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January 20, 2017 Friday     
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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There are two kinds of movies based on serial killers. One, where you are not shown the real identity of the killer and the film is all about the search completely depending upon the mystery element involved in the investigation process, and two, where you are straight away introduced to the psycho man and then get to see him making all his random or specific killings with the police trying to catch him as the third party.
Interestingly where the first kind of presentation makes an engaging and exciting watch due to its teasing suspense, the second largely remains a psychological film heavily depending upon its way of presentation, the performances and the director’s personal interpretation of the theme reaching out to his target audience.
The present RAMAN RAGHAV 2.0 is the second kind of film to be specific, so the viewers looking for some food to satisfy their hungry grey cell are going to be disappointed. More so because the film doesn’t have any kind of deep justifications or detailing given to its characters leaving you with many unanswered questions about the crimes committed so ruthlessly.
Having said that there still is a masterstroke played by director Anurag Kashyap through his clever title and the pre-release hype created around a man, the film is least concerned about in its entire duration of more than two hours.
Inspired from a brutal serial killer of mid 60s operating in Mumbai and a short docu-fiction kind of film made on the subject by director Sriram Raghavan (with Raghuvir Yadav) in the early 90s, Anurag named his film as RAMAN RAGHAV 2.0 and the whole world started thinking as if the film was all about that 60’s weirdo serial killer and Nawazuddin was playing the same in his own peculiar style visualized by Anurag Kashyap.
But as the film begins, a few slides inform you about the original Raman Raghav and the next one clearly says that, This is not about that Raman Raghav of 1960s, simply mocking all those web-articles, news-items, features and more written with a wrong assumption taking it a bio-pic on the lesser known criminal made by the controversial director. In fact the complete title using two names Raman and Raghav adding a 2.0, gives you an entirely different meaning in the end, which exactly is a masterstroke reminding you of the ones associated with the renowned film-makers such as Quentin Tarantino who certainly have a strong influence over Kashyap and many more new-age Indian directors of this present age.
Dividing the film into several chapters (on a similar format seen in many QT films), the second clever feature of RR 2.0 remains its well written dialogues that force you to think upon them repeatedly. And the rest is done by the fine performances with Nawazuddin Siddiqui once again delivering a gem of an act (as a psycho killer) followed by the talented Vicky Kaushal (as the drug addict inspector), Sobhita Dhulipala (as Vicky’s girlfriend), Amruta Subhash (as Nawazuddin’s sister) and Vipin Sharma (in a cameo appearance).
Opening with strobe effects in a pub playing the ‘Qatl-e-Aam’ track, the film straight away gives you the surprise of being a story of a fictional serial killer in the present era and not the one from the 60s. The progression remains engaging with a tight editing, but not for everyone sitting in the theatre due to some severely shocking and mentally violent scenes along with a particular appalling one (discussed in details later). Unnecessary abuses can be noticed in a few scenes besides the brutal killings and the parallel track of the inspector adds a different angle into the storyline making it an interesting watch. Yet it largely remains dependent upon the acting skills of Nawazuddin Siddiqui alone till interval and doesn’t have any exciting twists and turns normally associated with such intense crime thrillers focusing on a cunning character.
Post intermission, a monotonous kind of feel, deliberate song insertions and the romantic track of the investigating officer reduces the impact further. But it thankfully ends with some decent sequences conceived around its two key characters completing each other. However I personally didn’t find any kind of big or fresh, unpredictable revelations made in its final moments.
Majorly saved by his performers instead of any exceptional writing or screenplay, no doubt Anurag is back in a good form with his Raman Raghav, but this also cannot be rated as any winning innings from the director visiting his favourite genre of dark and violent crime thrillers. Yes, one doesn’t feel bored looking at the quick story developments talking about more than one psycho character on the screen. Yet it doesn’t turn out to be any powerful, mind blowing serial killer movie forcing you to think and keep guessing on a constant basis. Also, a strong ‘Déjà vu’ kind of feeling is always there watching the entire film. May be because we have already seen Nawazuddin doing several similar kind of roles in the past as in BADLAPUR, MISS LOVELY, TALAASH, GANGS OF WASSEYPUR and more. Admittedly playing such creepy characters Siddiqui looks so convincing, that probably the directors are not able to think of any other name for such roles (sadly) typecasting a terrific performer.  
