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October 26, 2014 Sunday     
After reaching a cult status, often big stars find it hugely risky to experiment with new directors and novel concepts following a fresh approach towards making entertaining cinema. And that is the reason they keep sticking to their own tried and tested camps, friendly directors and those fairly safe concepts adapted several times before. Yes, actors like Aamir Khan keep trying to break their own set standards of the past pushing their writers-directors along, but somehow Shahrukh Khan has lost that momentum which he once displayed in his films like CHAKK DE INDIA, SWADES and MY NAME IS KHAN. As a result in the recent times his films have been made on all ‘repetitive concepts’ only to en-cash the known euphoria around his name and nothing beyond that.
Unfortunately HAPPY NEW YEAR fails to deliver even that and remains amongst the weakest film of the actor as well as the director post their entertaining OM SHANTI OM. To give you a fair idea, Shahrukh’s CHENNAI EXPRESS still had much more enjoyable moments than HNY featuring a confident charmer Deepika Padukone with her fresh south Indian accent. But sadly, even Deepika is unable to save this pretty long, completely predictable and uninteresting film with her tapori mannerisms.
Clearing the speculations being made around its inspired status, HNY has nothing to do with the films with the same title i.e. HAPPY NEW YEAR (1987 - English), HAPPY NEW YEAR aka LA BONNE ANNE'E (1973 - French) or the Spanish heist film LADR'ON QUE ROBA A LADR'ON having few similar characters. In fact this is a poor mix and match of our own several Hindi films since the main revenge plot straight away reminds you of DHOOM 3 and many dialogues make you remember the previous films by the team quite clearly.
Beginning with all grand looks of the Dubai hotel, the makers keep stressing on the BODY structure right from the first few minutes itself and then go on giving the introductions for a good long 45 minutes. Looking for something fresh, one desperately starts expecting Deepika to come in fast to offer the much needed relief but such is the (all clichéd) below average script progression of the film that even her decent performance is unable to become the saving grace. The comedy barely works in only a few scenes and the dance competition before the intermission exactly looks like watching any mediocre movie unexpectedly.
The long and lazy sequences continue to test your patience in the second half and (once again) the heist is so easily done as if the owners were just waiting for the diamonds to be stolen in advance. Particularly the elements of ‘not in use’ AC duct & the excessive water involved in the act were just mind blowing throwing away the logic as always. Next the painfully stretched climax trying to pump in some fake patriotism simply falls flat and the film thankfully ends raising a big question in your mind that,
“Why did Shahrukh signed this and didn’t they all read the script first before saying Yes?”
and moreover,
“Why everyone including Aamir, Akshay, Hrithik, Salman & now Shahrukh are all desperately doing the same heist films all of a sudden?”
Keeping aside the writing which more or less gets revealed from the description above, I would like to mention the direction which questionably doesn’t give you even one impressive or memorable scene in the film to be precise. Refusing to learn from the mistakes of the past, this time Farah makes fun of Saroj Khan in a spoof and with Shahrukh (once again) being present in the act, becomes the ‘partner in the crime’ unarguably. In honest words, I really cannot understand the need and fail to laugh at any such act disrespecting our veterans, whom we have grown up watching in all the past decades.
Other than this highly objectionable addition Farha also brings in some surprising cameos featuring Sajid Khan, Prabhudeva, Anurag Kashyap, Vishal and more. But none of them is able to bring in that much desired laughter in the theater. Plus the overuse of a particular suggestive abusive word in the dialogues seems to be really strange as well as sick considering the King Khan’s status.
And I would humbly like to ask the Censors that
“Does the committee only understands English abusive words, strongly objecting their use in our films and really not familiar with the Hindi abuse suggestively used in HNY? OR
“Do we have different set of rules for small, medium and big budget films featuring the known names?”
Musically, the songs are not able to make any kind of long lasting impact on the viewers and the only catchy number “Main Lovely Ho Gayi Han" is highly inspired from a Punjabi composition also reminding you of "Main Yaar Manani Ni" from DAAG (1973). Coming to the other technical departments, a heist movie is largely dependent upon its Background Score which keeps you glued to the screen when the task is being done without any major dialogues. But HNY doesn’t have any pulsating Background score to make you feel the excitement and the camerawork keeps trying hard to fill in the missing element through its different angles along with some fine action. Also the editors are not able to deliver a fast paced, engaging product probably because they had to give each and every actor his due scenes keeping the main focus on Shahrukh.
In the performance section, I really haven’t got much to write as none of the names come up with anything exceptional other than a few scenes of Deepika, Boman and Abhishek. Despite being there in almost every frame Shahrukh doesn’t deliver the Khan magic and I truly missed the actor seen in SWADES and CHAKK DE INDIA. Both Sonu Sood & Anupam Kher are wasted just for nothing, Vivaan is only there to fill up the space and Jackie Shroff is the same, as seen before playing a routine act.
In all it seems that the film was made just for the sake of friendship since in comparative terms HNY is arguably one of the most disappointing films of the year which misses out the opportunity to encash a talented cast ensemble. Nevertheless its pretty obvious that the film will still make a big killing at the box office due to our own gross ignorance and so huge cinema loving population of the country.
However signing off on a positive note, I would like to request Shahrukh to please adapt new concepts, new directors and better films in the coming years, since the actor himself and his fans certainly deserve much better films than HAPPY NEW YEAR.
