Hindi Bodyguard Review

Rating: 2/5

Cast :  Salman Khan, Kareena Kapoor

Director :  Siddique

Music Director :  Himesh Reshammiya & Pritam Chakraborthy

Producer :  Atul Agnihotri & Alvira Agnihotri

This is the third time for Siddique. Yes, believe it or not, this is the third time that the writer-director has chosen to film this yucky yarn in the span of a year and a half – first in Malayalam, then in Tamil and now in Hindi, effecting minor changes in each follow-up without achieving any perceptible improvement.

He and the producer of this film probably had no option. Who in the right mind would want to direct this damp squib of a screenplay thrice even if he has Salman Dabangg Khan’s tried-and-tested biceps and pectorals to hang its hollow premise on?

The thread that Bodyguard hangs from is hopelessly slender and perpetually on the brink of snapping. If it doesn’t end up in a complete heap, credit in some measure is certainly due to the Bollywood superstar who seems to have mastered the craft of peddling vacuity with the swagger of a seasoned, cocksure sabre-rattler, and to the director of photography Sejal Shah, who imparts a neat, sparkling look and feel to the film.

Of course, whether you find Bodyguard entertaining or not will hinge entirely on whether you have any patience for a storyline that is as brainless as a pea. The story soars on the wings of wild whimsy without for once letting logic get in the way.

Our hero, Lovely Singh (Salman Khan), owes a debt to a wealthy feudal lord, Sartaj Rana (Raj Babbar), that he cannot repay. The latter lives in a sprawling mansion in a place called Jaisinghpur. The invincible bodyguard is willing to lay down his life for his benefactor.

"When it comes to loyalty, Lovely doesn't spare even royalty," quips the muscleman's boss. How lovely!

So when the master's only daughter, Divya, (Kareena Kapoor), is packed off to a management school in faraway Pune, Lovely Singh is deployed to keep vigil on her and keep her out of harm's way. Sartaj Rana has many enemies but with Lovely's brawn on his side, his daughter is as safe as a Swiss bank.

But this bodyguard is too intrusive for comfort and the girl in his charge resorts to the most ridiculous pranks to get the man off her back. Do you need to be told that there is a love story lurking somewhere in this edifying mix and that the path of the lovers is strewn with thorns? Unfortunately, it is the viewer who steps on them. Ouch!

The director is merciless: he loses no opportunity to exploit Salman’s shirtless action-hero image. Bodyguard has three protracted fight sequences. The hero is a one-man army. He vanquishes all opposition and when he emerges from the uber-violent scuffles, there is nary a scratch on his body and not a hair is out of place.

But Siddique is unable to decide whether he wants the star to project his Wanted and Dabangg ready-for-battle persona all the way through or adopt a softer, more romantic manner in the second half. Either way, the male protagonist and the film end up looking rather moronic.

The script makes feeble attempts to raise some laughs by throwing in a corpulent comedian (debutant Rajat Rawail). His character is called Tsunami Singh but he doesn't quite sweep the audience off its feet. Bodyguard is the kind of film that thinks physical deformity is funny: the fat man is the butt of jokes, so is a midget-student in the heroine's class.

In the ultimate analysis, Bodyguard is an out-and-out Salman Khan film meant to be taken in the festive spirit of the season. Love it or lump, chances are that its backers will be laughing all the way to that bank while you, if you aren’t willing to give its excesses a long rope, will be tearing your hair out in exasperation.

So, if you value the mop on your scalp and the grey cells in your head and want to guard yourself against this potentially mind-numbing body blow, give it a miss. Better be safe than sorry!

