Category - Bollywood

Action in Judwaa 2

Judwaa 2 has quite a few action sequences and the latest video gives a sneak peek into Raja’s cool, crazy and dangerous action stunts! From crazy hand to hand sequences, to crazy Bicycle stunts, to fighting on the top of the bus in London, the sizzling MMA sequences, all highlight the action in Judwaa 2. The film releases in theatres next weekend. Check out the making of the action in Judwaa:

Salman Khan wraps Abu Dhabi schedule of ‘Tiger Zinda Hai’

Bollywood superstar Salman Khan completed the final shooting scheduled of his next movie ‘Tiger Zinda Hai’. The actor was shooting for the film with the entire cast and crew, including his co-star Katrina Kaif in Abu Dhabi. Salman tweeted “Leaving Abu Dhabi after a great schedule of 50 days for ‘Tiger Zinda Hai’, had a wonderful time,”

Tumhari Sulu Teaser

The teaser of ‘Tumhari Sulu’ is out and it looks fun. Vidya Balan who plays the role of  ’Sulochana’ in the movie will be seen as a late night radio jockey. The teaser shows Vidya practising for her late night radio show but as she does so, the onlookers look shocked as she says the dialogue seductively.

AskIndicine: Live Again

Q. Can Akshay Kumar cross 300 crore if he gets a universal script like BB or PK on an Eid or Christmas weekend? A. We have already seen that a film released during IPL (April end) has crossed 500 crore in Hindi and a film that released during Eid has fallen short of even 150 crore. So it’s not just about the weekend, but the star cast, budget and more importantly the concept and treatment of the film (which has to be universal). Akshay formula of making low budget films, shooting them in quick time, without a popular female star.. is not going to generate enough excitement all over. Also, inspite of his big success in the last couple of years, his films haven’t really opened to a big response. Both ‘Jab Harry Met Sejal’ which had the worst campaign in recent times (nothing worked except one or two songs) and ‘Tubelight’ took significantly better opening. The case was the same with ‘Jolly LLB 2’, what with the trade expecting 15-20 crore opening, but the film falling well short of that. So unless the opening numbers of 20-25 crore come, those big grossers will be out of reach. A film can’t get from 12 cr on Day 1 to 250-300 lifetime. Q. Tiger Zinda Hai, Robot 2.0, Thugs of Hindostan, Srk dwarf….. which is the biggest and safest movie? A. The biggest among these in terms of budget is ‘Robot 2.0’. None are safe because the budgets are high and they need to be good films to work. The Dwarf film is the riskiest. Q. You said that Remo is not a good director but his movies like Faltu, both abcd were fairly entertaining and very popular among youth. And nowadays big directors are failing and average directors are punching above weight. So don’t u think u are underestimating Remo? A. We can only state our opinion here. ‘Faltu’ was a decent film, ABCD 1 and 2 can’t be called well-directed films, it worked because of dance and the second had a good star cast too. ‘A Flying Jatt’ was a terribly bad film. It’s not true that average directors are producing good films. The bigger directors have failed because of the type of films they have been choosing. We think Abbas-Mustan were better choices and we hope they do not compromise somewhere to get the film ready for Eid next year. Even though ‘Race’ is a big franchise and safer than the previous film that Remo and Salman were planning, it would still need to be a good film. Thrash will be rejected these days, a fairly entertaining film will survive. Q. Is the buzz of Judwaa 2 decreasing due to total copy of old film ? A. It’s the same old case of a good trailer being ruined by songs. The songs clearly haven’t worked the way they were expected to and a section of audience is disliking the songs. But we still think ‘Judwaa 2’ is too big a film to do anything less than 70-80 crore at the box office. It has a lot of holidays, so the film should be through in the first extended weekend itself – unless the opening is well below expectations. Q. Deepika is huge female superstar but her own movies not opened well at the box office so in terms of stardom is Varun bigger star than Deepika? A. Definitely bigger. Female stars in the industry, with all due respect to them, are not crowd pullers. Anushka is one of the top stars we have, but her film ‘Phillauri’ opened at 4 crore and even that was driven by Diljit Dosanj’s popularity in the north. Punjab was the biggest earner for the film, above Mumbai which was the biggest circuit. Even Delhi/UP was better than Mumbai. And all this was because of Diljit’s presence. We don’t mean to take any credit away from the actresses in the industry, they add tremendous value to the big films.. but crowd-pullers on their own is something they aren’t. Q. Can Tiger Zinda Hai be the highest grosser of all time? A. No point asking such questions, they cannot be answered. If it’s an extraordinary action film, it definitely has chances of beating Dangal. There is tremendous potential for the action genre in India. Q. Who was the superstar or came close to being a superstar? Anil Kapoor, Sunny Deol, Govinda, Sanjay Dutt? A. Sunny Deol, by some distance as compared to others. He was a major star, who, given the fact that he still looks good, had the potential to achieve a lot more Post-Gadar. Choice of films let him down and his films simply didn’t appeal to the newer multiplex generation. Q. Why is it that Anurag Kashyap is overly rated in media and Rohit Shetty undermined? I mean a lot of people love Rohit rather than Anurag but why is media so cruel? A. That’s the problem with the section of media and journalists who consider themselves to be a part of the elite group of intellectuals. There’s a big disconnect between them and those leading normal lives.  