AGALEY JANAM NEW RELEASE

Pavitra Rishta team heads to Agle Janam
The Hindu epic Ramayana currently inspires the track of ‘Agle Janam Mohe Bitiya Hi Kijo’ as it has picked up the episode of Sita haran for its Saturday’s maha episode. Adding spice to the show, our favorite actors from ‘Pavitra Rishta’ will be seen in the serial playing out parts from Ramayana.
Our source from the sets informs, “For this Saturday’s maha episode of Agle Janam there are some celebrity guest from the serial ‘Pavitra Rishta’. The guests are none another than Manav (Sushant Singh Rajput), Archana (Ankita Lokhande) and Manav’s mom (Usha Nadkarni) who will be playing a significant role in the episode.”
Elaborating more on the scene, our source divulges, “In the coming episode there will be a ‘Ramleela’ play, which will be held in the outskirts of the shooting sets. Here Sushant, Ankita and Savita will be seen portraying the role of Ram, Sita and Ravana respectively. Also the sequence will show Laali (Ratan Rajput) being harassed by Ranvijay (Sachal Tyagi).”
vWhen we called up Sushant to know more on the same he informed, “I can just divulge that we three are going to come in Agle Janam for its Maha episode this week and the rest will be disclosed in the episode itself.”
The channel is hopeful to cash good TRPs for this maha episode.
Tejashree Bhopatkar/ Sampurn Media

tum miley is the great film

Ali Taha (Emraan) meets Sanjana (Soha) on board of their flight to Mumbai from Cape Town. Here on the film proceeds on and back and forth narrative revealing them being ex-lovers. Six years back then Ali was a art student and had lost his heart to the activist Sanjana. They both had progressed to a live in relationship in quick time as well. But monetary issues leading to ego clashes had broken their relationship apart. After arriving in Mumbai on the ill fated day of 26th July 2005, they go onto encounter the biggest floods in the history of Mumbai. The rest of the film is about the couple battling for their lives after being stuck in the rain and floods. In their struggle for survival, they learn more about each other and things which they had not known in all those years of being together.
Emraan is only getting better with each passing film and in here as well he is very impressive. Soha Ali Khan delivers her best performance till date going through a gamut of expressions with amazing ease. Amongst the rest cast the only one to leave a mark is debutant RJ Mantra. He is very good playing Emraan’s buddy.
Kunal Deshmukh’s shows technical department improvement after his debut film Jannat. His treatment of the love story though somewhat predictable is good as well. But we most often keep sensing that the flood situation things which appear more thrilling have completely deliberately taken a back seat with the flash back and romance between the lead pair taking more prominence. This all leads to the film being boring at many places. There was a recent news item that Mahesh Bhatt cut short the flood shots to give more importance to the romantic track. Well not a wise decision we may say. The stock footage of the floods and the computer graphics are a let down at many places but the one thing that doesn’t dissappoint is the film’s music. Pritam deserves full marks for his consistency in delivery great music which is already ruling the charts along with his score for last Friday’s release Ajab Prem Ki Ghazab Kahani. Camerawork by Prakash Kutty is very good. The effort gone in recreating the flood situation is commendable as well.
Tum Mile is more of a romantic film with the natural disaster backdrop added for effect. If you are going in expecting India’s first disaster movie then you will be in for a major disillusionment. So choose it at your own preference.
Rating: 2 out of 5*
Starring: Emraan Hashmi, Soha Ali Khan, Sachin Khedekar and RJ Mantra
Director: Kunal Deshmukh
Sampurn Media

