(According to Shivraj Meena Judwaa 2 is a 4 star movie)

it is the best movie ever made in chelsea and the other day ever and i'm not going to be in the morning and i will not be a good day today and i don't know what you want to go to the united states in the world and i will not be able and the two the first time in my room and i have to do something about it all the time of the best thing ever invented a new one is going to be in my life is like a good night with my mom is a great day at school tomorrow and i don't know why i'm so happy to be a long way
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(According to Shivraj Meena Shamitabh is a 3 star movie)

shamitabh {aka} shamitab hindi movie review & rating: so guys as we all know that shamitabh featuring big b that is amitabh bachchan and dhanush (rajni’s son in law )is ready to bang the theatres on 6th february 2015. akshara hassna has made debut in the movie as a female lead actor.the film is directed by r. balki and produced by sunil lulla, balki, rakesh jhunjhunwala, r. k. damani, amitabh bachchan, abhishek bachchan,.the movie promos & poster are receiving good response which we can expect from the superstar amitabh bachchan film because his fans are eagerly waiting to watch their superstar in new look & can also get refreshed from their busy life so we expect that the movie could get a good response from the audience and the presence of dhanush will also grab the attention of audience and it will drag them to rush to nearest theatres to watch the movie. shamitabh is the second bollywood movie of dhanush after his famous ranjhna in which he was paired with sonam kapoor and played the role of a brahmin from varanasi who fell in love with a muslim girl and later sacrifice his life for his love .in movie shamitabh dhanush is paired up with akshara hassan who is making her debut in the bollywood through this movie .abhishek bachachan has done a cameo in the movie .it would be pleasant to watch the father and son chemestry in the same movie.
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(According to Shivraj Meena Jai Jawaan Jai Kisaan is a 4 star movie)

a movie on lal bahadur shastri could have not come at a better time. delhi elections with congress practically being annihilated, pakistan on a constant breach of cease-fire… and indians slowly forgetting the contribution of farmers to the economy in their rush to see india become a superpower. for the slow ones… shastri was one of the people who strengthened the congress party and ensured it got majority in the elections of 1945; he was the pm who signed the peace treaty with pakistan in tashkent in 1965 after india defeated them… and his remarkable idea – the slogan jai jawaan jai kisaan that inspired farmers to work harder and provide to what was over 70 percent of the entire indian economy! well, he was an inspiring person. and when you hear of a film being made on such a person you expect it to be mildly inspiring at least! alas! while the flaws could be discussed on various aspects, the more important discussion would probably be if this should be called a movie at all! the name may have been drawn from shastri’s slogan but the film’s script in no way derives from that. it rather punches in a whole lot of incidents that have no meaning in the larger context of the film. for example, it will remain a mystery why they needed an chandrasekhar azad and bhagat singh sub plot when it has no resonance in shastri’s journey. here’s a theory – jai jawaan jai kisaan is a crowd-funded project. unlike in other film, where contributors get producer credits, here they just got to act. there could have not been a proper reason for most actors to be in the film otherwise. on a more serious note, the screenplay is so disjointed that this film should have never been made. and the abysmal production values makes things only worse. they have got the entire setting wrong, which is of utmost importance in a period film. even some recent youtube videos have been shot better! the acting is as awful. prem chopra’s voice was clearly dubbed by someone else. om puri as rajendra prasad is the only person who actually puts in an effort. it is a pity that an ex prime minister of india is subjected to such a biopic. we should all collectively apologize to his family if that could makes things better. or maybe there would be one brave writer in bollywood who could take up the task of making a script that deserves the title jai jaawan jai kisaan. because this ‘film’ certainly does not deserve a ticket sold… leave alone being called a biopic on india’s second prime minister, and someone who had the heart to send his own kids on public transport while he was the country’s most important man!
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(According to Shivraj Meena Qissa is a 3 star movie)

