Friday, March 26, 2010

Well Done Abba Movie Reviews

Overall Rating: 2.82./5

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Ratings:2.5/5 Reviewer:Rajeev Masand Site:IBNLive

While the director has continually succeeded in addressing important social issues even while telling lighthearted personal tales, Well Done Abba appears to be bursting at its seams with too many messages about women's rights, communal harmony, rural education and the right to information act. Despite some genuinely comic portions in which Benegal exposes the extent of double dealing and bribery involved in Indian rural politics, the film as a whole is hard to enjoy because of its sluggish pace, and because of your inability to empathize with Armaan Ali. I'm going with two-and-a-half out of five for director Shyam Benegal's Well Done Abba. There is much to appreciate about this film, but it demands solid patience on your part.
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Ratings:2.5/5 Reviewer:Taran Adarsh Site:BollywoodHungama

Like most Benegal movies, WELL DONE ABBA! has a story to tell with a message. Although the issue [corruption] isn't new and has been attempted in various movies before, the interesting characters and the way the story moves ahead make the effort watchable, in the first hour mainly.But the writing goes haywire in its post-interval portions, when the 'missing' baudi becomes the topic of discussion, so much so that the government and the opposition party trade accusations and counter-accusations. These portions look farcical and are far from convincing.
Even otherwise, the story loses its sheen in this hour and the sluggish pace and unnecessary sequences only add to the woes.On the whole, WELL DONE ABBA! has some wonderful moments, but they're few and far between. It holds appeal for a tiny sect of viewers, mainly Shyam Benegal fans.
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Ratings:4/5 Reviewer:Nikhat Kazmi Site:TimesOfIndia

Shyam Benegal's Well Done Abba emerges as some kind of a benchmark for our current brat pack who want to say so much, so very differently. The film unfolds like a gentle symphony -- never over the top, never hysterical -- even as it ends up as a hard-hitting satire on the entire misnomer of `India Shining', India growing, India evolving, et al.. The film is a sheer delight, with the events unfolding in a breezy, comic vein which keeps the ribs relentlessly tickling. But what's more alluring are the colourful characters and the multi-layered approach to the problems of a village which becomes a microcosm of the entire nation. Savour and sensitize yourself with substance and soul. Watch some Well Done cinema.
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Ratings:3/5 Reviewer:Elvis D Silva Site:Rediff
It often comes as a surprise to watch movies set in the real India, the one not populated by Gucci and Prada-sporting leading men and women; the one where every other young man is not named Raj or Karan. And so it is with the latest from Shyam Benegal,Well Done Abba is set largely in a little village near Hyderabad and is the tale of one Armaan Ali (Boman Irani )and his quest to build a well on his patch of agricultural land at a time when water is becoming increasingly scarce in his corner of the world. In its attempt at underlining the frustrations of an average man trying to wend his way through the system, it paints a disturbing picture. But because it plays the events for laughs rather than pathos, I wonder whether the impact of the real situation will be felt (or appreciated) by us city folk without ties to the rural life.
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Ratings:3/5 Reviewer:Gaurav Malani Site:Indiatimes
The film primarily points out the prevalent bureaucratic corruption that hijacks several schemes initiated by the government for the poor thereby hindering development of the society and hence the country. It also intelligently brings out the irony of how staying below the poverty line has rich outputs. Despite being a trail and tribulation journey, Benegal’s direction has a feel-good charm to it. His storytelling is so straightforward that even when the film extends beyond its climax into a celebratory song, you don’t mind much. Ashok Mishra’s hilarious dialogues have a countryside authenticity to it and Benegal ensures that the peculiar traits and accents of each character are well captured.
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Ratings:2.5/5 Reviewer:Anupama Chopra Site:NDTV
There are many good things in Well Done Abba. Benegal creates a darkly comic theater of the absurd, which indicts every level of government from the irrigation minister to the local sarpanch who attests that she has tasted the sweet water of a well that was never dug.Well Done Abba also tries to tackle too many issues – there is a nod at women’s rights, a quick mention of the right to information act and a climactic plea for religious tolerance.The end result is that Well Done Abba is heart-felt and intermittently funny but not flat-out delightful like Benegal’s last film Welcome to Sajjanpur. You need oodles of patience to enjoy this one. I recommend that you wait for the DVD so you can speed up things yourself.
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Ratings:2/5 Reviewer:Shubhra Gupta Site:IndianExpress
`Well Done Abba’ scores on a couple of counts. By getting Boman Irani to play Armaan Ali, resident of Chikatpally in Andhra Pradesh, father of a teenage daughter, and above all, teller of truth. And by focusing on the emotive issue of water, or the lack of it .But the downside of `Well Done Abba’ is that it is too lax, and, after a point, too stuffed. The pace picks up so slowly that you nearly tune out, and when post-interval, everything seems to be settling down nicely, Benegal starts throwing about long winded acronyms : spelling out the Right To Information Act can stop a movie dead. Watch it for a village that feels like a village, not something created on a Filmcity set, like the air-brushed trying-too-hard-for-rusticity Sajjanpur. And for Boman Irani’s excellent performance.
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Ratings:3/5 Reviewer:Aniruddha Guha Site:DNA
Well Done Abba! is a simple story about simple people.It defies the stereotype and makes you smile without resorting to buffoonery. But the unwanted scenes, lethargic pace and wafer-thin storyline take away from the film what was created in its first hour. Although the issue isn’t new and has been attempted in various movies, the interesting characters and the way the story moves make the effort watchable. Well Done Abba! has some wonderful moments, but they’re few and far between.
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Hum Tum aur Ghost review

