M.S.Dhoni: The Untold Story movie review and story line

M.S.Dhoni: The Untold Story' - A Helicopter shot:

Director: Neeraj Pandey

Starring: Sushant Singh Rajput, Anupam Kher, Disha Patni, Kiara Advani

Fans of the game may complain that M.S. Dhoni: The Untold Story is not quite about cricket. Neeraj Pandey steers totally clear of the many controversies involving its protagonist M.S. Dhoni and his captaincy—the IPL spot-fixing charges, the alleged rift with Virender Sehwag and Gautam Gambhir, he even beeps the names of Saurav Ganguly, Rahul Dravid and V.V.S Laxman when Dhoni is shown talking to the selection committee about dropping them (from the 2008 Commonwealth Bank series in Austrailia) because of poor fitness and fielding
              Of course such sanitisation makes the film lose out on interesting layers and complexity, but, curiously, the focused, unwavering eulogising of Dhoni also helps it get an unmistakeable emotional acuity.

Ambition and arrogance get side-stepped for positive qualities like drive, focus and steadfastness and Sushant Singh Rajput catches them wonderfully, every which way—in his gait, demeanour, attitude and gaze. It gets specially pronounced and wonderfully contrasted in a small scene, when you see his measured self against the attitude, or, as they say in Ranchi, “dare” of a brash, young Yuvraj Singh (Herry Tangri, enjoying his cheeky turn).

Strangely, there seem to be no major adversaries in Mahi’s life either, save the circumstances and destiny. Yet there are moments of depression, the frustration in having to keep ducking the bouncers bowled by life while being M. S. Dhoni, the railway ticket collector. He eventually has to leave the stationary platform behind to ride on the train of his dreams. In a nutshell, a life that is anything but extraordinary in its extreme ordinariness.

It’s this unfussy, matter-of-fact portrayal that makes his personal story ring severely true for millions of lives, especially in mofussil India. The dreams and desires trying hard to take wings in the cramped but homely quarter number 142 of Mecon Limited in Ranchi would reverberate with any lower middle class home. Where the father always chides the kids to study lest they turn out like him—low in stature, where mother is always the mediator and children themselves want much more out of life than what they have been granted.

          It’s the genuineness of the characters in the background which adds to Sushant’s performance at the centre—be it Anupam Kher as his reticent father, or Rajesh Sharma as quirky coach Banerjee.

The film has a terrific sense of place—the many stadiums in small towns, the coal mines, the railway stations. Pandey lets in the details unobtrusively, has some fine little heartwarming touches. The romantic interludes, seemingly unnecessary eventually tot up Dhoni’s heroism—stealing a moment away to come to terms with an intensely private grief, stealthily finding time for love in the glare of media and public eye.

The film catches the game at the grassroots—but instead of the usual portrayal of bureaucratic stranglehold what you see is an unquestioning commitment and passion for the game in the many officials. In a way, the film then becomes a piece of nostalgia, harking back to the innocent days of cricket.

It would have been interesting to see Dhoni’s engagement with what it has become over the years—a world of big money and bigger misdemeanours. However, the film lets him remain in an idealistic bubble. Even when he is shown endorsing one product after another (which obviously doubles up as in-film brand promotion) it does so with a sense of indulgence; the whole sequence playing out like a burlesque of sorts.

Pandey could have come all the way up to the 2015 ICC Cricket World Cup semi-finals in which we lost but then the film wouldn’t have remained the soaring biopic that it is now. To begin and end with the 2011 finals with the breathtaking top shots of Wankhede, pulsating with the cries of “Indiyaaah Indiyaah”, and Mahi hitting a glorious six to victory—till date the scene seems to have the ability to make even grown up men and women cry. I saw a lot of wet eyes in the theatre. But to Pandey’s credit he also forces a few tears to be dropped for the supporting cast of Dhoni’s life—not just the family and friends but the faceless, selfless supporters who left everything behind to watch him hit the ball—“Mahi maar raha hai”. He seems to have hit yet another six with the film.

