Saturday, July 30, 2005

Sarkar (2005)

The movie is as well made as any of the better Ram Gopal Verma movies. The man knows the language of Cinema well and his technique flows very smoothly, but what takes this movie upwards and above RGV's other movies are the stellar performances.

Sunday, May 8, 2005

Maqbool (2003)

Give Vishal Bharadwaj a solid pat on the back, and sit back waiting for his next movie. This man seethes brilliance in his film-making. His dialogues, his script, his music, and his direction - all are top-notch, and as I said, this movie proves that Makdi was no fluke.

Rog (2005)

Father-Daughter Bhatt have embarked on a mission to ensure Film-Noir is a set genre for Bollywood audience. Jism, Murder and a few other movies of theirs are adaptations of Hollywood movies from years ago. Rog is one of the better movies they have produced, and most of it's credit goes to a brilliant performance by Irfan Khan. I am not exaggerating when I say he is the worthy successor to Naseeruddin Shah in the ease with which he slips into any role he portrays.

Charas (2004)

In my review of Rog, I had mentioned that I have pledged myself to try and watch every movie Irfan Khan acts in. Charas falls within that line of study, and I am again kept far away from disappointment. 

Karam (2005)

Sanjay F Gupta graduates from a Music Video Director to Movie Director with this movie, and it shows. While watching the movie, you realize what the director intended to show, but could not put it up on the screen exactly as he visualized it. His movie works well in short-spans, and then mellows to mediocre fare, until it lifts again. And not very surprisingly, the best portions of the movie are the build up to the songs, which seamlessly blend into the movie's narrative.

Saturday, February 19, 2005

Eklavya (2005)

I am quite mixed in my reaction to this movie - mainly because of the baggage that the director's name carries when it comes up on screen before the feature starts. VVC is a name to look forward to if you follow Indian Cinema, whether as Producer or as Director - and especially as director. After all, this is the man who gave us Kareeb, and before that 1942: A Love Story, and before that Parinda, and before that Khamoshi! But if you notice the pattern, this man started on the highest note and has only declined. Although his latest is not his best, especially given to believe what he could have accomplished, it still rises over contemporary *Bollywood* cinema (I don't count Bharadwaj in that list and Santoshi is an exception).