Overall Rating: 2/5

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Ratings:2/5 Reviewer:Rajeev Masand Site:IBNLive

The screenplay, to begin with, takes too long to arrive at the core conflict, which involves Arshad's character -- Armaan, a photographer in Newcastle -- agreeing to help two good-natured spirits fulfill their final wishes. Hum Tum Aur Ghost suffers primarily on account of its inconsistent tone. The film might have worked as an irreverent comedy, but much of it is treated as an emotional drama, resulting in several contrived scenes that fall flat on their face. Even the humour works mostly when it's done smartly and subtly, and not as effectively in the film's slapstick portions -- like the one in which Armaan disguises himself and visits a bank, only to be confronted by the son of the very man he is impersonating. Ultimately the film is predictable and tiring because it's an interesting idea that's been stretched way beyond its potential.
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Ratings:2/5 Reviewer:Taran Adarsh Site:Indiafm

The screenplay - the lifeline of any film - is what makes a film stand on its feet and in this case, HUM TUM AUR GHOST suffers due to inept writing. Ideally, the writers and director should've come to the point right away, but the film takes its own sweet time to come to the point and what comes across is also not enticing, barring a couple of attention-grabbing moments. By then, the viewer has already lost interest in the film. The sole saving grace is the performances by the principal cast. Sadly, that's not enough. On the whole, HUM TUM AUR GHOST is a terrible waste of a terrific idea. Disappointing!
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Ratings:2.5/5 Reviewer:Nikhat Kazmi Site:TimesOfIndia

Arshad Warsi's debut film as writer and producer has a problem at the onset. It fails to define itself. Is it a comedy, a love story or a supernatural drama? Does it have a point to make, other than entertain? The first question raises its head because the plot and the tenor of the film ramble too much. Rarely funny, mostly sentimental, the film seems to waste away its comic potential for some drama that doesn't quite engage. Watch it for intermittent fun and Arshad Warsi's spontaneity.
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Ratings:2/5 Reviewer:Gaurav Malani Site:Indiatimes

Though the basic premise of the film (a human communicating with a good-hearted ghost) holds a lot of potential and life in it, most of it remains untapped in the screenplay penned by Arshad Warsi, Arshad Ali Syed and Soumik Sen that lacks the spunk and is too shallow. One can find loose references from Hollywood films like Ghost to Ghost Town but the narrative fails to create any magic. This one is just an addition to the Bollywood bhoot buddy brigade.
Arshad Warsi’s debut as a writer is so ‘lifeless’ in Hum Tum aur Ghost that even his ‘spirited’ performance isn’t able to save the dead slow film from dying a slow death.
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Ratings:2/5 Reviewer:Preeti Arora Site:Rediff
It's in the second half that the director gets the genre totally confused. The film suddenly turns into a tearjerker. Agreed Arshad only wishes to help people who are in a genuine crisis. But did it have to be so melodramatic?The film is short but the climax could have been far shorter. It seems stretched and contrived and Arshad hams it up especially towards the end.Apart from being the producer, Arshad is also one of the co-writers of the film. The premise of the film has its heart in the right place. But the script doesn't evolve from one scene to the other. It resembles a car that lurches forward again and again moving a few feet ahead before it comes to a slow and agonizing halt.Dia and Arshad are fun to watch together. See the film if you are a diehard fan of either. Or else watch it on DVD.
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Ratings:2/5 Reviewer:Anupama Chopra Site:NDTV
At the end of Hum Tum aur Ghost, a character declares: kisi ne sahi kaha hai, love conquers all. Not quite. For one, love cannot conquer this muddled script, which veers between rom-com, drama and high emotion, in the most meandering way possible. Director Kabir Kaushik and Arshad, who has also co-written and produced the film, stretch the slim story to breaking point and add on so much maudlin drama that all fun and exuberance are simply flattened out. There is a lot of talent in this film including the reliable Sandhya Mridul and cinematographer Ashok Mehta but the clunky script gives them little opportunity to shine. I recommend that you rent Ghost Town instead.
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Ratings:1.5/5 Reviewer:Mayank Shekar Site:HindustanTimes
The lead actor, also the producer, credits himself for the film’s story. He could’ve acknowledged the little help from David Koepp and the makers of Ghost Town (2008). The protagonist there has his dead buddy, a ghost, follow him around for a purpose. Here he makes contact with an entire town full of ghosts.The film reverses the premise of the incredible M Night Shyamalan’s Sixth Sense (1999). We already know, and not learn at the end, that the leading man can see dead people. The object isn’t suspense (Sixth Sense), or romance (Ghost, 1990); it’s comedy.Playing a girl-magnet, designer-wear, slick hair NRI hero in an artificial, romantic setup, just pales his coolness no end. But then again, ambition is such a bitch.
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Mittal vs Mittal Review

Overall Rating: 1.5/5

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Ratings:2/5 Reviewer:Nikhat Kazmi Site:TimesOfIndia
A purposeful film that ends up as pulp, Karan Razdan's take on domestic violence is too long drawn and too verbose, with almost unending courtroom sequences, to keep you engaged. Also, the violence hardly comes through, even though Rituparna, the wronged wife, sheds endless tears while narrating her tale of woe. Well-intentioned, yes, but too straight, too talkative and too flag-waving, Mittal versus Mittal is more for the sundry committees on women atrocities than for the new age viewer.
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Ratings:2/5 Reviewer:Taran Adarsh Site:Indiafm

It's the subject material of Mittal vs Mittal that takes you by surprise, especially the sequences where the husband commits marital rape, night after night. In the past, Matrubhoomi, Daman and Provoked have tackled similar issues. While Mittal vs Mittal makes a sincere effort to be an eye-opener, it loses focus midway after it gets formulaic. At best, Mittal vs Mittal is a solid idea that doesn't come across as strongly on celluloid.On the whole, Mittal vs Mittal is relevant, but is bogged down by mediocrity.
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Ratings:1/5 Reviewer:Preeti Arora Site:Rediff

