Bollywood Movie Rann Reviews

"Rann" is that rare cinema about the collective conscience which we often like to think has gone out of style. Like Mehboob Khan's "Mother India" and Hrishikesh Mukherjee's "Satyakam", "Rann" shows how tough it is to hold your head high up in dignified righteousness in a world where ethics crumble faster than cookies in wide-open jar left out too long in the sun.

Ironically, there isn't much sunshine in "Rann". The film has been shot in an anaemic light, symbolising a world that's largely losing light.

Cast: Amitabh Bachchan, Riteish Deshmukh, Sudeep, Paresh Rawal, Rajat Kapoor, Neetu Chandra, Gul Panag, Suchitra Krishnamurthy

Director: Ram Gopal Varma

Cleverly, Ram Gopal Varma situates his morality tale in the cut-throat world of the electronic media where the TRP is god and deadlines the devil. And may the voice of the conscience rest in peace.

Without wasting time Varma introduces us to the plethora of characters who colonise the bowel of a declining channel run by the idealistic Vijay Harshvardhan Malik (Amitabh Bachchan). Malik believes there's room still for the straight and narrow path in a business where grabbing attention is the murder of all invention.

The glistening sweat on ratings, challenged eyebrows are captured through tight close-ups of worried faces that the camera - Amit Roy's sharply cruising lenses moving from face-to-face with obstinate restlessness - that give nothing and yet everything away.

As in Varma's "Sarkar", the moral battle lines in the media-run tale of "Rann" are drawn between the idealistic patriarch and his US-returned hyper-ventilating son Jai (Kannada star Sudeep) who is so anxious and ambitious, you know he will eventually cause trouble for his ideologue dad's news-worthiness.

Trouble arrives in the flabby form of a seedy politician Pandey - played by Paresh Rawal and he re-embraces villainy with lip-smacking relish - who plunges into the TRP war on television with no sense of propriety, legalese or the law.

Pandey pompously tells Jai before they both conspire with the help of a rival television tycoon (Mohnish Behl) to trash the idealistic Harshvardhan's reputation.

The plot accommodates more characters that a miniature touristic island in the holiday season. Not one of the characters need any explanation or occupy a superfluous place in the plot.

Varma's concern for the characters is genuine but non-judgemental. Each characters even the relatively-shadowy women, emerges as casualty of an over-competitive society where morality goes out of the nearest window.

The narrative is taut, restless and biting in its depiction of corruption in supposedly responsible places.

While much of film's inner fire burns outwards from the pithy and peppery writing (Rohit Banawlikar), the essential core of idealism is preserved in the understated relationship between the idealistic young rookie Purab Shastri and his mentor Harshvardhan. Wish this bonding was built on.

As restless as his camera, Varma gives no space to the complicated labyrinth of relationships to grow. We are left to gauge the depths and dimensions that underline the furious flow of empathy and antipathy between various characters by reading between the lines.

The first two-thirds of the narrative creates a gripping patchwork of television, drama and politics and how the three worlds often come together to destroy the basic fibre of human morality.

It's the last quarter of the narrative where Harshvardhan, after realising he has been taken for a ride by his own son's over-ambitiousness, that packs in the maximum punch.

Cleverly borrowing the premise for its climax from Mehboob Khan's "Mother India", "Rann" moves aggressively but confidently into its passionate finale where the patriarchal television tycoon must expose some harsh home-truths to cleanse his own conscience.

"Rann" takes us into a world where right and wrong are more financial than moral issues, where the people who make news conveniently forget that the source is often the nadir of the conscience.

"Rann" is a razor-sharp bitter and biting look at the real world of rapidly-moving moral issues.

Varma extracts superlative performances from the entire cast. From Riteish's heartbreaking idealism to Neetu Chandra's part as Jai Malik's secret love interest.

As expected Bachchan as the conscience of the plot, presides over the speedened proceedings with a thoughtful and gentle performance. His climactic speech makes all of us sit up and think about the quality of work we do in order to keep up with the competition.

Luckily, Bachchan's consistently excellent output is never dependant on the 'competition' around him. Ironically, his character is forced to stoop in order to conquer the TRPs.

