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.

ENJOY!

BANJO - Why we keep going back to the same old subjects and then expect them to be a success taking the viewers as granted? (Review By Bobby Sing).

RAAZ REBOOT - Yet another similar and poorly made project to fool us in the name of horror. (Review By Bobby Sing).

PINK - Do watch this hard-hitting new age DAMINI, especially for Amitabh's SAFETY MANUAL for girls, boldly ripping off our visible social hypocrisy and sick biased mindsets. (A detailed overview by Bobby Sing).

FREAKY ALI - Avoiding a complete copy of HAPPY GILMORE, Sohail makes a highly inspired Indianised version that's neither entertaining nor exciting full of cliched and predictable moments leading to boredom. (Review By Bobby Sing).

BAAR BAAR DEKHO - Another unexciting, lengthy and feeble (read boring) inspired attempt to make a 'Time-Travel' film in Hindi cinema, missing the entertainment factor. (Review By Bobby Sing).

This Friday's ONE LINE REVIEWS for your weekend plans - by Bobby Sing.

A mesmerizing sensual love song from SHEHNAI (1964) and the hidden unique beauty in its lyrics. (Articles on Hindi Film Music by Bobby Sing) - BTC Exclusive..

DON'T BREATHE (English) - A fine tense psycho-thriller that actually becomes superfine in its final 40 minutes. (Review by Bobby Sing).

AKIRA - A strong potent idea gets messed up in the constantly shifting attention between Sonakshi, Anurag & Konkona ending on an absurd note. (Review By Bobby Sing).

This Friday's ONE LINE REVIEWS by Bobby Sing for your weekend plans..

 
 
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September 26, 2016 Monday     
With the posters giving a feel of QT’s KILL BILL and the title looking like a tribute paid to the master director KUROSAWA (may be because of the presence of Anurag Kashyap), AKIRA appeared to be a fast paced, powerful, energetic action oriented ‘Murugadoss’ film before the release, surprisingly focusing on a bold, female protagonist coming as a positive change. However what turns out to be is a messed up film with a strong, potent idea but nothing close to anything highly entertaining or engaging, missing the expected jaw-dropping action promised in its promotional campaign.
Regarding the tribute, the film clears the doubt in the opening moments itself explaining AKIRA as a Sanskrit word meaning ‘graceful strength’ and then does offer some worth engaging sequences too focusing on the childhood and college confrontations in particular. But unfortunately, the moment they bring in the ‘mental asylum’ into the storyline post the interval, the film starts losing the grip pretty badly and then completely ruins the fine build up taking some huge ‘cinematic liberties’ unconvincingly.
In short though logic has never been a strong feature of Murugadoss’s quick paced, high on action one-man army kind of films, but in AKIRA the director surprisingly executes it all in a quite careless or rather silly manner which neither entertains nor is able to keep you engrossed post the initial hour.  
An official remake of a Tamil hit MOUNA GURU (2011), the film was also remade in Kannada and Telugu, but they all had a male hero playing the solid role of ‘A Silent Teacher’. So considering it from a different angle, it was certainly a good move bringing in a young girl as the tough-fighter and roping in Anurag Kashyap to play the main villain along with Konkona Sen Sharma as the parallel investigating officer trying to solve the twisted case.
But what might have looked like perfect on the paper doesn’t get transformed on the screen as expected, resulting in neither a great action entertainer nor a tense crime drama or any investigative thriller. So despite wholeheartedly appreciating the effort put in by Sonakshi Sinha and Anurag Kashyap in their individual scenes, one is unable to rate it as even an average, satisfying film to be precise.
In other words, AKIRA keeps hanging somewhere between its various subplots and gets severely affected by the constantly shifting attention on Sonakshi, Kashyap and Konkona (who is simply wasted carrying a baby bump throughout the entire investigations without any justifications). In fact, it was so strange to see the lady accepting in her very first scene that she has come to the city for joining in that crucial stage of pregnancy all alone, leaving the family behind.
Thankfully having only one song (coming post interval), AKIRA doesn’t have any exceptional cinematography or background music too raising the excitement level. The writing remains predictable and dull post intermission which also becomes absurd towards the climax with the people being killed and the case closed down in a highly laughable manner.
So before opting for it in a costly multiplex, just read its tagline once again saying “No One Will Be Forgiven” declaring it pretty clearly.
Rating : 1.5 + 0.5 / 5 (with the additional 0.5 just for the ‘giving back to the boys throwing acid on girls’ sequence and ‘the college fight’.)
Tags : Akira Review By Bobby Sing, Remake of South Films, Hindi remake of MOUNA GURU, Official remake of South Films, 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
 
