Te3n Movie Review:


Can you relate yourself when I tell you someone is playing bang-bang and then, at first, all the blood rushing through their body, all that effort being rewarded for and all of a sudden they realise exuding less force within? Well, that’s exactly how this movie was, but get out of the earlier context.

A case of kidnapping, a troubled grandfather with the determination of finding the kidnapper follows a trail till he meets the convicted.

maxresdefault (1)

The movie starts off in the present and the scenes from the past are revealed with great directorial care. The likes of Bijesh Jayarajan of ‘Yudh’ fame and Suresh Nair meant a complete package of thrill and mystery. Following Kahaani’s huge success in screenplay, this film too had the same enigma following around.

Directing was of the top notch, may be a par better than the writing considering the figment of imagination put forth by the story writers. The first half was the epitome of graceful and refined conglomeration of directing and cinematography.

When I think of Amitabh Bachchan, all I can perceive is simplicity; elegant simplicity. Age is no bar for this great actor. He makes each expression his own feeling.

Talking about simplicity and great acting, Nawazuddin Siddiqui and Vidya Balan are not far behind. Nawaz’s acute and sharp performance coupled with Balan’s captivating act take away any second thoughts you’re having about watching this film.

Suffice it to say that this movie has all it’s bearings in place. But an archetypal trend in the last four years of Bollywood films makes it all, a little déjà vu. I was constantly thinking of Jazbaa, which is, on so many levels, an alike movie. Another movie would be Wazir, which was released earlier this year, exhibited a very similar framework of the story and the twists in this movie were almost as if pried off from Wazir.

maxresdefaultThe Last Word:

Inspite of all of the above going on, I’m pleased with the film, not so with the climax. Having said that, strong and compelling performances of the three musketeers, a great host of background music, along with nail biting mystery makes this film a good finish.

My Rating: 3.5/5

If you haven’t watched the trailer, here’s the link:



Sarbjit Movie Review: A cry for help


From Omung Kumar, the director of much appreciated Mary Kom, comes a movie about an ordinary farmer from Bhikiwind, Punjab who under the influence of alcohol crosses the Indo-Pak border and is incarcerated in Pakistan for 23 years, being mistaken for an Indian spy. The film emphasizes on the plight of Sarabjit Singh and the hardships faced by his family, especially his sister, Dalbir Kaur.

The tone of the movie is a notch higher in terms of the intensity as compared to Mary Kom. Randeep Hooda starring as Sarabjit, brings out the predicaments of the man who is wrongly convicted for bombings in Lahore and Faisalabad. As the movie is narrated from the perspective of his sister, it rules out the possibility of him being a spy which the unconfirmed sources from RAW agree to disagree.


Apart from the various controversies the story (real life story) has faced, the screenplay, dialogues and acting uplift the movie to a great extent. The screenplay goes in detail exploring the life of Sarabjit’s struggle to maintain sanity, Dalbir’s fight to bring her brother back and his wife’s and daughters’ disturbance at keeping Sarabjit’s memory alive.

Aishwarya Rai Bachchan’s zealous and invigorating performance will surely dwell in your mind and remind you of your elder protective sister. Randeep Hooda as Sarabjit was captivating, profound and gave a stellar performance. His camaraderie with Aishwarya Rai was terrific in spite of her being his sister in the film. Richa Chadha has always been one of the best actors of Bollywood. Even the performance by Ankita Shrivastav and Shiwani Saini as Sarabjit’s daughters conveyed the intended effect.

The Last Word:

Omung Kumar in his dirctorial has immensly outplayed the boundary of Sarbjit being a boring and a tedious movie. He gives a great message through this film. Currently 403 Indians and 278 Pakistanis are in imprisonment between the countries, many of them mistaken for being a spy. Our responsibility is to not let anyone mislead us and to trust our conscience.

My Rating: 4/5.


Baaghi Movie Review: Action packed, no brainer and unimpactful


With the stock of a trailer with so much action, stunts and the scenery captured in a way gratifying the viewer, it seems the movie was quite surreal when it extended from two minutes to a little over two hours. With a chiseling body Tiger Shroff exuded some moves in Heropanti. But when it came to acting he just couldn’t capitalize.

