Starring: Tusshar Kapoor, Sendhil Ramamurthy, Sundeep Kishan, Pitobash Tripathy, Nikhil Diwedi, Preeti Desai, Radhika Apte, Girika OakDirected by Raj Nidimoru, Krishna DK
Rating: ****
I saw the future of Hindi cinema. And it’s got a name. Shor In The City. They say Mumbai never goes to sleep.
Catching the restless on-the-edge mood of a city and its people who refuse to fall off that edge of the hurling local train that takes thousands of destinies every day to their work and then back home, Shor throws forward the kind of seductive cinema that makes you think about the quality of life we all lead, irrespective of the city that we occupy, or rather, the city that occupies us.
Mumbai, in co-directors Raj Nidimoru and Krishna DK’s scheme of things, is that giant monster that consumes everything that moves.
The characters are all casualties of that traffic-jam freedom that comes to a commuter stranded in the middle of a highway in a car with nowhere to go and nothing to do with time than to spend it in idle retrospection (with or without music playing in the background).
The mood of this tense clenched and thoroughly gripping humane thriller is so spiritedly Mumbai-centric you applaud the director’s vision after the last shot of the work swishes by.
The rapid movements of images of extreme emotional crises and the ensuing violence, are so skillfully put forward you don’t feel you are being manipulated into staying riveted to the screen. You flow with the frenzied pace of a people whose lives are out of control.
Shor In The City pins you down to its brilliant screenplay from the first frame when we see the three waylaid youngsters Tusshar, Nikhil Diwedi and Pitobash negotiate the crowded streets of Mumbai in search of prey. The characters work both as predators and as victims. They feel the gun gives them the right of way when in fact the traffic snarl of life has got them by their balls.
There are three protagonists with their ‘Mumbai’ stories to tell. Sawan (Sundeep Kishan) wants to play national-level cricket. Tilak (Tusshar) wants to give up a life of crime to focus on reading and housekeeping (in that order).
But the most interesting strand in the lucid lineup of conflicted characters is the NRI Abhay (Sendhil Ramamurthy) whose dreams of setting up his own business in the city are turned into a nightmare by goons who muscle into his work- place and life with menacing insidiousness.
The interaction between the NRI and the goons is chilling to the core. So real because they are sound so unrehearsed. Abhay’s lapse into a life that he had probably left behind, is charted in a zigzag of humour and irony.
The pace is so relentless, we don’t even get a chance to applaud the even narration that defines these jagged lives as they hurl towards a karma that we are not allowed to guess. The co-directors succeed in remaining many steps ahead of the audience.
The masterly editing (Ashmith Kunder) and the moody earthy cinematography (Tushar Kanti Ray) aids the director in building a conflagration of compelling montages that add up to a climax that doesn’t quite add-up…and rightly so. There are no neat conclusions to these lives that are stuck in their desperate bid to escape their karma.
Karma, the theme song tells you, is a bitch. Watching the people who move through their designated anguish with such furious fluency, you have to agree with the opinion that destiny deals a bitchy blow to most working-class people in the cities.
Shor In The City is a work suffused in an inspiring glory. The characterization is so precise and the dialogues so perfectly attuned to the minds and hearts of the characters you wonder which came first. The people in the film. Or the film itself.
I have not seen a film so filled with credible performances in a while. Even the smallest cameo is done by the perfect face and personality. Whom do we single out without doing injustice to the rest?
But yes, Tusshar as the bad-boy finding salvation in books and wife gives an interesting spin to his character. This is a far cry from his over-the-top Golmaal escapades. Nikhil Diwedi and newcomer Pitobash as Tusshar’s accomplices are entirely in tune with their characters blending so well with the milieu you are sure no one gave any of these actors a second glance on the streets of Mumbai where the script often ventures out.
