A Gentleman fails to build around an impressing plot and a flurry of shiny actors

The Cinema Station’s Rating: Sleeper class journey (2.0/5)

The only thing common between Go Goa Gone, 99, Shor In The City, Happy Ending and A Gentleman: Sundar, Susheel, Risky is their formidably talented directing team of Raj Nidimoru and Krishna D.K. Well, to be honest even I was not aware of the fact and after learning so I really started expecting wonders from a film that had glossy faces and meaningless action written all over its trailer. Our gentleman, Siddharth Malhotra, is all the 3; Sundar, Susheel and risky, but sadly his film is not.

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What kicks off with a weird car crash and a bunch of flashbacks with lots of characters does not take much time to get the action and bullets started. The film portrays two characters of Siddharth Malhotra, one sundar and susheel, while the other, yes you guessed it right. Risky ! The film takes a good deal of time to get us acquainted with its characters. What’s good about the characterization in the film is the impact the presence of so many stars on the screen creates, but what’s bad is that the film does not do much to make anything of it. On one hand, we have a charming protagonist playing 2 roles, Gaurav and Rishi (Siddharth Malhotra) supported a by a suave and impulsive Kavya (Jacqueline Fernandez) and on the other, we have a team of some badass negative characters, Yakub (Darshan Kumar) and Colonel (Suniel Shetty). The film, according to me, was supposed to sell on the buzz of its star cast and the return of Suniel Shetty, because the story line and script hardly have any meat to offer in a running time of 120 minutes.

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Music in the film is as unnecessary as an empty station. Despite a lot of drawbacks, the film actually builds its characters with a bit of finesse adding some efficient camera work to help things get a bit appealing. Another merit, which was almost a hooting moment for me was the one twist in the plot that makes me still believe in the writing abilities of Raj and D.K. As we progress into the second half things get a bit interesting as the momentary comedy helps you digest a tasteless meal. Hussain Dalal as Dikshit and Amit Mistry as an American based Gujarati don add a fun element to the script and manage a raw script score some laughs here and there.

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A Gentleman gets most of its cinematic attributes right but demeans its qualities with a botched up script and a dull story telling method that makes the film want to thrive on just 2 minutes of a ‘WOW’ moment with some goofy comedy and Siddharth-Jacqueline romance. Sadly, none of it adds, to sum up a meaningful script. Well, it may have its gloss right, but the route this gentleman follows is not pleasant enough and definitely not advised. Though, if you would want to make a choice between Babumoshai Bandookbaaz and A Gentleman, I would urge you to save money for either Baadshaao or Daddy.

It catches your attention for some time but elsewise Babumoshai Bandookbaaz is a misfired bullet

The Cinema Station’s Rating: Sleeper Class Journey (2.0/5)

Gangsters from the rural section of the country, political killings and dark characters are all tried and tested themes in Bollywood. Babumoshai Bandookbaaz experiments a genre that’s been Bollywood’s baby off late but despite a few interesting scenes and well-carved characters, the Nawzuddin starrer has very less to offer. Directed by Kushan Nandy the film revolves around the dark lives of hitmen hired for political killings in the rural parts of the country.

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The journey kicks off with bashing dialogues and loud gunfires that set the tone of the next 2 hours of this gangster drama. From the very beginning, the film establishes Nawazuddin as the sole care taker of the film, which gets more evident as we move ahead. With his sassy dialogues, cheesy flirting and badass attitude, the character of Nawazuddin looks to be well invested upon. Characters of Phulwa (Bidita Baig), Jiji (Divya Dutta) and Baake (Jatin Goswami) are provided an interesting background and list of sultry dialogues and acts that keep you glued to them during the first half. The scene settings and expositions are brilliant and well thought of. Locations and camera angles are beautifully done and add more intent to the film than the story line does. Vishal Mittal and his cinematography adds a lot of value to this otherwise confusing gunfight drama.