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aja nachale aja nachle

Kahin Sharm Varm Mein Chupi Hun, Aisi Khubiyan
Kahin Narm Garm Mein Thami Hun, Aisi Khubiyan
Kahin Chal Dhal Mein Dhabhi Hun
Kahin Josh Mosh Mein Dhiki Hun
Kahin Chal Dhal Mein Dhabhi Hun
Kahin Josh Mosh Mein Dhiki Aisi Khubiyan
Zaamane Ko Bida Kar De
Mujhe Sab Se Juda Kar De
Ohhh Aa Dhikha De Hame Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Oh Loot Lenge Hume Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Show Me Your Jalwa
Show Me, Show Me Your Jalwa
Show Me Your Jalwa
Oh Show Me Your Jalwaaa…
Tere Chamach, Tere Chakoo, Tere Belan, Tere Ghungroo
Teri Mamta, Tere Zevar, Tere Khusboo, Tere Tevar — 2
Teri Chowki, Tere Gale, Teri Nakhre, Teri Chale
Teri Nazron Ki Woh Kali, Tere Kano Ki Woh Lali
Teri Yedi Ki Woh Khan Khan
Teri Choti Se Ho Ann Mann
Tere Palkhe Teri Bindi
Teri Urdu Teri Hindi
Teri ??? Jo Ho Nirali,
Harkate Woh Kali Kali
Teri Tithli Se Woh Bali
Teri Bigili Se Woh Tali
Teri Bigili Se Woh Tali — 2
Zaamane Ko Bida Kar De
Mujhe Sab Se Juda Kar De
Ohhh Aa Dhikha De Hame Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Oh Loot Lenge Hume Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Show Me Your Jalwa
Show Me, Show Me Your Jalwa
Show Me Your Jalwa
Show Me Your Jalwaaaa…
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Teri Chale, Tere Gale, Tere Barche, Tere Baale
Tere Gusse, Tere Jalve, Teri Kisse, Tere Talve —2
Tere Josho Ko Junoon, Tere Hole Hole Khoon,
Tere Ugde Se Andaaz, Tere Sene Ke Woh Raaz
Teri Moocho Ki Woh Shane, Tere Kisse Jane Maane
Teri Woh Dhobi Pathad, Tere Noto Ki Pahad
Tere Kisse, Tere Nagme, Tere Hisse, Tere Sapne
Tere Agle, Tere Pechle
So Gaye Aarman Jo Nikle
So Gaye Aarman Jo Nikle —2
Zaamane Ko Bida Kar De
Mujhe Sab Se Juda Kar De
Ohhh Aa Dhikha De Hame Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Oh Loot Lenge Hume Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Show Me Your Jalwa
Show Me, Show Me Your Jalwa
Show Me Your Jalwa

aja nachale aja nachle

Kahin Sharm Varm Mein Chupi Hun, Aisi Khubiyan
Kahin Narm Garm Mein Thami Hun, Aisi Khubiyan
Kahin Chal Dhal Mein Dhabhi Hun
Kahin Josh Mosh Mein Dhiki Hun
Kahin Chal Dhal Mein Dhabhi Hun
Kahin Josh Mosh Mein Dhiki Aisi Khubiyan
Zaamane Ko Bida Kar De
Mujhe Sab Se Juda Kar De
Ohhh Aa Dhikha De Hame Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Oh Loot Lenge Hume Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Show Me Your Jalwa
Show Me, Show Me Your Jalwa
Show Me Your Jalwa
Oh Show Me Your Jalwaaa…
Tere Chamach, Tere Chakoo, Tere Belan, Tere Ghungroo
Teri Mamta, Tere Zevar, Tere Khusboo, Tere Tevar — 2
Teri Chowki, Tere Gale, Teri Nakhre, Teri Chale
Teri Nazron Ki Woh Kali, Tere Kano Ki Woh Lali
Teri Yedi Ki Woh Khan Khan
Teri Choti Se Ho Ann Mann
Tere Palkhe Teri Bindi
Teri Urdu Teri Hindi
Teri ??? Jo Ho Nirali,
Harkate Woh Kali Kali
Teri Tithli Se Woh Bali
Teri Bigili Se Woh Tali
Teri Bigili Se Woh Tali — 2
Zaamane Ko Bida Kar De
Mujhe Sab Se Juda Kar De
Ohhh Aa Dhikha De Hame Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Oh Loot Lenge Hume Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Show Me Your Jalwa
Show Me, Show Me Your Jalwa
Show Me Your Jalwa
Show Me Your Jalwaaaa…
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Teri Chale, Tere Gale, Tere Barche, Tere Baale
Tere Gusse, Tere Jalve, Teri Kisse, Tere Talve —2
Tere Josho Ko Junoon, Tere Hole Hole Khoon,
Tere Ugde Se Andaaz, Tere Sene Ke Woh Raaz
Teri Moocho Ki Woh Shane, Tere Kisse Jane Maane
Teri Woh Dhobi Pathad, Tere Noto Ki Pahad
Tere Kisse, Tere Nagme, Tere Hisse, Tere Sapne
Tere Agle, Tere Pechle
So Gaye Aarman Jo Nikle
So Gaye Aarman Jo Nikle —2
Zaamane Ko Bida Kar De
Mujhe Sab Se Juda Kar De
Ohhh Aa Dhikha De Hame Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Oh Loot Lenge Hume Teri Khubiyan
O Teri Khubiyan
O Teri Khubiyan , Teri Khubiyan
Show Me Your Jalwa
Show Me, Show Me Your Jalwa
Show Me Your Jalwa

jail is the best movie

Characters: Neil Nitin Mukesh as Parag Dixit Parag seriously believes he's God's chosen child. In his mid-twenties, Parag already has everything going in his life, loves the luxuries of high.
The First thing comes to my mind about jail is Madhur's Movie Style Its Pathetic,,,,,,,,,,,,,,,,,, Its Painful................... Its Awful its Dreadful .............. ( all this are Five star Ratings ) All indoor Shooting (To save money ) Tapoori Language in all.
Madhur Bhandarkar has once again shown the realities happening in India. This movie is very realistic about indian jail. A must watch for all Indians including prisoners in the jail. People will come to know about the realities happening in the movie.

