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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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].

MIRZA JUULIET - One of those strictly avoidable films that make you wonder why they got made and for whom? (Review By Bobby Sing).

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April 27, 2017 Thursday     
When a film begins with all dark (unclear) night sequences in its opening minutes, then it largely hampers the spirit, particularly for the general public not there to witness any deliberately made so called ‘piece of art’. Moreover when in a 132 minutes film entirely depending upon its female star’s face value and popularity, if the lady is still not there even till the initial 45 minutes then you do feel irritated and cheated too as a viewer willing to witness a great romantic film with an interesting cast.
Yes, being based on the famous classic “Great Expectations” by Charles Dickens, a good part of the film does deal with the childhood of its leading couple. But sadly, its this part of the movie only which makes you feel restless and annoyed waiting for the colourful FITOOR to happen on screen as promised. As a result, all you get before intermission is some good soothing music, a supportive background score, many colourful frames, impressive lighting, eye catching costumes and nothing else to be precise including the beautiful Katrina.
Post intermission the film becomes a usual, repetitive love-saga with its every next sequence and the director Abhishek Kapoor arrogantly refuses to pick up the pace for his own reasons. In fact it will be quite enlightening to know about the director’s hidden vision in some ‘post-release interview’ as there is neither any intense love nor madness in his film simply wasting the chosen title FITOOR. Probably he felt putting the reference of Kashmir, Delhi and Pakistan along with the backdrop of art will do the trick. But on the contrary, it’s these forcibly added elements only that eventually make the film look like a highly confused product where people keep behaving weirdly and even a known painter suddenly becomes a sculptor towards the end without any given reasoning.
In short, FITOOR doesn’t seem to be a film from the director of ROCK ON and KAI PO CHE from any angle and appears to be a vaguely conceived project; where in the man behind the microphone is desperately willing to portray himself as someone highly artistic following the footsteps of names such as Sanjay Leela Bhansali. May be that is the reason you find detailed creative frames, fixed colour-schemes, experimental music and inspirations taken from a classic book of the World literature too just like Bhansali. However in the process director Abhishek Kapoor shockingly forgets to work on his basic script and doesn’t even realize that his chosen lead pair is not enjoying or displaying any kind of passionate-loving chemistry on screen as essentially required by the particular subject. Here keeping in mind the reported casting issues, its quite possible that Abhishek got forced to adjust with the limited options given, since even Tabu was the second (or may be third) choice for the film after Rekha walked out of the same due to some undisclosed reasons.
Anyway, with FITOOR, Abhishek comes up with a romantic film having no burning passion or fanatical love between its main protagonists Aditya and Katrina, who keep performing with the similar stone-like expressions without any major variations. The film has no supporting act providing the occasional push to the otherwise boring story progression including the most important role enacted by Tabu and other played by Lara Dutta, Aditi Rao Hydari, Ajay Devgun, Rahul Bhatt and more. Plus though the film does have a fine original soundtrack in both technical & musical terms, but that is not going to impress everyone unanimously, missing the typical mass appeal required for a Hindi film’s romantic score with a few catchy melodies. Still, mentioning an exclusive feature of Amit Trivedi’s appreciable music, it’s his (minimal) musical arrangement, the sound quality and choice of instruments that always make a much more solid impact than the main melodies of his compositions, as I have repeatedly felt.