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The film offers a lot in almost every department in its first half and the second half begins with the same passion and charisma. Intense conversations, emotions and intriguing twists and turns to the story line start to take shape as the engine keeps roaring on its way to an expectedly thrilling end. It’s right after an intense chase scene of Nawazuddin and Jatin that I felt the film starts to lose its charm. The characters which were are heroes in the first half are reduced to mere dialogue delivering bodies as the responsibility of entertainment solely falls on the Babumoshai Bandookbaaz. Unwanted songs, surplus conversations and plot points marr this journey which could have been much more than what it is reduced to.

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After losing its course for a good 45 minutes, the film somehow manages to find its destination which is again, more of a crash landing than a systematic and aligning train halt. I just wish the makers would have given the same amount of thought to their story as they did to their characters. Finally, neither Babu nor his stylish and charismatic on-screen aura is able to save you from being doomed by a highly expected entertainer meeting a dreadful end.

 

Bareilly Ki Barfi is the perfect sweet to be tried this week

The Cinema Station’s Rating: First AC Journey (4/5)

The atmosphere of a small town, bold, mushy and bubbly characters, a delightful screenplay, well tied up plot points supported by meaningful subplots and a perfect music mix present a rather strong case in support of Bareilly Ki Barfi. Though another love story with a very ordinary chain of events, Bareilly Ki Barfi impressed me because it sticks to its kin, moves with a plan and does nearly nothing obtuse to overdo its entertainment factor.

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Set across the state of Uttar Pradesh, the film revolves between the towns of Bareilly and Lucknow, with the former occupying a larger chunk of the film. From purposeful camera angles to the introduction of its characters, the film manages to get everything spot-on throughout its running course of 120 minutes. The journey begins with the adorably funny and emotionally liberating relationship of the Mishra family. Ashwiny Iyer Tiwari, the director, takes her time to get you familiar with the Shastri family. The director spaces out the entry of her lead actors making sure she gets time to build bonds between her characters and develop captivating subplots that help this barfi get even tastier. Ashwini, whose last film, Nil Battey Sannata revolved around a mother-daughter relationship, gives us an engaging father-daughter bond shared between Bitti(Kriti Sanon) and her father Narottam Mishra(Pankaj Tripathi) with Bareilly Ki Barfi.

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Music falls in place laying equal emphasis on both moods, the desi hip-hop one and the slow romantic one. Moving the focus of our so-far-so-good journey towards the acting department, one really does not have anything to fuss about. Whether it be the leading trio of Rajkumar-Ayushman-Kriti or the supporting framework of Pankaj Tripathi and Seema Bhargava, the characters gel perfectly with each other adding richness to this Bareilly Ki Barfi. To support the laudable acting and the phenomenal storytelling skills of the director, the film has one of the finest screenplays I have seen this year in Bollywood. Nitesh Tiwari tries a different flavor after his obliviating success with last year’s Dangal, and presents a comical love triangle to keep up with his standards of entertainment.

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This journey hardly gives us anything to woo about, but even this lovable pulp of emotion and comedy suffers from a few unstimulating moments in its route. The tone tends to rattle you in few scenes as the film does quick shuffles between comedy and serious emotion to pull you down. Nevertheless, the supporting compartments of acting and brilliant writing and a splash of the occasional laugh helps you get past this short-lived lean patch. Summing up my experience, Bareilly Ki Barfi is perfectly rich, tender and tasty, exactly how I had expected it to be and would strongly urge not missing this entertainment riot.

Jagga Jasoos left me spellbound

The Cinema Station’s Rating:

A refreshing concept, art direction to its best, songs that are good and don’t feel unnecessary and a story that makes you feel for it are just some of the traits of this exemplary ride. I went in with high expectations, and not even for a moment did Anurag Basu or his team fail to impress me. Despite the high buzz around the texture of the film, Jagga Jasoos does really well in building up to the climax and finally making the smoothest landing possible.