AJAB PREM KI GHAZAB KAHANI: Emergence of a new comic pair

Raj Kumar Santoshi has again demonstrated with panache that he is a master in making comedies with the resounding success that AJAB PREM KI GHAZAB KAHANI all over the country. AJAB PREM KI GHAZAB KAHANI has also given rise to new pair of comedy in the form of Ranbir Kapoor and Katrina Kaif, who simply ooze effervescence on the screen with their vivacious energy and chutzpah. Ranbir Kapoor has all along been saying in his interviews that he is greatly inspired by his grand father Raj Kapoor and with AJAB PREM KI GHAZAB KAHANI he has underlined the fact that he has indeed inherited the comic timing of his grandfather, which made him the Indian tramp ala Charlie Chaplin. Indeed, the modern tramp of the Indian cinema, Ranbir Kapoor by his comic timing has arisen to claim the mantle of the Indian tramp, which was searching for a worthy successor. Ranbir Kapoor has emerged as the worthy successor of his grandfather, as he has generated humor in the modern sensibilities where the ability to laugh in its own has become an existentialist question. By treading back to the path of comedy, instead of relegating himself to the role of lover boy through two back to back films in the form of WAKE UP SID and AJAB PREM KI GHAZAB KAHANI, Ranbir Kapoor has demonstrated that he has fantastic sense of comic timing. First spark of timing of comedy that Ranbir Kapoor .

WEB HITS COUNTER

WEB HIT COUNTER

Aladin – Movie Review

Forget three wishes, just grant me one! O genie of the fabled magic lamp, please rid Bollywood filmmakers of the incurable habit of mechanically cramming their films up with song after song, with no rhyme, rhythm or reason. For that’s one of the blunders director Sujoy Ghosh commits in Aladin. A fantasy flick needs to keep the momentum building continuously with minimal possible, if not none, diversions. But in ‘Aladin’, lo and behold! song after song keeps popping up. You dodge, you duck, you doze off, but the songs keep coming. Okay, I know it’s a Bollywood film and Amitabh Bachchan as the genie must shake his leg in his introductory scene and Ritesh Deshmukh and Jacqueline Fernandez must get jiggy while falling in love, and Sanjay Dutt too must have a song. But mercy! Even as the film trots to its climax…slam!…a song is squeezed in? Discounting the average compositions of Vishal-Shekhar, the movie also ends up contemporizing the tale of the orphaned urchin Aladdin from Arabian nights into a confusing, tangled mess of too many subplots, not all of which are neatly tied up. In a fantasy town called Khwaish, Aladin (Ritesh Deshmukh) is constantly bullied by Qasim (Sahil Khan) and other cronies into rubbing different lamps so that the genie could appear. Aladin, a meek and submissive loser, bears it silently. Enters the beautiful Jasmine (Jacqueline Fernandez) into the college campus and Aladin loses his heart. But he dare not tell her. Aladin’s life turns round when Jasmine gifts him a lamp out of which a genie named Genius (Amitabh Bachchan) indeed appears and pesters Aladin to make three wishes quick so that he can retire.

Aladin not just wastes all the wishes in trying to win the love of Jasmine, he’s manipulated by a wily Ringmaster (Sanjay Dutt) and his gang of clowns and jokers including fire-eaters, giants and knife throwers. As this fantasy fable unfolds with a flashback sequence tucked in, it turns out that Ringmaster has a hidden motive which is connected with a comet and the magical lamp. What might have been a nail-biting, awe-inspiring fable with breath-taking imagery and intriguing characters, turns out to be a convoluted story as the Genie, dressed in the most outlandish clothes, thwarts the evil Ringmaster’s plan. A word of praise however must be reserved for art director Sabu Cyril whose imaginative city Khwaish does offer something to marvel at. The special effects though aren’t really at a par with the standards one expects from the studios with the cutting edge technology. Ritesh Deshmukh is perfectly suited to play the wimp Aladin and he delivers a neat performance. Amitabh Bachchan and Sanjay Dutt are over the top as their roles required, but neither of them is funny despite having many sequences aimed to make the audience laugh. Jacqueline Fernandez is gorgeous but has miles to go in acting department. In supporting roles Ratna Pathak Shah (as a café owner) and Mita Vashishth are forgettable. To wind it up, ‘Aladin’ is neither a visual treat nor an awe-inspiring fantasy fable. However, kids may love to sit .

