(According to Ankit Singh Hawaizaada is a 4 star movie)

hawaizaada, the protagonist shivkar bapuji talpade (ayushmann khurrana) is bidding his sister-in-law farewell before he finally takes flight. “tum ja rahe ho (you’re leaving)?” the teary-eyed bhabhi asks him. he nods yes. “fir wapas nahi aaoge (you won’t come back)?” she persists. before talpade can respond, a chirpy female voice in the theatre erupts, “promise?!” everyone within hearing range bursts into peals of laughter -- the film has gone on three long hours in which very little of substance or consequence has happened. inspired from real life events of shivkar bapuji talpade, the first indian scientist credited to have constructed the first unmanned plane, has a historically significant event at its core. but thanks to the film’s half-baked treatment, it is reduced to appearing like a flight of fancy of an impulsive wastrel than an ambitious dream of a strong-willed genius. a young shivkar talpade (called shivi) is thrown out of the house by his zamindar father after he challenges his ideas and doesn’t live up to his expectations. he is taken in by scientist shastri (a glassy-eyed mithun chakraborty) on the condition that shivi help him in his secret project -- constructing a hawai jahaaz. shastri, who is widely known in the city (mumbai) as a mad scientist, lives up to his reputation more by way of his appearance -- dirty salt and pepper hair peering out of his round hat, haggard clothes, and a thick-rimmed pair of spectacles held together by a string near the bridge of his nose -- than by his temperament. pallavi sharda, as the dancer sitara devi (what an original name for a show girl in 19thcentury india!), serves mostly as a prop to anchor the totally irrelevant romantic subplot in the film. but that's not to say she cannot act. but, like her costar ayushmann, who shows flashes of sincerity with his performance, she is rendered inadequate because she’s given too little to work with. while the majority of the focus remains on this trio throughout the movie, naman jain, in the role of talpade’s nephew narayan, is an absolute show-stealer. to watch a kid of his age, deliver a performance with such rare flair, is an absolute delight. i would go so far as to say that he might just be the only redeeming factor of this tragically confused and haphazard film. the film’s plot meanders at a head-spinning rate and on more than one occasions, it strikes as too self-conscious. sitara devi turns up for her first date with talpade in a black gown while ayushmann is mostly dressed like a flamenco dancer early on in the film. while the story essentially is supposed to be steadfast in its devotion to the central theme – of a dream and the road to its fulfilment -- the plot sleepwalks into the romantic track more often than it should. talking about inconsistencies, hawaizaada’s sets are so far removed from its story. it takes a minute or two to adjust to each frame (there are gags in the film strongly reminiscent of barfi! and set designs that look straight out of sanjay leela bhansali’s saawariya). too much attention to detail has been paid, if there ever is such a thing, to everything but the script. the china used in the film is a little too ornate for its period, the mad scientist’s abode is so fantastical, it works as a piece of great magical realism but takes away a great deal of the story’s credibility. while the background score of the film is as uninspired as its screenplay, the many songs are generic at best. hawaizaada, in the end, is a flight of fancy that fails to take off.hawaizaada, the protagonist shivkar bapuji talpade (ayushmann khurrana) is bidding his sister-in-law farewell before he finally takes flight. “tum ja rahe ho (you’re leaving)?” the teary-eyed bhabhi asks him. he nods yes. “fir wapas nahi aaoge (you won’t come back)?” she persists. before talpade can respond, a chirpy female voice in the theatre erupts, “promise?!” everyone within hearing range bursts into peals of laughter -- the film has gone on three long hours in which very little of substance or consequence has happened. inspired from real life events of shivkar bapuji talpade, the first indian scientist credited to have constructed the first unmanned plane, has a historically significant event at its core. but thanks to the film’s half-baked treatment, it is reduced to appearing like a flight of fancy of an impulsive wastrel than an ambitious dream of a strong-willed genius. a young shivkar talpade (called shivi) is thrown out of the house by his zamindar father after he challenges his ideas and doesn’t live up to his expectations. he is taken in by scientist shastri (a glassy-eyed mithun chakraborty) on the condition that shivi help him in his secret project -- constructing a hawai jahaaz. shastri, who is widely known in the city (mumbai) as a mad scientist, lives up to his reputation more by way of his appearance -- dirty salt and pepper hair peering out of his round hat, haggard clothes, and a thick-rimmed pair of spectacles held together by a string near the bridge of his nose -- than by his temperament. pallavi sharda, as the dancer sitara devi (what an original name for a show girl in 19thcentury india!), serves mostly as a prop to anchor the totally irrelevant romantic subplot in the film. but that's not to say she cannot act. but, like her costar ayushmann, who shows flashes of sincerity with his performance, she is rendered inadequate because she’s given too little to work with. while the majority of the focus remains on this trio throughout the movie, naman jain, in the role of talpade’s nephew narayan, is an absolute show-stealer. to watch a kid of his age, deliver a performance with such rare flair, is an absolute delight. i would go so far as to say that he might just be the only redeeming factor of this tragically confused and haphazard film. the film’s plot meanders at a head-spinning rate and on more than one occasions, it strikes as too self-conscious. sitara devi turns up for her first date
