A warm welcome to all friends visiting the site with a loving invitation to read my personal expressions on movies, music, poetry and life.

Music and Movies are like Ears and Eyes to me and if you also feel the same, then you are going to enjoy every moment spent on my works here, for sure.

Do send in your valuable comments and suggestions as they would be my guide for all the future works.


ANAARKALI OF AARAH - You praised Amitabh teaching the meaning of a woman's NO in the court, now praise Swara doing the same in a differently authentic manner. (Review By Bobby Sing).

PHILLAURI - It's a confusingly conceived Punjabi film made in Hindi, based on an interesting but inspired idea with the only merit being its emotional climax. (Review By Bobby Sing).

TRAPPED - Post an unconvincing start, it fairly keeps you engaged as a praise-worthy off-beat attempt featuring an impressive solo act and some notable merits. (Review By Bobby Sing).

This Friday's One Line Reviews by Bobby Sing for making your weekend movie plans..

KONG SKULL ISLAND (English) - Though lacks an emotional pull and the original charm, it's still an incredibly made entertaining comic-book adventure to be experienced in a well-equipped theater. (Review by Bobby Sing).

BADRINATH KI DULHANIA - A unique case of the makers returning with the same lead pair, a similar title, identical looks and the same old premise of a wedding, mocking at the viewers patience & choice. (Review by Bobby Sing).

LION (English/2016) - An emotionally uplifting film which once again depicts INDIA in a bad light and we know the westerners do have a fascination for such dark representation of our country since decades. (Review by Bobby Sing).

ANUPAMA (1967) - Its touching emotional climax and DDLJ - By Bobby Sing.

COMMANDO 2 - Focusing on suspense instead of action, Vidyut gets no support in this poor and so casually conceived film unfortunately. (Review By Bobby Sing).

LOGAN (English/Hindi) - You will make faces, tighten your fists and do several things going through this brutal, cold blooded must watch thriller for sure. (Review by Bobby Sing).

