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May 01, 2016 Sunday     
For a Hindi romantic film, a talented-likeable lead pair and a melodious soundtrack are the two most important ingredients ensuring a successful venture. So it really hurts when an otherwise capable director-duo chooses to waste both these difficult to acquire, precious elements in their film offering nothing fresh in either the storyline or the treatment throughout its tiresome 155 minutes of duration, unfortunately.
In clear words, it would have been great if directors Radhika Rao and Vinay Sapru had adapted a different novel script with the same perfect cast and melodious score giving us much more to praise wholeheartedly. Because after watching their latest project SANAM TERI KASAM one seriously wises to know that what they exactly found great in this kind of stereotyped, lifeless and heavily borrowed plotline for their major venture ruining a potential lead pair and more than four good songs in the soundtrack.
Focusing on all realistic characters living in a society building, the film honestly doesn’t disappoint in its opening 45 minutes in spite of everything predictable reminding you of the American television series UGLY BETTY, its most famous desi TV version JASSI JAISI KOI NAHIN and many more cinematic adaptations in the past. Till this moment it’s the sweet performance of the fresh pair (especially the girl), two melodious tracks, a soothing background score, fine cinematography and all decent supporting acts that keep you engrossed without any big complains as such.
But as soon as Vijay Raaz appears on screen playing a makeover specialist, abruptly singing a peppy number with girls dancing at the back in a highly absurd manner, you start looking around to see how others are reacting to this foolishness happening on-screen. And it’s from here onwards that the film starts delivering all monotonous, seen before stuff introducing a twist repeatedly witnessed in films such as ANKHIYON KE JHAROKHON SE (inspired from English flick LOVE STORY) and the most recent KATTI BATTI. The overstretched length continues to annoy severely and by the time it reaches the climax, one starts wondering that how they all keep agreeing & making films on the same subjects again & again displaying so uncaring & irresponsible attitude towards the viewers.
Further a highly flawed execution of the sub-plots like the bizarre father-son relationship, shifting into a big deserted house without any reference of an owner, a silly grown-up girl more worried about her own marriage than the elder sister being through out of the home, a cowardly fearful mother and a father executing the final rites of his still alive daughter further pulls down the film to much lower levels. Still it’s the lead performances, their strong emotional moments and the enjoyable soundtrack that doesn’t let it sink till the last and one genuinely feels bad for these two noticeable merits being wasted in such a clichéd subject.
Inthe acting department, apart from flaunting his perfectly toned body (remaining mostly topless in the film), Harshvardhan delivers a fine controlled performance with a subtle charm in his silently expressed love and anger. But it’s the strangely named Mawra Hocane from Pakistan, who remains the clear winner in the film with an immensely lovable & innocent act that doesn’t let you forget her soon after moving out of the theater. The girl is a sheer treat to watch in the first half and is nothing less than a big asset for a director deserving a much better film soon exploring an intense subject.
Having said that, I personally also found huge similarities between the lead pair and actors Ali Faizal-Shruti Hassan throughout the film so strongly, wherein even the voice-tone of Mawra sounded so close to that of Shruti. In the supporting cast Manish Choudhary and Murli Sharma stand out prominently in their respective scenes, whereas Vijay Raaz remains an unnecessary addition in his sequence conceived idiotically.
Providing the biggest support to the film is its soundtrack composed by Himesh Reshammiya, proving the fact that the man still has got a lot in him in musical terms without any doubt. Here the finest song of them all ‘Haal-e-Dil’ (especially in the female version) was interestingly a track chosen by Salman Khan for his TERE NAAM which couldn’t be a part of that film somehow (as tweeted by Salman). ‘Kheech Meri Photo’ remains the second song winning over the listener completely and then we have the title track ‘Sanam Teri Kasam’,  'Tera Chehra', ‘Rehnuma’ and the weirdly peppy ‘Ek Number’ too with a melody that works as an individual item number (unrelated to the film). In short, SANAM TERI KASAM has a great romantic soundtrack with more than 4 melodious songs, strangely not promoted well by the makers for their own undisclosed reasons hurting the film a lot.