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(According to Ankit Singh Dolly Ki Doli is a 4 star movie)

the last few releases have been low key affairs when we take a look at their overall box office collections. however this friday the audience is in for a treat with the release of the comedy film dolly ki doli. after her appearance in the fairy tale story khoobsurat, come this friday, sonam kapoor will be seen playing a runaway bride. while the story of dolly ki doli follows dolly (sonam kapoor), it begins with her fake brother, raju (mohammed zeeshan ayyub) identifying prospective grooms, who are eventually duped by dolly after she gets them to fall in love with her. once the prospective grooms are madly in love with dolly, she marries them; however on the night of the 'suhagraat', dolly offers them 'drugged' milk making them unconscious after which she along with her gang wipes the house clean of all the valuables. on the other side of the law is robin singh (pulkit samrat), a police inspector given the task of catching dolly. does robin manage to catch up with the runaway con-bride or does dolly find her true love and give up her life of crime...makes for the rest of the story. good writing and right casting can make a lot of difference. it is perfectly exemplified by abhishek dogra's fun film dolly ki doli that has one of the most perfect ensemble cast in the recent times. the running time of a mere 100 minutes is another highlight of this saucy entertainer. dolly is a compulsive bride-on-the-run aided by a motley group of crooks head-lighted by a grand mom who brings the house down especially in one scene in a police station. dolly, better known as 'looteri dulhan' cons many cash-heavy grooms and their families but her dalliance with sonu sehrawat (rajkummar rao) and manjot (varun sharma) is especially interesting. then there's the unrequited love with tough cop robin singh. also, there's a star cameo, which is royal, literally. the climax has a quirky surprise factor that goes nicely with the irreverent humour of the film. umashankar singh and abhishek dogra's writing is the big highlight of the film. even though the basic idea isn't extraordinary, the treatment of the screenplay keeps you interested. umashamkar's funny one liners dot the entire course of the film and keeps you entertained. casting director is the hero of dolly ki doli as rarely you find such a wonderful ensemble supporting cast and each one doing exceedingly well. brijendar kala, the giant of an actor, has some exceptionally crackling moments as inspector khan. his 'jigyasa' is hilarious. archana puran singh as the loud mouthed punjabi mom-in-law is a laugh riot. rajesh sharma makes you fall in love with him in each scene that he appears in. zeishan is a hugely talented actor and he impresses here as well. ishtiaq, the wonderful actor who played varun's salacious friend is a delight to watch. the growth displayed by sonam kapoor as an actor in dolly ki doli is excellent. she oozes varied shades of an indian woman and her stylist ensures that she gets to showcase this khoobsurat actress in a buffet of traditional finery and modern chutzpah. there's a steeliness in her performance that filters out in a subtle manner. even though she's enjoying the con act, there's an underlined air of enigmatic mystery which is engrossing. rajkummar rao is a mammoth actor who floors you completely with his flawless haryanvi jat act. rao makes you fall in love with him each time he bursts on the screen with his conned-tomfoolery. varun sharma is entertaining while pulkit samrat promises appeal. on the whole, dolly ki doli is a stress buster that will make you smile as you'll leave the theatre. debutante director abhishek dogra has competently extracted superb performances from the entire starcast. the unpredictable climax of the film works to the advantage too. but the four day weekend will help this dolly ensnare many patrons. the word of mouth will be the key in witnessing the growth. we say, it's a roller coaster entertainer. enjoy it with your families.the last few releases have been low key affairs when we take a look at their overall box office collections. however this friday the audience is in for a treat with the release of the comedy film dolly ki doli. after her appearance in the fairy tale story khoobsurat, come this friday, sonam kapoor will be seen playing a runaway bride. while the story of dolly ki doli follows dolly (sonam kapoor), it begins with her fake brother, raju (mohammed zeeshan ayyub) identifying prospective grooms, who are eventually duped by dolly after she gets them to fall in love with her. once the prospective grooms are madly in love with dolly, she marries them; however on the night of the 'suhagraat', dolly offers them 'drugged' milk making