Blue – Movie Review

The visual splendor of the sea has never been captured before in any Indian film like it is in Blue. The opening reels of the film will have a viewer’s mouth agape with awe and beauty of the water world, caught on camera brilliantly by underwater cinematographer Pete Zucchini, who has ‘Pirates of the Caribbean’ to his credit. But a sinking feeling begins to set in as ‘Blue’ steers into the second half and one notices that between the numerous stunts, both on land and under water, there’s hardly any depth or grip in the story to keep you glued to ‘Blue’. Thankfully, there is Akshay Kumar, once again working his charm with that flashy gummy grin of his. And, of course, there is Lara Dutta in those eye-popping bikinis to kick the hormones amid all the adrenaline rush….Enough of what one can expect for the cost of ticket and time spent on this aqua-adventure thriller. Much of ‘Blue’ is set over land, in Bahamas. Aarav (Akshay Kumar) and Sagar (Sanjay Dutt) are good friends who bond over fishing and boxing. Aarav, who is rich and looking to be richer, seems particularly interested in a sunken ship called ‘Lady in Blue’. Why? Because it carries a treasure lost in 1949 when the ship sank on its way from England to India. Before one wonders that how on earth did a ship from England to India ended up going down in Bahamas (which is way far off), one sees that Sagar has some emotional strings attached to the sunken ship. He won’t go there for any temptation, any except brotherly love. Which brings us to Sam (Zayed Khan), Sagar’s younger brother, who’s left the home and is flaunting his attitude and bike-speeding skills in Bangkok. He gets into a mess with a local mafia don (Rahul Dev) and flees back to his brother Sagar in Bahamas. From then on, Sagar is pushed into a set of situations where he’s got no option but to go looking for the sunken treasure trove with Aarav and Sam. In this adrenaline burst of macho men, speedsters, and deep sea divers who swim with sharks, some glamor and titillation is thrown in in the shapely forms of the bikini-clad Lara Dutta and deadly-looking Katrina Kaif. There’s also Kylie Minogue, the Aussie pop icon, chiggy-wiggying with Akshay in a club song. But what’s missing is a nice and tight story that could make the movie work besides its action, stunts and glamour. Pardon the little spoiler but the whole hunt for the treasure is justified in the end by a flimsy reason about preserving the family honor.

But a sinking feeling begins to set in as ‘Blue’ steers into the second half and one notices that between the numerous stunts, both on land and under water, there’s hardly any depth or grip in the story to keep you glued to ‘Blue’. Thankfully, there is Akshay Kumar, once again working his charm with that flashy gummy grin of his. And, of course, there is Lara Dutta in those eye-popping bikinis to kick the hormones amid all the adrenaline rush….Enough of what one can expect for the cost of ticket and time spent on this aqua-adventure thriller.

Much of ‘Blue’ is set over land, in Bahamas. Aarav (Akshay Kumar) and Sagar (Sanjay Dutt) are good friends who bond over fishing and boxing. Aarav, who is rich and looking to be richer, seems particularly interested in a sunken ship called ‘Lady in Blue’. Why? Because it carries a treasure lost in 1949 when the ship sank on its way from England to India.

Movie Review : London Dreams (2009)

London Dreams: Salman – Ajay rock!

Rating: 3 out of 5*

Starring: Salman Khan, Ajay Devgan, Asin and Om Puri

Director: Vipul Amrutlal Shah

Arjun (Ajay) and Manu (Salman) are childhood buddies living in a Punjab village. Arjun passionately loves music and dreams of becoming a musical sensation like Michael Jackson and perform at London’s Wembley Stadium but his family hates music as it was the reason for his grand father’s death. But as after his father’s death, Arjun’s uncle (Om Puri) brings him along with him to London, he runs away to pursue his dream. Mannu grows up in the village turning out to be a good for nothing bloke who makes money by playing his band at marriage ceremonies. Meanwhile Arjun chases his dream and forms a band with two Pakistani brothers (VJ’s Aditya and Ranvijay) and Priya (Asin). When he realizes he is getting attracted to Priya he decides to hide his feelings and focus on music and only reveal to them when he fulfills his dream. He gets Mannu to London to join his band. But that he realizes turns out to be his biggest mistake. The naturally talented Mannu scores over Arjun in every department unintentionally and goes on to become a bigger sensation that a dedicated and hardworking Arjun. Jealousy starts creeping in for Arjun but the final nail in the coffin comes when he sees even Priya falling in love with Mannu. What sinister plan Arjun throws on an unsuspecting Mannu to destroy his musical career and what it all leads to forms the rest of the film.

Vipul Amrutlal Shah has delivered his technically best product till date with London Dreams. But apart from the technique its high on emotions as well. Vipul gives apt time for character development for each of his main protagonists. Devoid of unnecessary melodrama he captures the emotional moments with aplomb. Sejal Shah’s camerawork is of international standards. The night scenes are superbly lit.

Amongst the flaws, the climax is overstretched and the Shankar-Ehsaan-Loy’s music not really up to the mark, especially the climax concert numbers. The song that comes after everything is over is too slow and a rousing number would have made for an apt grand finale.

‘Wake Up Sid’ gives ‘Do Knot Disturb’ a beating

NEW DELHI - Debutant director Ayan Mukerji’s charming “Wake Up Sid” about a young man and a woman five years older has not only wowed critics but pulled in the crowds too, sidelining the Govinda starer “Do Knot Disturb”.

