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.

ENJOY!

BAHUBALI 2 - It delivers larger than life cinema as a solid prequel & conclusion but the excellence seen in the final hour of its original remains missing. (Review by Bobby Sing).

NOOR - What a confused and lazy way to make a crime investigative thriller with neither thrills nor any investigations ending on a weird note. (Review By Bobby Sing).

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

When my Career Consultancy didn't work for a few strangely concerned parents. - by Bobby Sing (Few Life Inspiring Words - 23).

FAST & FURIOUS 8 (English/Hindi) - Partially enjoyable, but strictly for the fans loving the action genre. [TTP (To The Point) Review By Bobby Sing].

MANJE BISTRE (Punjabi) - It seems Punjabi Cinema is now stuck with period dramas focusing on a 'Vyah Wala Ghar' as their latest repetitive obsession. (Review By Bobby Sing).

BEGUM JAAN (Hindi) / RAJKAHINI (Bengali) - Benegal's MANDI meets Manto's TOBA TEK SINGH and Mehta's MIRCH MASALA in this bold but over dramatic effort, sadly remaining too bland to be called an epic despite its noble intentions. (An overview by Bobby Sing).

The last 2 shows at REGAL and the one man behind the event, nobody knows about. (A detailed emotional and technical description by Bobby Sing).

MUKTI BHAWAN (Hotel Salvation) - Could have been a classic, but surely deserves to be seen for its subject, performances and Varanasi in particular. (Review by Bobby Sing).

LAALI KI SHAADI MEIN LAADDOO DEEWANA - Stay away from this marriage and its tiring absurdity. [TTP (To The Point) Review By Bobby Sing].

 
 
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April 29, 2017 Saturday     

Just when the debate of Nepotism (preference to family and known people) was all over in the news, releases MACHINE, the debut film of Mustafa Burmawalla, son of Abbas Burmawalla (from the famous director duo Abbas-Mastan). And it clearly gives out a verdict that nepotism alone cannot establish you in the industry without any exceptional talent and certainly not when the other more important decisive factor is also not on your side i.e. The LUCK.

In other words, nepotism can surely get you an easy first chance. But the rest completely depends upon your destiny (luck), talent, the product and its strategic release in the theaters in that particular order.

Moreover, one also cannot make it when almost every decision regarding his crucial launch turns out to be hopelessly stale, lifeless and quite poor in taste too, shockingly executed by two experienced directors of the industry. Giving you the actual picture, it’s quite surprising that the director duo decided to launch their family boy in such an outdated and awful film based on a script that is an offspring of their own BAAZIGAR (which itself was a very fine inspired version of an English hit). So right from the first car race sequence to the sight of Dalip Tahil as the father, MACHINE strongly reminds you of BAAZIGAR without making any sort of impact and can easily be rated as probably the worst attempt of Abbas-Mastan in their entire career.

Despite having everything as per their trademark style including an eye catching production value, foreign locations, appealing camerawork, racy background score and a lot of forced glamour, MACHINE still fails to leave a mark as it offers nothing novel in its storyline moving on the same old clichéd plot of the 90s following a depressingly boring progression. The dialogues are unable to create any aura and the girls incapable of winning over the audience missing the sex-appeal. In fact lacking the freshness required, Kiara did remind me of Esha Deol at many places to be brutally honest.

Enacting a negative yet tailor made role Mustafa is just okay with no display of any extraordinary sparks of a hero and the same can be said for the girls too playing it in a typical routine manner. Ronit Roy once again looks fine in a negative role whereas Johny Lever is simply there in a few deliberately inserted sequences as the maker’s lucky mascot.

Interestingly music which used to be a key feature of an Abbas-Mastan film adds to the negativity missing any catchy notable song and it was quite weird to see a character singing Punjabi lyrics all of a sudden without any reference of Punjab. Besides here we yet again have a literally ruined cult song as ‘Tu Cheez Badi Hai Mast Mast’ forcing you to visit the lobby for a while till its over.

