Qarib Qarib Single is as funny and adorable as any romantic comedy can get

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

Starring: Irrfan Khan, Parvathy, Brijendra Kala, Luke Kenny

Director: Tanuja Chandra

Romantic comedies have always been one of the genres I have enjoyed the most. So far this year, Bollywood has faired really well in the rom-com section. We had Bareilly ki Barfi, backed up by Shubh Mangal Savdhan and now Qarib Qarib SIngle is just what was needed. With the Irrfan-Parvathy combo at the helm of things, the film is done pretty well flavored with a comic screenplay and refreshing storyline.

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The journey from Mumbai to Rishikesh, then Delhi followed by Jaipur and finally reaching its climax in the beautiful valleys of Gangtok covers quite a bit of the country. With vivid locations keeping you intrigued at all times, the journey kicks off in Mumbai when two middle-aged single people come across through an online dating website. What follows is a series of insecurities and questions, which generally flow in the current online dating scenario. Talking more about our lead pair, on one hand, we have a poet cum flamboyant consultant, Irrfan Khan, who is spontaneous and relishes every moment of life while on the other is Parvathy; stylish, suave, but also insecure and withholding at the same time.

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As the journey progresses into the second gear, Irrfan, the poet reveals his romantic encounters in the past and the next thing we know, our lead pair are on a flight prepping for a series of encounters with Irrfan’s ex-girlfriends. Director, Taruna Chandra is back after a series of flip-flops and once again proves that she still has the Dil Toh Pagal Hai mettle in her. She takes time to build her characters up and the more we dig deeper into her film, she adds more essence and simplicity to her characters. For example, Irrfan being utterly careless at times and then being ignorant about it while Parvathy trying to imitate Irrfan’s Urdu words are some moments that help the film gel really well.

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Both the halves of the film are equally brilliant. Despite all the quality and character int he film the screenplay, at times, tends to spoil the party. Just like all the other en-route stations, the music is soothing, refreshing and limited which makes the journey even more enjoyable. Supporting actors play a limited role but the constant variety in faces with Neha Dhupia, Brijendra Kala, Isha Sharwani and Luke Kenny keep tinkling with the momentum of the film.

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With all its merits and some negligible flaws, Qarib Qarib Single made a huge impact on me. Taruna ends the film with Jaya settling all her insecurities of Vyogi and getting two completely opposite characters together, which should be enough for people doubting Bollywood’s ability with romantic comedies. To sum this journey up, Qarib Qarib Single is Qarib Qarib one of Bollywood’s finest films.

A dysfunctional family with overdone Marvel comedy and a lot of Avengers is Thor Ragnarok for me

The Cinema Station’s Rating: Third AC journey (2.5/5)

Starring: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Mark Ruffalo, Anthony Hopkins

Director: Taika Waititi

Dysfunctional families have been food for the celluloid over the years and will continue to do so, but, to be honest, I had never thought that the Marvel gods would also face similar family issues as did Ekta Kapoor a decade back. Ragnarok, the destined destruction of Asgard is what brings back Thor to his land and what unfolds in the next couple of hours did not seem that amazing to me.

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It all starts with a cocky Thor ripping apart the fire demon, Surfur and heading back to Asgard. It is here that he finds out that Loki has exonerated Odin and is now enjoying his days as the ruler of Asgard, disguised as Odin. Moving further, director, Taika Waititi focuses on the differences of the Asgard brothers and finely mixes comedy with emotion in the first few minutes. Soon after their reunion with Odin, Thor and Loki figure out two things; first, Odin does not have much time left, and second, they have an elder sister, Hela, the Goddess of Death, who was banished and kept away by Odin for rebelling against him. It hardly takes Hela time to resurface after the death of Odin and all hell breaks loose. The director takes a good chunk of time to hit the road and till he does, it all goes well. He introduces members of the Avengers followed by the Hulk to cause a bit of a chill, but it’s simply not enough to keep me occupied for over 2 hours.

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While Hela unleashes her wrath over Asgard, Thor has an amazing reunion with the Hulk who has been in his green monsterous avatar since Sokovia. It is not much time before Ragnarok hits both, Asgard and the film. As the siblings fulfill their ambitions and aspirations the film slowly moves out of the hands of the director and heads towards a cliched Marvel ending. The star cast is well done with each character doing their job perfectly. Hemsworth and Hiddleston as Thor and Loki have always been a charm and their evil sister, Hela (Cate Blanchett) does not fail to impress either.