The box office received a shock with Ashutosh Gowariker’s “What’s Your Raashee” that released Sep 25 but proved to be tedious for audiences with its length and 13 songs.

But the buzz is back with “Wake Up Sid”, starring Ranbir Kapoor and Konkona Sen Sharma, that released Friday along with “Do Knot Disturb”.

” ‘Wake Up Sid’ is doing extremely well. We’ve had an occupancy of more than 90 percent across 17 shows over the initial weekend and it is still going strong while ‘Do Knot Disturb’ had only a two-day run with close to 75 percent despite 16 shows,” Amit Awasthi, manager (programming and operations) of Spice Cinemas at Noida, told IANS.

“We are expecting ‘Wake Up Sid’ to continue a good run at least until the Diwali weekend, which has major releases like ‘Blue’, ‘Main Aurr Mrs. Khanna’ and ‘All The Best’. Though we have ‘Acid Factory’ on Oct 9, we are sincerely doubtful about its future in multiplexes,” he added.

Made at a budget of around Rs.15 crore (Rs.150 million), “Wake Up Sid” has been produced by Dharma Productions Pvt Ltd and distributed by UTV Motion Pictures with around 700 prints worldwide.

” ‘Wake Up Sid’ has had a very good occupancy and opening over the first weekend. It is a different movie for different people and is totally a multiplex movie. It is going to have an extended play,” said a source from PVR Cinemas.

“It has done what ‘Rock On!!’ did last year… it has evoked people’s hidden past and is so associative. While ‘Do Knot Disturb’, despite having almost the equal number of shows as the former (around six each per property) did have a good opening, but it fell flat in no time,” the source added.

“Do Knot Disturb” has been co-produced by Vashu Bhagnani and Big Pictures and directed by David Dhawan. Released across 1,060 screens worldwide, it stars Govinda, Sushmita Sen, Lara Dutta and Riteish Deshmukh.

Yogesh Raizada, corporate head (cinemas) of Wave Cinemas, however, thinks it is too early to tell.

“We kept around 10 shows each for both the movies across different properties and the result has been around 60 and 80 percent respectively for ‘Do Knot Disturb’ and ‘Wake Up Sid’,” said Raizada.

“The response for the latter has been very good and this one is in fact sustaining too but, as far as the long run is concerned, nothing can be said as the business has mostly been done during the initial weekend,” he added.

Bal Ganesh 2

Bal Ganesh 2 is second part of Bal Ganesh released in year 2007. This is an animated mythological film directed by Pankaj Sharma. Bal Ganesh 2 is not only an entertaining animated film but it is an informative film too. If it is compared to Bal Ganesh, then it is really a step ahead in terms of animation, story and direction.

Bal Ganesh 2 is divided into three stories. The first story pertains to a cat and how Lord Ganesha plays a prank on it. Much later, Goddess Parvati gives an invaluable advice to Lord Ganesha. The second story pertains to Sage Vyasa. Lord Ganesha not only writes the entire book, but also translates it while writing it. The third story pertains to Lord Ganesha fighting it out with a powerful demon, Gajmukhasur.

This time Pankaj Sharma has done some beautiful changes in executing the story of the film. He has kept the tone light and entertaining. Background score by Shamir Tandon and Sanjay Dhakan is really awesome. It suits the mood of the story. Dialogues of the film are fantastic.

On the whole, Bal Ganesha 2 is a film for viewers of all age groups. The animation quality is remarkably better than the first part. The film is really entertaining and informative. And this is also one of the beautiful animated films of bollywood.

Love Ka Tadka

Love Ka Tadka is a romantic flick directed by Gautam Adhikari and co-directed by Rajan Waghdare. This film brings various shades of love, with many hilarious situations scattered throughout. The film has two young faces Sameer Dattani and Nauheed Cyrusi as the main leads along with Satish Kaushik, Rakesh Bedi, Vrajesh Hirjee, and Bakhtiyaar Irani as supporting cast.

The story of the film revolves around the life of Aditya [Sameer Dattani] and Sheetal [Nauheed Cyrusi]. Aditya is a struggling, middle class boy who makes ends meet working in an 'Easy Finance' as an executive. Aditya's life revolves around his work, friend Vicky and his corrupt boss.

One fine day, Aditya bumps into Sheetal, a beautiful girl who mistakes him for a 'Romeo'. And every time Aditya tries to clear the misunderstanding and prove his innocence, following the advice of Vicky, he ends up creating more mix-ups and confusions.