We talk a lot about how Bollywood is entertaining, but no one sees past the naive and cheesy acts in the movies. For starters, even the name of the movie was a borrowed one. The premise is picked up from the Indonesian hit Raid, and if that wasn’t enough, the screenplay and dialogues were terrible.


Tiger Shroff just couldn’t move past the words, “Abhi toh maine start kia hai”. Shraddha Kapoor kept the same demeanour as from the movie Ek Villain. With Sanjeev Datta’s debut writing experience, which is conjured from the diverse releases from Bollywood movies and Sabir Khan’s consistant work of directing muddled movies continues.

Though the action looks quite captivating, the same cannot be said about other aspects. Tiger Shroff’s and Shraddha Kapoor’s acting succumbs to keep the film entertaining. The film falls flat with the humdrum nature of the screenplay and the lack of originality.

The Last Word:

Though an interesting choice of playgarism has yielded the movie a bit of attention, the film has only a tidbit to offer besides the hand-to-hand fights and the kicks of Tiger. The film is tacky and it lacks a strong plot, but the cinematography and the scenic beauty somewhat pleases the eye.

My Rating: 2/5.

Bajirao Mastani Movie Review: An impeccable turret of moviemaking with a twisted storyline


Though an elucidated disclaimer says that the story depicts the life of Bajirao Peshva and his love story revolving around Mastani, and that the real events have been changed as per the need, for the purpose of storytelling; it doesn’t make up for wrong idealizing of what Peshva stood for. It’s like saying, “I’m writing a story based on your life and showing you as a man who brought shame on your family.” Now, isn’t that fiction? Technically, yes it is. But, since I’ve used your name and portrayed your character through my writing, the whole story points out one name and it’s yours, and in it you’re a bad person. So yeah, by doing that, I am throwing mud at you. To make myself clear, by altering the real events the writer has in fact done an offense.


I don’t know how many people from India have known about Bajirao Peshva, but its distressing to know that people have resorted to believing the story of the film and have painted an image, that’s by far, isn’t anything like Bajirao. So, other than the manipulation of the story and exploiting the whole Peshva house, the storyline for the film has been neat. The most salient and virtuous aspect on paper are the dialogues. They are the backbone of how the Maratha’s used to live, communicate and rule. They are the embodiment and the structure of the Maratha’s. Prakash Kapadia, who also assisted in writing the screenplay of the film Katyar Kaljat Ghusli, has also penned down few poetic lines, which increase the magnificence beyond praise.

When it comes to directing a historical film, a great responsibility is on the shoulders of the director. More than actors, he needs to be prepared for the guiding the actors, the etiquettes and the manner in which they are supposed to maneuver and act. Personally, I’ve never seen a director so blended in directing a historical love story. His direction cannot be criticized.


And when it comes to acting, Ranveer Singh has left an impact so sturdy, as if it has been engraved on my heart. A fabulous piece of acting from him and it shows. The scene of the last battle, when he walks alone into the army of the opposition and decapitates and destroys a major part of it, is when you’ll realize, you’ve seen something magnificent which cannot be forgotten.

Portraying Mastani, Deepika Padukone has given the performance of her lifetime. She is the dandiest in the film and gives the best judgement to her role. Priyanka Chopra, after her recent success in American T.V. series, Quantico, is captivating beyond measure. Saying that this character played by her is tough, is an understatement. She is a treat to watch.


The Final Word:

With picturesque cinematography and mesmerizing acting, the film directed by Sanjay Leela Bhansali touches the heart, though manipulating the story does not do any good. Gathering all the resources and conjuring a movie, which only focuses on the love story of a man, is not a biography but only an aspect of one’s life and I invite the youth (of at least our country) to think before believing some apocryphal stories. Showing Peshva dancing, or Kashibai and Mastani dancing together with their sarees wore below the belly button cannot be fathomed or forgotten. There are many flaws in respect of the story and the references made, but the worst thing is, they’ve created a fiction on the life of Bajirao Peshva; the Savior of Sanatan dharma.

So for this particular movie I’m going to implement a different rating system.

My Rating:

Acting: 5/5.