 
02 September 2016 / bobbysing /
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Following a completely familiar pattern of famous superhero films, A FLYING JATT certainly had a great potential in its basic idea of presenting it as a SPOOF that sadly gets used and forgotten within the first half of the film itself quite irresponsibly.
So ‘it all begins well to end up in a mess’ is the best way to describe this amateurishly executed film co-written and directed by the choreographer turned director Remo D’Souza. In other words, the entertaining part of A FLYING JATT gets over much sooner than expected and then all you get to see is a tediously long boring mix of various social drives and religion thrown into the narrative just for the sake of it. In fact after going through all the deliberately added references of air pollution, toxic wastes, green plantation and a fight sequence placed in the space with an old school kind of constantly growling villain named RAKA, I strongly felt like forgetting all about the film and read the good old Diamond comics series of “Chacha Chowdhury and Raaka” once again having much better entertaining stories to share.
Having said that, a few things did make me smile in the film’s initial moments, like watching the mother getting more excited than the son knowing about his blessed superpowers, the superhero dress being stitched by the mother herself, the jatt flying close to the ground level due to his fear of heights, him obeying the traffic signals too while flying, going to the local market to buy ‘Lauki’ and then the couple of scenes interacting with the kids as a clumsy martial art teacher trying to be the best.
However the overall basic structure remains cartoonish and unconvincing from the very first scene itself when you get to see a graphically designed colourful colony and a huge ancient tree besides the river looking like an overdone unreal set that later gets followed by a lousy unoriginal script, all silly cardboard characters and tacky graphical effects generating a feel of watching something made in the last century instead of the new millennium. 
In short, having a painfully long duration of 150 minutes without any appreciable cinematography, special effects or an enjoyable soundtrack, the fun element isn’t really there and the director actually wastes a terrific opportunity of developing a funny Indian superhero spoof series going into many sequels.
In the acting department, no doubt Tiger Shroff yet again comes up with his usual honest performance. But this is his third film (with the first remaining the best) and we are still eagerly waiting for him to choose something much better than these usual, mediocre projects going the easy way. Sharing the good news, believe me or not but the boy was energetically greeted with loud whistles and shouts in a the first show of a single screen theatre, which is nothing short of an achievement in the present competitive world that essentially needs to be reciprocated with a great entertainer as his next.
Playing the leading lady, Jacqueline Fernandez is just there without making any kind of impact in a completely predictable and dull romantic track. A dependable actor like Kay Kay Menon is made to ham constantly. And we also have Shradhha Kapoor featuring in a comic cameo scene that could have been lot better. As a result, despite being too loud and over the top, one still likes the performances of both Amrita Singh as the nagging mother and Gaurav Pandey as Tiger’s only close friend who goes for a sacrifice.
A self-declared eco-friendly film, A FLYING JATT also ends with a quote that happens to be the director’s own with nothing exceptionally new or never heard before. So now we also have directors who are daring enough to end their films with their own quote, instead of introducing the youngsters with a ‘not to be missed’ must-read personality they might not be aware of.
If truth be told, A FLYING JATT is a kind of film that would have never been made, had Remo not delivered two decent successes in the past as ABCD and ABCD2. The writer-director might have had this idea in store since long but without these two films vouching for him - such a casual approach of “Chalo Ek Superhero Film Banatey Hain” would have never got materialized fooling the producers (Balaji Production House) just interested in earning money and nothing else.
So you can go for it, only if you have made some early promises to the kids and now unable to refuse them. But if that isn’t the case, just try to save your money, efforts and time spending it on a better option.
(The basic REVIEW ends here)
Coming to the most important part of the write-up, which might be informative and enlightening for many friends not aware of the actual thought process behind the Sikh faith. The team of A FLYING JATT just uses this religious reference cautiously but in the process also reveals its zero understanding of this particular spiritual path believing in One Supreme Power.
To give them the much deserving due first, the director and his team very rightly guide the unaware viewers about the ‘actual proud connection’ between the time of ’12 O’clock’ and Sikhs related with the history of India. So post watching this film ‘the sick practice of cracking jokes’ should ideally turn into ‘a respect’, remembering those brave Sikhs of the past who fearlessly fought and saved thousands of Indian women from the ruthless Mughals irrespective of their caste or religion.