qissa review: this irrfan khan-starrer is the story of a young girl who tried to be a good man by deepanjana pal feb 20, 2015 15:39 ist 6 3 0 aa most children play dress-up at some point. they pretend to be something they're not, delighting in the illusion that allows them to let mundane reality fade temporarily. sometimes, however, dress-up isn't quite so innocent. qissa: the tale of a lonely ghost is the story of how far-reaching the consequences can be of playacting. when we first meet umber singh (irrfan khan), he's fighting a losing battle. partition has forced upon him and his village terrible violence because this sikh village is in pakistan. the village is empty, but for corpses, bonfires and bloodied fighters like umber. hiding a distance away from the village are the women and children. here, in these terrible times, umber's wife mehar (tisca chopra) gives birth to a baby girl. there's no jubilation, not only because the villagers are about to become refugees in india but because umber was desperately hoping for a son. years later, when umber has established himself in the lumber business in the indian side of punjab, mehar becomes pregnant again. this time, umber is in the room with her as she delivers their child and he is triumphant. it's a boy, he says, overjoyed. mehar wants to look at the baby, but umber doesn't let her. rest, he tells her and a shadow of a terrible despair is cast upon mehar's face. don't do this, she begs umber but he doesn't listen. he's too busy celebrating his son's birth. the reason for mehar's dismay is explained years later when one night umber's son kanwar wakes umber up, points to the crotch of his pyjamas and says, "papa, khoon." ("papa, blood.") determined to not be outfoxed by biology, umber has raised his daughter as a son. as a child, kanwar is taught to bind his chest. he studies wrestling. as a young adolescent (played by tillotama shome), he starts driving a truck. practically speaking, kanwar is a son of the soil. except for the fact that he is, physically speaking, a girl. it's when neeli (rasika dugal), a gypsy girl, enters the story and umber decides to marry kanwar to her that things start getting seriously complicated and qissa loses its footing. until this point, qissa holds your attention with both its technical sophistication and its storytelling. the cinematography is gorgeous, the background score is rich and the acting is superb. all this remains largely constant for the duration of the film, but the story flounders and starts pushing the boundaries of credibility. abruptly, the film abandons the realism that had grounded it and turns into a surreal story that involves elements like a ghost and a seemingly lunatic woman roaming around burnt-down haveli. perhaps it's meant to be magic realism but the shift in tone is jarring and most importantly, it distracts us from kanwar's identity crisis and the relationship with neeli. also, even the realistic becomes improbable as the film builds up to a decidedly forced climax. some of qissa's most powerful moments are between shome and dugal. dugal sparkles as the feisty neeli who is confused between her fondness for kanwar and rage at being conned into marrying a woman. shome is credible but not entirely convincing as kanwar in his teenaged boy avatar. however, later in the film, when she plays a kanwar trying to figure out whether masculinity or femininity comes naturally to her, shome is superb. unfortunately for both these actors, the script seems unsure about their relationship. at one point, they giggle about having fallen in love with a woman. but the film seems to shy away from walking the boys don't cry path. a few scenes later, neeli says they are like sisters. kanwar can kill for neeli, but there doesn't seem to be any sexual attraction.
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(According to Shivraj Meena Dirty Politics is a 5 star movie)

