If our kids want Mallika more than Malgudi, there's clearly something very, very wrong.
Santosh Sivan makes the whole film look so bloody enchanting that you have no room to complain about the slightest possible niggles.
On the whole, Wall-E works in the same way that Charlie Chaplin does: an unlikely trampy hero embarks on a silent-movie romance with an elegant, far more attractive female. The odds are stacked against them, the protagonist is klutzy beyond repair, and the poetry found in their impossible dalliance is banal, slapstick -- and, quite simply, timeless.
One ought be well warned that Wanted has barely anything to do with Mark Millar's fantastic comic book miniseries. While the series -- and a couple of characters -- share the same name, lets just say the comic was about supervillains, while the movie features a self-proclaimed gang of avenging assassins. And that the comic made sense, plotwise.
The most infuriating thing about a film like My Friend Ganesha 2 -- besides the obvious attempt at trying to exploit our mythology's single most adorable deity -- is how condescendingly it talks down to its audience.
The Dark Knight is a fantastic take on an iconic superhero, brings noir to the world of the Batcave, and features one of the most instantly revered villains in the history of popular cinema. But now, the hype now isn't just deafening, it's claustrophobic.
One of the reasons movies disappoint audiences often is because of how good the trailers are. It is, admittedly, easier to cut 90-150 seconds of the finest, most tantalising footage from over a 100 minutes of film and look way cooler than the film itself, but the best trailers increase anticipation to almost unreal levels --- and the ensuing films seldom live up to that kind of hype.
It's disappointing just how boring Ugly Aur Pagli gets by the time the end-credits come around, and one genuinely feels bad for the lead pair.
As albums go, Malik has crafted one which is mostly harmless. There's one great track to begin with, one ghazal that simply cannot be made sense of and the director's own rough-and-tumble lyrics to add some quirk to it all. Essentially, however, it's pretty much filler -- stuff you won't mind along with stuff you wish was worked on a little harder.
It's boring, smug and makes for horrible television. Go watch Koffee and take some non-snarky notes, Sajid, you need help.
Shah Rukh and Akshay might be the most overexposed stars in the country today, and Salman's close enough. And they're still trying to show us more, nudge us into laughing, get us glued to the screen.
Khatron Ke Khiladi -- the Akshay Kumar headlined desi take on Fear Factor -- adds up to ninety minutes of pretty boring television. For one, Kumar isn't at his best without a script. Then come the ladies. While the Colors website proudly proclaims '13 Bollywood bombshells,' this is a bit of a stretch, to say the least.
It's a wasted album with not a single track to recommend. Then again, one shouldn't be surprised -- after all, Bruce Almighty didn't have any songs they could have flicked.
Heath Ledger plays his penultimate role in The Dark Knight, and he's the central character. Batman, for all his flaws and neuroses, always ends up playing a valiant second fiddle to one of the best villain-collections in all of comicdom.
We stand poised on the brink of certain history. I will take wagers -- at whatever odds you offer -- that despite The Dark Knight coming to theatres only on Friday, there is already more than enough guaranteed buzz about its central performance to nab it a posthumous Best Actor Oscar nomination.
Peter Berg's Hancock has a great premise -- that of a superhero more given to alcohol than even Tony Stark; nope, this guy's a true-blue, stubble-sporting bum -- and the most perfect of leading men for the job, but thanks to a rather melodramatic back-story and ending, it's eventually a disappointment.
I open up this space to you now, dear readers. Write in to me with examples, good and bad, of books being adapted to film, and your thoughts on the questions I'm currently thinking about. There is much I still want to discuss, and over the coming weeks this column will, from time to time, keep revisiting the subject at length.
All in all, this is a nothing album. The 'rock' tracks don't have the words or a true-blue feel, while the ballads don't seem like they belong on the same disc at all. The lyrics are pedestrian, and the only thing this album does is make you feel jealous of Farhan Akhtar.
Bachna Ae Haseeno is a decent effort from composers capable of a lot more punch -- and surprisingly forgettable stuff considering this is the kind of film relying largely on packaging to pull in audiences.
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