaya killed and who are her killers, why is Saurabh out to destroy Aditya's empire, does Siya accept Saurabh's indecent proposal and is Siya and Saurabh's relationship only pertaining to business or is it more than what meets the eye is what forms the rest of the film.

The veteran film maker Vikram Bhatt is responsible for HATE STORY 3's story and screenplay. And he does a neat job at that (a few plots and sub plots notwithstanding). The story though amateurish has enough twists and turns to keep the viewer hooked. The high point of the film is that the narrative that holds your attention right from the word when Karan Singh Grover's character reveals his true intentions.

There are a handful of places wherein the skin show and sleaze looks a bit out of place (read 'thrusted'), but, considering the premise of the story plot and the 'demand of the script', these scenes merges itself with the narrative. As far as the direction is concerned, Vishal Pandya is no newcomer to the premise of HATE STORY 3. He does what was expected of him to do. Like its predecessor (HATE STORY 2), Vishal has kept the storyline of HATE STORY 3 as an erotic thriller that navigates the same route. Like the first and second part, the sexually explicit content is cleverly interwoven within the said premise. But what sets apart HATE STORY 3 from its predecessors is that unlike the earlier versions, here, the male protagonist decides to get even with the oppressor. And it is Vishal who needs to be applauded for skilfully handling the movie that has an assortment of sexually explicit scenes which may appeal to those who relish steamy thrillers. The film has an extremely engaging first half, whereas, the film's second half helps in maintaining the grip, but, the loose ends do show up intermittently.

As far as the performances are concerned, one cannot single out a particular actor in this film as all the lead actors have performed as per the requirements of their respective characters. Sharman Joshi is decent in his role of a scheming businessman. Karan Singh Grover, on the other hand, delivers a clean performance. He does complete justice to his role that had multiple shades of love, lust, emotions, friendship and revenge. As for the heroines, it's Zarine Khan, who announces her (re) arrival in Bollywood with this film. Despite being out of action for some time now, she is bound to shock the viewers with her performance. The premise of the film demanded that the female protagonist deliver a commanding performance. Additionally, it's imperative (courtesy, the script) that she shed her inhibitions and don a bold avatar. Zarine Khan catches you completely unaware with a no-holds-barred performance, interpreting her character with utmost confidence and oozing sexuality at the same time. Daisy Shah, on the other hand, struggles initially, but, later on, goes with the flow of the film. She really has to work hard on the emotional scenes. The rest of the actors help in taking the film forward.

The film's music (Meet Bros, Amaal Mallik, Baman) definitely complements the flow of the film and vice versa. Since the film is backed by a music company (T-Series), one expects the soundtrack to be of high order and the songs live up to those towering expectations. 'Tumhe Apna Bana' (melodious) and 'Tu Issaq Mera' and 'Wajah' (soulful) are wonderful compositions that have been integrated in the narrative appropriately. The film's background music (Sunny Bawra and Inder Bawra) is superlative and adds glitter to the story plot and the film's narrative. While the film's cinematography (Prakash Kutty) is commendable, the film's editing (Manish More) just could have been a bit crisper (esp. during the film's second half).

On the whole, HATE STORY has a combo of skin show as well as melodious music which adds tremendous value to the project. This film has the potential to woo the masses and the youth, thus springing a big surprise at the ticket window. The film will turn out to be a profitable venture for its makers.


There have been many films which have been made or inspired by many English novels, or in some cases, a popular proverb or an adage. This week's release Imtiaz Ali's TAMASHA falls into the latter. Inspired by the Shakespearean's extremely popular monologue, 'All the world's a stage and all the men and women merely players', TAMASHA stars Ranbir Kapoor and Deepika Padukone in the lead roles. Will they be able to recreate the magic that they did the last time with YEH JAWAANI HAI DEEWANI or will the magic of this pair fizzle out, let's analyze.

