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Kareena Kapoor and Saif Ali Khan On the Sets of Agent Binod

Kareena Kapoor and Saif Ali Khan On the sets of Agent Binod

Kareena Kapoor and Saif Ali Khan on shooting spot

Kareena Kapoor and Saif Ali Khan On the sets

First poster of Golmaal 3

Knock Out Movie stills Staring Sanjay Dutt, Irrfan Khan, Kangana Ranaut, Gulshan Grover, Sushant Singh

sanjay dutt and Irrfan Khan lead the movie..

Kangana Ranaut Stills

Peepli [Live] : Movie Review by Taran Adarsh

When Aamir Khan produces a film, or is associated with any film in the capacity of an actor, be prepared for the unpredictable. Films like TAARE ZAMEEN PAR and 3 IDIOTS took pot shots at the education system in India and PEEPLI [LIVE], directed by Anusha Rizvi, is a tongue-in-cheek satire on the farmers' suicides and the role of vote-hungry politicians and the over-enthusiastic, TRP-seeking desperate electronic media jostling for eyeballs.

Come to think of it, the concept [farmers' suicides] would instinctively translate into a serious, thought-provoking film. But PEEPLI [LIVE] takes a grim and solemn issue, turns it into a satire, garnishes it with populist sentiment and makes a far greater impact than a mere documentary, had it tackled the burning issue. In fact, like all Aamir Khan films, PEEPLI [LIVE] marries realism with a winning box-office formula most brilliantly.

A sad fact of our society is that bad news attracts instant attention. In PEEPLI [LIVE], an impoverished man offers to commit suicide so that his family can benefit from a government grant - a dark subject matter which is dealt with in a delightfully humorous manner. In fact, it's a terrific satire about a troubled India, the shining India, the industrialised India that's rarely depicted on the Hindi screen.

PEEPLI [LIVE] focuses on the poorest of the poor in India and it not only highlights the plight of a farmer in a tiny corner of a giant country, but also throws light on the varied people who exploit the situation to their advantage, right from the politicians to the bureaucrats to the television reporters to the local people. In fact, PEEPLI [LIVE] makes a scathing attack on the functioning of media in India and how media persons, depicted as vultures, generally stoop to the lowest levels to increase the ratings of their television channel/show.

The best part is that at no point does the film gets preachy or starts offering solutions to the grave issue. It's a mere tool that the makers have used to discuss bureaucracy, the rural and urban divide and lack of concern of the administration.

Final word? This tragi-comedy, a brilliant satire, is not to be missed.

Natha [Omkar Das Manikpuri], a poor farmer from Peepli village in the heart of rural India, is about to lose his plot of land due to an unpaid government loan. A quick fix to the problem is the government's program that aids the families of indebted farmers who have committed suicide. As a means of survival, Natha chooses to die. His brother [Raghubur Yadav] is happy to push him towards this unique honour.

Local elections are around the corner and what might've been another unnoticed event turns into a cause célèbre, with everyone wanting a piece of the action. Political bigwigs, high-ranking bureaucrats, local henchmen and the ever-zealous media descend upon sleepy Peepli to stake their claim. Natha's mother [Farrukh Jaffer] screams at his wife [Shalini Vatsa], while his young son urges papa to go through with the suicide so he can use the money to become a policeman.

One TV journalist, in a desperate search for a new angle, tries to examine Natha's faeces to determine his emotional state. Nobody seems to care how Natha really feels.

PEEPLI [LIVE] tells the story of today: Rural society, the games politicians play, the bureaucracy and the manipulative electronic media. It's a well penned and well executed film that deals with a serious issue in a witty and entertaining manner. Although very real, it creates a world full of vivid characters and incidents and keeps the viewer engrossed throughout.

Salman Khan Dabangg Wallpapers Download

Aisha : Movie Review by Taran Adarsh

AISHA holds appeal for the youth mainly and there's a strong likelihood that this segment of movie-going audience will fall for its charms.

