Meursault is numb to the news of his mother’s death. It arrives to the central character of Albert Camus’ The Stranger via telegram and the information written on the piece of paper doesn’t bother him as much as it bothers us as readers. The absurdity of the situation pinches you, makes you look for some sort of resolution to this wildly unreasonable situation, until you realise that there isn’t one. What Meursault is looking for is not the absurd, he himself is the absurd. Similarly, in Abbas Kiarostami’s Taste of Cherry, the elegant Iranian man Mr Badii drives around the outskirts of Tehran, looking for someone who can help him take his own life. The insensitivity and randomness of his actions make you wonder that maybe it’s a joke. Why would anyone want to happily take their life and express the desire with a straight face? This not only makes us speculate about the intentions behind his words, but also those of his potential undertakers, all of whom try to convince him against the idea. Mr Badii, who is a former army officer in his 50s, seems like he has introspected enough before making the decision. He has come to the point from which Camus launches his other book, A Myth of Sysiphus:

“There is but one truly serious philosophical problem and that is suicide.”

I have seriously had enough! Hearing out all my chachus and mamoos praising the hell out of Ben-Hur (1959) all my adult life has simply taken its toll.

Me: “Maamo, The Shawshank Redemption.” Mamoo: “Nah, Ben-Hur!” Me: “Chachoo, 17 Academy Awards for the Lord of The Rings trilogy!” Chachoo: “Meh, Just one Ben-Hur and 11 Oscars!” Me: “D-Day landing sequence from Saving Private Ryan.”

“Ben-Hur’s Chariot Race… debate settled!”

What’s the formula for an entertaining movie? Whisk romance, comedy, drama, emotions and relatable characters together, and there you have it; an entertaining movie. Happy Bhaag Jayegi is a combination of all the aforementioned ingredients, plus another ingredient; a comical Indo-Pak angle. Happy Bhaag Jayegi is about Harpeet aka Happy (Diana Penty) who, on her wedding night, plans to ditch her groom, Bugga (Jimmy Shergill) and plans on eloping with her boyfriend Guddu (Ali Fazal). Thanks to a carelessly formulated runaway plan, things take a chaotic turn and Happy ends up jumping off her balcony, into the wrong truck, which takes her to Lahore, Pakistan. [caption id="" align="alignnone" width="600"] Ali Fazal and Diana Penty
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Diana Penty
Photo: Screenshot[/caption] This particular truck was carrying a cargo of special gifts from India to Pakistan for the former Governor of Lahore, Ahmed Javed (Javed Sheikh), and his son Bilal Ahmed (Abhay Deol). Bilal was returning to Pakistan as well that night. The morning after reaching Lahore, Bilal notices one of the fruit baskets moving around and upon inspecting it, he finds Happy in the truck. What follows is the main story line of Happy Bhaag Jayegi. [caption id="" align="alignnone" width="600"] Abhay Deol and Diana Penty
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Abhay Deol
Photo: Screenshot[/caption] Apart from being a rom-com, the movie is filled with political and socio-cultural satire. After having directed movies such as Dulha Mil Gaya (2010), I feel Mudassar Aziz did a commendable job with Happy Bhaag Jayegi. Despite the impractical elements thrown in to create humour, I found the movie to be funny and entertaining. The dialogues are amusing, although sometimes tedious, and serve as a nostalgic reminder of Tanu Weds Manu Returns (2015). [caption id="" align="alignnone" width="600"] Diana Penty
Photo: Screenshot[/caption] As for music, even though the director tried to add a Pakistani touch by playing instrumental forms of the famous Pakistani song, Dil Dil Pakistan, he somehow missed the mark. [caption id="" align="alignnone" width="600"] Abhay Deol, Ali Fazal, Diana Penty and Jimmy Shergill
Photo: Screenshot[/caption] Performance wise, Happy Bhaag Jayegi rests on the shoulders of the male protagonists, not on the female lead, Diana Penty. Her characterisation is half-baked. [caption id="" align="alignnone" width="600"] Diana Penty
Photo: Screenshot[/caption] In the performance department, Abhay Deol had a more profound role and delivered a decent performance. Jimmy Shergill stood out in his portrayal of a character suffering from singledom. It appears that Bagga’s character is an extension of Raja Avasthi from Tanu Weds Manu Return – it is high time for Shergill to avoid typecasting. Ali Fazal played his part with dedication and managed to impress the audience in bits and pieces. [caption id="" align="alignnone" width="600"] Jimmy Shergill
Photo: Screenshot[/caption] After her debut in Cocktail (2012), Diana Penty returned after a hiatus of four years. It was an ideal role to bag, in contrast to what she had done previously. Since Cocktail was crammed with various characters, she failed to get much time in the spotlight. [caption id="" align="alignnone" width="600"] Diana Penty
Photo: Screenshot[/caption] Our very own Pakistani actress, Momal Sheikh, marked her debut in Bollywood with poise and confidence. It is not easy to get noticed in a crowd of prominent actors, but she manages to do just that. Momal Sheikh is great with expressions, gave a mature performance and it looks like she’ll go a long way – provided she keeps selecting scripts that compliment her acting skills. [caption id="" align="alignnone" width="600"] Abhay Deol, Ali Fazal, Diana Penty and Momal Sheikh
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Abhay Deol,Diana Penty and Momal Sheikh
Photo: Screenshot[/caption] Piyush Mishra is simply outstanding; he doesn’t allow his audience to get bored, even in potentially disastrous scenes. Javed Sheikh, as Abhay’s father, performed well, but the veteran actor was unnecessarily loud in some scenes. [caption id="" align="alignnone" width="600"] Abhay Deol and Diana Penty
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Happy Bhaag Jayegi is nothing like Raanjhanaa (2013) or Tanu Weds Manu Returns. If you’re in the mood to not think and enjoy a good laugh, I’d recommend this movie.