Directing: 4.5/5.

Materials or references used: 1.5/5.

Story: 0.5/5.

Overall rating: 0.5/5.

Talvar Movie Review: The story will leave you devastated.


It’s been little more than seven years, that the twin murder of Aarushi and Hemraj have drifted from the CBI getting one lead to another and then to being bogged down on several dead ends. With absolutely no evidence, the parents, Rajesh and Nupur Talwar being convicted of these murders under the tags of ‘honour killings’, stay in detention since 2013. The case would’ve been solved long ago, but the skillful work of the Delhi police, in garnering and containing the evidence, along with various labs storing them, managed to let the case run only on the hypothesis of CBI. Not that CBI was very dutiful in its task, but they successfully landed the charges on the parents rather than finding the murder on the loose.


I have been following the events of the Aarushi murder, also with the help of a book (not completed reading) with the name of the girl who was murdered in her sleep. Written by the reporter, Avirook Sen, the book mainly shows how the parents were innocent of committing the crime but it also had the mindset of a person, who would likely write something biased. After all, had spent two and half years covering the investigation. As much as I was convinced that Rajesh and Nupur couldn’t imagine doing it, the book also hinted Avirook Sen pressing on how the police and CBI personnel wanted to close off the case rather than finding the killer.

If you’re just checking it out for the first time click here for trailer:

Talking about the movie, Meghna Gulzar had to deliver a notable film for one of the uncanny case/sensation of India, with Vishal Bhardwaj’s retelling to its effect. To begin with, a whole lot of characters were altered/deleted and a case was designed such a way so as to show Ashwin Kumar (Irrfan Khan) as the savior. Needless to say, Ashwin, with his orthodox manner of getting the information out of suspects couldn’t save them from going to prison. The intention of the story was not to show a happy ending, but to get the audience to think about what’s going to happen next? Particularly, if the system doesn’t change. It was kind of like Prakash Jha’s movies. The screenplay did get a little messy, with many intricacies. For a typical Bollywood viewer, some of it might go over his head.

Konkana Sen Sharma was outstanding as the mother of Shruti (name changed from Aarushi). She was at her best while the scenes cut when Shruti’s body was taken into the vehicle for post mortem. Again, while the CBI worked out many theories of how the parents were the murders, in one of the hypothesis, she said, “Chal ab acting karni hai”(Let’s go, now we have to put on an act). The manner in which she exuded the characters of a loving mother and on the other hand a psychopath was frenetic and intimidating at times.

Irrfan Khan wasn’t the best as Ashwin Kumar, but was one of the attractions.  Among others, there were Neeraj Kabi, who was convincing enough as a doting father, Shishir Sharma, Gajraj Rao, Prakash Belawadi, Sumit Gulati, Tabu & Atul Kumar, who maintained the flow and kept the level in sync with what they had been expected.


The Final Word:

This film is not only a take on the most enigmatic case in the history of India but also acts as a  reminder to us that even with the best of resources available in hand, anything could go wrong with the current caliber of system. A need for better system, always craves in our minds. If you’re free this week and want to follow up to “what happened to Aarushi”, watch this movie. Otherwise, a man is awaiting a probe to pick him off of the martian lands, in other screens.

My Rating: 3.5/5.

Badlapur Movie Review: The name has it all.


How many times do we we watch Bollywood action-thrillers and end up liking it? Well, here’s a miniature of peek into the world of Raghav clung to seek his revenge in Badlapur; and with it comes a sturdy tagline, “Don’t miss the beginning.” Sriram Raghavan seems to have created quite the picturesque image, that of a film noir. It emulates over other alike films, which succumb just when it comes to telling a story and its presentation.


Albeit, Badlapur is a Bollywood creation and because many filmmakers have lost the capacity to build good characters, and meander the actors as per their roles, this one seems to do just that. The best point is that Sriram and Arijit Biswas have endeavored to keep away from the cliches. What better could have another ‘Main Tera Hero’ done to receive good word of mouth to the film?

