Showing posts with label movie review. Show all posts
KICK
Okay, let's get one factor straight: Salman Khan's movies square measure critic-proof. The naysayers or those baying for his blood might frown upon the slipups and blemishes in his movies, signifies open plot holes, accuse him of choosing remakes instead of original ideas, slam him for victimization his super-stardom for masala entertainers… however you can't overlook the actual fact that once Salman saunters on screen, he sets it ablaze along with his charm and magnetism.
The star-performer carries the load of the complete film well on his broad shoulders. Everything he will on screen is emulated by his fans pronto: styling, hair style, killer dialogue, dance steps et al. named as 'Bhai' by those near him, he's currently the 'Bhai' or the enduring on-screen characters he has delineated over the years - Prem, Radhe, Chulbul Pandey, beautiful Singh, Tiger - for millions of fans across the world.
Salman, the star machine, is that the multicolour Piper of Hindi cinema. He *doesn't* promise path-breaking or art house cinema. the main target is on those 3 supernatural words: recreation, recreation and entertainment. and that is what matters to a good majority of movie-going audience.
Sure, the attractive star's newest outing KICK could be a remake of the super-successful Telugu film KICK [2009; directed by Surender Reddy and leading Ravi Teja, Ileana D'Cruz and Shaam]. however there is a world of a distinction between KICK, directed by Sajid Nadiadwala, and Salman's previous couple of entertainers. This one's additional conventionalized, has wealthiness and gloss reeking in each frame and is incredibly international in terms of execution.
However, the prime question remains the same: Is KICK Blockbuster material? affirmative, of course! The premise of KICK, first! On a train journey in capital of Poland, a fairly shrink, Shaina [Jacqueline Fernandez], meets Himanshu [Randeep Hooda], a lawman from Bharat, for AN organized match. They share their pasts with one another.
Shaina shares the story of her ex-boyfriend Devi Lal Singh [Salman Khan], a man WHO lived just for 'Kick'. She talks concerning his madness and their windstorm romance, till in the future he breaks up along with her for a brand new kick and walks away, ne'er to come back. Himanshu tells her concerning his wonderful escapades and that he has finally met his match - AN intelligent felon. What they do not grasp is that their stories have one factor in common - Devil. He returns back to their lives below a brand new semblance of getting lost his memory. Behind it all could be a deeper mystery and an uncompromising mission…KICK marks Sajid Nadiadwala's rendezvous with direction and tho' the debutant director might have looked southward to decide on the story, once it involves death penalty the written language, the inspiration is clearly the West: the epic Hollywood fares. Having created over a dozen movies until date, Sajid has voluminous expertise and experience and is aware of exactly the way to use the familiar tropes to his advantage.
Sajid conjures up a world that mixes visual brilliance with many knockout episodes. Like Salman, Sajid too contains a one-point agenda: recreation. No wonder, Sajid and his team of writers ensure that they have to supply additional to the sharp viewer than what has been witnessed to this point, since the promos have raised the bar and increased their expectations. That explains why the cat and mouse game [played between Randeep and Salman] does not follow the tried and tested rules, while the conflict between the benefactor and therefore the antagonist [Salman and Nawazuddin Siddiqui] steers clear of the traditional configuration. As a matter of reality, the frantic twists and turns within the storyline square measure proof that Sajid and his writing team square measure keen to supply the audience that additional dose of recreation which might build KICK a kickass mortal.
KICK has the magnificence [in terms of production values] that was lacking in Salman's previous movies. this can be a giant price tag show and Sajid, WHO has created epic extravaganzas within the past, makes certain each frame seems lambent, tasteful and attention-grabbing. Be it the spectacular locales of capital of Poland or the fashionable sets, the DoP [Ayananka Bose] acts as AN aide and encapsulates the plush, up market look ably. The spectator additionally gets a world feel throughout the high-octane stunts, action and chases, that garnish the goings-on magnificently. The train stunt is already the utter city. Also, the chase in capital of Poland, with Salman driving a bus, causes you to gasp in disbelief.
I'd wish to build a special mention of Rajat Aroraa's dialogue. The writer provides the film many clapworthy lines, that square measure absolute to become legendary. the simplest line is, of course, 'Mere baare mein itna mat sochna, dil mein aata hoon, samajh mein nahin', that comes at an important purpose within the story. The lines delivered by Nawazuddin square measure super too and therefore the sequence with Salman towards the climax are greeted with whistles and claps. Take a bow, Rajat!
