Alia Bhatt is an Indian actress and model who appears in Bollywood films. Born into a family where her parents, Mahesh Bhatt and Soni Razdan, and elder sister Pooja Bhatt were actors and filmmakers,
Rating : 5/10 Release Date : 11th September, 2015 Time : 131 minutes Director, Co-Writer : Nikhil Advani; Co-Writer: Umesh Bist based on the original �83 movie by Subhash Ghai; Music : Various Starring : Sooraj Pancholi, Athiya Shetty, Aditya Pancholi, Tigmanshu Dhulia, Sharad Kelkar, Kishor Kadam, Chetan Hansraj, Vivan Bhatena
Disclaimer : I haven�t seen the original 1983 film by Subhash Ghai (Wiki link here), so that lets me out of any pesky comparisons
A goonda (with a heart of gold, obviously) falls in love with a top cop's daughter (spoilt SoBo types) while he has kidnapped her at his godfather�s behest�
What Nikhil Advani and Umesh Bist (Director-writer and writer resp.) then do is figure out the most convoluted, tortuous way to try and get the lovers (and their folks) to unite� they add unnecessary characters, twist plot lines, prolong the movie and also defy logic, gravity, space-time continuum etc in their holy quest.
Sample some of the senseless stuff - The godfather, Aditya Pancholi, is never seen without his lawyer. Even in jail, in his cell. Didn�t know you could invite a roomie� - Kidnapping an IG�s daughter should be no mean feat. However, here it happens peacefully. Twice. No casing the joint, observing her movements, or watching her security detail necessary. Not even so much as looking at your potential victims photo beforehand as Sooraj is surprised when he sees her (having had a run in with her at a club sometime ago) - If you kidnapped her from Mumbai, in a car, dressed as cops, where would you go ? Jammu, obviously. Isnt it next door ? Arre � it�s so picturesque to show the young couple romancing in the snow !! - Tigmanshu Dhulia, the IG, has to be the worst cop possible. Not only does he let his daughter get kidnapped, twice, he also lets Aditya Pancholi escape from custody. And then does nothing whatsoever to track him down. Obviously more worried about what people will say about his daughter cavorting around with aaj ka Gen Y goonda� On receiving a match for beloved daughter, he also falls head over heels for the same (Call me Dad) without doing any sort of reference check whatsoever - I loved the gym Sooraj sets up � really fancy. Would love even more to meet whoever lent him the money to make it�also whichever institute did Athiya�s show (and allowed a novice to join in) ? - Why was Vivan Bhatena needed in the film ? For that matter, why was Paris ?
Am not even touching on 20 other points that come to mind (how did she know when he was being released, didn�t the bike wash away in Jammu , how come the bomb blast laid twenty cops low twenty feet away but Aditya Pancholi is unharmed five feet away ?) just focused on the big ones above...
Also, the acting skills of Tigmanshu and Aditya were quite gloriously wasted. I really wish instead of wasting time on songs (too many, too ordinary) and devising new ways to stretch the plot, the makers had spent a bit more time building on the characters of the lead pair, showing us what they were about, why they fall in love etc. The two star kids actually look good, have good screen presence for their debut film and will get better with time. Unfortunately we don't really get to know them at all we are only dealt cliches. Just wish they�d got a better platform, script-wise, to showcase their talents
Rating : 7/10 Release Date : 22nd May, 2015 Time : 120 minutes Director : Anand L Rai; Writer : Himanshu Sharma; Music : Krsna, Tanishk-Vayu Starring : Kangana Ranaut, R Madhavan, Deepak Dobriyal, Mohammed Zeeshan Ayyub, Jimmy Shergill, K K Raina, Rajesh Sharma, Swara Bhaskar, Eijaz Khan, Dipti Mishra, Rajendra Gupta, Navni Parihar
"Bas karo yeh havas ka nanga naach !"
A crackling first half deteriorates quite badly midway through the second�becoming unnecessarily maudlin, sentimental, and ruins the overall message of the film�There is still much to admire in the film, though, especially the situations woven (incl the tantalizing intermission point) and the sizzling dialogue which, in the good old days, would�ve led to a chavanniyon ki baarish every 5 minutes or so !