Sadly that’s the only positive feature related to Sikhism in the film to be honest. And everything else simply reveals that the writer and director neither did some relevant research nor had any kind of ‘learned advisor’ in the team telling them the actual facts. Because if truth be told then the entire film revolving around miraculous happenings and blessed superpowers is strictly against the concept of Sikhism or Sikh faith to be precise.
Putting in clear words, neither the sect nor the divine Guru Granth Sahib teaches or supports MIRACLES in any form whatsoever in its 1430 pages. So Sikhism simply denies the concept of such magical superpowers given to a particular human-being treating him or her special above than everyone else.
Bravery to be displayed as warriors fighting for justice is one of its significant lessons taught as a way of living. But Sikhism never believes in seeking, using or depending upon any miracles or superhuman powers to win over the evil or tough times as shown in the film. 
Secondly, displaying their ignorance and lack of understanding, the writer-director proudly showcases Sikhs worshipping an ancient old tree in the film having Khanda (a religious symbol) engraved on it, which again is strictly against the basic principles of the Sikh faith, which doesn’t believe and allow indulging in any kind of idol worship, be it a photograph, image or symbol engraved on any surface or tree.
Thirdly, where at one end the director strongly portrays Sikhs as highly positive and courageous people fighting for others, there he also shamelessly presents the Punjabi mother as a heavy drinker and a loud outspoken lady, holding glasses and asking for bottles in many key sequences. May be Remo was following the widespread misconception about Punjabis (Sikhs) mostly considered to be regular drunkards (tankers) and meat eating people by many (which again reveals no research of any kind made before writing the major characterizations).
Fourthly, the title of the film says A FLYING JATT as if Sikhs and Jatts are synonyms and there is no Sikh in existence who is not a Jatt, again giving you a crystal clear glimpse of the miniscule understanding the writer-director had of this particular community.
In reality if Mr. Remo and his team had made a thorough study then they would have kept the title as A FLYING SIKH and not A FLYING JATT. But probably since the title of FLYING SIKH was already taken up by the respected Milkha Singh, so they had to opt for something else and decided to call it A FLYING JATT without having even an iota of awareness that Jatt is a caste division and not any synonym word that can be used in place of Sikh.
Lastly sighting a hilarious addition by the thoughtful director, in the whole film Tiger keeps flying as a clean shaven superhero forgetting his original identity of a Sikh. But the moment he is made to wear a Pagdi in the climax, suddenly there also comes a faint beard on his face to suit the proper image of a Flying Sikh as required, which actually made me laugh out loud, LOL as they say to be honest.
Next opening a Pandora box, despite having all these visible faults in presentation of a particular sect, if this film was duly shown and approved by some reputed Sikh Organisations before release and they readily allowed this all to be shown in the name of Sikhism and Sikhs, then this fondly makes me recall a famous sheyr (I am not aware of its original writer) which goes…,
“Gar Kulhaadi Mein Lakdi Ka Dasta Na Hota,
To Lakdi Ke Katney Ka Rasta Na Hota”
Hope it delivers the unsaid message to one and all showing them the mirror.
Concluding the whole discussion, I would like to end with a simple question that kept disturbing me throughout the film focusing on a Sikh Super Hero……….that,
Isn’t the concept of A SUPERHERO itself far away and above any kind of particular religion?
Isn’t A SUPERHERO supposed to be free of all religions whatsoever and act beyond this man made limitation itself?
OR The moment one becomes the chosen one blessed by The Supreme Power as A SUPERHERO, then can he still afford to remain a Hindu, Sikh, Muslim, Christian or more following such a narrow mindset?
In other words, what Religion has to do with A Superhero?
or
Why to bring in Religion while you are going for a Superhero film who is actually supposed to help everyone irrespective of any region, religion or colour?
Expressing my personal opinion, its much easier to accept and imagine A SPIDERMAN, A SUPERMAN or A BATMAN without clinging to the concepts, costumes or symbols of any particular sect but its completely illogical to accept and support a superhero film belonging to any specific religion at all as that itself is contradicting to the very thought of A SUPERHERO.
More so because in this way we will even divide our SUPERHEROES into Hindu, Sikhs, Muslims and Christians following a sheer stupid thought process poisoning the innocent minds.
So with a humble request to Mr. Remo with folded hands, please let the SUPERHEROES of our kids remain The SUPERHEROES free of these questionable divisive religions creating another sick war.
Just give it a thought!
Rating : 1.5 + 0.5 / 5 (with the additional 0.5 for spreading the much needed right awareness about the time of 12 and Sikhs not known to majority of people)
(Note: One of the film’s poster looks quite close to that of KRISHH 3 including the costume and stance. Plus the basic structure of the film borrows heavily from the famous Superhero movies.)
Tags : A Flying Jatt Review By Bobby Sing, Indian Superhero Spoof Film, A Flying Jatt Film 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 bobbytalkscinema.com
 
