Get ready for tangy, pungent, sizzling and spicy stuff. Be forewarned, ISHQIYA isn’t the fluffy, candyfloss, saccharine sweet story of lovers breaking into songs in mustard fields. In ISHQIYA, you just don’t know what turn the story may take next. Not just the story, even the characters here are so impulsive and unpredictable.

You need to have a strong stomach to absorb ISHQIYA. It’s high on drama, it’s wild, it’s real. But it’s not dark, it’s not sleazy, it’s not crass. Frankly, you don’t expect debutante director Abhishek Chaubey to make a stereotypical fare thanks to the tutelage by his guru Vishal Bhardwaj, who loves to swim against the tide and undertake risks in film after film.

You could call ISHQIYA a distant cousin of OMKARA. Set in Gorakhpur in North India, the film has a rustic feel, depicts characters that may make you uncomfortable and is laced with saucy lingo. Yet, it’s different than OMKARA.

Final word? You can’t help but fall in ishq with ISHQIYA. Tired of sherbat? Try this spicy jaljeera for a change!

Two thieves, Khalujaan [Naseeruddin Shah] and Babban [Arshad Warsi], are on the run from their boss, Mushtaq. They seek refuge at a friend’s house, but instead meet his widow, Krishna [Vidya Balan]. The time spent together draws the duo to her, Khalu with his tinted vision of old-fashioned love and Babban with his lustful eye. But the past catches up with all three!

There’s no denying that the promos had prepared me of the journey ahead, yet it took me a good 15-odd minutes to get into the world of Khalujaan, Babban and Krishna. But once you get sucked into their world, the blurred images start getting clearer and clearer and you become an active participant in their journey.

The first hour passes in a jiffy, but the story actually gets dramatic and volatile in its second hour. It’s at this stage that things start getting more and more unpredictable. The story does a somersault every 10 minutes and by the time it reaches its finale, you’re curious to know how the debutante director would conclude this saga. The end, of course, will have its share of advocates and adversaries, but the fact remains that it’s offbeat.

Abhishek Chaubey is a welcome addition to the ranks of avid storytellers. His choice of the subject and also handling of the material is what makes this film so eminently watchable. Not once do you feel that ISHQIYA has been helmed by a first-timer. Note the change of events in the song ‘Dil To Bachcha Hain Ji’ or the kidnap drama and the heated argument that follows thereafter. Even the passionate lovemaking sequence between Arshad and Vidya has been dexterously canned.

However, Chaubey and his team of writers could’ve kept the writing simplistic towards the finale. It’s complex and also lacks clarity. Yet, all said and done, screenplay writers Vishal Bhardwaj, Sabrina Dhawan and Abhishek Chaubey deserve kudos for coming up with a film that keeps you hooked for most parts.

Vishal Bhardwaj’s musical score has his unmistakable stamp all over. The film is embellished with two lilting gems – ‘Ibne Batuta’ and ‘Dil To Bachcha Hain Ji’ – which are a rage with listeners already and have been juxtaposed beautifully in the plot. Mohana Krishna’s cinematography is first-rate. Dialogues [Vishal Bhardwaj] are acidic and a few lines are indeed startling.

Every actor in ISHQIYA delivers a sparkling performance! Naseeruddin Shah is superb as a romantic. He is matchless in the sequence when he learns the truth about Vidya and Arshad. Arshad packs in a bravura performance yet again. Post MUNNABHAI films, Arshad should be liked in this one the maximum. Vidya continues to surprise. It’s a dynamic performance undoubtedly. PAA and ISHQIYA are two landmarks in her career.

The actors enacting the role of Jijaji, the kidnapped victim and Vidya’s husband are all perfect. The child, who interacts with Arshad, is natural. In fact, every performance in ISHQIYA is worthy of mention.

On the whole, ISHQIYA is definitely worth a watch. The film has a riveting plot, great performances, soulful music, an absorbing story and skilful direction to make the viewer fall in ishq with it. It should appeal to the hardcore masses as also the multiplex junta.

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Some films absorb you instantly, from the very outset. But it takes time to get into the world of a salesman who thinks from his heart.

Come to think of it, ROCKET SINGH – SALESMAN OF THE YEAR is about a simpleton, but the story of his struggle and accomplishment isn’t the kind that would charge you or make you charter a similar path in life. Also, the story of an underdog who comes up the hard way should make you feel euphoric in the end, right? But ROCKET SINGH – SALESMAN OF THE YEAR doesn’t.