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Money Money more Money Movie Review

Money Money more Money Review – Money 3 Telugu Movie Review, Rating: JD Chakravarthy, who earlier directed Homam and Siddham has donned director’s cap again for this film. Labeled as the third installment of Money franchise, Money Money more Money generated interest among the viewers as Money is still one of the best comedy films that was ever made in Tollywood. How far did the Money 3 reach in gaining that cult status? Read on…

Story:

Chakri (JD), Raghu (Brahmaji), Gogi (Kevin Dev) and Abbas (Mukul Dev) are four unemployed persons that plot a kidnap to earn quick bucks. They kidnap Maggie (Tara Alisha) and put her in Khan Dada (Brahmanandam) house. Khan has lost all the power as he lost all his assets due to recession. As Maggie’s father is not available to settle the ransom, the kidnappers have to wait for sometime. To keep their identities intact they kidnap every person that knocks at Khan Dada’s doors. Do they succeed in making money or not is the remaining story.

Analysis:

Although JD called it as Money 3, it is nowhere connected to first two parts of Money, except for naming two principle characters as Khan Dada and Chakri. This is instead a remake of Hindi film ‘Dharwaja Bandh Rakho’ which was directed by JD. DBR was inspired from a Korean comedy ‘Attack the Gas Station’.

DBR was a flop in Hindi, but JD felt that there is scope to remake it and sell it off as a part of Money franchise. His idea succeeded to some extent as this film has drawn decent opening. However, it is nowhere near to the evergreen comedy hit Money.

Money Money more Money is a badly made film with no proper screenplay and no good comedic scenes. JD simply remade his Darwaja Bandh Rakho film in Telugu despite its failure in Hindi. He didn’t make any changes to make it a hit. It is an insult to Khan Dada’s character as this film made a mockery of that legendary role which played big part in making Brahmi as the king of comedy.

Performances:

Brahmanandam is wasted in this film. He tried his best to shoulder the film but the cheaply written character didn’t help him at all. JD is usual. Brahmaji is good. Tara Alisha is a pain to watch. She doesn’t know the basics of acting. Gajala looked aged. Venu Madhav is routine. Nagababu, Rajeev Kanakala, Jeeva and others played their parts well.

Technicalities:

Marudhuri Raja dialogues are flat. Except a joke here and there nothing clicked. He failed to recreate the magic that was done in Money. Chakri’s music is a big let down. Money 3 is a lackluster film on the technical front too.

JD Chakravarthy is a decent actor and he should stick to what he is good at. He doesn’t have the mettle to prove himself as a successful director. All of his films to date were either remakes or copy stuff. He can’t create a new character on his own. He can’t do justice to the already legendary characters too. It is high time that he stops directing films.

Final Word: Money 3 is an insult to Money franchise

Money 3 Movie Rating: 1.5/5

Banner: Chakravarthy Productions
Cast: Naga Babu, Gajala, Sashank, Venu Madhav, Brahmanandam, JD Chekravarthy, Mayuri (Asha Saini)
Music: Chakri
Producer: K Satyanarayana
Director: JD Chekravarthy

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Urumi Movie Review

Urumi Review – Urumi Telugu Movie Review, Rating: Malayalam film Urumi got dubbed in Telugu with the same name. This film stars Genelia, Prithviraj, Prabhu Deva, Tabu, Nithya Menon in the lead roles and is directed by Santosh Shivan. This film got rave reviews from Malayalam critics and has raised curiosity in Telugu audience. What does Urumi offers to Telugu audience? Let’s check the details in this review…

Story:


The film starts with a short introduction to the history of Portuguese exploration in the in the Age of Discovery to India, referring the legendary landing of explorer Vasco da Gama on 20 May 1498 in Calicut, the kingdom ruled by Zamorins of Calicut. Da Gama starts criminal deeds for the sake of perfumes in Kerala. He kills a Kotwal (Arya) in this process and his son Kelu (Prithviraj) takes oath to kill Da Gama.


He makes a sword named Urumi with the gold collected from the people who got killed by Da gama. Kelu is taken by Vavvali (Prabu Deva) and he grows up there. Kelu meets Arakkal Princess (Genelia) in the process of bringing Da Gama’s son. He uses him as a trap to catch Da gama but the plan gets haywire. How Kelu finally kills Da Gama is the rest of the story.


Analysis:


Urumi worked in Malayalam because the film is made with the historical facts that happened in Kerala. This film has nothing to offer for Telugu audience. Even the screenplay and narration have the docu feel and the proceedings are pretty slow.


