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.

Do send in your valuable comments and suggestions as they would be my guide for all the future works.


ANAARKALI OF AARAH - You praised Amitabh teaching the meaning of a woman's NO in the court, now praise Swara doing the same in a differently authentic manner. (Review By Bobby Sing).

PHILLAURI - It's a confusingly conceived Punjabi film made in Hindi, based on an interesting but inspired idea with the only merit being its emotional climax. (Review By Bobby Sing).

TRAPPED - Post an unconvincing start, it fairly keeps you engaged as a praise-worthy off-beat attempt featuring an impressive solo act and some notable merits. (Review By Bobby Sing).

This Friday's One Line Reviews by Bobby Sing for making your weekend movie plans..

KONG SKULL ISLAND (English) - Though lacks an emotional pull and the original charm, it's still an incredibly made entertaining comic-book adventure to be experienced in a well-equipped theater. (Review by Bobby Sing).

BADRINATH KI DULHANIA - A unique case of the makers returning with the same lead pair, a similar title, identical looks and the same old premise of a wedding, mocking at the viewers patience & choice. (Review by Bobby Sing).

LION (English/2016) - An emotionally uplifting film which once again depicts INDIA in a bad light and we know the westerners do have a fascination for such dark representation of our country since decades. (Review by Bobby Sing).

ANUPAMA (1967) - Its touching emotional climax and DDLJ - By Bobby Sing.

COMMANDO 2 - Focusing on suspense instead of action, Vidyut gets no support in this poor and so casually conceived film unfortunately. (Review By Bobby Sing).

LOGAN (English/Hindi) - You will make faces, tighten your fists and do several things going through this brutal, cold blooded must watch thriller for sure. (Review by Bobby Sing).

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March 29, 2017 Wednesday     

Waiting for its release since last few years, though RUNNING SHAADI (earlier titled as RUNNING SHAADI.COM) is yet another light hearted romantic comedy based on Punjab and Punjabi characters following a typical format, yet it isn’t any bad or an awful movie to be honest giving its deserving due.

Having said that, it still will not make any serious dent at the box office, since nowadays the insane ticket prices charged by the multiplexes are certainly not inviting enough for the viewers to try such small, fun filled attempts moving over the much publicized biggies featuring the known Stars.

Talking about the film, it opens really well and I loved watching the first 15 minutes of the narration handled maturely. The idea of a website arranging everything for the couples willing to run away for their marriage brings in the much needed freshness enacted by a likeable cast. And one does enjoy watching a simple, light hearted, feel-good, Punjab (or Punjabi) based film till the intermission.

Unfortunately it all goes back to the routine stuff in the second half focusing on the same ‘unsaid-confused love’ seen in many of the recent films. The story development strongly makes you recall BAND BAJA BAARAAT, which also revolved around a young couple starting an innovative business project before falling in love. Moreover, moving from Amritsar to Patna, the final hour yet again features a marriage and the unplanned chaos heading towards the predictable ending without raising the excitement levels as required. However director Amit Roy and his writer Navjot Gulati still manage to deliver some fairly entertaining sequences at intervals which do not allow me to rate the film as any below average venture to be honest, enhanced by the three natural and likeable acts of Tapsee, Amit and Brijender Kala in particular.

In the technical department, where cinematography and background score remain apt, it’s the repeatedly muting of the word ‘dot com’ which keeps spoiling the spirit throughout raising many unnecessary doubts. Plus as a romantic comedy the film desperately needed some good melodious tracks widening its reach, which sadly remain missing affecting its overall impact.

Gaining both fame and respect from her performances in BABY and PINK, Tapsee Pannu delivers an adorable act here too (in a film made much before the two as it seems). And the girl simply brightens up the screen demanding a loving attention in almost every scene of hers trying a wide range of eye-catching outfits and hairstyles. Amit Sadh delivers a controlled performance in an otherwise tough role and gets a fine entertaining support from Arsh Bajwa playing the funny technical guy initiating the risky business. Among the veterans, Pankaj Jha doesn’t get enough scenes to make his presence felt but Brijender Kala once again proves himself as one of the most underrated actors of Hindi cinema as the supportive Bihari Uncle.

In all, RUNNING SHAADI certainly had much more potential in its concept requiring a better exploitation, but it still remains a decent one time watch led by the talented Tapsee Pannu along with Brijender Kala. In fact this is one of those movies which you are sure going to enjoy watching it on TV channel soon, but might not be willing to go for it in a costly multiplex.

Putting it differently, at present it’s not the films but the cost of watching them in the multiplexes, which is deciding the fate of such reasonable one time watch entertainers without any slightest of doubt. In other words, it’s an acceptable fact that almost 90-95% of the viewers will not like to go for any such film with their friends, beloveds or family members spending 250-400 per ticket making a big whole in their pocket.

BUT if they are told that the multiplexes are showing such films at just Rs.100 per ticket then at least 20-30% out of them would surely find some time to catch it in the theatre finding it well within their reach satisfying their passion for cinema.

And that’s exactly the key to get the footfall back in the theatres before it’s too late.

Rating : 2.5 / 5 (with additional points earned by both Tapsee Pannu and Brijender Kala for their appreciable acts.)

(Note : The word ‘dot com’ gets muted in the film as a famous matrimonial website took legal action against the title just a few days before the release and the makers had to remove the mention as per the court’s verdict.)

Tags : Running Shaadi Review by Bobby Sing, Running Shaadi.com Review By Bobby Sing, Hindi films based on Punjab, Punjabi touch Hindi films, 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
25 February 2017 / bobbysing /
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The name Vishal Bhardwaj ensures one thing in his films and that’s the technical excellence in his craft along with a worth noticing background score and some seriously intense performances (including the well-chosen supporting cast).

Now this is all there in RANGOON to be precise, as the film has a remarkable cinematography, a very fine background score (the sound), many appealing picturesque locations, some eye catching innovating lighting, an enjoyable choreography, apt costumes and many perfect looking frames resulting in a visually appealing film with some questionably ‘catchable’ graphics that can easily be ignored.

So if technical achievement is all you are looking for in a film then RANGOON is just for you, but as per a dialogue in the film itself, “Public SHOT nahin, FILM dekhti hai”…….. to which I agree wholeheartedly without any slightest of doubt.

In few words, RANGOON does have a spectacular stunning body……. but no soul at all, neither in its chemistry between the artists nor the soundtrack, which ideally is considered the most effective feature of a Vishal Bhardwaj film.

Dedicated to the World War II and India struggling for its independence in that particular period, RANGOON has the same old story of an affluent lady (here an actress) falling in love with a stranger (an Indian working in the British army) during their lonely travel/stay in an unknown region/country, who later faces a dilemma meeting her earlier lover/fiancé getting back to the normal life. The only difference being, that this time the love triangle has been presented in the backdrop of World War II and the lady has been modeled on the real life character of Fearless Nadia who used to be hugely famous in our country around the era of 1940s.

With its first 20 (theatrical) minutes strongly reminding you of QT’s INGLOURIOUS BASTERDS (having a similar setting), thankfully I didn’t find any complexities in RANGOON as per the (mostly) fixed format of recent Vishal Bhardwaj movies. But I did find many forced kissing and skin-show sequences in the film not usually associated with the same VB projects. Probably the writer-director intentionally opted for such deliberate unnecessary insertions and a simplistic narration in order to reach the general public in the theaters other than his ‘fixed fan following’. But the fact remains that he once again fails to deliver the excellence we earlier used to cherish in his gems such as MAKDEE, MAQBOOL, THE BLUE UMBRELLA and OMKARA (In fact, I personally couldn’t loudly appreciate any of his films post OMKARA).  

Supposedly a period film, I didn’t feel any old world charm in its presentation too except the film-shooting related sequences and the English officers (annoyingly) trying speaking the famous URDU sheyrs in a funny Hindi pronunciation. Here would also like to inform that though it begins with a well-shot attack (war) sequence of a few minutes, RANGOON is not any war movie at all contradicting to the widely spread assumption in the social networks.

The film is a simple, clichéd love story presented in the backdrop of a war which becomes over lengthy towards the end with the same old kind of conflicts and a ‘seen before’ climax having no entertaining twists ruining the expectations. Surprisingly it also has an utterly foolish or fake sequence in the second half wherein Kangna suddenly (and weirdly) gets into her ‘screen avatar’ of a fearless fighter and goes to rescue Shahid from a train full of British soldiers. Honestly I did find myself and many others in the theater literally laughing watching Kangna running on the top of a moving train in her filmy attire. Really didn’t expect this in a Vishal Bhardwaj film!

Having said that, another brilliant scene did remind me that I was indeed watching the same director’s film talking about the war era, featuring two comic performers hilariously targeting ‘Hitler’ in their stage act.  

The Soundtrack
There was a time when we desperately used to await new soundtracks of both A. R. Rahman and Vishal Bhardwaj as the new released CDs. But now the songs are heard for the first time while watching the films only and RANGOON once again has just a couple of catchy songs among the avoidable rest (unnecessarily added into the narration unlike a VB film). Where I did love the melody/presentation of ‘Bloody Hell’ (featuring a cameo of Sunidhi Chauhan) and ‘Tap Tap’ based on a train rhythm, the opening notes of ‘Yeh Ishq Hai’ sounded exactly similar to those of Rahman’s ‘Dil Se Re’ and the best one remained “Alvida” played in parts more than once in the film. Interestingly Vishal himself sings a different and unplugged version of ‘Jan Gan Man’ created by the Azad Hind Fauj in the film, leaving a decent impact.

Despite having two known male lead actors in the film, RANGOON’s key hero remains Kangana Ranaut from the very first scene to the last and she can also be called the only saving grace of the film without any hesitation. The girl plays her role with a visibly confident authority giving a stand out performance and both Shahid and Saif remain unable to stop her from stealing the show throughout.

Shahid is impressive as a British soldier silently working for his country’s independence but Saif Ali Khan is just fine without any exceptional quality in his portrayal of a cunning moviemaker-cum-businessman. Plus there is no emotional pull or chemistry to be found in either Saif-Kangna or Shahid-Kangna love scenes which otherwise are shot aesthetically (but with a plastic feel).

The supporting cast has always been a major merit of a Vishal Bhardwaj film since the beginning and RANGOON continues to have the same with Richard McCabe (as Major General Harding), Saharsh Shukla (as Zulfi), Lin Laishram (as Mema), Manav Vij and more excelling in their given roles.

Summing up, RANGOON can only be seen for Kangan Ranaut alone and nothing else to be fair in a costly multiplex. And no it doesn't generate any patriotic feeling at all with a completely filmy finale. I didn’t mind watching the film at a surprising ticket price of just Rs.120 in a leading multiplex of Delhi in the very first show. But anything above than 100-120 for this RANGOON will be a sheer exploitive loot offering much less in return.

Ending on a different note, RANGOON once again had praises coming in before the release from the entire film fraternity on Twitter. And they were once again faking around scratching each other's back as usual fooling the innocent viewers.

Rating : 2 + 0.5 / 5 (including additional 0.5 for the few catchy tracks, particularly ALVIDA) 

Tags : Rangoon Review by Bobby Sing, Rangoon Movie Review By Bobby Sing, Rangoon and Inglourious Basterds, Rangoon and Tarantino, Inspired films of Vishal Bhardwaj, 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, Hindi Films based on War, World War II films in India, Azad Hind Fauj in Hindi films, Fearless Nadia in Rangoon, Kangna as Fearless Nadia, Period based Hindi films.
24 February 2017 / bobbysing /
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There is much to know about Punjab beyond politics, crime and drugs and the makers of IRADA at least gather some courage to make a film on the same revolving around a key city of the state featuring an interesting cast.

However I seriously wish the project was written, executed and publicized in a much stronger and fearless manner, since the present one unfortunately presents a lesser known, eye opener issue with quite a lame and unimpressive vision which fails to make any kind of solid impact on the viewer as required.

Revolving around a terribly disturbing truth of a known region in Punjab becoming the victim of water contamination because of a politically shielded industry and its reverse boring process (mixing chemicals with the groundwater), IRADA reveals a scary untold truth spreading the deadly cancer in people. And then introduces the harsh reality of a ‘CANCER TRAIN’ taking the patients from Bathinda to Bikaner (for treatment), also becoming a potential source of clients for the new Insurance agents.

No doubt the debutant director Aparnaa Singh surely deserves praises for selecting such an off-beat, dark subject talking about eco-terrorism (as the film calls it) in her very first attempt. But sadly the choice of subject doesn’t get any great support from its writers and the execution too remains far less than anything impactful lessening the alarming, social importance of its crucial subject.

Probably it was both the inexperience of the team and fear of the censor or involved parties that the makers didn’t even try to present it as any bold, in-depth film showcasing the lesser known reality. The subject matter surely had a lot to shock the uninformed or unaware viewers, but the film seldom intends to do the same and therefore keeps walking on the surface without getting into any ugly deeper pits intentionally.

Beginning with the emotional story of a father and his young athlete daughter (in the first 20 minutes), the film suddenly changes path moving on to the other related subplots involving a journalist, a corrupt politician, a cunning industrialist and an honest investigating officer appointed for the case. Taking too much time in the build-up, the relationships only gets established after almost an hour when the key plot is revealed and its only post the intermission that the viewer feels like watching something better talking about a shocking social issue to be honest. However an amateurish climax further ruins the entire excitement felt in its concluding hour.

