Krish Bollywood Movie

Yes, finally, the much-awaited KRRISH has arrived. Armed with monumental expectations, this sequel to KOI� MIL GAYA is touted to win the hearts of kids from 6 to 60. Most importantly, KRRISH is expected to rewrite box-office history.

Since the inception of the character during the 1930s, Superman has been fodder for a variety of movies and television series, both live and animated. Though Hindi film heroes have had the qualities of Superman, it�s for the first time that a lead man with a mask and robe is about to invade the Hindi screen.

KRRISH is a crucial release for yet another reason. The Rakesh Roshan-Hrithik Roshan combo has given us back-to-back successes: KAHO NAA� PYAAR HAI and KOI� MIL GAYA. Quite naturally then, the expectations from KRRISH are humungous.

The great news is that KRRISH more than meets the expectations. The film works, and works big time, due to several reasons. Besides a novel premise for Indian moviegoers, it has Hrithik Roshan enacting a role that fits him like a glove. Mind you, the role of a man with superpowers and a robust personality to match would�ve fallen flat in inept hands and the best of techno-wizardry would�ve, hence, been ignored, unobserved and unnoticed.

But one of the major highpoints of KRRISH is its penultimate 40 minutes. The fight between good and bad, noble versus immoral, virtuous versus corrupt has been depicted in film after film. And if the fight between the two extremes is portrayed in the most convincing fashion, the viewer is bound to carry the film home and most importantly, return to the movieplex to watch the on-screen clash once again.

The collision of righteous [Hrithik] and wicked [Naseer] in KRRISH and the usage of special effects and thrills takes the film to an altogether different level. It wouldn�t be wrong to state that Hindi moviegoers haven�t witnessed something like this ever. Also, the re-emergence of Rohit [the lead character of KOI� MIL GAYA] in the story is a master stroke from the writing and execution point of view. It only strengthens the climax and makes the fight utmost convincing.

KRRISH also reaffirms the fact that Rakesh Roshan has adapted to the changing times well. While most of his contemporaries have slipped into oblivion, Roshan Sr. has moved with the fast-changing times and gathered courage to narrate a tale that�s present-day and at the same time, inventive. At the same time, KRRISH is soaked in Indian emotions [the relationship Hrithik shares with his grandmom Rekha], talks of astrology using computer as a tool and shows the protagonist with superpowers -- a story Indians can absorb very easily. Concurrently, Roshan Sr. relies on dexterously executed special effects to narrate the tale. And the pulsating stunts and thrills only act as sone pe suhaaga.

In a nutshell, KRRISH is a terrifically exciting and compelling experience. Move over SUPERMAN, BATMAN and SPIDERMAN. KRRISH, the Indian superhero, has arrived!

Krishna [Hrithik Roshan] is born with magical powers -- a legacy from his father, Rohit Mehra.

Free as a bird, he runs like the wind�
Like an eagle, he soars across rivers and mountain tops�
As a lion, he conquers rugged rocks without fear�

Priya [Priyanka Chopra] comes into his life and becomes his world. When she beckons him to Singapore, he follows her there. Little realizing it is destiny that has summoned him. Having sheltered him from the world, his grandmother Sonia [Rekha] reluctantly gives in to him and lets him follow his heart.

In Singapore, Dr. Siddhant Arya [Naseeruddin Shah], the megalomaniac scientist, is on the verge of changing the future forever. Only one man stands between Dr. Siddharth and his destructive dreams. Only one man has the power to block his ruthless ambitions. Krrish.

KRRISH is essentially three movies rolled into one: It starts off as a love story, changes gears and becomes a traditional superhero story and in the pre-climax, it�s the clash between good versus evil. While the first part seems like any other love story, it has its moments. Note Hrithik�s introduction and also, Hrithik saving Priyanka from an accident [their first meeting] and you know that there�s more to the film than a saccharine-sweet love story.

The first hour, in fact, may give an impression that it�s a routine fare, but knowing Roshan Sr.�s style of showing his cards in the second hour, you await the post-interval portions with bated breath. And lo! KRRISH takes giant strides in this hour. The story actually gathers momentum when Sharat Saxena spills the beans and the film goes into a flashback. From thereon, right till the end titles, it� a different film altogether. And that�s its biggest achievement. The team of writers [Sachin Bhowmick, Honey Irani, Robin Bhatt, Akash Khurana and Rakesh Roshan] deserve brownie points for padding the film with pulse-pounding moments.

