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Bollywood Film Reviews 2020 - ALL MOVIES/FILMS |
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Views: 26991
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Bollywood Film Reviews 2020 - ALL MOVIES/FILMS |
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Views: 26991
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Thread Tools | Rate Thread |
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#11
03-15-2020, 05:56 AM
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Shikara tells the story of the brutal ****ings, leading to the mass exodus of Kashmiri Pandits from the valley through the eyes of one couple, and how their love story survives insurmountable odds  Films on sensitive, real-life subjects are always tricky and trickier so when it comes to Bollywood, as our masses crave for entertainment (as a result of their already hard lives), regardless the grim reality of the subject. Very few films like Parzania, Maachis, Hey Ram, Manjhi — The Mountain Man, Black Friday, Talvar and Neerja have managed to toe this fine fine like. Now, you'd expect a filmmaker of Vidhu Vinod Chopra's caliber, who's delivered classics like Khamosh, Parinda, 1942: A Love Story and Mission Kashmir to be up to the task. Sadly, Shikara, his directorial comeback 13 years after Eklavya: The Royal Guard is marred by a lackluster script and unimaginative direction. Scroll below to read our full Shikara review: What's it about As evident from the trailer, Shikara tells the story of the brutal ****ings, leading to the mass exodus of Kashmiri Pandits from the valley — forcing many of them to live as refugees across other parts of their own country — through the eyes of one couple (Shiv Kumar and Shanti Dhar), and how their love story survives insurmountable odds 
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#12
03-15-2020, 05:57 AM
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Advait Thakur (Aditya Roy Kapur) and Sara (Disha Patani) meet and fall in love in Goa while running away from their routine lives. Pursuing whatever thrill and intoxicant they can lay their hands on, their lives seem perfect for the time being.  Nobody does revenge better than Bollywood — that's just a fact. From Madhumati and Sholay to Agneepath and Karz to Khoon Bhaari Maang and Karan Arjun to recent releases like Badlapur and Kaabil — Hindi cinema has a proud and rich tradition of riveting yarns of revenge across multiples genres, with diverse treatments. This time, Mohit Suri decides to dabble in the theme for a third time, and comes up with a tale even better than his earlier bloody efforts, worthy of a place among the best tales of vendetta produced in Hindi cinema. Malang movie brings back the Mohit Suri of Ek Villain, Aashiqui 2 and, especially, Kalyug, washing away all the recent disappointing memories of Hamari Adhuri Kahani and Half Girlfriend. Scroll below to read out full Malang movie review... What's it about Advait Thakur (Aditya Roy Kapur) and Sara (Disha Patani) meet and fall in love in Goa while running away from their routine lives. Pursuing whatever thrill and intoxicant they can lay their hands on, their lives seem perfect for the time being. However, just when a sudden turn of events forces them to take stock of life and get serious, they run afoul of a bunch of corrupt men in powerful positions, leading to bloody chain of events five years later.
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#13
03-15-2020, 05:58 AM
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Love Aaj Kal is very much like the first film, till it isn't, with Imtiaz Ali striving (and failing) to shake up his formula and take things in a different direction  The first Love Aaj Kal, which had released back in 2009, has by far been Director Imtiaz Ali's most mainstream venture, which automatically translated into it becoming his most commercially successful film at the box-office. Yup, you read that right — it's a myth that Jab We Met and Rockstar are Imtiaz's biggest hits, both of which actually achieved semi-hit status in the trade beside not being loved as much by the masses at large (though a section of the audience swears by them). To date, 2009's Love Aaj Kal remains the filmmaker's biggest success both at ticket windows and in general moviegoers' hearts. Post Rockstar, it's been a topsy-turvy journey for him with Highway and Tamasha gaining huge critical acclaim, but failing to click with viewers while Jab Harry Met Sejal was just a flat-out dud to the point that it gave Shah Rukh Khan his first and only disaster in his career. Sadly, Kartik Aaryan and Sara Ali Khan's Love Aaj Kal reboot isn't going to gain any favours for Imtiaz Ali either with critics or the audience. Scroll below to read my full Love Aaj Kal review... What's it about It's very much like the first film, with the plot following a non-linear trajectory between past and present, where the leading man plays a dual role (Raghu and Veer, played by Kartik) — his love story with a woman in the past, narrated by his future self (Rishi Kapoor swapped for Randeep Hooda) serving as a catalyst to impact the outcome of the present-day romance. Except for the leading lady, Zoe (Sara), listening to Raghu reminisce his saga of love, pretty much everything in this Love Aaj Kal remains the same, till it doesn't, with Imtiaz striving (and failing) to shake up his formula and take things in a different direction.