"Tu dinosaur ki biradri ka hove, ke doosri biradri se shaadi kar lai to extinct ho javega ?"
Kangana and Madhavan break up while settled in the UK. He goes to an asylum there, while she returns to Kanpur. And when, at the instigation of best mate, Deepak Dobriyal, he serves her divorce papers, she decides to revisit her good, old days (and friends), with Mohammed Zeeshan Ayyub (an illegal tenant in her parents place)�everything is going swimmingly until she meets old flame, Jimmy Shergill once again. And Madhavan meets her doppelganger � a young, Harvanyi spouting girl from Jhajjar, a bob-cut version of Kangana�and then things are never the same again !
"Sex ? Woh to do saal pehle, Bhaiyya Dooj ke din�."
The true hero of the film are the one-liners�mostly delivered via Deepak Dobriyal, who also delivers amongst the best performances of the film. Kangana breathes fire, especially in her hockey wielding, college going avatar � the other one I don�t quite get, who thodi baavli si hai. Zeeshan Ayyub gives a riveting performance in a small but meaty role, while Jimmy Shergill and Rajesh Sharma (has a couple of great scenes) catch the eye despite having miniscule screen time. The whole bit around Swara Bhaskar and her husband (Eijaz) was unnecessary, as was the �Komal� angle and extremely long drawn out final wedding sequence�
"Yeh kya mazaak hai ? Original bhi mera aur duplicate bhi mera ?"
There are some scenes which really stand out�Rajesh Sharma�s speech to his village elders�the non-stop diatribe by Madhavan�s mom (Dipti Mishra) to her husband, the (hold your breath) pony-tailed KK Raina and his final riposte� the �dekh, kabootar� trick�There were also some great messages not too subtly delivered - about self-reliant, independent women, about progress and inter-caste marriage � too bad the end let the tempo drop and kind of diluted it all�still worth a watch, though, and with a peppy soundtrack, not bad as sequels go.
Rating : 6/10 Release Date : 20th February, 2015 Time : 134 minutes Director, Writer : Sriram Raghavan; Co-Writer: Arijit Biswas, Pooja Surti; Music : Sachin-Jigar Starring : Varun Dhawan, Nawazuddin Siddiqui, Huma Quereshi, Vinay Pathak, Divya Dutta, Radhika Apte
A chance encounter during a bank robbery leads to unwanted, unnecessary death and a vicious cycle of revenge that lasts over fifteen years. Its not pretty, its not pacy and it most definitely doesn�t follow a path treaded by most Hindi films. However, not everything makes sense and it doesn�t really hold our attention all the way through, though the climax is interesting.
Nawazuddin and Vinay�s getaway after a bank job goes horribly wrong and results in the death of Yami Gautam and her young child. Nawaz is caught, jailed but not before he is able to let his partner escape with the loot. Varun Dhawan is the sadly bereaved husband, father, who�s world comes crashing around him. And the twenty year sentence given to Nawaz for his part in the robbery (he claims his partner did the killing, he was merely the driver), is not enough for Varun�
Kumud Mishra is the police inspector who hates an unsolved case on his record � especially as the cops are never able to track down the partner or the loot. Pratima Kannan is Nawaz�s mother, who can�t believe her son is a killer. Huma is Nawaz�s favourite call-girl, who also doesn�t believe he is a killer. And later in the movie, Vinay Pathak and his wife, Radhika Apte play a critical part, as does Divya Dutta as an NGO worker who works with prisoners.
I really liked Varun in this vengeful avatar � he hit the right buttons in a role outside his comfort zone. Nawazuddin does full justice to a role right up his street, especially in the closing stages. The ensemble cast is excellent. The music really good. But the fatal flaw is you don�t quite understand why some of the characters chose the paths they do � even if the end objective does make sense. And that can really make you wonder, even disconnect with what is shown happening on the screen�
Life can be cruel. Revenge can be salvation. And where better to find it than in Badlapur�
