Bobby Talks - Bollywood Movie Reviews, Inspired Cinema, Movies To See Before You Die, Articles on Cinema, Music, Poetry & Life.

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.


THE GHAZI ATTACK - Ignoring the filmy touches, it largely remains a rare and delightful focused war movie featuring a talented cast ensemble that deserves to be given a chance for sure. (Review by Bobby Sing).

This Friday's One Line Reviews from BTC for your weekend plans - By Bobby Sing.

JOLLY LLB 2 - The second half turns it into a fairly entertaining above average film taking too many creative liberties, crossing the limits of respect and logic in its court room sequences. (Review By Bobby Sing).

KUNG FU YOGA (English/Hindi) - Just fast paced action, eye-catching visuals, stunning girls, a little fun and no yoga results in a hugely disappointing film. (Review by Bobby Sing).

KHAIDI NO. 150 (Telugu) - A power-packed comeback film from the BOSS, bringing forward three socially relevant issues along with the typical entertaining format of a double role. (Review by Bobby Sing).

QATL (1986) took it all from IN BROAD DAYLIGHT (TV Film/1971), but the two still have their own distinctive culminations deserving an equal applause. - A revealing overview by Bobby Sing..

KAABIL - Watch it just for the impressive blind acts and an emotionally likeable first hour, as you already know about the rest, unexpectedly conceived in a twist-less filmy manner. (Review by Bobby Sing).

RAEES - Shockingly strictly routine with the only enjoyable merit being the Shah Rukh-Nawaz clash. (Review By Bobby Sing).

XXX: RETURN OF XANDER CAGE (English) - Fultoo-action oriented our kind of paisa-vasool filmy entertainment. (Review by Bobby Sing).

SARVANN (Punjabi) - Didn't expect such a weak and irresponsible film from a talented team, poorly mixing the elements of Rajesh Khanna's ROTI and DUSHMAN. (Review by Bobby Sing).

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February 21, 2017 Tuesday     

SRK or the King Khan as he is popularly known, certainly has some serious issues with his films since MY NAME IS KHAN released in 2010. At times it’s an old subject that becomes the problem but most of the times it’s the script and the writing which brutally betrays him and his sincere efforts made putting it honestly.

Unfortunately, the same happens once again in his latest RAEES too, which shockingly remains strictly routine right from the first childhood scene and doesn’t have anything fresh to offer to the audience except a fairly enjoyable clash between Shah Rukh Khan and Nawazuddin Siddiqui playing the honest cop.

To be straight, if in a SRK film, Nawazuddin gets more cheers and shouts on his entry than the Khan himself, then it clearly reveals the viewers expecting much more entertainment and ‘return for their money spent’ from him instead of the leading man, which in my humble opinion surely deserves to be considered as an alarming indication for the thinking actor Shah Rukh Khan.

Coming to the film’s key subject, its yet again a story of a gangster’s empire built with the nexus of police, politicians and the system together reminding you of the famous and far superior English TV series NARCOS about Pablo Escobar, the lord of drugs in Colombia. Said to be based on the true story of a Gujarati bootlegger turned gangster of the 80s, Abdul Latif, who was later also charged for the involvement in 1993 blasts, the makers haven’t officially accepted or announced the inspiration but remain too close to the events happened around the same period.

Following the set format of 70s Hindi films written by Salim-Javed beginning from the childhood accompanied by strong dialogues and sequences building the central character, RAEES doesn’t seem to be bad film at all from the perspective of making, shot-takings, background score, presentation and the key performances. But it’s the so depressingly stale and unexciting basic plot of the film that never makes you feel like watching something new or different especially post the intermission.

In few words, where you do enjoy the clash between the good and bad forces in the first half, the second half offers nothing of that sort at all and nose dives at once post the unwanted song added just after the interval (again following the fixed format of the 70s wherein we always had a song coming back from the washroom or canteen).

As widely discussed in the social networks, I don’t think it’s the censors this time but the makers (writer/director/SRK) themselves who fearfully toned down the film and its politically revealing sequences to avoid many severe cuts or government opposition resulting in such a below average product. May be the director Rahul Dholakia alone might not be responsible for that, but its unarguably weird to choose such a controversial subject for a SRK film when you are not daring enough to reveal it all fearing the censors and the system. Wonder what they found interesting and exciting in such overused and boring storyline other than the controversies involved.

