Get ready for a sneak-peek into the future as Harry Baweja is all set to take you for a ride in his time machine. Yes, we are talking about the film, Love Story 2050, which is a sci-fi movie, due for release on 4th July 2008. The producer of the film is Pammi Baweja, while the story is written by Harry Baweja himself. The music of the film has been given by none other than the music king, Anu Malik. The exuberant start cast includes debutant Harman Baweja, Priyanka Chopra, Boman Irani, Archana Puran Singh, Harsh Vasisht, Mehezabeen Sarela, Rachit Trehan and Karan Verma.

The film is about a young boy named Karan, who believes in living life on his own terms and conditions, without any rules. On the other hand, Sana (Priyanka Chopra) is a coy girl, who lives life by the rules. This gives rise to a magical love story between the two. Then we have Karan’s uncle, Dr Yatinder Khanna (Boman Irani), an eccentric scientist who has toiled for years to create the biggest invention of his life, a time machine. As the time machine finally becomes functional, Sana expresses her wish to travel to Mumbai in future.

With this, the three of them, along with Rahul and Thea (Sana’s younger brother and sister), land in Mumbai in the year 2050. To their amazement, the face of the city has been completely transformed by soaring 200-storied sky-scraper buildings, flying cars, sky rails and extensive application of robotics. However, following a series of twist and turns, Karan finds himself separated from Sana. In her quest to find his love, OT, a femme robot and Boo, a robotic teddy bear, play distinct roles in bringing them together.
Giving yet another twist in the story is Dr. Hoshi, a demigod of the future, who threatens OT and Boo, preventing them from helping Karan. This is followed by a struggle, which will finally decide Karan’s destiny. So, if you want to know, whether Karan is finally able to win his love and move back in time, don’t miss the high action, science thriller in the theatres near you. For now, we can just hope that the Indian audience appreciates the efforts of Baweja’s, who have tried to serve something new & fresh, instead of the stale masala movies of the past.
Source: ILoveIndia

Genre: Thriller
Director: Hansal Mehta
Producer: Sanjay Gupta and Sanjay Dutt
Banner: White Feather Films
Music Director: Anu Malik, Aryans, Shibani Kashyap
Lyrics: Aryans, Virag Mishra, Manoj Muntashir
Star Cast: Sikander Kher, Neha Uberoi, Gulshan Grover, Arbaaz Khan Sachin, Khedekar, Boman Irani, Anupama Verma & Saif Ali Khan (Special Appearance)
Release Date: May 30, 2008

In Woodstock Villa, we get another movie with a storyline that fails to impress. The movie has an excellent soundtrack, good dialogues and great background score. Even some of the performances are applaudable. However, the backbone of the movie i.e. the script, fails to do justice. Another thing that is missing from Woodstock Villa is logic. There are many scenes that make you feel that the world is full of either morons or blind people.

The parallel sub-plot running with the movie, that of Karim bhai (Gulshan Grover), seems to be making no sense at all. However, the movie managed to do one thing i.e. launch Sikander Kher and Neha Uberoi, actors who seem to have great potential. Sikandar Kher is attractive in his own, unconventional way and does complete justice to his role. Neha Uberoi, on the other hand, brings a kind of freshness to her character.

There is also Gaurav Gera, another person whose acting is definitely worth commending. One of the USPs of Woodstock Villa comprises of its excellent songs, which you feel like humming even a long time after the film is over. While the editing has been done with expertise, the sound design is interesting and the narrative technique is pretty convincing. All in all, Woodstock Villa is a film that will be applauded for things other than its story.
Source: http://lifestyle.iloveindia.com/lounge/woodstock-villa-2044.html

First things first! The Bhatts have as much (or rather as minuscule) knowledge about match-fixing and cricket-betting as much as any average audience. So do not expect a fine-tuned screenplay detailing the intricacies on the misconduct of cricket or revealing the modus operandi of the sport malpractice. The Bhatts are no Bhandarkar. Rather be prepared for a superannuated story sketched not even around but on the external periphery of the theme of match-fixing.