They think their intellect is far too superior to like films that Rohit Shetty makes, which the audience likes. But the thrash that Anurag Kashyap produces is called a masterpiece, which the audience doesn’t even relate to. The style of filmmaking has to be Indian. The audience that want to watch films that Anurag / Imtiaz etc make, can watch superior films from Hollywood and other international film industries. After all, a month long subscription of Netflix has far better rom-coms as compared to ‘Jab Harry Met Sejal’. The point of watching that film is Shah Rukh Khan and Anushka Sharma, but 99% of the audience do not like watching them in these romantic comedies with ‘world-appealing’ treatment. The industry in general needs to stop wasting money on filmmakers like Anurag, Vishal Bhardwaj etc.. the likes of Shoojit Sircar and Aanand L Rai are far better. Q. What is the current status of Baadshaho? Can it emerge a hit? What is your worst case scenario analysis on this? A. Baadshaho is below average / flop. Q. Ajay Devgn said he never had a low phase in his career. Your take? A. It’s true. For some actors, the success ratio makes no difference. One flop for Salman or Shah Rukh or Aamir is discussed and remembered for months, whereas actors like Ajay and Akshay move on very quickly from failures. It could be because of lower budgets, faster pace of working and signing new films. Shivaay and Baadshaho have failed, but Ajay now has a big film like Golmaal Again, which should work and all will be well again. If the next two after Golmaal don’t work, he has a Singham to bank on. Q. Indicine is 7 December 2018 is confirmed release date for Namaste Canada? A. Yes. Arjun Kapoor, Parineeti Chopra. Q. Firstly congratulations as you’re back to your awesome predictions getting on target. Your site is probably the most reliable and accurate site like a gold standard :) I would want to know your opinion on Raees collections. Yes it didn’t perform as well as the distributor price was high, but don’t you think getting 139 cr in the month of Jan without a festive release, with a clash against a big movie is a MASSIVE achievement and also became a Semi Hit. Also is Raees still the highest grosser of the year? Thanks and keep rocking! A. Raees is still the highest grosser of the year. It’s certainly a decent lifetime total, but for the kind of promos and pre-release hype, Raees had chances of crossing the 200 crore mark if it was a better film. It had the best promos in recent times and a terrific cast. The director was the problem. Q. Does Cricket Matches still affect films or is it just a myth now? A. Big matches do affect film business, especially key world cup matches featuring India. It depends on the match itself and how exciting the contest is.. when television ratings for the cricket matches are high, footfalls at theatres are lower. It’s more significant for bigger films, which have seen a drop when cricket matches take place. The negative impact of IPL has reduced. Q. With audience becoming extremely choosy, do you think it will help big films like TZH, Golmaal 4 get extra audience and earn much more than they would have in normal circumstances? A. The bigger films will definitely start getting higher share of revenue. It was the case before also, but now with the audience getting choosier, the better films will start earning more. If promos are as good or better than ‘Ek Tha Tiger’, it could get pretty crazy for ‘Tiger Zinda Hai’. The stills they have released are already looking brilliant, now they have to back it up with a big-impact trailer. Q. Hi guys! My first time asking a question. From Turkey! As an educated and business person I don’t understand how corporates and production houses in India can release some movies. I mean some of them are so bad that starting from scripting stage till acting and editing. Even music. I mean how do they approve the songs. Cant they say to music composers, no it is not good enough I want better… or do they think they are good. Some songs are sooo bad I cant see anybody paying and approving them… Or is it just easy to say than doing? I feel like most of the movies could have been done better with some well planned schedule and hard work! A. Most of these corporates do not understand the Indian audience. When a film like ‘Rangoon’ is paid the kind of money it got, it’s surprising. What was even more surprising was Sajid Nadiadwala producing that kind of movie. It’s difficult to understand why, but even banners like Yash Raj Films headed by a very like Aditya Chopra is losing what we call ‘knowing the pulse of the audience’. This is the same director who made films like DDLJ and Mohabbatein and Rab Ne Bana Di Jodi. It is the same banner that dominated the early 2000s with back-to-back hits. People would see YRF as the banner and go watch films. Now they are dependent on Salman and Aamir, who will obviously squeeze out the profits. None of their smaller films are working, in fact most are becoming major disasters. So when a banner like YRF is going wrong, it’s not even worth discussing the other corporate banners that are heading by professionals. About songs, not every song can be good, but we do not need so many songs in films and we do not need to show full 3 minute long song videos before release. But music rights is big money and companies like T-Series make money from the song promos. But when everyone sees their own benefit and plays safe, what is reducing is the value that a film ticket provides. All this results in reduced ticket sales. There is a year-on-year downfall in footfalls at theatres, 2017 is dismal without Bahubali 2. Q. It is a boring scenario. There is not much to talk about when there is no film recently released or will be releasing soon of any superstar. The fate of the other movies are almost sealed after the trailer is released. Most of the songs are remixed version of old songs, no chartbuster song in a good while. I do miss a good old romantic movies or a good action movie with a young hero. Someone with karisma. The heroes from young generation havent actually created the mass hysteria, and I think its too late for them.. I’ve loved indian movies, but now, I dont even bother to stream them for free. Not that I’ve lost interest, but there is nothing interesting to watch. Where do you see the industry in 10 years, if nothing changes? A. You summed it up actually, none of the upcoming films look interesting