A warm welcome to all friends visiting the site with a loving invitation to read my personal expressions on movies, music, poetry and life.

Music and Movies are like Ears and Eyes to me and if you also feel the same, then you are going to enjoy every moment spent on my works here, for sure.

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SARBJIT - Hooda remains the only saving grace in this lackluster filmy take on a real life tragedy, more interested in the STAR, using a forced mixed language sounding awful at times. (Review By Bobby Sing).

DEAR DAD - A forced & unconvincing attempt made on an underdeveloped bold plot that doesn't get any kind of support from the writing department. (Review By Bobby Sing) .

AZHAR - Keeps focusing on the court case and affair instead of any finer details of the icon's contribution to cricket, resulting in a big disappointment. (Review By Bobby Sing).

This Friday's ONE LINE REVIEWS by Bobby Sing to make your weekend plans..

BTC's Excellence in Hindi Cinema Awards for 2015 (Articles on Cinema by Bobby Sing).

CAPTAIN AMERICA: CIVIL WAR (English/Hindi) - Excelling in its action, focusing on mutual relationships, it somehow turns out to be less exciting than expected. (Review By Bobby Sing).

1920 LONDON - An interesting twist and no forced erotica remain the only two merits of this repetitive, avoidable venture. (Review By Bobby Sing).

ONE NIGHT STAND - A project that probably got made, just because the lady agreed to do it for her own reasons. (Review By Bobby Sing).

TRAFFIC - Watch its original Malayalam film to feel the real magic, giving the right kind of farewell to the director Late Rajesh Pillai. (Review By Bobby Sing).

TRAFFIC (2011/Malayalam) - That's how real life gives you stories to be adapted as a spellbinding, engrossing film for the starving viewers. (Review by Bobby Sing).