Oh my god! What have they done? Why would anyone in their right mind go about screwing with a universal classic? But you can’t really talk sense with Hollywood, now can you? https://www.youtube.com/watch?v=gLJdzky63BA You can instantly tell how bad a remake is if one of the action sequences replicated from its 50s version is not even half as good as its predecessor. Heck! Even the one gracing the 20s variant was light years ahead of the current monstrosity. [caption id="" align="alignnone" width="600"] Toby Kebbell and Pilou Asbæk
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Jack Huston
Photo: IMDb[/caption] Grandeur, miracles, spirituality, poetic revenge, homoeroticism, and horses that are trying to run the frick out of each other! Yes, I am talking about Ben-Hur, and double yes, I am bashing its 2016 reincarnation, which is anything but. Despite being made more than half a century after the previous one, it’s quite a feat that the recently released edition manages to look something straight out of the Stone Ages as a cinematic experience. [caption id="" align="alignnone" width="600"] Morgan Freeman and Jack Huston
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Jack Huston and Nazanin Boniadi
Photo: IMDb[/caption] There aren’t many surprises in the new Ben-Hur. It’s loud but yet dull and considering the spiritual nature of the source material, thoroughly soulless. Lew Wallace’s 1880 novel Ben-Hur: A Tale of the Christ, one of the 19^th century’s biggest best-sellers, has been the basis for two classic Hollywood films. But it’s a case of ‘third time unlucky’ with this year’s production. Judah Ben-Hur (Jack Huston) is a wealthy Jewish prince who lives in Roman-occupied Jerusalem with his mother, sister and crush. [caption id="" align="alignnone" width="600"] Jack Huston
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Toby Kebbell
Photo: IMDb[/caption] Following a spat with his childhood friend and adoptive brother Messala (Toby Kebbell), now a fancy Roman tribune, Judah is falsely accused of treason and is sentenced to a life of slavery aboard a ship. The narrative torturously meanders along until our protagonist gets a chance to avenge his torment in a dangerous, high-stakes chariot race against the foe turned friend. [caption id="" align="alignnone" width="600"] Rodrigo Santoro and Jack Huston
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Morgan Freeman and Jack Huston
Photo: IMDb[/caption] Length is a major issue. Ben-Hur should have been a sprawling epic of two adopted brothers divided by culture and politics with Jesus’s life and death as fascinating backdrop. However, the filmmakers tried to cram as much of the book as possible into about two hours. [caption id="" align="alignnone" width="600"] Rodrigo Santoro
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Pilou Asbæk
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Toby Kebbell
Photo: IMDb[/caption] This was a story that was meant to stimulate readers and audiences in a metaphysical and spiritual way, but what the studio have done is that they took away that crucial ingredient, and just left it with an idiotically simple hard-luck story, set against the background of first century Judean politics. Oh, but they did manage to incorporate the horse-drawn contest, if it’s any consolation. [caption id="" align="alignnone" width="600"] Toby Kebbell and Jack Huston
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Toby Kebbell and Jack Huston
Photo: IMDb[/caption] Long story short, the movie was simply bereft of any soul whatsoever. The actors rarely rise above what they were provided with, and that includes Morgan Freeman as an African sheikh who was probably forced to work in the film at gunpoint. [caption id="" align="alignnone" width="600"] Morgan Freeman
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Toby Kebbell and Jack Huston
Photo: IMDb[/caption] Director Bekmambetov has argued that the 1959 version is out-dated and his edition would provide us with fresh insights. If he truly believes that, I would certify him officially insane if it were up to me. Take my advice; skip the new theatrical adaptation and download the classic instead. Despite having a 57 years difference the old one is 57 times better.

Sidharth Malhotra (Jai) and Katrina Kaif (Diya) are starring together in a seemingly fun-loving movie; Baar Baar Dekho. But it’s not just the duo that has us anxiously waiting for the movie to hit the cinemas. The film has already generated a lot of hype with the release of its song Kala Chashma. Its lyrics and catchy tune have made it a super hit, along with Sidharth and Katrina’s groovy dance steps. https://www.youtube.com/watch?v=k4yXQkG2s1E The movie has a feel good vibe. Jai and Diya are seen falling in love and planning their future. Jai thinks life is a simple equation – according to him, “Jai plus Diya equals to love.” However, what happens next proves that life is not as simple as he thinks it is. [caption id="" align="alignnone" width="600"] Sidharth Malhotra and Katrina Kaif
Photo: IMDb[/caption] I feel the movie’s storyline (with its multiple plot twists) has incredible potential and will have its viewers glued to the screen. Love is in the air in Baar Baar Dekho; however, this isn’t your average girl-meets-boy love story – this one looks like it has something different to offer. The movie also stars Sarika, Ram Kapoor, Taaha Shah, Sayani Gupta, and Rohan Joshi. [caption id="" align="alignnone" width="600"] Sidharth Malhotra and Katrina Kaif
Photo: IMDb[/caption] Sidharth and Katrina are seen showing off their chiseled bodies. Their on-screen chemistry seems to be spot on and could help them bag more movies as a pair in future. Both seem to deliver their dialogues effortlessly; a performance made even better with apt facial expressions – making them a complete entertainment package. [caption id="" align="alignnone" width="600"] Sidharth Malhotra and Katrina Kaif
Photo: IMDb[/caption] I expect a lot of fun, witty one-liners, and perhaps an episode of misery from the movie. It seems as though the movie will have many flashbacks and flash-forwards, all shown to the viewers from Jai’s perspective. However, it is up to the viewers to find out if these are really flashbacks and flash-forwards or whether Jai living in his past or in the future. Whatever the case may be, I am really looking forward to this movie.

With the Pokémon Go epidemic sweeping worldwide (which is getting people to run into traffic while looking at their smartphones) it seems the timing for Nerve could not have been better. It is a thriller about people performing embarrassing and increasingly death-defying stunts in the name of a shadowy online game in an attempt to gain popularity and cash. https://www.youtube.com/watch?v=AX1BTiHzq-I Emma Roberts stars as Vee, a high school senior who lives on Staten Island with her clingy but hardworking mother Nancy (Juliette Lewis). Vee is afraid to tell her mom that she wants to go across the country to an arts college in California because she is grief-stricken over her son’s death which happened a couple of years earlier. Moreover, her mother is terrified of losing Vee. Prodded by her obnoxious best friend Sydney (Emily Meade) to loosen up, Vee decides to show her mettle by signing up for Nerve, which Sydney is already playing and hoping to win. [caption id="" align="alignnone" width="600"] Emma Roberts
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Dave Franco
Photo: IMDb[/caption] What Vee doesn’t expect is meeting Ian (Dave Franco), a charming guy who’s also gunning to win the game. She comes in contact with him during her first dare, and soon after, is teamed up with him by the watchers. But as the dares grow increasingly demanding, and things begin to get out of control, Vee must decide exactly how far she’s willing to go, before she risks both her life and those of the ones close to her. [caption id="" align="alignnone" width="600"] Emma Roberts, Miles Heizer, Kimiko Glenn
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Emma Roberts
Photo: IMDb[/caption] Nerve is a film with a promising plot line. It feels timely and relatable, not only because of a game like Pokémon Go, but also because of the rapid rise of social media and how much of a driving factor it has become in our lives. But unfortunately, that’s all it is. A good idea. [caption id="" align="alignnone" width="600"] Emma Roberts, Dave Franco
Photo: IMDb[/caption] Nerve’s biggest problem is that it just isn’t sure what it wants to be. Part generic high school movie, part thriller, and part street-level Hunger Games. It’s full of half-baked ideas, themes, and aspirations that fail to come together to create one compelling, cohesive plot. And though, the first two acts of the film do offer some decent escapist fun, the film threatens to crumble completely towards the final act, largely due to its exceedingly idiotic finale. The film is directed by Henry Joost and Ariel Schulman, who broke out six years ago, with an interesting independent documentary called Catfish (2010). The documentary highlighted the odd layers of deception to internet socialisation. The subject matter here feels very much in their forte, but the way they handle it is very disappointing. [caption id="" align="alignnone" width="600"] Emma Roberts, Dave Franco
Photo: IMDb[/caption] For one thing, Nerve’s screenplay is far too heavy-handed to carry it off. It has a number of very fundamental plot-holes and the twists are so painfully obvious that you can see them coming from a mile away. But I think nothing showcases the film’s bad writing more than its ham-fisted warnings about online anonymity and this generation’s smartphone obsession. While relevant, it is quite frankly in no position to say (given the lack of social commentary it provides on these subjects for the majority of its run-time). A cautionary tale this is not. [caption id="" align="alignnone" width="600"] Emma Roberts
Photo: IMDb[/caption] Now it’s not all bad. I think there are definitely some redeeming elements in here, which may be enough for people willing to leave their brain at the door. For one thing, the film has some pacey and kinetic action sequences that are fun for the most part. I think Joost and Schulman are able to bring their tech-savvy style of filmmaking to the table as well, doing a pretty good job of mixing iPhone and GoPro footage with the film and using desktop screens as a storytelling device in a way that isn’t annoying to look at. And I guess Emma Roberts and Dave Franco are not particularly bad either, even though they are playing clichéd versions of charming teenagers you have seen in every teen movie ever made. [caption id="" align="alignnone" width="600"] Emma Roberts, Dave Franco
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Emma Roberts, Dave Franco
Photo: IMDb[/caption] But for all the style and flashiness of Nerve, it ultimately can’t make up for the sheer silliness of the film that proves to be too much to bat an eye to. It’s a film whose ambitions seem to grow smaller and smaller as the run-time progresses, until it ends up being just another dumb teen movie. [caption id="" align="alignnone" width="600"] Emma Roberts, Dave Franco
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Emma Roberts, Dave Franco
Photo: IMDb[/caption] Ctrl. Alt. Delete.

