The opening credit suggests this film’s won honours at festivals called Corrinthian and Marbella. I wonder where those godforsaken places are, and what they do for adult-entertainment there, writes Mayank Shekhar.
This is what, in Bollywood, they call the “launch vehicle”: a mysteriously mammoth marketing explosion that carries along a humanoid into an inter-stellar galaxy of stars, and wannabe movie stars, every few weeks at the cinemas, writes Mayank Shekhar.
Four-actor set-piece comedy, with a fresh gag on every reel, is an arithmetic formula fished out of a marketer’s excel sheet. Many such have been recycled since legit companies pumped in public money into pictures, just a few years back, writes Mayank Shekhar.
Referring this to Mark Pellington’s Arlington Road
would be grossly unfair. If anything, this is a much better movie than that 1999, part-spooky conspiracy theory, says Mayank Shekhar
It appears, a film can either have a super-star, or a story-line. Seldom both. You probably know where this one falls, says Mayank Shekhar
The producer confuses his own generosity with the number of humongous sets and holiday destinations he can send his team out to shoot songs. The only ones suffering are we. Really, I don’t know a worse shortcut to excess, says Mayank Shekhar.
This is another of those half-born progenies of an off-kilter genre made cooler by the Tarantino’s or Guy Ritchie’s in the West, says Mayank Shekhar.
The Bhatt production cycle fits together a few nuts and bolts to a basic formula. This one needlessly deviates from the successful assembly line, says Mayank Shekhar.
Instead of grabbing us by the balls, with a borrowed concept, the filmmakers attempt to engage us with emotions behind the half-baked characters. They appear most interested in the screen-time for each actor, says Mayank Shekhar.
Eventually, a script that starts off supremely crisp, loosens out into climaxes. And a final explanation that while times have changed, only expressions may have altered. Romance is eternal, says Mayank Shekhar
Few plots have so exhilaratingly been laid out with such precise rhythm and inter-cuts. I suspect only a music-composer who’s also a director could synchronise this so well on screen, writes Mayank Shekhar
Given the current crop on desi television lately, was I you, I may actually await this movie on TV. For one, you can turn the volume down at home, a privilege audiences unfortunately can’t enjoy at theatres. Even if everyone’s screaming their lungs out as here, writes Mayank Shekhar
Only an over-ambitious, juvenile script will turn a complicated, global, nuclear flash-point into a minor matter between one Mukhtar, two maulvis, a Colonel, and the entire ‘qom’. This appeared a tender movie about a child. It could’ve remained as just that, says Mayank Shekhar.
I know you won’t see this film. Neither will this film’s hero. Ok, that’s a third-rate joke, in ridiculously poor taste. I’m sorry, I take it back, says Mayank Shekhar
Quick Gun Murugan
, one tumbler whisky, one plate masala dosa, was one of this New India’s early mascots. Shashanka Ghosh was the creative director; Rajesh Devraj, its uncannily brilliant writer and concept guru, says Mayank Shekhar