Any hiccups? The first half could've been tighter.. a couple of sequences are stretched from time to time [Salman and Mithun within the bar]. The songs due higher things. The romantic track, within the second hour specifically, could've been additional persuasive. The sound recording remains faithful the genre of the film and therefore the quality of 'Jumme Ki Raat' and 'Yaar na Miley', that seems double within the film, enhances the impact.
To state that Salman is that the soul of KICK would not be AN exaggeration. he is committed, charming and competent, such a lot so it's tough to require your eyes off him. Post DABANGG, those that felt that the actor's movies lacked a cohesive script to match his superstardom, square measure absolute to feel satiated with KICK, since the film has it all and will utmost justice to Salman's aura. In fact, the film provides him the platform to exhibit his vary as AN actor/star and his real-life role of a decent Samaritan/humanitarian any. Rest assured, the fans and therefore the fanatics - even those that are not - are certain a treat!
Randeep Hooda is supremely economical, delivering a performance that stays with you. And this can be a huge compliment, since the film could be a Salman show from commencement to conclusion. Nawazuddin Siddiqui could be a powerhouse of talent and KICK provides him the chance to cross over to the commercial league. Nawazuddin is just outstanding, essaying his dispense with relish [don't miss his typical laugh, it'll undoubtedly catch on massive time]. In fact, it will not be inaccurate to state that along with Salman, Nawazuddin can walk off with plaudits once KICK.
Jacqueline Fernandez will okay, though her diction has to be worked upon. She appearance nice and her dance in 'Jumme Ki Raat' is certain to stun you. Mithun Chakraborty is in prime kind once more. The sequence with Salman towards the closing moments stick with you.
The supporting forged - Saurabh Shukla [good], Sanjay Mishra [awesome], Vipin Sharma [super], Archana Puransingh [alright], Kavin Dave [first-rate], Sumona Chakravarti [perfect] - every of them contribute well to the proceedings.
On the entire, KICK could be a subunit vasool, seeti-maar mortal. prepare for a tidal wave referred to as KICK at the window. it's absolute to rewrite box-office records. Salman fans, rejoice. KICK could be a sure-shot B-L-O-C-K-B-U-S-T-E-R. To quote a dialogue from the film: 'Woh apni Eidi lene zaroor aayega'.
Ek Villain
Ek Villain
Star Cast: Sidharth Malhotra, Shraddha Kapoor, Riteish Deshmukh, Remo Fernandes
Director: Mohit Suri
There's one in every love story, says the motto of Ek Villan, and the film strains every sinew to justify it. The three main characters - Guru unloved orphans become a gunslinger bully girl Aisha pretty busy checking items from a to-do list, and Rakesh stinging-low-daily-humiliation-hard working - bounce off each other, resulting in a film sprayed on the corny romance and shocking violence.
Mohit Suri has a gift for vivid characterization, though some things are a bit stressed too. He also does a good job with the fabric of high octane moments around their characters. So I do not really know a twig hokeyness plot to begin with as guru (Malhotra) and severity dissolved in softness with the parrot is sprightly Aisha (Kapoor) and Rakesh (Deshmukh) becomes increasingly aware of their oppressed state overnight. Then begins a series of murders, and a race to the bloody end.
But soon start noticing the lanosidad of history, which has more than a passing resemblance to a Korean cult slasher film, while confusingly weaves back and forth in time, from lovers singing of gruesome murders. The tone becomes inconsistent. Balancing Ek Villain between drama and melodrama is its weakness: the parts I bought kept me engrossed, and then I was back in those in which he could not suspend disbelief. A cop says: “Usne usi jagaah panaah li hai jahaan usne gunaah kiya“ in a mushaira, police can turn even a poetic, but alliterating, in the heat of the moment, and panaah Gunaah?
This was fine for the 80's Bollywood, when writers lavished dialog couplets about cops and robbers and lovers, his punches when heroes villains slowed to recite his pun-laden lines for our enjoyment. But now the device smells artifice. And get the performances in this film apart from the cables, there is a libertine (KRK) shooting tips on how to "keep the wives in control." He's enough to make you want to keep away from all the actual women.
Shraddha Kapoor is slowly improving, and has a couple of points higher when the audience laughs with her. Sidharth Malhotra is watchable even if you have difficulty doing this threat - it looks so pretty and healthy all the time, even when he is creaking bones. Riteish Deshmukh is sweeping the stakes, with dead eyes and talk at the same time. Deshmukh has played second and third wheel fourth-rate comedies, and always managed to remain visible. Here, he made me sit and watch.
Suri is a born storyteller, and can keep things moving. All you need is a strong, all-the-way credible, original plot.