We finally caught a glimpse of Karan Johar’s ambitious project, Ae Dil Hai Mushkil, starring Ranbir Kapoor, Anushaka Sharma, Aishwarya Rai Bachan and our very own Fawad Khan. What I gathered from the snippet is that the movie is fresh, dark, passionate and has a melodious soundtrack. This is Karan Johar’s first directorial venture after Student of the Year (2012). But Ae Dil Hai Mushkil is expected to be comparatively bigger, better and more appealing. [caption id="" align="alignnone" width="600"] Ranbir Kapoor, Anushaka Sharma and our very own Fawad Khan.
Photo: Instagram[/caption] [caption id="" align="alignnone" width="600"] Karan Johar and Fawad Khan
Photo: Instagram[/caption] I am extremely excited about the following things. 1. Music Karan Johar is famous for the euphonious music in his movies. Nearly all his movies have chartbuster songs and I feel Ae Dil Hai Mushkil will not be any different. The teaser features the title song, sung by Arijit Singh and composed by Pritam. It’s my personal favourite. [caption id="" align="alignnone" width="600"] Anushaka Sharma
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Ranbir Kapoor
Photo: Screenshot[/caption] 2. The lead cast. Social media is abuzz after finding out about the lead cast. I mean who wouldn’t want to see Aishwarya, Ranbir, Anushka and Fawad Khan together in a movie? Eye candy and talent? I cannot wait to watch this movie. [caption id="" align="alignnone" width="600"] Fawad Khan
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Anushaka Sharma
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Ranbir Kapoor and Aishwarya Rai Bachan
Photo: Screenshot[/caption] All the actors look absolutely gorgeous in the movie. It’s obvious that Karan Johar has worked hard on each of their looks, costumes and makeup. The four of them emote so perfectly that for a moment you forget a world outside the movie exists. There is hurt, there is loneliness, there is passion, there is aggression and there is sadness; brilliantly depicted by each of the actors. [caption id="" align="alignnone" width="600"] Ranbir Kapoor and Anushaka Sharma
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Ranbir Kapoor and Aishwarya Rai Bachan
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Ranbir Kapoor and Anushaka Sharma
Photo: Screenshot[/caption] 3. Cinematography Just like he is known for his music, Karan Johar is also famous for picking gorgeous locations for his movies. London in Kabhi Khushi Kabhie Gham (2001), New York in Kabhi Alvida Naa Kehna (2006) and Ae Dil Hai Mushkil in Europe and India. The film is shot in Vienna, Paris, Austria, London and Rajasthan. The teaser has aptly captured the true beauty of these places. [caption id="" align="alignnone" width="600"] Aishwarya Rai Bachan
Photo: Screenshot[/caption] 4. Ranbir’s voiceover

“Ek tarfa pyar ki taaqat hi kuch aur hoti hai.. auro ke rishton ki tarah yeh do logon mein nahi bathti.. sirf mera haq hai ispe.” (Unrequited love has its own strength.. it doesn’t get divided between two people.. it is only mine to claim.)

Jawad Bashir has a unique way of incorporating humour into his songs and acts, case in point: Teen Bata Teen from the mid-90s. It took Bashir quite a few years to embark on the route of film production. He made his debut with the horror flick, Maya (2015) and his latest venture is supposed to be an out and out comedy filled with an element of romance. That being said, Teri Meri Love Story is a rom-com featuring Mohib Mirza, Omar Shahzad, Ushna Shah, Uzma Khan, Mohsin Abbas Haider, Salman Shahid, Laila Zuberi and Ahmed Abdul Rehman in pivotal roles. [caption id="" align="alignnone" width="600"] Photo: Farah Fashion[/caption] The movie starts off with Esha (Ushna Shah), who is head over heels in love with Ramis (Omar Shahzad), hoping that one day he will propose to her. Esha’s friends Sherry (Mohsin Abbas) and Danish (Ahmed Rehman) inform Ramis regarding her feelings towards him, resulting in him asking for her hand in marriage. But fate takes its toll when Esha’s father, Rana (Salman Shahid) announces that his daughter has already been betrothed to his friend’s only son, Nael (Mohib Mirza). From there on, things take a complete turn and that’s what Teri Meri Love Story is all about. First things first, the script of the film wasn’t great. The jokes were so clichéd that they’re hardly capable of summoning a smile, let alone a laugh. I failed to make sense of the entire movie – to the extent that I questioned why I even bought a ticket for this movie in the first place. They could’ve at least had the decency of coming up with a decent plot. [caption id="" align="alignnone" width="600"] Photo: Farah Fashion[/caption] The direction of Teri Meri Love Story is amongst the worst that Pakistani cinema has witnessed in the last couple of years. The blurry images and attempts to try and fit everything in a single frame made the movie into a visual torture. There were jerks in the camera movement during fight scenes; making the scenes come across as amateur attempts at movie-making. Performance wise, nobody stood out. Only Mohib looked a bit convincing, but he still needs to stop play-acting and be a bit more natural.  After Bachaana (2016), Mohib Mirza’s performance in this movie is a complete let down. Omar Shahzad is trying too hard and comes off as an overly intense actor in nearly every scene. He is forgetting that he is supposed to look natural. He needs to work on his physical appearance – not his physique, but factors such as his hairstyle and wardrobe. There’s a pretty obvious wardrobe malfunction in the climax action sequence. [caption id="" align="alignnone" width="600"] Photo: Farah Fashion[/caption] Ushna Shah fails at looking the part, as well as playing it. Mohsin Abbas should not have opted for such a role, especially after being one of the highlights in Na Maloom Afraad (2014). It is evident that he is trying to make viewers smile, but the stale jokes fail to illicit any response. Uzma Khan is the glam factor in the movie, but despite all her jhatkaas and matkaas she fails because of her horrible dancing skills, coupled with second-rate choreography. Salman Shahid, a veteran actor, is a disappointment. His dialogues are painful, mainly because he is trying too hard to bring about a comic element. The same can be said for Laila Zuberi. The movie is crammed with songs; they appear at random intervals. If you want to save your hard-earned money, skip Teri Meri Love Story because even television sitcoms have better engagement and entertainment quotients. It might attract people with zero intellect and those who are not familiar with quality cinema. All in all, this movie is a disaster.

