A good movie with special effects,but we are missing melodious songs in this 3rd version of Krrish. Acting and direction are superb. Evil doesn't raise its ugly head anymore. It raises a finger. But then 'Good' flies too. In 'Superhero' form - Caped, masked, winged - with muscles of steel and hearts of gold. Our comic-book phirang fantasy boys have flown high as 'Supermen' in Hollywood epics for eons. In India, only one man with an audacious flight of imagination - Rakesh Roshan - has thrice-over, superbly crafted a fantastical world 'alien' to Bollywood, with our very own amazingly evocative superhero - Krrish (Hrithik).

Biopic of " Flying Sikh " Milkha Singh is a real example of the famous proverb "where there is a will there is a way". A must-watch movie specially for the youngsters to witness how "the charm of a glass of a milk" inspired a poor guy to run barefooted to represent India in Olympic. Keeping in mind the financial condition of an athelete in India, I think, his son Jeev Milkha Singh has opted for Golf.

There seems to be one small little snag however. The first half of the film is low on drama and proceeds as a touristy piece on Spain. You do get somewhat restless watching the three friends check in and out of hotels, rent cars, play juvenile pranks and indulge in traditional adventure sports like deep sea diving and sky diving. Of course, there is a lot of friendly bantering too between the friends, as Farhan Akhtar and Hrithik Roshan battle ghosts from the past. And yes, a dash of romance as Katrina sashays into their life as the free-spirited waif with a wild side to her winsome self.
It's the second half of the film which emerges as a scintillating insight into friendship, emotional growth and bonding. All the three protagonists use the trip to exorcise ghosts from the past and emerge as free, unburdened souls who are ready to face life with renewed vigour. And the bull run at the end of the film becomes a metaphor for the unburdening of repressed fears and unresolved conflicts. But the beauty of the film lies in the fact that it handles all this emotional funda in a poetic, lighthearted, breezy style which brings a smile to your face.
In terms of performances, it's hard to pinpoint your favourite since all three pitch in stellar acts. If Abhay is the anchor of the group, Farhan's funster role is full of beans and Hrithik's metamorphosis from uptight, money-minded stock broker to carefree vagabond is a class act. Katrina is her usual effervescent self while Kalki is cute, despite being heralded with a `chudail alert' (witch alert). Added embellishments are the pacy dialogues (Farhan Akhtar), the magnificent poetry (Javed Akhtar) and the rich cinematography (Carlos Catalan) which transforms Spain into vistas of colour.

English Vinglish wholly draws its USP from Sridevi's return 15 years after Judaai, the last role you would care to remember her for. Debutant writer-filmmaker Gauri Shinde's film is a bittersweet dollop, in itself a story that would have made for just another middle-of-the-road flick. If English Vinglish has become a talking point of sorts, it's because the film truly marks the rebirth of a star.
The script casts Sridevi as Shashi Godbole, middle-class Marathi homemaker. For a star whose career was over the years mostly defined by maxed-out glamour and not much else, that in itself is a departure. But then, Sridevi obviously needed to do something far removed from the glittering Hawa hawai image of yore.
She is fantastic in her newfound unassuming avatar, balancing the ordinary traits of Shashi with sparks of the zestful diva we have always known her as. Shashi is imagined as an unusual mix - traditional housewife quite conscious of the 'modern' world she can't match, and yet harbouring steely resolve within.
Her problem is she doesn't know English. In a world where that easily translates to being a loser, pronouncing jazz as jhaaj and thinking 'judgemental' refers to a judge gone mental aren't exactly things that win you friends. So, her executive hubby (Adil Hussain) feels she is just good enough to make laddoos at home and her daughter won't take her seriously. Shashi decides to join a spoken English class without telling anyone.
Much of the script is devoted to Shashi's mastering English even as she balances her chores. In the process, she will make a few self-discoveries too, to become a more confident person.
It is a simple story that banks wholly on one character. Sridevi revels once again in trademark screen presence. Her act would be the reason you'd pay to watch this film. Twice.
The film itself is not without its flaws, though. Shinde is impressive with the feel-good portions but she does go over the top with melodrama in a bid to give the film its emotional core.

Right from its long opening sequence where a gang relentlessly showers bullets and bombs at the haveli of their rival gang, with inhuman intentions to terminate everyone from woman, kids to elderly, Anurag Kashyup establishes the tone, temperament and texture of his gritty gang-war drama. In terms of its story, Gangs of Wasseypur seems like a basic revenge drama. But in terms of its screenplay, there is not a single scene in the film that might give you a been-there-seen-that feeling. It's avant-garde, offbeat and interesting narrative makes it an absolutely riveting experience.
Sardar Khan (Manoj Bajpayee) forms the core of the chronicle, whose only aim in life is to avenge the death of his father by the hands of the capitalist-turned-politician Ramadheer Singh (Tigmanshu Dhulia). The film unveils as his biographical account encapsulating his marriage to Rajini (Richa Chhada), second marriage to Durga (Reema Sen), his rivalry with Qureshi (Pankaj Tripathi) and his butcher tribe and the induction of his son (Nawazuddin Siddiqui) in the gang-war.
With a brief introduction to Wasseypur and its ancient inhabitants, the narrative swiftly establishes its premise, protagonists and their conflicts. The backdrop of coal-mafia gives the film an original and deep-rooted setting. Starting from the pre-independence era, the narrative gradually moves to recent times with vengeance being passed on to generations. Piyush Mishra's voiceover does the major elucidation on the evolution of eras, though at times it's so rushed that if you miss a moment, you could lose a subplot. But then the film has so much and more to say that it has to adapt to a blitzkrieg storytelling technique.
The writing by Syed Zeishan Quadri, Akhilesh Jaiswal, Sachin Ladia and Anurag Kashyap is expansive, elaborate, expressive and inventive. It explores diverse facets of Sardar Khan making his character and the narrative multidimensional. His revenge is brutal, his romance reeks of lust and he has an unapologetic approach towards both. Despite its grim theme, the film also has an inherent sense of humour that comes quite naturally to it from its series of events. The scene where Reema Sen is charmed by Manoj Bajpayee over her daily chores or the one where Nawazuddin goes on a formal date with Huma Qureshi are outrageously hilarious.
As the director, Anurag Kashyup has a distinct vision which augments the writing. The scenes are short in length, several in number and often a series of montages take the story forward. He never has to resort to extraneous elements like stylized entries, editing patterns or camera motions to add to the effect because the story has an intrinsic impact of its own. However that doesn't mean the film falls short of any technical finesse. There's unabashed blood, gore and abuse wherever the scene demands but none of it is forced for sensationalism. Also the film never ventures into the abstract zone that Kashyup's films are often attributed with. This one has mass-appeal without being a potboiler.