The film has its share of blemishes too. The pace slackens intermittently in the first hour, primarily because the story doesn�t move beyond the romantic scenes. Also, the music [Rajesh Roshan] isn�t as mesmerizing as the Roshan brothers� previous works. The songs of KRRISH are functional, barring the �Dil Na Diya� track, which is complimented by an energetic picturization.

The action scenes [Tony Ching Siu Tung from Hong Kong and Sham Kaushal] are superb and will be greeted by claps and cheers. Hrithik�s stunts in Naseer�s den are simply awe-inspiring. Prior to that, the chase portions -- Hrithik chasing Naseer on land, water and air -- is astounding. The special effects [Marc Kolbe and Craig Mumma, both from U.S.A.] are incredible. In fact, the special effects are a pillar of the enterprise. Santosh Thundiyil�s cinematography is exceptional. The film bears a stunning look all through. Salim-Sulaiman�s background score is of international quality. It only heightens the impact further.

To state that Hrithik is the soul of KRRISH would be an understatement. If the actor walked away with all noteworthy awards in KOI� MIL GAYA, it�s going to be an encore with KRRISH. You cannot imagine any other actor enacting the role of a gifted child with aplomb. If his mask and robe look is splendid, watch his make up, gait and mannerisms as the aged father and you�d agree, he�s one of the finest talents on the Indian screen today. KRRISH is yet another ground-breaking film in his dazzling repertoire!




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Dil To Bacha Hai Ji bollywood hindi movie

Hi Friends here you can check the Latest release Dil To Bacha Hai Jee Movie Review. Dil To Bacha Hai Jee Movie Review available in this page. Check it here for Dil To Bacha Hai Jee Movie Review. Watch Dil To Bacha Hai Jee Movie Review get it here. Below link for Dil To Bacha Hai Jee Movie Review.
t is best to leave the mush mush to the Chopras and Johars of the world and comedy to Anees Bazmees and Raju Hiranis. They have done it so often that their seasoning in the genres is so perfect that they almost give the law of diminishing marginal utility a run for its money. Now this is not to say directors shouldn’t experiment or dabble with new stuff but our man Bhandarkar seems to have gone a bit too far with his new rendezvous with rom-com. From hard hitting real subjects to three love sick men, Bhandarkar hasn’t been able to make a smooth transition.

Ajay Devgn plays Naren, a divorcee who moves into his parents’ house after his separation. To split the expenses he keeps Abhay (Emraan Hashmi) and Milind (Omi Vaidya) as flat mates. While Naren gets smitten by his young bubbly secretary, Abhay lives life as a boy toy for rich women and Milind is the geeky poet who will do whatever it takes to pursue his lady love, an RJ who will exploit him in every way possible.

Now Dil to Baccha Hai Ji has three major failings. Firstly it is excruciatingly slow, secondly it has poor gags, that don’t even allow you intermittent laughs, and thirdly it wastes three good actors. There is almost nothing that works for the viewer in a film whose fate is sealed even before the interval. The gags almost never work and the performances and character peculiarities fail to add that dash of missing humour. 

Barring one song, the music of the film is abysmal and we keep waiting for the movie to get over quickly because there isn’t much happening any which ways. Unless, desperate, I would recommend you give this Madhur Bhandarkar flick a slip. It makes no sense to spoil your predilection for comedy especially in a film industry that rarely panders to it.
Source : Newsx.com






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latest bollywood movie online

 Story: Susanna is a sad woman. All she wants is love. But all she ends up with is weirdness, wickedness and bestiality in the form of her sundry husbands. Naturally then, there is only one option left for her to end her bitter ordeal. Murder. The embittered woman devices innovative measures to rid herself of her unsavoury husbands, hoping to find the elusive happy-ever-after sentiment some day. Does she succeed?

Movie Review: Vishal Bhardwaj takes a leap from Shakespeare to Greek tragedy. After having successfully rendered Othello and Macbeth in a purely desi idiom, the avant garde film maker transforms Priyanka Chopra into a Medea-like inferno who is hell-bent on revenge, after she fails to get her due from love and life. Is this leap successful too? 