 
26 August 2016 / bobbysing /
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Keeping in mind the promotional campaign of the film titled AZHAR, I haven’t seen a better example of the public being fooled by the makers, actors and ‘the man’ together so openly. Making it clear, at first they loudly sell their project to the viewers as ‘An Exciting Biopic’ (including Azharuddin visiting all TV programs/events along with the lead stars) and then begin the film with a brazen declaration that this is not a biopic on Azhar, but only a dramatized presentation of some events inspired from his life taking the required creative liberties. Now if that is not an evident example of cleverly ‘misguiding the end-user’ then I don’t know what else can be.
Moreover in all his pre-release interviews and statements, Emraan Hashmi kept explaining that how he had a real tough time studying and imitating Azhar’s unusual body postures, his walk, his way of playing the famous strokes, his magical wrist moves, his habit of speaking fast, his actual persona on the field interacting with other players and a lot more practicing for weeks and months. But astonishingly, you never find anything of that sort ever while watching the lengthy film except Hashmi trying to walk with a bent shoulder and his collars up as if that was sufficient to portray Azhar on screen fooling the eager viewers.
In short, despite making a sincere effort, I never found the actor anywhere even close to the icon portrayed on screen, except in those few scenes on the field wearing the helmet. To be honest, with all due respect to the practitioner and his trainers (guides), it was 90% Emraan and just 10% Azhar right from the first frame to the last, which in reality is more the fault of his director, not able or willing to see the discrepancies.
Adding to the above, the same can be said for almost everyone featuring in the ‘important cast ensemble’ that ideally has to be the strongest merit of a real life inspired film presented in the name of a bio-pic.
Elaborating on the point, none of the actors chosen to play the known characters of Ravi Shastri, Manoj Prabhakar, Navjot Singh Sidhu, Anil Kumble, Vinod Kambli, Sachin and more are able to make any kind of impact whatsoever (presented as caricatures), becoming the biggest drawback of the film revealing the limited thought process of its writer and director. In other words, the entire group of supporting characters remains unconvincing and under developed in their every single scene and then the blunder mistake of casting Nargis Fakhri as Sangeeta pulls the film down like nobody else. Interestingly Nargis never looked so awful both in her looks and performance ever before in her earlier films. Accompanying her in the acting department Lara Dutta keeps struggling hard in her absurdly written role of the opponent lawyer and Rajesh Sharma doesn’t get enough scenes playing the only bookie shown (as if it’s that easy and accessible) and that too along with a blurry image of person reminding you of notorious ‘Dawood’.
Putting it bluntly, there is only Prachi Desai (as Azhar’s first wife) and Kunal Roy Kapur (as Hashmi’s lawyer) who prove out be the only two actors making some kind of impact in their onscreen portrayals. Otherwise AZHAR is a film that actually suffers a lot due to its ‘wrong casting choices’ made apart from the poor writing, execution and direction.
Coming straight to the point with the match-fixing case, the film begins well moving back and forth in time focusing on Azhar remembering his initial years of life sitting in the court room. The first 20 odd minutes give you the impression of a responsible film keeping the interest alive, but very soon one gets to know that they are actually not interested in talking about Cricket but only the court case and his love life ignoring a lot hell of the things one really wished to see in the projected bio-pic. Still at interval it somehow remains an average entertainer minus the most desiring component i.e. the game.
However post interval as the focus completely shifts to Manoj (Prabhakar) and Sangeeta Bijalani poorly played by Nargis Fakhri, the film nosedives steeply and never gets back on the track despite a few engaging sequences. The love affair hinders the pace pretty badly and some immature courtroom scenes turn it into a huge disappointment ending on a routine note where the hero gets declared ‘not guilty’.
As usual, a couple of songs get inserted since they have to be there fulfilling a Hindi film requirement as a mandatory clause. And we yet again get to hear the typical music arrangements with some good poetic verses (deliberately adding Urdu words), rendered by the similar sounding voices moving to the unrequired high pitch tones (read screaming). A reworked version of “Oye Oye” is just unbearable and the original sounds better even today (though it also isn’t an original in the first place). The background score fails to add any exciting value into the narration and so does cinematography that remains unable to present the match sequences in any appreciable manner.