Sundeep Kishan as the boy who wants to play cricket and get married brings a certain simplicity to the tangled goings-on. You could say he’s the voice of innocence in the cacophony of selfserving diabolism. Among the female characters Radhika Apte as Tusshar’s simple but strong wife reminded me of Tabu in Viraasat.There are stand-out cameos by Amit Mistry (as a street goonda who specializes in organizing dharnas), Zakir Hussain (as an extortionist) and several other actors who bleed a brilliance into the plot for just fleeting moments before vanishing into the crowds of Mumbai.
Yes, the city has been savage and inviting before in the cinema of Raj Kumar Santoshi and Ram Gopal Varma. But never so funny. There’s a moment when a little boy whose foot Tuushar thinks has been blown away by a mistimed bomb, stands and dances in the Ganpati visarjan.
That moment defines the cutting edge of the humour in Shor In The City. If Mumbai is troubled by violence and greed it survives so splendidly because it never takes its problems to heart.
Don’t miss this outstanding ode to the city of dreams, goons, guns and glory.Source URL: https://jpnesz.blogspot.com/search/label/Movies%20Reviews
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'Be Kind to Whoever You Meet- Because everyone is going Through a Hard Battle--- PLATO'
Shruti (Anushka Sharma) is a 20-something no-nonsense girl from a middle class Delhi household. Focused and determined with preplanned ambitions, her goals in life are well laid out by the time she reaches her final year of college.
Cast: Ajay Devgn, Emran Hashmi, Omi Vaidya, Shruti Hasan, Shazahn Padamese, Shraddha Das
LOVE U... MR. KALAKAAR! is about Sahil (Tusshar Kapoor), a cartoonist, an artist who derives his inspiration from emotions that come from the sky, from the earth, a scrap of paper, a passing shape, a spider's web, while Ritu (Amrita Rao) is a management trainee, whose world revolves around debits, credits, turnovers, profits, deadlines.
Goa. Paradise on Earth. But every Paradise has a few snakes. Multiple lives collide brutally one day at Goa Airport... and change forever.
An aspiring airhostess who saw her dreams turn to dust, Zoey in a way represents Goa itself. A child of the hippy generation, a mix of local and foreign culture, innocence and beauty have gradually been replaced by cynicism and abuse.
Cast: Irrfan Khan, Chitrangda Singh, Arunoday Singh, Aditi Rao, Saurabh Shukla, Vipin Sharma, Yashpal Sharma, Sushant Singh, Prashant Narayanan
The job has gone haywire for it is still unknown to Kuldeep that the Ministers daughters engagement with Shyam is off and now she doesn’t care whether Shyam lives or dies and more importantly neither does the Minister who Kuldeep hoped would pay the ransom!
Vishal Bharadwaj's fetish for big screen adaptations of books and plays is well-known. Continuing with what he is best at, the multi-faceted filmmaker is bringing on screen Friday "Susanne's Seven Husbands", which has Priyanka Chopra as a sinister woman who knocks off her husbands one after another.
But Jimmy also dies and then enters poet Wasiullah Khan a.k.a. Musafir played by Irrfan. Impressed by his poetry, Susanna marries him too. Although during the day he is gentle, as the dark dawns upon, he becomes something else. This story is called "Mussafir Hoon Yaaron".
The seventh husband is played by Vivaan, but the story has been kept under wraps.
Rhea is the quintessential girl next door, in love with Luv Nanda, the richest, most popular boy in college. On the eve of her 18th birthday, they plan to take their relationship to the 'next level'. When accidentally she finds out Luv is not as nice as she thought he was.
Jugnoo (Jugs) Shastri
Daman
Starring: Raj Kumar Yadav, Kainaz Motivala Directed By: Pavan Kirpalani Written By: Pavan Kirpalani & Vaspar Dandiwala Produced By: Alt Entertainment and iROCK Media Pvt Ltd.
The cameras that were meant to capture love-making are witness to something that is beyond the realm of human understanding...something metaphysical....