In the process of clearing the confusion and bringing everything on track, Aditya ends up falling in love with Sheetal. Soon, the two of them get married also, but the story does not culminate in a 'Happily Ever After'. They need to impress her dad for which they need to buy a flat. Inspite of the difficulties, Aditya and Sheetal manage to sort out their differences and also pool in money to buy an apartment. However, before this could happen, Sheetal's dad [Satish Kaushik] insists on coming to stay with her. The couple somehow manages to make him stay in Vicky's house, till they find an apartment of their own. As if this wasn't enough, when they go to buy their new house, they run short on funds. In order to help them out, Vicky ends up cutting a deal with the house owner. He promises that either they will pay the balance within a year or forfeit even that amount which they have already given to the owner.

After crossing all hurdles, Aditya and Sheetal manage to get their own house. But, very soon the meat-eating couple realise that they now live in a strictly vegetarian society. While both of them agree to compromise on the fact, Sheetal's father, who is strictly an anti vegetarian, presents a problem. As it is, he is not happy with Aditya. So, the couple decides to hide the fact that the society is pure vegetarian. Then the real fun begins when the two have to smuggle the banned food items into the house and they keep the balancing act between the father and the society members.

Performance wise, Sameer Dattani and Nauheed Cyrusi are just okay. Satish Kaushik is as usual. Rakesh Bedi and Vrajesh Hirjee are fine. Bakhtiyaar Irani as a friend is good.

On the whole, Love Ka Tadka is a film with nice story and beautiful comic situations. The film is entertaining in most parts. The film will have a positive response at box-office and it will do a good business.

A Christmas Carol

One thing's for certain with Robert Zemeckis's latest attempt at motion-capture CGI animation, kids need not apply. I have had conversations with fellow critics and the conclusion I've come to concerning children and Disney's A Christmas Carol is that while some elements may indeed frighten some kids, the overall complaint will be that it's just too boring.If you've seen any incarnation of Charles Dickens's "A Christmas Carol" the best way to describe this latest attempt is to call it a stripped down non-inventive take on the classic Christmas story that wears on too long and is just plain dull. By the time I hit the Ghost of Christmases Yet To Come I was ready to check out, I knew what was coming and wasn't expecting any deviation. I won't say I was ever bored beyond reproach, but I was never moved and certainly never felt a kinship with any of the characters whose dull and lifeless eyes and facial features are far from inviting. The putty-like facial issues and non-responsive eyes have flummoxed Zemeckis since The Polar Expressin 2004 and there is very little sign of improvement here. Considering the eyes are the gateway to the soul, a lot is missing when the spark isn't there.Where the film does knock it out of the park is in its visuals beyond human attributes. The atmosphere, the set design, the lighting and the overall appearance of A Christmas Carol is absolutely perfect. The golden flicker of candlelight glowing in the darkness is perfectly complimented by the frigid and foggy winter nights of the Dickensian mid-1800s. Of course, the mood of the film is never indicative of its appealing settings.The characters seem to walk through the world oblivious to their surroundings, as if one is not a part of the other. Being a motion capture feature that is entirely true as actors act out their scenes, have their performances captured in a computer, which are then inserted into these photo realistic environments. While this doesn't take away from the visual appeal, it does hit a snag when it comes to connecting to the audience and convincing them they are watching a fully fleshed out feature.Jim Carrey brought as much as he could to the character of Ebenezer Scrooge, but in the end it felt like you could cast anyone in the role, which Zemeckis proves with Robin Wright Penn as Scrooge's young love, Belle. Zemeckis can change the appearance of any actor to match the look he wants and as a result Penn is unrecognizable and Carrey takes on Scrooge at five different ages as well as plays all three ghosts. Considering Zemeckis did very little with Carrey's natural talents for physical performance, and there was very little in the way of comedy, he could have snatched up anyone off the street to dryly humbug their way through this story.In all honesty, everything seems secondary to the attempted leaps in technology in this film. Zemeckis has made statements as to his intentions with the story such as how the three ghosts are alter egos of Scrooge, the importance in accuracy of Scrooge's appearance and the overall hyper-reality of it all. If the ghosts are alter-egos of Scrooge they only go as far as to mirror his appearance (outside of the Ghost of Christmas Future who is just a pointing shadow) and, like I said, the film is extraordinary visually, but it takes more than good looks to make a good movie.From the inexplicable hissing of the Ghost of Christmas Past to the annoying and boisterous laugh of the Ghost of Christmas Present, Disney's A Christmas Carol has no understood reason to exist. The only thing unique about it was the way in which it was made and the fact it manages to be so boring. Neither of which appeals to me too greatly despite being a fan of Dickens's story.