Recall the age-old adage: Marriages are made in heaven. Consummated on earth. But haven't we encountered lots of people in real life who try to set things up between friends/acquaintances? In fact, they take upon themselves to make matches and meddle in other people's affairs. That, in a nutshell, is the plotline of AISHA.

Let's get one thing straight. You are not exploring virgin territory with AISHA. 'Emma', the Jane Austen novel, has been adapted on film and television in the past. Although first published in 1815, almost 200 years ago, director Rajshree Ojha and writer Devika Bhagat transport the characters from this novel to present-day New Delhi. But the essence remains the same: A simple plot and an equally simplistic love story.

Unlike most love stories that we've witnessed on Hindi screen, there's no heavy-duty dramebaazi in AISHA, no major hurdles to cross, no parental opposition to encounter, no major conflicts to solve. The director and writer remain faithful to the novel, which prompts you to ponder, wish the relationships were so uncomplicated in today's times.

But there's a flipside as well. The film runs a little longer [although the running time is 2 hours] and gets painfully slow in some portions. Besides, AISHA lacks the depth of passion and that could be because the makers were trying to make something lighter and breezier. Sweeping the minor complaints aside, AISHA is watchable for two factors mainly: Neat performances, especially by Sonam Kapoor and Amit Trivedi's super musical score.

Final word? The romantic buried inside all of us may respond to AISHA well.

Aisha [Sonam Kapoor] is a girl with a simple diktat -- everyone's business is her business. Arjun [Abhay Deol] is a boy with even a simpler set of beliefs -- Aisha should mind her own business. Caught in the Delhi upper class world with its own set of social rules, Aisha navigates her world with a great sense of style and even greater optimism.

Caught in her web are her best friend Pinky [Ira Dubey], the small-town girl Shefali [Amrita Puri], the West Delhi boy Randhir [Cyrus Sahukar] and the hunk Dhruv [Arunoday Singh]. Aisha will make sure everyone dances to her tune. And all Arjun wants to do is disentangle that web and get Aisha out of an impending sticky mess.

Director Rajshree Ojha and writer Devika Bhagat introduce the principal characters at the very outset and within minutes, you know their traits as well. The entire first hour is filled with the assorted characters interacting with one another and technically speaking, there's hardly any movement in the story. In fact, the first hour is more of a collage of incidents and moments put together on a beautiful canvas.

But the wheels start moving towards the post-interval portions, when the lead characters [Abhay, Sonam] suffer from pangs of jealousy and the remaining characters find themselves at crossroads as far as relationships are concerned. From this point onwards, AISHA gets more and more engaging. Note the confrontation sequence between Sonam and Amrita, which leads to a bitter outburst by the latter. Note the sequence when Sonam professes love for Abhay at a marriage reception, only to realise later that she had walked into a wrong venue. Note the finale, which is very Mills & Boon type of culmination. Well penned and well executed sequences!

Director Rajshree Ojha has handled several moments well, but how one wishes she would've spruced up the proceedings by coming straight to the point, instead of depicting Abhay and Sonam in sulking moods in several sequences of the second hour. Also, from the writing point of view, Cyrus and Ira Dubey suddenly realise that they are made for each other. Why this sudden pyaar? Didn't they detest each other? Loving the same musician doesn't imply you are made for each other! There had to be a scene or two to indicate that they are drawn towards each other.

The production design [Shruti Gupte] is impressive. The film bears a striking look all through. The styling of all characters is up to the mark. The costume designers [Pernia Qureshi and Kunal Rawal] deserve full marks for choosing/making the trendy outfits. Diego Rodriguez's cinematography is appealing. Music composer Amit Trivedi is in form, displaying his versatility in various numbers such as 'Shaam', 'Suno Aisha' and 'Gal Mitthi Mitthi Bol'.

AISHA is sure to open eyes to the talent of its leading lady Sonam Kapoor, who gives face, form and expression to Aisha. She displays the essential characteristic of an actress who has the ability to shift quickly and effectively from one emotion to another. She can cry, look wistful and deliver a biting line with equal believability. Abhay Deol is a complete natural and the fact comes to the fore yet again as you watch AISHA. Although Sonam has an author-backed role, Abhay underplays his part well and registers a strong impact in several scenes.