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#14
03-15-2020, 05:59 AM
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Bhoot Part One: The Haunted Ship stars Vicky Kaushal, Bhumi Pednekar and Ashutosh Rana in key roles. Here's how we found the film.  Bhoot Part One: The Haunted Ship is the first film from Dharma Productions in the horror genre. It stars Vicky Kaushal, Bhumi Pednekar and Ashutosh Rana in lead roles. The film is inspired by the mysterious appearance of the Sea-Bird ship on Mumbai's Juhu Beach. Here is our review of the film. What is it about? Vicky Kaushal plays the role of Prithvi, an honest ship surveyor whose life is scarred by a personal tragedy. He is depressive and living with guilt about the accident that took away his wife and child. Sea-Bird, a huge ship lands up in Juhu Beach. Prithvi enters inside and strange things start happening. They have a job of sending the ship back to sea but Prithvi has to unravel another mystery that explains the spooky incidents on the ship.
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#15
03-15-2020, 06:00 AM
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Though a spin-off of the 2017 hit film, Shubh Mangal Saavdhan, this quasi-sequel has no bearing to its predecessor, taking off in an entirely different direction, with Kartik (Ayushmann Khurrana) and Aman (Jitendra Kumar) playing gay lovers, who due to certain complications (not connected to their ***uality) arising in Delhi where they work decide to set off to Allahabad (the timeline is set before the city's name was changed to Prayagraj) for the time being, and attend the wedding of the latter's cousin sister  Several Hindi films have touched upon the subject of homo***uality in the past by taking a comical, and at times, borderline farcical look at the topic. Though not all have them been bad or insensitive (case in point being Abhishek Bachchan and John Abraham's Dostana, which was just a lighthearted funny take), and some have even deviated from humour to paint a stark portrait of the grim reality (case in point being Manoj Bajpayee's Aligarh). However, what none have done is tackle the subject head on within the hardcore commercial space, starring big, mainstream actors. Shubh Mangal Zyada Saavdhan attempts to change that, and through its heart is in the right place, unfortunately, this Ayushmann Khurrana starrer works only in parts. Scroll down to read my full Shubh Mangal Zyada Saavdhan review: What's it about Though a spin-off of the 2017 hit film, Shubh Mangal Saavdhan, this quasi-sequel has no bearing to its predecessor, taking off in an entirely different direction, with Kartik (Ayushmann Khurrana) and Aman (Jitendra Kumar) playing gay lovers, who — due to certain complications (not connected to their ***uality) arising in Delhi where they work — decide to set off to Allahabad (the timeline is set before the city's name was changed to Prayagraj) for the time being, and attend the wedding of the latter's cousin sister. It doesn't take long before Aman's father, Shankar Tripathi (Gajraj Rao), catches them cozying up to each other, which turns into a snowball effect, with Aman's entire family gradually learning of and trying to their best to separate the two. Related Stories
What's hot Shubh Mangal Zyada Saavdhan boasts a fine ensemble performance, with Ayushmann Khurrana once again in form, ably supported by Neena Gupta as Aman's mother, tron between her son's love and years of conditioning. The supporting players like Manurishi Chaddha and Maanvi Gagroo also get ample scope to shine, and use it to good effect. It's Gajraj Rao though who walks away with not only the meatiest role in the film (you could even say that he's the lead hero here), but also sinks his teeth deep enough into the part to walk away with another brilliant act in what is turning out to be a wonderful second coming for an extremely talented actor. The writing is good in places, with Hitesh Kewalya (who also doubles as the debut Director)'s script turning up certain gems of lines and scenes, highlighting the core issues, with a welcome light tone, about why our society at large is failing to wrap their heads around the normalcy of ***ual diversity. Chirantan Das's cinematography is sufficiently serviceable in capturing the mood of a small town while editor Ninad Khanolkar keeps things crisp at under two hours. The music, too, while nothing to write home about, doesn't distract you from the proceedings.
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