Most of the film looks like it is a historical explanation, which won’t suit the tastes of Telugu audience. The film lacks thrilling narration or nail biting action to keep them glued to the screen. This film is technically brilliant but lacks the arresting narration. The attempt can be lauded but Urumi can’t be a hit at Tollywood box office.


Performances:


Prithvi Raj’s performance is top notch. Genelia has done one of the memorable characters in her career. She worked hard for this role and it can be seen. Prabhu Deva gave a jovial performance and is a treat to watch. Jagathi is special. Tabu, Arya and Vidya Balan played guest roles.


Technicalities:


Story writer Shankar Ramakrishnan did good research and wrote this film with all the historical facts. Art department did a splendid work to recreate the 15th century look. Cinematography by Santosh Shivan is terrific. He has done a great job and deserves many awards for this work. Srikar Prasad’s editing is good. Deepak Dev’s background score played a vital role in keeping the mood of the film alive.


Plus Points:


- Cinematography
- Art work
- Performances


Minus Points:


- Lacks nativity
- Boring screenplay
- Documentary feel


Final Word: Urumi kills the curiosity of audience with a dull screenplay.


Urumi Movie Rating: 2.25/5
Banner: SVR Media Pvt Ltd
Cast: Prabu Deva, Tabu, Nithya Menon, pruthvi Raj, Aarya, Genelia
Music: Deepak Dev
Producer: SVR Media Pvt. Ltd.
Direction: Santosh Sivan

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Kandireega Movie Review

Young hero Ram is well-known for his energy and he is fondly tagged Energetic Star. Though, he has not delievered big hits in the recent past, he hoped an action-flick could change his career graph and signedKandireega. However, his wish seems to be coming true, as the film directed by debutant Santosh Srinivas is a complete entertainer. Read on forKandireega review.

Story:
Seenu (Ram) is a mischievous guy. He couldn’t complete his graduation and his father (Chandramohan) doesn’t want to get him married unless he completes his education. So, he decides to go to the city and complete his graduation. As he steps in the college, he happens to meet Shruti (Hansika) and loses his heart in the first sight. However, a local goon Bhavani (Sonu Sood) wants to marry her and Shruti is afraid of him as Bhavani is breaking the hands and legs of those, who look at her. Finding this, Seenu goes straight to Bhavani and challenges him that he could save her physically but if she falls in love, with someone, he could not arrest her soul. Bhavani agrees and wanted to test it with Seenu himself. So, Seenu thrashes goons who were after Shruti and make her believe that he could save her from Bhavani. As per the agreement, Seenu makes Shruti to love him and proves it to Bhavani. But Bhavani wanted to forcibly marry Shruti. Seenu lifts Shruti from the venue and takes her away. But some other goons follow them and kidnap Shruti. Bhavani reveals that those, who kidnapped are the followers of Warangal Rajanna (Jayaprakash Reddy), who is much bigger goonda than him. Why he abudcted her? What role Aksha plays in the film? Will Bhavani join hands with Seenu to find the goons? Answer to all these questions should be seen on-screen.

Performance:
Ram as usual has given his best performance in the film. He pumped lots of energy into the character. He has maintained good comedy timing and has shown lots of ease in his body language, histrionics, dances and action scenes. In fact, it is Ram all alone, who has taken the responsibility to run the show. Hansika's chemistry with Ram is not up to the mark, as her overweight has played the spoilsport. Moreover, she has not great opportunity to perform as well. Aksha has got a meaty role in the film. She makes entry into the film in the second half and has delivered good performance. In fact, the film would definitely give her a good break. Once again, Sonu Sood has got a lengthy role in the film. Jayaprakash Reddy is adequate and this time, he has used the Telangana slang in the film. Comedy by Chandramohan, Raghubabu, and Srinivasa Reddy are entertaining. Brahmanandam just chips in but leaves a mark of his own in the film.