Apart from the writer and director following the 70s films with childhood dialogues such as “Battery Nahin Bolne Ka” and “Baniye Ka Dimaag Aur Miyan Bhai Ki Daring”, Shah Rukh Khan also (once again) follows the footsteps of the veteran Amitabh Bachchan with surma in his eyes and a little variation in the voice (reminding you of the cult AGNEEPATH). However both the unoriginal, sloppy writing as well as the confident act together fail to deliver the magic still felt in the movies of the energetic 70s (incidentally also seen in a clip running in the backdrop in one of its action sequence).

No doubt Shah Rukh Khan truly carries the film with enough swagger and conviction, but an actor actually cannot do much if there is no meat in the subject, repeating the same old ‘seen before’ scenes coming one after the other in a highly irresponsible manner. Both Mahira Khan from Pakistan and the talented Mohammed Zeeshan Ayyub get affected from the uneven writing too and so does the remaining supporting cast failing to make any impression at all including Atul Kulkarni. In the technical department where both cinematography and background score excel, I was really not moved by any particular song in its soundtrack, except the marginally better “Zaalima”.

In short other than the King Khan and the dialogues, its only Nawazuddin Siddiqui who actually saves the film giving you something to cheer and smile in the much better first half. Otherwise you can easily guess the confidence level of the makers who even decided to add an item number of Sunny Leone in a Shah Rukh Khan film and that too remaking (read ruining) a cult 80s track.

Summing up, No doubt RAEES is a weak, repetitive and once again not a wise choice of a script by the KING KHAN, but the film has one unique quality I would like to loudly praise it for.

And that’s for being a brave Hindi film focusing on a Muslim protagonist after years (or decades) boldly participating in the sacred rituals on the screen too, displaying the religious sentiments in all positive light, that can easily be rated as a rarity in the present tense scenario redefining ‘tolerance’ as a term.

In other words, in the times when we have deliberately stopped writing the film titles in URDU like we used to do in the last millennium and tactfully need to add a word before ‘Bhaijaan’ to make it a universally likeable title/film, such a strong religious portrayal in RAEES is nothing short of a daring statement indeed.

In fact that’s exactly what you can call it as “Miyan Bhai Ki Daring”.

Rating : 2 + 0.5 / 5 (with the additional 0.5 for the above mentioned tolerant daring by the Khan)

- About an absurd key dialogue repeated throughout the film.
As mentioned above, RAEES can easily be called a forceful tribute to the spirited 70s, but as an afterthought, I found its key dialogue used repeatedly to be quite absurd and foolish contradicting with the over-intelligent and ‘Robinhood’ kind of image given to the central character.

Giving you the details, the writers portray the mother as a highly positive character similar to the roles of Nirupa Roy in cult movies like DEEWAR and more, giving her a highly questionable dialogue as,
"Koi Dhanda Chhota Nahin Hota............. Aur Dhandey Se Bada Koi Dharam Nahin Hota" to which she later adds “Agar Ussey Kisi Ka Bura Na Hota Ho”.

Selectively making the first two lines as his life teaching, Raees goes on to be a bootlegger and keeps on repeating the lines at regular intervals in the film supplying illegal liquor all over the state.

Now at one end Raees is portrayed as a Robinhood helping the poor in the time of need and on the other is shown indulging in trade practices which severely affect the life of these people only (majorly the poor) defying his very purpose.

So every time he says, "Koi Dhanda Chhota Nahin Hota....... Aur Dhandey Se Bada Koi Dharam Nahin Hota" with some kind of weird pride or ‘Guroor’, it looks like quite silly as this Dhanda only was killing many of his people around who considered him as a Godfather and he was foolish enough to not even realize it.

Give it a thought.