them unconscious after which she along with her gang wipes the house clean of all the valuables. on the other side of the law is robin singh (pulkit samrat), a police inspector given the task of catching dolly. does robin manage to catch up with the runaway con-bride or does dolly find her true love and give up her life of crime...makes for the rest of the story. good writing and right casting can make a lot of difference. it is perfectly exemplified by abhishek dogra's fun film dolly ki doli that has one of the most perfect ensemble cast in the recent times. the running time of a mere 100 minutes is another highlight of this saucy entertainer. dolly is a compulsive bride-on-the-run aided by a motley group of crooks head-lighted by a grand mom who brings the house down especially in one scene in a police station. dolly, better known as 'looteri dulhan' cons many cash-heavy grooms and their families but her dalliance with sonu sehrawat (rajkummar rao) and manjot (varun sharma) is especially interesting. then there's the unrequited love with tough cop robin singh. also, there's a star cameo, which is royal, literally. the
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(According to Ankit Singh Baby is a 5 star movie)

baby is bollywood's most grown-up action drama yet. its scale is lavish, zipping between india, nepal, turkey and the middle east, and its performances excellent. akshay kumar is terrific as ajay whose core of steel you can almost feel. akshay presents top-rung action - you practically hear opponents' bones breaking under his stabbing kicks. but you hear ajay's mind ticking too as he foils plots, plans hustles and thinks of excuses before his wife anjali (madhurima tuli). akshay is at his best, deadly serious in combat, wryly engaging with straight-faced humour, pleasantly asking a suspect, "kharonch kyun aayegi...?" before interrogation. other performances sustain baby - danny denzongpa is superb as feroz, unit chief whose love for nation and team often escape his quiet bureaucratic suits. tapsee pannu has a dazzling little role while rana daggubati provides muscle to the lean, mean team. anupam kher as sour-tongued strategist shuklaji delivers with tart aplomb while kay kay exudes menace through unnerving, unblinking eyes. you feel menace too when the magnificently acted maulana rahman (rasheed naz) makes devilish speeches, evoking terrorist hafiz saeed. baby features multiple vibrant roles, including hasan noman as a smooth investigator, murali sharma as a minister's pompous-ass pa and sushant singh who faces a "rod. aur gel." during an understandably quick interrogation. a top-secret counter-espionage team 'baby' is born after 26/11. its officers, led by ajay singh (akshay), have no official records or responsibilities - except to thwart terror attacks. if caught, the government maintains 'plausible deniability' about them. but meanwhile, the trial-basis unit battles threats from pakistan, within india and multiple global locations. can 'baby' bite the bad guys hard enough? baby is bollywood's most grown-up action drama yet. its scale is lavish, zipping between india, nepal, turkey and the middle east, and its performances excellent. akshay kumar is terrific as ajay whose core of steel you can almost feel. akshay presents top-rung action - you practically hear opponents' bones breaking under his stabbing kicks. but you hear ajay's mind ticking too as he foils plots, plans hustles and thinks of excuses before his wife anjali (madhurima tuli). akshay is at his best, deadly serious in combat, wryly engaging with straight-faced humour, pleasantly asking a suspect, "kharonch kyun aayegi...?" before interrogation. other performances sustain baby - danny denzongpa is superb as feroz, unit chief whose love for nation and team often escape his quiet bureaucratic suits. tapsee pannu has a dazzling little role while rana daggubati provides muscle to the lean, mean team. anupam kher as sour-tongued strategist shuklaji delivers with tart aplomb while kay kay exudes menace through unnerving, unblinking eyes. you feel menace too when the magnificently acted maulana rahman (rasheed naz) makes devilish speeches, evoking terrorist hafiz saeed. baby features multiple vibrant roles, including hasan noman as a smooth investigator, murali sharma as a minister's pompous-ass pa and sushant singh who faces a "rod. aur gel." during an understandably quick interrogation. a top-secret counter-espionage team 'baby' is born after 26/11. its officers, led by ajay singh (akshay), have no official records or responsibilities - except to thwart terror attacks. if caught, the government maintains 'plausible deniability' about them. but meanwhile, the trial-basis unit battles threats from pakistan, within india and multiple global locations. can 'baby' bite the bad guys hard enough? baby is bollywood's most grown-up action drama yet. its scale is lavish, zipping between india, nepal, turkey and the middle east, and its performances excellent. akshay kumar is terrific as ajay whose core of steel you can almost feel. akshay presents top-rung action - you practically hear opponents' bones breaking under his stabbing kicks. but you hear ajay's mind ticking too as he foils plots, plans hustles and thinks of excuses before his wife anjali (madhurima tuli). akshay is at his best, deadly serious in combat, wryly engaging with straight-faced humour, pleasantly asking