In all FITOOR has an appreciable cinematography, eye catching art-direction and an interesting soundtrack too. But nothing in terms of storyline, performances and obsessive love to offer in return of your time and money spent. In more harsh words, we have earlier seen much better, intense, deep and insane 'Fitoor' in Hindi love stories made decades back.
Rating : 1.5 / 5
Tags : Fitoor Movie Review by Bobby Sing, Fitoor 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, Based on Great Expectations
13 February 2016 / bobbysing /
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Its really a sad state of our Hindi cinema that at one end films like FILMISTAAN have to wait for two long years to reach the audience in absence of any gutsy buyer or supporting back up. And on the other an amateurish product like FUGLY gets produced by a big star (Akshay) and also gets promoted through a special video song featuring both Akshay Kumar and Salman Khan. Now thinking about the two, either they both agreed to do this particular venture to oblige someone close or perhaps the big names don’t even have the time (or intentions) to check what kind of product they are promoting through such exceptional strategy at a decent cost.
Honestly, these were my thoughts while watching FUGLY just after its first hour and the film is a big disappointment both for the viewers as well as for the newcomers expecting a lot from the same. Taking huge inspirations from films like PAANCH, SHAITAAN, FUKREY and RANG DE BASANTI, its based on a script mixing them all and then coming up with a tasteless cocktail which neither offers any fun, thrills or entertainment in its two long hours full of many dumb scenes. The forced slang of the Delhi lingo remains bad throughout and the ridiculous story progression trying to incorporate everything ranging from friendship, eve-teasing, drugs, corrupt police, politics & channel reporters to patriotism, sacrifice and leadership simply falls flat, impressing none. Moreover the silly climax even makes you laugh looking at the desperation shown by the writers in a foolish hospital sequence.
Directed by Kabir Sadanand, FUGLY had everything required to make a decent film. But the team simply wasted this given opportunity despite having a justified budget and two big stars backing them from the front. The project does catch your attention with a fine cinematography but few mediocre songs, loud background score, weak performances and a pretty messy narrative in the second half completely ruin the sufficient resources provided.
To be fair with the fresh cast, though they still have a lot to learn but I would not like to blame them at all because its actually the writing, dialogues and stupid sequences in the film, which make them look more childish than they actually are. Out of the four, Mohit Marwah & Vijender Singh try too hard with their limited ability, Arif Lamba has got nothing to convey and only Kiara Advani gives you something to watch, but that too only because of her good looks and revealing outfits. So in the performance department you only have Jimmy Shergill saving the film with his convincing act of a corrupt Haryanvi Police officer and an old lady along with Vijender’s young politician uncle who thankfully provide the only amusing moments in this otherwise dull film called FUGLY.
Interestingly the strange and rather unusual title FUGLY (reportedly) means FIGHT with the UGLY or F@#$ the UGLY in the society around. However, the end product is not even close to any of the good intentions visible in this newly invented word and here is the description of its five highly absurd scenes, which would clearly give you an idea about the film and its avoidable content perfectly.
A. It opens with one of the boys setting himself to fire right in front of the India Gate and after getting burned badly is being taken to the hospital in a stretcher. Now just outside the hospital, as he is brought out of the ambulance, a whole group of reporters put their mike right in front of his face and start asking him questions like, “Why did you opt for this? What is the motive? How are you feeling now?”
And for me this was really a dumb start of a film, undoubtedly!
B. In one of its supposed to be funny scenes, Vijender Singh pulls down an American flag from one of the street poles and then wears it around his waist. On being asked that what he will do with it, he says, “I will make my boxers (nickers) from this.”
So if its your own country’s flag then it is disrespectful & a crime to treat it like this. But in case it belongs to another country then its fine to insult it in anyway and that too by a national sportsman having won international fame! Ironically they have used this particular scene in the film's promos too but I really didn’t expect this from Vijender frankly!
C. In one of its sequences talking about eve-teasing, the girl says, “Main Delhi Li Ladki Hoon! Dhakke Aur Ragarh Ka Fark Jaanti Hoon!” – And that was some great writing indeed!
D. A vague subplot in the film shows that anyone can arrange a hidden drug party in the outskirts of Delhi at a farmhouse and can earn 30-40 lakhs just like that in a single night as if it was that easy like organizing a wedding event by a professional planner in routine.
E. Lastly the most hilarious one comes in the climax, when a more than 60% burnt person lying on a hospital bed, suddenly jumps on to the Inspector and tries to strangle him with the oxygen pipes around, using his full strength like a normal youngster.
Now I have certainly heard about cinematic liberty but this was really like considering the viewers as a bunch of fools.
To sum up, if you still wish to watch FUGLY which actually remains UGLY, then watch it spending nothing when it gets aired on a TV channel soon and not before that.
Rating : 1 / 5 (Only for Jimmy Sheirgill and nothing else)
Tags : Fugly Review by Bobby Sing, FUGLY Movie Review by Bobby Sing, Grazing Goat Productions Fugly Review, 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,
14 June 2014 / bobbysing /
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Spoiler : The review reveals the basic story plot of the film.