Frankly, ROCKET SINGH – SALESMAN OF THE YEAR is more of a documentary on the life of a salesman. It’s a decent film, no two opinions on that, but the question is, [a] Is the story powerful enough to excite you and [b] Does it grab your attention in entirety? Sadly, the answer to both the questions is in the negative.

There’s another problem and this is strictly from the point of those seeking entertainment. A Yash Raj film with Ranbir Kapoor [after AJAB PREM KI GHAZAB KAHANI] essaying the title role, coupled with fun-filled promos ['Pocket Mein Rocket Hain'] might make you assume that it would offer loads of entertainment, but this has barely a song or two, as good as no romance and hardly any comic moments – the recipe for most Hindi movies.

In a nutshell, ROCKET SINGH – SALESMAN OF THE YEAR is a dull and dry experience.

Harpreet Singh Bedi [Ranbir Kapoor] has just graduated and his marks are, well, let’s say a little embarrassing. But marks never stopped him from dreaming of an exciting and adventurous career, and they never will.

He takes a deep, positive breath and dives into the world of sales, rumoured to be an ultra cool career. It’s everything he dreamt of, with its smooth dressing, smoother talking men and women who can sell ice to an Eskimo, dreams to an insomniac and a lifetime mobile connection to a dying man. But soon, his idea of success begins clashing with the strange ways of these ‘professionals’ and ‘bosses’ he looked up to.

ROCKET SINGH – SALESMAN OF THE YEAR may be based on a simpleton’s life, but the viewer gets a hang of things only towards the second hour. The entire first hour is devoted to establishing the characters and also getting used to the way sales persons go about their business.

There’s not much excitement in the first hour, barring a few attention-grabbing scenes that pop up intermittently. The story just flows, with the viewer not reacting much to the proceedings. But things change for better towards the post-interval portions when the protagonist and his colleagues’ lives get complicated.

At least two sequences deserve a mention here. The first, when Ranbir and his boss have a lengthy telephonic conversation. The second, when the boss realises his folly and apologises to Ranbir. But, unfortunately, the culmination to the story doesn’t give the feeling of euphoria or victory. Ideally speaking, it should have. That’s one of the reasons why the impact is missing.

Shimit Amin is an efficient storyteller and he has been most faithful to the plot, but if the plot itself has its limitations, there’s not much he can do to boost the proceedings. Jaideep Sahni has had the courage to narrate a new story, but the story is one-dimensional. Also, there screenplay is devoid of songs, romance and entertainment, which will go against the film completely.

Salim-Sulaiman’s background score is effectual. Vikash Nowlakha’s cinematography is alright.

Ranbir Kapoor is an exceptional actor and ROCKET SINGH – SALESMAN OF THE YEAR mirrors this fact. The actor underplays his part beautifully, which only goes to prove that he’s equally at ease essaying straight-out-of-life roles. Prem Chopra is exceptional. A number of new faces enact pivotal roles here, but the ones who stand out are Ranbir’s boss Puri and colleague Nitin. Both are fantastic.

D. Santosh is first-rate. Gauhar Khan leaves a strong impression. Shazahn Padamsee doesn’t get any scope.

On the whole, ROCKET SINGH – SALESMAN OF THE YEAR is more of a documentary on the life of a salesman. Lack of music, romance and entertainment, coupled with zilch hype, will go against the film. A colossal disappointment!

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Life is all about listening to your heart and chasing your dreams. That’s the essence of 3 IDIOTS, directed by the supremely talented Rajkumar Hirani. Let me come to the point right away. There are films and there are more films. And then there’s 3 IDIOTS.

Come to think of it, 3 IDIOTS carries a huge ‘burden’ on its shoulders: The ‘burden’ of humungous expectations. And it’s not without reasons…

# 3 IDIOTS is Aamir’s next release after the record-breaker GHAJINI.

# 3 IDIOTS is Rajkumar Hirani and Vidhu Vinod Chopra’s third film together, after MUNNABHAI MBBS and LAGE RAHO MUNNABHAI, landmark films.

# Three actors from the path-breaking RANG DE BASANTI team – Aamir, Madhavan and Sharman – team up yet again. Plus, Aamir’s teaming up with Hirani. It couldn’t get bigger!

3 IDIOTS is over-hyped and that could be dangerous for any film since it’s the expectations which kill a film if the content doesn’t match up to the hype. In this case, all izz well!