or exciting is the biggest problem. The 10 year outlook is pretty bleak as the industry hasn’t yet produced someone worthy enough to be called a superstar after Hrithik Roshan (year 2000) and the guys who are ruling are those who made their debut 25-27 years ago. So the biggest are actually the oldest. Just a look at Judwaa 2 promos makes everything clear. Watch the old promos, Salman was natural, charismatic and brilliant in the tapori character. Varun simply doesn’t match up, which wasn’t the case with his previous films but it could be because of the burden of expectations and obvious comparisons with Salman. The industry is still star-driven – the other smaller films that are called hits, aren’t watched by 99.9% of the population (i.e a film like Bareilly Ki Barfi was only watched by around 0.15% of the Indian population in theatres) – whereas a film like Bahubali 2 was watched by 9-10% of the population. That’s a massive difference between the biggest hit and the smaller hits.  So unless we produce big stars or massive films (which become very risky without bankable stars).. we aren’t quite sure how the industry will survive after Salman, Aamir, SRK, Akshay are done. They need to either retain their star power beyond the age of 60 or the industry needs to get its next sensation. Q. How much credit will be given to Akshay Kumar for the success and collections of Robot 2.0 in Hindi? He is the big face from North (presently the 3rd biggest crowdpuller), while some ppl claim it will be only Rajini film and not Akshay’s coz he is playing a villain. What do you say? A. It’s unfair to call him the 3rd biggest crowd puller, when SRK will easily better him on Day 1 and even weekend with mixed word-of-mouth film. He is certainly the 3rd biggest star when it comes to current standing in the industry. That aside, the credit for the Hindi collections of Robot 2.0 will go to Akshay. South (Andhra/Karnataka and lower) obviously, it’ll be Rajnikanth’s show. How big can Akshay make the film in the North, Central and East of India will be what we’d be looking at. Q. What are the box office prospects of Lucknow Central? How is the buzz and how much can it collect? A. Very poor, there’s no interest to watch the film. It’ll open slow, rest is content dependent. Q. I feel Akshay couldn’t attain those big numbers at b.o. due the quality which is compromised for the quantity of the film’s he does. If he reduce quantity and focus on more quality than now can he get big grossers . Your views please A. Not every actor is into the number game, certainly not Akshay. When everything is going right and he has cracked a strategy that has him doing low budget films that can be completed in quick time.. he has no reason to change it. Increase in the quantity is of huge importance to the industry, especially the trade, exhibitors. If they had to made a choice, they’d pick 6-8 Akshay films in 2 years over 1 big Aamir film during the same period. It’s a no-brainer. It’s between Salman and Akshay at the moment actually, even without Akshay performing at record-levels. If Salman can sustain his level and do two films every year, there’s nothing better than that. Q. Buzz for Simran? Has Kangana’s “promotions” worked? A. She has opted for quite possibly the most shameless form of film promotion in recent times. She has also used the media pretty well, but the audience is not dumb. They’ll come to theatres only if the film is worth a watch in theatres. However, if the film was good indeed good, Kangana probably would’ve have needed this sort of promotion. Q. Any confirmed news on KRRISH 4’s release date? And how big the ‘KRRISH’ brand is? Hrithik should do a commercial movie now and probably Krrish is the best choice. Your comment please. A. There’s nothing confirmed about Krrish 4, no release date yet. The brand is huge, especially at smaller centres. At major multiplexes and ‘class centres’ it’s probably weakened a little – if we compare Krrish 3 to the first two films in the series. With the right release date and budget, it would still be one of the biggest films of the year. Q. So now Indicine has started directly insulting directors and even the audience, giving them advice to watch “world cinema” at Netflix instead of Bollywood films. Who the hell are you to give advice to the audience who likes class cinema?? Btw, Directors like Rohit Shetty and Karan Johar can do shit without big stars in their movies. It’s always a big star who saves their ass. Anurag Kashyap movies dont ‘connect’ with the audience?? Yeah sure, and Rohit Shetty’s flying cars ‘connect’ very well I guess?? Do you even know what does it means by ‘connecting’ with the audience?? A. The ‘connect’ with the audience means, films that do well at the box office. If films are liked, it’ll reflect in the collections because people are paying to watch. Sure, a Rohit Shetty and Karan Johar might need stars, but directors like Anurag Kashyap and Vishal Bhardwaj can ruin the career of stars.. like we’ve seen with films like Bombay Velvet and even Jab Harry Met Sejal. As for ‘who the hell are we to give advice’ – we are not advising them, but stating our opinion on our website  to our readers. Q. How is “Secret Superstar” shaping up to be? What is the actual buzz so far & how appealing can it be? How will it affect Golmaal’s collection?? & lastly 2 films in 2 months for Ajay Devgan.. Will it affect Golmaal much as far as Ajay’s core fan base is concerned? A. The interest for the film is steady, not too high not too low. Perfect space for the film to take a decent opening on the strength of Aamir’s name and then take it from there. It’s a great release date for a film like Secret Superstar. It’s difficult to say if it’ll affect Golmaal collection. It shouldn’t, unless Secret Superstar is a masterpiece and Golmaal Again is trashy. It’s a similar scenario to Welcome and Taare Zameen Par. Q. Is Baadshaho is profitable to distributer? A. No. They’ll lose around 8 crore. Q. Ayushman khurana is a Fantastic actor but he cannot termed as a superstar.What types of movie he had to do to be a superstar. A. His films are limited to cities and are word-of-mouth