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General News Film Reviews
#1
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Raman Raghav 2.0 - a commercial Hara-Kiri

[Image: Indian_Television_Dot_Com_Box_Office_Indiffer.png]MUMBAI: In the 1960s, Mumbai saw a series of crude, merciless killings of mainly footpath dwellers. Those who slept on the sidewalks, were ‘sleeping’ targets for this post-midnight killer. The initial murders took place in 1965-66 and, after a brief hiatus, resumed in 1968. The killer was identified as Raman Raghav though he was also known with many aliases. But the name Raman Raghav stuck owing to the person found guilty and convicted. A biopic on this case was made by director Sriram Raghavan in 1991 as Raman Raghav.

Raman Raghav 2.0 is a version of the case in Kashyap’s own style and reworks the real life story that happened to make it shocking and dramatic. To this end, he recalls the real life Raman Raghav case and declares: This is not his story. Then he proceeds to tell his own story. 

The start is with the title of the film where, a la Ram Aur Shyam or, say, Karan Arjun style, Raman is the killer, Nawazuddin Siddiqui, while the name Raghavan refers to Vicky Kaushal, the cop!

This is a dark film where there are no positive characters; the ambience is the dark filth and poverty filled lanes of Mumbai. There is a serial killer, Ramanna (Nawazuddin) and there is a cop (Kaushal) but, the cop, himself, is just about as sinister as the killer. He is a drug snorting womanizer. Instead of the cop chasing the murderer, often the murderer is chasing him!

When the film opens, Nawazuddin already has nine killings to his name. He is all that one can get when a number of wasters and sadists are put together. He feels at home in the seediest streets of the city and, in his own way, converses with god.

As the ‘chor police’ kind of game plays on between Nawazuddin and Kaushal, it is unlike any  other Hollywood or Indian film for here none of the two is clean; it is as if Kaushal wants to better the bad ways of Nawazuddin. And, that is what Nawazuddin tells Kaushik in the final confrontation, that the latter is his better half!

The film has some shock elements and some gory violence aptly aided by sound effects and graphics. Between Nawazuddin and Kaushal, of course, the former scores. Sadly, few will volunteer to watch the contest.

The film shows the maker’s competence at making bleak, non-entertainers. While, they may be appreciated by a few critics, they are a commercial hara-kiri.

Producer: Anurag Kashyap, Vikas Bahl, Vikramaditya Motwane, Madhu Mantena.
Director: Anurag Kashyap.
Cast: Nawazuddin Siddiqui, Vicky Kaushal, Vipin Sharma, Amruta Subhash, Sobhita Dhulipala.

Credit: Indian Television.com
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#2
7 Hours To Go...Not going anywhere!

[Image: Indian_Television_Dot_Com_Raman_Raghav_2_0_a.png]The film, 7 Hours To Go, is  small in comparison to big budget action movies. However, the film nurses similar ambitions.

The film is about a hostage drama taking place in a crowded court of law in a metropolis like Mumbai where the hostage taker gives the police seven hours to sort out the problem.

Shiv Pandit arrives in Mumbai to meet his fiancé, Natasa Stankovic. He is unable to find her but unwittingly becomes the witness to a murder that takes place and a failed attempt to storm the corporate headquarters of Khemka Towers belonging to the corporate boss Khemka played by Vir Das.

Now, Pandit has raided the Mumbai Court and taken seven hostages. Pandit blames Das for the murder of his fiancé

To give the film the glam quotient, the case is handed over to the brave multi martial art ace, ACP, Sandeepa Dhar, with Varun Badola as her aide. They realize that, after all, the suspect, Pandit, seems to be no ordinary person. He carries the tag of a UP Police officer.

Pandit is actually after Das and his diamonds and manages to get his way.

The film is a lot of running around with Sandeepa, Varun and a sniper, Kettan Singh, hired by Das to kill Pandit. This running around is done only to promise you a sequel as Sandeepa promises Pandit she will not stop chasing him and will eventually nab him.

Director Saurabh Varma makes a sincere effort to give the film a taut look, it remains mainly and effort what with the limited budget at his disposal. Performances are okay.

Producer: Nikita Thakur.
Director: Saurabh Varma.
Cast: Shiv Pandit, Sandeepa Dhar, Natasa Stankovic and Varun Badola.

Credit: Indian Television.com
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#3
Rough Book….D for duffers!

