Department, about a special task force of encounter specialists, begins with this adage: Power corrupts; absolute power corrupts absolutely. After that, Ram Gopal Varma retreads old ground: crooked cops, underworld dons, political leaders who function like underworld dons.
It's easy to understand why Karisma Kapoor chose Dangerous Ishhq as her comeback film after a hiatus of six years and two children. She's the hero. She sets the plot in motion. Anupama Chopra writes.
I wonder if the Indian film ritual of intermission also functions as a creative road-block. Because so many fine films derail exactly there; I call it the curse of the second half. Ishaqzaade is one of these. Anupama Chopra writes.
Jannat 2 begins with a bang. In the narrow gullies of Old Delhi (point to ponder: when did ‘Dilli’ become Bollywood’s main muse?), a man is holding a gun to the head of Sonu Dilli KKC, short for kutti kameeni cheez. Anupama Chopra writes.
Tezz is an unapologetic, unacknowledged copy of the 1975 Japanese film The Bullet Train. Director Priyadarshan and writer Robin Bhatt liberally lift the plot and entire sequences from the film.
Hate Story is being pitched as an erotic thriller but it's neither very thrilling nor particularly erotic. But it does work as unintentional comedy.
Vicky Donor is one of those rare Hindi films that work purely on the strength of writing and performances. There are no crutches here of stars, sets, styling or foreign locations. But director Shoojit Sircar and writer Juhi Chaturvedi create a heart-felt, keenly observed comic-drama. Sadly, Vicky Donor derails in the second half - the climax is flat-out foolish - but until then, it's great fun.
Years ago, Karan Johar had joked that the credits in his films could be somewhat altered - instead of saying 'A film by Karan Johar,' it could say 'The same film by Karan Johar.' I think this would work well for Sajid Khan. Anupama Chopra writes.
Blood Money, like a few other Vishesh films (the Mahesh and Mukesh Bhatt banner) before it, notably the match-fixing saga Jannat, is a morality tale about the dangers of conspicuous consumption. Anupama Chopra writes.
Chaurahen has good intentions but erratic execution and few insights. Director Rajshree Ojha has gathered some wonderful actors. But then, these actors are saddled with dialogue that strains to be poignant and piercingly deep, says Anupama Chopra.