Banjo Movie Story and Review

BANJO Movie story and Review:
CAST: Riteish Deshmukh, Nargis Fakhri, Dharmesh
DIRECTION: Ravi Jadhav

STORY : The quintessential Mumbaiyya music of a few Banjo players, led by Taraat (Riteish Deshmukh) catches the fancy of a budding American singer Chris (Nargis Fakhri). She travels to Mumbai all the way from New York to hunt for Taraat and his quirky coterie, hoping to take their music international. But given their social and financial background, can the men live up to Chris' expectations?

REVIEW : Director Ravi Jadhav, who has some outstanding Marathi films to his name (like Natarang), captures the pulse of Mumbai and the city's buzzing chawl culture in Banjo with simplicity and a dash of humour. His characters exude the quintessential middle-class values, which are bound to resonate with many. The underprivileged are not conditioned to dream big, so even their wishes are realistic. One of the characters innocently asks a waiter at a posh club, if he could take some champagne home for his father. Though commercial in approach, Jadhav keeps things unpretentious and thus relatable.
While the story is pretty formulaic (a bunch of street musicians making it big by winning against all odds), the execution and supporting performances are heartfelt. The music could have been better though. Addition of unnecessary drama and random events in the second half slows down the pace considerably, also making the film a tad cliched. The gorgeous Nargis overdoes the American accent but grows on you eventually.

And last but not the least, it's time we play the dhol, tasha, tutari, lejhim and banjo for apla Riteish. Sporting a stylish man bun, it's refreshing to see him break away from the usual multistarrers and play a slice-of-life, lead character in a Hindi film. A small-time extortionist cum musician, Taraat is all heart. Riteish essays this brash yet vulnerable character effortlessly, proving that he can hold a film on his own if given the right opportunity. The film's cinematography is splendid as well.

If you are familiar with Mumbai's working-class neighbourhoods, where the hearts of the poor are bigger than the pay packages of those residing in the mushrooming high-rises, you'll be able to notice the beauty of Banjo. It also makes you respect the street musicians a little more.
Ratings: 3.5/5

RaaZ Reboot Movie Review and Story Line:

RaaZ Reboot Movie Review and storyline:

This time the sequence of Raaz went down in all aspects.
Rating: 1.5/5.
Story Line:
You think only human beings face morality crisis? Well, ghosts too have emotions and respect the unsaid social mores. At least, the non-judgmental one in director Vikram Bhatt’s Raaz Reboot does. He doesn’t kiss women with a ‘mangalsutra’ (The necklace married Hindu women wear). But he does hope that she takes it off herself. Of course, there is no stopping him after that.

              The story unfolds in Dracula’s own country, Romania. But it is no big deal as our protagonists, Rehaan (Gaurav Arora) and Shaina (Kirti Kharbanda) know that the Count’s castle is miles away from their house. Also, they have been there in the past and their love had blossomed in Romania. But it is different this time.

              The married couple is going through a tough time. Their relationship is strained and what could be a better timing than this for Aditya’s (Emraan Hashmi) entry. After all, he has made a career out of luring committed women into his love trap. Remember Murder, Aashiq Banaya Aapne, Gangster and many other films.

So, the game is poised now. You will witness a first of its kind spirit this time. Did I say that Raaz Reboot is a ghost story from the beginning? No? Ok, Shaina gets possessed ten minutes down the film.
               The local priest can’t do much about it. The ghost knows the priest’s past. It literally blackmails the cleric to leave the scene with a torrent of reminders about his tainted past with kids. You know what I mean.

            We need our own guy in command of the situation now. So, a blind Indian student studying Psychometry in Romania enters the game. That’s an actual term which means object reading. Indians are anyway possessive about their belongings.