So you have the conventional filmi hero character Arjun Dikshit (Emraan Hashmi) who subjects himself to love at first sight as he notices the heroine Zoya (Sonal Chauhan) staring at a diamond ring in a mall. He shoplifts rings, splurges credits cards and gambles to get hold of a swanky car to woo the girl. While the audience doesn’t fall prey of such lousy layouts in the plot, the girl predictably falls for the guy.

Meanwhile our hero’s basic instincts work overtime (and we aren’t implying Emraan’s mandatory lip-locks here). He proclaims of his sharp sixth sense that can predict every single move in the cricket matches as if he were some ancestor of Nostradamus. From betting on matches, he turns a bookie and subsequently upgrades himself as a match-fixer. Rather than an elaborate evolution, the progression of his character is rushed through one transition song. Moreover the offhand approach through which he lures cricket captains amidst match innings by his casual conversations in locker rooms is to be seen to be believed.

Soon Arjun shifts base to South Africa working for a match-fixing mafia head Abu (Javed Sheikh) who is perpetually stationed in a stadium. Abu is distinctly demarcated as the desperado as his unlawful activities are extended to terrorism funding. Arjun is given a relative clean chit on the pretext that match-fixers are not murderers.

The following story is stuffed with clichés galore. Arjun earns easy money through his illegal means. Zoya disapproves of Arjun’s immoral ways but unapologetically resorts to strip-dancing in night clubs!!! In between there’s a burger-bite hungry inspector on the constant trail of Arjun. A Bob Woolmer look-alike too surfaces in the climax though with little significance as the writers take liberty to manipulate his murder to their own benefit. And the film opts for a hurried end distinctly derived from Mahesh Bhatt’s Naam.

The love story in Jannat resorts to the archaic templates of the 80s while the backdrop theme of match-fixing on which the film is formulated is least exploited in its screenplay.
Source: Economictimes

NOW this one’s hardly a dream launch for a star son. The story is outdated, the direction is tardy, the performances sloppy and the film yawn-inducing. Sad, but it seems there was no one to counsel the young Mimoh, before he took his plunge in big bad Bollywood. Kyunki, today, it takes much more than a dance, a fight sequence and a wailing mother to please the viewer. The film doesn’t even seem to have a stylist, going by the tacky look of the lead players who deserved a better tashan.

Mimoh is the ’70s Majboor who is mistakenly told he doesn’t have long to live. So he gambles away his short life in order to pay off his dead dad’s debts, only to realise picture abhi baaki hai, bhai! So what does he do? Puffs out his cheeks some more and goes after the goons who have tried to put him in. In between, he sings ‘toffee’ songs with a titli whom everybody wants to marry. Don’t know why ‘coz the damsel has nothing much to die for. At least not her sartorial sense.

No, this Jimmy is hardly a chip off the old block, although he desperately tries the moonwalk that dad Mithun made famous as Bollywood’s quintessential Disco Dancer. Source: http://timesofindia.indiatimes.com/moviereview/3025883.cms

There was no hype for the movie or much publlicity, but I am sure collections will pick up in theatres as soon as people realise that it is a good movie. However it is sad that it did not receive Tax free status, so that it becomes affordable for the family to visit the cinema.

The plot revolves around Nath, who is betrayed by his son who has settled abroad against his wishes. In fact the son wanted to dispose off the building wherein the spirit of Kailash Nath resides without salvation. SRK and his family come and occupy the desolated house. SRK’s son strikes a chord with the ghost and calls him Angel. Together they have great moments of fun cleaning the mansion, poking fun @ principal, friends, etc.

The sobered down role of SRK is gr8, no wonder SRK has a changed attitude with AB otherwise one found he was always trying to outdo AB in terms of publicity. The professional rivalry is very much seen. It is good they have patched up for the time being.