dependent. The success of ‘Bareilly Ki Barfi’ and ‘Shubh Mangal Saavdhan’ will help him, but ‘superstar’ is something that even far biggest crowd-pullers like Ranbir and Varun haven’t attained. Q. I m not going to participate in further QnA session if I not got my answer this time is their any film targeting Xmas 2018 along with SRK if yes then which actor? A. How do we answer questions for which there are no answers? Right now no one has targeted. The release is too far away. For now it’s a solo release for Christmas. Q. INDICINE Plz reply! Who is most discussed actor in all Ask Indicine Sessions?? Plz answer otherwise it would be clear that you people r not replying to Pakistani Fans!! A. It’s usually SRK / Salman. But in the last few months, lot of questions related to Akshay. Q. Does Shahid Kapoor has any advantage over any new comer as in Does he need to invent his career same as a newcomer in industry or his past has any advantage that can take his quality or accepted content movie somewhere . I feel he should have been doing film’s like bareily ki barfi and shubh mangal savdhan . Your views please A. A lot has already been spoken about Shahid Kapoor in previous QnA’s. He’s always been promising talent, which explains why he continues to get films even though none of his films have even crossed the 70 crore mark. He’s struggling only because of his choice of films – which can make or break even a talented actor. Q. Why is it that good films like SMS and BKB struggle to collect big nos across India? Is it because Teir 2 and Tier 3 cities and villages prefer only to watch good films of BIG stars. Also these films have collected very well in Metros. Is it because Metro audiences are more willing to accept good content even with not so popular stars? Hence in totatility is it fair to conclude that if you want to have a big Pan india successful film STARS+CONTENT is mandatory and the presence of only 1 of the 2 will not ensure BIG success? A. It’s because of lack of face value. You ask anyone if he / she would want to watch a film and the first question would be.. who are the actors. If their names are not appealing enough or sometimes unheard of, then people won’t spend on movie tickets to watch the film. That’s what differentiates the big stars from the rest. Toilet:Ek Prem Katha doesn’t really have a ‘big film’ feel to it, but because it features someone like Akshay Kumar, a larger section of the audience feels it is worth spending on his films. The same film with Ayushman and business would be cut by 75%. Even at multiplexes, people are reluctant to spend on films with smaller stars, unless the film is very good and falls in the recommended / must watch category. Q. How is the buzz if the judwaa 2 right now and can it touch 20cr opening and above 60cr weekend? A. 20 looks difficult. With better songs and promos, it had a chance. Q. This is going to be a longish question, so bear with me. I’ve been a patron to this site and am deeply disappointed by some glaring inconsistency in your articles off late. Let me start – 1) Tubelight was sold at a price of Rs 135 crore. The recovery cost was estimated at around 250 cr. It bundled up under 115 cr, hence the distributor share was around 57 cr. One can clearly see the ginormous loss here. JHMS was sold at 70 cr. The recovery cost was estimated at around 150 cr. It wounded up under 60 cr hence the distributor share will be around 30 cr. The loss is definitely there but minimal as compared to Tubelight. Let me add, these are figures from trade websites only. Now in what universe is JHMS a disaster and Tubelight just a flop? You’ve yourself termed Tubelight a ‘colossal failure’ in one of your articles, is that an euphemism for flop or disaster? In fact sticking to the same topic till date you’ve not written an article on the verdict of Tubelight but had been ultra quick to describe the debacle of JHMS. Why? In terms of money lost Tubelight is probably a much bigger failure than JHMS, then why is the latter a disaster and former a flop? 2) I’ve often observed you quoting figures of SRK and Salman films with a slight change of texture in your voice. In articles, more than one, I’ve seen you saying “FAN collected 19.52 crore on a partial holiday of Ram Navami, real value of which comes out to be 15 cr”. Why’s there a need to calculate the “real value” of a movie, let alone a SRK one? If thats the way to go why have I never seen you quoting the “real value” of Tubelight on Eid, which was a full-fledged holiday, released on a good 1000 screens more than FAN and ended up collecting almost 50 lakhs lesser than the SRK-starrer? In fact you factored in the Pre-Eid dullness and said the opening day value of Tubelight is actually 24 cr, a good 3 cr higher than what it collected. Now these kind of articles throw me off-guard because then I start questioning myself whether I’m being a fed a neutral narrative here or not. Look, I’m a SRK fan but that doesn’t mean I’ve to hate and belittle any other actor. I’ve never done it and will never do so. I just don’t come from that school of thought. All I’m saying is that the above observations have baffled and saddened me in equal measure. I hope all my concerns will be addressed with the same semblance of rationalism and sensibility that I tried to exhibit. Thank you! A. We’d have to do an entire article for this, but we are going to keep it short. One, the economics of two films cannot be compared, more so when Salman covered a huge chunk of the losses and returned it back to the distributors. Jab Harry Met Sejal is a huge disaster every which way it’s looked at. The distributors lost huge money and purely from theatrical business point-of-view, a big star cast film, with the kind of money spent on producing it.. lifetime business of 60 crore is disastrous. Tubelight collected almost double of that. About your second point on ‘real value’, it’s a norm in the industry. A full holiday can give films as much as 35-50% advantage. Ramzan or Pre Diwali release affects film business too. There’s no hate for SRK or any other actor here. That’s the end of QnA for today. Thank you for joining us.