There have been many films made on rape and sexual violence. Most of them hope that depiction of violence will help to titillate the audience. Mittal Vs Mittal also sets out with this objective but the audience is more likely to get repulsed than titillated. Rohit Roy appears more like a buffoon rather than looking lecherous. Try as she might Rituparno Ghosh does not look like a 25-year old. Despite clever camera angles, mood lighting and intense hard work by the cinematographer she still looks middle-aged.The film ends on a predictable note but do not expect it to register with the audience. Most people will be happy to exit the auditorium. The film also has an obligatory 'item' song. But even this song fails to make an impact. Do miss this film unless... Sorry, whatever the personal circumstances this film is best avoided.
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Ratings:1/5 Reviewer:Mayank Shekar Site:HindustanTimes
This movie is basically B-grade version of a common emotional pornography. In Hollywood the genre is termed the “fem jep” (females in jeopardy). This is where audiences get off on feminine marriage ordeals, rape, battering, domestic violence. The viewer feels goodness in the heart than guilt, given the images are overtly meant to repulse you, not titillate. The disgust is made public. The delight remains secret. If only all this were filmed better, the movie would’ve actually found enough repressed takers.I know the makers of this film. I know legalising genuine pornography in this country will find them a more legit job in the business. About time we did.
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Friday, March 19, 2010

Shaapit Movie Reviews

Overall Rating: 2.58/5

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Ratings:1.5/5 Reviewer:Rajeev Masand Site:IBNLive
Ask anyone and they'll tell you that the cardinal rule for a horror film is -- Keep it short! At an agonizing 2 hours and 20-odd minutes, that is just the first of many rules that director Vikram Bhatt breaks in his new film Shaapit. Shaapit suffers from a convoluted plot that flits from occult and witchcraft to science-fiction and palace intrigue.I'm going with one-and-a-half out of five for director Vikram Bhatt's Shaapit. Horror films are meant to get your heart racing pumping. At the end of this film, you'll have to check for your pulse.
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Ratings:3/5 Reviewer:Nikhat Kazmi Site:TimesOfIndia
Vikram Bhatt's penchant for the horror film finds another exposition with Shaapit, supposedly the third in the trilogy initiated with the blockbuster Raaz, followed by 1920. This one falls somewhere between the chutzpah of Raaz and the picture-postcard perfection of 1920. It is definitely more gripping than 1920, though it fails to draw you into the drama like the two Raaz sequels. Nevertheless, there's enough to keep the interest running, although we would wish the Indian horror film would somehow extricate itself from mumbo-jumbo, mantra-tantra.The film works not so much due to its story. Rather, it's the way Vikram Bhatt tells his story -- with a certain polish and pizzazz -- that draws you in. Watch it, while you wait for our own Paranormal Activity.
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Ratings:3.5/5 Reviewer:Taran Adarsh Site:BollywoodHungama
The unspoken and unwritten rule for horror films is simple: They ought to scare you at the right places and also, the culmination ought to be the best part of the story. SHAAPIT succeeds in giving you those jhatkas at several points [there are some genuinely chilling scenes] and the culmination to the tale, although a bit lengthy, keeps you involved in the proceedings. Final word? With SHAAPIT, Vikram Bhatt raises the bar for horror films made in India. Full marks to Bhatt for making that one kick-ass horror thriller, which easily ranks amongst the best in this genre in terms of plot, setting, technique and performances. Go, get scared!
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Ratings:4/5 Reviewer:Nithya Ramani Site:Rediff
The film is scary alright, true to its genre, and will make you believe in curses, mythology, poltergeists, aathmas...Following Bollywood's map for horror films, Shaapit is clearly defined into two parts -- the cause and the effect with, of course, the struggle associated with each. As far as the pros are concerned, Shaapit keeps you at the edge of your seat. Every scene is well woven. As a result, you understand the origin of the curse 300 years ago and why it has stretched to the present age and Kaaya's misery.But the film isn't flawless either. There are few hiccups like cliched dialogues, predictable scenes and too many songs. The story, especially where it delves into the past, could have been tighter.
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Ratings:1/5 Reviewer:Shubhra Gupta Site:IndianExpress
The Bhatt horror factory rolls out another. `Shaapit’ has a `buri aatma’ who will not let any daughter of a cursed family wed, whenever plans for a `shaadi’ arise, the spirit rises up and finishes off the girl. Bhatt’s `1920’ gave us a ghastly ghost who hung upside down, and a couple of shivery moments. Practically nothing about `Shaapit’, which has the youngest looking debutant hero after Shahid Kapoor, is scary : not the bag of skeletons which floats around a 300 year old castle, not the wailing and the screeching, and the moaning and the groaning.
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Ratings:2.5/5 Reviewer:Gaurav Malani Site:Indiatimes
Vikram Bhatt merges elements from his earlier two horror attempts – Raaz and 1920 in Shaapit . The result is occasionally scary and occasionally clich├ęd. The movie does give you some chills and thrills here and there but overall the face horror and zombie ghost disappoints. The story is as old as Purana Mandir premise but is intertwined smartly with a flashback account.
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Love Sex Aur Dhoka Movie Reviews