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It begins on a musical note and takes some time to sink in. But, when it does Jagga Jassos keeps you gripped to the seat for its entire running length. The film was shot in patches across a span of almost 2 years across multiple locations in India and Africa, but, one does not feel the disconnect or gap even for a moment. Anurag Basu has done his homework properly as he takes to shed light upon the Naxal arms racquet in the North East in the most innocent picture possible. The journey unfolds with Katrina Kaif narrating the heroics of Jagga with later going into the backdrop of Jagga’s character. The protagonist played by Ranbir Kapoor has a well-done character sketch with the correct mix of emotion, skill and fear.

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In addition to the crazy cartoonish backdrop which Anurag Basu chooses to tell his story, the film follows a musical pattern with most of the dialogues and conversations in the couplets and short songs. Given, such challenges, the journey keeps you intrigued with its twists and turns and every station stop promises you some entertainment. For a moment, I thought that Basu picked up from where Barfi left by etching a verbally challenged Ranbir Kapoor and a goofed up Katrina Kaif. Katrina, who plays a journalist from Kolkata adds to the balance in the script but suffers from her common expressions problem. I could observe scenes where despite trying really hard she is unable to match the class and effort of Ranbir, which is one of the only thing wrong with this musical-adventure love story.

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Similar to his earlier films, Basu maintains sync with his style by forcing a well written and orchestrated supporting cast composed of Saurabh Shukla, Sayani Gupta,  Saswata Chatterjee (remember Bob Biswas, the killer, from Kahaani) and Denzil Smith. The ride which brings you an immense flavor of Bengal with Bengali accents, the Kolkata tram and Assamese folk dances depicts study and understanding of the culture in great detail. Another part that you will love about Jagga Jassos is that you never feel that the film has out of place songs. Keeping the musical genre in mind, the songs have been done really well and only help you fine tune and get more involved with Jagga’s adventures.

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Well, there is a lot to write and the level of impact the film has left on me I could go on and on. WIth Jagga Jasoos, Bollywood takes another step towards classy cinema as it ends up being a well-ventured experiment with fruitful takeaways. Summing up my experience, Jagga Jasoos is what you should surely watch because there are rare films that couple intent and emotion

It does not take much time to fall in love with this Sassy and Badass Bandookbaaz

We loved it in Gangs of Wasseypur, then again in Raman Raghav, and now, once again he dons the same impulsive and rash gangster avtaar in Babumoshai Bandookbaaz. It should not take much time to fall in love with the character of Nawazuddin who pretty much, runs the entire 3-minute trailer and owns his space as the protagonist. Shot in the rural lands of the country, Babumoshai Bandookbaaz, is the story of a gangster who does practically everything, from killing people to falling in love.

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  • The film gives a clear indication of it being a one man show. But, timely appearances of Divya Dutta, Murli Sharma and Shradha Das lighten up the screen and could possibly share the load. The 3-minute long trailer gives a glimpse of a captivating Divya Dutta cameo, but we shall have to wait and watch to see how the remaining cast plays along.

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  • Dialogues have been the soul of Nawazuddin Siddiqui’s powerful and engulfing performances and given the genre of the film, the screenplay has been wisely setup. Ranging from cheeky to bold, the dialogues explore almost every attribute that keeps the common man glued to the screen. The quality of direction looks profound as most scenes look well covered and complete. Whether it be the heated up intimate scenes or the ones where Nawazuddin just enjoys shooting people, the film is expected to be well put together.

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  • The story line of the film looks ordinary as the trailer hints at a discrete combination of power, romance and revenge. The makers keep in mind the ethnicity and background of the film which puts this gangster flick in the background of a rural India to add to the spontaneity and rudimentary attitude of the characters involved. The trailer promises no shortage of desi action and bloodshed as the film looks to dwell on the darker side of its characters.

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  •  The background score plays along with the action and romance as once again the rural background forces a contrasting soundtrack. On one hand, the opening scene tunes us to a Lata Mangeshkar classic the following scenes get a hold of the jazzy Bollywood tunes. On the whole, the music matches the tone of the film, making it almost impossible up to mess up.