The drama escalates and the ghost says, f*** y**. Yes, this spirit swears. Modernity or bad manners, you can take your pick.
                Meanwhile, you will keep spotting Hotel Transylvania, a Gypsy woman and other clichés, so that you don’t feel out of sync. Don’t forget it’s a Vikram Bhatt film.

The cleric’s failed exorcism bid means God’s reputation is at stake and that calls for some extreme measures. The rest is a permutation and combination of words - ‘spirit’, ‘possessed’, ‘danger’, ‘haunted’ and ‘Jesus’.

Soulful music will soothe your ears, and Emraan Hashmi is also there. Some initial scenes of arguments between Rehaan and Shaina are well written, but that’s about it.
Raaz Reboot is a tough watch for close to 140 minutes. Great songs, but not enough to pull it out of the spirit’s grip.

Baar Baar Dekho Movie Review

Baar Baar Dekho movie review: Watching this Katrina Kaif, Sidharth Malhotra film once is more than enough

Baar Baar Dekho movie review: Katrina Kaif, Sidharth Malhotra film has all the gloss but no beating heart. Baar baar dekho for this romance? Ha, just wishful thinking.

Baar Baar Dekho movie review: Sidharth Malhotra and Katrina Kaif’s film lacks the sense of wonder which makes films special.

Baar Baar Dekho movie director: Nitya Mehra

If you had a chance to go back into the past and ‘fix’ it, what would you do? Turn joyous cartwheels of course, because hindsight gives us wisdom that we didn’t have when we were in the moment.

Maths genius Jay Varma (Sidharth Malhotra) has the gift of time travel, that miraculous thing which he can use to make things right between him and lady love Diya Kapoor (Katrina Kaif). What can go wrong with that most intriguing premise, even if we’ve seen similar stuff in About Time and The Time Traveller’s Wife?

Quite a lot, actually, as it turns out: Baar Baar Dekho doesn’t have anything that can entice us into repeat viewings, let alone a single one, because the execution is flat and banal.

The life lessons that Baar Baar Dekho holds out is a) there’s more to life than differential equations (we know), b) the past and the future can only be accessed through the present (we know ) and c) that Katrina Kaif may have the most amazingly mobile waist in the universe but her emoting ambitions are strictly futuristic (this we get to know all over again, sigh).

The appeal of a winsome romance is the thing between two lovers: the more it pulses, the more effective it is. On that most crucial score, Jay and Diya don’t make our hearts beat: they cosy up but there is nothing going on between the two.They traverse continents and time zones and eras, zigging into the past and zagging into a future which has remote-controlled transport and plangent screens controlled by hand gestures, but there’s no sense of wonder in these scenes. The lovers don’t make us dewy-eyed either even if the film they are in is glossy and bursting with good looking people and places. You end up admiring the scenery and feeling very little.

The chemistry between Sid and Kat is stupendous, and certainly, after this film, we want to 'Baar Baar Dekho' them together again. They do exude a certain kind of freshness which can be tapped more on the reel.

How Jai's character grows and what happens to his relationship with Diya—their journey, hardships and struggle in keeping up with the tale or rather twist in time is what 'Baar Baar Dekho' has to offer.

It has a subtle yet very important message underlying which we all must understand and try to live every moment with the person we love the most! And yes, for once I am happily saying 'chill, if you can't hold that mathematical equation for once', as there's more to life than one plus one two!

Happy Bhag Jayegi Movie Review

Story:
Happy Story (Diana Penty), which has escaped from the house of your wedding day. But accidentally from India, Pakistan Bilal (Abhay Deol) and Zoya (Moml Sheikh) arrives home. There are many ways to look after this drama. Meanwhile, India Daman Singh Bagga (Jimmy Shergill) and Happy's boyfriend Guddu (Ali Fazal) in pursuit of the Happy runs to Pakistan. With several fun twists the story progresses and will be more fun to watch. 