Overall Rating: 3.88/5

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Ratings:4/5 Reviewer:Rajeev Masand Site:IBNLive
Love, Sex aur Dhoka is the most riveting Hindi film in recent memory. It's one of those films that grab your attention the moment you've settled into your seat, and it doesn't let go till the very end. It's provocative, it's unsettling and occasionally disturbing too. But not for one minute in its roughly 108-minute running time does it allow you to so much as tilt your head down to look at your watch or your mobile phone. You will be shocked, you will be startled, but walking out of the theatre, you know you have just seen what is possibly the most important Hindi film since Satya and Dil Chahta Hai. Not only does it redefine the concept of "realistic cinema", it opens a world of possibilities in terms of how you can shoot films now. I'm going with four out of five and two big thumbs up for director Dibakar Banerjee's Love, Sex aur Dhokha. It's the kind of film you'll be talking about for weeks.
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Ratings:4/5 Reviewer:Taran Adarsh Site:BollywoodHungama
LOVE SEX AUR DHOKHA is not an easy film to comprehend either. The constant shaking of camera [it's a digital film with a hidden camera playing a character by itself] may bother you initially, since this is the first time that a storyteller has used this technique in Bollywood to narrate three different stories in one film. But the material is so compelling [screenplay: Dibakar Banerjee and Kanu Behl] and the stories so captivating that you absorb this storytelling technique within a few minutes of its commencement.Dibakar makes an attempt to tell you that there's no privacy in today's age, courtesy cell phones, spy cams, sting operations and MMS. Technology is not just a boon, but also a bane and the film reiterates this fact. Final word? LOVE SEX AUR DHOKHA signifies the changing face of Hindi cinema. Ekta Kapoor's first foray into experimental cinema has all it takes to be a cult film that might just trigger off a new trend in Bollywood. It's courageous, disturbing and yet entertaining!
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Ratings:3.5/5 Reviewer:Nikhat Kazmi Site:TimesofIndia
You want something new. Go watch Love Sex aur Dhokha. It ain't anything like you've seen before on the desi screen. But be forewarned. Dibakar Banerjee's film is meant to be seen -- and savoured -- by shedding all your moth-balled beliefs about how commercial cinema must or must not be. Like the 3-D glasses which gave you a whole new kick out of James Cameron's Avatar, here too, you need a new vision to understand how a breed of smart, young, professionals are hell bent on pushing the envelope of traditional Bollywood and literally pulling out the rabbit from the hat. The rabbit? A completely new idiom that only the bold and venturesome can dare to enunciate.
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Ratings:3.5/5 Reviewer:Anupama Chopra Site:NDTV
The film, with three inter-connected stories on love, sex and betrayal, is a grim, deeply unsettling and yet compelling portrait of urban India. This isn’t an easy film to watch. Since we’re supposedly watching second-hand footage, it’s deliberately clumsy, unfinished and un-cinematic. It will take you at least 10-15 minutes to adjust to the fuzzy faces and jerky camera movements. But while the grammar is disjointed, the narrative is seamless. Love Sex aur Dhokha falters in the second half. The second story feels too long and the last isn’t as smoothly done as the first two. But the film is a worthy experiment created by one of Bollywood’s most imaginative and original directors. Let me warn you that it is a polarizing film. You’re going to either love it or you’re going to hate it. But I strongly recommend that you don’t ignore it.