A fantasy dealing with the hell or heaven has always been an interesting concept for a comedy movie. It has been a hit in the past in Bollywood with films like “Jhuk Gaya Aasman” (1968) & “Lok Parlok” (1979) which are still remembered for their engaging content. So knowing that FATSO was also based on this amusing plot featuring the talented Ranvir Shorey excited me a lot despite of having a low key release.
However, the film couldn’t provide a satisfactory experience as expected with a lack of detailing and entertainment factor missing in its narration. In short, it certainly can be termed as a decent attempt but hasn’t got anything great or exceptional for the viewers looking for a hilarious take on the ‘soul changing its body’ plot. The first half takes off a little late but still manages to keep you hooked with its funny depiction of the “Messy office in the sky above”. But the second half loses the grip and fails to maintain the pace with an abrupt kind of climax trying to end it on an artistic experimental note.
Director Rajat Kapoor makes this film on a borrowed theme in which a man is mistakenly taken by the messengers of death and then is sent back in a different body as a rectification act of the official error made. The plot first came in a 1941 Hollywood film HERE COMES MR. JORDAN. It was later remade twice as HEAVEN CAN WAIT in 1978 and DOWN TO EARTH in 2001. In Bollywood the film was adapted in Rajender Kumar, Saira Banu Hit JHUK GAYA AASMAN in 1967.

As projected FATSO, is not able to make the desired impact on the viewers since it keeps hanging between a comedy, drama or tragedy. To convert the comic plot into an artistic one, the director throws a love angle and some realistic scenes into the script to give it an out of the box, thought provoking kind of turn which falls flat. At one end he is interested in giving an enlightening feel to the project stressing upon the changes in his characters after a sudden death around them. But on the other end he intentionally uses a fat & funny kind of character to generate laughter or sympathy among the audience.
So where in the first half one feels like watching a comedy, in the second half it all turns into a thoughtful tragedy or drama. As a result the viewer is unable to draw any kind of conclusion from the proceedings shown on the screen in its short duration. In the performance section, Ranvir Shorey makes you believe in the role he is playing as Fatso. He is great along with Gul Panag giving a natural performance as the lady loved by one and all. Purab Kohli is fine in his short appearance but both Neil Bhoopalam and Gunjan Bakshi impress as their group friends. From the rest, Brijendra Kala excels in his role of the death messenger. Musically the film has nothing great to mention and has been shot as per the limited requirement of the subject avoiding the cliché scenes of showing the heaven filled with while clouds.

On a concluding note, FATSO remains a decent attempt made on an inspired/copied plot having one abrupt but a well written & brilliantly performed scene which happens to be the climax of the film too. Surprisingly this one particular scene rises above the whole film, with its highly realistic and thoughtfully written lines which would surely make you feel like as if they are all taken from your own personal life and likings.
So if you are game for watching a small (inspired) film made on experimental grounds with some hidden food for your thoughts then do watch FATSO especially for its final scene alone.
Rating : 2.5 / 5
Tags : Fatso Movie Review By Bobby Sing, Fatso Film Review By Bobby Sing, New Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, Bollywood Movies Reviews at bobbytalkscinema.com, 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, Inspired Films, Copied Bollywood Films, Inspired Movies in Hindi Films
05 May 2012 / bobbysing /
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