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The action is well done and comedy is classy but it soon gets exaggerated giving an impression that the director does not have much to showcase in this marathon long film. With a pretty standard template of Marvel films, Thor: Ragnarok dwells only in its comedy, on-screen stardom and sensational graphics. Honestly, it gives off the feel of a film that was completely unnecessary as even the post-credit scenes are a letdown, giving no significant link to the future Avengers series.

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Despite all its glossy offerings, Thor’s 3rd version does not have much to impress or boast about. The first film brought out an evil younger brother, the second one a confused and delusional elder sibling, while the third, a demented and destructive sister. Thor: Ragnarok leaves me wondering about Odin’s upbringing and how did such confusing kids turn out to be Gods?

Shraddha Kapoor’s prosthetics and poker face are the only convincing thing in Haseena Parkar

The Cinema Station’s Rating: Sleeper Chaircar journey (1.5/5)

Starring: Shraddha Kapoor, Siddhanth Kapoor, Sunil Upadhyay, Ankur Bhatia

Director: Apoorva Lakhia

The gangster genre has been the in thing for quite some time with Bollywood. With Arun Gawli’s biopic, Daddy hitting theatres earlier this month, Bollywood’s underworld characters have been quite in the limelight. While Daddy was a one-man show driven by Arjun Rampal, Shraddha Kapoor’s Haseena Parkar, even fails to cash on its protagonist, leave alone the story and supporting cast.

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Being in the buzz for quite some time, there is no question regarding the expectations from the gangster biopic. Apoorva Lakhia, takes you through this journey in a flashback mode which continues in the backdrop of a raw, meatless and deprived of taste court case. The journey across the underworld of Mumbai begins with a subtle yet power packed entry of Shraddha as Haseena, but the courtroom dramatics take no time to shift focus to their abysmal arguments and saltless screenplay. Every scene seems meaninglessly added as continuous flashbacks marr the momentum of the film which was pretty much going nowhere.

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To add to the soaring displeasure, Haseena Parkar’s marriage and love life are also equally tasteless and added just for the sake of it. The first half of Haseena Parkar shuffles around its characters way too much and its quite evident that they are unable to cope with the pressure, hence bringing the film down to a terrible low at the halfway mark. I would take a moment to figure how does Apoorva Lakhia come down from Shootout at Lokhandwala to something like this.

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After a punishing first half and with quite a lot already going to dust with this journey, the film suddenly starts focusing on moments and events rather than its characters in the second half. I would not say that the shift guides the film to success but definitely helped me sit through the rest of the film. Lakhia, sheds light upon the killings of Sabbir Kaskar, the Pathan’s, Haseena’s husband, Babri Masjid demolition, Mumbai riots and 93 blasts that at least guide the film to a sensible end. The film does well in aligning the events that shaped Haseena and the Mumbai underworld but once again miserably falters in depicting them on the celluloid. There were scenes of the truce of the Kaskar brothers with the Pathan’s and the killing of Sabbir Kaskar that could have been done with much more style, intent and perfection.

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Music of the film is pretty much like the script and screenplay, a no-show; the film could have done without it. Acting skills are again a debatable state of affairs. Just like their characters, Shraddha and Siddhanth step up their level while playing the later days of their real-life characters, while their younger versions are naive and spineless. The courtroom drama lacks everything you need in one as even the momentary comedy seems apologetic.

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The journey finally ends with an impacting speech from Shraddha Kapoor but it comes after the battle is completely lost. Haseena Parkar is the perfect example of purposeless cinema that only aims at making the celluloid look glossy. To sum it up, apart from the prosthetics of the characters and the scene setting, Haseena Parkar has nothing much to offer to anyone.

Arjun Rampal’s persona as Arun Gawli is dazzling but unfortunately Daddy does not entirely cash in on it

The Cinema Station’s Rating: Third AC journey (2.75/5)

Starring: Arjun Rampal, Aishwarya Rajesh, Rajesh Shringarpure, Anand Ingale, Nishikant Kamat

Director: Ashim Ahluwalia

The Indian film industry, over the years, has continued to shed light upon some of the darkest, most notorious and petrifying characters of the Indian mafia. Whether it be the flamboyant and charismatic Sultan Mirza of Once Upon A Time in Mumbai, the many stylish and deadly faces of Dawood in films like D-Day or the cool, composite and stealthy Ramadhir Singh of Gangs of Wasseypur, Bollywood somehow manages to do justice to their characters that evolve out of the stories of real life gangsters. Ashim Ahluwalia’s portrait of Arun Gawli is dark and engrossing but suffers from some directorial and editing casualties in its 140-minute long run.