The film starts off with the onstage robotic 'introduction' of Ved Vardhan Sahni (Ranbir Kapoor). The story then gets into a flashback mode wherein the audiences are introduced to the childhood of Ved, who gets mesmerized and enchanted by stories. The 'impact' of these stories told during his childhood is so huge that it starts hampering his 'corporate life'. The story then takes the viewers to Corsica, the place that he chooses to break free from his routine stereotyped life. It is here where he meets Tara Maheshwari (Deepika Padukone), an 'Asterix' crazy Indian who gets stranded in Corsica because of her lost baggage. When Ved and Tara meet, they get into an agreement that they will refrain from asking each other's personal details and that whatever they tell each other will be only lies, and lastly, 'what happens in Corsica, stays in Corisca'. That's why they decide to become 'Don' and 'Mona Darling' respectively. Thus continues their journey of break free and unknown identities. The duo enjoy each and every moment of their life to the fullest, till one day Tara gets her passport to go back to India. The two depart with the promise that they will never meet each other ever again. Life then becomes the routine for the two in India (although in different locations)... till one day they meet again. That's when they, not just reveal their real identities, but also grow extremely fond of each other. When the going is simply smooth and great, Ved proposes to Tara in front of his entire office by giving her a ring. However, contrary to everyone's expectations Tara drops a bombshell on Ved and his friends by not accepting the ring. This corporate show shatters Ved's life, so much so that he gets fired from his job. What is the reason that Tara to reject Ved's proposal despite being head over heels in love with him, does Ved ever get his job back, how do Ved's parents react to his job failure, do Ved and Tara ever come together is what forms the rest of the story.

There were extremely high expectations from the film's director Imtiaz Ali, whose last film was the hard hitting HIGHWAY. The sad part is that with TAMASHA, Imtiaz Ali fails to live upto the expectations and falls flat with the film. The movie suffers from a plot that appears confusing and is convoluted for an avid cinegoer. The film fails to bear the trademark way of his writing and the quintessential 'Imtiaz Ali' style of film making. His direction fails to complement the screenplay and vice versa. The movie is not a regular run of the mill flick and the proceedings are clearly aimed at the classes rather than the masses. The film's first 20 minutes that aims to setup the tempo and establish the character of Ranbir, might appear as boring to some. While (comparatively) the film's first half is refreshing, the film's second half seems to drag majorly. This hampers the film and acts as a spoilsport in the progress of the film. While on one hand, the movie gets entangled in a web of its own plot while trying to resolve Ranbir's identity crisis, on the other hand, the movie does have its 'wow' and 'not to be missed' moments in the form of the proceedings in Corsica, Deepika's first meeting with Ranbir in India, Ranbir's outburst and also Ranbir's 'storytelling' to his parents.

Now for the lead actors, Ranbir Kapoor, whose last film was the box-office dud BOMBAY VELVET, comes up with a lively performance in TAMASHA. He fits into the character like a fish takes to water. His chemistry with Deepika Padukone is extremely likeable, believable and relatable. The kind of chemistry that these two share on screen; one is always reminded of the magical chemistry between Shah Rukh Khan and Kajol. Despite putting in a commendable performance, the lackluster screenplay and the directionless direction surely plays the villainous speed breaker in his role. As far as Deepika Padukone is concerned, she is totally at ease with her character in TAMASHA. Her ability to 'switch' emotions in her role is superlative and really commendable. Every time she comes on screen, she simply lights it up with her magnetic presence. There is never a dull moment in the film when she is on screen. As far the other actors in the film are concerned, they simply help the film in moving forward.

Music has always been a mainstay in all of Imtiaz Ali's films. But, sadly, in TAMASHA, it is otherwise. Despite A.R. Rahman at the helm of things, the music (sadly) does not help in lifting the proceedings. At the same time, one cannot ignore the melodious track in the film in the form of 'Matargashti' that stays fresh in the minds of the viewers.

The film's editing (Aarti Bajaj) is below average (the film could have been better had the editing been watertight. The film's cinematography (Ravi Varman) is commendable but could have been better, as the exotic locales of Corsica could have been shown in a 'much better light'.

On the whole, TAMASHA comes across as a colossal disappointment in spite of towering performances and chemistry between the lead stars. At the box-office, the film will find it difficult to sustain and negative word of mouth will further erode its business capacity to a great extent.

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