Now let’s demystify the myths…
3 IDIOTS is not about idiots or nincompoops. It’s about three engineering students who believe in ‘I’ll Do It On my Terms’ and that’s what the three characters achieve in life and that’s what Hirani, Chopra, Aamir eventually achieve at the end of the movie. Making a movie on their terms!

One more thing! You cannot draw parallels with any other film, past or present, successful or unsuccessful. And though people may draw parallels with GHAJINI or the MUNNABHAI series, it would be sacrilege to do so. 3 IDIOTS [based on a novel 'Five Point Someone' by Chetan Bhagat] doesn’t tilt, it stands tall.

Here’s yet another illusion: 3 IDIOTS belongs to Aamir Khan. Yes, it does, but also to R. Madhavan, Sharman Joshi, Boman Irani, Kareena Kapoor and Omi, the entrant in Hindi movies, who delivers an equally sterling performance. The film would be incomplete without any of these characters.

To cut a long story short, all you’d like to say about the film is, All izz very, very, very, very, very well. Watch this film to know what it means!

Two friends [R. Madhavan and Sharman Joshi] embark on a quest for a lost buddy. As they make their way through the perilous landscape [Shimla, Manali, Ladakh], another journey begins: their inner journey through memory lane and the story of their friend – the irrepressible free-thinker Rancho [Aamir Khan], who, in his unique way, touched and changed their lives.

It’s a story of their hostel days that swings between Rancho’s romance with the spirited Pia [Kareena Kapoor] and his clash with and oppressive mentor, Viru Sahastrabudhhe [Boman Irani]. And then one day, suddenly, Rancho vanishes…

Who was he? Where did he come from? Why did he leave? The friend who influenced and inspired them to think creatively and independently, even as the conformist world called them three idiots. Where is the original idiot now?

Hirani is a genius and that has been proved twice in the past. He proves it for the third time with 3 IDIOTS. Screenplay writers Hirani and Abhijat Joshi and screenplay associate Vidhu Vinod Chopra narrate a story that’s straight out of life. A story that each one of us can relate to or identify with.

Very often, we’ve read news-reports of students committing suicides because they’ve to live up to the family’s pressure/expectations. This film depicts it at the very start, when a student commits suicide. But the issue doesn’t end there, for 3 IDIOTS raises a pertinent question: Was it suicide or murder?

Hirani balances the rough and smooth incidents in their lives beautifully. The sequences in the campus, right from the ragging sequence at the start, to Omi’s speech when the word ‘chamatkaar’ is changed to ‘balatkaar’ [superb; will bring the house down], to the trio getting caught in an embarrassing situation at the reception of Kareena’s sister [Mona Singh], to the dinner sequence at Sharman’s house, to Kareena and Aamir driving Sharman’s seriously ill father on their bike to the hospital… the funny moments would make your jaws ache.

The interval point is a shocker. The point at which the first half ends will leave you stunned. Now what was that? Kahani mein twist!

The mystery is solved soon after the intermission ends and a new journey begins. That’s one of the USPs of the film. Just when you think that the story would be solved, a new story begins. Of course, the pace dips slightly in its second hour, especially during the delivery sequence of Mona [which may appear filmy to a few], but the immediate sequence, when the baby boy is born and also the subsequent sequence between Boman and Aamir bring the film back on track. The culmination to the film is novel and yes, it’s a master stroke from the writing point of view!

Every person behind the camera gives his/her best to the film. Hirani and Joshi’s screenplay is the mainstay of the film. If you fondly recall ‘Gandhigiri’ from their previous film LAGE RAHO MUNNABHAI, you’d have a new phrase to chew on this time: ‘All Izz Well’. Muraleedharan C.K.’s cinematography is awesome. Note the aerial view at the very start, when Madhavan and Sharman begin the journey to Shimla or the picture perfect look of Ladakh… the DoP does a magnificent job.

Shantanu Moitra’s music may sound plain ordinary to ears, but when viewed on screen, the score is just perfect. ‘Give Me Some Sunshine’, ‘All Is Well’, ‘Zoobie Doobie’ are three tracks that would grow on you after you’ve watched the film. The choreography of ‘All Izz Well’ [Avit Dias] and ‘Zoobie Doobie’ [Bosco-Caesar] are eye-catching. The background score [Sanjay Wandrekar, Atul Raninga, Shantanu Moitra] is right.