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What kicks off in the streets of Dagdi Chawl in 1976, soon begins to take shape around the evolution of the BRA gang and the metamorphosis of Arun Gawli, the protagonist, into a gangster from an average mill worker who loses his job. Just like every Bollywood-gangster film, Daddy also builds upon the hardships of Arun during his early days and how circumstances force him into partnering Babu Reshim and Rama Naik in their unscrupulous activities. Yes, it matches the tonality of others in the genre, but Daddy adds the unique touch to it. The time, locations, costumes and above all, the characters add a tangible and believable aura to the film. The first half gets almost all aspects of a Mumbai based gangster right; from the chawls and slum style life to the encounter with Dawood followed by shootouts and chase scenes, everything is done justice to.

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Daddy follows a pretty simplistic and already explored story line but with a sensational protagonist at the helm of things. Gawli’s character is completely nailed by Arjun Rampal. From the prosthetics to the accent and the makeup, Arjun Rampal is without a doubt the best thing Daddy has. Music of the 80’s and effecient supporting cast members play their part in the transformation of Arun to Daddy, but after a rather eventful first half things start to get a little dull and dark in the second part of the journey. With Gawli reaching his peak as the leader of the BRA gang, Ashim Ahluwalia’s film tends to solely rely on Rampal’s on-screen persona.

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Another feather in the cap for Daddy is that it keeps facts and figures in check. The film is well researched and ensures the chronology of events is not tampered with. As we near the end, the film successfully exits its temporary monotony as Arun Gawli enters into politics. From this juncture, the film sprints towards the end, giving a very high level view of Gawli’s career as a politician.

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It’s well finished by a bold and touting speech by Rampal as we see Gawli being sentenced for life. Despite some of its flaws, Daddy ended it up impressing me. It could be because it does not conveniently tamper with facts or even because of the relentless efforts put into making this film given the innumerable challenges faced by the production unit. Summing it up, I’d say Daddy is watchable if you enjoy dark and treacherous hindi cinema, Daddy fits your genre.

 

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.

 

Indu Sarkar is one of its kind and deserves to be watched despite its flaws

The Cinema Station’s Rating: Third AC Journey (3/5)

After being away from the theatres for almost 2 weeks I needed something strong to lure me back to my Mecca. First of all, kudos to the Supreme Court for getting a highly debated film like Indu Sarkar out in the open. The film marks the return of Madhur Bhandarkar back into mainstream cinema and despite the fact that he has been away for a long time, Indu Sarkar is a decent attempt to come back to the celluloid.

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Indu Sarkar is the story of Indu, our protagonist, whose character is shaped and set brilliantly in the starting minutes of the film. Indu is a shy, submissive, under confident and stammering orphan who has faced a rather demented childhood. Things start to get better for her after getting married to a government official Naveen Sarkar (Tota Roy Chowdhury), who works for the ruling Government. The thing with Indu Sarkar is that despite it zooms in on one of the most controversial times of Indian politics it does not reach up to its potential. Madhur Bhandarkar tries to weave back his magic but there are moments where the fault line is exposed with a heavily convoluted plot with excessive emotion, unwanted dilemmas and too many characters.

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What goes in the film’s favor is its coverage of the times of the 21 months long, Government imposed Emergency. The writers seem to get their facts right as we are exposed to the Turkman incident and scenes of people being forcibly sterilized. The 1970’s are brilliantly covered and I should give credit for that to Bhandarkar and his team.

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Characters are perfect; Indu and Naveen, as I discussed earlier are done really well. Supporting characters of Anupam Kher, Manav Vij, Sheeba Chaddha, Pravin Dabas, Zakir Hussain, Ankur Vikal and Rashmi Jha help the cause, but at one moment, they just start seeming surplus. If Kirti Kulhari nailed her role as the protagonist, Neil Nitin Mukesh, essaying Sanjay Gandhi took villainy to an all time high. Neil’s character is well portrayed and sets the tyrannical mood of the Government in those dark times.

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The journey could have been great, but its spiceless twists, running time and lack of a stable tone impact the over scoring merits of this intense political drama. Music does not do much in the film and that is another put-off. Indu Sarkar actually made me realize how important music is to our film industry.