In all this is a MACHINE which is quite old in its making and thus cannot create anything substantial in terms of the new-age entertainment. So in case you are arguing the topic of Nepotism in any school, college or online debate in the coming days, then go ahead and quote MACHINE as the most recent evident example giving a clear judgment.  

Rating : 0.5 + 0.5 / 5 (with 0.5 for the crew and 0.5 for the debutante making his first effort.)

Tags : Machine Review by Bobby Sing, Machine Hindi Film Review by Bobby Sing, 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 March 2017 / bobbysing /
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Trapped

With films like UDAAN (included in BTC’s Movies To See Before You Die List) and LOOTERA (a slow, off-beat romantic drama) to his credit, Vikramaditya Motwane is certainly a director who wishes to break through the traditional barriers of Hindi cinema opening new avenues for all, and his third film TRAPPED yet again turns out to be a rare experimental attempt led by a solid performance.

A unique attempt in Hindi cinema reminding you of survival series films such as BURIED (2010), 127 HOURS (2010), ALL IS LOST (2013), the classic CAST AWAY (2000) and more, TRAPPED as per its title revolves around a young man locked inside the apartment of an unfinished, deserted high rise building (in one of its higher floors) without any stock of basic necessities or means of communication for days (or weeks unclearly). Actually the promotional trailer of TRAPPED gives you everything about its basic content or plot and the only thing left to be seen remains the execution, performance and the way its director keeps you engrossed in a 102 minutes of duration (almost) without any supporting cast.

Thankfully, apart from its unconvincing dicey start and a few cinematic liberties taken in an otherwise realistic film, TRAPPED partially delivers the expected excellence through the visible efforts of an exceptional team of a daring director, cinematographer, background score composer and a lead performer largely overcoming the monotonous feel.

(*Spoilers ahead)
Not an easy watch for all, it has some gruesome, uncomfortable scenes focusing on the main protagonist struggling for existence going after pigeons, rats, cockroaches, insects and drinking his own urine too. Particular the ones having fear of rodents are sure to have some difficult time watching a few scenes focusing on them in particular. Expressing a lot about the uncaring nature of the city and its citizens through some interesting metaphors, the narration drags you in once you readily assume that this can possibly happen right in the middle of the ‘never sleeping’ city on an unfortunate bad day.

Appropriately shot in (mostly) natural light with a mix of extreme close-ups and realistic visuals, the director makes you part of the struggle and then you do feel the joy in every small victory of the survivor in the final hour of the film to be exact. Well supported by Geetanjali Thapa in the first 15 minutes playing the love interest, TRAPPED remains entirely focused on Rajkummar Rao in the rest and the actor once again proves that he is undoubtedly one of the finest talent of our cinema, who does deserve an equal respect and attention as given to Nawazzudin Siddiqui or Irrfan Khan by the media to be fair. Very aptly named as Shaurya (meaning bravery), Rao performs with perfection, though he does seem to be repetitive in the initial office sequences reminding you of his earlier films. Having said that you still cannot assume anyone else doing the role while moving out of the theatre giving the due credit.

Coming to its hurried, unrealistic beginning and the cinematic liberties taken, any survival drama’ key requisite is to convince the viewer about how its main protagonist gets caught in such unexpected, unpleasant situation with no possible contact with the outer world. In TRAPPED though the door getting locked by itself with the key in it and the later proceedings largely appear to be believable, it’s the initial build-up and the premise which sadly remains too fast, unconvincing and flawed.

Explaining the downers in details, first of all post a few weeks affair and physical intimacy, the entire urgency of getting married to an office colleague in a day, who is already engaged and going to be married in a few weeks appears to be too fast and unrealistic, and that too when the girl is not entirely convinced or ready.

Secondly, what kind of a well-educated, decently employed young man simply trusts a stranger broker (met in a corridor) who hasn’t even got an office of his own and who is not even the owner of the house or interested in arranging your meet with the actual owner in the first place? What kind of an educated person goes in a deal like this without any legal papers, clarifications or confirmations?