Lastly mentioning the director duo Radhika Rao & Vinay Sapru, its really sad that since last many years they have been trying hard but still unable to deliver a hit despite being competent enough in terms of emotional as well as technical handling of a project. So here we have a team that has been a victim of wrong choice of subjects and the game of destiny which undoubtedly remains a major influential factor in the show-business. In all SANAM TERI KASAM can surely be seen once but just for Mawra and the songs alone without expecting anything novel or path-breaking.
Rating : 2.5 / 5 (Including a big one for Mawra’s sincere act and the enjoyable soundtrack)

[Note : A dialogue in the film saying, "Apne Mann Ka Ho To Achha, Na Ho to Aur Bhi Achha, Kyunki ................" is originally supposed to be a thought expressed by Sh. Harivansh Rai Bachchan, that is often quoted by Amitabh Bachchan in his interviews and TV appearances (like in KBC). But the film uses it without any mention or acknowledgement.] 
Tags : Sanam Teri Kasam Review by Bobby Sing, Sanam Teri Kasam Movie Review by Bobby Sing, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, Mawra featuring in a Hindi film.
05 February 2016 / bobbysing /
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The quirky characters in the film’s concerning promos did strongly point towards something upsetting coming from the talented team. But it would turn out to be so absurd walking down the same old decayed paths offering nothing new, wasn’t really expected from the thoughtful Vikas Bahl, the director of two National Award winning films namely CHILLAR PARTY and QUEEN (with the first co-directed by Nitesh Tiwari).
On the cost of repeating myself, I would once again like to share that there are broadly only two basic ways of delivering ‘a winning project’ impressing majority of audience sitting in the theater. One is to give them something completely fresh and novel offering a never before kind of entertaining (or enlightening) theater experience in terms of subject & storyline. And two present the same content in such a refreshing, entertaining way that they don’t mind watching it again, making an instant connection with the characters emoting on screen in a relatable manner. Admittedly the first way is pretty tough to follow and deliver, therefore we mostly see the second option tried repeatedly by the makers making a decent amount of money (as seen in the last week’s PYAR KA PUNCHNAMA 2 that was an entertaining remake of its own original released in 2011.)
However what SHAANDAAR offers to the audience in its more than 140 minutes of duration is neither novel nor enjoyable, but rather pathetic - considering the shocking execution tried by the otherwise talented team comprising of many known names.
Having said that the name Vikas Bahl was the one, who actually came up with two novel films in the past (in terms of subject & treatment) impressing both the masses as well as the classes unanimously. But with SHAANDAAR he strangely steps down to a much lower and easier path when given a comparatively bigger and better chance working with two known stars. In fact this clearly proves a common saying in the industry, that the new talented (thinking) directors who make brilliant films within a limited budget featuring a lesser known cast, always mess up badly when given a more than required budget and bigger stars to work with in a mega venture.
Anyway coming to the film, SHAANDAAR honestly gives you nothing to write about in details as it has been made on the same formula of a fairy tale narration heading towards a big happening wedding planned between two supposedly rich families as a business deal. It has all seen before clichéd characters of a rich empire led by a manipulating old grand-ma including young sisters, a father, an adopted girl (who in reality is the illegitimate daughter not knowing the truth), the silly bridegroom, his gangster like brother and a wedding planner who starts romancing the sister of the bride as usual. The grand look and art direction with all the designer dresses given to the artists roaming around in a big mansion situated abroad typically follows the well-known settings of a Karan Johar film, who eventually also features in one of its sequences too as Karan Johar only.
Its music and interestingly shot songs at times become the only savior in the absurdity displayed on screen (thrown abruptly as usual). But here too the new obsession of ‘The Film Industry’ continues to be followed blindly, that is of ruining old musical gems by reworking on their original composition and lyrics without any need as such. And this time they have picked ‘Neend Na Mukhko Aaye” and “Eena Meena Deeka” to crucify them in their own new-age brutal way unnecessarily.
Becoming the clear victim of all routine and repetitive writing, neither the lead pair nor the veterans are able to impress as desired. Yes, Shahid and Alia look good on screen having a fine chemistry but the film fails to take any advantage of the same due to its own faults. Also as the girls say, it was indeed the script’s demand to get into the 2 piece swim suit and that too in a dream sequence! In the supporting cast it is shocking to see the cruel treatment given to Anjana Sukhani standing silently in the crowd whereas Pankaj Kapoor is a delight to watch as always in any kind of role given to the master. Sanjay Kapoor gives a surprise appearance playing the 'over-the-top’ Sindhi big brother after a long gap, but the one person who scores the maximum when it comes to performances remains Sanah Kapoor (real life sister of Shahid) making a decent impact in her debut film (playing a character that seems to be clearly inspired from the recent hit DUM LAGA KE HAISHA). 
