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.


IRADA - A strictly average but shocking real life inspired film, bravely revealing another brutal truth of Punjab, also reminding you of Julia Robert's classic ERIN BROCKOVICH. (Review By Bobby Sing).

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).

  Directors I Love  
  Alfred Hitchcock  
  Mehboob Khan  
  Woody Allen  
  Akira Kurosawa  
  Basu Chatterjee  
  Bimal Roy  
  Charlie Chaplin  
  Chetan Anand  
  Govind Nihalani  
  Guru Dutt  
  Hrishikesh Mukherjee  
  Kamal Hassan  
  Ketan Mehta  
  Mrinal Sen  
  Quentin Tarantino  
  Raj Kapoor  
  Richard Attenborough  
  Sai Pranjpe  
  Satyajit Ray  
  Shyam Benegal  
  Steven Spielberg  
  Vijay Anand  
  Ram Gopal Verma  
  Ashutosh Gowariker  
  Mani Ratnam  
  Aleksandr Petrov  
  Saeed Akhtar Mirza  
  Shekhar Kapoor  
  Yash Chopra  
  Frank Capra  
  V. Shantaram  
  Billy Wilder  
  Rajkumar Hirani  
  Vishal Bhardwaj  
  Tigmanshu Dhulia  
  Dibaker Banerjee  
  Rajkumar Santoshi  
  Majid Majidi  
  Ritwik Ghatak  
  Clint Eastwood  
  Prakash Mehra  
  Manmohan Desai  
  Shoaib Mansoor  
  Anurag Kashyap  
  S. S. Rajamouli  
  B. R. Chopra  
  Stanley Kubrick  
  Also Active at  
  At Facebook  
  At Twitter  
 February 2017 (5)
 January 2017 (14)
 December 2016 (12)
 November 2016 (11)
 October 2016 (15)
 September 2016 (10)
 August 2016 (12)
 July 2016 (12)
 June 2016 (16)
 May 2016 (14)
 April 2016 (17)
 March 2016 (10)
 February 2016 (10)
 January 2016 (9)
 December 2015 (11)
 November 2015 (10)
 October 2015 (10)
 September 2015 (11)
 August 2015 (12)
 July 2015 (15)
 June 2015 (10)
 May 2015 (15)
 April 2015 (16)
 March 2015 (12)
 February 2015 (10)
 January 2015 (14)
 December 2014 (11)
 November 2014 (10)
 October 2014 (10)
 September 2014 (12)
 August 2014 (12)
 July 2014 (21)
 June 2014 (23)
 May 2014 (24)
 April 2014 (23)
 March 2014 (21)
 February 2014 (26)
 January 2014 (28)
 December 2013 (10)
 November 2013 (14)
 October 2013 (16)
 September 2013 (14)
 August 2013 (14)
 July 2013 (12)
 June 2013 (11)
 May 2013 (23)
 April 2013 (10)
 March 2013 (14)
 February 2013 (14)
 January 2013 (15)
 December 2012 (18)
 November 2012 (14)
 October 2012 (15)
 September 2012 (14)
 August 2012 (15)
 July 2012 (12)
 June 2012 (14)
 May 2012 (16)
 April 2012 (15)
 March 2012 (10)
 February 2012 (11)
 January 2012 (11)
 December 2011 (10)
 November 2011 (11)
 October 2011 (15)
 September 2011 (10)
 August 2011 (11)
 July 2011 (11)
 June 2011 (13)
 May 2011 (16)
 April 2011 (14)
 March 2011 (11)
 February 2011 (10)
 January 2011 (12)
 December 2010 (10)
 November 2010 (12)
 October 2010 (11)
 September 2010 (11)
 August 2010 (12)
 July 2010 (12)
 June 2010 (11)
 May 2010 (14)
 April 2010 (15)
 March 2010 (14)
 February 2010 (12)
 January 2010 (15)
 December 2009 (12)
 November 2009 (14)
 October 2009 (15)
 September 2009 (18)
 August 2009 (14)
 July 2009 (16)
 June 2009 (18)
 May 2009 (16)
 April 2009 (18)
 March 2009 (20)
 February 2009 (19)
 January 2009 (20)
 December 2008 (20)
 November 2008 (17)
 October 2008 (21)
 September 2008 (19)
 August 2008 (22)
 July 2008 (23)
 June 2008 (21)
 May 2008 (25)
 April 2008 (22)
 March 2008 (25)
 February 2008 (22)
 January 2008 (22)
 December 2007 (24)
 November 2007 (22)
 October 2007 (22)
February 24, 2017 Friday     

The Ghazi AttackHindi Cinema has rarely dared to give us a realistic war movie that can be largely praised for its impressive onscreen portrayal. Moreover an underwater war movie has actually never been there before THE GHAZI ATTACK, giving the film its deserving credit of being the first project in this genre coming from the Hindi Cinema.