Film: "Zokkomon"; Cast: Anupam Kher, Darsheel Safary, Manjari Phadnis
Starring Nandita Das, Purab Kohli, Juhi Chawla, Manisha Koirala, Sanjay Suri, Radhika Apte, Shernaz Patel, Anurag Kashyap, Rahul Bose, Arjun Mathur & Abhimanyu Singh
The third story I Am Abhimanyu on child abuse is understandably a portrait of acute complexities brought to a virile fruition by the director’s determined evasion of any self-pity in the abused child’s character. Rather, Abhimanyu (Sanjay Suri) grows up as quite a manipulator, not sure of his sexual preferences but sure that he’d milk the ambivalence of his tortured past for all that it’s worth.
These are not “happy” stories. How can they be? When the people in them are so intrinsically unhappy? The challenge for Onir is to make his tortured characters acclimatized to their pain and suffering without making them look like resigned victims.
Starring: Raima Sen, Konkona Sen Sharma, Arunodoy Singh, Rajpal Yadav, Shreyas Talpade, Sushant Singh, Shahana Goswami
Not that Shukla can be faulted for his intelligent and astute handling of such an audacious idea. The quality of 'horniness' specially in a woman makes for very unpoetic cinema. Love when linked to lust tends to lose its lyrical lustre. 
To create a certain distance from the preposterous parodic premises Vinay Shukla creates a film-within-film format whereby a young struggling idealistic filmmaker (Arunodoy Singh, again) and his girlfriend (Shahana Goswami, powerful in a small role) try to convince a wily producer (Sushant Singh) to produce a film which has plenty of sex, eroticism, humour and drama.
Director: S. Shankar
In Robot, we have a double dose of Rajnikanth (how lucky can we get? Two for the price of one ticket?) The film opens with Rajnikant as Dr. Vasi, who is in the process of creating an andro-humanoid robot named Chitti, also played by (surprise!) Rajnikanth.
Here is when in steps the bad scientist, Danny Denzongappa, who rescues and resurrects Chitti and plants in him the destruction chip.
Cast: Sanjay Dutt, Irrfan Khan, Kangna Ranaut, Sushant Singh
Mani Shankar creates an arresting format of dialogue-based interaction between the unkempt Bachu, who becomes symbolic of all the middlemen in the business of politics who unwittingly end up selling chunks of our nation and its conscience to unscrupulous politicians, and a mysterious vigilante-styled, one-man anti-corruption bureau played by Sanjay Dutt.
Sushant Singh, playing a cop who won't succumb to corruption and therefore loses his life, and Apoorva Lakhia, as a ruthless immoral establishment-monster, are just two of the characters who lend a blend of immediacy and topicality to the relentless chase-phase that the film assumes.
Cast: Malika Sherawat, Divya Dutta, Priyanka Rawat, Irrfan Khan, Jeff Doucette
Irrfan Khan in the role of a detective called Vikram Gupta keeps chasing this sexy killer ‘snake woman’ and he is in his usual form. We can’t term it to be an excellent performance.
Cast: Anil Kapoor, Sushmita Sen, Sanjay Dutt, Akshaye Khanna, Suniel Shetty, Kangna Ranaut, Paresh Rawal
Not too many sequences make much sense in this homage to hectic incoherence. The gags are as flat as Neetu Chandra's belly. She has some funny moments with Suniel Shetty (playing the assassin named, with excruciating unoriginality, Marcos). But the funniest character in the plot is Sushmita Sen. A schizophrenic wife to bumbling-cop Anil Kapoor, she does the split-personality act with lip-smacking relish.
Starring: John Abraham, Pakhi, Raghu Ram, Manasi Scott, Anaitha Nair, Omar Khan, Alishka Varde, George Young, Prahsant Chawla, Madhavan, Nandana Sen
One day Mishka comes to Sid’s bookshop, Sid recognizes her immediately but Mishka cannot. The duo start dating, John puts up a nice double act in this movie.
Cast: Aishwarya Rai, Akshay Kumar, Aditya Roy Kapoor
The costumes, however, try too hard to be retro. If you watch films of those period, they were not so flowery and jazzy as in this film. However, given the lighter vein in which the film is made, it is perhaps justified.