Better care has been taken to picture Raghav (Varun) in a very composed manner. A youngster, that too not of a great calibre, is not expected to protrude beyond periphery. So much to be said about him, that such cranky act is very daunting to get in and follow through the whole movie of more than two hours. A dialogue by him, where he says, ” Muzhe kal ke liye sorry kehna chahiye, lekin main nahin kahunga.” Even a simple sentence is very effective when he says it.

To point out a flaw in Nawazuddin Siddiqui’s would be the most difficult task. But in a nutshell, he portrays his character till the end to the utmost perfection. Vinay Pathak, Yami Gautam, Divya Dutta and Radhika Apte only increase the taste of the film. Huma Qureshi is the dandiest among the supporting cast.

You are reminded of many thrillers while watching Badlapur, like the clock is ticking and the bomb is gonna explode at any moment. A great effort by the cinematographer Anil Mehta has been put in the film and editing syncs well to put up a great show.

Badlapur is such a baffling, strange and eccentric movie which harbingers that the imminent movies in the few years will be backed by ebullient cinematography and directing. A spellbinding script has worked to get the best from it. But if you’re to watch this film make sure you’re above 18 years of age. And if you are, I strongly recommend you to watch this film. It tops with every element there is to make it a robust film. I’m going with 4/5.

Queen Review: The triumph of movie making


What’s Good: Kangana Ranaut’s stunning acting and the dialogues which make you roll in your seats by laughter.

What’s Bad: Nearly nothing. Humor whooshes out of thin air in the second half though it doesn’t affect the flow of story. 

Loo breaks: None.

Watch it or not: Vikas Bahl takes you on a long ride from Delhi via Paris-Amsterdam and back, which is driven by the Queen itself and watching the funniest adventure makes you savor it to its fullest. It has everything that you’d want to see in a comedy film. This journey doesn’t tire you, it makes you think of what you’d do if you get caught up in a situation like this. 

ImageDelhi girl Rani’s (Kangana) wedding gets canceled, but she decides to go on her honeymoon alone to Paris. When she comes back from the tour, she winds up being a whole new person.  

Direction & Screenplay:

Vikas Bahl yet again paints a colorful world and with his prowess he persuades you to be a part of it. Its a beautiful world out there, you just have to peek and enjoy the privileges and try to savor the moments. This idea becomes the emanation of a sturdy film. When it comes to fun, the film does not hold you for long. a scene when Rani says, “mera humor kafi accha hai”, or when Rani tries to explain how the vibrator works, and it can be used to massage our shoulders. The concentric element that holds the movie together is that it is presented coherently and in a logical manner, and only pertinent humor elements are used in this film. Humor is the aorta of the film, but Vikas Bahl prevents the clot from forming.

Once again it wouldn’t hurt to pay my referential respect to the Screenplay writers. Its not everyday, when a screenplay is as simple and as invigorating as this. It sets everything on the right track. Talk about ambiance, delightful aroma or  fierce blaze. It’s not about getting heavy on inconsequential stuff, its about getting it on the spot, what people love. The dialogues too are funny, but the real secret lies in their pragmatic take in the film.

Cinematography & Music:

Clearly when a movie is shot at as many as over 145 locations you need a accomplished cinematographer to create picturesque moments. Bobby Singh and Siddhart h Diwan have fabulously captured every scene in the frame very subtly. 

Talking about the music, Amit Trivedi really makes the movie more interesting with his tunes. Amidst all “London Thumakda” and “O Gujariya” stand out. It comes out very enthusiastically and Amit does his magic again.

Star Performances:

The presence of Kangana Ranaut has worked again. The mysterious dialogue delivery, the profoundness in her character and acting takes her to another level. She has done exceptionally well in this film, if fact this is what you’d expect from an actor of this caliber. Indeed, her effort shows up on the screen. 

Rajkummar Rao and Lisa Haydon too have lived up to the mark. They don’t get to share much screen space Kangana but they are as captivating as the latter. 

The Final Word:

Women’s day special Queen is not about weeping about the losses, its about getting up contemplating, exploring the world and yourself and savoring the moments. Queen doesn’t just talk about this, it walks this prickly path, which is enveloped by humor. Kangana makes it very special and it’s worth investing in. This one in a year movie, don’t miss it for the world. I’m going with 4.5/5