[Image: Indian_Television_Dot_Com_Raman_Raghav_2_0_a.png]Rough Book is a film on the country’s education system. It aims to highlight advances in the education system, the demands and the pace the institutions have kept up with these. Schools and colleges still continue to impart knowledge at a rapid pace, wanting to beat the semester deadlines rather than for students to imbibe knowledge.

Like everywhere else, in this institution which the film focuses on, the usual pattern is followed and that is to take periodical tests. This institution has a programme whereby following such tests, it slots its students into four categories. Accordingly, the toppers are assigned to the A Division, the bottom performers get D Division. Also, while the A division gets the top teachers, their grade too goes down as the divisions move from B to C while D Division gets almost rejects.

This institution, like many in the country, wants to make a reputation of producing only toppers and on that basis, keeps adding to its fee structures. The idea is to let only toppers go for final exams in which event they hold back the D Division.

That is when the institution gets a new teacher in Physics in Tannishtha Chatterjee, a product of an orphanage run by Suhasini Mulay from where she has imbibed high moral values. She is happily married to an IT officer, Vinay Jain, himself known as a strict and uncorrupt officer. But that myth is soon shattered when Vinay’s own house is raided by his superiors and tons of money is found in, of all the places, Tannishtha’s book case, right behind her books.

The marriage is over, Tannishtha goes back to the ashram where she is soon convinced to start anew. That is when she joins this institution headed by Kaizaad Kotwal. Like in all such films, the new teacher is welcomed by a ball breaking the window pane of her car, a sign that she is due to deal with some rough students, disillusioned with the system. And, she is assigned the D Division despite her glowing credentials.

Tannishta soon realizes that these students are at sea because of the education system followed here. They lack in the basics so have remained poor over the years. While she decides to take her teachings back to basics and suspend the current syllabus, Kaizaad decides to make them take an exam. His plan is to set up coaching classes for weak students in the very premises of the institution. The conflict leads to the ouster of Tannishtha.

The film departs from the usual and charts its own dream story albeit with her taking up the cause of the underdogs against the might of the school. It seems her friends, which include Joy Sengupta, Jayati Bhatia and Deepika Amin, are all expert teachers in different subjects and decide to teach some of the D Division students from home. They train the students for not only school boards but also for IIT-JEE!

The film deals with the education system with a very simple approach; sadly, there is conflict between schools to churn out toppers and be the highest paid on one side, and the teachers like Tannishtha wanting to change the system. Its script and narration are too simple. The best thing about the film is that it has been shot during mid-monsoon lush locations to make it a visual pleasure. Performances are generally convincing with Tannishtha and Amaan Khan, the student protagonist,   justifying the extensive footage they get.

Producers: J C Chaudhry, Aakash Chaudhry, Dr Aashish Chaudhry.
Director: Ananth Narayan Mahadevan.
Cast: Tannishtha Chatterjee, Amaan Khan, Deepika Amin, Joy Sengupta, Jayati Bhatia, Vinay Jain, Kinjal Rajpriya, Suhasini Mulay, Ram Kapoor.

Credit: Indian television.com
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#4
Shorgul……About nothing..

[Image: Indian_Television_Dot_Com_Shorgul_About_nothi.png]MUMBAI: Providing entertainment to the high priced admission rates paying audience seems to be no more the reason why many producers/ directors make films. That too in a country where each state charges entertainment tax at whim, and, which consists of a major portion of the admission rates.

Shorgul is another film that decides to coincide its content with the incidents that happened in a particular state, UP in this case, driven by communal politics. So the content is the routine say, a piece of local news from any vernacular media like a Hindu- Muslim boy girl romance, statue of a deity found in Muslim’s farm, just about anything that can tilt the balance of harmony between communities. In the process, the film also touches some of the more controversial events of the state.

A Hindu boy Anirudh Dave and a Muslim girl, SuhaGezen, are neighbours growing together. As they mature, Anirudh has fallen in love with Suha but it is one-sided and Suha treats this just as a friendship and she is soon to be engaged to be married to a Muslim boy, HitenTejwani.

The town has a gallery of politicians named so as to bear close resemblance to real life active politicians of UP. Jimmy Sherrill is a Hindu politician (modelled after SangeetSom) and member of the assembly. He is the kind armed with fuel and always on a lookout for fire to add to it. On the other side is Narendra Jha (representing Azam Khan). While, there is also a caricature of Amar Singh, Sanjay Suri plays the UP CM MIthilesh Yadav kind of role. While Jimmy and Jha ferment trouble using community card, there is also a saner, balancing factor in town in Ashutosh Rana, father of the lovelorn Hindu boy, Anirudh, who is respected by both the communities.