music: khamosh shah lyrics: vijay maurya, swanand kirkire, azazul haque & khamosh shah music label: zee music expectations: there are none, really. music: there is a glut of so many new voices coming up of late that we wonder how to distinguish one from the other, as everyone's going the high-pitched ones and the ubiquitous vocal processing on machines does the rest - of the confusion, that is. khamosh shah, the composer of this album, who also writes some of the lyrics, sings the sober 'naina' (written by azazul haque), and this is a case in point. the fairly pleasant though complex composition with some melodiously arranged orchestration has the singer sounding like arijit singh, papon and others in different parts of the song. the lyrics (swanand kirkire) of 'bachpan' (amit trivedi) sound like the typical gulzar-ian brand of esoteric imagery. with an amit-like compositional structure and orchestral tenor, the song emerges as a hybrid number that makes too much of an (unsuccessful) effort to sound poignant. nakash 'saree ke fall sa' aziz treis his best in the fun track 'na heer na hoor' but the dull composition and trite words (azazul haque) allow nothing but a forgettable ditty. anand shinde and vaishali made sing the completely marathi 'ye na gade' (penned by vijay maurya). though we welcome another language as a change from the all-pervading and incomprehensible punjabi that we hear in every second film, we hope that the situation strongly justifies the use of a non-hindi song in a hindi movie. also, this is the only track in the film that is completely cacophonous, and khamosh must know the difference between a rousing song and a raucous one. khamosh, as a composer, also seems to be either strongly influenced by past successful names or has a way of paying tributes that goes more towards imitation. his 'dil lagaana' (for which he also pens lyrics) is exactly like the (inferior) songs altaf raja would sing and compose in the '90s after he became a rage - and altaf is singing here! similarly 'hunterr 303' is in the bappi lahiri canon, as bappi is singing it as well. the lyrics (vijay maurya) are trite and suggestive, and bappi is his usual self. that leaves us with the album's moderate saving grace. 'chori chori' (sung nicely by arijit singh with sona mohapatra), gentle and soothing, the song does not save the score, but becomes a passable oasis in this musical desert.
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(According to Shivraj Meena Roy is a 4 star movie)

starring: ranbir kapoor, jacqueline fernandez, arjun rampal, anupam kher, rajit kapoor, mandana karimi, kaizaad kotwal, asif basra, shernaz patel, barun chanda, cyrus broachasuspense-thrillers have always been one of the favourite genres of bollywood lovers. add to that some melodious music and you have a winner. this week's release roy starring arjun rampal, ranbir kapoor and jacqueline fernandez have promised the above elements. will roy make the cut and become a match winner for its makers and the b-o windows... let's analyse. the film starts off with an interview of the film maker kabir grewal (arjun rampal), the very man who, has to his credit, the successful film series 'guns' (which is based on a mysterious art thief roy (ranbir kapoor). the irony of kabir's life is that he is in the news for his short-lived flings than his hit movies... so much so that, even the media 'remembers' his flings by numbers and not names! roy is a smooth-operator thief who makes a living out of stealing arts (read 'priceless paintings'). and in one such heist, he lands up in malaysia, which also happens to be the domain of the wealthy tia (jacqueline). simultaneously, suffering from a 'writer's block', kabir too lands up in malaysia in order to shoot an incomplete screenplay of his third instalment of 'guns'. that's when he lands up meeting a london based filmmaker ayesha aamir (jacqueline fernandez, in a double role). ayesha, who is in malaysia to film her new documentary, also happens to check into the same hotel as kabir. in no time, she lands up becoming his 'girlfriend no.23', as the media reports. kabir, who is in search of inspiration for his film lands up falling head over heels in love with ayesha aamir, so much so that he becomes crestfallen when ayesha leaves him. at the same time, kabir's father cum confidante (anupam kher) also passes away, thus making kabir's life more miserable. on the other hand, roy, who realizes his love for tia, wants to leave the bad criminal life behind him and start fresh. will the 'self-confessed-thief' roy become successful in leaving his past behind and start a clean life with tia, will kabir manage to complete the third instalment of guns, and do roy and kabir get the respective love of their lives... is what forms the rest of the film. as far as the film is concerned, debutante vikramjit singh steps into bollywood with a film that is slow paced and long. his sense of storytelling needs to be more polished than this one. brownie points to singh for having captured the luscious beauty of malaysia in its raw essence. he should have made some attempts to differentiate between the two characters which jacqueline plays, as it might confuse the viewer between the two parallel stories. as far as the performances are concerned, as the name suggests, its ranbir kapoor who steals the thunder. in all fairness, he is indeed the draw of the film. he is adept and totally at ease when handling intense scenes. even though he lends a fair share of mystery to 'roy', he never allows himself to go off-guard. as far as arjun rampal is concerned, he delivers a very restrained and a very believable performance. at the same time, knowing his acting prowess, one also feels that, he definitely could have handled the film with furthermore intently than this one. even though jacqueline fernandez, who looks stunning in a couple of songs, is a 'newcomer' when it comes to double roles, she does manage to deliver a decent performance in both the roles. anupam kher excels in the role that seems to be tailor-made for him. while cyrus broacha and rajit kapoor are average, the eye-candy mandana karimi makes her presence felt in a short lived cameo. the film scores heavily on its music (amal mallik). the songs 'sooraj dooba hai', tu hai ke nahin', 'chittiyaan kalaiyaan' are already a rage everywhere and it stays with you for a long time even after the film is over. the film's background music (sanjay chaudhary) adds some mo
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(According to Shivraj Meena Badlapur is a 4 star movie)