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Ratings:4/5 Reviewer:Gaurav Malani Site:Indiatimes
At the outset if you are expecting sex and skin from this film, be prepared for a dhokha (betrayal). Don’t let the theme of voyeurism mislead you into believing that Dibakar Bannerjee’s Love Sex and Dhokha is a cheap gimmickry to titillate your senses. The film is bold, bare, intense, stark and dark but Bannerjee’s storytelling is so superlative that it stimulates your senses without having to resort to tawdry elements. Love Sex aur Dhokha shouldn’t be restricted with tags like experimental, offbeat, path-breaking, low-budget or multiplex cinema. While it happens to be all of these, it goes beyond with its smart story and superlative storytelling to be a brilliant and entertaining film. This autobiographical account of a camera is absolutely recommended!
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Ratings:5/5 Reviewer:Raja Sen Site:Rediff
This time, making a small film when any A-lister in the country is willing to sign his projects, Dibakar's done just that, his film stripped down to the bare minimum with all the willingness of a really good bardancer.It's a notoriously tricky prospect, making a film with raw, unseen actors, going entirely handheld, entirely digital, and there's always the danger of heading into a gimmicky space: where content is dictated by form. LSD, which features three very differently themed storylines seen through varied handheld, security and spy cameras, is so finely written that it avoids the obvious pitfalls expertly, and makes the treatment -- that deliciously voyeuristic treatment -- a completely organic part of the storytelling process.All you need is love. Yeah, but the S and D from the title often screw it up. This is not a film that sermonises but it clearly has a moral backbone, and sits pretty upright. It is, as the oft-abused phrase goes, an 'important' film, and one you should watch if only to acquaint yourself with the way things inevitably work.It's bleak, bittersweet, funny and markedly unglamorous, and yet you come out humming the theme tune, your head blown clear off your shoulders.
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Ratings:4/5 Reviewer:Shubhra Gupta Site:IndianExpress
Dibakar Banerjees’s `Love, Sex aur Dhokha’ is a breakthrough film : the portrayal of love and sex in Hindi cinema may never be the same again. With `LSD’ he finds his true voice : barring a couple of exaggerated strands, the film is all of a piece. It holds up an unflinching mirror to the primal screws that the world turns on, and shows us the way we are. I have one minor grouse : I wanted it to be edgier, darker, but it still took me to a place where practically no current Hindi filmmaker, barring an Anurag Kashyap or a Vishal Bharadwaj, has transported me to. You may not like everything you see in `Love, Sex aur Dhoka’, but Banerjee offers up a scintillating new way of seeing. Watch it. 
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Ratings:3/5 Reviewer:Aniruddha Guha Site:DNA