Direction:
The film's direction is fine. Mudassar Aziz, expressed the little things very well ofIndia and Pakistan. Comedy with punch, get to see the romance in the story. Chase sequences and songs is also good shoot. The exact mode of interaction of the characters are placed and cinematography is amazing too. However, some things do not come to understand. Every character in the film, such as India and Pakistan that is going to come, they are going in two cities of the same country. Someone does not need a visa. Indians roam fearlessly in Pakistan, but there is no catches them. Now the director of the India-Pakistan Honor can only tell what era are showing.
 
Starcast's performance:
Every actor in the film, played their own role in a spontaneous manner. Jimmy Shergill, Abhay Deol and Ali Fazal fits perfectly into his role and his acting is quite good. The work is also commendable Diana Penty and Moml Sheikh. Piyush Mishra and other artists have done fine.
Film music:
Sohail Sen Altmas Fridi, Mika Singh, good music album with singers such as Mohan's policy. "Tera Aashiq ',' Just friendship" and "Ready stripling Mingl 'have already gaining popularity. There are two songs in the film. According to the story, the songs are longer, which would tend to slow the pace somewhere. Some songs could be reduced.

Watch or not:
The film is a comedy, romance and spice, too, because of which it might be a good entertainer. But at home, keep your mind and you will see.

Rustom Movie Review and Story In Brief

 Rustom: Movie review and  Story Narration:

For Akshay Kumar fans, Rustom is bound to be a full-on treat. The courtroom drama is scripted, crafted and geared to give the lead actor all the space that he needs in order to own the project.

The star of the show proves equal to the task. Unfortunately, Rustom, which fictionalizes the sensational true story of naval officer Kawas Manekshaw Nanavati, comes nowhere near becoming an irresistible cinematic account of a murder trial. 

Written by Vipul K Rawal and directed by Tinu Suresh Desai, Rustom is a strangely bland film that throws more thematic strands into its narrative wicker basket than it can hold - heroism of a man in uniform, marital discord, culpable homicide and legal twists and turns.

An apocryphal aircraft carrier scam involving the high and mighty is added to the broth to lend the hero the sheen of a crusader.

The first time the audience sees the film's titular figure, he emerges from a naval vessel's engine room and strides out in style to the deck of the ship.

There is no way anybody can miss the national flag fluttering in the background.  

The unblemished character of Commander Rustom Pavri - he is a decorated officer celebrated for his devotion to duty - remains untouched by the complexities of a bitter legal contest or the nuances of a marriage gone sour.

Not interested in exploring the frailties that the flesh is heir to, Rustom opts for a facile and melodramatic approach to the 1959 murder case.

The handsomely mounted but anodyne film plays out like a straightforward old school good-versus-evil tale in which the truly righteous are allowed a transgression or two in the face of provocation. 

Every character in the film struts around like a vainglorious clothes horse. Rustom Pavri, the man in the dock, always sports his spotless white naval uniform. Even when he is off duty and in police custody, he is a picture of sartorial poise.

His stressed-out wife, despite the serious crisis in her life, is never less than impeccable in her choice of sarees and blouses.

The vamp, like all good old vamps, dons western outfits and carries a slender cigarette holder as if it were an extension of her lips, a la Marlene Dietrich.  

And suave investigating officer Vincent Lobo (Pavan Malhotra, who, as always, makes an impression that rises above the weaknesses of the film) is never caught without his starched buttoned-down shirt, black tie and pleated trousers as he goes about the job of establishing Rustom's guilt.

Similarly, the physical spaces that these characters occupy do not have a real, lived-in look. Even the late 1950s Bombay street scenes, well presented as they are, cannot rescue the film from its airy-fairy, disinfected feel.

An editor of a tabloid called Truth (played by Kumud Mishra) - the character is obviously modelled on Russi Karanjia of Blitz - is an unflattering caricature of a journalist who gets hauled up on a daily basis by the judge for infringing the law. 

Outside the sessions court, crowds carry completely-out-of-place placards that read "Marry me Rustom", "I love you Rustom" and "I want your baby Rustom". Are we at an IPL match or what?