directed by: sriram raghavanstarring: varun dhawan, huma qureshi, yaami gautam, nawazuddin siddiqui, vinay pathak, divya dutta, radhika apte, pratima kazmi, murli sharma, kumud mishradirector sriram raghavan strikes the hammer of genius with badlapur for he buys your eyes and makes you stay glued to the screen right till the end. the biggest highlight of the film is the incredible tussle between two powerful actors nawazuddin siddiqui and varun dhawan unexpectedly conjoined by the quirky screenplay-labyrinth. the makers have aptly labeled this film as a 'twisted entertainer'. yes, the film is dark, gory and violent, but, at the same time, it's also cerebrally stimulating and entertaining. the artistic values are top notch but it's meant for a select audience that patronizes sensible, sensitive, meaningful cinema. misha (yaami gautam) and her son robin are killed by a bank robber laik (nawazuddin siddiqui). misha's cheerful husband raghu (varun dhawan) is devastated and shattered. he tries every possible means to get even with laik, including forced sex with laik's prostitute girlfriend jhimli (huma qureshi) to humiliate him. laik is sentenced to twenty years prison term where he makes several unsuccessful jail-break-attempts. fifteen years later, raghu 'facilitates' laik's premature exit from the jail. the twists-in-the-plot continues, ensuring a roller coaster thrilling ride. badlapur, which is reportedly based on a true story, sees sriram raghavan and arijit biswas write a wonderful screenplay. sriram raghavan navigates the film in a non linear format, thus, keeping you guessing at many a juncture. the viewer is foxed when the narrative floats between raghu's 'lunch' with harman (vinay pathak), koko (radhika apte) and shobha (divya dutta). nawazuddin siddiqui is indeed god's gift to cinema. you hate him as if he's a stench and then he changes colours and floors you with another peculiar shade. his character laik is an extremely deceptive character with a distinct body language that makes him look weak, even though he is as wily as a fox. he becomes a different person when he's interacting with raghu, jhimli, policemen and his old mother. some of his interactions with fellow jail inmate murli sharma are hilarious. he will also turn your eyes moist. varun dhawan is a very ambitious actor and his manic energy does full justice to this ambition in badlapur. his transformation from an impressionable teenager and a caring husband to an eerily quiet middle aged lonely-disgruntled-man is simply legendary, to say the least. he gives you an ample display of class as an actor. the fidgety memories, ready-to-roll-tears gradually becoming a parched tsunami of desolateness, the friendship with relentless rage and effortlessly getting infested by cold bloodedness. with this film, varun emerges as one of the finest actors that we have today, across all age groups. yaami gautam and huma qureshi have small roles, which they portray competently. radhika apte and vinay pathak impress in their cameos. the scene where varun asks radhika to lose her inhibitions is devoid of undue salaciousness and that's laudatory on the part of the director. pratima kazmi as nawaz's mother is very good. anil mehta's cinematography is brilliant. mostly, the film has been shot in dark or indoors, but there's always the right amount of lighting to give it the realistic tinge. the only problem is that while the film grips the viewers in the solid first half, it gets loosened up in the stretched second half. pooja ladha surti's editing is good but had the film been crisper in the second half, it definitely would have propelled up the film's fast-paced-thriller format. music and background score by sachin-jigar provides solid scaffolding. 'jee karda', 'jeena' and 'judai' are exceptional tracks. the background music is effective in pulling just-the-right strings at opportune time. after a tepid agent vinod, spoilt by needless item numbers, sriram raghavan
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