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May 25, 2016 Wednesday     
Beginning with an essential declaration, this is strictly the review of the director’s onscreen portrayal of a tragic real life story with my utmost respect and sympathy for Sarbjit and his family suffering for more than two decades caught in the sad political mess between the two neighbouring countries.
As a film SARBJIT made me extremely sad, since I witnessed a sincere and honest actor painfully going through some extreme level of preparations for his impressive and haunting performance only to get brutally betrayed by his writer and director, who couldn’t give him a film equivalent to his amazing and worth applauding efforts made, to be honest. In fact this is one of those most unfortunate instances of Hindi cinema, when an actor puts-in all he has got in his performance (suffering a hell lot of things) assuming it to be a great milestone film of his ongoing career, but the director is busy focusing on other bigger STAR featuring in the film showcasing his limited understanding of the subject bowing down to commercial world.
So irrespective of the project being a complete non-performer on almost all grounds, I would personally like to congratulate Randeep Hooda for such a frightening realistic act depicting the helplessness and suffering of his given character on screen to such astonishing effect.
SARBJIT also made me remember my ‘commercial arts diploma’ days in the 90s when I realized that, “Nothing can be more disastrous for an artist, if his mediocre piece of art becomes a success and wins some reputed awards too due to some unknown reasons”.
It’s disastrous as that gives the artist a fake assurance of having done something exceptionally good beyond the usual. And this false assumption only becomes the biggest hindrance in his future works or creations with an invisible over-confidence resulting in some bigger mediocre products, which exactly happens to be the case with director Omung Kumar and his career beginning with MARY KOM.
In straight words, when nobody informed or rather alarmed Omung about his strictly average film with a big miscasting of Priyanka Chopra as MARY KOM (winning National Award by chance), the director went on to make SARBJIT with an even bigger miscast of Aishwarya Rai as the STAR sister, proving to be a major liability for the project instead of any valuable asset.
Anyway keeping in mind the end result, SARBJIT is sure going to disappoint Randeep Hooda the most in comparison to anyone else and I seriously wish he had made all those painstaking efforts raising many big hopes for any other film and director instead of this below average one.
Giving you an idea of its strange, highly filmy representation of a real life tragedy, SARBJIT begins with a search-out scene, a flashback and a song introducing Randeep with 8-10 pigeons sitting on his both hands spread wide, clearly exposing the vision of its award winning director.
Next what remains the most annoying feature of the film throughout its 132 minutes duration is the mixed broken language using Hindi-Punjabi together that sounds awfully bad when deliberately used by the actors with the wrong and highly funny or rather ridiculous accent. The fact really made me wonder that why can’t a real-life story from the region of Punjab adapted on the screen in Hindi language? If you are too keen of keeping it realistic then make it entirely in Punjabi, but why to ruin the beauty of two different languages mixing them in such ‘brutal’ manner?
Apart from this unbearable language, the other major factor that repeatedly puts you off is the insertion of unwanted average songs at such crucial points of the film that one seriously begins wondering that were they really interested in bringing this ‘real life tragedy’ before the nation or were just willing to use it as a typical Bollywood film with an aim of encashing the emotions as usual. Supporting the statement the film has 3 songs before the intermission and 2 thrown in the second half too when it’s all supposed to be so tense and full of anger or hatred.
Mentioning the other absurdities, Aishwarya looks fair for a good part of the film but turns dark just before the intermission with the growing age. However post interval she again gets her fair complexion back and post a few scenes again starts looking dark which strangely doesn’t catches the eye of either her director or the continuity supervisor kept for this specific purpose. Adding to the amazement, Aishwarya turns old as the years pass but Richa Chaddha doesn’t, may be because she refused to put the white powder and decided to revolt against the rising age of her given character. Besides it was really bizarre to see the original photos of Sarbjit being used in many of its key sequences that are supposed to be of Randeep Hooda playing the character (who doesn’t even have a round face if compared to the real Sarbjit). Testing the viewer’s patience, the director goes in a docu-drama kind of mode in the second hour and then tries to add a detective-thriller angle too finding the actual man planning the bomb blast, who is nowhere to be found later in the story proceedings.
Thankfully, the torture, the climax and particularly the jail-meet sequence featuring the entire lead cast becomes the major highlight of the film without any slightest of doubt. The scene makes you feel for every single character emoting on screen with tears in eyes but sadly remains unable to save the otherwise casually directed film having a lot of potential.
In fact, even Aishwarya tries visibly hard to portray her difficult role of a courageous sister without any glamour or help coming from the make-up dada. But when the director only is willing to make her shout, scream and point fingers at the officials in Pakistan (like Sunny Deol) with a weird Punjabi accent, then the actor can do nothing but just let it go hoping for the best in the final edit trusting the man in command.
Richa Chaddha is the second name in the film the director is not really aware of. But the incredibly talented lady goes for a kill in just the one scene given to her like a wounded tigress. The film also has a decent supporting cast doing their jobs well, but Omung is neither interested in them nor in some other finer details of the story focusing on just the STAR, the exaggerated melodrama and the overdone acts. He refuses to talk about any other angle in the plot except Dalbir Kaur and keeps narrating the story from her perspective alone in a partial manner.
In other words, with a fine cinematography and background score, SARBJIT narrates the struggle for justice assuming everything in simple black and white, but has no space for the suspicious areas representing the grey tones. And keeping that in mind the best title of the film would have been SARBJIT DI BHAIN (Sarabjit’s sister) instead of SARBJIT alone (and this is not said in any lighter tone making it pretty clear.)
Summing up, a product like SARBJIT is there because there has been a MARY KOM in the past and its quite dangerous when such mediocre products start getting appreciation and awards undeservingly. Having said that the film still can or rather should be seen honouring and respecting the efforts made by Randeep Hooda.
Rating : 2 / 5 (and this 2 entirely belongs to Hooda and their meeting sequence alone.)
Tags : Sarbjit Film Review by Bobby Sing, Sarbjit Movie Review by Bobby Sing, Hindi biopics, Biographical movies in Hindi cinema, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
20 May 2016 / bobbysing /
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A lesser known film with no indication of what’s it all about featuring Arvind Swamy in the lead was enough to get me excited, expecting something out of the routine providing a sigh of relief. Thankfully the film did have a few soothing performances and two well-conceived tracks making a decent impact. But unfortunately it was all based on a highly convincing plot, presented at a weirdly hurried pace reaching nowhere.
Revolving around a father and his young teenager son, the film is about their road journey back to the residential school in Mussourie after the holidays are over. The father has a secret to be revealed in this short span of time adding a teasing suspense into the film, and the tension works fine in its initial realistic moments introducing the small family.However the problem begins when instead of playing with this fine suspense element for a little longer, the writer-director decide to reveal the secret within the first 20-25 minutes itself and then are left with nothing else to do in the next hour or so before moving onto the climax. As a result they go on adding some literally bizarre sequences ruining a fine build up, which frankly turns the film into an utterly mediocre venture without any vision as such.
(Spoilers Ahead)
Giving you the basic plot of the film (in order to present the flaws), it’s about a father of a teenager son and a 7-8 years old daughter declaring a well-guarded truth to his family after around 15-16 years of living a happily married life all of a sudden. And the truth is that he in reality is a GAY and now no longer interested in hiding his actual persona from anyone including his parents, wife and kids too. Post the unexpected revelation, the wife decides to have a divorce and now the young son needs to be informed of all these sudden developments resulting in his parents getting separated soon. Here instead of getting into why the father decided to reveal it all one fine morning after so many years, the film actually gets focused on the son that how he reacts and behaves with his dad after knowing the shocking truth on this trip back to school accompanied by a group of friends.
Offering some fine initial moments before the secret is out, DEAR DAD looks like a decent, realistic venture dealing with some interesting characters played by a talented cast. But once its basic theme gets revealed, it suddenly turns into a visionless, wandering product that doesn’t really know what to offer in the mid before jumping on to the climax. And in this visible state of indecisiveness, the writers add a highly pathetic twist in the film’s second half that strongly make you wonder that who actually approved this all and in what state of mind (or no-mind) to be specific.
The stupid twist is that once the young boy gets to know the real identity of his father, he quickly shares the secret with his fast friend (staying along) and then they both decide to visit a local Bangali Baba to find the cure as if he is suffering from a sick sexual disease to be instantly taken care of. The films wastes a good 15 minutes on this silly insertion and then moves on to two other meaningless scenes taking them both into the girls hostel (at night) and in the lady principal’s room (in the morning) as two shameless culprits caught red handed peeping into a young girl’s room. Getting into such childish story progression, one loses all hopes from the team whatsoever and accepts it to be a film made just for the sake of making something different and absurd without any vision as such.
Shot in the scenic locations around Mussourie bringing in the much needed freshness, DEAR DAD also has a third supporting character of a TV reality show winner meeting the father-son duo on their way to the school. The young man stays with them for a night due to the road blocks and somehow gets to know the secret leading to some interested scenes. Aman Uppal (as the reality show winner) running away from the TV studios, fed up of all that repetitive stuff, adds his own charm to the narration, but its Arvind Swamy who actually holds the entire film together through his individual scenes with some well written meaningful lines rendered in a sensitive manner. Humanshu Sharma performs well as the young son caught in the dilemma and the entire supporting cast is just fine in their limited scenes given by the script writer.
Directed by debutante Tanuj Bhramar, DEAR DAD’s second merit (after the pleasing performances) is its soundtrack consisting of two good songs ‘Ik Girha Khul Gayi” (Lyrics – Deepak Ramola, Music – Raghav-Arjun and Singer – Ali Noor) and “Chhota Hun Main” (Lyrics – Neeraj Rajwar, Music – Ujjwal Kashyap and Singer – Jasleen Royal) strongly making their presence felt with their timely insertions.
In short, there are performances, there are a few thoughtful moments and there are two fine songs too in this short unusual film of just 90 minutes of duration. Yet DEAR DAD fails to spell any magic due to its shallow writing, that isn’t able to express or depict the emotional depth demanded by the bold subject. In other words the film neither shocks nor moves you in any way while watching the few characters emoting on screen to the best of their ability. Moreover the way it goes into a severely terrible zone post intermission, one wishes the director had chosen a more convincing, emotional theme roping in the same cast.
However if you are still interested in giving the film a fair chance (due to its bold subject), then do go for it but only after a couple of months when it officially gets aired on any channel soon.
Rating : 2 / 5
Tags : Dear Dad Review by Bobby Sing, Dear Dad Film Review by Bobby Sing, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
15 May 2016 / bobbysing /
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Keeping in mind the promotional campaign of the film titled AZHAR, I haven’t seen a better example of the public being fooled by the makers, actors and ‘the man’ together so openly. Making it clear, at first they loudly sell their project to the viewers as ‘An Exciting Biopic’ (including Azharuddin visiting all TV programs/events along with the lead stars) and then begin the film with a brazen declaration that this is not a biopic on Azhar, but only a dramatized presentation of some events inspired from his life taking the required creative liberties. Now if that is not an evident example of cleverly ‘misguiding the end-user’ then I don’t know what else can be.
Moreover in all his pre-release interviews and statements, Emraan Hashmi kept explaining that how he had a real tough time studying and imitating Azhar’s unusual body postures, his walk, his way of playing the famous strokes, his magical wrist moves, his habit of speaking fast, his actual persona on the field interacting with other players and a lot more practicing for weeks and months. But astonishingly, you never find anything of that sort ever while watching the lengthy film except Hashmi trying to walk with a bent shoulder and his collars up as if that was sufficient to portray Azhar on screen fooling the eager viewers.
In short, despite making a sincere effort, I never found the actor anywhere even close to the icon portrayed on screen, except in those few scenes on the field wearing the helmet. To be honest, with all due respect to the practitioner and his trainers (guides), it was 90% Emraan and just 10% Azhar right from the first frame to the last, which in reality is more the fault of his director, not able or willing to see the discrepancies.
Adding to the above, the same can be said for almost everyone featuring in the ‘important cast ensemble’ that ideally has to be the strongest merit of a real life inspired film presented in the name of a bio-pic.
Elaborating on the point, none of the actors chosen to play the known characters of Ravi Shastri, Manoj Prabhakar, Navjot Singh Sidhu, Anil Kumble, Vinod Kambli, Sachin and more are able to make any kind of impact whatsoever (presented as caricatures), becoming the biggest drawback of the film revealing the limited thought process of its writer and director. In other words, the entire group of supporting characters remains unconvincing and under developed in their every single scene and then the blunder mistake of casting Nargis Fakhri as Sangeeta pulls the film down like nobody else. Interestingly Nargis never looked so awful both in her looks and performance ever before in her earlier films. Accompanying her in the acting department Lara Dutta keeps struggling hard in her absurdly written role of the opponent lawyer and Rajesh Sharma doesn’t get enough scenes playing the only bookie shown (as if it’s that easy and accessible) and that too along with a blurry image of person reminding you of notorious ‘Dawood’.
Putting it bluntly, there is only Prachi Desai (as Azhar’s first wife) and Kunal Roy Kapur (as Hashmi’s lawyer) who prove out be the only two actors making some kind of impact in their onscreen portrayals. Otherwise AZHAR is a film that actually suffers a lot due to its ‘wrong casting choices’ made apart from the poor writing, execution and direction.
Coming straight to the point with the match-fixing case, the film begins well moving back and forth in time focusing on Azhar remembering his initial years of life sitting in the court room. The first 20 odd minutes give you the impression of a responsible film keeping the interest alive, but very soon one gets to know that they are actually not interested in talking about Cricket but only the court case and his love life ignoring a lot hell of the things one really wished to see in the projected bio-pic. Still at interval it somehow remains an average entertainer minus the most desiring component i.e. the game.
However post interval as the focus completely shifts to Manoj (Prabhakar) and Sangeeta Bijalani poorly played by Nargis Fakhri, the film nosedives steeply and never gets back on the track despite a few engaging sequences. The love affair hinders the pace pretty badly and some immature courtroom scenes turn it into a huge disappointment ending on a routine note where the hero gets declared ‘not guilty’.
As usual, a couple of songs get inserted since they have to be there fulfilling a Hindi film requirement as a mandatory clause. And we yet again get to hear the typical music arrangements with some good poetic verses (deliberately adding Urdu words), rendered by the similar sounding voices moving to the unrequired high pitch tones (read screaming). A reworked version of “Oye Oye” is just unbearable and the original sounds better even today (though it also isn’t an original in the first place). The background score fails to add any exciting value into the narration and so does cinematography that remains unable to present the match sequences in any appreciable manner.