Daddy Critic Reviews

[mks_button size=”medium” title=”Average Rating of All ‘Daddy’ Review –  2.5 stars” style=”rounded” bg_color=”#1e73be” txt_color=”#FFFFFF” icon=”” icon_type=””] Daddy Review by Indicine Rating: Aseem Ahulwalia who created the indie film Miss Lovely makes his foray into commercial cinema with this film. He gets the technical aspects of the world he’s trying to portray perfectly but he misses the mark by a big distance when trying to showcase the emotional aspects of the lead character and his family members. The viewer is shown a glossed up version of the real events where the motivations of the gangster is justified through his poverty but maybe the makers should have embraced the full blown violence of the lead character without any apprehensions. It would have made for a much better and a more impactful film. Daddy doesn’t work on any level, unfortunately. Daddy Review by Bollywood Hungama Rating: DADDY begins on a shocking note and you expect the film to be a fast-paced, well-preserved gangster drama. The film however falls a bit immediately but still, the scenes of the ‘B.R.A. gang’ are engaging. But as the film progresses, it becomes too confusing and incoherent. Too many things are packed in the film’s 135 minutes run time. Also there are far too many characters. One fails to understand who exactly is the villain and if it’s the system that’s the villain, then it’s not established very well. It is mentioned that poverty drove Arun to crime but one never gets to see his family struggling due to poor economic conditions. Moreover, the film suffers from another strange problem – the background score and sound design at places is too loud because of which certain dialogues are inaudible. Daddy Review by Prasanna D Zore on Rediff Rating: Bollywood, no doubt, along with contemporary media played a pivotal role in glamourising the Mumbai underworld since 1985 with their larger-than-life characters, more Robin Hood-like than they actually were, but with Daddy, a biopic on Arun Gulab Gawli, a mill worker’s son who metamorphoses into a feared underworld don and runs his own corporate mafiosi, director Ashim Ahluwalia takes too many liberties with facts and litters the 135 minute saga with plot holes. Review by Shubhra Gupta on Indian Express Rating: It’s also the thickly-populated circuitous plot, which goes back and forth in time, which comes in the way of a solid crime thriller cum study of the making of a gangster. I ended up drinking in every single frame, and searching for a full film. Review by Meena Iyer on The Times Of India Rating: Since most of this is documented, the screenplay of this biopic offers no surprises. At times, it even feels like you’re being lead from one point to another, almost blindfolded. Ahluwalia deliberately adopts a flat narrative and takes the viewer through the dark, gritty world with minimum dramatization. As a result, there are fewer earpiercing emotional outbursts, but also fewer moments of dread. Once your eyes get adjusted to the drab chawls and dimly-lit gullies, where the gangs operate like ghosts, chased by just one greedy, over-ambitious cop, Vijaykar Nitin(Nishikant), you become complacent watching the crime patrol episode. The sepia-tone/minimum-colour frames stay muted and never leap at you. As a result, you don’t feel the tension, even when some brutal killings play out. However, it is infuriating that most of the actors mumble their dialogue and you have to strain hard to hear their intention. Review by Sweta Kaushal on Hindustan Times Rating: Ahluwalia romanticises his hero and then serves the usual formula gangster fare –an item number, several gun battles and close-ups of emotional moments. Where he fails, however, is keeping it all coherent. The storyline does not quite match up to the gritty, dark entertainer that Daddy aspires to be with its sepia-toned frames. The backstories of criminals often make for gripping films but Daddy fails there as well. With a sloppy storyline and over-dramatic dialogues, there is nothing fresh to watch in Daddy except for Arjun Rampal’s performance and the film’s surprise package – Farhan Akhtar as Gawli’s bête noire. Unfortunately, even they are not on top of their game. Review by Letty Marian Abraham on Mid-Day India Rating: It’s a risk to not follow Bollywood’s tried-and-tested formula. While it does win Rampal brownie points, this will not be enough to turn the film into a success at the box office. It can’t exactly be termed as Gawli’s biopic, because so much of his life is missing from the film. Nor can one say that it is entertaining as it offers nothing new. Watch it to see Rampal in one of his best performances till date, for a story without frills and only if you have a penchant for crime dramas. Review by Manisha Lakhe on Nowrunning Rating: The movie feels like they have crammed too many things into the movie, but you know that the filmmaker is being clever by not giving you time to think. There is action, action and more action, even though Gawli himself is laconic and deliberate. This film is different (and is not just the strange prosthetic nose which makes the gorgeous Arjun Rampal look scary) and you will enjoy the difference. Review by Rohit Bhatnagar on Deccan Chronicle Rating: If you like slow and dark crime dramas, then Daddy is certainly for you, but if you are seeking a pacy period thriller, then you will be highly disappointed. Daddy is nothing but one of the boring chapters of a history book. Review by Jaidev Hemmady on Movietalkies Rating: As for the film itself, it is quite technically sound right from the first frame itself. Be it costumes or locations or cinematography or the background score, Daddy is an absolute winner on all counts. What works against the film is Ashim’s trick of using various narrators to present Gawli’s story as it tends to make