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However, towards the end of my heavily emotional and powerful journey, Indu Sarkar and Madhur Bhandarkar do leave behind a lot of unsettled dust regarding the activities that took place during the Emergency. One could argue that the film is significantly flawed and lacks some basic attributes but in the end, it sticks to its purpose and that’s what impressed me.

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.

 

Jolly LLB 2 is a Hype in the Market as it falls below Jolly LLB standards

Starring: Akshay Kumar (Jagdishwar Mishra-Jolly), Huma Qureshi (Pushpa Pandey), Saurabh Shukla  (Justice Sunderlal Tripathi), Annu Kapoor (Pramod Mathur), Kumud Mishra (Suryaveer Singh), Sayani Gupta (Hina Siddiqui)

Director: Subhash Kapoor

In 2013, we saw a young and confused Jagdishwar Mishra (Jolly) shake the judiciary and bureaucracy with his punching arguments and hard hitting speeches. Director Subhah Kapoor’s prequel in 2013 was one of the better films of the year and boasted of some exquisite acting and writing. The much awaited sequel, starring Akshay Kumar and Annu Kapoor in the lead, hit theaters on 11th February 2017 with a string of cheers and applauds, but it lacks the quality of the previous film.

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Jolly’s train starts off in the city of Nawabs, Lucknow, as we also see scenes shot in Kashmir and other parts of Uttar Pradesh. The stations this train passes are entertaining at times but drain your stamina out as the journey spans for 140 minutes. Acting performances are spot on but you certainly miss the Boman-Arshad aura from the previous film. Not only the plot but the film also misses out on the adorable Arshad Warsi and Amrita Rao love story that made us love Jolly more in 2013 and 2017.

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Akshay Kumar and Annu Kapoor are spot on and put up some commendable scenes, but fail to keep you interested in the film. The story revolves around the case of a fake encounter and has pretty much been set up on the template of Jolly LLB which gives a stale taste to the entire dish. Huma Qureshi, Syanai Gupta and Kumud Mishra play their part but their impact is short lived as you see the burden of expectations transcend onto the lead characters.

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Subhash Kapoor’s direction is quite OK, as the film gets boring at times but does not fail to give you those drooling moments which you expect. Court room scenes are well directed as judge Saurabh Shukla steals the show with his authority and impulsive dialogues. Jolly LLB 2 gives out a lot of unwanted drama and twists in the plot which make the journey unnecessarily long and uninteresting. The film brilliantly captures the flavour of Lucknow and sends some catchy dialogues that are going to be loved by the Indian audiences.

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Int he end, Jagdishwar Mishra delivers a moving message that is very important to be heard by the judiciary of the country as the trio of Akshay Kuamr, Annu Kapoor and Saurabh Shukla strive their utmost to nail the icing on the cake., but fail to give off the captivating Jolly LLB feeling. Jolly LLB 2 may do great with the Box Office numbers but certainly is nothing near to my expectations from the film and it goes down in the books as a very ordinary film with a short lived spark.

The Cinema Station’s Rating: Not so Exciting 3rd AC journey

Doctor Strange: The marvel, Marvel Needed

Starring: Benedict Cumberbatch (Doctor Stephen Strange), Chiwetel Ejiofor (Karl Mordo), Rachel McAdams (Christine Palmer), Benedict Wong (Wong), Mads Mikkelsen (Kaecilius), Tilda Swinton (The Ancient One),

Director: Scott Derrickson

Cinematography: Ben Davies

The Marvel brand has always had the tendency to give a solid introduction to all their characters. Right from the Incredible Hulk to the Ant Man, Marvel has always given the best debut to their characters. Now, that is a different situation that Paul Rudd as the Ant Man was an engaging state of affairs, but his team up with the Avengers in the Civil War was a demise. Let’s hope that is not the case for Benedict Cumberbatch and his character of Doctor Strange.

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I had heard a lot about the Doctor and his powers and had high expectations from the makers after the catastrophe of the Civil War. To be frank, marvel did need a marvel. Going into the first 15 minutes things are quite well arranged and sequenced. The film starts with its projection of two different worlds, one of the mystique and the other of a doctor who is left paralyzed after an accident. Scott Derrickson is known to make the perfect money ball roller coasters and his experience is what helps Dr. Strange make a big entry in the Avengers family.