Making it as an independent filmmaker in Pakistan is not easy. Having a film industry that consistently puts dance numbers, good-looking actors and fancy costumes over character, story and plot is bad enough. But the fact that studios here are not ready to invest and original ideas only makes it worse. But that hasn’t stopped aspiring filmmaker and playwright Hamza Bangash from bringing his ideas to life and overcoming a number of barriers that can come in the way of any aspiring filmmaker. In 2014, his short film Badal premiered at the Cannes Film Festival’s Court Metrage, which is an incredible achievement in itself. And now, two years down the line, he’s behind the camera again to make another short film, Rang Raaz: The Secret of Colour. [caption id="" align="alignnone" width="600"] Hamza Bangash
Photo: hamzabangashfilms.com[/caption] The story is relatively simple. It’s about two young kids, who fall in love and decide that love is enough to live on. They plan to run away together in the night and get married. The only problem is she’s Muslim and he’s Hindu. And they live in Pakistan, which complicates things, a lot. Inspired by the works of virtuoso filmmakers like Wong Kar-Wai (Chungking Express, In the Mood for Love) and Asghar Farhadi (A Separation, The Past), the film has been described as Hamza’s vision of Pakistan,

“Dynamic, complex and fundamentally at war with itself.”

Nawazuddin Siddiqui is well known for his challenging roles and award-winning performances in various movies. Dekh Indian Circus (2011), Gangs of Wasseypur (2012), Talaash (2012), The Lunchbox (2013) and Manjhi (2015) are some of the more well-known movies he has starred in. He is currently making waves in Bollywood with his latest comedic role in Sohail Khan’s directorial venture Freaky Ali. The film is officially set to hit cinemas on September 9, 2016. However, the trailer has already managed to create an enormous hype by building excitement amongst filmgoers by giving them a tempting nibble of the ultimate treat. Freaky Ali’s story revolves around the character of Ali (Nawazuddin Siddiqui), who is a wannabe goon with an undying love for cricket, but destiny turns him into a golfing sensation. As a golfer, he deals with numerous challenges and ordeals because of his freaky nature, but finally ends up meeting the right woman. The trailer shows no awkward facial expressions in the name of comedy. It’s evident that we are in for a lot of witty punch lines and sharp one-liners that will captivate us! Other than the Raman Raghav 2.0 (2016) famed actor, the film also stars Amy Jackson as the lead actress and Arbaaz Khan plays the role of a thief and extortionist who helps Ali during difficult times. Freaky Ali looks like a fun-filled package of humour and never-seen-before avatar of Nawazuddin. However, a lot of cinephiles might find this film to be an Indian rendition of Adam Sandler’s Happy Gilmore (1996). The story of Sandler’s Happy Gilmore is pretty similar. Sandler played the lead role as a failed ice-hockey player who, by chance, realises his proficiency for the gentleman’s game – golf. Indecently taunting his rivals, he applies ice-hockey methods such as the slap shot-style swing for hitting golf balls and ultimately becomes a sensation in the elitist game. All credit for his success goes to his outlandish behaviour as it helps him manage the misfortunes that he encounters. He goes on to becoming a golf celebrity after defeating all the other champions. https://www.youtube.com/watch?v=aa0hSPPW1so Does the story line sound familiar? Yes, the central idea of Nawazuddin’s rom-com/sports drama is borrowed from Sandler’s comedy. Even the posters are pretty much the same with the lead men carrying golf clubs in both. Although Arbaaz Khan has denied the allegation categorically, but the slapstick humour, dramatic scenes, love interest and a few dialogues are definitely features the two movies share. https://twitter.com/himanshugaur5/status/763962646840217600 https://twitter.com/mb4uli/status/762665048242139136 https://twitter.com/BeingSalmanKhan/status/761531802813018112?ref_src=twsrc%5Etfw The only factors that make Freaky Ali different from Happy Gilmore are the songs and dances, particularly Nawazuddin’s dance in the song Din Mein Karengey Jagrata. https://www.youtube.com/watch?v=oUVRiYY8fKc Other musical scores in the movie are composed by Sajid-Wajid, which include Parinda Hai Parinda and Ya Ali Murtaza, which is a fusion of a qawwali and bhajan. All in all, it depends on the audience to decide if Freaky Ali is worth the watch or if it’s just a nostalgic reminder of Happy Gilmore. For now, we all are anxiously waiting for the release of this anticipated film featuring the master of capturing a common man on the big screen – Nawazuddin Siddiqui. Based on the hype created after the trailer, it seems as though die-hard Nawaz fans will find ample reasons to love his new avatar in this joyfully silly take on a serious game.