the plot lose its crispness and stretches it. Had the filmmaker stuck to a sole narrator or just let the plot unfold without the help of a narrator, the film may have moved at a desirable pace. Also, though Rampal had sworn that the film will not glorify Gawli, ‘Daddy’ does tend to be tilted in favour of the former don and presents him as a reluctant gangster rather than an active member of the Mumbai underworld. Also, the second half is somewhat stretched and could have done with some editing. Review by Kunal Guha on Mumbai Mirror Rating: If this was Arjun Rampal’s debut as an actor, he would go on to compete with the best in the years to come. Perennially criticised for his ability to convey a limited range of emotions, Rampal’s found his match — a character who reveals nothing from his demeanour. An opaque operator who lets the trigger do the talking and the knife do the stabbing. But even so, under layers of prosthetics, Rampal packs in a decidedly restrained performance and dare we say, a mature one too. If Nishikant Kamat gave up making films and took up acting fulltime, it would be a great career move. Playing a determined officer of the law, he slips into the character with inimitable passion and his physical transformation ensures you don’t even recognise him. Akhtar as the sitaphal cream-slurping bhai about town is appropriately mellow. In a decisive tone, when dialogues roll out of his mouth like a slow train chugging into a platform, one is assured that he means business. Review by Ritika Handoo on Zeenews Rating: Arun Gawli became ‘Daddy’ at a critical juncture in his life and how a local gangster from 70s and 80s was hailed as the Robinhood of Dagdi is what this film tells you. There are many facts presented in the way which will leave you thinking about the kind of nexus that exists between the police and the politicians or gangster for that matter, but answers we get not. We have been shown the personal life of ‘Daddy’ and how he tried a couple of times to lead a normal life sans guns, goons and bloodshed but could not. There are not many songs in this crime drama and thankfully so. Review by Tushar Joshi on DNA India Rating: Director Ashim Ahluwalia successfully recreates the 80s and 90s of Mumbai which helps the film look real. A lot of attention has been paid to make Daddy a technically sound movie. Dagdi Chawl which later turns into Gawli’s fortress has been beautifully captured by the camera. A performance heavy film, Daddy is a challenge that Arjun Rampal tackles with utmost ease. His scenes in the second half, where he plays the older Gawli, are remarkable. Also, he avoids falling into the trap of making his gangster a caricature. The supporting cast of Nishikant Kamat, Anand Ingale, and Rajesh Shringarpure are all apt in their roles. There is ample tension and thrill in the second half when the pace picks up to keep you engaged. Review by Ananya Bhattacharya on India Today Rating: The problem with making a film on the Mumbai underworld is the sheer number of films that have already been made on it (we have Haseena Parkar arriving in two weeks). True, no film till date has concentrated on Arun Gawli’s life, but it presents nothing extra or nothing more than we don’t already know. It tells you nothing about how this man swept off the elections or why he was so loved in Dagdi Chawl. The rivalries, the power struggle between Dawood and Gawli, everything has happened in the last few decades and there is a lot of material on it. Daddy says nothing that is not already there is public domain. For a subject like this, therefore, the real feat lied in how you told the story. Daddy, sadly, is gripping only in parts. Watch this gangster drama for Arjun Rampal’s heartfelt performance. He breathes as Arun Gawli in Daddy. But don’t go into the theatre expecting to learn anything eye-opening about the Mumbai underworld. You will come back disappointed. Review by Vishal Verma on Glamsham Rating: On technical grounds it’s a brilliantly crafted drama that posses an extra eye for details, Jackie Shroff’s vintage Red & White cigarette ad at the back of a salon, those colored telephones, the dark shanty allies of Mumbai slums, etc is pitch perfect. Supporting cast chips in with some valuable support. Aishwarya Rajesh as Asha Gawli is fine. Anand Ingale is fantastic, Rajesh Shringarpore is earnest. Cinematography by Jessica Lee Gagne and Pankaj Kumar is brilliant and the way the movie gets its sepia tone is outstanding. Parul Sondh’s production design and Prashant Singh’s casting deserves special mention. One more irony, DADDY’s rivals in the movie bring in some surprises, Farhan Akhtar as Gawli’s rival is menacing throughout with that glares visible in those fashionable goggles. Nishikant Kamat as the cop after Gawli for years is brilliant and of course Vijay (Purnanand Wandekar) is incredible in giving the film that single defining moment. Review by IANS on NDTVMovies Rating: Strain hard to listen. The sounds of death, violence, corruption and decay are omniscient in this saga of a man who would rather be a messiah. The problem here is there are so many characters colonizing Gawli’s perverse kingdom played by actors who don’t act, and the unsparing editing (Deepa Bhatia, Navnita Sen Dutta) that won’t let the audience breathe in the toxic fumes of fury for long. Consequently, many of the dark disturbing characters are lost to us. So here’s what we do: watch the film very, very closely. It is a difficult but finally hugely rewarding experience. The performances are so minutely non-bravura that the characters are so into their world of self-destruction that we are left looking in without ever being allowed to be part of the design of doom. Review by Meeta on Wogma Rating: There were other elements in the story that seemed more gratuitious than the need of the situation. These mostly