Juhi chawla too has dished out her best, because of AB’s presence. Rajpal’s role is excellent as a drunkard, hilarious scene of him being slapped by the ghost is wonderful. Satish Shah’s role being a principal who is ever hungry is good but stupid from all teachers point of view. Well it is gr8 parody I suppose.

Overall worth watching movie. I am waiting for the second part of this movie. Source: Mouthshut

SOMETIMES, it surprises you with the choices that men make, specially actors. If, last week, it was Anil Kapoor who aggrieved you with his incoherence as Bhaiyyaji in Tashan, this week Arshad Warsi makes you wonder wassup mister! Now why would an actor who has already proven his calibre, both at the box office and with the fastidious cineaste, say yes to such a brainless film? As Kishen, the small time trickster who leaves his village in Hoshiarpur to earn the title of Mr Fraud in Goa, Warsi is whiny, woe-begone and completely wasted. All his attempts to tickle your funny bone and kick up a storm end up as desperate measures to seek meaning in the mess. And if that’s not enough despair, there’s Ashish Vidyarthi, another talented actor, trying to make a comeback in Hindi cinema with a parody of himself. Surely, considerations of quality must be more important than quantity in Bollywood too!

For the no-brainer script, there is just this: Mr White (Suneil Shetty) comes to Goa to take Mr Black (Arshad Warsi) back to Hoshiarpur to take possession of a land bequeathed by his father. In between, he meets an oversexed hotelier who cries ‘Kiss me, kiss me,’ and gives him a chance to play Mr Bharat to the un-Bharatiya lady. Meanwhile Mr Black is not ready to give up his life as a dirty rotten scoundrel, specially when he overhears some talk of some diamonds somewhere… Again, a heartbreak in store, as you watch sensible actress, Sandhya Mridul make a fool of herself as a tapori girl.

Really, why would anyone want to end up brain dead, even if comedy is the flavour of this silly season. Source: Timesofindia

Undoubtedly, the main attraction of Krazy 4 is the item numbers performed by two of the biggest superstars in Bollywood, Hrithik Roshan and Shahrukh Khan. Rakhi Sawant too has an item number! All this in itself is worth the price of your ticket!
The lead actors – Irrfan Khan, Arshad Warsi, Rajpal Yadav, Suresh Menon – are a bunch of extremely talented actors.
Jaideep Sen, the debutante director of Krazzy 4, has been in the industry for a long time and assisted Rakesh Roshan in quite a few movies.

Story of Krazzy 4
Krazzy 4 is about four crazy people. Raja (Arshad Warsi) has a very short temper, he simply rips apart anyone who upsets him. Dr Mukherjee, is the captain of the Krazzy 4, obssesed to be in control of the situation, but doesnt realise he has lost control of his own mind. Dabboo (Suresh Menon) can hear, understand but doesnt talk even though he can, noone knows why. Gangadhar (Rajpal Yadav) believes he is a freedom fighter, fighting for his country for a cause that is long gone. Dr Sonali (Juhi Chawla) treats the Krazzy 4 in a mental hospital. She believes with a bit of patience and time the four can be a part of the society.

All hell breaks loose when, on the way to watch a cricket match, Dr Sonali is kidnapped and the Krazzy 4 are let loose. What happens next forms the rest of the movie…

Krazzy 4 Review
Let me make one thing clear. Krazzy 4 isnt an out-n-out comedy. Dont enter the movieplex expecting funny one liners, over the top mannerisms or non-sensical dialogues. Krazzy 4 is a situational comedy more like Jaane Bhi Do Yaaro, Golmaal (Hrishikesh Mukherjee movie, not the recent one). Although not even a patch of those classics, Krazzy 4 ensures you leave the movie hall with a smile. The length of the movie is just 2 hours. The first hour is highly entertaining and keeps you glued to your seats. Unfortunately, the second half disappoints. A few scenes like the Juhi Chawla and the cop scene and the sequences leading to the climax are simply hard to digest. The cinematic and creative liberties taken in last few reels of Krazzy 4, ruins the impact of the movie.