In Bollywood, women-centric movies are always considered extremely powerful, even prior to their release. From Insaaf Ka Tarazu (1980) to Bandit Queen (1994), from Mother India (1957) to Mary Kom (2014); female oriented movies have made headlines everywhere. Akira, featuring Sonakshi Sinha, is also a movie based on a journey of a woman, but in different circumstances. https://www.youtube.com/watch?v=QsCkty3mpg0 Sonakshi Sinha, as a performer, has always lived up to the expectations of the masses. Having directed movies like Ghajini (2008) and Holiday (2014), A R Murugadoss has brilliantly proved his mettle in direction. With a star studded cast such as Konkona Sen Sharma and Anurag Kashyap, Akira looked quite promising. [caption id="" align="alignnone" width="600"] Sonakshi Sinha
Photo: Screenshot[/caption] The story line revolves around a girl named Akira (Sonakshi) who always takes a stand against wrong doings in the society, owing to the values her father (Atul Kulkarni) taught her over the years. Due to a childhood mishap, Akira was sent to juvenile prison for three years, which changed quite a few things in her life. [caption id="" align="alignnone" width="600"] Sonakshi Sinha
Photo: Screenshot[/caption] Years later, Akira’s brother requests her and her mother to move to Mumbai and live with his family. Soon after moving to Mumbai, Akira enrols in a college to further her education. There, Akira comes face-to-face with ACP Rane (Anurag Kashyap) a corrupt police officer, and his accomplices. Things take a turn when Rane, along with his three fellow officers, find themselves in a dangerous situation when he starts receiving phone calls from a blackmailer. [caption id="" align="alignnone" width="600"] Sonakshi Sinha
Photo: Screenshot[/caption] Performance wise, Akira is more of Anurag Kashyap’s and Konkona Sen Sharma’s movie, rather than Sonakshi’s. In the movie, Sonakshi has the right avatar for her character, portrays it with sincerity but something was still missing; either it was the way her character was built, her dialogue delivery, or the way the story progresses. [caption id="" align="alignnone" width="600"] Konkona Sen Sharma
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Sonakshi Sinha
Photo: Screenshot[/caption] Akira is evidence of Sonakshi’s earnestness towards acting, but yet, her performance comes across as somewhat half-cooked. Anurag Kashyap as a villain is amazing – he is confident, radiates defiance with eyes, and has the right attitude and expression. He should seriously do more movies as an actor. Konkona Sen Sharma appears in an extended cameo. She performs the character of Rabia, the virtuous cop, remarkably. [caption id="" align="alignnone" width="600"] Anurag Kashyap
Photo: Screenshot[/caption] Atul Kulkarni, in his short appearance, is extremely emotive through his eyes and expressions. Amith Sadh also looks promising and has a strong screen presence. A special mention for the actor playing Raajeshwar, one of Kashyap’s accomplices, is absolutely necessary. He was tremendous and has strongly reminded the audience of Ashish Vidyarthi in the late 90s. [caption id="" align="alignnone" width="600"] Sonakshi Sinha
Photo: Screenshot[/caption] Music wise, there’s not much to look forward to, but Kehkashan Tu Meri is a good track. Direction wise Akira is average, but unfortunately not better than Ghajini. The story has some loopholes which make it come across as farfetched and hard to believe. https://www.youtube.com/watch?v=nDN0kTMOZN4 Akira could have been a great story on paper, but on screen it has its fair share of weaknesses.

Imagine the stuff nightmares are made of, put it on reel, and you’ll have a film that’s packed with fright and sheer shock value. Don’t Breathe is exactly that! It is an American horror film directed by Fede Alvarez. The story line is built around a home invasion that goes haphazard. https://www.youtube.com/watch?v=76yBTNDB6vU Fede Alvarez brings forth the right balance of old school horrors and thrillers for fans of both genres, making it a gratifying experience overall. It’s this fresh take, blend of trepidation, and unpredictability that makes this movie a ‘breath’ of fresh air (pun intended). [caption id="" align="alignnone" width="600"] Jane Levy, Daniel Zovatto and Dylan Minnette
Photo: IMDb[/caption] The premise of the movie revolves around a trio of Detroit crooks named Rocky (Jane Levy), Money (Daniel Zovatto) and Alex (Dylan Minnette) – delinquents who earn their living by looting and breaking into houses. During the course of the movie they decide to break into the house of a blind man who happens to be a war veteran, Norman Nordstrom (Stephen Lang). [caption id="" align="alignnone" width="600"] Stephen Lang and Dylan Minnette
Photo: IMDb[/caption] Assuming that the owner’s visual impairment would work in their favour, the trio enters his house not knowing that they are in for an encounter that they won’t come out of unscathed. The three of them are unaware that the blind man (who lost his vision in combat) has honed his other senses and knows his house like the back of his hand. [caption id="" align="alignnone" width="600"] Jane Levy
Photo: IMDb[/caption] The audience will flinch and gasp over how relentless and merciless Norman is when he unleashes his wrath upon these three intruders. The concept is fresh, jaw-dropping and outright scary. [caption id="" align="alignnone" width="600"] Stephen Lang
Photo: IMDb[/caption] Don’t Breathe treads on a new path when it comes to your garden-variety horror-thriller movie. Just when you think you have the plot figured out, the director Fede Alvarez turns and twists it, which leaves the audience baffled. [caption id="" align="alignnone" width="600"] Stephen Lang and Daniel Zovatto
Photo: IMDb[/caption] Within 88 minutes of the movie, the director manages to provide the audience with a visceral experience which is rich with gruesome instances as well. The scenes shot in low light serve as an apt representation of what it would actually be like to find oneself in such a strange situation. I felt the best performance was by Stephen Lang. At first, the audiences’ sympathy lies with him, since the assailants barge into Lang’s house to loot him. But as the movie progresses, the audience will find their sympathies edging towards the burglars for meeting such an ill-fate at the hands of the barbaric house-owner. [caption id="" align="alignnone" width="600"] Stephen Lang and Dylan Minnette
Photo: IMDb[/caption] Don’t breathe finds its place naturally amongst other movies within the same genre. Imagine spliced movies like Panic Room (2002) and Psycho (1960) and multiply the tension, the panic and the brutality several times over. The final product you’ll get is the narrative of Don’t Breathe. [caption id="" align="alignnone" width="600"] Stephen Lang and Daniel Zovatto
Photo: IMDb[/caption] Alvarez hasn’t necessarily reinvented the genre, but he does succeed in keeping the audience heavily engrossed in the movie’s protagonist (more like the antagonist). [caption id="" align="alignnone" width="600"] Stephen Lang
Photo: IMDb[/caption] Don’t Breathe is a hair-raising ride. Anyone who watches it and brands it as another run-of-the-mill flick devoid of any genuine scares will be committing a sin according to me.

The Pakistani film industry was once known for great dialogues, amazing stories, and family-oriented dramas with significant entertainment value – that was between the 70s and 80s mostly. Zindagi Kitni Haseen Hay will be hitting the cinema screens in Pakistan this Eid. The film is packed with nostalgic reminders of all the aforementioned elements. It is the second directorial venture of Anjum Shahzad (his first was Mah-e-Mir (2016)). It marks the film debut of the main leads, which include Sajal Ali, Feroze Khan and Jibrayl Ahmed. https://www.youtube.com/watch?v=o5UhHhwhehc The story revolves around Zain (Feroze Khan) and Mahira (Sajal Ali) who accidently bump into each other. Their love blossoms and soon they get married. Fast forward to seven years later and we see them blessed with their son DoDo (Jibrayl) who is the apple of their eyes. But now the couple doesn’t get along very well. Clashes and egoistic outbursts result in multiple small breakups –ultimately leading to a separation – in which custody of the child is given to one of the parents by the court of law. What happens next is what makes Zindagi Kitni Haseen Hay a worthy watch. [caption id="" align="alignnone" width="600"] Feroze Khan
Photo: IMDb[/caption] Performance wise, Jibraiyl is the highlight of the movie; he is the true star of Zindagi Kitni Haseen Hay. His dialogues are great and he delivers them with immaculate expressions. [caption id="" align="alignnone" width="600"] Feroze Khan and Sajal Ali
Photo: IMDb[/caption] Feroze Khan has a strong screen presence (considering his photogenic face and great physique), but he needs to work on his acting a little more. He is decent as a newcomer – far better than the other neophytes in the last few years in Pakistani cinema. Sajal Ali is good in some scenes, but in most she screams. She looks cute and convincing but she needs to improve as an actress. [caption id="" align="alignnone" width="600"] Feroze Khan and Sajal Ali
Photo: IMDb[/caption] Nayyar Ejaz is hardly bearable and Shafqat Cheema has a few scenes in which he overacts. The music in Zindagi Kitni Haseen Hay is enjoyable as it goes with the flow of the movie and is mostly played in the background. Chulbul is a peppy number and leaves a mark and Sukhwinder Singh’s Kitni Baar is a soothing number. Ali Ali by Farhan Shah is the highlight, both in terms of singing and picturisation. [caption id="" align="alignnone" width="600"] Feroze Khan and Sajal Ali
Photo: IMDb[/caption] Zindagi Kitni Haseen Hay offers a story which is seen multiple times in the past, but it has been executed well. There are some loopholes in character building, as the characters are somewhat confusing and not projected finely, which at times makes the audience feel that whatever is happening onscreen is perhaps a little abrupt. But that’s the characters’ demand. The climax is not close to reality, but it offers enough drama to make it more engaging. The movie does drag a little, but it’s worth a watch as it is one of the better movies of 2016. [caption id="" align="alignnone" width="600"] Feroze Khan and Sajal Ali
Photo: Screenshot[/caption] I would definitely recommend Zindagi Kitni Haseen Hay. Do watch it with your family and loved ones.