To give you my personal opinion, though SHAANDAAR is said to be directed by Vikas Bahl but I found Karan Johar visible in its most of the frames more than Vikas due to many obvious reasons. It is a film based on Karan’s favourite subject of ‘A big fat wedding of the rich’ (‘destination wedding’ to be exact) with everything in excess right from the grandeur to the execution as seen in his own films. There are specific scenes reminding you of the typical KJO treatment like the ‘Weirdly behaving twin sisters’, ‘Lavish Non-Veg Dinner on a Tuesday’, ‘Mehndi Interview with Karan’ or the ‘Girls-Boys Qawwali Competition’ towards the end wherein Pankaj Kapoor makes a grand entry as expected. The long descriptive use of animation adding the elements of various fairy tales like ‘The Frog’, along with the must-have ‘I am Gay’ insertion further makes you strongly feel as if you are watching a Karan Johar film and not a Vikas Bahl one to be precise.
Plus a questionable sequence featuring a 7-8 year old Sikh kid seriously forced me to ask that Why on earth they wanted to show Shahid as a born Sikh? What it had to do with the story anyway?.....Or Was it just to add some sick, silly humour as seen in ‘the great director’ Karan Johar’s debut film KUCHH KUCHH HOTA HAI, where he deliberately used a similar kid character to generate some ugly laughs along with Johny Lever and then was later forced to edit out those particular scenes ‘referring to a specific time in the watch’ post the film’s release.
But wait, I have still not revealed the most ridiculous insertion in the film yet, that straight away reminds you of the cult-comedy JAANE BHI DO YAARON, wherein the dead old lady of the house is made to sit on her couch with full make up on, projected as alive and kicking. God knows what made them write that and approve it too in the first place? Besides what was the humour behind the child setting the old lady on fire in the end remained out of my understanding completely. Also why our honourable Censor Boards didn’t take notice of this particular highly objectionable scene (featuring a minor) further puts me in doubts about their set parameters and rules once again.
In short, SHAANDAAR might work for a few who don’t care about eating the same dish again and again served casually without adding any fresh tasteful ingredients. But for me it didn’t work at all (except for the ‘feel good’ climax focusing on the revolting girl) coming from such a thoughtful director known for delivering novel and entertaining subjects moving ahead of the routine. May be this absurdity was a result of the famous ‘KJO vision’ messing with the original thought process of ‘Ph se Phantom’ forcing them to take a more commercial look at the projects forgetting about the ‘cinema’ in them.
But whatever may be the cause this is exactly why producers dream to get a solo release on a Festival holiday to remain in a pretty safe zone. Because in a long Festival Weekend even a grand-mess like SHAANDAAR gets house-full in the multiplexes promising a good initial. 
Rating : 1.5 / 5
Tags : Shaandaar Film Review By Bobby Sing, Shaandaar Film Review at BTC, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, Inspired movies
23 October 2015 / bobbysing /
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Sharing the bitter truth first, no matter what kind of bad reviews or low ratings were given to the 2008 film SINGH IS KINNG, the fact remains that the project was a major earner, and that’s the basic reason why the makers could find the courage to churn out another identical product called SINGH IS BLING post 7 long years following the set format. But since they probably couldn’t get the rights to call it SINGH IS KINNG 2, so decided to keep a rhyming name as SINGH IS BLING (whatever it means) showcasing a desperate mentality displayed by the title itself.
In few words, offering nothing new of any sort, this is again a comedy presenting everything with an over the top Punjabi feel, blindly following a foreign source exactly like they did in SINGH IS KINNG.
(Read all about the inspirational link between Frank Capra, Dharmendra, Jackie Chan and Akshay Kumar at the following link.)
Anyway dividing the review in four specific heads, let’s begin considering it as a latest venture of two well-known names of the industry raising a lot of expectations among viewers.