We Are Family : Movie Review by Taran Adarsh

Friday, September 3, 2010 at 9:41 AM Posted by nrmodh

WE ARE FAMILY is a perfect family film with a good mix of emotions and humour. Plus, a brilliant climax, which will ensure that the film grows with a strong word of mouth. The last film which came close to being a family outing was PAA. Before that, the only quintessential family film was BAGHBAN. WE ARE FAMILY is the kind of film that should work instantly with ladies and when ladies watch such films, they bring their spouses and children along. Recommended!

Okay, WE ARE FAMILY is the official adaptation of Chris Columbus' STEPMOM [1998] and lots of us have already watched this Julia Roberts - Susan Sarandon starrer. Even otherwise, the story of a woman, diagnosed with a terminal illness, entrusting her kids to the 'other woman' before she does the final salute, gives the feeling of deja vu. But WE ARE FAMILY is not a tear-jerker. Sure, it has dollops of emotions, but also integrates the light moments wonderfully in those 12 reels.


In the good old days, in the 1960s and 1970s specifically, well-made family films struck an instant chord with viewers across the spectrum. But with the changing times, the quantum of well-made socials made a rapid decline. WE ARE FAMILY belongs to the Rajshri gharaana and tells the story of a family facing two life-changing developments: The woman of the house is diagnosed with a terminal illness and two, there's a stepmom on the scene. A difficult subject to handle, without doubt.

But debutant director Siddharth P. Malhotra surprises you constantly. Casting the best available talent for two pivotal parts and doing complete justice to their roles is tough. Very tough. But the ease with which he handles the tense moments between the women and also the emotional finale shows he has learnt his lessons well from his peers.

Final word? WE ARE FAMILY is for the family. It is well acted, deftly written, entertaining and broadly appealing drama. Watch it with someone you love!

Maya [Kajol] is the perfect mother. Her life revolves around her three children, Aleya [Aanchal Munjal], Ankush [Nominath Ginsberg] and Anjali [Diya Sonecha]. Despite being divorced from her husband Aman [Arjun Rampal], Maya has ensured that everything runs smoothly in her house, under her watch, and that they continue to remain a happy family unit.

When Aman introduces his girlfriend, Shreya [Kareena Kapoor], a career-oriented woman, the situation takes an unexpected turn. However, Maya is diagnosed with a terminal illness and circumstances bring the two women under the same roof. Can two mothers make a home?

With a plot like this, you expect WE ARE FAMILY to be an out-and-out serious outing. However, the film has its serious moments, but the director ensures that it doesn't come across as a gloomy and serious fare. In fact, the generous dose of light moments in the narrative keeps the drama fluid. There's an inherent sensitivity that the director brings in, which keeps you involved for most parts.

On the flip side, the film tends to stagnate in the middle of the second hour. One expects the story to move forward, but there's not much movement here [thankfully, the film picks up wonderfully towards the penultimate reels]. Also, the music by Shankar-Ehsaan-Loy is a complete letdown. You feel it all the more because Dharma is synonymous with excellent music. The only redeeming track in the enterprise is 'Let's Rock', which is high on energy. S-E-L need to reinvent themselves by experimenting a little more.

Director Siddharth P. Malhotra handles the dramatic portions best. The tense moments between Kajol and Kareena, the confrontation between the two and also the cold stares that they exchange time and again have been captured very well. The gradual transformation in Kajol's looks, from striking and energetic to pale and morose, is also well projected. The finale is the best part of the enterprise and can be best described in one word: Outstanding. However, like I pointed out earlier, the writing could've been tighter towards the second hour.

Mohanan's cinematography is eye-catching and the locales of Australia only enhance the look of the film. Niranjan Iyengar's dialogue are decent at places, but a few lines are amazingly real. The background score [Raju Singh] is first-rate.