The Box

Some bad movies you slag off gleefully. Their awfulness inspires you to reach high for insults as witty as the film is terrible. Others provoke a certain disappointment at their failure, a kind of mourning at the difference between the film’s ambition and its execution. Richard Kelly’s “The Box” is such a film. Kelly is a trippy, sometimes loopy filmmaker whose “Donnie Darko” is one of the great cult films of this century. In that film, his far less successful “Southland Tales” and now “The Box,” Kelly creates mind-twisting tales in which everyday conundrums unravel into conspiracies and plots of cosmic proportions. He’s like Robert Towne with an overlay of Rod Serling. But Kelly spins paranoid fantasies with so many threads that he can’t quite keep track of them all – or make them connect in a meaningful way. That’s the problem with “The Box”: a great set-up leading to a muted, unsatisfying conclusion that doesn’t really pay off. His film, taken from a short story by Richard Matheson, is set in 1976, to tie it to the Mars landing program that produced the first photos from that planet’s surface. Arthur Lewis (James Marsden) is a NASA scientist who worked on that program and who is awaiting approval to join the astronaut program. His wife Norma (Cameron Diaz) teaches English at a private school near their Richmond, Va., home, which their son attends. Portentously, she is teaching Jean-Paul Sartre’s “No Exit.” One day before Christmas, a box arrives on their doorstep, a polished wooden object with a locked glass dome covering a button – like a panic button – of some sort. The box includes a note informing them that Mr. Steward (the name, of course, has significance) will be there that afternoon to see them. Mr. Steward (Frank Langella) is a pip: a distinguished older gentleman in a homburg and cashmere coat, who happens to be missing a large chunk of his face. He looks like a well-dressed escapee from an early Sam Raimi film, his teeth peeping through the exposed gristle of his disfigured lower jaw. He tells them that, if they push the button in the next 24 hours, someone they don’t know somewhere in the world will die – but they’ll receive a million dollars in cash. Everything that happens subsequently flows from the decision they make. But as eventually becomes clear, they are pawns in a much larger game, one whose import and consequences are hinted at without ever being specifically addressed. There are a lot of people involved – many of them seeming like pod people from “Invasion of the Body Snatchers, except they regularly get bloody noses at the drop of a hat. There’s a wedding, the Mars project, mentions of the National Security Agency – really, the only thing missing are references to black helicopters. Meanwhile, humanity’s future apparently is on the line, based on how Arthur and Norma respond to Steward’s offer. “Donnie Darko” wasn’t the world’s most coherent film, but you could swing with it, because Kelly did seem to tie it together, in a Moebius-strip kind of way. But the longer “The Box” goes on and the more people whose noses start to drip blood, the less sense – and suspense – “The Box” has to offer. Combine that with Kelly’s melodramatic use of music – like something out of a bad Hitchcock imitation – and studied pacing and you have a movie whose reach far exceeds its maker’s grasp of where this story is going or what it’s really about.

The Fourth Kind

Hot on the heels of the low-budget megahit Paranormal Activity comes The Fourth Kind, a film with a higher budget and recognizable actors that nevertheless contends that what you are seeing is real. Although I really enjoyed Paranormal Activity, I never once doubted that what I was seeing was pure movie magic. Walking out of The Fourth Kind, however, I found myself actually doubting that what I had just seen was just a movie.Instead of opening with a statement advising us that what we will be watching is "found" footage, The Fourth Kind opens with actress Milla Jovovich walking straight up to the camera and explaining that she will be playing Dr. Abigail Tyler in a re-enactment of actual events. Additionally, she informs us, we will be shown video footage from Dr. Tyler's actual sessions when she hypnotized her subjects as part of a study into why so many residents of Nome, Alaska have been having trouble sleeping.The re-enactment is framed within an interview between the real Abigail Tyler and the film's director, Olatunde Osunanmi. Dr. Tyler is pale, bony and obviously still very scared by her experience, which she claims was an encounter with a non-human life form.The movie's title is derived from scientist J. Allen Hynek's famous classification of certain kinds of close encounters. A close encounter of the first kind is the sighting of a UFO, the second kind is physical evidence and the third, as we all know thanks to Steven Spielberg, is contact. The fourth kind of close encounter, and the subject of this movie, is abduction.The Fourth Kind was not as scary as I expected it to be, but it doesn't really aim to be a fright fest. There are a couple of shock moments that might have members of the audience flying out of their seat, but aside from that the movie relies more on the creepy appeal of its subject than it does on mere cheap thrills.What made this film interesting to me was the way in which the subject was presented in a very original, creative framework. Often, the film employs a split-screen technique to show the re-enactment by Jovovich and the other actors in contrast to the real people they are portraying. Tape recordings are also used containing what we are told is authentic audio recorded by Dr. Tyler. Sometimes there are moments when the film may get a little too creative, but in a world where many horror films seem to go the lazy route, it's easy to forgive ambition.Unlike films like Paranormal Activity and The Blair Witch Project where no matter how horrified or desperate the characters become, they always seem to remember to bring the camera with them, The Fourth Kind will often take our eyes away from us. During recorded hypnosis sessions, once the freaky things begin happening, the camera feed becomes distorted, leaving us only with ear-piercing audio and bits and pieces of blurry images. One great scene has a video shot by a police car camera go fuzzy just after what appears to be a UFO creeps into the corner of the image.As to whether or not any of what we see is real, well that's really up for the audience to decide. Although the film contends that this is all based on the experiences of the real life psychiatrist Dr. Abigail Tyler, the Alaska state licensing examiner does not have a record of Dr. Tyler ever practicing in Alaska. The same contention was made by the director of the Alaska Psychiatric Institute. Still, just the fact that I felt compelled to go straight home and Google the events and characters that the film suggests are fact should give you an idea of just how convincing it is. What is true is that there have been a number of mysterious deaths and disappearances in Nome, Alaska causing much speculation.Whether or not people buy into the theory pitched by The Fourth Kind is going to vary from person to person, but either way it is rare that a movie, particularly a horror movie, can really surprise and intrigue me as much as The Fourth Kind did.