Thirdly, who takes up an apartment on rent in such a lonely high rise building, which is still under construction, left deserted for last two years for unknown reasons, with no one else living in any of its 30+ floors since last two years like a haunted place? What kind of sane mind opts for an apartment like this and that too for beginning your post marriage life bringing in the newly wed wife? (Frankly it more fits as a premise of a Ramsay film instead.)

Moreover, if you are selecting an apartment for shifting post your immediate marriage, then the apartment needs to be first approved by the lady, who has to live there as a wife converting it into a home in the coming days. But here Rao doesn’t even find it necessary to show or even inform the girl about the new apartment selected so strangely.

Besides if an under construction building is lying unused from last two years due to some legal trouble, then how can it get an official electricity and water supply like a normal society? Who will be paying for that…. the builder?

Next, as a major technical setback, the film doesn’t give you any timeline of its happening keeping you guessing. We are given no information about how many days Rao spends in that locked apartment and how many days he survives without food, before deciding to eat the pigeons, insects and more as the desperate last resort? So missing such important details in the script, one doesn’t get convinced about the saturation point coming so early in the narration, making it appear like too superficial on the surface lacking the required depth.

Also there are not any great nail-biting or scary moments in the script with the final escape missing the much awaited solid punch weakening the overall impact. Plus being right within the town surrounded by an active population, its more logical for a person to find the escape route first somehow climbing down the floors, before starting eating birds, rodents and insects as if he is living on a lost island with a never ending sea all around and sure death beyond the room if one decides to cross it swimming.  

In other words, finding the way to climb down would have been the first choice of a logical person in reality before thinking it’s all over and no hope left for life going for the pigeons and rats. Keeping myself in his place, honestly I would have gone for the climbing down option first before opting out for such desperate ‘zombie step’ without any doubt. Interestingly Rao also finally takes the same decision only in the film too but after doing all those activities since it was supposed to be a tense survival drama as conceived by the talented director.

Here would also like to add that as shown in the film, the narrow shaft looked like a more safe escape route climbing down the floors in comparison to the open balconies, falling from where, a person was sure to get more severe injuries or an immediate death.

Further I was really not amused watching Rao’s jeans slipping down while walking out of the building in the end, as if he has spent not days but months in the locked apartment eating almost nothing for survival losing so much weight.

Putting it differently TRAPPED works, if only you simply assume that it’s all quite possible and can happen to anyone (ignoring the logical facts). However if you start thinking about the reasoning then it does seem to be just a fairly engaging, decent off-beat attempt with a sincere solo performance and some notable merits. For instance the master class of a director is truly visible in the way we are shown how Rao is a strict vegetarian due to his followed religion and not by choice, how he is not comfortable in holding the girl’s hand first feeling shy and the way he quietly chooses to walk out of the building without saying a single word to the half deaf watchman looking at him in amazement. In my opinion this particular shot was the best shot of the film showcasing the director’s vision.

Regarding the film’s no-interval release.
It was widely quoted in the media that this is officially a no-interval release in the multiplexes with a motive to have a much stronger impact on the viewer. But to give you the truth, just saying or declaring doesn’t work here, as you also need to educate the exhibitors/theater owners/operators too as they did stop the movie (abruptly) at around 50 minutes in the multiplex I was watching in and probably the same is the case in many others too (like the routine practice they follow while screening all English films). So it wasn’t any no-interval film for me and perhaps many more giving you the actual ground report.

Summing up,
despite having a flawed basic premise and a partially convincing narration, TRAPPED still remains worth visiting for all supporters and lovers of experimental cinema featuring a splendid solo act. So do watch it in a theater giving it the much deserving chance, as possibly you might love the movie much more than I did.

Rating : 3 / 5 (Including a big one just for the praiseworthy solo act of Rajkummar Rao)

---------
For friends willing to read an after-thought with an alternate premise for the script that might sound more logical (but not for the faint-hearted).