Fictionally decoding the mystery behind the destruction of Pakistani submarine PNS Ghazi in the Bay of Bengal during (before) the 1971 Indo-Pak war (as mentioned in its detailed disclaimer), the film made in Telugu and Hindi, begins with an voiceover of Amitabh Bachchan (giving an early insight of the story) and then never loses the grip in the next two exciting hours crafted skillfully.

The biggest merit of the film remains its talented cast ensemble featuring the terrific impactful Kay Kay, the ever-sincere Atul Kulkarni and a notably restrained Rana Daggubati in charge of the Indian submarine, along with Late Om Puri and Naseer (in short cameos) as their commanding Navy officers. Rahul Singh as a bit hamming Pakistani captain successfully plays to the gallery and Tapsee Pannu makes a decent emotional connect with the viewers in her few scenes. Milind Gunaji makes a surprising brief appearance after a long gap and supporting cast does it well despite not getting any detailed attention in the narration.

(Mild Spoilers Ahead)
Competently directed by the debutant Sankalp Reddy and well-scripted by his writers (including the dialogues), the film scores the maximum before the intermission and has a few minuses coming in the second half, which interestingly get shielded by a strong spirit of nationalism and the viewers mostly involved in the thrilling edge of the seat entertainment in its final hour.

For instance, in a particular scene it’s really strange to see the captain whispering to the operating officers about the danger ahead as if the opponents might hear him, the use of complete National Anthem towards the end looks like highly forced or unnecessary and then the collective singing of Indian soldiers reaching out to the Pakistanis in their better equipped submarine defies all logics of underwater acoustics quite weirdly. Also a few potential scenes strongly demanded a much stronger execution like the one where Rana saves two civilian’s lives in the sea and then returns back to the submarine in the given time.

Having said that, the team still bravely manages to deliver a highly engrossing and worth praising film considering its limited budget, less effective special effects and the fact that it all happens within the restricted areas of a submarine without any added sub-plot or the typical songs. Many brilliantly directed sequences lift up the narration repeatedly such as the heated interactions between the two captains, the senior captain’s emotional final farewell and the decisive ‘up and down’ games being played with the much strong rival in the climax. And for this the film’s writers, background score composer, cinematographer and the editor deserves equal praises too apart from the director, who certainly is capable of making a near perfect film next, if given a better opportunity.

In all, ignoring the forced filmy touches, THE GHAZI ATTACK largely remains a delightfully focused treat led by a talented cast, which is a rarity in the present questionable scenario of Hindi Cinema. So it surely deserves to be given a fair chance as your personal support to such courageous well-made films having no big stars.

Ending on a positive note, it was good to see the film being presented by Karan Johar, since the name has never been associated with such experimental, off beat cinema in the last many years……. raising many new hopes.