WE ARE FAMILY gives the two popular actresses an opportunity to sink their teeth into strongly drawn, juicy, challenging and interesting female roles that move beyond the normal stereotypes. The scene stealer is, without doubt, Kajol. She expresses the gamut of emotions brilliantly and speaks a million words even when silent. This is yet another incredible performance from an actor par excellence. Kareena excels yet again and her sequences with the kids are a delight. In fact, casting Kareena as the stepmom is just right, since she's the only actor who can stand up to Kajol in high-voltage scenes and that's because Kareena is a powerful actor herself. Arjun continues to surprise. ROCK ON, HOUSE FULL, RAAJNEETI and now WE ARE FAMILY indicates the growth of this actor. He handles the emotional moments well too. The kids - all three of them - are superb. In fact, the casting of the kids [done by Shanoo Sharma] is an ace.

Crook Emraan Hashmi Photos, Pictures, Stills, Synopsis

Movie Name :Crook: It's Good To Be Bad

Release Date :8 October 2010

Producer :Mahesh Bhatt
Director :Mohit Suri
Cast :Emraan Hashmi, Neha Sharma
Music Director :Pritam Chakraborty

Synopsis :

Jai has a knack of getting into trouble. His Father was a gangster who wanted to reform. On assurance from his friend Inspector Joseph, Jai's father agreed to rat on his evil bosses. Inspector Joseph guaranteed him that he would find Jai's father and Jai a safe passage into the world of good once his bosses have been exposed.

But the unexpected happened. Jai witnessed the fatal double cross on his father, despite his confession, by a senior police officer. Joseph's valiant effort to save him went in vain. This traumatic incident left a lasting impression on Jai's mind that there was no point in being good and that 'It's Good to be Bad.'

Joseph adopted Jai out of guilt and tried to instill his Christian values of finding a God within but the memories from the past had already cast themselves deep in Jai's mind. Despite repeated attempts to reform him, Joseph failed to ignite the light of good within Jai's soul. And when matters went almost completely out of hand with Jai's checkered criminal life, Joseph arranged an alternate identity for him as Suraj Bhardwaj and sent him away to Australia – a land far away from his past.

Jai had promised Joseph in Australia he would stay clear of any trouble. It was a golden chance to feel the grass on the other side of the fence. Almost immediately after landing, Jai met Suhani, an Indian Australian with an unadulterated honest vision of 'one world'. Although she hailed from a conservative traditional Punjabi family that took pride in being Indian, Suhani secretly fostered a much liberal outlook towards life. Her elder brother Samarth was just the opposite. Samarth was convinced that Australians had a one-point agenda to bring Indians down.

Jai found his home with the bumbling punju boys GoldE and gang. They were happy go lucky 'sardar' boys who knew that the ticket to heaven was through attaining a permanent residency in Australia. GoldE almost echoed Joseph's voice when he warned Jai to stay out of trouble and concentrate on his work – he arranged for Jai to get a job as a taxi driver in Samarth's garage.

Suhani was intrigued by Jai's manner. He was flirting but with a flair. He was lying but in style and he was conniving but with a pure heart. She could spot in the first instant that she met Jai that beyond his prankster lying front, Jai had a deeper side to himself that he refused to acknowledge.

Jai knew that if he could make Suhani fall in love with him he could eventually attain permanent residency by marrying her but her brother was too much of an obstacle. So while Jai was busy scheming for Suhani's love he was also flirting with Nicole, the stripper from a nearby strip club. But his problems with Nicole were almost similar to Suhani's as Nicole's brother, Russel, was a rowdy skinhead from the block.

Trouble followed Jai where he tried to run away from it as he witnessed the cold-blooded racial assault on Samarth. Going to the police would mean an investigation on Jai's credentials and walking away would mean losing Suhani. Jai had fled from India to find a new hassle free life and now found himself in the heart of a racially disturbed city. Jai's plight grew as the racial attacks spread across the city. The only way to deal with the issue at hand was to take the bull by its horns. He found himself at a crossroad of good and bad. But ironically the line dividing good and bad was running straight through his heart. It was a time when Jai had to figure whether it's Good to be bad or it is Good to be Good.