Technical:
Cinematography by Andrew is worth mentioning here. He has captured the emotions, action scenes, and beautiful locales in the foreign countries with his camera. Music by Thaman is good and the choreography of songs aer also good to watch. Especially, Ram’s flexibility in dances is a highlight. Storyline is very old and has nothing new to offer. However, it is the debutant director Santosh Srinivas’ attempt, which should be praised. He appears to be a promising director. His direction reminds the audiences of Sreenu Vaitla’s style. The director has penned the screenplay in a very tight and perfect way and the audiences don’t get bored at any given point of time. Especially, the twists in the story, the growing number of villains in the second half are quite confusing but the director has managed control the narration.

Analysis:
Kandireega is a complete mass entertainer. The film would be a hit in B, C centres because of its commercial elements and action scenes.

Cast: Ram, Hansika, Aksha, Sonu Sood, Jayaprakash Reddy, Dharmavarapu Subrahmanyam, Brahmanandam, Srinivasa Reddy, Chandramohan, Raghubabu, MS Narayana, Vineeth Kumar, Brahmaji, Sana, Colours Swati, Hema and others.

Credits: Cinematography – Andrew, Editing – Kotagiri Venkateswara Rao, Music – SS Thaman, Producer: Bellamkonda Suresh, Story, screenplay, dialogues and direction – Santosh Srinivas.
Banner: Sri Sai Ganesh Productions
Released on: August 12, 2011

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Aarakshan: Movie Review

First things first... despite all the hype and hoopla, the fact is that Aarakshan touches its core theme ofreservation only in its first half and that too only partially and peripherally. The second half seems to narrate an altogether unconnected story. 

While the film is supposed to be centered on the Supreme Court's 2008 verdict on the approval of additional reservations for other backward classes, it barely touches upon the topic beyond what is common knowledge. The issue and its implications are seen through the confines of the viewpoint of its principal protagonist and the narrative lacks any broader perspective on the national issue.

Dr. Prabhakar Anand (Amitabh Bachchan), the principal of an esteemed college, is a man of principles. His approval on reservations for backward classes is opposed by the standing committee of his private institution, whereby he voluntarily resigns from his post. Mithilesh Singh (Manoj Bajpayee) is appointed as the new college principal, who simultaneously operates a parallel stream of education in the form of coaching classes outside the campus.

Without highlighting the pertinent issues directly associated with the quota system, directorPrakash Jha wants us to believe that coaching classes are an outcome of reservation. So the narrative shifts track to an altogether new plot where Prabhakar is left homeless when his bungalow is fraudulently taken over by Mithilesh for setting up his coaching classes. Subsequently Prabhakar sets up his own classroom on opposite premises, which provides free education to anyone and everyone. So the subject of national concern (reservations) with which the film starts is degraded to a local affair of illegal land acquisition by the climax.

The usually dependable talent of Anjum Rajabali and Prakash Jha come up with a shallow script this time around. And we are not even talking about the first 20 minutes reserved for redundant song-dance-romance. One expects the graph to rise when the theme of reservation comes into picture but there is no new take on the issue beyond the common conflict between the backward class and the general category. While one doesn't expect a documentary on the reservation system, there isn't any mention of its origin, need or even a brief backdrop on the Mandal Commission, from where the story takes off.

Not only does it fail to offer any solution to the issue, it doesn't even illuminate interlinked concerns like the debate over the extent of reservations or the aftermath of compromise on merit. Moreover the narrative very conveniently overlooks one of the most potent and prevalent hidden-agenda behind the quota system - the vote-bank politics of government. Also the film's take on reservation, to an extent, seems one-sided as it completely disregards the resulting deprivation to the general category meritorious students.

Coming to second-half where the film tries to make a statement on the education system, not only is it detached from the title theme but also very loosely handled. Amidst the clash of the coaching classes, the issue of reservation goes for a full toss. There isn't much wit in resolving the problems as Prakash Jha opts for his trademark call-for-revolution climax. And with the advent of a white-wigged Hema Malini as an influential lady, the end comes in so conveniently that it seems there wasn't any problem at the first place.