The Macmillan Dictionary defines a romantic-comedy as,

“A funny movie, play or television program about a love story that ends happily.”

There’s no doubt that Baar Baar Dekho was amongst the most anticipated movies of 2016. And we’re all excited to see Katrina Kaif and Sidharth Malhotra starring together in a Karan Johar movie. There’s was a lot of hype with the release of the teaser, trailer and not to forget – the song Kaala Chashma. https://www.youtube.com/watch?v=Wiuj_GHlb64 Time-travelling is not a common subject to expand on in a movie, we can hardly quote Action Replay (2010) and Love Story 2050 (2008) under this genre; both didn’t do well at the box office. You will just have to watch Baar Baar Dekho to discover what makes it different from the others. Artist Diya Kapoor (Katrina Kaif) and Mathematics professor Jai Verma (Sidharth Malhotra) are childhood friends who decide to get married. Two days prior to their wedding, Jai starts getting cold feet. He is unsure of whether marriage is the best option for them; he ponders over the practicality and after effects of marriage, and finally tells Diya that he isn’t ready. [caption id="" align="alignnone" width="600"] Katrina Kaif and Sidharth Malhotra
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Katrina Kaif and Sidharth Malhotra
Photo: Facebook[/caption] Heartbroken, Diya leaves him and Jai decides to drown his sorrows in wine. The next morning, Jai finds himself in Thailand on a honeymoon trip with Diya. He is oblivious to what has happened, and is absolutely clueless and cannot recall anything. [caption id="" align="alignnone" width="600"] Katrina Kaif and Sidharth Malhotra
Photo: Facebook[/caption] [caption id="" align="alignnone" width="600"] Katrina Kaif and Sidharth Malhotra
Photo: Facebook[/caption] From there on, the audience get to witness Jai Verma’s time-traveling experience, which fast forwards him to the age of 40 and 60 and takes him back in time as well – as if signalling that something in his life needs to be fixed. [caption id="" align="alignnone" width="600"] Katrina Kaif and Sidharth Malhotra
Photo: Facebook[/caption] [caption id="" align="alignnone" width="600"] Katrina Kaif and Sidharth Malhotra
Photo: Facebook[/caption] The film rests mostly upon the shoulders of Sidharth Malhotra, and he succeeds in delivering a great performance. He’s remarkable in his 60s, especially how he interacts with everyone around him. Sidharth impresses the audience in numerous scenes with his acting nuances. This is amongst the most difficult roles (since it has so many complexities involved) but Sidharth has undoubtedly done justice to it. [caption id="" align="alignnone" width="600"] Sidharth Malhotra
Photo: Facebook[/caption] [caption id="" align="alignnone" width="600"] Katrina Kaif
Photo: Facebook[/caption] Katrina has performed averagely, nothing special I must say. In some scenes she has done a commendable job, but in totality, she is simply mediocre. Ram Kapoor’s, Rajit Kapoor’s and Sarika’s performances are also worth mentioning. [caption id="" align="alignnone" width="600"] Katrina Kaif and Sidharth Malhotra
Photo: Facebook[/caption] Direction wise, Baar Baar Dekho is effective, but the narrative and script of the movie somehow lacks depth, preventing viewers to connect with the characters. Viewers are mostly left confused about what’s happening in the movie. The element of surprise and excitement takes a backseat which is not a good sign in the time-travelling genre. Baar Baar Dekho is not a mass appealer and loses out big-time on its script. Unfortunately, this movie can be skipped, but if you’re curious about what life in the future would be like – then sure, go ahead and give it a watch!

Steering away from the melodramatic genre of our drama industry – which continually encircles around the ‘bechari aurat’ (oppressed woman) – projects like Ek Thi Marium attempt to bring about a much needed change showcasing the true meaning of the commonly misused term: woman empowerment. https://www.youtube.com/watch?v=QkDwnpm31UY The project is a biopic of the first Pakistani woman fighter pilot, Marium Mukhtar, who was martyred whilst in the line of duty. The gripping narrative, crisp direction, and deep dialogues have made this telefilm both moving and inspirational; two qualities which our monotonous sagas continually lack. [caption id="" align="alignnone" width="600"] Pakistani woman fighter pilot, Marium Mukhtar
Photo: Reuters[/caption] Ek thi Marium narrates the story of a spirited young woman whose struggles, diligence, unshaken faith and conviction made her the proud recipient of the Tamgha-e-Basalat (Medal of Good Conduct) post her martyrdom. Marium Mukhtar, while fighting stereotypes, made the courageous decision to become a GD fighter pilot for the Pakistan Air Force – a field presumed to be a man’s profession. [caption id="" align="alignnone" width="600"] Photo: Facebook[/caption] During the 120-minute telefilm, we see Marium transcend from a cadet to a PAF fighter pilot. We see her struggle and overcome the harshest of circumstances, deprived of all the blessings we so casually take for granted. [caption id="" align="alignnone" width="600"] Sanam Baloch
Photo: Screenshot[/caption] She is forced to shape herself in accordance to the Air Force standards, and comply with orders that separates her from her natural self.  Apart from the mental stress, we see Marium partake in strenuous physical exercises that push her to her breaking point, like her male colleagues are expected to do as well. But like a true hero, we see her rise to every challenge. [caption id="" align="alignnone" width="600"] Sanam Baloch
Photo: Screenshot[/caption] Marium’s story plays a big role in breaking the unspoken barrier between civilians and soldiers, who just can’t seem to connect with one another on the societal front – with the assumption that it’s due to their discipline, principles, petite attire, and intimidating personalities. Ek Thi Marium shows viewers the other side of the stern face that one associates with soldiers, and illustrates the struggles that one goes through to finally reach that dignified stature. The movie creates a connection and illustrates a more humane aspect of our soldiers, who we unintentionally take as selfless and courageous individuals, lacking any sort of emotion other than patriotism. [caption id="" align="alignnone" width="600"] Photo: Facebook[/caption] The star of the telefilm, Sanam Baloch, does complete justice to her character and her much awaited comeback, effortlessly portraying a very real yet heroic figure. Hina Bayat performs beyond everyone’s expectations in her concluding speech, when she becomes the proud mother of her shaheed (martyred) daughter. The film is tear-jerking to say the least and will leave you with a heavy heart. [caption id="" align="alignnone" width="600"] Sanam Baloch
Photo: Facebook[/caption]

“Hamari Marium tou qaum ke naam par qurbaan hogai, magar aap ke gharon mein ek ek Marium hai. Aap sab se bus itni ilteja hai ke apni apni Marium ko, qaum ki amanat, aur Allah ki rehmat samajh ke palein - Shukriya” (Our Marium sacrificed herself in the name of her nation, but in each of our homes, there is a Marium. I humbly request you to understand that your Marium is an asset of the nation and a blessing from God, hence, raise her accordingly.) 