Rating : 1.5 / 5 (with the additional 0.5 just for the efforts of Deepika, Boman and Abhishek)
(On a personal note I still find the good old Dharmendra heist movies much more entertaining and enjoyable than these mediocre new age ventures, particularly SHALIMAR, JUGNU and AZAAD)
Tags : Happy New Year Review By Bobby Sing, HNY Film Review by Bobby Sing, HNY Movie Review at BTC, 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
24 October 2014 / bobbysing /
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In the recent reviews of many Hindi horror films, I have repeatedly mentioned a visible fact that this particular genre is one of the safest ones having a large section of viewers always ready to watch the latest flicks in the theaters despite their lower budgets, lesser publicity or an unknown star-cast. And that is the reason why there are always at least 30-40 persons in the first show of these films expecting something better scaring them like never before. Plus these horror ventures also have a decent demand in the home video market too since the Ramsay era.
Unfortunately the significant fact mentioned above is also known to many mediocre film-makers too which is repeatedly resulting in such silly and laughable products that not even qualify to be called as a Horror flick. In straight words, MUMBAI 125 KM once again proves that for few thoughtful minds a Horror film is nothing else than many dark scenes, shocking sounds, few flying spirits, some continuous brutal murders and a flashback secret served with a good dosage of sex and that’s it. Now here if you think I missed out the word story or plot then for these specific minds, a group of friends going on to an expedition or adventure (with references taken from few foreign movies) is all which is required in the name of plot as displayed in this latest dud.
Describing the experience of watching this so called Horror film in few lines, it as usual starts with a scary dream sequence, followed by a party/love song introducing a group of friends (with a love triangle) deciding to go on a quick journey which obviously turns out to be spooky introducing a woman ghost with a linking twist. But giving out the actual truth this is certainly one of the most foolishly written and carelessly directed films that just has been made in 3D aiming at those 250 Rupees lying in your pocket and has nothing to do with the genre or even cinema in some exact words. And since I can easily sense your disinterest in reading about the film, there is no use writing about its performances, cinematography, background score, direction or script wasting your valuable time any further.
However I would surely like to end with a simple request to the makers, that yes there are decent takers of this genre undoubtedly, but please don’t consider them as fools serving such immature products repeatedly calling them as Horror films.
Rating : 0.5 / 5 (and that too just for the hard-working crew involved in its making)
Tags : MUMBAI 125 KM Review by Bobby Sing, New Bollywood Movies Reviews, 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, Silly Horror Films in 2014
22 October 2014 / bobbysing /
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Its always refreshing to see films with some new likable faces without any prior information of what they are going to offer in those two hours. And considering this particular viewpoint, SONALI CABLE remains a pleasant one time watch based on an interesting realistic plot talking about the cable network and their local owners personally handling their connected households. However sadly it can also be rated as a film which could have easily become another KHOSLA KA GHOSLA, FUKREY or BAND BAAJA BAARAT with its immensely likable content, but fails to take its all realistic characters to the next level and manages to deliver just a feel good average result due to a hurried and weak final hour.
The film begins well with a fresh approach and starts placing all connecting dots intelligently pointing towards a good script in hand. The progression delivers few entertaining moments in the first hour along with a fine satire pointing towards the greedy corporate culture eying at every single person living in the city. But the culmination starts happening at a quite hurried pace and it more or less becomes all routine or clichéd towards the climax. Also the camerawork & background score remain above average with editing thankfully maintaining a racy pace throughout.
But despite the above mentioned shortcomings, a female protagonist straight out of the real life fighting back against a powerful corporate giant largely works in the favour of the film and one doesn’t mind watching it mainly due to the enjoyable performance of Rhea Chakraborty alone, fluently speaking her Marathi lines with confidence. The young, straight forward and bold character shiningly played by Rhea (in only her second film) becomes the sole attraction of the movie undoubtedly along with few good supporting acts coming from Ali Fazal (also in his second film), Faizal Rashid and Smita Jaykar. Anupam Kher in a not so lengthy role of a cunning businessman once again shows his versatility in playing different characters post his fabulous act in EKKEES TOPPON KI SALAAMI. Plus both exceptionally talented Swanand Kirkire and the debutant Raghav Juyal surely deserve a special mention here for being the surprise elements of the film with their impressive acts.
In his first attempt writer-director Charu Dutt Acharya could have delivered a much better and impactful film if he had given more attention to its conclusive hour adding a different climax twist than the usual ‘seen before’ one. He shapes up his well-placed characters superbly (especially Sonali’s) but isn’t able to play with them as effectively as desired in the second half. For instance, the sudden ineffective revelation of his wife’s departure and no logical depiction of the serious crime committed by Swanand Kirkire in the end simply looks weird with his daughter being least concerned about the same enjoying her own success. Further being a small film, I strongly feel that a director must look out for at least one catchy, enjoyable song from his music directors to get that much required attention from the viewers which is strongly missing in the film’s weak soundtrack.
Nevertheless, I would still like to appreciate the Sippy’s for backing such small venture with all fresh faces as this is only the way to tap the new hidden talent among the youngsters. Yes, SONALI CABLE surely could have been a great film with a potential plotline revealing the ugly games of the corporates played with the common man. Yet its much better than many hugely publicized silly films and has its heart right in place with a very sweet and worth praising performance of Rhea Chakraborty. So it can certainly be seen once for Rhea & Raghav alone to support the effort made.
Rating : 2.5 + 0.5 / 5 (With the additional 0.5 for Rhea, Raghav & Sippy films for supporting such small interesting venture with all fresh faces.)
Tags : Sonali Cable Review By Bobby Sing, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, 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
18 October 2014 / bobbysing /
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