Tags : Raees Film Review By Bobby Sing, Raees Movie Review By Bobby Sing, Inspired Films from real life characters, Hindi Movies on a Gangster Life, Hindi film on gangster Abdul Latif, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at
26 January 2017 / bobbysing /
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In one of its scene, a laptop is found with blood strains and just when the lady picks it up, more blood starts dropping from the machine as if someone is badly bleeding in it. Probably that was the scene which inspired its makers to call the film as RAAZ REBOOT dedicating it to the poor computer. Otherwise in reality its the writer-director Vikram Bhatt, who seriously needs to go for a quick REBOOT, rethinking and re-evaluating the way he is coming up with one BAD project after another disappointing the ‘horror-genre’ fans.
Anyway the reason for calling the film as another similar looking project made to fool the audience lies in its basic story structure which amazingly is quite identical with the recently released 1920 LONDON which was also written by the one and only Vikram Bhatt.
In a film majorly publicized focusing on Emraan Hashmi, the hero surprisingly enters after a good 40 minutes and then keeps coming back at intervals enacting in a pretty casual way without any fresh, serious or convincing feel as always. Honestly I found Hashmi to be somehow different in only one film till date and that is Dibaker Banerjee’s SHANGHAI released in 2012. Making her debut Kriti Kharbanda is just there thanking her stars for getting a major break whereas Gaurav Arora keeps trying to be at least decent as a husband hiding a dark secret.
Like all previous films in the RAAZ series, this one too has a forced sexual angle and a magical ‘Mangalsutra’ too reminding you of the typical Ramsay films. The scares are just routine and so is the music of the film yet again offering all similar sounding, deliberately added songs along with the usual background score. The visuals do have some freshness taking you to Transylvania (Romania), but the direction never rises above the eye-catching visuals following the same done-to-death execution presented with clichéd gimmicks and graphics unable to either entertain or frighten the viewers from any angle.
However the most amazing feature of RAAZ REBOOT remains the extensive use of English in its key sequences and dialogues forcing you to question that for whom The Bhatts were actually making this film, very well knowing the exact market of ‘horror genre’ in our Hindi cinema and its territories. May be Vikram Bhatt is thinking of making his next horror film in English to torture the westerns too.
In short one might be able to appreciate the film and its unexpected twist in the storyline if he or she hasn’t seen the recently released 1920 LONDON with much better scenes. But for the ones who have already seen that, this doesn’t even qualify to be considered.
Rating : 1 / 5
Tags : Raaz Reboot Review by Bobby Sing, 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, Inspired Films. Similar storyline as 1920 LONDON, Poor horror films in Hindi Cinema, Raaz series, Raaz Part 4 Review by Bobby Sing
21 September 2016 / bobbysing /
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Bringing back a more than fifty years old ‘trend changing’ famous case of 1959, RUSTOM is a cunningly made film that purposefully exploits the controversial proceedings and tries to please its majority of unconcerned or unaware viewers turning it into a comic one.
Surprisingly a much better attempt by director Tinu Suresh Desai post his forgettable 1920 LONDON, the film has been written (screenplay, story and dialogues) by Vipul K. Rawal and together the writer-director present a completely Bollywoodish interpretation targeting the galleries, instead of any praiseworthy, brave or enlightening film about our judicial past. Further working on the present Hit image of Akshay Kumar, they also spice it up with a deliberately added ‘Patriotic Angle’ too, which actually looks foolish and spoils the entire spirit of the film taking it far away from a thought provoking case of infidelity, raising many important questions of ‘Gender Bias’ in our society.
Sharing my thoughts while watching the film in the theatre, at first I was in a good mood of appreciating RUSTOM till interval, as the first half sensibly represents the real life inspired incidents re-discovering a ‘landmark case’ of the late 50s focusing on its key characters. Yes, the director takes too long to establish relationships in this very first hour that could have been avoided. Yet the film does have some engaging moments to offer (before interval) and it doesn’t really disappoint despite the extra length.
However what happens post intermission as a court room drama simply reduces the film to a silly or rather dumb presentation of the case, where instead of exploring the emotional state of its various characters, the director desperately tries to win over the viewers with all cheap tactics turning the opposition lawyer (Sachin Khedekar), the witness (Usha Nadkarni), the newspaper editor (Kumud Sharma) and even the honorable judge (Anang Desai) into mere comedians with dialogues specially written to simply please the masses.
As a result a worth contemplating case gets sacrificed for a forcibly added heroism, a pointless angle of corruption and an unrelated spirit of patriotism just thrown in to encash the timely release and nothing else. In fact a few insertions are so illogical and hilarious dealing with the corrupt officers, that you wonder how the writers actually got those approved, like the 5 crore transfer in the Swiss account (deposited for what?), confirmation of which is even given by passing over a Receipt making it completely official.