This is about as original as the makers get for rest of the events loosely woven together in the name of a political drama.The end is, as is the norm in such a film, about sermonizing, blaming mainly the politicians for muddying up the peace between the two communities. The film has a horde of talented actors in the cast and even as all of them do well, Ashutosh and Hiten stand out.

As for the commercial for Shorgul, the film promises none.

Producers: Swatantra Vijay Singh, Vyas Verma.
Directors: Pranav Kumar Singh, Jitentra Tiwari.
Cast: Jimmy Shergill, Ashutosh Rana, Narendra Jha, Anirudh Dave, HitenTejwani, Sanjay Suri, Eijaz Khan, SuhaGezen, Neetu Pandey, Hrishitaa Bhatt, Jay Shanker Pandey.

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#5
The Legend Of Tarzan

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The Legend Of Tarzan movie review: David Yates movie gives us a believable reason to revisit the tale of the man raised by apes.

Could a Tarzan film be more? Here is an answer — yes.

David Yates, the award-winning director with, among others, four Harry Potter films behind him, makes The Legend of Tarzan soar with adventure as much as it bristles with tension, makes us care as much for king-size characters as unknown African villagers, and most of all, gives us a believable reason to revisit the tale of the man raised by apes. While it’s White men, again, who rise to the rescue, this time of Congo, the film gives a genuine shot at explaining the game played by the colonial masters in divvying up the continent.

Now, preferring to be referred to formally as John Clayton III (Skarsgard), Tarzan has been living for some years in a London castle. A member of the House of Lords, he is as used to tea at certain hours as semi-boiled eggs served a certain way, though the legend of his life in the jungle has followed him to England.

The suggestion that he represent the House of Commons as trade emissary to the Congo, on an invitation by King Leopold of Belgium, stirs up uneasy thoughts of that life, with its share of dangers. John doesn’t hesitate to reject the idea, saying Africa is “too hot”.

George Washington Williams (Jackson, playing a real-life character) persuades him to change his mind, saying he suspects a huge slave trade in Congo. Williams has just fought that war from the other side, at home in America. Jane (Robbie) is excited to return, and when John tries to argue that she should stay back, she points out that Africa is her home too.

Their homecoming, bathed in the warm, glowing colours of the African grasslands, literally and rather too metaphorically, turns bitter soon enough. On their trail is Rom (Waltz), who is after John’s life to further his own interests with the Belgian king.

Yates shoots the battles they fight, amidst huts in a spare village, inside deep forests, swinging in the air, landing on a train, under waterfalls, or atop a boat, with urgency. You never lose sight of what is at stake here, and there is no time for cheap thrills. Even John’s first encounter with his gorilla family is not a picnic, and his fight with his ape brother has all the bone-crunching elements of The Revenant, without the lingering aftermath.

Jane holds her own too, especially, as Rom finds it difficult to contain his fascination for her. Waltz, of course, breezes through his role of a sociopath, with snatches of a real life character too, saying a lot just with how he keeps a rosary always close and wields it as a killing weapon. But Robbie is impressive too, as a woman who, genuinely, no one can ignore.

Jackson is rendered a side fiddle in this tale, which is sad given the real life importance of the character he plays. In that his fate is similar to the other Blacks of the story, who are side shows except when John and Jane include them in their embrace. Their families too are among those abducted when Rom kidnaps Jane, but hardly a tear is shed for the remaining.

The origin story of Tarzan is reserved for flashbacks, but Yates is both spare and effective in how he tells it. This includes the minimal use of Skarsgard in the buff, though when he takes that shirt off, revealing trousers worn oh so dangerously low, half the battle is won.

Cast: Alexander Skarsgard, Samuel L Jackson, Margot Robbie, Christoph Waltz
Director: David Yates

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#6
Jackson Durai

[Image: Review_Jackson_Durai_is_a_decent_watch_Rediff.png]

The father-son duo, Sathyaraj and Sibiraj are back together after more than a decade for director Dharanidharan’s horror comedy Jackson Durai.

This is the director’s second outing after the stylish crime thriller Burma in 2014.

Set in the rural backdrop, the film revolves around ghosts from the British era terrorizing an entire village.

Several villagers are dead and a new sub inspector, in this case Sathya (Sibiraj), is appointed to investigate the matter.