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March 30, 2017 Thursday     
If a project doesn’t have anything fresh to offer in terms of storyline or concept then the only thing that can work is an outstanding execution forcing the viewers to forget about the clichés and just enjoy all similar ‘seen before’ sequences in a different or novel manner.
Unfortunately the above cannot be said about this week’s HAPPY BHAG JAYEGI as the film doesn’t turn out to be any great laugh riot or a fine entertainer revolving around a familiar ‘border-crossing’ subject that was recently seen in FILMISTAN (2014), WELCOME TO KARACHI (2015) and SARABJIT (2016) too (though based on a sad, tragic real life account of a poor victim).
Coming straight to the point, HAPPY BHAG JAYEGI isn’t any badly made or unbearable movie to be honest. But it isn’t any highly entertaining or a great laugh riot either, contrary to the impression created by its wisely cut trailers featuring the most enjoyable scenes.
Giving the director his deserving due, this is certainly a much better attempt by Mudassar Aziz in comparison to his DULHA MIL GAYA released in 2010. Mudassar purposefully keeps it light and bright without including any drama or heavy emotional moments. But that is exactly the reason why every relationship seems to be so superficial and unconvincing on screen without any emotional depth. On the other hand he does score some positive points by not allowing any jingoism or unnecessary political comments in its various sequences happening in Pakistan.
Produced by Anand L. Rai, the film has some big similarities with the characters seen in his TANU WEDS MANU that might be unintentional. But revolving around a runaway bride, a few sequences strongly remind you of films such as JAB WE MET (its over talkative Punjabi girl Geet), SHUDDH DESI ROMANCE (its opening moments) and more.
Beginning on an impressive note with kids playing cricket in the locality, a Punjabi family celebrating their pre-marriage function introducing the would-be couple and the bride running away shocking them all, HAPPY BHAG JAYEGI actually works fines as a decent, average entertainer till intermission mainly due to some well written dialogues & sincere performances bringing in the timely smiles.
However the way writer-director tries to make you laugh with all casual, forced sequences in the second half frankly derails the fine progression unexpectedly and the film turns into a routine, repetitive fair ruining a potential base. As a result all you get to see in the second half are the usual mad chases, a silly kidnapping, everyone crossing the border without any hassles, unrequired complications and a laughable presentation of police and politicians in Pakistan treating them as some silly comedians.
For instance, a supposedly funny sequence over the tea (post intermission) clearly reveals the difference between a naturally conceived comic scene and a forcibly created artificial one by the writer. Further a Hindu marriage sequence involving a disguised Pandit in a big political event organized by a known Pakistani politician in Pakistan itself comes as an amazingly laughable insertion before the obvious climax.
Surprisingly in a film titled HAPPY BHAG JAYEGI, Happy actually vanishes for a good amount of time in the middle with the focus shifting to all other characters. And that was really strange to notice since the story was supposed to be of Happy and not of Abhay Deol or others to be precise. In the technical department both the cinematography and the background score try hard but are not able to lift up the film due to a completely unexciting second half. Using the short versions of its few songs playing in the backdrop, the director doesn’t let them hamper the pace. But there still isn’t any great track that forces you to search for the song or look for its complete original soundtrack online. 
Playing the lead role Diana Penty returns to the screen after a gap of four years post COCKTAIL (2012), but her act isn’t anything superior than what we had earlier seen in her first film. No doubt she tries her best as the free spirited chatterbox  Punjabi girl, yet the faulty accent and a confused focused of the script doesn’t let her outshine her previous performance to be honest. On the cost of being harsh, though she looks great on screen in both western and Indian attires having an adorable smile, but that magnetic charm still isn’t there that can justify three men falling for her in India as well as in Pakistan.
Both Abhay Deol and Ali Fazal perform their given roles with a natural ease and the same can be said about the Pakistani debutant Momal Sheikh along with the veteran Jawed Sheikh. However Kanwaljeet is just okay playing the ‘not-so-disturbed’ father of a young runaway bride who has somehow reached Lahore. In other words, the two actors who actually contribute the most are Jimmy Sheirgill and Piyush Mishra offering some fine enjoyable moments in their individual scenes. Interestingly where I felt sorry to see Jimmy yet again playing a character who always loses the girl in the end with a painful smile, it was great to see Piyush’s fabulous portrayal of a Pakistani cop with a fine diction of Urdu language and an impressive comic timing (though the multi-talented actor always performs remaining so close to the thin line of overdoing it.)
Overall with a much better first half, HAPPY BHAG JAYEGI strictly remains a below average, feel good rom-com made on a repetitive, predictable plot that is certainly going to be more enjoyable if seen on a TV channel without spending a heavy amount on the tickets making some extra effort to go and visit the multiplexes.
Rating : 2 / 5
Tags : Haooy Bhag Jayegi Review by Bobby Sing, Happy Bhag Jayegi Movie Review by Bobby Sing, Inspired Movies, Similar Movies, Runaway Bride Movies, 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