In fact these particular scenes of the cricket match, once again raise a valid question that why we are not able to recreate the game on the bigger screen expressing the same enthusiasm as we feel while watching it on our TV screens? Why in almost every Hindi film based on cricket, the on-field scenes always turn out to be quite amateurish and messy with only a couple of exceptions there like LAGAAN. Unfortunately the same gets repeated here in AZHAR too where we don’t even get to see a good coverage of the spirited crowd cheering for their teams even in a match between India and Pakistan (and you really need a vision to avoid showcasing the crowd in a match between these two rivals). Besides it was quite weird to see a highly absurd interaction between the chief of the selector’s committee and Azhar in an empty ground with a tape-recorder being used to play the noise of the crowd.
A bio-pic or a film inspired from real life events of a sports icon actually requires loads of research and solid preparation on paper before going on floor. And when it’s a film on the happening life of a controversial icon like Azharuddin, then the makers certainly have a solid subject in hand that has all the probabilities of becoming a big hit among the masses as well as the classes.
Sadly AZHAR is not able to deliver the desired in either its story telling, direction or dialogues department ruining big expectations of many, particularly of the fans who were more interested in knowing the lesser known facts about their icon’s inspiring passion for the game and his cricketing secrets. Strangely the makers went on promoting the film as a bio-pic when it had nothing at all related with Azhar’s famous persona of a cricketer, any information about his personal career guru or ideal, the story behind his innovative style of using the wrists, his state of mind making 3 consecutive centuries in the first three tests, his famous fight with Navjot Siddhu, his relation with the youngest player of the team Sachin Tendulkar and a lot more about those blessed days of glory lived with the entire team. The film isn’t interested in talking about any such thing but is only busy in presenting Azhar as an ex-captain fighting a case of match fixing filed against him by the authorities.
At times, this single agenda style of narration also makes you think that was this film purposefully made to clear the dicey image of Azharuddin in front of the cricket loving nation? The possibility is right there, but contradicting the thought, a highly shocking and ridiculous justification given for a horrendous crime committed by the onscreen Azhar is so much hurting for a true cricket fan that one seriously begins to think that ‘Did he really do it?’
The deadly insertion comes when the film shows Azhar taking money from a bookie for throwing away an important match abroad. The unexpected sequence simply makes you go numb and the situation worsens when Azhar later doesn’t underperform as per the instructions given by the bookie, but returns the money taken giving a silly justification that he actually agreed to do it so that the amount doesn’t get offered to any other player in the team keeping it all clean. This offensive and unforgivable step taken by the Captain of Indian team definitely hurts the most (if you are a true Cricket fan) and one really feels the pain like a strong betrayal coming from a Nation’s Hero followed since last three decades.
Ironically with Azhar himself being there supporting the film, providing all the source material to the writers, the inexcusable instance might be true. But I personally would love to believe that it was one of those big creative liberties taken by the script writers, since I would not be able to respect the icon any more if the crime was actually committed with any kind of noble motive whatsoever. Also because this would in turn force me to accept that match-fixing does exists and there is a lot hidden behind the curtains that might include many more big names shattering all our beliefs about Cricket being a gentleman’s game followed by almost every single Indian since the last century.  
Anyway, having slammed the film above mentioning all its big downers, here are the three positive features of AZHAR that thankfully save the project from becoming a complete non-performer.
A. The engaging sequence of the match against Pakistan with a dialogue with Mian Dad and the important catch (despite the tacky execution).
B. The touchy reference of public humiliation faced by Azhar while inauguration a gym (that every celebrity would easily relate with).
C. And the unconvincing yet interesting twist in the court case calling Lara Dutta as a witness, who is also a big fan of Azhar, turning the tables on her.
In all, you can still go for the film taking it as a fictional filmy account of a cricketer not talking about cricket at all, if you must. But if you wish to see a bio-pic on the former Indian Captain’s prime years on the field and his untold secrets of the game, then AZHAR is going to be a big disappointment offering nothing in those terms, failing in almost all its departments.
In simple words, its a poor film falsely presented as a bio-pic of a renowned cricketer to the nation that treats Cricket as a religion. A film that unfortunately confirms the existence of distressing match-fixing in the game, resulting in no emotional feelings felt for its lead character. A film that could have been a lot more with such an explosive and potent subject focusing on a major controversy. And a film that can easily be termed as a big life-time opportunity missed by its director Tony D’Souza.
Rating : 2 / 5
Tags : Azhar Film Review by Bobby Sing, Azhar Movie Review by Bobby Sing, Azhar Biopic in Hindi, 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
 
 
13 May 2016 / bobbysing /
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