Seventeen years ago, for better and worse, The Blair Witch Project (1999) changed the horror genre forever. On the plus side, it brought a new meaning to the term “viral marketing” by turning a $600,000 movie into a $248 million global hit – thanks largely in part to those viral online ads. On the other hand, it also gave birth to the found-footage genre, which represents just about the most uninspired and hackneyed conventions of filmmaking out there today. https://www.youtube.com/watch?v=girSv9UH_V8 I must say, I’ve never cared for The Blair Witch Project, but having said that, I do understand that the film really struck a chord with the people who saw the entire found-footage thing done for the first time back in ’99, and did in fact find it scary. But today, that gimmick has become as old and stale as Home Improvement reruns. [caption id="" align="alignnone" width="600"] James Allen McCune
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Callie Hernandez
Photo: IMDb[/caption] Seventeen years on, and we have a sequel to The Blair Witch Project (Book of Shadows can be forgotten) simply titled: Blair Witch. [caption id="" align="alignnone" width="600"] Wes Robinson, Valorie Curry
Photo: IMDb[/caption] The film also picks up in present day and follows the story of James (James Allan McCune), the brother of one of the original film’s victims, while he travels with a few friends to search for clues in the woods where his sister disappeared. The film shows a friend of James making her own pseudo-documentary about his search to reinstate the found footage aspect. The cameras this time are far better – head-mounted mini cams and a lightweight flying drone – also serving to illustrate that it’s been 17 years since the original. [caption id="" align="alignnone" width="600"] Callie Hernandez
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Corbin Reid
Photo: IMDb[/caption] Unfortunately, those, along with a handful of other aspects, are the only things that add a fresh or original feel to Blair Witch. And that’s exactly where most of the problems lie. Director Adam Wingard has done some impressive work in recent years with You’re Next (2011) and The Guest (2014) – films which show he can do horror quite well. But he just doesn’t seem to be all that interested in treading new ground here. He offers a film that at times feels almost like a beat by beat remake of the original, but with a more polished look. [caption id="" align="alignnone" width="600"] Wes Robinson, Valorie Curry, Corbin Reid, James Allen McCune
Photo: IMDb[/caption] The typically shaky found-footage camerawork is as annoying and nauseating as ever. It is never really stabilised so you can actually make sense of anything, and it gets shakier and even more incoherent when the supposedly ‘scary’ moments of the film kick in. Much of the film is quite hard to follow. [caption id="" align="alignnone" width="600"] Valorie Curry
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Valorie Curry
Photo: IMDb[/caption] The characters don’t have any real personality to them either. They’re just like those generic teenagers from every other horrible horror movie ever made, who make sure they’re easily attacked by the evil they are trying to document. They are so bland that they actually made me appreciate the characters from the original movie. As annoying as they were, at least they had some defining characteristics to them. [caption id="" align="alignnone" width="600"] Wes Robinson, Brandon Scott, Corbin Reid, James Allen McCune, and Callie Hernandez
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Corbin Reid
Photo: IMDb[/caption] I suppose the biggest problem with Blair Witch is that it is barely scary. Most of the film revolves around the characters wandering around the woods, bumping into one irrelevant clue after another. The film holds out its biggest moments for the final act. And when the time comes, they simply do not scare you the slightest, mostly because these moments come in cheap two second jump-scares that are not very easy to follow in the first place. It’s tired, it’s unoriginal and it’s been done before. [caption id="" align="alignnone" width="600"] Wes Robinson, Brandon Scott, Valorie Curry, Corbin Reid, and James Allen McCune
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] The found-footage sub-genre has acted like a cancer to the horror genre and films like Blair Witch continue to prove why. It seems studios have stopped caring about making films that evoke horror and dread from genuine suspense and build-up. And as long as people continue to keep paying to see them, things are unlikely to change.

Filmmaker and screenwriter, Rakesh Omprakash Mehra, waited a couple of years after the release of his award winning biopic, Bhaag Milkha Bhaag (2013), to entice filmgoers with another mystic drama film. This time, Mehra has placed the genre of the socio-political story in the form of a charismatic folklore to present a war-action filled romantic anecdote – Mirzya. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption]   Mirzya is based on the epic love story of Mirza Sahibaan, one of the most poignant Punjabi folktales. It is about the courage and distress of a woman who sacrificed her love to avoid bloodshed. The idea is touching and has attracted numerous filmmakers throughout the sub-continent, but Mehra’s adaptation is unusual as it presents a modern-day, as well as fantasy aspect of the folktale, while exploring the reasons behind betrayal and self-destruction. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] As per the trailer, the story is mainly set against a rural backdrop showing couples falling in love in different time frames, but facing the same consequences and destiny. The short snippet shows that the story is inspired by the legendary folklore, but it has been crafted with a diverse approach by adding some dark and passionate elements. [caption id="" align="alignnone" width="599"] Saiyami Kher and Harshvardhan Kapoor
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] The film will feature Anil Kapoor’s son Harshvardhan Kapoor as well as Saiyami Kher, the niece of the celebrated actress Tanvi Azmi, as Bollywood’s freshest debutantes. The trailer has not revealed the characters of both performers though. [caption id="" align="alignnone" width="600"] Harshvardhan Kapoor
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] There are various cinematic versions of Mirza Sahibaan’s folklore, both in Pakistan and India, namely Mirza Sahiban (1947), Mirza Sahiban (1957) and Mirza Jutt (1967). If you are a fan of highly emotional romantic yet tragic love stories, then you should opt to watch these till Mehra’s latest experiment hits cinemas on October 7, 2016. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption]

So, after his last critical and commercial flop, Only God Forgives (2013), Nicolas Winding Refn is back with another film – The Neon Demon. https://www.youtube.com/watch?v=cipOTUO0CmU The Neon Demon is the story of a young girl – played by Elle Fanning – who lacks every bit of talent, except for looking pretty. She decides to become a model and without much hesitation, quickly climbs the ladder of success and in return, her fellow models become envious of her. But what starts off as a rags to riches success story, quickly ends up turning into a much more psychedelic and horrifying experience. With previous films like the Pusher trilogy, Drive (2011) and Only God Forgives under his belt, can Nicolas Winding Refn once again prove himself to be one of the leading voices in modern American cinema? The film stars Elle Fanning, Jena Malone and Keanu Reeves. [caption id="" align="alignnone" width="600"] Elle Fanning
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Jena Malone
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Elle Fanning
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Elle Fanning and Abbey Lee
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Elle Fanning
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Jena Malone and Elle Fanning
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Elle Fanning
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Elle Fanning
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Abbey Lee
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Elle Fanning
Photo: IMDb[/caption]