Just a few days back, I watched a masterpiece attempt as OZHIVUDIVASATHE KALI (meaning: An Off-Day Game/2015/Malayalam) wherein a few friends go for a drinks outing in a deserted guest house situated right in the middle of a jungle with no village or building around in the radius of a few kilometers. They reach there all alone and just have a lady cook to take care of the food and nobody else even knowing about their visit planned as a secret tour.

Now for a different version of TRAPPED, let’s assume that these four friends are there in a similar deserted guest house which is looked after by a lady whose husband has gone to their village and will only be returning after next 20 days or so. The four friends who are there for playing cards and booze on a public holiday, get heavily drunk and in that state go after the lady-cook serving them unaware, waiting for her promised tip.

In their attempt to rape the cook, incidentally the lady gets killed in the room itself and they all are in a big trouble. In that state of panic the four decide to leave in their individual vehicles and also promise not to reveal anything to anybody about this secret visit and not to meet or call the other for the next 15 days too as a safety measure.

While running towards their own cars or bikes, one of the friends finds that he has left the bike’s key in the room. He gets back to find the key and meanwhile all the other three move in different directions in their cars or bikes. The fourth friend is searching for the key when his mobile battery also gets over. As he reaches the same room where the corpse is lying, he finds the key there on the table. But in a hurry to pick up the key without looking towards the corpse, he accidentally shuts down the only door of the room, with the key hanging in its hole getting locked inside.

Now he is standing locked in that awful room with the left-over cooked meat lying on the table along with plates, spoons and a knife, the lady’s corpse on the bed and the door closed with no charger with him of the phone already gone dead. Plus neither the cook’s husband is supposed to return before the next 20 days nor the three friends are expected to contact each other for the next 15 days as decided.

So how the person is supposed to spend this given time period in the locked room with the lady’s corpse all alone?
What he will eat and what he will drink post a day or so………..?
Will he pick up the knife and move towards the stinking corpse to have its flesh and blood?
OR
Will he decide to kill himself with the same knife itself and finish the story forever………..?

Surely this could have been a much more intense, brutal and shocking, bloody TRAPPED than the present one.

Cheers!

(All Rights Reserved - Copyright © March 2017 – Bobby Sing (Harpreet)/Bobbytalkscinema.com)

Tags : Trapped Movie Review by Bobby Sing, Trapped Film Review by Bobby Sing, Trapped Experimental Film Review by Bobby Sing, Udaan Lootera and Trapped. 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 March 2017 / bobbysing /
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Kong Skull IslandTo begin with, there can be no comparison drawn with the epic adventure KING KONG re-introducing the likeable monster in 2005, and the film simply remains a highly recommended class apart, also included in the Movies To See Before You Die list at BTC.

Keeping the fact aside, yes, the present venture lacks that emotional pull and the original charm of KING KONG having a big repeat value, but it still has its own strong merits and is not a complete disappointment as many recent big budget monster/disaster movies were in the last few years.

Mentioning the positives first, KONG SKULL ISLAND is a technically polished, entertaining visual adventure, with an amazing cinematography and a fast-paced, gripping narrative enhanced by a superlative VFX. The action sequences in particular keep you glued to the seats and you do enjoy watching them all along with an energetic background score reliving the kid inside. But most importantly this time we have many more giant creatures living on the island too along with KONG providing you a Jurassic Park kind of adventure bringing in the novelty factor. And then there is Samuel L. Jackson scoring the most, looking straight into the eyes of the monster like the ‘Angry Old Man’ giving you the much required cinematic moments (working as the biggest savior for the film).

Among the downers, strangely there is no character development at all in the entire film and (as mentioned above) the only actor who manages to connect with the viewers is Samuel L. Jackson. Instead of building on the excitement factor, the film straight away reveals the gigantic appearance of KONG and remains more focused on action and action alone missing those expected epic moments as seen in the highly impressive 2005 film.