The film is amazing. That much you can see from the rating. The 'Queen' in the movie, the heroine looks anything but. She looks like your typical girl next door.
The story goes like this. Rani comes from Delhi's Rajouri Garden area. Her father's owns a sweet shop and quoting his friend in the movie, Rani 'bitiya' is pretty sweet. But in her own words, Rani's always been a good girl, listening to everyone but she's never been able to do anything for herself or etch a real place in the world for herself.
Rani falls in love with Rajesh. And he does everything within his power to show her he loves her too. Soon arrives the 'Rani weds Rajesh' moment. But Rajesh is now a U.K. return and that the reason behind his new-found 'modernity'. This is why he feels Rani's no long 'his type'. And he decided not to marry her right two days before the scheduled wedding. Understandably, Rani's crushed to bits. The tears soon dry, and morning comes. She opens the packed 'shaadhi' laddoos, and while eating them is when she decides that she'll continue her honeymoon trip to Paris and Amsterdam, even if it's just her alone.
Her concerned parents give her the go-ahead thinking this way she'll get to cope with, and nurse a broken heart. She reaches Paris, and after a bumpy ride, soon succumbs to the charm of the place and allows herself to laugh and smile. This is where she meets another Indian girl named Vijaylakshmi.
Read Gayatri Jayaraman's review here.
Vijaylakshmi works in a hotel to support her son she has outside of wedlock. Rani learns a lot from her, most importantly how to be happy. Rani then flies off to Amsterdam, and happens to come across Rajesh. Seeing her like this now, Rajesh soon regrets his decision of leaving her. He soon enters his 'Devdas' mode and sets out to win his 'Queen' back. But will Rani abruptly leave the new life she's discovered and go back to Rajouri with the man who stranded her two days before the wedding? The movie poses this question quite subtly.
Kangana has a done fabulous job playing Rani. She has let her fans and audience know that she means business and is here to be taken seriously. Her portrayal of a girl without makeup, and in Lajpat Nagar jeans - in which she feels comletely out of place the first time she wears them - is more a story of a girl coming of age. Before the movie's over, you realise you're in love with Rani. Rajkumar Rao has also done a great job, and so has Lisa.
One can see that director Vikas Bahl has left no scope for a scene to be made better. Each scene is already perfectly scripted and shot. Amit Triveid's music constantly reminds you of Dev. D's music.All in all, a brilliant package.
I highly recommend this movie. This film is the kind that'll work to make you a better human being, minus the lecture. Do watch!

Movie is good specially Paresh was just awesome...Akshay is great but this is not Akshay Kumar movie it belongs to Paresh...Subject is handled in a very simple way conveying a good message...first time Akshay moved from typical masala movie ( I'm a Big Akki fan ) but I loved this one for Paresh...Guys go for it you wont regret...if not for Akshay go for it as a great movie. I think they should considering sending this one to Oscar rather thn Barfi !!!!....Light hearted one liners in typical Akshay - Paresh style are really witty & funny...More thn wot I expected...Dont miss the Fun

Mild-mannered scientist Bruce Banner has been traveling the globe in search of the antidote that will allow him to break free from his primal alter ego, but both the warmongers who long to exploit him for their own gain and a horrific creature known as The Abomination are determined to stop him from achieving his noble goal in Transporter 2 director Louis Leterrier's take on the classic Marvel Comics superhero tale. For years, Bruce (Edward Norton) has been living in the shadows, pursued by the military and haunted by the rage within. But traveling the world in secrecy isn't easy, and as hard as he tries Bruce can't get Betty Ross (Liv Tyler) off his mind. The daughter of Bruce's nemesis Gen. Thaddeus "Thunderbolt" Ross (William Hurt), Betty represents everything that is beautiful in the world to a man who lives his life on the run. Eventually, Bruce returns to civilization and faces the wrath of The Abomination. While the Hulk may be a formidable force of nature, The Abomination is decidedly more powerful, and determined to destroy Bruce Banner. Created when KGB agent Emil Blonsky (Tim Roth) exposed himself to a higher dose of the same radiation that transformed Bruce into The Hulk, The Abomination is unable to change back into human form and holds Bruce accountable for his frightful condition. With time fast running out for both Bruce and The Hulk, New York City is about to become the ultimate urban battle zone as two of the most powerful creatures ever to walk the earth clash in a massive, no-holds-barred fight to the finish