Not too long ago, Bollywood released a cricket biopic of a fallen star called Azhar (2016). Among other things that went wrong with Azhar, the biggest problem with it was the mockery it made of cricket. Even before Azhar, films like Kai po che! (2013) and Victory (2009) also struggled to show the sport the way it is played. Admittedly, it’s very difficult to make sports genre movies because you have actors playing the sport that may not be their strength. However, if you miss the basic laws of the game, there is a bigger problem than the actor. https://www.youtube.com/watch?v=6L6XqWoS8tw M S Dhoni: The Untold Story is directed by Neeraj Pandey. When a name like Neeraj is associated to a project, you know that there will not be research blunders in the film. At least not the kind you witnessed in Anthony D’Souza’s Azhar. Not many directors are as sure as Neeraj regarding what he wants from a film. His screenplays are sharper than a blunt knife and editing sequences are crisp as a starched white shirt. In M S Dhoni: The Untold Story too, he has played on his strengths very well. But the question is, is it a good biopic? [caption id="" align="alignnone" width="600"] Sushant Singh Rajput
Photo: IMDb[/caption] M S Dhoni: The Untold Story is barefaced. Azhar too was barefaced but far more unbelievable than the biopic on Dhoni. You could see propaganda in Azhar and you can see glorification in M S Dhoni, but you still feel sympathy and relevance with M S Dhoni that you never did with Azhar. [caption id="" align="alignnone" width="600"] Sushant Singh Rajput
Photo: IMDb[/caption] M S Dhoni is Creed (2015) of cricket. That underdog sympathy has been done repeatedly in cinema. It blatantly overplays the notion of Dhoni being “Captain Cool” staying unaffected by the events happening around him. It’s obvious in the way he deals with his father, his coaches, his selectors and his love interests. He is unmoved to the extent of being indifferent, but in a post interval scene when he breaks out, we see that it’s a façade that helps him move on from tough situations. [caption id="" align="alignnone" width="600"] Sushant Singh Rajput
Photo: IMDb[/caption] There are many moments in M S Dhoni that stay with you for a long time after they are over. You want to look back on them like you do in an Imtiaz Ali film. The best scene of the film to me was when Satyaprakash, a colleague from Dhoni’s railway days comes to see him in the hotel after he becomes the captain. It makes you fall in love, not with Dhoni but with the narrative. [caption id="" align="alignnone" width="600"] Sushant Singh Rajput
Photo: IMDb[/caption] I was also touched by the scene in which Dhoni narrates the story of Yuvraj Singh’s conquest over his team and how they lost the match to Punajb and Dhoni fixing a bike that did not start properly used as a metaphor to fix the team. And, also, the badminton court scene where he finds out his selection in the team and does not break the volley he is playing. He only smiles a little after he scores the point. That is the focus associated with Dhoni. Another highlight of the film was morphing the protagonist Sushant Singh Rajput in the actual matches, something that has not been tried in the other biopics before and clearly stands out. [caption id="" align="alignnone" width="600"] Sushant Singh Rajput
Photo: IMDb[/caption] What leaves me thinking is: where is the untold story? Where are the scandals? Where is the IPL corruption saga? Why is the rift with Sehwag downplayed in a 10-second sequence? Why is Dhoni only a winner in blue shirt and not the loser in yellow shirt of Chennai Super Kings in several IPL editions? And even in blue shirt, what happened to his defeats between 2007 and 2011? [caption id="" align="alignnone" width="600"] Sushant Singh Rajput
Photo: IMDb[/caption] The essence of ‘Captain Cool’ would have been depicted had they shown how Dhoni dealt with the setbacks in his life and how the highs and lows contributed to what he had become. Even though I loved the film as much as I loved A Wednesday (2008) and Special 26 (2013), I still believe Neeraj left out a lot that was desired. It’s a great sport film. No one has done as much justice to cricket as Neeraj has. He has done a great job on the actor playing Dhoni, but in this process he has completely overlooked other parts of the film. The side tracks are clichéd. The tension during the matches being played by Dhoni is contrived and could have been shortened considering that the film is 190 minutes long. The absence of immorality or the overdose of positivity hurts. There is not a single person in the film who has negative intentions or influence in Dhoni’s career. Lastly, Neeraj Pandey cannot handle romance. I cringed whilst watching the love chemistry in Special 26 and in M S Dhoni, he has simply taken the biscuit. Romance is not Neeraj’s forte. Ironically, he spent way too much time on it. He managed to get a few decent scenes but overall it was disappointing. [caption id="" align="alignnone" width="600"] Sushant Singh Rajput and Disha Patani
Photo: IMDb[/caption] Sushant Singh Rajput has towered in his role as Dhoni. It will be unfair to not mention how much effort he has put into the cricketing side of the film. His technique looked better than that of Dhoni, granted that Dhoni himself is not the most correct batsman anyway. When an actor puts a lot of hard work in an act, it shows; amazing physique, mannerism, and emotional restraint. He kept walking the tightrope between outright mimicry and sympathetic interpretation with a flawless ease. This is a memorable performance that can prove a breakthrough for Rajput. [caption id="" align="alignnone" width="600"] Sushant Singh Rajput
Photo: IMDb[/caption] The remaining cast is quite effective other than the two love interests, who became victims of Neeraj’s weak romance. Kali Prasad as the railway boss and Kumud Mishra as Dhoni’s first beneficiary in Bihar stand out. The token Sardar friend and the guy who taught Dhoni how to play the trademark helicopter shot are also quite good. [caption id="" align="alignnone" width="600"] Sushant Singh Rajput
Photo: IMDb[/caption] Remarkably, the film seems to be in constant motion, as if acknowledging the importance Dhoni placed on his players’ movement in the field. If a 190 minutes’ film is made by Ashutosh Gowarikar, you come out of the theatre feeling old. In this case, you come out feeling younger and thinking you could have watched more of the story unfolding. [caption id="" align="alignnone" width="600"] Sushant Singh Rajput
Photo: IMDb[/caption] If we take out the romantic element and overdose of positivity from the film, it could be counted as an all-time great biopic of the Indian cinema. Even if we keep these things intact, it’s a great cricket film which will resonate with masses. In M S Dhoni, hope and the moment of truth arrive in the form of a ghost train. There is no one inside but the gate automatically opens. Dhoni has to take the call to get in and he does. That moment changes his life. It’s one of the warmest movies to come out this year, at par with mammoth Sultan (2016). It shows us that we are delighted in the successes of unexpected heroes, because we have a hand in creating them. In the end, as Ravi Shastri would say, “cricket is the winner.”