19 August 2016 / bobbysing /
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To begin with, we all know what sells here in our films apart from the Big Stars and that’s exactly what’s being offered in this third product of the franchise strictly known for its erotic content presented along with a ‘must have’ storyline. To explain it further, HATE STORY 3 is actually ‘two films’ woven into one, with the first one offering you the much expected erotica & bedroom scenes all incorporated in its deliberately added songs inserted at regular intervals. And the second is a typical Abbaas-Mustaan type of suspense thriller (with a surprise entry towards the end) which doesn’t work at all due to a sloppy editing, an immature direction and many absurd twists & turns throwing the characterization out of the window as if it’s never supposed to be there in a film like this.
As a result you have business tycoons behaving like college boys, legal blames being put on colleagues just like that, killings going on as if they have already bought the police & law, a lab sequence as well as graphics reminding you of those scientists & blasts shown in the black & white movies of 50s-60s and the ladies being there only to prove themselves bolder than the other with more intense skin show, deep kisses and suggestive body movements providing the expected content.
But here a worth mentioning catch is that if you are only interested in the film for some more erotic sequences than the already seen, then its going to be a big disappointment for sure, as HATE STORY 3 doesn’t have anything more to offer apart from what has already been revealed in its various song videos before the official release. However if you still wish to watch those bodies moving freely on the bigger screen in the theater, then that’s a different personal choice beyond any discussion.
Beginning with an unexpected emotional scene, HS3 straight away comes to the point in the first 10 minutes itself showcasing the most famous song and then starts delivering the same old routine stuff quite carelessly keeping the logic aside. Post intermission the proceedings further enter their ‘the worst zone’ when a song abruptly begins saying ‘Yeh Kaise Ho Gaya' and you feel like as if the lyricist has somehow read your mind thinking in exactly the same language. Stating its few merits, though an energetic background score, fine cinematography and some melodious songs don’t let you feel like watching something really bad. But the way it starts heading towards the culmination in a quite childish way, repeatedly makes you think about the filthy one sided mindset behind its poor making.
Besides, its most famous song, “Tumhe Apna Banane” honestly forced me to think that how can it be officially labeled as a reworked version of the original song from film SADAK (1991), when even the cult track of SADAK was also blatantly copied from a Pakistani song “Chale To Kat Hi Jayega Safar” sung by Mussarrat Nazir that was never disclosed either by the composers or the music company at the time of its release.
Anyway moving on to performances, the stunners here remain the two girls Zarine Khan and Daisy Irani, obviously not for any of their acting skills but for their ‘nothing to hide’ attitude while enacting on the bed to be specific. And its Zarine Khan who simply catches you unaware performing with such a bold confidence with both her young male co-stars in all the sexy sequences, whereas Daisy still needs to work hard on her scenes apart from the ‘taking off your clothes’ act that always works on the screen, irrespective of who is doing it.
In the male leads, Sharman Joshi should immediately forget this film to get back on the right track and Karan Singh Grover should not expect much either from this ‘women oriented subject’ in terms of box office response. In the supporting cast, Priyanshu Chatterjee does deliver a pleasant surprise once again playing a similar role and rest are just okay in their given roles.
Coming back to its basic script structure, HATE STORY 3 (directed by Vishal Pandya), clearly takes its references from various sources (typically penned by story-screenplay writer Vikram Bhatt) including the basic plot reminding you of INDECENT PROPOSAL (1993), the faulty cold drinks and blame game insertion taken from our own CORPORATE (2006) and the terrace scene where the two heroes meet, faintly making you recall a similar one in THE DEVIL’s ADVOCATE (1997). In short it’s once again the same mix of an inspired revenge saga served along the essential erotica with two fresh female faces in the lead, who actually remain the only major attraction of the project for all the obvious reasons.
In fact this is a quite good business strategy of making money through such a sure shot ‘movie franchise’ hitting the bulls eye, wherein you quickly get a crime thriller screenplay written inspired by a couple of hit films, cast one or two beautiful fresh female faces in every new part of the series having the right curves, ask them to take off their clothes in some tastefully shot songs & bed room scenes, get some good melodious songs to run in the backdrop serving the right erotic mood and then walk your way to the banks after only a few days of its release making some quick money.
If truth be told then this was widely done by many B-C grade producers in the forgettable decade of 80s as well as 90s churning out some cheap, awful movies to be shown in the morning shows and the smaller centers earning some decent returns. But now the same act is being practiced again in a much upgraded corporate style by all the reputed names, that actually reveals the ugly side of the business popularly termed as Show-Biz.
Rating : 1 / 5 (And that too just for a couple of good songs and the technical merits)