According to the legend in the village, ghosts residing at the mansion belong to a long-dead British Colonel, Jackson (American actor Zachary) who imposed cruel laws on the villagers.

He used to demand food grains as taxes and though he is no more, the villagers still continue the century-old tradition, forced by some strange presence in the now empty and derelict house.

The villagers want a solution, but Sathya has one look at the village President’s lovely daughter Viji (Bindhu Madhavi) and promptly forgets what he is set out to do.

He proposes, but there is one other competitor in the village for Viji, a good-for-nothing relative Veera (Karunakaran).

Dressed in ridiculous clothes, Veera tries very hard to be funny and does succeed to some extent. Unfortunately, he has little help from the screenplay, which turns repetitive and boring in the second half.

With two suitors for his daughter’s hand, the President announces that the person who comes out alive after staying at the haunted house for seven days will marry his daughter.

Both Sathya and Veera are terrified of ghosts but agree to the condition.

Do they get out alive or are they too killed by the ghosts of Jackson and Durai (Sathyaraj), who have been battling it out for over 100 years in the old mansion, forms the rest of the story.

The film has its share of hilarious moments, especially in the first half with Yogi Babu totally in his elements, cracking the funniest dialogues with an absolutely straight face.

The scary parts can be described better as weird and wacky, but after the entertaining first half, the film soon shifts to sentiments and patriotism.

Sathyaraj appears only in the second half and there is a brief and unremarkable flashback, taking us back to the British period and the atrocities of Colonel Jackson.

Cinematographer Yuvraj creates the perfect ambiance for this horror comedy and the background score by composer Siddharth Vipin is just as impressive.

Interestingly, the romantic angle has been ignored and there is not much for Bindhu Madhavi to do, except look pretty.

Sibiraj is adequate and Sathyaraj’s performance is monotonous. Karunakaran is whole lot of fun, but Yogi Babu undoubtedly steals the show.

The film starts of well but lags in the second half and the screenplay begins to go downhill.

However, there is a certain wackiness to the narrative and the absurd characters that make director Dharanidharan’s Jackson Durai a tolerable watch.

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#7
SULTAN

The film is Salman Khan’s most restrained performance and that’s worth the price of a ticket!

Sultan is what every Salman Khan film aims to be. It is a showcase of the superstardom of the actor, yet it manages to weave a plot and tell a story that will resonate with audience across age groups and social strata.

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Sultan full movie review: The film is Salman Khan’s most restrained performance and that’s worth the price of a ticket!

Salman Khan’s Eid release of 2016 has finally released. Directed by Ali Abbas Zafar and produced by Yash Raj Films’, the film also stars Anushka Sharma, Randeep Hooda and Amit Sadh in key roles. So does the film live upto the expectations? Read the full review of Sultan to find out… 

[Image: Sultan_is_Salman_Khan_s_best_ever_Bollywood_is.png]

What’s it about:

Sultan is what every Salman Khan film aims to be. It is a showcase of the superstardom of the actor, yet it manages to weave a plot and tell a story that will resonate with audience across age groups and social strata. Cause that is the magic that Salman brings to the cinema. Sultan uses Salman’s stardom by taking the glamour and larger than life persona out and instead bringing out the child-like human quality that is often captured when the actor is off camera. Director Ali Abbas Zafar’s Sultan is more than just a tale of an underdog, it has nuances and references to the human spirit that have an universal appeal. Salman plays a washed out wrestler whose personal life is in doldrums after his wife Aarfa (Anushka Sharma) walks out on him post a tragedy. How Sultan turns things around and decides to give wrestling and his life a second chance is what the film is all about. Amit Sadh plays the businessman friend who invests in Sultan to keep his MMA inspired fighting tournament alive while Randeep Hooda plays Sultan’s coach. Both these characters aptly support and take the story ahead in their own way. However if you strip the film off the wrestling and much publicised ‘Dhobhi Pachad’, Sultan has a beautiful love story at its heart.

What’s hot:

We will get to Salman later, but can we talk about how good the material for the film is ? Ali Abbas has certainly gone all out to ensure that he has incredible writing team to work on the film. The screenplay is tight and the dialogues deliver the knockout punch when required. Also the Haryanvi dialect and accent which plays a very important part in the film is on the money! Both Salman and Anushka have worked really hard on getting their diction right. For me the real star of the film is Ali who might have delivered two turkeys (Mere Brother Ki Dulhan, Gunday) in the past, but he washes that off this slate with Sultan. His style and technique is unique and his approach to creating emotional scenes is amazing.