it’s necessary to know why LSD is an important film – it’s raw, unflinching and brutally real in its portrayal of ‘young India’; it breaks the formula in more ways than one: the filming technique is novel by Indian standards (seen recently in Paranormal Activity) and the screenplay is episodic; each story (by Urmi Juvekar) has been inspired by, what can be called, ‘newspaper headlines.LSD is the ‘cool’ film youngsters would enjoy, and its realness will strike a chord with a few. The more discerning audience, though, may be left disappointed. But love it or hate it, Love Sex Aur Dhokha is a film you can’t ignore.
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Thursday, March 18, 2010

Lahore Movie review

Overall Rating: 2.78/5

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Ratings:2.5/5 Reviewer:Rajeev Masand Site:IBNLive
Using the sport of kickboxing as a new premise to tell an old story, Lahore is a slickly directed first film by Sanjay Puran Singh Chauhan that sadly offers too simplistic and idealistic a solution to the India-Pakistan problem.Part vendetta story, part message movie, Lahore stars newcomer Aanahad as a revenge-seeking younger brother who steps into the ring to vanquish the Pakistani kickboxer who killed his older sibling using foul means.It's an engaging drama, convincingly performed and thrillingly shot, but let down by a script packed with convenient lapses of logic, and caricatured characterisation. It's well-intentioned, has its heart in the right place, and it's an engaging enough watch. But it never rises above that to become a film that could truly make a difference.
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Ratings:3.5/5 Reviewer:Taran Adarsh Site:BollywoodHungama
A title like LAHORE gives you the feeling that it's an Indo-Pak story. The fact is, it is, but it's about kick-boxing.Let's get one thing clear. This is not a 'war film'. There's no slogan-shouting or Pak-bashing here. There's no jingoism either. In fact, the culmination to the story -- a shocker, which is sure to raise eyebrows -- is absolutely outstanding and will work with both the nations. LAHORE isn't about kick-boxing only. It's about relationships -- between two nations and also between two brothers -- with a strong undercurrent of emotions. It's the emotional quotient, besides the penultimate do-or-die match, that tilts things in its favour. Final word? Take a trip to LAHORE. If you're a sportsman or even if you're not, catch this one for sure!
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Ratings:3.5/5 Reviewer:Nikhat Kazmi Site:TimesofIndia
Lahore works due to several reasons. Firstly, because of its topicality which strikes the right note in this season when India and Pakistan are seeking a new equilibrium in their relationship. Secondly because of its narrative style which is the antithesis of nationalistic chest-beating Gadar-like films. Lahore tells a fiery story, gently and lyrically and is embellished with some great cinematography (Neelabh Kaul) and action choreography in the kickboxing sequences (Tony Ching Siu Tung). But most of all, it boasts of a stellar act by the performers with Farouque Sheikh walking away with most of your applause as the genteel Hyderabadi who must train a team of winners, despite political and bureaucratic interference. Lahore is a sensible and gripping film that has you clapping and cheering.
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Ratings:3/5 Reviewer:Gaurav Malani Site:Indiatimes
With a perfectly predictable plotline, if a film still keeps you riveted through its runtime, you know there’s something earnestly right about it. Lahore has a right director. Sanjay Puran Singh Chauhan has the finesse to package the standard story with the requisite action and intensity that a sports film demands. The film works essentially for its skillfully choreographed combat sequences by action director Tony Ching Siu Tung. Another positive aspect of the film is its casting. While it doesn’t boast of any big stars, the unassuming actors that it employs are perfect for their parts. Lahore is a hard-hitting film that delivers a good cinematic punch!
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Ratings:2.5/5 Reviewer:Khalid Mohammed Site:Passionforcinema
Okay, so Sanjay Puran Singh Chauhan’s Lahore seeks a state of pacifism, employing sport – kickboxing if you please – as a means for narrating a plot that has been bludgeoned to death. Alas khallas really. There you go again then: A man seeks vendetta for the death of his brother – this time in the boxing ring. Ping.To Chauhan’s credit, the muted colour palette, the eye-filling locations and a nail-biting climax are marvellous. The rest of the movie frequently verges on the absolutely exaggerated if not implausible. The characterisations are caricatured, and the montage songs are slower than a bullock-cart on three wheels. Oh well.In sum, this Indo-Pak treatise may have been wah-wahed at film festivals (carry a magnifying glass to read the names of the festivals on the posters please), but all said and seen just about makes it to a notch above the average.

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Ratings:2/5 Reviewer:Shubhra Gupta Site:Indian Express
The film had the potential to be a real humdinger : no IPL match has the charge to beat an Indo-Pak fixture on the field. But `Lahore’ springs to life only occasionally , especially when a seasoned actor like Farooque Shaikh who plays the coach of the Indian kick boxing team, is on.But the climactic half-hour is taut and well-paced, though, as the two teams go head-to-head, and winning and losing becomes subservient to goodwill and peace among the two countries.Well meaning, but amateurish.

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Ratings:2.5/5 Reviewer:Sukanya Verma Site:Rediff
Distributed by Warner Bros, the film, which garnered favourable response at several film festivals, at a running time of a little above two hours is mostly watchable for its exhilarating action in the ring if not exactly an emotionally stirring experience. Reminiscent of Anil Sharma's Apne and its philosophy of one brother's quest to retrieve the other one's stolen glory by tackling a foul player, Lahore, furthermore, mixes the essence of patriotism through the medium of sport, in this case kick-boxing, with the sentimentality of retribution.
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