“Nakshatra” fails at the Box Office

NAKSHATRA movie is a waste of time according to BOS OFFICE record. The movie is drab and fails to interest viewers. Calling it a thriller would be highly overrated for this one is nothing but a sleeper. It seems that the director has not paid any attention to establish lead characters in the movie and connect them to each other.

Mohan Savalkar’s ‘Nakshatra’ lacks good script and this is just one of the major flaws of the movie. The story revolves around an aspiring script-writer Ajay (Shubh Mukherjee), who spends most of his time playing video games instead of writing scripts. His lady love Jiah (Sabina Sheema) tries to lure him away from the gaming console and gives him an ultimatum of two months to get serious in life.

Soon after, Ajay ends up writing a thriller story for a group of newcomers. He writes a story about a theft of an expensive diamond necklace from a museum. Ajay is all set to get engaged with Jiah soon after the script is complete.

However, things take an ugly turn at their engagement ceremony as police inspector Gupte (Milind Soman) lands there to arrest Ajay for the alleged theft of an expensive diamond necklace from a museum. Ajay is the prime suspect because museum’s CCTV cameras had captured Ajay spending a long time there everyday.

Ajay tries to explain to police that he frequently visited the museum to do his research work for his script. But like the director would have it, Gupte refuses to buy his explanation and puts him under arrest.

Nevertheless much later Ajay evokes Gupte to believe his story, who then tries to resolve the mystery and find out the real thief.

Overall, the screenplay is silly and written without proper consideration. The movie lacks the thrill to excite the viewers. Only Milind impresses as far as acting prowess goes. Sabina Sheema and debutant Shubh Mukherjee’s acting is highly disappointing.

REVIEW : "TUM MILO TO SAHI"

‘Tum Milo Toh Sahi’ emphasises the need for a perfect meeting of soul, mind and heart to sustain a relationship. Director Kabir Sadanand speaks through three sets of characters at different stages of their lives: Eccentric Nana Patekar and Parsi Dimple Kapadia, who are looking for pure love; Suniel Shetty and Vidya Malavade, who are facing mid-life crisis; and Rehan Khan and Anjana Sukhani, who are craving for meeting of hearts.

Set in contemporary Mumbai, the film interweaves the lives of three couples who connect with each other. Although the story is simple and the film well executed but it lacks the passion and drive to make it a winner.

Dimple’s ‘Lucky Cafe’ plays pivotal role in the romance of the characters and their heartache. The little tea house is threatened to be swallowed by a bigger chain of coffee stores but dedicated customers rally around to save the heritage site from greedy multinationals and leading them is Nana Patekar, who starts falling for his Parsi neighbour. Nana and Dimple have delivered a stellar performance.

Suniel Shetty and Vidya Malvade play the modern day husband and wife plagued by issues pertaining to haphazard lifestyle, growing EMIs and a neglected child. Suniel and Vidya play their part well but their work is not outstanding.

The third couple Rehan and Anjana plays college lovebirds. Rehan has come to Mumbai for his mass communication course in a college and meets his love while studying. Their performances are the weakest in the film.

Sandesh Shandilya`s musical score is decent and Pushan Kripalani`s cinematography commendable but the screenplay looks static and dialogues are bad. Watch the film for Nana and Dimple!

HUM TUM AUR GHOST : REVIEW

Movie :- HUM TUM AUR GHOST
Cast :-Arshad Warsi (Arman) ,Boman Irani, Dia Mirza (Gehna), Sandhya Mridul, Shernaz Patel, Tinu Anand
Director :-Kabeer Kaushik

Hollywood has attempted several films wherein the living has been shown interacting with the dead. In fact, two decades ago, there was a mad rush to Indianize Ghost (Patrick Swayze, Demi Moore, Whoopi Goldberg). The fascination with the dead continues to haunt Bollywood to this date.

Arshad Warsi - who has been credited with the story of Hum, Tum Aur Ghost - has denied that the film is inspired by Ghost Town. Yet, there're some similarities and that could be coincidental. So far, so good!

Now here's the hitch. The screenplay - the lifeline of any film - is what makes a film stand on its feet and in this case, Hum, Tum Aur Ghost suffers due to inept writing. Ideally, the writers and director should've come to the point right away, but the film takes its own sweet time to come to the point and what comes across is also not enticing, barring a couple of attention-grabbing moments. By then, the viewer has already lost interest in the film.

The sole saving grace is the performances by the principal cast. Sadly, that's not enough!

For Armaan , life was picture perfect. He has a doting girlfriend Gehna and also a great job. But there's a problem: Armaan hears voices. Voices that torture him. Voices that disturb him. More importantly, voices that nobody else can hear.