- As an individual film of Akshay directed by Prabhudeva –
The initial sequences of SINGH IS BLING do occasionally make you smile, especially the scenes with a lion that are sure going to appeal the kids (probably because they don’t get to see a Lion interacting with a human any more, as we used to see it in a Circus a couple of decades back.) A fair amount of entertainment is offered with Amy entering the scene superbly and Lara surprising one and all in her new hilarious avatar. Plus Sunny Leone provides the pleasant shock along with Kay Kay having a strange get up (not suiting him at all) speaking in a wicked tone. A series of jokes portraying Akshay Kumar as a comedian (or a silly person) get evenly placed in the film’s first hour engaging the viewers partially. But what eventually turns out to be a winner is the stunning action sequence featuring Amy as the beautiful killer just before it says intermission.
In the second half the film starts sinking with simply nothing to say or deliver either in its story content or execution. In fact the moment the team steps into Punjab it all becomes quite dull with the same old ‘seen before’ sequences reminding you of Akshay’s own NAMASTE LONDON. Amy’s added plot with her mother falls flat affecting the film badly and only a few deliberately written dialogues (catering the Sikh sentiments) work marginally post interval along with the action.
To be brief, with everything looking clichéd, served with an unexciting soundtrack and many stale jokes, SINGH IS BLING becomes unbearable post interval and overall cannot be rated as something great coming from the stable of Prabhudeva who is not getting into the ‘delivering mode’ since his last few films. Moreover revealing it as a ‘completely copied product’ in the next part of the review, I seriously doubt Prabhudeva had really got anything to say of his own as a director in this particular project.
In the performance section, God knows why Akshay Kumar is so determined to present himself playing such ridiculous characters, whereas he can easily carry a fast paced crime thriller much better as per my personal opinion. Yes, the actor has certainly got a terrific comic timing proved many times before, but serving the same in a poor (repetitive) disguise of a funny Sardar purely points towards his greedy profit motive and nothing else.Thankfully this time we have both Amy Jackson and Lara Dutta making a much better impact than Akshay due to their splendid acts. At one end Amy simply wins over the viewers with her gorgeous looks as well as killing instincts and on the other Lara undoubtedly proves to be the surprise package of the film playing the witty translator.The two equally silly friends of Akshay are not able to contribute much with their forced acts and the same can be said about the supporting cast too including the supremely talented Kay Kay Menon (who remains wasted).
Shot at a lavish and colourful scale, SIB’s background score is a bit loud, hugely depending upon the Punjabi theme. Yet it was indeed surprising to hear the identical notes of golden oldie ‘Sau Baar Janam Lenge” playing in the backdrop in its second hour. At times its dialogues do become noticeable in the first half as well as in the climax written for a specific section of the viewers. But an unnecessarily stretched finale does reduce their overall impact severely.
In the soundtrack department SINGH IS BLING doesn’t have a song that could lead from the front as it was there in SINGH IS KINNG. The OST heavily relies on two borrowed tracks with ‘Tung Tung’ being a redone version of the original track created by Sneha Khanwalkar in her MTV program of 2012 that also introduced ‘Nooran Sisters’ two years before they became famous with the HIGHWAY ‘Jugni’ track.

Check at : https://www.youtube.com/watch?v=hf4g-qcTb0Q

Besides, “Aaja Mahi” remains a reworked version of RDB group’s more than 6-7 years old song, that was also performed by Akshay in a Bollywood award function a few years back.

Chek the link : 
And this (posted in 2007) : 
- As a blatant copy of the Korean film - 
Writing this particular section, I get reminded of a recent conversation we had on FB, wherein a friend referred to today’s directors as ‘mere executioners’ appointed by the corporate houses and nothing else. Watching SINGH IS BLING I could easily relate to that theory as the film which is supposedly directed by Prabhudeva, could have been directed by anyone knowing the technical skill even among his first assistant directors.