related to the scenes with sexual intimacy. Given the context, none of them made them were a necessary part of the story. Fortunately, you have believable performances across the board. The action-heavy nature of the film doesn’t necessarily need a huge variety of emoting, but Arjun Rampal, Nishikant Kamat, Aishwarya Rajesh, Rajesh Shringarpore keep things real. Review by Rajeev Masand on News18 Rating: Ahluwalia stages some impressive scenes, particularly a visceral elevator shootout, and one in which a chillum is cleverly smuggled into Gawli’s jail cell. Rampal, who has produced the film and is credited as one if its writers, looks eerily like the man he plays, particularly in his later years, sporting his trademark Gandhian topi, gold watch, and white kurta pyjama. It’s a shrewd performance, relying almost entirely on body language over histrionics, and the actor doesn’t disappoint. Less effective is a surprise cameo in the role of Maqsood. It’s a case of bad casting; a weak performance reduces the part to caricature. Thankfully Ahluwalia assembles a fine ensemble to fill out supporting roles, and they add to the authentic texture of the film. Best Rated Films in 2017 Sachin A Billion Dreams – 3.7 stars Baahubali 2 – 3.5 stars Lipstick Under My Burkha – 3.5 stars Anaarkali of Aarah – 3.4 stars Trapped – 3.4 stars Shubh Mangal Saavdhan – 3.2 stars Mom – 3.2 stars Hindi Medium – 3.2 stars Jolly LLB 2 – 3.2 stars Poorna – 3.2 stars Kaabil – 3.2 stars Gurgaon – 3.2 stars Rangoon – 3.1 stars Badrinath Ki Dulhania – 3 stars Haraamkhor – 3 stars Bareilly Ki Barfi – 3 stars The Ghazi Attack – 2.9 stars Raees – 2.9 stars Mubarakan – 2.9 stars Toilet Ek Prem Katha – 2.8 stars Raag Desh – 2.8 stars Partition: 1947 – 2.7 stars Jagga Jasoos – 2.7 stars Dear Maya – 2.5 stars Meri Pyaari Bindu – 2.5 stars Noor – 2.5 stars Ok Jaanu – 2.5 stars Naam Shabana - 2.5 stars A Gentleman – 2.4 stars Phillauri – 2.4 stars Running Shaadi – 2.4 stars Daddy – 2.3 stars Indu Sarkar – 2.3 stars Tubelight – 2.3 stars Shab – 2.3 stars Mirror Game Ab Khel Shuru – 2.3 stars Maatr – 2.3 stars Behen Hogi Teri – 2.2 stars Dobaara See Your Evil – 2.1 stars Baadshaho – 2 stars Commando 2 – 2 stars Irada – 2 stars Raabta – 2 stars Half Girlfriend – 1.9 stars Sarkar 3 – 1.9 stars Mona Darling – 1.9 stars Kung-Fu Yoga – 1.9 stars Munna Michael – 1.8 stars Bank Chor – 1.7 stars Laali Ki Shaadi Mein Laddoo Deewana – 1.6 stars Coffee With D – 1.5 stars Guest In London – 1.4 stars Machine – 1 stars Aagaya Hero – 1 stars Ek Haseena Thi Ek Deewana Tha – 1 stars

Daddy Movie Review

Arjun Rampal has established himself as a respected actor of sorts and he also has a National Award to his name. But...

Poster Boys Reviews by Critics

[mks_button size=”medium” title=”Average Rating of All ‘Poster Boys’ Review –  2.6 stars” style=”rounded” bg_color=”#1e73be” txt_color=”#FFFFFF” icon=”” icon_type=””] Poster Boys Review by Bollywood Hungama Rating: POSTER BOYS doesn’t start on a great note. The beginning portions are stretched, with the family members and acquaintances ridiculing the trio but not telling them the reason for the same. Also the TV style flashback portions look poor. The film picks up when the trio meet each other at the bridge. From here, the film turns into a fairly entertaining ride right till the end with no dull moment anywhere. A Few scenes stand out like Jagaavar stopping Arjun and Vinay from fighting, the trio going to local health office, the interval point, Jagaavar getting a call from Riya (Tripti Dimri) at midnight, Jagaavar and Vinay fooling the doctor (Ashwini Kalsekar) etc. The climax is quite exciting and it’s praiseworthy how the makers have managed to seamlessly add a social message into the narrative. Poster Boys Review by Sukanya Verma on Rediff Rating: when debutant director Shreyas Talpade takes on a similar premise and stretches the skit into a 131-minutes long farce, the kind that resorts to comedic sound effects punctuating desi sitcoms and stand-up comics, the result is as memorable as a pair of orangutans gambolling to Sheila Ki Jawani in Yamla Pagla Deewana 2. Review by Rohit Bhatnagar on Deccan Chronicle Rating: Poster Boys is the fifth film of Sunny Deol and Bobby Deol together. Sunny is good enough to watch in his role. Shreyas is a comedy expert and does his role with conviction. The one who stands out is Bobby Deol. His transformation from a stylish gentleman in his previous flicks to a shy Hindi teacher with a moustache in this one is too good. His dialogues and punches in pure Hindi will make you laugh out loud. Sonali Kulkarni is average and has nothing much to do. Poster Boys can be watched to lighten your mood this weekend but be ready for a social awakening in the end. Review by Renuka Vyavahare on The Times Of India Rating: Credit also goes to the writers for localising the Hindi adaptation and comic punches well. But what pleasantly surprises you the most is the hilarious Deol brothers jugalbandi in a never-seen-before comic avatar. Shreyas extracts the best out of them and it is their comic timing and odd tributes to each other’s previous hit films that amuse you the most. Review by Rohit Vats on Hindustan Times Rating: It’s silly humour, but there’s no pretension. The two Deols and Talpade resort to crass comedy at times, but I am willing to give them this much leverage. I think Poster Boys can make you laugh with its stupid puns. Ah, the guilty pleasure of laughing on Sunny Deol’s pouty selfies! With 131-minute duration, Poster Boys shouldn’t be watched with a preoccupied mind. Review by Vishal Verma on Glamsham Rating: POSTER BOYS is a crazy, silly, screwball fun. If you have loved the no brainers of David Dhawan, Anees Bazmee and loved the Deols in YAMLA PAGLA DEEWANA, then this directorial debut by Shreyas Talpade will amuse you as well. Review by Manisha Lakhe on Nowrunning Rating: The funniest role goes to Ashwini Kalsekar who plays a gynaecologist. She has the most spontaneous funny parts in the film. The others have to bank on their previous films and clothes (you will want to dress your whole family in the cute cat nightwear the way Bobby Deol and his family wears!). Ashwini Kalsekar has the funniest bits of the film, beginning with ‘Where have I seen you?’ The story takes you giggling to its most weird end, but it would be a shame to explain the situational comedy of men who have low sugar being threatened to be buried in a sugarcane farm, crowds chanting, ‘let him go!’ and the man pleading, ‘No, please don’t let me go!’ Review by Kunal Guha on Mumbai Mirror Rating: Sameer Patil who wrote and directed Poshter Boyz, pens this adaptation and should be credited for managing to localise the story in a North Indian milieu. This didn’t warrant earth-shattering changes, given how universally judgemental and myopic we are, culturally and otherwise. Dialogue writer Paritosh Painter cashes in on the cast by building lines around them. For instance, there’s a character called Balwant who crosses Sunny Deol’s character and then someone addresses the former in a lung-belching tone as “Balwant Rai ke kutte”. Then, for obvious reasons, Bobby Deol’s character has set his ringtone as the title track of Soldier which was only slightly funny the first time and gets repetitive the next 25 times. Review by Shubhra Gupta on Indian Express Rating: To create comedy out of a supposed impairment of the male nether regions requires skills of a high degree, and the ability to bung in just the right degree of crassness and jokey-ness into the film: despite Sunny ‘paa ji’ daring to bare, hawwji, Poster Boys is a poster for a film which does nothing. ‘Na ji’. Review by Gaurang Chauhan on Bollywood Life Rating: Despite the loose ends in the script, it’s Shreyas Talpade the director along with the aura and charisma of Sunny Deol, a great performance by Bobby Deol that keep the film floating and entertains you throughout. The film doesn’t get preachy at all and yet delivers a message even if it’s half baked. Watch it for the funny jokes and the chemistry shared between Sunny Deol, Bobby Deol and Shreyas Talpade. You are in for a blast. Review by IANS on Sify Rating: The performances of the entire cast are loud and over the top. Sunny and Bobby Deol have a rustic charm and they sink their teeth into their characters with natural ease. Bobby Deol’s extra mile of histrionics to portray his quirky character seems a bit forced at times. Shreyas Talpade as the flamboyant Vinay Sharma seems more of a side-kick than a protagonist. He does stand-out more for his costume than his performance. The female leads; Sonali Kulkarni as Jagawaar’s wife Sunita, Samiksha Bhatnagar as Vinay’s wife Surajmukhi and Tripti Sharma as Arjun Singh’s love interest Riya match their male counterparts with equal gusto. Bharati Achrekar as the fiery blind “Amma” is wasted in a cameo. Technically, sound and made with moderate production values the film offers a convincing appeal. The background score by composer Amar Mohile and the songs choreographed by Ganesh Acharya add life to the jamboree. Poster Boys Review by Zeenews Rating: It is the second-half, ‘Poster Boys’ gains meaning. The quest of the trio becomes a mass moment as they step forward to challenge the system. I felt that this was the essence of the script and more emphasis must have been laid on the same. Never mind, last few scenes of the film give the audience a much-needed dose of excitement. In terms of cinematography and script, there is nothing spectacular and grand. What Sunny Deol does best, wasn’t apparently offered to him. You will get to see glimpses of his aggression but, sadly, that volcano never bursts. Review by Sonil Dedhia on Mid-Day India Rating: The script is judiciously packed with jokes that poke fun at serious issues. Some of them will inspire giggles, others might make you cringe. Sunny is loud, yet subdued, and stays true to his character. Brother Bobby earnestly earns him the most number of comedy scenes. Sameer Patil, writer and director of the original film, has kept the North Indian milieu in mind while adapting this remake. The problem, however, lies in the second half. The drama runs thin as the film starts to drag. Jokes become repetitive and silly, and the climax is poorly executed. The film makes its point in a manner that’s all too preachy. Best Rated Films in 2017 Sachin A Billion Dreams – 3.7 stars Baahubali 2 – 3.5 stars Lipstick Under My Burkha – 3.5 stars Anaarkali of Aarah – 3.4 stars Trapped – 3.4 stars Shubh Mangal Saavdhan – 3.2 stars Mom – 3.2 stars Hindi Medium – 3.2 stars Jolly LLB 2 – 3.2 stars Poorna – 3.2 stars Kaabil – 3.2 stars Gurgaon – 3.2 stars Rangoon – 3.1 stars Badrinath Ki Dulhania – 3 stars Haraamkhor – 3 stars Bareilly Ki Barfi – 3 stars The Ghazi Attack – 2.9 stars Raees – 2.9 stars Mubarakan – 2.9 stars Toilet Ek Prem Katha – 2.8 stars Raag Desh – 2.8 stars Partition: 1947 – 2.7 stars Jagga Jasoos – 2.7 stars Dear Maya – 2.5 stars Meri Pyaari Bindu – 2.5 stars Noor – 2.5 stars Ok Jaanu – 2.5 stars Naam Shabana - 2.5 stars A Gentleman – 2.4 stars Phillauri – 2.4 stars Running Shaadi – 2.4 stars Poster Boys – 2.3 stars Indu Sarkar – 2.3 stars Tubelight – 2.3 stars Shab – 2.3 stars Mirror Game Ab Khel Shuru – 2.3 stars Maatr – 2.3 stars Behen Hogi Teri – 2.2 stars Dobaara See Your Evil – 2.1 stars Baadshaho – 2 stars Commando 2 – 2 stars Irada – 2 stars Raabta – 2 stars Half Girlfriend – 1.9 stars Sarkar 3 – 1.9 stars Mona Darling – 1.9 stars Kung-Fu Yoga – 1.9 stars Munna Michael – 1.8 stars Bank Chor – 1.7 stars Laali Ki Shaadi Mein Laddoo Deewana – 1.6 stars Coffee With D – 1.5 stars Guest In London – 1.4 stars Machine – 1 stars Aagaya Hero – 1 stars Ek Haseena Thi Ek Deewana Tha – 1 stars