In specific words, the second half completely shattered my excitement to watch a good film and within minutes I forgot all I could appreciate in its first half. But at the same time, I also noticed people in the theater enjoying the film as An Entertaining Courtroom Comedy instead of An Intense Crime Drama to be precise. And I really have no idea why Neeraj Pandey allowed such a mindless twist given to a sensitive track in a film that was doing just fine before the intermission focusing on the right elements.
Coming to the technical department, the art director tries too hard to present the gone era that looks lousy and highly artificial except the eye-catching costumes. The cinematography and background score keeps adding to this ‘Plastic Feel’ of the film throughout and the editor makes no effort to make it sharp and crisp right till the end. Wisely not including the songs just for the sake of it, the soundtrack does have a couple of above average numbers used in the beginning, but again its not anything highly melodious or compelling to take back home.
Continuing with his ‘intelligently chosen’ image of a new-age ‘Bharat Kumar’, Akshay yet again delivers an impressive ‘no smiling’ performance in RUSTOM playing a Naval Officer for the first time. But despite presenting him in a pleasing navy uniform defending his own case in the court, the film doesn’t prove to be any patriotic project at all giving you a clear picture. So this ‘patriotism feel’ is all forced and unreal, unlike his last attempts as HOLIDAY, BABY and AIRLIFT stressing on this major feature. Besides, his character also has nothing to do with the Parsi community in the film other than the name given.
Among the rest, Ileana D'Cruz as Akshay’s wife is decent and so is Arjan Bajwa playing the victim playboy. Esha Gupta gets loud in almost her every single scene as the vamp and Kumud Sharma looks like a comedian in the role of a clever, opportunist newspaper editor interested in only his ‘copies sold’. However the one person who truly lifts up the film in the first half is none other than the ever dependable Pavan Malhotra, shining bright as the clever, investigating officer Inspector Lobo. And how I wish RUSTOM was made focusing on the clash between Akshay and Pavan alone woven around the infamous case.
In short, what we get to see in the tediously long RUSTOM is a strong potential base of a ‘significant court case’ converted into a comedy, making no effort to enlighten the viewers about how it became a reason for ‘the landmark change’ in the judicial system of our country ‘abolishing the jury system’. As a matter of fact the way a jury is horribly presented like a bunch of idiots in the film clearly reveals that the producer/director actually had NO intentions to make any ‘important film’ and just wished to deliver another decently earning ‘Casual public pleasing’ movie using this specific case.
Having said that, the other bitter truth about RUSTOM remains that in spite of mocking at the crucial court case of the past, the film still might get liked by a majority of viewers who actually don’t know anything about the particular case and may be are not interested in it too due to their own reasons.
Consequently where it may not work for the section well aware of the controversial case, the film might successfully be a fine one time watch for others due to its typical filmy second half playing to the masses …….. pointing towards our social irony.
Nevertheless ending on a distinctive note, for a moment just think about the case and try to assume that,
What if it was the lady serving the county in one of our defense forces in the place of the husband?
A wife who picks up the gun and shoots the other woman thrice, having affair with her husband living alone while she was on duty serving the nation for a few months or may be years.
Now in such a case, will the lady be also looked upon as a strong positive personality doing the right thing as RUSTOM or she will be treated as a WITCH....... (wished to write the other word you very well know).
Just give it a thought and accept the cruel reality of our ‘gender biased’ society always thinking from a male's perspective.
Rating : 2.5 / 5
Note: Addressing the repetitive issue of ‘Unfair increase in ticket price by the Multiplexes’.
Though my site and write-ups might be too small in front of the big runners and my voice raised against this MULTIPLEX MAFIA also might not get heard or reach anywhere.
But what nobody can stop me from is deducting ONE STAR from every such film that takes ‘we the viewers’ for granted (in revolt). So a star goes from the rating of RUSTOM too since every big actor, director, production house and exhibitor is equally contributing in this sheer exploitation and willfully ignoring the issue over the last couple of years.
Final Rating : 2.5 – 1 = 1.5 / 5
Remembering Ajanta Art’s movie made in 1963.
The class act of Ashok Kumar and Moti Lal as the two lawyers in YEH RAASTE HAIN PYAR KE remains untouched and enjoyable even today when RUSTOM re-visits the same case after five long decades so irresponsibly.
(For more on the BIG LANDMARK CASE and the movies related to the same, do read BTC article clicking at the following heading)

Sunil Dutt's YEH RAASTE HAIN PYAR KE (1963), Gulzar's ACHANAK (1973) and the famous 'Nanavati Case' with the LAST JURY TRIAL in India.
Incidentally this write-up written in May 2014 also formed a chapter of my book DID YOU KNOW (Vol.1) published in Sep-Oct. 2014, much before RUSTOM was probably even conceived.
The book has 51 chapters of such interesting information about our Hindi Cinema and is available at all reputed online portals (Indian and International), links of which can be found at this single publisher’s page mentioned below:
Hope it proves to be a good read worthy of both your time and money spent with
Tags : Rustom Film Review by Bobby Sing, Rustom Movie Review By Bobby Sing, Real Life Inspired Hindi Film, Inspired Films, Court Room dramas in Hindi Film, Hindi Court Room Dramas, 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
13 August 2016 / bobbysing /
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