Summing up my analysis, Babumoshai Banddokbaaz is definitely what people could prefer over the Siddhart-Jacqueline starrer, A Gentleman. The trailer raises hopes and I sincerely wish the film does not crash them.

Sunil Shetty’s comeback is my cheering point in A Gentleman’s trailer

Glossy stars, loud action, good to go comedy, a love story with an overdose of music and a few intimate scenes is turning to be the defining points of commercial cinema in Bollywood. With an impactful packed trailer releasing a few hours back, A Gentleman: Sundar Susheel Risky looks to be another dhoom dhadaam film in 2017.

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  • The trailer stars a lot of familiar faces (Rajit Kapoor, Supriya Pilgaonkar, Amit Mistry) with Siddharth Malhotra and Jacqueline Fernandez making the lead pair. The rumors of the film to be a sequel to Hrithik and Katrina’s 2014 commercial hit Bang Bang sends out a loud and clear message of what one can expect when we see it in theaters.

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  • The 3-minute trailer seems to get nothing right except for the intensifying action and looks quite incapable of building a meaningful 120-minute film out of this. Well, if they do, it will be a surprise and I would love it. The trailer also gives away the double role of Siddharth Malhotra which is another challenge for me, given the convincing powers as an actor he has exhibited in the past.

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  • The supporting cast looks formidable with Bollywood’s Anna (Sunil Shetty) making his comeback to mainstream cinema and I cannot wait to see the veteran outplay the kids of today. In addition to the supporting cast, the background music and the action look to be the only spices which could help enhance the taste of this otherwise bland looking dish.

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  • The makers, Raj & DK, who are known for their cult classic Go Goa Gone, take a step ahead into the action genre. Known for their light tone films, it might be interesting to see how do they shape up with the Bollywood masala action flavor. Its the quality of the films they have made that could help this gentleman be a promising and engulfing state of affairs.

Well, in the end, I do have expectations but not too high for A Gentleman. One can only have fingers crossed for this film to be Sundar, Susheel and Stylish.

Watch the trailer of A Gentleman – Sundar, Susheel, Stylish.

 

Sridevi’s grace magnifies the emotional dilemmas Mom presents

The Cinema Station’s Rating: Third AC Journey (3.5/5)

Well packed suspense, sincerely-etched characters and brilliantly presented emotional conflicts sum up Sridevi’s comeback film, Mom. One great thing about Mom is that it lives up to the hype created by its trailer. The film revolves around the crippled relationship of Sridevi and her stepdaughter Sajal Ali that develops in rather troubled times for their family.

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With one of the most common stories experimented in the industry, Ravi Udyawar’s directorial debut begins on a light and fun note and within no time takes a dark and. Despite the countless emotional flip-flops the film takes us it hardly allows you to shift your focus from the screen. The director makes sure to elaborate on the interfamily bonds and tensions from the very first scene making the exposition fall in place with the tone the film takes.

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What I believed to be something of an Indian version of Taken turns out to be a mother’s journey to punish the criminals that raped her daughter and reconnect with her stepdaughter by earning her faith and respect. A.R. Rahman’s music enhances the soul of the film as Sridevi needs no convincing playing a mother out for revenge. Nawazuddin’s cameo is subtle and a few glossy dialogues light up his involvement in the film. One cannot complain much about the acting performances as the supporting cast puts up a strong formation with Sridevi in the lead.

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Playing on emotions and the feelings of an 18-year-old who has survived a gang rape, Mom does a pretty decent job to entertain. Something that really needs to be applauded is Ravi udyawar’s skills as a director. From a potent screenplay to using the surrounding nature and objects to showcase the mood of the characters and the film, Ravi Udywar’s attention to detail is impressive given that he is a first timer.

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In the end, Mom does end on a good note as everything falls in place for Devaki (Sridevi) and Arya (Sajal Ali) and the mother-daughter bond is finally built. The film does have a twist in the tale but I feel that could have been better treated. On the whole, Mom left me a pleasant aftertaste as the film does not give you much to rue. It’s fine,articulate and can be watched.