Debutante director Jaideep Sen has executed a few sequences with brilliance but its the script that lets him down, a director to look forward to in the future. The music by Rajesh Roshan is average. Break Free stands out, but unfortunately it belongs to Ram Sampath and not Rajesh Roshan! Cinematography and Camera work is good.

Amongst the performances, Rajpal Yadav rocks. His mannersims and comic timing is top notch. Arshad Warsi has a meaty role and delivers a good performance. Irrfan Khan is great in a limited role. Suresh Menon has no dialogues for most parts of the movie, expresses well through his eyes and expressions. Juhi Chawla is a treat to watch. Dia Mirza looks good, acts ably. Rajat Kapoor does well.

Now the Item Numbers.. Hrithik Roshan simply outshines the rest of them. Simply Mindblowing!! You gotta watch it on the big screen to believe it. Shahrukh Khan too dances to the same ‘Break Free’ song, the sets though outshine the item number, they are huge! Rakhi Sawant’s item number is good too.

Overall, Krazzy 4 is a above average movie. Good performances, well-made first half, average second half, super item numbers, few truly hilarious sequences make it worth atleast a watch at your nearest movieplex. At the box-office, the item numbers by two superstars should ensure a good opening. Could just cross the Hit mark. Source: Indicine

The movie marks the directorial debut of a very talented actor, Ajay Devgan.
Following in Aamir Khan’s footsteps, Devgan too has acted, directed and produced the movie.
Ajay’s co-star in the movie is his wife, arguably one of the best actress in the film industry today, Kajol.
Its also Kajol’s first movie since the 2006 blockbuster, Fanaa.
Does U Me Aur Hum live upto expectations? Is Ajay a good story teller?

First, the story of U Me Aur Hum
U Me Aur Hum is divided into 2 parts. The first half is basically a simple love story on how Ajay (Ajay Devgan) woos Piya (Kajol). The second half tells us that marriage is not just sharing happy moments together but being there for each other at the time of distress. It’s also about fullfilling eachother’s dreams and promises made to eachother.

On a cruise, Ajay falls head over heals in love with Piya at the first sight. Although his first impression was disastrous, Ajay doesn’t give up and tries everything possible to woo Piya. And by hook or crook he succeeds in paving his way to her heart. The two soon develop a strong and special bond of love but not for long. Lies and deceit puts an end to their newly blossomed yet strong relationship.

But love brings them together again and despite the failing relationships of their friends, the two tie the nuptial knot. Soon their marriage becomes the ideal marriage for their friends to look upon and learn. Call it fate or anything; their successful married life starts to tumble and they face a lot of emotional crisis. What leads to the fall in their successful marriage? Will they get back to each other and live happily ever after?

U Me Aur Hum Review
For a directorial debut, Ajay Devgan has done a good job. The story of a boy falling head over heels in love at first sight with bits of humor and a few songs, make for a entertaining first half. While the first half is a light entertainer, the second half is an intense drama, handled equally well by Devgan. But the problem with the second half is the length, the movie drags endlessly in the second half. Atleast 15 mins from the movie could have been easily edited off for better impact. The writing could have been better too, you hardly feel for the lovers when they part. Also the supporting characters are highly irritating, especially in the first half.

Scenes from U Me Aur Hum that stand out (Possible Spoilers)

- Typical Bollywood-istyle romance in the first half.
- The baby drowing scene in the second half – Brilliant!
- When Ajay finds Piya, lost on the middle of the road, right in front of her house!
- When Ajay confronts Piya in the second half.

The music by Vishal Bharadwaj is very good. The title track ‘U Me Aur Hum’ and the dance number ‘Jee Le’ stands out.. Background score in the second half is great. The cinematography is brilliant.