In short, KONG SKULL ISLAND is a typical commercial sequel conceived by its cautious makers which strictly remains focused on its amazing visuals and action without indulging in any kind of interesting buildups, characterizations or emotions in its story developments.

Thankfully it does work as a visual extravaganza offering an entertaining comic-book kind of adventure to the interested viewers. But I do wish it had more meat in it and a much longer length too proving an equally worthy sequel of a classic film.

Rating : 3 / 5

Tags : Kong Skull Island Review by Bobby Sing, Western Films Reviews by Bobby Sing, New English Films Reviews by Bobby Sing at bobbytalkscinema.com, Adventure Films Review by Bobby Sing, KONG Movie Review by Bobby Sing at bobbytalkscinema.com
 
 
11 March 2017 / bobbysing /
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This is an unique case indeed, as writer-director Shashank Khaitan debuted with HUMPTY SHARMA KI DULHANIA in 2014 (an upgraded version of DDLJ) and now comes up with BADRINATH KI DULHANIA in 2017 as his second film with the same lead pair, similar sounding title, identical feel and the same basic premise of a wedding displaying an amazing kind of over-confidence backed by the same production house unbelievably. And that too when the film is not any official sequel, but a clear attempt to build some kind of brand or franchise with the possible third in the making as another XYZ KI DULHANIA!

No doubt a lot can be concluded from this revealing case about the present state of our Hindi Cinema. But leaving the discussion for another detailed write up, here is a short review of the film, which neither comes up with anything new in terms of content nor treatment, typically made as a safe ‘business product’ serving the greedy multiplexes.

The film begins with all plain ordinary sequences, one average song and an over-energized Varun leading from the front reminding you of ‘a young Govinda’. The well-written entertaining dialogues hold the key in its first half along with the beautiful Alia, and some forced funny sequences keep bringing in the smiles before a (repetitive) twist is revealed just before the ‘Intermission’.

In the second half, the focus suddenly shifts to the girl’s career ambition which was never mentioned in details or specifically talked about in the film’s opening hour. The narration drops pretty fast with the story having no engaging developments or novel turns, but some witty one liners do keep trying to entertain (including an ‘always there’ gay sequence in a KJO production). Besides here we yet again witness a foreign tour looking clichéd to the core having no novelty of any sort leading to over-length and boredom together.

As a positive change, brand promotion is smartly inserted taking the story forward, before it seems like crossing the limits with excessive sequences of Air-hostess training programs towards the end. Having a rich look and feel, surprisingly the film doesn’t have any great soundtrack. The title track takes its basic inspiration from the cult ‘Chalat Musafir’  in TEESRI KASAM and the hook line (Muniya Re Muniya) from its hit remix by the pop-band JOSHILAY without giving all due credits. Strangely where this key song gets played along the end credits, the poor Tamma Tamma remake looks like a clearly forced addition in the last 30 minutes of the film.

The supporting cast mostly works, especially Sahib Vaid as the entertaining friend, but has a miscast too in the important role of the father. Both Varun and Alia play their parts well as the loving couple, but it’s Alia who looks more natural and controlled in comparison to the high-spirited Varun (forcefully) speaking in the regional lingo. In fact right from the language to the social issues incorporated in the script like dowry, working women and their suppressed life post-marriage, everything largely looks like added just for the sake of it without any strong focus or impact except the educated Bhabhi (Shweta Prasad) leaving an impression in her few scenes.

In short, BADRINATH KI DULHANIA offers nothing new and can only be seen if you don’t mind watching the same stuff again and again served in a marginally entertaining way (with a better first half) largely depending upon the charm and fan following of its young stars.

So if that is all you are looking for in your weekly movie outing, then this might work for you, but since I was personally expecting at least some novel and fresh treatment if not a new storyline, this repetitive DULHANIA didn’t work for me to be honest.

Rating : 2 / 5

Tags : Badrinath Ki Dulhania Review By Bobby Sing, BKD Review by Bobby Sing, Alia Bhatt as Dulhania again, 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
 
 
10 March 2017 / bobbysing /
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