In fact these particular scenes of the cricket match, once again raise a valid question that why we are not able to recreate the game on the bigger screen expressing the same enthusiasm as we feel while watching it on our TV screens? Why in almost every Hindi film based on cricket, the on-field scenes always turn out to be quite amateurish and messy with only a couple of exceptions there like LAGAAN. Unfortunately the same gets repeated here in AZHAR too where we don’t even get to see a good coverage of the spirited crowd cheering for their teams even in a match between India and Pakistan (and you really need a vision to avoid showcasing the crowd in a match between these two rivals). Besides it was quite weird to see a highly absurd interaction between the chief of the selector’s committee and Azhar in an empty ground with a tape-recorder being used to play the noise of the crowd.
A bio-pic or a film inspired from real life events of a sports icon actually requires loads of research and solid preparation on paper before going on floor. And when it’s a film on the happening life of a controversial icon like Azharuddin, then the makers certainly have a solid subject in hand that has all the probabilities of becoming a big hit among the masses as well as the classes.
Sadly AZHAR is not able to deliver the desired in either its story telling, direction or dialogues department ruining big expectations of many, particularly of the fans who were more interested in knowing the lesser known facts about their icon’s inspiring passion for the game and his cricketing secrets. Strangely the makers went on promoting the film as a bio-pic when it had nothing at all related with Azhar’s famous persona of a cricketer, any information about his personal career guru or ideal, the story behind his innovative style of using the wrists, his state of mind making 3 consecutive centuries in the first three tests, his famous fight with Navjot Siddhu, his relation with the youngest player of the team Sachin Tendulkar and a lot more about those blessed days of glory lived with the entire team. The film isn’t interested in talking about any such thing but is only busy in presenting Azhar as an ex-captain fighting a case of match fixing filed against him by the authorities.
At times, this single agenda style of narration also makes you think that was this film purposefully made to clear the dicey image of Azharuddin in front of the cricket loving nation? The possibility is right there, but contradicting the thought, a highly shocking and ridiculous justification given for a horrendous crime committed by the onscreen Azhar is so much hurting for a true cricket fan that one seriously begins to think that ‘Did he really do it?’
The deadly insertion comes when the film shows Azhar taking money from a bookie for throwing away an important match abroad. The unexpected sequence simply makes you go numb and the situation worsens when Azhar later doesn’t underperform as per the instructions given by the bookie, but returns the money taken giving a silly justification that he actually agreed to do it so that the amount doesn’t get offered to any other player in the team keeping it all clean. This offensive and unforgivable step taken by the Captain of Indian team definitely hurts the most (if you are a true Cricket fan) and one really feels the pain like a strong betrayal coming from a Nation’s Hero followed since last three decades.
Ironically with Azhar himself being there supporting the film, providing all the source material to the writers, the inexcusable instance might be true. But I personally would love to believe that it was one of those big creative liberties taken by the script writers, since I would not be able to respect the icon any more if the crime was actually committed with any kind of noble motive whatsoever. Also because this would in turn force me to accept that match-fixing does exists and there is a lot hidden behind the curtains that might include many more big names shattering all our beliefs about Cricket being a gentleman’s game followed by almost every single Indian since the last century.  
Anyway, having slammed the film above mentioning all its big downers, here are the three positive features of AZHAR that thankfully save the project from becoming a complete non-performer.
A. The engaging sequence of the match against Pakistan with a dialogue with Mian Dad and the important catch (despite the tacky execution).
B. The touchy reference of public humiliation faced by Azhar while inauguration a gym (that every celebrity would easily relate with).
C. And the unconvincing yet interesting twist in the court case calling Lara Dutta as a witness, who is also a big fan of Azhar, turning the tables on her.
In all, you can still go for the film taking it as a fictional filmy account of a cricketer not talking about cricket at all, if you must. But if you wish to see a bio-pic on the former Indian Captain’s prime years on the field and his untold secrets of the game, then AZHAR is going to be a big disappointment offering nothing in those terms, failing in almost all its departments.
In simple words, its a poor film falsely presented as a bio-pic of a renowned cricketer to the nation that treats Cricket as a religion. A film that unfortunately confirms the existence of distressing match-fixing in the game, resulting in no emotional feelings felt for its lead character. A film that could have been a lot more with such an explosive and potent subject focusing on a major controversy. And a film that can easily be termed as a big life-time opportunity missed by its director Tony D’Souza.
Rating : 2 / 5
Tags : Azhar Film Review by Bobby Sing, Azhar Movie Review by Bobby Sing, Azhar Biopic in Hindi, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
13 May 2016 / bobbysing /
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