Proving as the biggest savior apart from its appreciable plot, IRADA has an interesting cast featuring Naseeruddin Shah as the distressed father, Arshad Warsi as the smart, honest officer, Divya Dutta as a corrupt abusive politician (mostly speaking in Punjabi) and Sharad Kelkar as the mean, exploitive industrialist or the villain. Where both Naseer and Arshad keep trying to do their best in their half-baked roles, Divya and Sharad remain loud and unreal throughout due to the weak characterizations and Sagarika Ghatge fails to deliver anything worth noticing playing the revenge seeking journalist. Surprisingly the youngest of them all, Ruman Molla scores the maximum as the innocent, victim girl in her few scenes.

Besides the real life sources, the director also draws her inspiration from Julia Robert’s classic ERIN BROCKOVICH (2000) based on a similar subject, but remains unable to make any taut, exciting thriller following the identical format.

Summing up, IRADA has its heart in the right place and the intensions also noble choosing an untouched and relevant subject showcasing the present state of Punjab. But sadly that is not sufficient for making any winning film. As my personal conclusion, it would have been an entirely different outcome if the film was made in Punjabi instead of Hindi with a leading young actor playing the role of a short tempered investigating officer going after the politician and the industrialist together like an angry young man.

Rating : 2 + 1 (with the additional 1 just for the choice of subject and bringing the truth forward in front of the entire nation)

Tags : Irada Movie Review By Bobby Sing, Irada Film Review by Bobby Sing, Inspired Movies, Real life Inspired Movies on Punjab, Cancer Train in Punjba, Irada and Erin Brockovich, 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 February 2017 / bobbysing /
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The Ghazi AttackHindi Cinema has rarely dared to give us a realistic war movie that can be largely praised for its impressive onscreen portrayal. Moreover an underwater war movie has actually never been there before THE GHAZI ATTACK, giving the film its deserving credit of being the first project in this genre coming from the Hindi Cinema.

Fictionally decoding the mystery behind the destruction of Pakistani submarine PNS Ghazi in the Bay of Bengal during (before) the 1971 Indo-Pak war (as mentioned in its detailed disclaimer), the film made in Telugu and Hindi, begins with an voiceover of Amitabh Bachchan (giving an early insight of the story) and then never loses the grip in the next two exciting hours crafted skillfully.

The biggest merit of the film remains its talented cast ensemble featuring the terrific impactful Kay Kay, the ever-sincere Atul Kulkarni and a notably restrained Rana Daggubati in charge of the Indian submarine, along with Late Om Puri and Naseer (in short cameos) as their commanding Navy officers. Rahul Singh as a bit hamming Pakistani captain successfully plays to the gallery and Tapsee Pannu makes a decent emotional connect with the viewers in her few scenes. Milind Gunaji makes a surprising brief appearance after a long gap and supporting cast does it well despite not getting any detailed attention in the narration.

(Mild Spoilers Ahead)
Competently directed by the debutant Sankalp Reddy and well-scripted by his writers (including the dialogues), the film scores the maximum before the intermission and has a few minuses coming in the second half, which interestingly get shielded by a strong spirit of nationalism and the viewers mostly involved in the thrilling edge of the seat entertainment in its final hour.

For instance, in a particular scene it’s really strange to see the captain whispering to the operating officers about the danger ahead as if the opponents might hear him, the use of complete National Anthem towards the end looks like highly forced or unnecessary and then the collective singing of Indian soldiers reaching out to the Pakistanis in their better equipped submarine defies all logics of underwater acoustics quite weirdly. Also a few potential scenes strongly demanded a much stronger execution like the one where Rana saves two civilian’s lives in the sea and then returns back to the submarine in the given time.

Having said that, the team still bravely manages to deliver a highly engrossing and worth praising film considering its limited budget, less effective special effects and the fact that it all happens within the restricted areas of a submarine without any added sub-plot or the typical songs. Many brilliantly directed sequences lift up the narration repeatedly such as the heated interactions between the two captains, the senior captain’s emotional final farewell and the decisive ‘up and down’ games being played with the much strong rival in the climax. And for this the film’s writers, background score composer, cinematographer and the editor deserves equal praises too apart from the director, who certainly is capable of making a near perfect film next, if given a better opportunity.

In all, ignoring the forced filmy touches, THE GHAZI ATTACK largely remains a delightfully focused treat led by a talented cast, which is a rarity in the present questionable scenario of Hindi Cinema. So it surely deserves to be given a fair chance as your personal support to such courageous well-made films having no big stars.

Ending on a positive note, it was good to see the film being presented by Karan Johar, since the name has never been associated with such experimental, off beat cinema in the last many years……. raising many new hopes.

Rating : 3.5 / 5

Tags : The Ghazi Attack Movie Review by Bobby Sing, The Ghazi Attack Film Review by Bobby Sing, Real life inspired films, Indian War Movies, First Indian Underwater War Movie, 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
17 February 2017 / bobbysing /
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