Its Kajol who stands out yet again with a brilliant performance. Always lively on screen, fantastic expressions, great smile. Kajol is the soul of U Me Aur Hum. Ajay Devgan known for his hard hitting roles, is good in a romantic role, although a bit off in highly emotional scenes. Karan Khanna in a comic role, is irritating. Isha Sharwani looks gorgeous, performs well. Sumeet Raghavan is a great actor also the only supporting character worth-a-mention. Divya Dutta is average, looks plumpy. Sachin Khedekar is good.

Overall, U Me Aur Hum is a good movie but not without it share of flaws. The latter part of the second half tends to get boring. But its Kajol’s brilliance that makes U Me Aur Hum worth a watch. At the all important box-office, the advance booking is good but Krazzy 4 will be a tough competitor. Item numbers by Hrithik, SRK and also the fact that audiences usually prefer comedies these days could go against U Me Aur Hum. Source: Indicine

The Story

LA Vice Detective Tom Ludlow (Reeves) knows how to bring down the bad guys. His ‘shoot first, don’t ask questions later’ style may be a public relation person’s worst nightmare, but no one can deny it’s effective in cleaning up the streets. Along with a batch of like-minded officers, and under the direction of Captain Wander (Forest Whitaker), Ludlow and his unit act above the law, which makes them the target of internal investigations. Even Ludlow’s old partner Terrence Washington (Terry Crews) believes the group is out of control, and he’s willing to spill the beans to Internal Affairs Captain Biggs (Hugh Laurie).

If you’re not hip to what’s going to happen in Street Kings’ final minutes by, let’s say, 15 minutes into the movie, then either you’ve missed out on every other dirty cop movie ever made or you’re so caught up in how well Keanu Reeves pulls off his role as a tough-as-nails, take no prisoners (literally) officer you’re not actually paying attention to the story. Things are telegraphed so far in advance in Street Kings that the words ‘suspense’ and ‘thriller’ should be banned from use in describing this latest gritty drama from David Ayer (Harsh Times).
Director Ayer has a real eye for capturing LA’s less glamorous streets, and with a story and screenplay by James Ellroy, another storyteller who knows his way around the turf, Street Kings has the makings of a classic cop drama. But somewhere along the line the dialogue and story took a turn down a dark alley lined with film clichés and Hollywood melodrama and didn’t emerge unscathed.
The Story

LA Vice Detective Tom Ludlow (Reeves) knows how to bring down the bad guys. His ‘shoot first, don’t ask questions later’ style may be a public relation person’s worst nightmare, but no one can deny it’s effective in cleaning up the streets. Along with a batch of like-minded officers, and under the direction of Captain Wander (Forest Whitaker), Ludlow and his unit act above the law, which makes them the target of internal investigations. Even Ludlow’s old partner Terrence Washington (Terry Crews) believes the group is out of control, and he’s willing to spill the beans to Internal Affairs Captain Biggs (Hugh Laurie). Source: About

Mick Jagger, Keith Richards and Ronnie Wood, the quartet’s three skinny members, certainly look their ages. But there is nothing stodgy about them. The strenuous rock ’n’ roll life has left them sinewy and lean, like longtime marathon runners. (The staid, above-it-all drummer, Charlie Watts, is the exception.)

Mr. Jagger’s lined face, with its deflated balloon lips, suggests a double exposure of Dorian Gray and his infamous portrait, at once defiantly youthful and creepily gaunt. The simian Mr. Richards, whose upper arm flesh has shriveled, resembles an old madam chewing over her secrets. As he plays, his lips dangling a cigarette, he leans back into his snarling guitar and a joyful grin spreads across his face. He could be the world’s happiest young older man: Peter Pan as a wizened Gypsy fortuneteller.

For the Rolling Stones appear supremely alive inside their giant, self-created rock ’n’ roll machine. The sheer pleasure of making music that keens and growls like a pack of ravenous alley cats is obviously what keeps them going. Why should they ever stop? At the heart of the gizmo, Mr. Jagger whirls, leaps, struts, wiggles his tiny hips and sashays around like an androgynous tart prowling a street corner at 3 a.m. Source: NYTimes