a suspect, "kharonch kyun aayegi...?" before interrogation. other performances sustain baby - danny denzongpa is superb as feroz, unit chief whose love for nation and team often escape his quiet bureaucratic suits. tapsee pannu has a dazzling little role while rana daggubati provides muscle to the lean, mean team. anupam kher as sour-tongued strategist shuklaji delivers with tart aplomb while kay kay exudes menace through unnerving, unblinking eyes. you feel menace too when the magnificently acted maulana rahman (rasheed naz) makes devilish speeches, evoking terrorist hafiz saeed. baby features multiple vibrant roles, including hasan noman as a smooth investigator, murali sharma as a minister's pompous-ass pa and sushant singh who faces a "rod. aur gel." during an understandably quick interrogation. a top-secret counter-espionage team 'baby' is born after 26/11. its officers, led by ajay singh (akshay), have no official records or responsibilities - except to thwart terror attacks. if caught, the government maintains 'plausible deniability' about them. but meanwhile, the trial-basis unit battles threats from pakistan, within india and multiple global locations. can 'baby' bite the bad guys hard enough? baby is bollywood's most grown-up action drama yet. its scale is lavish, zipping between india, nepal, turkey and the middle east, and its performances excellent. akshay kumar is terrific as ajay whose core of steel you can almost feel. akshay presents top-rung action - you practically hear opponents' bones breaking under his stabbing kicks. but you hear ajay's mind ticking too as he foils plots, plans hustles and thinks of excuses before his wife anjali (madhurima tuli). akshay is at his best, deadly serious in combat, wryly engaging with straight-faced humour, pleasantly asking a suspect, "kharonch kyun aayegi...?" before interrogation. other performances sustain baby - danny denzongpa is superb as feroz, unit chief whose love for nation and team often escape his quiet bureaucratic suits. tapsee pannu has a dazzling little role while rana daggubati provides muscle to the lean, mean team. anupam kher as sour-tongued strategist shuklaji delivers with tart aplomb while kay kay exudes menace through unnerving, unblinking eyes. you feel menace too when the magnificently acted maulana rahman (rasheed naz) makes devilish speeches, evoking terrorist hafiz saeed. baby features multiple vibrant roles, including hasan noman as a smooth investigator,
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(According to Ankit Singh Khamoshiyan is a 5 star movie)

12:49 pm: #khamoshiyan tweet review in a while. #stay tuned. 12:55 pm: directed by #karandarra, the movie marks the debut of #gurmeetchoudhary and #sapnapabbi. #khamoshiyan 1:02 pm: #gurmeetchoudhary's wife #debinabanerjee plays a cameo role in #khamoshiyan. 1:08 pm: #alifazal goes to a haunted hotel and the receptionist says- khali kamrey ko bhar rahe hai, abhi itnaheen kafi hai. *facepalm. #khamoshiyan 1:08 pm: #sapnapabbi's hindi accent is terrible.#khamoshiyan 1:10 pm: mera sey mil kar yeh baat to samaj mein aa gayi ki jitna adhoora mein tha, utni heen adhori wo thi. stab me!!! #khamoshiyan 1:14 pm: since the movie is supposed to be an erotic thriller. the sex scenes are essential even if it is not required. #khamoshiyan.either we have become so gutsy that scary movies don't haunt us anymore, or bollywood moviemakers are not coming up with such creepy and eerie movies that can at least give us goosebumps. after watching 'khamoshiya' we seriously need to dwell on the fact that the storyline of all these scary movies have become so redundant that it is more of a deja vu everytime. vikram bhatt, the writer of 'khamoshiya' badly needs to think of an outrageous plot for his next, because his movies are no longer as scary as it used to be once. getting back to the movie, the plot is so unrealistic that one would stop believing even the situations which could be true. since, the makers call it an erotic thriller, therefore it is mandatory to have love making scenes for no reasons. at once you would be clueless seeing sapna pabbi stripping off and then ali fazal trying to make love to her in the very first meet. there are racier scenes on bigg boss episodes than here and the censor board calls it a-rated. what was so raunchy and erotic in the movie that it got an a certificate? keeping this debate aside, let's know about the storyline. kabir (ali fazal) is a writer whose first novel was a major flop. he flies down to kashmir in search of a new story. strangely, he decides to stay in a hotel that has no guests and the owner of the hotel also doesn't charge him anything. now the owner of the hotel- mira (sapna pabbi) has a secret and the writer wants to know it from her because apparently he falls in love with her because she seduced him by almost performing a stripping act in the first meet. not only is the story banal but also its sapna pabbi's acting that's even more cringeworthy than arjun rampal's expressions. since it's gurmeet choudhary's debut movie, the actor has done a decent job but saying that we would also like to tell you that he needs to brush up on his english accent. fukrey actor ali fazal too has played his part sincerely. he was given only two jobs in the movie- to fight with the ghost and indulge in fornication with his co-actor.
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