The way Salman and Anushka execute the dramatic scene leading to the interval showcases Ali’s brilliance. Anushka might not have been the first choice to play Aarfa (Kangana Ranaut, Priyanka Chopra, Deepika Padukone were considered) but she goes for the kill and makes the most of this role. She shines in every single scene with Salman. Amit Sadh is a natural and commands attention even when standing opposite Salman in some heavy duty scenes. That brings us to the questions, how good is Salman Khan in Sultan ? The obvious comparison will be with Bajrangi Bhaijaan, and for me his act in Sultan aces that by miles. It’s not just the physical transformation but the mental prowess and technique that he uses to bring Sultan Ali Khan alive which impresses you. This is the messiah of the box-office and favourite of the front benchers, yet Salman strips off all those adjectives and gives an unplugged acoustic performance without the bells and whistles. There are ample paisa-vasool lines and moments that remind us of his super stardom but for the larger part of the film we get to see a restrained side of Salman we haven’t watched in a very long time. 

What’s not:

The length plays the spoilsport in the second half. The film could have easily done away with 15 odd minutes. Randeep Hooda as the coach looks a bit of a miscast. Also once the MMA fight scenes begin you sort of know what to expect. Apart from Jag Ghoomiya none of the tracks really standout on the soundtrack.

What to do:

Easily Salman’s best performance till date, Sultan is a solid trump card for the actor and his director Ali Abbas.

Rating: 4.0 out of 5

Source: http://www.bollywoodlife.com/news-gossip...-a-ticket/
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#8
The Secret Life Of Pets - movie review: Some lives are better left secret

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The Secret Life Of Pets movie review: The film ends up being about two hostile animals in mortal peril till they literally come out swimming.

Animals just want to be loved. That is the crux of this film that keeps its claws, whatever they are, firmly sheathed, and jumps from one plot point to another hoping to land always on its feet. It doesn’t work that way, some animals would tell them.

Far from being about the secret life of pets, which drums up images of animals celebrating alone time — not far off perhaps from what you are thinking — the film ends up being about two hostile animals in mortal peril till they literally come out swimming. The animals, mostly dogs but also cats, guinea pigs, and a hawk and a tiny bird, survive falling, crashing, drowning and poisoning, not to mention ear-splitting music, and all they lose is, maybe, some fur.

At the centre of it are Max (Louis C K) and Duke (Stonestreet), the two dog pets of a painfully thin owner with no other family or friends. Duke is a new arrival, and Max pours his jealous heart out to his fellow pets in the apartment complex. One suggests Max be the “alpha dog”, and the consequent rivalry between him and Duke leads to the two finding themselves out on the streets one day at the mercy of feral cats, later animal control officers, and finally some ‘Flushed Pets (discarded pets)’. The latter have regrouped as ‘revolutionaries’, who inhabit the sewers seeking revenge against humans for using and discarding them.

If already the film has started seeming a bit unwieldy, there is more. A white fluffball of a dog called Gidget (Slate), who has a crush on Max, mounts a search for him. She ropes in both a hawk (a delicious Albert Brooks) and later an old dog who requires help to even open his eyes, Pops.

The crash of the claws doesn’t really amount to that, but the villainous rabbit called Snowball (Hart, clearly enjoying himself) neatly steals the show baring his teeth against all of humankind and its two-legged companions.

The film fills its in-betweens where there isn’t frenetic action with golden-hued shots of New York’s skyscrapers and parks, followed by familiar cats vs dogs jokes. Tomcat Chloe (Bell), for example, can’t be bothered to lift her sulking head when her owner walks in, unlike dogs including Max that run around in circles to welcome them. Chloe raids refrigerators, Max guards even his owner’s vases.

Makes you wonder what a story told from Chloe’s point of view would look like, including her take on the assumption that the sight of tall, brightly lit buildings thrills animal hearts. But then, for the sake of some cat lovers, a few “secret lives” are better left secret.

Directed by Yarrow Cheney, Chris Renaud
Voices of Louis C K, Eric Stonestreet, Kevin Hart, Jenny Slate, Albert Brooks, Lake Bell

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#9
Kasaba

This Mammootty film revives a dangerous trend

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A poster of the film starring Mammootty

In one scene, superstar Mammootty grabs the belt of a female police officer and says that he is capable of breaking her menstruation cycle if he wants to. Almost immediately, the theatre resounds with testosterone-fuelled whistles and claps. It just shows how a majority of men think in this country and how several filmmakers are gladly catering to their audience’s perverted mindset.

Except for the treatment, Kasaba does not offer anything new. The film offers the Stone Age concept of man being the saviour of hapless creatures called women and a rogue cop who is glorified for not following the law of the land. As for the treatment and craft, the film reminds one of Salman Khan’s blockbuster Dabangg, owing to its rich and attractive frames and striking similarities between the two lead characters.


Kasaba, a name given to suburban police stations in India, tells the story of a police officer Zakriah (Mammootty), who is investigating the murder of a couple very close to his senior officer. Zakriah reaches Kalipuram, a village situated on Kerala and Karnataka’s border, to investigate the murder of his superior’s son and his fiancé.

At Kalipuram, the police officer has to deal with a corrupt politician Paremeshwar Nambiar (Sampath Raj) and his girlfriend Kamla (Varalakshmi Sharthkumar), who run a brothel. The film then becomes a mish-mash of various threads — college activism, power politics, brutalities inside a brothel and an omnipresent Maoist connection. Once the antagonist Nambiar arrives on the screen, no scope is left for unpredictability and excitement in this revenge story.

The only difference between film’s director-scriptwriter Nithin and his father Renji Panicker’s super-hero police officers is that Nithin’s cops don’t speak long, breathless English dialogues. Other than that, the debutante director stays faithful to the ‘Bharathchandran’ mould of a rebel police officer created by his father, along with Shaji Kailas.

From the opening sequence where a sex worker admires Zakriah’s manliness to how the cop helps Kamla wreck vengeance, the director fails to break free from the framework of chauvinism his father created in his cinema.

Mammootty’s Zakriah is exactly like the role of cops he has played in the past. The actor’s much-admired carefree walk looks clumsy and the signs of ageing cannot be hid by cosmetics any more. Rest of the cast — especially Sampath, Alancier Lopez, Jagadeesh and Varalaxmi — has done justice to their roles. The only song in the movie, an item number, was absurd to say the least.

Kasaba is meant for you only if you are a Mammootty fan or if you want to watch yet another cop-on-a-revenge drama.

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#10
Great Grand Masti : This offensively unfunny, grating thing’s not a film

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Great Grand Masti movie review: To spice up the by now wrung-out-to-dry formula of sex-starved husbands and stand-offish wives, Great Grand Masti script has added on a female ghost who died a virgin.

Great Grand Masti movie cast: Riteish Deshmukh, Vivek Oberoi, Aftab Shivdasani, Urvashi Rautela
Great Grand Masti movie director: Indra Kumar

Those who have been following the escapades of the ‘Masti’ boys will know that they have been stuck in a limbo: between ‘biwis’ who will not put out and other women who are dying to, between pills that stiffen male private parts and receptacles to insert said parts into, between… I could go on, but I can see you cringe.

So did I, in this offensively unfunny, grating thing (nothing ‘great’ about it) which should not be allowed to call itself a film.
Read: Shiney Ahuja sues Great Grand Masti makers for calling character ‘Shiney the Maid’

The trio has been sending its sex-starved status up for laughs ever since we met them first, in 2004 (Masti). We got more of the same in 2013 (Grand Masti). This time around, even the occasional snigger has dried up completely.

To spice up the by now wrung-out-to-dry formula of sex-starved husbands and stand-offish wives, the script has added on a female ghost who died a virgin, and who is bent upon making up for the lost time by having at not just one, but all three.
Watch: 5 Reasons To Watch Great Grand Masti


The ‘bhootni’ ( Rautela) gets maximum play. She has an extensive wardrobe, clearly, so she is to be seen in flowing gowns and stringy ‘cholis’ barely able to contain her bosom. She clearly also has a beauty parlour in easy reach because her hair is immaculately curled, and her lips made up in red and pink.

Rautela is made to rant, shimmy and shake in old-Bollywood vamp style. At least she has something to do, poor thing. As opposed to Deshmukh, Oberoi and Shivdasani, who are handed out such deathless lines as: “baahar ki biryani aur ghar ki daal bhi nahin milti.” A village they fetch up in is called ‘Doodhawadi’, and one of them comes up with ‘let’s milk this opportunity’, not once but twice. A dish of chicken is divided into ‘breast pieces’ and ‘leg pieces’. And so on, and on.

A character says : ‘arre yaar, yeh kya bhootiyaapa hai’.

Best dialogue ever.

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