 

Tubelight lacks the starter and certainly chokes

The Cinema Station’s Rating: Sleeper Class Journey(2/5)

When Kabir Khan said that Salman’s acting is a step ahead in Tubelight, I actually raised the bar and was certainly wrong to do that. In a film that unlike most others sticks to its theme and focusses on doing its job, Salman Khan looks to be the most out of sorts thing. Tubelight is a script that needed a much intense level of emotion that Salman miserably fails to pull off.

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The factors Tubelight plays on are an intense degree of emotion and cuteness, brilliant camera shots, some laudable music and an immature yet self-believing Salman who tries really hard to make this outing an enjoyable one. The film is set in the hills of Kumaon and parts of Ladakh oscillating in the catastrophic times of 1962 during the Indo-China war. As the rails roll, Kabir Khan sets the ball rolling and unlike Bajrangi puts before you a juicy and eventful first half. While Sohail is away on the war front Salman gets busy in a journey to capture his “yakeen” self-belief and confidence. It is here, where Kabir actually finds a desirable subplot to his mega starred Eid release.

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As things change from bad to worse on the war front, the makers hint at the incompetency and unawareness of the then Government that lead our soldiers into a valley of doom. With Sohail’s words echoing throughout the film, “Partner…kya tujhe yakeen hai?” and a slight push from a Sharukh cameo, Salman finds his belief by moving things around him, but it is not long before his acting skills start to pinch. As the journey gets intense and plays on a much higher level of sentiment, Salman Khan is trusted to carry the film all by himself, but the gamble does not pay off at all to leave behind an undesirable flavor.

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Music helps the cause but not to a great extent. As far as the supporting cast goes Om Puri and the new kid on the block, Matin Tangu deliver moving performances as there are points you start looking out for them to help you get through. Zeeshan Ayyub has proved himself as an accomplished supporting actor, but his role in Tubelight is simply unworthy of his talents. As the film boasts of some time casting woes, the lead lady Zhu Zhu does cast a pretty spell but her chemistry with Salman is tasteless and lacks intent.

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Despite a flurry of pitfalls Tubelight does justice to its theme and ends up showing what it wanted to and that is the only reason your heart can cheer for the film. Bundling you with emotions, calming you with its music, delivering on its agenda but punishing you with a glossy yet struggling cast, Tubelight falls into the below average category for me. You can watch it, but if you are not a Salman Khan fan, there are heavy chances of you not liking it.

 

Mubarakan looks to be the regular Bollywood humdrum

Our film industry never fails to give the regular comedy drama cocktail. To be honest, if you are the regular Bollywood buff, you might actually end up enjoying Mubarakan, but the film looks to be a collection of the most well-exploited Bollywood cliches.

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What looks to be an adaptation of Salman Khan’s Judwa, Mubarakan puts before you a star-studded cast. From a double role of Arjun Kapoor to the over energetic uncle, Anil, the film looks to go all guns blazing in the acting and comedy department. Catchy dialogues and pangs of emotion are what the Mubarakan brings to us. Like old times, director Anees Bazmee looks to play with his cherished tools of confusion, comedy, multiple actors and Anil Kapoor.

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Music is jazzy and glossy as Mika Singh takes charge but as the trailer comes to an end the film gives off the idea of another something like No Entry or Welcome in the offing. Despite the film looking to head down the common road most comedy genre Bollywood films do, Anil Kapoor is the heartthrob in this trailer and without a doubt, could end up being the soul of the film. Moreover, with the type of roles, Arjun Kapoor has picked up in his past few films, he could have a lot to add to the script.

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Moreover, with the type of roles, Arjun Kapoor has picked up in his past few films, he could have a lot to add to the script. before being any more judgy about this full of life, cliched trailer, I would love to see what Anees Bazmee has to offer to us with Mubarakan.

 

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