Rating : 3.5 / 5

Tags : The Ghazi Attack Movie Review by Bobby Sing, The Ghazi Attack Film Review by Bobby Sing, Real life inspired films, Indian War Movies, First Indian Underwater War Movie, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at
17 February 2017 / bobbysing /
leave a comment
Beginning with the hard truth, if a director decides to make a sequel of his first film after 15 odd years (which is a long time) and co-produces it too with the music company re-using its most famous track, then either he is too obsessed with the very idea or is not able/willing to go for any novel plots due to his own undisclosed limitations or professional fears. Ironically the statement gets proved when after watching the film one realizes that the director has not even gone for a sequel but has just remade the original film following the exactly same format with even more clichéd insertions in the name of fresh changes. (Spoilers Ahead)
So TUM BIN 2 loses its major marks as it’s not at all a sequel but a remake made by the same director after 15 long years when even generations change in a society following a completely different thought process and ‘their kind of’ cinema.
Mentioning its noticeable merits first, the sequel/remake begins on a shaky note with a good song and some grainy graphical visuals. But then picks up soon with the emotional quotient handled well in its first 30 minutes followed by some regular entertaining moments supported by the well written lines. In fact despite the completely predictable/outdated theme or story progression the film still decently manages to engage you till the intermission through its likeable performances, sweet interactions and Late Jagjit Singh’s voice on screen (though it would have been much better if the song was not tempered inserting an additional female voice.)
Where the first half has enough emotionally entertaining moments and songs, the second half fails to impress despite having a few good scenes coming at long intervals. The narration derails fast and then goes into a completely confusing zone becoming too lengthy with nothing novel or engaging happening in its prolonged climax. As a result what could have been a good emotional film (for the young viewers), remains just an average romantic saga based on a highly overused and lackluster theme wasting a fine opportunity of en-cashing the still fresh memories of its original film.
Offering nothing more than the routine predictable love triangle with ‘an assumed dead returning all of a sudden’ the film’s only merit is its touching scenes keeping the emotional level high especially in the first half. And the best scenes in the script include an emotionally distressed girl's honest conversations with her supporting would-be father in law, the family’s visit to the house of a Pakistani Hindu doctor living with his mother and Neha’s confession in a Gurdwara admitting her present love. Background score helps a lot in these particular sequences and cinematography does give it an elegant eye-pleasing look throughout. At the same time the soundtrack struggles to surpass or even match the standard of its original film with only a few good and not any outstanding songs to be exact.
Having said that just like the 2001 hit, TUM BIN 2 also has all sincere performances more specifically coming from the largely lesser known supporting cast. Aditya Seal impresses confidently leading them all (in the first half) and debutant Aashim Gulati is just okay with a lot of time ahead to learn the essential details. Neha Sharma tries her level best playing a difficult role and looks gorgeous on the screen providing the glamour too. But the greater impact comes from Kanwaljeet (as the father), Mehar Vij (as the elder sister), Sonia Balani (as the second sister) and the actors playing the cool Sikh husband and the young doctor from Pakistan. Plus Sandali Sinha (of the original) also features in a pleasantly surprising cameo in the film’s initial moments.
Coming to its shockingly unimaginative remake status, just see how writer-director Anubhav Sinha follows his own film without going for anything fresh and innovative in his ‘supposed to be safe’ sequel even after a gap of 15 long years.
Tum Bin 2 has the same story format of a boy dying and the girl getting attracted to the very (guilt-ridden) person who is responsible for her boyfriend’s death (reminding you of films like DUSHMAN, KINARA and more having related concepts). The original exactly had the same plot but in fact had a more matured one as there is no dead person returning in it like the sequel (strongly reminding you of films like SANGAM and more).
The 2001 film had debuts giving the lead cast a dream chance, a long road journey bringing together the two young souls, the falling business of the girl resurrected by the leading man, a key Sikh character helping the hero, the interval coming right after the entry of the second boy, the love triangle beginning post intermission and a hit Stereo Nation (Punjabi based) song added into the script making a good use of T-series’s own artists.
Surprisingly everything mentioned above is right there in this so called sequel too with a few boring and unexpectedly avoidable additions. Thankfully this time we have an original Sikh person playing the supporting character instead of any fake disguised one and TUM BIN 2 has another rehashed Punjabi track of the past too (following the current sick trend) re-proving the fact that the mainstream Hindi cinema today cannot really do without any Punjabi song.
But stating the positive difference, where the original moved around only its 3-4 lead characters without involving the supporting cast much, the sequel gives them a well written respected space and extracts some fine performances too enhancing its overall impact.
Yet that cannot be accepted as an excuse from writer-director Anubhav Sinha for re-serving the same old-fashioned love story to the new-age viewers in the name of an emotional, musical sequel.
In all, TUM BIN 2 doesn’t justify the status of a sequel (being a remake instead) and can simply be rated as ‘fairly watchable average film’ due to its emotionally rich first half, likable performances and the nostalgic cult song alone. Besides it just gets some extra marks due to a few noticeable lines as,
“LIFE is exactly like a nice summer vacation………… wherein the moment we are busy making our next grand plans….. it suddenly gets over and we don’t have any more time left in the granted days”