Because this is a complete scene to scene lift from the Korean film MY WIFE IS A GANGSTER 3 (2006) as if made by a loyal follower of Korean cinema. Now whether this is an official remake or not, that has not been disclosed. But it better be, since only an official remake can go on adapting the original so shamelessly as seen in SINGH IS BLING. To give you a fair idea, right from the sequence of Amy hurting a rival gang leader in Romania, her travel to Goa, Akshay receiving her at the airport, entry of a translator, the fights, the comedy, the chase sequence driving the car sitting on Akshay’s lap, visit to the village meeting Akshay’s parents, finding Amy’s mother, Amy returning to Romania and Akshay turning up there to the finale scene of Amy dressed as a bride, everything is all there in the Korean movie as it is in a different setting of a gangster theme. In fact coming as a big surprise even the very Indian looking scene of the father drawing two images on the muddy floor with a stick......, is also right there in the Korean original expressed beautifully.
So if you have heard that there were certain movies made in the past by keeping along a DVD player on the sets, then this could be a perfect example to prove that ‘rumour’ right. Also raising a finger on director Prabhudeva, asking him a simple question that,
What exactly did he contribute in this latest directorial venture of his to be precise?
- Addressing the Punjabi community -  
Watching films like SINGH IS BLING, I am forced to ask a question from my fellow Punjabi (Sikh) community, that often in social networks and in real life too I meet people who feel offended when someone cracks a joke on Sardars with the reference of names like Santa-Banta and more. The feeling of getting offended is not completely wrong if the matter goes beyond control projecting Sikhs as just clowns, laughing at anything and everything like some dumb characters.
But I frankly fail to understand that what happens to those people when the same kind of fun is being made by a known name so bluntly in a Bollywood film? In other words why they don’t get offended watching a Hindi filmstar making fun of their personality on the screen just like it is done in all Santa-Banta jokes.
Does a mega star of Bollywood projecting himself as a dumb Sikh character doesn’t look like offensive and insulting to those people for some egoistic reason?
Does it become perfectly OK when an Akshay Kumar is doing it in the name of spreading a good word about Sikhism saying a few lines dialogue in the end balancing it all?
In addition, here I would also like to address the local Sikh dancers called on location from various regions of Punjab itself to dance in these film songs that,
When you can easily see that the director is using you as mere foolish props making strange faces at the backdrop just to create a scene, then why you allow him to do so and not refuse doing such stupid gestures dancing at the back?
    (For reference just check the “Aa Mamma” song with proper bearded Sikhs moving their heads in an idiotic manner sitting behind the romancing Akshay.)
Moreover considering it in a broader perspective, when I see the box office results of Punjabi Cinema in the last 4-5 years, then I proudly find that Punjab’s audience has been very intelligent in rejecting almost 95% of those silly comedies made one after another just to encash the comedy wave in the Industry by even the builders and the traders.
But when it comes to an equally silly Hindi comic film featuring a known star playing a Sikh, it strangely earns more than 10-20 crores within the same territory just in the opening weekend. Putting it differently the audience of Punjab prove to be so intelligent in rejecting all childishly made Punjabi comedy films right on the first day itself, but fail to show the same intelligence while rejecting a Hindi film made around the similar theme and format quite amazingly.
As a result, where a badly conceived Punjabi Comedy film is not able to make even 1-2 crores in its opening weekend, there a major Bollywood film featuring a big star presenting the same Punjabi elements in an unappreciable manner goes on to make 10-20 crores from the same people sitting in the theater…!!!!
Now if that is not a clear example of Hypocrisy then I don’t know what really is?
- Two strange things noticed on the screen –
In this last section I would like to mention two unexplainable additions noticed on the screen while watching SINGH IS BLING. Firstly while showing Amy in Romania, there comes a small text written at the right bottom of the frame saying “Shot in Romania”. And secondly just within the first half, we get to see a one second long still picture saying “Smoking is Injurious to health” (covering the whole screen) abruptly inserted right between the running scenes of the film like never before. But I honestly don’t have any kind of information, why these two things had to be there on the screen, serving what purpose?
In all, walking on an identical path, SINGH IS BLING is nothing but a similar re-packaged (copied) product made just to earn some quick weekend bucks at the box office. However it still deserves a few extra brownie points in comparison just because of Amy & Lara alone, to give them their much deserving due.
Rating : 1+1 (With the extra one just for the efforts put in by the two talented girls together.)
Tags : Singh Is Bling Review By Bobby Sing, SINGH IS BLING Film Review by Bobby Sing, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
03 October 2015 / bobbysing /
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