'Ajab Prem Ki...' has edge over 'Jail' on first day

''Ajab Prem Ki...' has got a terrific initial thanks to the star cast but it will suffer on the content part. While 'Jail' has had a very slow opening...that of only around 20 percent. Shelf life for both movies is only limited till Monday,' Joginder Mahajan, a Delhi-based distributor told IANS.Directed by Rajkumar Santoshi and produced by Ramesh S. Taurani, 'Ajab Prem Ki...' also has superstar Salman Khan in a special appearance.On the other hand, 'Jail' has been co-produced by Percept Picture Company and Bhandarkar Entertainment and is the story of a common man who lands up in prison for unknown reasons. Starring Neil Nitin Mukesh and Mugdha Godse in the lead, it also has Manoj Bajpai in a pivotal role.''Ajab Prem Ki...' has got a tremendous opening. It is a totally entertaining movie for both classes and masses and a complete family watch with good acting, fast tempo and nice packaging. Audiences are loving it,' said a source from Big Cinemas.''Jail', however, deals with serious issues. Though Madhur Bhandarkar has proven his mettle with the film, the box office success of this one is doubtful as a family would think twice before watching it,' the source added.Yogesh Raizada, corporate head, Wave Cinemas, has a different opinion.'The Ranbir Kapoor-starrer has got an average occupancy of above 80 percent and that is obvious because of the comedy and romance element. But despite a 40 percent start, 'Jail' is very strong on content and is being appreciated a lot by the audiences and critics both,' said Raizada.'Both movies should at least extend for one weekend without fail. 'Jail' will definitely pick up Saturday onwards despite being only for a niche clientele,' he added.

A gritty reality show 'Jail'

Film: 'Jail'; Director: Madhur Bhandarkar; Cast: Neil Nitin Mukesh, Manoj Bajpai, Mugdha Godse, Arya Babbar, Rahul Singh, Chetan Pandit; Rating: ***1/2

Madhur Bhandarkar has done it again. From 'Jail', one expected a gritty, hard-hitting and thought-provoking drama. Bhandarkar delivers all this and lots more.Before one starts drawing any comparisons, let's make one thing clear - 'Jail' isn't 'The Shawshank Redemption'. The only similarity is that they both tell the story of prison inmates. Other than that neither the storyline nor the treatment bear any resemblance.Bhandarkar recreates the world of prison inmates as he tells the story of Parag Dixit (Neil), who has been falsely implicated in a drug case. The film comes to the point right away with Parag's corporate career coming to a roadblock as he finds himself surrounded by inmates.In trademark Bhandarkar treatment, numerous characters are fleshed out - the butcher (Manoj Bajpayee) with a mysterious past, a lower middle class man (Rahul Singh) who has committed a murder in a fit of anger, a gangster (Aarya Babbar) and a youngster whose car has mowed down half a dozen people. But the film's core is still Parag.It is Parag's tale that succeeds in keeping the audience watching. The claustrophobic atmosphere in the jail barrack suffocates audiences as Bhandarkar never allows the film to go off tangent. Yes, the frequent journey from jail to court and then back without any results do turn depressing after a while. But this is where the realism sets in.Instead of taking the routine Bollywood route about third degree torture, police brutality, homosexuality and inmate bullying, Bhandarkar maintains an unbiased point of view. Yes, the film shocks but more due to the emotional turmoil that Parag goes through rather than on-screen visuals.Especially notable are the scenes where Neil goes nude for a strip check. Through sheer body language and mannerisms, Neil gives an excellent account of himself. He depicts varied emotions from being subdued to sudden bouts of aggression to helplessness and then the final redemption. With 'Jail', he surpasses his efforts in 'Johnny Gaddaar' and 'New York'.Manoj Bajpai has a shorter screen time but shines nevertheless. Mugdha is natural as Neil's girlfriend. Aarya Babbar, who till now was struggling in Bollywood, comes up with his best performance so far. He is perfect. So is Rahul Singh, who plays the role of Ghani.'Jail' raises important questions about India's prison system. Rather than taking sides, Bhandarkar states bare facts and questions whether an individual really deserves to live in misery until proven guilty?