Indeed a nice ‘enlightening’ thought to take back home from the theatre.
Rating : 2.5 / 5
(On a personal note, I felt good to see ‘Sadness and Sentiments’ back on screen in a Hindi film portrayed well without any hurry (in the first half), which was not being allowed by 'the corporate producers and presenters' intentionally since last many years.
Ideally, this must make you think about ‘the emotional quotient or scenes’ in the recent Hindi films, not staying for more than a couple of minutes on the screen, forget about the SAD songs.
But let me keep this revealing info of ‘silent conditioning of young viewers’ for a separate detailed write-up to be posted in the coming weeks.)
Tags : Tum Bin 2 Review by Bobby Sing, Tum Bin 2 Film Review by Bobby Sing, Tum Bin Sequel, 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, Average and unrequired Hindi Film sequels
19 November 2016 / bobbysing /
leave a comment
When one doesn’t expect anything from a project and still gets a surprisingly decent subject and a couple of fine performances too in an otherwise below average film, then it certainly cannot be considered as a complete disaster at all giving it the deserving credit.
However that still doesn’t allow me to recommend this mixed-genre product for a multiplex viewing to be honest, as such films can actually be enjoyed more on a TV channel, when one doesn’t have to make any extra effort or spend a good amount of money on the tickets along with the expensive food items.
A trilingual released in Hindi, Tamil (as DEVI) and Telugu (as ABHINETRI) simultaneously, TUTAK TUTAK TUTIYA is directed by Vijay (a famed filmmaker from the South) as his debut Hindi film and is also the first film of actor Sonu Sood as a producer.
Thanking JACKIE CHAN in the credits for probably the basic idea of the plot, which also makes you recall movies such as Nargis’s RAAT AUR DIN (1967), NASEEB APNA APNA (1986) and BHOOL BHULAIYA (2007), the film begins on a terrible note wherein the dubbing and language issue crops up in the very first scene introducing Prabhudeva as an employee flirting with a new entrant. The unbearable scenario continues for a good amount of time with Prabhu visiting his hometown to see his ailing grandmother. And the film thankfully gets on the track with Tamanna coming in as Prabhu’s wife and they both returning to Mumbai beginning their new life in a rented or rather haunted house.
So it’s from here onwards that the film reveals its interesting comic-horror theme defying all the logic (declaring the interval). And post intermission it’s all about how Prabhudeva gets forced to manage his wife and the ghost of a struggling film actress together living in the same house.
Sounding good as a basic subject of a film dealing with comedy and horror, the director surely comes up with a few good sequences at times focusing on Tamanna and Prabhu. But overall the team fails to play with the idea in any highly appreciable manner using the interesting cast ensemble (wherein the three leading actors have their own experience in Hindi, Tamil as well as Telugu film industry) shooting the scenes thrice in three different languages.
Completely revolving around Prabhudeva and Tamanna as a couple, TTT manages to find some ground only in its second half (dealing with its actual plot) and till then you just have Prabhudeva trying to act and entertain, especially in its initial 30 minutes. Strangely you don’t see him dancing at all post his opening song which is sure going to disappoint many die-hard fans. But the choreographer turned actor-director surprisingly delivers a much better performance in the latter half displaying his fine comic timing recovering amazingly from a visibly shaky start.
Making a grand entry as a superstar of Bollywood, Sonu Sood is mostly there in the second half of the film but is unable to add anything significant playing a highly clichéd role seen many times before. Moreover when an actor turned producer is more interested in showing his body and six packs in a song instead of focusing on the film, then its surely sends some wrong signals to the team affecting the end result.
In short, TTT majorly gets saved by Tamanna playing her difficult role well using some entertaining voice modulations portraying the contrasting personas. She is much more than a glamour doll in this film moving ahead than her last few ventures. And providing a perfect support is the consistent Murli Sharma as the realistically entertaining star-manager of Sonu.
Technically the film doesn’t offer anything above the routine with the music failing to make any impact whatsoever, yet again rehashing or ruining two (decades old) cult Punjabi tracks as Tutak Tutak Tutiya (originally sung by Malkit Singh) and Saadi Rail Gaddi Aayi (originally sung by Mangal Singh), both from the late 80s.
Taking the hint from these songs, the makers decide to call their film TUTAK TUTAK TUTIYA when neither the title has any meaning nor the film has anything to do with these unusual words. In fact this is yet another strong proof of the truth that how Bollywood repeatedly goes back to PUNJAB again & again for its themes, characters, music and titles too.
Overall this is no doubt a rare, clean, comic-horror film which can simply be recommended for a time pass routine watch on a TV Channel, but not for a theatre viewing for sure involving a big cost.
Rating : 2 / 5
Tags : Tutak Tutak Tutiyan Review by Bobby Sing, Tutak Tutak Tutiya Film Review by Bobby Sing, Comedy Horror genre, Hindi comic-horror 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
07 October 2016 / bobbysing /
leave a comment
Reviews in All (929)

Inspired Hindi Movies
List (506)
Articles on Music,
Poetry & Life (96)
Did You Know! (88)
Few Life Inspiring Words! (22)
Nostalgia (Books on Cinema,Vintage Magazines, Scans & more) (28)
Page copy protected against web site content infringement by Copyscape
Google Analytics Alternative
The site is a collection of personal expressions of the writer to share his own views on different mediums of art, with no intention of hurting any person or organisation in particular. The site is also not responsible for any inappropriate acts practiced by the third party links added here only for information purposes.
   Visit for Bollywood Movie Reviews, Inspired Cinema, Movies To See Before You Die, Amazing Bollywood Facts, Articles On Cinema, Music, Poetry & Life
Site Best View At 1024 X 768 Resolution & Above