Gehna is irritated with his weird behaviour. Add to that her father who constantly berates him for his fondness for the bottle. No one seems to understand his predicament. What puzzles everyone is the fact that he talks to himself or rather, he talks to people, who no one can see, simply because they don't live.

Soon, Armaan becomes aware of his special ability to connect with the dead. Equipped with a will to fulfil the wishes of these spirits who hound him, Armaan sets out on a mission to help out three souls - a child, an old man and a young woman.

Generally, most Hindi movies come to the point at the very inception. Hum, Tum Aur Ghost also opens its cards at the very outset, but loses focus soon after. In fact, the moment you're told that Arshad can see the dead, you expect to embark on a journey you've never embarked upon earlier. But there's hardly any movement in the story after a captivating start.

Director Kabeer Kaushik was entrusted with a great idea, but his team of writers blew it up into smithereens. The impact generated by a few worthy of note sequences gets evaporated as the film reaches its culmination, primarily because the writing doesn't hold. Shankar-Ehsaan-Loy's music is strictly okay. Ashok Mehta's cinematography is of top quality.

RIGHT YAAA WRONG : SUMMERY

Sunny Deol(Ajay), Irrfan Khan(Vinay), Eesha Koppikhar(Ajay wife), Aryan Vaid and Konkona Sen Sharma(Vidya)

Ajay (Sunny Deol) is a brave cop. An unexpected incident takes place and he wants his wife (Eesha Koppikhar) to kill him. Will a wife agree to kill her own husband? Why does Ajay want to kill himself?
Ajay and Vinay (Irrfan Khan) were the best of friends, but an intense rivalry leads to a battle for supremacy. A dramatic confrontation ensues, where Vidya (Konkona Sen Sharma), Vinay's sister, chooses to support Ajay in this chase of mind games and Vinay has to fight it out.

Let's face it, you don't take to Right Yaaa Wrong at the outset. The initial portions give an impression of been-there-seen-that to the viewer. But, gradually, Right Yaaa Wrong starts getting into the groove, when Sunny hatches a conspiracy of his death and asks his wife and brother to execute his plans. The interval point is indeed a shocker!

The film takes off in its second half, when Sunny sticks to his alibi, while Irrfan doesn't buy Sunny's statement and re-opens the case. The twists and turns in this hour, interspersed with courtroom sequences, which leads to an emotional finale, are simply spellbinding.

Director Neerraj Pathak shows immense potential. He had proved his credentials as a writer earlier (Ghaath, Pardes, Apne), but with Right Yaaa Wrong, he proves he's an efficient storyteller as well. Monty's music is strictly functional and the few songs in the narrative don't contribute much.

Sunny seems to get it right this time. He underplays his part beautifully. But it is Irrfan who lights fire in water and emerges the scene-stealer. He's excellent all through the second hour. Konkona stages an entry in the post-interval portions and makes a stunning impact in the courtroom sequences. Eesha Koppikhar is first-rate. Arav Chowdharry (Sunny's brother) enacts his part with conviction.

On the whole, Right Yaaa Wrong is a powerful thriller, with a knockout second half. However, the film faces strong opposition from two quarters - IPL cricket matches and the ongoing examination period. But a strong word of mouth should change the tide in its favour. Go, watch it, this one's a pleasant surprise!

Short review on "ACCIDENT ON HILL ROAD"

ACCIDENT ON HILL ROAD, which is produced by Nari Hira is all set to release on 4th September 2009. Directed by Mahesh Nair the film stars Farooque Shaikh, Celina Jaitley and Abhimanyu Singh.

ACCIDENT ON HILL ROAD is based on a true story of an incident which happened in USA in the 90's. Celina Jaitley in a never seen look and character is all set to shock audiences in this bizarre true story, which will keep you wondering that anything is possible in this life.

The USP of the movie is amazing performances, gripping depiction of a true story by actors never seen this way before in a 100% commercial entertaining way ...after all life can make a commercial out of you

ACCIDENT ON HILL ROAD is a cunning and energetic thriller that takes its premise from a real life incident of woman who hit a man, then drove home and parked the car in a garage with the man wedged halfway through her windshield.

Celina Jaitley stars as Sonam Chopra, a young medical aide with big aspirations, a hard-partying, overworked nursing assistant in this delicious, darkly humorous psychological thriller from director Mahesh Nair.

Sonam accidentally steers her car into the harmless Prakash Shrivastava, movingly played by Farooque Shaikh, sending him flying thorough the windshield. Not wanting to jeopardize her future, Sonam, along with her drug-pedding boyfriend id (Abhimanyu Singh), choses not to get him medical help, leaving him clinging to life in her garage. But soon her psyche begins to unravel as captor and captive are pitted against each other in a bloody and outrageous battle for survival. Be prepared for ingeniously nasty and often shockingly funny entertainment.