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As the journey progresses, Doctor Strange encashes on all the stations that fall your way in a cinematic journey. Starting with the story setup, Doctor Strange follows the very standard Marvel template of building a superhero, with the old, tried and tested story line. Cinematography and villains have been the selling point of most Marvel films and Doctor Strange maximizes on both fronts. The visual effects and the sparkling screens is what adds the tangiest flavour to the film. The film makers ensure the journey from the real world into the mystique starts with a bang to amaze you and for the next 120 minutes you can do nothing but thrill your imagination with the camera work of Ben Davies.

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The acting station is well lit up with interesting performances and a lot to roam around and explore. Benedict Cumberbatch , without a doubt casts a spell on all his fans and audiences. The move from detective to a mystical superhero has looked effortless for the actor. Doctor Strange keeps you entertained for most of the ride, either with his powers or his enhanced level of sarcastic comedy (typical benedict Cumberbatch ) . Tida Swinton, Benedict Wong and Chiwetel Ejiofor play the Pepper Pots, Falcon and Black Widow in Doctor Strange’s debut as they help him save the world; a routine for someone wanting a gateway into the Avengers team.

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Kaecilius and Doramamu, the negative characters help Doctor strange take over possibly the best of Marvel debuts. Mads Mikkelsen’s performance as Kaecilius goes down as a notable effort in making the film interesting and enjoyable.

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To sum up, Doctor Strange may be the Marvel stereotype but is definitely the best of the lot. It is the film Marvel needed after the Civil War. It’s a fairly decent watch for a rookie but a prerequisite to the Marvel people. Last of all, the end credits give a wooing moment for the Avenger fans but disappoint when it comes to the return of Doctor Strange.

My Rating: Second AC Journey (4.0/5)

Shivaay: Ajay Devgan’s Incarnation of Shiva is quite the Standard Diwali Film

Starring: Ajay Devgan (Shivaay), Sayesha Saigal (Anushka), Erika Kaar (Olga), Abigail Eames (Gaura), Vir Das, Saurabh Shukla

Director: Ajay Devgan

Music: Mithoon

Cinematography: Aseem Bajaj

Diwali is one of the biggest festivals in India, whether it be for the common man or for the Bollywood fraternity. Shivaay’s trailer hinted at chaos, action, brilliant music and a perfectly etched character of Shiva played by Ajay Devgan. A three hour long film with some stunning shots of the Himalyas followed by intense action and chase sequences combined with some laudable acting are the standout features of this film.

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The journey sets off in the Himalyas so our today’s analogy is going to be based on the Himalyan rail journeys in India. As the journey gathers momentum and we cross the stations in this route, the journey seems to get interesting and enjoyable . A local mountaineer and a Bulgarian girl fall for each other in the midst of the snow-capped mountains and their cute little love story is nurtured by some amazing music by Sunidhi Chauhan and Jasleen Royal.

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Ajay Devgan and his on screen daughter Abigail Eames are quite the father-daughter pair and make the frame even more adorable.

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As the story unfolds the film promises a lot more twists and turns just like the Himalyan routes, but it is not that great. Yes, Shivaay may give you the occasional chill and surprise but has a very simple and standard story. In the 3 hours the film runs, you will drool over Ajay Devgan’s actions sequences, Aseem Bajaj’s brilliant camera angles of the Himalayas, but, at moments will also curse the standard stereotype blunders Shivaay inherits from those customary Bollywood scripts.

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The members you come across in this rail ride put in their best to support the one man show of Ajay Devgan who is either bashing fifty goons in a public place or policemen in the police headquarters. The first timers Sayesha Saigal, Erika Kaar and Abigail Eames do their bit for the women in this film. Vir Das makes his appearance and does the job of a good snack in the journey by filling in for the much needed comedy which would have otherwise made Shivaay much more intense and heavy to digest.

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The story loopholes are not the only problem with Shivaay. The negative casting, which despite being a good suspense point, is poorly projected in the film. Ajay Devgan’s character as the Lord of Destruction seems very docile and gentle till the first half, but the second half shows us the  chaos, violence and “taandav” of Shiva .

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Despite the follies, Shivaay is quite the STANDARD Bollywood film as it cashes on all the regular Bollywood film qualities and promises the entertainment  to complement your crackers on the festival. It’s a good film with a lot of features to offer as it loads you with a bulk of emotions and is quite equivalent to one of the longer and meomrable 3rd AC journeys offered by the Indian railways.

My Rating: 3rd AC Journey(3.0/5)

 

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