Tags : Hate Story 3 Review by Bobby Sing, Hate Story 3 Movie Review by Bobby Sing, Inspired Movies, Borrowed Themes, Inspired from Hollywood, Copied Movies, 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
04 December 2015 / bobbysing /
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To begin with, if a person is eager enough to either appreciate or criticize HERO just because its produced & presented by Salman Khan then that would be a faulty way of watching or rating the film unarguably. So let us keep ‘The Salman factor’ associated with the project aside and consider this as an important debut venture of a young ‘industry’ couple willing to win over the audience through their honest efforts.
But moving ahead, the second hurdle HERO is bound to face inevitably is the comparison with its original musical gem HERO (released in 1983), that is still fresh in the minds as well as in the precious collection of Hindi film music lovers all over the world. The present version of HERO largely follows Ghai’s classic in the first half and therefore cannot avoid the comparisons drawn by the viewers, being an official remake coming after 32 long years.
However, respecting the makers as well as the debutants relying a lot on the film, I would like to keep the comparison for the later part of the review and begin with the film as a fresh release presented with a major publicity campaign.
So as a love story with the catchy title HERO, introducing two youngsters from the families belonging to the industry itself, what can be the first thing expected from the film by the excited viewers?
The very first thing has to be some kind of novelty in the project in terms of storyline, execution, sequences, action, conflicts, the loving chemistry and the soundtrack making it a worth watching experience for all. But sadly Nikhil Advani’s HERO has got nothing to offer in these crucial departments and the film simply remains a lazily or rather unintelligently made project relying too heavily on the person promoting it from the front having a gigantic fan following. In fact watching the film progressing so boringly on a badly written script with nothing engrossing at all happening in those two hours, one is forced to assume that maybe it’s the case of too many cooks spoiling the dish as the saying goes. Probably too much interference coming from all corners (Shettys, Pancholis & Khans) turned the film into an unentertaining mess that was supposed to be a remake of a highly enjoyable and hit movie of the 80s.
Commencing on a very poor note following the typical Bollywood format and a below average party song, HERO fails to make any kind of impact within its first 20 minutes itself and then everything happening so quickly defying all the logics simply puts the viewer off before the intermission only. Post interval it even stops following the original and goes on with its own clichéd and mediocre plot with no sense of time-gaps or logical justifications as such.
To say the least, there is no depth found in either the two persons loving or the others opposing their love right till the climax. As a result, you never feel like watching an intense love story with a lot of conflict involved. The film begins and keeps delivering the same seen before sequences one after another without caring about the people sitting in the theater having spent their hard earned money and time. In other words, HERO of 2015 can easily be presented as a perfect example of most irresponsible film made in the present times playing with two young careers.
Also its a film having the most inappropriate people chosen as the cast, who fail to establish any kind of connect with the given roles be it a father, an uncle, a bhabhi, a mother or the villains. So where Tigmanshu Dhulia falters big time in playing the father (despite being a gifted performer), the rest of the actors simply play their roles as another usual assignment signed to earn some quick bucks. And as it is said, nothing can hamper a film more badly than a wrong casting.
A fine cinematography and action accompanied by some mediocre writing, sloppy editing and dull dialogues keep affecting the film at various points. Like its really amusing to notice an inspector suddenly giving the instructions from a helicopter, who was just doing the same at the ground in exactly the previous shot. Moreover a scene showing the girl praying to BUDDHA considering him as a GOD, clearly reveals how much less the writers as well as the youngsters know about the enlightened soul and his views about the existence of God.
A big letdown in the music department too, the only likable track remains the Salman Khan number that has been arranged well with a catchy hook line working fine. But God knows when the music directors would understand that by only calling in Rahat Fateh Ali Khan to render a track doesn’t ensure you a hit song always.
Coming to the two debutantes, Sooraj certainly has got a decent screen presence with a solid physique to display, particularly in the actions sequences and Athiya Shetty looks pretty in some specific scenes only to put it honestly. However as far as the performances are concerned, they both got to thank their ‘surnames’ much more than the inherited talent, that needs to be accepted as a harsh truth at this particular point of time (as nobody knows what fate or luck has in store for them in the coming years).
Now lets get to the comparison part of the review studying the film as an official remake of Subhash Ghai’s HERO released in 1983 establishing Jackie Shroff as Jackie Dada and Meenakshi Sheshadri as Radha among the young viewers.