Especially unexceptionable is the way the court scenes are executed. It takes the film away from the reality of the story and delivers an overacted, overstretched passage that overstays its welcome.

The public prosecutor (Sachin Khedekar) hectors and hollers his way through the hearing. The judge (Anang Desai) adds to the drama with rather vacuous wisecracks when he is not overruling or sustaining objections.

And the jury - the K.M. Nanavati vs. the State of Maharashtra case was India's last such trial by consensus - stands by dutifully until it is time for them to up the ante even further.

Everything about Rustom is overly spick and span, which does not allow cinematographer Santhosh Thundiyil to go beyond the standard light-and- shade devices.

The kernel of the story: an officer and a gentleman (Akshay Kumar) arrives home after a long absence and stumbles upon an affair that his wife (Ileana D'Cruz) is having with a wealthy social acquaintance of his (Arjun Bajwa).  

The Navy man loses his cool, confronts the notorious playboy and pumps three bullets into him.

All this happens within the first twenty minutes of the film and the rest of Rustom is devoted solely to creating a halo of moral superiority around the killer.

The wife, Cynthia, trapped in a bubble of grief and remorse, mopes ceaselessly, shedding copious tears in a bid to wash away her perceived sin. 

Not for once is the lady allowed to suggest, let alone assert, that what she did outside her marriage might not be the big deal it is made out to be.

In one scene, she does declare that "I don't care what people think of me." But in another, she, more in line with the moral codes she is forced to subscribe to, admits that she was "naive and stupid".

Cynthia curses herself for betraying the trust of her husband and stands by him all through the legal process.

Nature and fate play a part in Cynthia's dalliance with businessman Vikram Makhija. Her husband is out at sea and the bored wife literally slips in the rain and sprains her ankle.

Vikram, at hand to provide solace, exploits her vulnerability and the rest is inevitable.

The weakest part of Rustom is the manner in which the character of businessman Vikram Makhija is sketched out - as a scheming womanizer who is helped along by 'evil' sister Priti (Esha Gupta).

There is little room in this construct for a layered investigation of motives and impulses.

Everything is spelled out in black and white in the course of the protracted court proceedings in which the lawyer of the deceased's sister loses no opportunity to be scurrilous.

Defending himself - he refuses the services of a professional counsel - Rustom faces the allegations and insinuations without batting an eyelid.

Akshay's cool, calm, composed avatar is bound to floor many, and not just his ardent fans. There is little in this film that could displease the actor's constituency.

Rustom is largely inoffensive, even passable in the main, but could have been infinitely better had the screenplay not been so utterly conventional and unimaginative. 

Source:NDTV 

Mohenjo daro movie characters list

Mohenjo daro movie characters list with characterization

The most aAshutosh Gowarikar’s upcoming period drama Mohenjo daro is all set to hit the theaters next week. The film stars Hrithik Roshan and Pooja Hegde in the lead.
Below are the list of characters with posters:

Junu is a childhood friend of Chaani who keeps all her secrets in  Mohenjo Daro

Srujan is Sarman’s father. A just man, he is known to be the best Senate Chief in Mohenjo Daro

Lothar becomes the most important man for Sarman in his fight against the tyranny in Mohenjo Daro

Kulka is Maham’s personal servant, a handyman who is ready to do any kind of job for him In Mohenjo Daro

Ishme Dagan is a shrewd merchant from Sumer. Covertly, he smuggles copper weapons in Mohenjo Daro

Laashi is Maham’s wife. She is a woman with a golden heart and is fond of Chaani in Mohenjo Daro

Durjan is an indigo farmer. He is Sarman’s uncle and has brought him up with all the love and care in Mohenjo Daro

Jakhiro was a Senate member in Mohenjo Daro

Hojo is a childhood friend of Sarman. He has always been with him through thick and thin in Mohenjo Daro

Mohenjodaro is all set to release through out on 12th of August16