And this brings us to the second stirring note of 7 Khoon Maaf. The film is based on a seven-page story by Ruskin Bond. Vishal not only fleshes out the characters and adds immense details to the plot and the narration, he also balances the moral fulcrum at an interesting point. Priyanka may be a murderer, but is she evil? Never. Like all good and realistic crime and passion plays, this one too showcases the protagonist as a woman with a purpose. She may have used poisonous snakes and mushrooms and loaded guns to do away with her husbands, but you don't really blame her. Because somewhere through her dark and devious journey, Susanna carries the pain of every woman wronged: either by a two-timing husband, a wife-beating husband, a junkie husband, a murderous husband, a dictatorial husband, a sadistic husband, a husband who treats his wife as a sex object. The poor soul has no option but to end her anguish, any which way.

In terms of performances, 7 Khoon Maaf would undoubtedly end up as a milestone in Priyanka Chopra's career graph. The actor displays exquisite command over a complex character that is definitely a first in Indian cinema. She renders a subtle and restrained portrayal of a lonely and wronged woman who wanted love and only love from life. Amongst her husbands, it is Neil and Irrfan who excel as the brutes, even though it is hard to find fault with any of the characters in a Vishal Bhardwaj film. The music score (Gulzar and Vishal) is riveting too and boasts of the mesmerizing Darrrling number, amongst other tuneful songs. A word about the length: a bit of editing and tightening would make the experience more compelling.

Serious, sensitive and stirring, 7 Khoon Maaf is a whole new cinematic experience. Watch how Indian cinema is metamorphosing into something more substantial and glocal.








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Peepli Live bollywood movie

A television crew intrudes into a village hutment and plonks a camera bang in the middle of its cramped, messy space. It is looking for an exclusive, TRP-boosting ‘conversation’ with a suicidal farmer. The latter, dread and bewilderment writ large on his face, cringes in a corner of the room.

The star reporter, doing her best to exude sympathy, seeks to assuage the man's fears. "Don’t be afraid," she says. "This camera cannot do anything."

Well, the TV cameras do an awful lot of things in Peepli Live, and not all of it is of a salutary nature.

Writer-director Anusha Rizvi's debut feature, a disarmingly simple but remarkably powerful is a major triumph. She taps into the power of the medium to narrate a  rooted firmly in the depressing realities of rural India, but without ever going into paroxysms of self-righteous indignation.

Peepli Live lampoons an entire range of usual suspects – voyeuristic media persons, smarmy bureaucrats, scheming local-level political goons and self-serving rulers, all of whom want a piece of the sleepy village where a farmer is about to kill himself so that his family can survive. Thanks to the film's nifty blend of humour and bathos, it does not slip into diatribe mode. It instead acquires the spiky edge of a pulsating yet biting satire.

Rizvi collates elements from the t of the absurd to craft her sly portrait of a grim scenario that urban Indian moviegoers are rarely, if ever, exposed to.

The film explores the clinical and incongruous response of the media and the ruling establishment to what is a life and death question for a farmer on the brink of becoming just another statistic in a never-ending tale of woes. This coldness is best captured in the nonchalant refrain of the natty agriculture secretary: "we must wait for the court's order."

The peasant-protagonist Natha (amateur a Omkar Das) cannot wait. He and his elder brother, Budhia (Raghuvir Yadav), are in danger of losing their plot of land, having failed to repay a bank loan.

By way of one last desperate throw of the dice, Natha decides to commit suicide in the hope of securing a government compensation of Rs 100,000 for his dependents. But as word gets around, the media descends on the village for a scoop and opportunistic politicians jump into t to draw mileage from Natha's predicament. 


As the frenzy peaks, cold drink kiosks and tea stalls come up around Natha's house in next to no time. The whole world wants to know whether Natha will really die. But does anybody really care?

We laugh as everybody in Peepli seems to cut a sorry figure. But do we feel guilty as well? Peepli Live seeks to push us across the line that divides detached glee and genuine concern.

The film is set in a fictitious state, Mukhya Pradesh, where, as the film's theme number, Des mera rangrez yeh babu (from the Indian Ocean album, 'Jhini') asserts, surprises, shocks and quirks lurk at every corner. Its vast gallery of characters is brought alive by actors who, in keeping with the backdrop and the situations, look and sound real.

A Dalit leader called Pappu Lal gifts Natha a huge television set, while an eager-beaver babu hands out a 'Lal Bahadur' (a hand pump in bureaucratic parlance) to the farmer. He has no use for either. A local henchman whose mobile ringtone goes Pappu can't dance saala throws his own rough and ready brand of politics into the mix.

And the cocky chief minister of Mukhya Pradesh declares grandly: "Natha nahin marega." For the first and the last time, a faint smile flickers on the farmer's lips. It is certainly not the all-knowing smile of a man who is in control of his destiny.

Natha's descent into hell is complete when we see him, in the film's final scene, covered in grime in a big city construction site, having lost the battle for dignity. 

A film that ends by informing the audience that "8 million farmers quit agriculture in India between 1991 and 2001" and does so with the muscular backing of Bollywood superstar Aamir Khan and UTV Motion Pictures, one of the biggest production houses of the Mumbai movie industry, is nothing short of a miracle.

However, that is the least of the many reasons why Peepli Live should rank among the best films made in India since the new millennium began. It has its heart in the right place, and it's a heart backed by a ticking mind.

(Saibal Chatterjee is a National Award-winning film critic who has covered film festivals around the world, including the ones in Cannes and Toronto. He will be writing reviews exclusively for NDTVMovies.com) 





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main hoon na bollywood movie

What happens when you put too many spices in a single recipe? The result is a stodgy dish which is hard to digest. That is exactly what Main Hoon Na is like. In the times when filmmakers in Bollywood are experimenting with more realistic themes, Farah Khan comes up with a flashy movie conforming to all the stereotypes of an out and out commercial flick.

Main Hoon Na has a little bit of everything in it. It has a youthful setting of a college campus, it has a patriotic angle harping on Indo-Pak relations, it has desi humor, videsi style of filmmaking, it has a good number of songs, it has stunts, action and pyrotechnics for adrenalin rush, it has emotional and romantic moments.

But what Main Hoon Na lacks is logical progression of story and believable presentation of its characters.

For instance, SRK looks out-of-place impersonating as a student in college. He looks too mature to pass off as a student. And it looks absurd to see him indulging in fun and frolic in college when his father (Nasseruddin Shah) has expired just a few days back in the story. Even Sunil Shetty looks odd impersonating as a professor in the same college.

Not everything can be justified in the name of entertainment. The genre of entertainment to which Main Hoon Na belong can be traced to seventies when stories were hyperbolized and then laced with overtly sentimental songs with the inclusion of a special qawwali.

The story of Main Hoon Na couldn't have been more hyperbolized. A young Major (SRK) in the army has his personal aim of fulfilling his Mission Milaap to join the hearts of people living in India and Pakistan. But there are some anti-national elements (Sunil Shetty) who want to foil this mission. Major's mission takes him to a college where he indulges in teenage fun and frolic and also falls in love with the chemistry teacher (Sushmita Sen). But terror comes closer after the bad guy too comes into college impersonating as a professor.

Farah has taken too much cinematic liberty to tell an overblown story. But the movie will certainly appeal to those who want unadulterated entertainment with a pinch of everything from romance, humor, patriotism, action and songs.

SRK's portrayal of Major Ram Prasad Sharma is convincing, but the actor appears to be getting straitjacketed in his acting style with every film he does. His facial expressions, his body language and that customary glint in his eye are so much similar to the characters he has played in other films. Even his style of dialogue delivery is predicable. It seems SRK adheres to just one formula of acting - that is flamboyance intermixed with an affected intensity. And this is taking out any surprise element from his acting coz whichever character he plays, he does it in same style, using the limited repertoire of his histrionic skills.

Zayed Khan is better than his previous movie and comes forward as a promising actor. He looks well suited to play the role of a young college going kid who is full of vanities at first but later grows into a matured person. Newcomer Amrita Arora matches Zayed in equal stead.

Sushmita Sen doesn't get to show much histrionics but she looks resplendent dressed in free-flowing saris.

In marginal roles, Boman Irani and Kiron Kher leave an impact.

In a nutshell, Main Hoon Na contains wholesome entertainment in a glossy package. It has an inflated story strewn with flashy songs shot in stylized way. But it lacks subtle subplots. It is not the kind of a movie that stirs a viewer from inside.




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Band Baja Barat Movie

Directed by Maneesh Sharma
Genre: Comedy, Romance
Produced by Aditya Chopra
Screenplay by Habib Faisal
Story by Maneesh Sharma
Starring: Anushka Sharma, Ranveer Singh
Music by Salim-Sulaiman
Cinematography: Aseem Mishra
Editing by Namrata Rao
Studio: Yash Raj Films
Distributed by Yash Raj Films
Release date(s): December 10, 2010
Country: India
Language: Hindi
Budget: 10 Crore
Shruti (Anushka Sharma) and Bittoo (Ranveer Singh) are two 20-something years olds who have just graduated from Delhi University’s Hans Raj College. Apart from this the two are otherwise very different one from the other. Indeed, Shruti, coming from a middle-class household, is very driven, ambitious and focused, while Bittoo is a bit of a slacker and mostly interested in having fun with his friends. A chance meeting leads them to reluctantly start a tumultuous business venture as Wedding Planners together, however with one strict rule: not to mix business with pleasure. Through their business they experience the ups and downs of the lavish world of the glamour and glitz of Delhi weddings, something which will test their friendship over time and eventually make them discover one another

Movie review of Band Baaja Barat – Band Baaja Baaraat or BBB featuring Maneesh Sharma and Anushka Sharma and newcomer Ranveer Singh in the lead roles. BandBaajaBaraat is a romantic comedy set around the world of wedding planning. The best song is “Ainvayi Ainvayi” as it got Punjabi flavors along with wedding bash vibes. This is the reason why the entire look of the film is so vibrant. This new Yash Raj film BBB love story of two wedding planners, played by AnushkaSharma and RanveerSingh, has a charm and sweetness that’s been missing from YRF movies for many moons now. The first half has great fun, with weddings and struggle and second halfs twist that will surprise you. Overall, Band Baaja Baaraat is entertainin




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7 khoon maaf bollywood movie

Director: Vishal Bhardwaj
Cast: Priyanka Chopra, Vivaan Shah, Annu Kapoor
Before coming to Susanna's central story, let's highlight a small backstory of hers. As a kid, she had the option of two equidistant roads that led to her school. She always chose the same street from the two. When a mad dog started troubling her on that street, rather than changing her path, she chose to shoot the dog. This trivial background account justifies Susanna's quest to kill her husbands over simply leaving them.
The story is about the beautiful Susanna (Priyanka Chopra) who, over the years, gets married almost half a dozen times. Each of her husbands dies under mysterious circumstances - from the dominating Major Rodriques (Neil Mukesh), to the doped rock-star Jimmy ( John Abraham), to the sadomasochist poet Wasiullah (Irrfan Khan), to the bigamous Russian Vronsky (Aleksandr Dyachenko), to the exploitative inspector Keemat Lal (Annu Kapoor) to the premeditated Dr Tarafdar (Naseeruddin Shah).

Arun (Vivaan Shah), who had a childhood crush on Susanna and, more or less, has been a part of almost all these stories, narrates each episode to his wife (Konkona Sen Sharma) as the story unfolds to the viewer.
Post a quick and deceptive prologue, Vishal Bhardwaj unveils each marital episode of Susanna through simple and straightforward storytelling. With seven weddings and as many funerals in the offing, the screenplay written by Bhardwaj and Matthew Robbins enters late in each episode and keeps them short and succinct.
The chemistry between Susanna and her partners which leads to their subsequent marriage, is cut short throughout, since almost every chapter starts with Susanna being already married or Susanna tying the knot early in the episode. But then the film, essentially, is not about how Susanna gets married several times but, more importantly, about how each of her marriage ends. Also the animosity in each track is as quickly established as their implied chemistry.
None of the husbands are supported by any background accounts and you never feel the need either. Each of them is instantly introduced in the narrative and only to the extent that's essential to the plot. Through each episode, Bhardwaj attempts to touch diverse human emotions from envy, addiction, obsession, faith, lust and greed. The pacing is slow as the director gradually works to add intensity in every frame through the unique shot-takings, dialogues and performances.
Granted that a story so episodic as this could not have been told but linearly. But why, pray, is the jumble of Susanna’s matrimonial misadventures reduced to the incessant yo-yoing between her elation at finding the ‘right’ man and her subsequent dejection at the discovery that he’s actually a scumbag. So while the hubbies are kicked to the famished man-eating panthers, or are drug-overdosed, or snake-bitten, or buried alive, or shot point blank, not once does a yawning viewer see a scrap of ingenuity so expected of a Bhardwaj film.

Of course, the bleakly-lit frames and Susanna’s own darkening complexion serve as metaphors to the dark side of her personality, and Bhardwaj does throw in time-references in the tale -- from the falling of the Berlin wall to the Mumbai terror attacks -- but come on, a viewer expects more than such customary symbolism. Even the film’s music gives the impression that its composer (Bhardwaj) was battling a creative block.





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