3 IDIOTS belongs to everyone. But, yes, there’s no denying that Aamir makes you forget all his past achievements as you watch the amazing actor play Rancho. To state that this ranks amongst his finest works would be an understatement. Madhavan is incredible, especially in the sequence when he explains his point of view to his father [Pareekshit Sahani]. Sharman is outstanding from start to end. This was a difficult role to portray and only an actor of calibre could’ve pulled it off. Boman is superb as the vicious head of the institute. The scenes between Aamir and Boman are extra-ordinary and it’s a treat to watch these two powerful actors clash on the big screen, without getting overdramatic. Boman’s appearance, mannerisms and dialogue delivery are exemplary.

The length of Kareena’s role may not be as much as Aamir, Madhavan and Sharman, but she registers a strong impact nonetheless. Omi is excellent and the viewers are sure to love his acidic tongue and gestures in the movie. Mona Singh doesn’t get much scope. Jaaved Jaffery is competent. Pareekshit Sahani is decent.

On the whole, 3 IDIOTS easily ranks amongst Aamir, Rajkumar Hirani and Vidhu Vinod Chopra’s finest films. Do yourself and your family a favour: Watch 3 IDIOTS. It’s emotional, it’s entertaining, it’s enlightening. The film has tremendous youth appeal and feel-good factor to work in a big way.

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SHREK [and its instalments] has been one of the most loved movies of our times. An ogre falls in love with a princess and after overcoming their share of obstacles, the couple live happily ever after. Most Hindi movies take a similar route, don’t they? We love happy endings. We want the underdog to accomplish his dreams. We feel euphoric if he walks into the sunset, holding the hand of his beloved.

A love story works if you fall in love with the on-screen characters and also if it knocks on the doors of your heart. PYAAR IMPOSSIBLE does that. PYAAR IMPOSSIBLE may not be the ultimate romantic film, but you can’t deny the fact that there’s something about this film that stays with you, that you carry home… sorry, carry in your heart.

PYAAR IMPOSSIBLE also works because its protagonists, Uday and Priyanka, deliver sparkling performances. No wonder, you get drawn in their world in a jiffy.

Final word? Watch PYAAR IMPOSSIBLE if you are or even if you’re not a romantic. It has its heart in the right place!

In a university in California, Alisha [Priyanka Chopra] is the name of that dream everyone wished came true. The most beautiful girl on campus, she makes hearts flutter like leaves in the wind. Everybody loves Alisha.

It is no surprise then that Abhay [Uday Chopra] loves her too. Abhay is a nerdy, awkward, bespectacled geek of the college who is so far removed from her world. She doesn’t even know that people like him actually exist.

One day Abhay musters up enough courage to go and express his true feelings to her and realizes that it is never gonna happen. He comes to terms with the fact that Alisha is a Princess and he is just a Geek. That is when their ways eventually part. Later, their paths cross again, as Abhay is busy trying to launch his career. Fate again brings him face to face with the woman of his dreams, Alisha.

Will Abhay have the strength to believe in himself and attempt to achieve what he never thought possible?

You may draw parallels with Chris Columbus’ I LOVE YOU, BETH COOPER [2009], but the fact is that Uday Chopra’s story in PYAAR IMPOSSIBLE [yes, he has penned the story, screenplay and dialogue] could be anybody’s story. This is not about a nerd who wants his program back from a suave hacker. It’s about a simpleton, his feelings, the complications in his life and the final triumph. Haven’t we seen so many jodis in real life, who may not pair off well, but look compatible? Let’s not forget, opposites attract!

You may also draw parallels with Aditya Chopra’s RAB NE BANA DI JODI, but writer Uday Chopra and director Jugal Hansraj steer clear of anything that could be similar to Adi’s film. The [sole] similarity starts and ends with a simpleton falling in love with an attractive girl.

Uday’s screenplay remains faithful to the main plot, not deviating one bit. At the same time, it could’ve been tighter in the post-interval portions. There were ample occasions when Uday could’ve opened his heart, his motive of arriving in Singapore, that he’s not a nanny, that he had been cheated by Dino. But he doesn’t!

Thankfully, the writing is back on track towards its climax. Right from the kiddie song, to Priyanka realising that she loves Uday, to the press conference when Uday stands vindicated and Dino exposed, the penultimate moments are the mainstay of the enterprise.

Jugal Hansraj has the trappings of a competent director. He has handled several sensitive moments with dexterity. Salim-Sulaiman’s musical score is pleasant, but it can do with that extra push [promotion] from the music division. Santosh Thundiyil’s cinematography is top notch. Dialogue [also penned by Uday] are straight out of life.