As a Anurag Kashyap film, RR 2.0 is unable to deliver that expected depth and pull which was much better in his UGLY in comparative terms. Though Kashyap successfully makes you feel the blood and violence happening on the screen without even showing it visually through an intelligent camerawork and sound, yet one doesn’t feel any kind of empathy for either the victims or the lead characters throughout the film in any way whatsoever. In fact you don’t even feel any strong hatred too for either Nawaz or Vicky at all as they never turn out to be some compelling characters reaching out to the viewers in any impactful manner as desired. One just keeps watching them emoting on the screen and doesn’t feel like exploring their criminal mindsets, their personal reasoning behind the murders and more, unlike a film revolving around a mad, sinister serial killer. Moreover it was really strange to see such a childish depiction of Police in the film, where the officials simply forget about a person locked in a deserted building and then casually hold a dangerous wanted murderer as if he is a local pocketmaar being taken to the police station.
On the technical ground, as always Anurag delivers a polished product with a noteworthy camerawork shooting at actual locations and a captivating background score giving a rhythmic edge to the film enhancing the onscreen proceedings. However there can be no denying to the fact that such catchy riffs, beats or songs commencing at just the right moment do make you feel pumped up as if participating in the criminal activity shown on the screen that can easily be stated as glorifying or romancing the violence in a dangerously influential manner. Also at times provocative, violent lyrics served with appealing beats or arrangements do make me think about the impact they can make on the youngsters in a dark, smoke filled night club playing them too loud. For instance, imagine a song like ‘Behooda’ being played in a disco and people improvising on its lyrics making different postures.
Spoilers Ahead
Coming to the most disturbing sequence in the film, Anurag continues with the subject of incestuous relationships in his present RR 2.0 too as seen in his THAT GIRL WITH YELLOW BOOTS released in 2013. But here the insertion is quite deliberate that could have been easily avoided as the purpose of character assassination of both Nawaz and Amruta was already done in the explosive lines spoken just before the introduction of the appalling incest angle. To give you a clear idea, the moment Nawaz makes all those shocking revelations about Amruta’s young days right in front of her husband without any hiding at all, it completely crushes her entire persona in a much decisive manner in just a few seconds. But Anurag willfully doesn’t stop there and goes on adding the incest angle into the sequence too in order to make it more brutal and disturbing. In other words, when the mention of all young premature sexual relationships and incest was already made in the dialogues itself, it was clearly deliberate moving into more verbal and physical depiction of the same sensationalizing the entire scene.
For records, the topic of incest has been there in Hindi Cinema in more than 25 films since the 1940s (mentioned in details in the last chapter of my book DID YOU KNOW (Vol.1) available online), but it has never been presented with such a disgusting visual execution ever till date as in RR 2.0.
However, comparing this particular sequence with the 89 cuts given to last week’s UDTA PUNJAB, its really strange that the censor board find the abuses spoken in a scene as objectionable but not there visual depiction on the screen quite weirdly. So you cannot say it as an abuse but can practically show it in a scene justifying your character’s requirement. That’s really a great insightful thinking indeed with some amazing logic. (I hope you can easily get what I wish to express here without using the exact words).
Concluding the review with another worth mentioning scene in the film, this is where we get to see the mental level of Nawazuddin’s wacko character (that can also be stated as the best scene of the film as per my personal opinion), where he is not able to count even two thousand rupees with a few notes lying on the counter getting confused repeatedly. The scene actually conveys that though his physical age might have crossed 30-35, but his mental age is still somewhere stuck around under-10. And in reality this can also be noticed in many of the normal people in the society too…………. who are not any criminals!
In all RAMAN RAGHAV 2.0 can certainly be seen once for Nawazuddin Siddiqui and his thoughtful dialogues alone without expecting any great, path breaking serial killer film from the over-famous Anurag Kashyap.
Rating : 2.5 + 0.5 / 5 (with an additional 0.5 just for the clever trick played with the title)
Tags : Raman Raghav 2.0 Review by Bobby Sing, Raman Raghav 2.0 Film Review by Bobby Sing, RR 2.0 Review, 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
24 June 2016 / bobbysing /
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