In few words, Nikhil Advani’s film quite brutally and shamelessly murders Ghai’s HERO, particularly while adapting its fabulously written characterizations. Accepting the fact that there wasn’t any path-breaking storyline in the original, the 1983 film actually worked due to its immensely lovable characters reaching out to the audience, its entertaining execution, an outstanding soundtrack and an engaging script that even incorporated the ‘in-thing’ of those times i.e. the motorcycle mania used brilliantly (along with the brand promotion way back in 1983).
So if you are amongst those lucky friends who have personally witnessed the enigma around the original HERO of the early 80s, then in this latest 2015 version of the hit,
You are not going to find any raw, unpolished talent as Jackie Shroff (Jackie Dada).
No intelligent, homely girl as Meenakshi Sheshadri (Radha).
No big, scary fighter as the ugly Billa.
No evil, bald man as Amrish Puri (Pasha).
No strong and firm father as Shammi Kapoor.
No entertaining, helpful uncle as Sanjeev Kumar with his easily caught disguises and the dialogue “Pallu Upar Karo”.
No irritating widow as Bindu who loves to read erotica hiding from all,
No lovable Madan Puri supporting the changed Jackie giving him a decent job.
No exciting competition race between Yamaha Rajdoot and Honda with the dialogue, “Honda Hove Ya Fonda, Jitega Mera Munda”
No drug addict Shakti Kapoor making the cunning faces and attempting a rape
and no exciting climax with those soul stirring notes repeatedly playing in the background.
Besides if you wish to know more about how the times have changed in these 32 long years from Subhash Ghai’s HERO of 1983 to Nikhil Advani/Salman Khan’s HERO of 2015 then….:
A. Now we have actually lost all those directors who could pick up a raw talent as Jackie Shroff from nowhere and turn him into a rage with a single film all over. (The reason being, as now we have many youngsters in the filmy families itself, waiting to be introduced together as per their individual turns.)
B. Now we don’t believe in our hero playing a ‘Sadak Chhaap Gunda’ smoking and drinking openly, speaking rough language like Jackie Dada, as that may sound cheap and down-market to the high spending audience of our multiplexes. (So for them we have to present him as a sophisticated, body building gangster who doesn’t seem to be even close to the teasing reality.)
C. In the present scenario we don’t like our hero to play a simple flute, probably because flute is not up to the standard of multiplexes! (May be a flute seems to be less youthful and trendy............in comparison to a Guitar or Piano eyeing the target audience.)
D. Now we don’t like to portray our heroine as an intelligent, well read girl who asks proof from the kidnapper for being a policeman. And who happens to be a homely girl too, able to cook food and wash clothes for the entire team of boys staying together. (May be that kind of portrayal will spoil all the designer dresses given to the leading lady.)
E. Now we have stopped shooting dramatic sequences within a temple in front of the respected deity with “Hare Krishna” chanting and rhythmic beating of drums going on in the backdrop. (May be because the makers have assumed that people don’t like to see such emotional & religious based sequences in their entertaining films……as if that is not a part of our actual life anymore.)
F. At present we don’t have characters like an over-talkative widow lady in the family, who shows a change of heart in the end. (Probably because the writers-directors have stopped including such realistic characters in their superficial films to be mostly shown in the multiplexes.)
G. Now we don’t believe in focusing on family values, traditions and self-respect in conflicting scenes between the young boy, the girl and their concerning yet bigheaded father. (May be because that is supposed to drag the film as per the newly found formula of the new age millennium.)
H. Now our hero cannot work as a mechanic in a factory so he has to be given a whole gym to run in order to make an honest living.
I. Now we don’t have time to work on film soundtracks, indulging in long overnight sittings with music directors, lyricists and rhythm musicians together. As now random songs can easily be received through Whats App and E-mails on our mobile phones (to choose from), made by various composers without even knowing about the actual requirement of the film or its basic theme.
As a result we do not get to hear a flute/shehnai-piece or a voice like that of Reshma with some heart wrenching lyrics capable of giving us goose bumps with just a few starting notes of a melodious song. As a matter of fact we don’t even get to hear our own Indian instruments in the songs, all overstuffed and full of electronic sounds that can be easily controlled by learning a mechanical technique and not any human art.
J. And lastly we don’t waste footage anymore in establishing relationships on screen as earlier. Now our girl should fall in love quickly in just her second or third scene and then everything should happen fast forgetting anything about the much needed depth regarding love or relationships portrayed as per the film’s subject.
In short this is how our cinema has changed in the last few decades resulting in an utter confusion, wherein the hugely famous flute piece from the original HERO (1983) finds place in a film called HEROPANTI (2014- introducing Jackie Dada’s son), but goes entirely missing in the official remake with the same title co-produced by Subhash Ghai himself in 2015.
Now, whether this can be considered as a positive, constructive progress or not, that’s a question to be thought upon by the makers and the viewers together at the earliest.
Rating : 1 / 5
Tags : Hero Movie Review by Bobby Sing, Hero Film Review by Bobby Sing, Hero Official Remake of Subhash Ghai 1983 film, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, New Hindi Films Reviews at bobbytalkscinema.com
12 September 2015 / bobbysing /
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