PYAAR IMPOSSIBLE works largely due to the efficient performances by its principal actors – Uday Chopra and Priyanka Chopra. Both deliver sparkling performances. Priyanka has evolved into a fantastic actor and this film proves it yet again. Five minutes into the film and you realise that you are not watching Priyanka, but Alisha Merchant. That’s what this fine actor does to you.

Uday gets it right as Abhay. Sure, the actor has been a part of several films in the past, but this one awakens you to this sincere performer, who, unfortunately, has never got his due. He plays the role of a Geek with astute understanding and it’s thanks to his super portrayal that you feel for this character. This should be the turning point in his career.

Dino Morea springs a surprise and carries off his part very well. Anupam Kher is perfect in a brief role. Advika Yadav, the kid playing Priyanka’s daughter, is adorable. And a terrific actor too!

On the whole, PYAAR IMPOSSIBLE is a feel-good film. If you are a romantic, this one’s for you. Even if you’re not, still watch it. Its one of those films that will bring a smile on your face – something that most Hindi films don’t do these days!

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The film industry attracts thousands of hopefuls every single day. Most don’t make it. But the struggle continues… CHANCE PE DANCE tries to present the story of a hopeful – his dreams, his aspirations, his struggle and his eventual triumph.

Last year, Zoya Akhtar’s LUCK BY CHANCE depicted the struggles of an aspirant most effectively. CHANCE PE DANCE tries hard to present the story of one such aspirant, but fails miserably. However, a few clarifications before we delve deeper. It’s not derived from STEP UP [2006] or Ram Gopal Varma’s NAACH [the similarity starts and ends with the male lead being a wannabe actor and the female lead being a choreographer], although a significant track of the movie bears an uncanny resemblance to Jack Black’s SCHOOL OF ROCK [2003].

What bogs the film down is that it’s too predictable from start to end. However, predictability is not the sole hitch here. The story doesn’t have the zing to keep you hooked to the screen for most parts and also, it unravels at such a lethargic pace that you break into a yawn at several points of the narrative.

The sole aspect that you carry home is Shahid Kapoor’s earnest performance, who has consistently taken one step ahead with every film. This time, unfortunately, the shoddy script makes the actor’s efforts null and void.

Final verdict? A chance lost! Come to think of it, most dance-based reality shows on television these days promise far more entertainment, excitement, drame-baazi and those euphoric moments than the one you see in CHANCE PE DANCE.

CHANCE PE DANCE tells the story of a talented and passionate guy named Sameer [Shahid Kapoor]. Positive and brimming with energy, Sameer juggles various jobs to keep him afloat while pursuing his one dream to get a break on the big screen.

In his quest, Sameer has a lot of ups and down, hopes and disappointments. Not the one to be disillusioned and armed with a ‘Never-Say-Die’ attitude and dynamic talent, Sameer fights every hurdle that comes his way because achieving your biggest dream is never easy.

In this journey, he is helped by a spirited choreographer Tina [Genelia D'Souza] and eventually, Sameer realizes that sometimes life gives you that one chance.

The problem with CHANCE PE DANCE is its writing, which is tacky and bland at the same time. In today’s times, when every film-maker is striving so hard to narrate a new story, CHANCE PE DANCE harps on the same-old mundane, cliched, tried-and-tested stuff that you’ve watched again and again and again. The journey of the protagonist is so lifeless that you don’t feel for him when he loses one battle after another. Conversely, during the climax, when he eventually emerges a winner, you don’t feel euphoric either.

Had the story remained faithful to the main plot – the struggles of an aspirant – it may’ve cut ice with the viewer. But the track of a dance teacher doesn’t work. Also, the sequences with his father – right from the time his father’s shop is demolished, to his father prodding him to chase his dreams – appears phony. The Mohnish Bahl track is also contradictory. At first he signs Shahid, later dumps him, but much later screams on TV channels that he always knew Shahid was a star… weird, isn’t it? The ending is equally tame.

Director Ken Ghosh has filmed a few individualistic scenes well, especially the one at the interval point when a heart-broken Shahid finds solace in his students, but one sparrow does not a summer make. Adnan Sami’s music is strictly okay. The movie clearly lacks a hit number to take it to dizzy heights. However, the choreography is top notch [Ahmed Khan, Marty Kudelka].

Shahid makes a sincere effort and the honesty shows in a number of scenes. But let’s not forget that the best of actors cannot rise beyond a pitiable script. His dances, expectedly, are exceptional. Genelia looks cute and provides some pleasant moments, but the role doesn’t demand histrionics. Mohnish Bahl is alright. Parikshit Sahani is getting typecast as the father.

On the whole, this dance stands no chance!

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