The film never bothers to hold responsible apathetic academics that, in a way, lead to the flourishing of the coaching classes. And that's because it has an extremely idealistic outlook towards everything. It has an ideal protagonist in Principal Prabhakar Anand who heads the most ideal campus. Every second member of the cast has been his student at some point of time. He offers free education. He is homeless but funds the hefty donation of a needy student. Even his loyal disciple (Saif Ali Khan) quits his US doctorate degree to return to motherland, just when the script demands. Regardless of such idealism, the film still attempts to tackle a practical issue.

Amitabh Bachchan (almost reprising his Mohobattein look and character) is decent in his part.Manoj Bajpayee is menacing but can't stay away from hamming in the climax. Saif Ali Khan is underused getting just a couple of strong confrontation scenes. Deepika Padukone does a fair job.Prateik Babbar gets no scope.

With Prakash Jha's past repertoire one may reserve the right to believe that his films are social, sensible, well-researched, hard-hitting and conveys a message. Watch Aarakshan and he proves you wrong, this time!

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Kandireega Movie Review

Kandireega is a mass masalic paisa vasool entertainer,also is a complete laugh riot in the end.
Story : Ram falls in love with Hansika who is set to marry Sonu Sood. How they succeed in their love forms the rest of the story.

Screenplay : 
Good

Music and BGM : 
Songs are okay on screen and a couple of them are quite good with energetic dances from Ram. BGM, although loud at times was fine.

Performances : 
am was fully energetic in his role. He pulled off entire 1st half on his own. Sonu Sood was a revelation and we can see an entirely different full length role for him. Hansika, Aksha, Jayaprakash Reddy & others did their bit. Telangana slang for aksha was perfect.
Visuals : Fine and adequate.
Direction : Good

Plus :
1.Funny and hilarious narration.
2.Music and very Racy Screenplay.

Minus :
1.Routine and predictable story line

Overall Movie Rating :
3.25 / 5 ( Paisa Vasool )

Boxoffice Verdict :
 Kandireega has all the ingredients in it to become a genuine commercial success at the Boxoffice.

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Review: NAA PERU SHIVA

Film: NAA PERU SHIVA Rating: 3/5 Banners: Studio Green, Cloud Nine Movies Cast: Karthi, Kajal Agarwal, Jayaprakash, Soori, Lakshmi Ramakrishnan, Neelima, Raviprakash, Rajivan and Others Music: Yuvan Shankar Raja Cinematographer: Madhie Director: Suseendran Producer: K E Gnanavel Raja Release date: 05/08/2011 Story:A well knit tale, the story begins with Shiva (karthi) who is a typical youngster believing in taking life as it comes. He has his group of friends and his share of fun and is doted upon by his father Jayaprakash (jayaprakash) who is a call taxi driver. Meanwhile, Jeeva also comes across Priya (kajal) and eventually, they fall in love. The story takes a turn when Jayaprakash witnesses a kidnapping and goes out of his way to seek justice. However, he gets killed by the villains. Shiva is shattered by it and decides to avenge the killers. What happens from there forms the rest of the story. Presentation: The director has come up with a regular storyline but then it was the presentation and narrative that scored. The dialogues were entertaining, the script was well written and the screenplay was appealing. Background score was a highlight and the songs were good. Cinematography was upto the mark. Editing was neat. Costumes were suitable and the art department was appealing. The last action sequence was mind blowing. Karthi was excellent as usual and he has shouldered his role very maturedly. He has an admirable screen presence. Kajal Agarwal looks sensuous as usual and she provides the visual feast. Jayaprakash was decent, Lakshmi Ramakrishnan was standard, Neelima was natural, Raviprakash was regular, Rajivan was good. Conclusion: The film happens to be the dubbed version of the Tamil movie Naan Mahaan Alla which scored a decent hit. It takes off as a light hearted entertainer and eventually, it becomes a serious movie with violence and revenge. The film doesn't have content but then it is the pace and the way it was presented that really worked. With superb performances by the lead pair and the support of sound technical values, the film has got the perfect ingredient to be a commercial entertainer. At the box office, this will be a profit grosser

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