Varma, who has been lately guilty of making fairly compromised films, rises above the morass of mediocrity with a meteoric force, letting other filmmakers know what he is capable of achieving if he sets his heart to it.

"Rann" defines the role of the electronic media in today's context with remarkable virility and dramatic force. This is Varma's best work since "Company".

Pyaar Impossible Movie Reviews

Pyaar Impossible, is the second production venture of Uday Chopra (first was Yeh Dillagi in 1994). Directed by Jugal Hansraj under the Yashraj Banner, the movie is written by Uday Chopra himself and has Priyanka Chopra as his female lead. Anupam Kher and Dino Morea have supporting roles . The promos looked good and the music has done well too. But does the film entertain?

Pyaar Impossible is about a geek, a patent part of every college, Abhay (Uday Chopra) who-not-so-surprisingly falls head-over-heels in love with the hottest girl of the college Alisha (Priyanka Chopra). And going with the universal truth, the stunning Alisha never notices our hero Abhay. He never gets a chance to confess his feelings, since she moves back to India midway of her semester.

Then we zoom in the days and there we are seven year forward; Nothing much has changed, Abhay is still a bespectacled geek and still madly in love with Alisha. Now he owns a unique program that can hold and run all the operating systems in the world but to his misfortune his program gets stolen. He for the first time sets out to fight for his right and in this journey stumbles upon Alisha, now a divorce with a child. Does he win back his fortune? What about the Beauty and the beast, well actually just a geek. Is Pyaar possible?

Pyaar Impossible Review

While not close to as bad as last year’s first release “Chandni Chowk To China’, Pyaar Impossible is a disappointment nonetheless. Loaded with glamour, the film actually had the potential to be much better, if only the love track was more refreshing and the story had some twists to avoid getting too predictable.

Agreed, the story is simple but it neither has the charm of a romantic tale nor the breeze of a comedy and hence boredom begins to creep in 20 to 25 minutes into the first half. Its not just the story that is at fault here, but the execution, which is absolutely amateurish. Barring a couple of scenes that manage to evoke some kind of emotion, the film is extremely sluggish and highly predictable. Its the pace, that requires you to watch Pyaar Impossible with a lot of patience.. it unnecessarily drags along.

Also let’s have a reality check here, since when did software companies of high grade get this easy with the dress code? Priyanka is always in minis, baring most of it for any and every occasion - a treat for the guys in the audience though. Also we have six year old Tanya who can understand her nanny’s (Uday) love for her mom and helps him hook up with her by having sleep overs at a friends place. Absurd ain’t it?

Music by Salim-Sulaiman is peppy and hummable but simply adds to the runtime.

Coming to the performances, Priyanka Chopra tops the rest. She looks stunning in every frame of the film, very natural and confident in her act. Perhaps one of the only reasons to watch this flick. Uday Chopra passes off as a geek, he does well in a few scenes.

Dino Morea as the program thief alias a business man is bad with nothing more than one and a half expressions. Anupam Kher has very little to do and is okay in his act. Advika Yadav (Priyanka’s daughter) is excellent.

Overall, Pyaar Impossible is a formula flick high on prediction. Watch it for the gorgeous Priyanka Chopra, but only on DVD, a fast-forward option is a must while watching this flick.

3 Idiots Aamir Khan Movie Reviews

Life is all about listening to your heart and chasing your dreams. That's the essence of 3 IDIOTS, directed by the supremely talented Rajkumar Hirani. Let me come to the point right away. There are films and there are more films. And then there's 3 IDIOTS.

Come to think of it, 3 IDIOTS carries a huge 'burden' on its shoulders: The 'burden' of humungous expectations. And it's not without reasons...

3 IDIOTS is Aamir's next release after the record-breaker GHAJINI.

3 IDIOTS is Rajkumar Hirani and Vidhu Vinod Chopra's third film together, after MUNNABHAI MBBS and LAGE RAHO MUNNABHAI, landmark films.

Three actors from the path-breaking RANG DE BASANTI team - Aamir, Madhavan and Sharman - team up yet again. Plus, Aamir's teaming up with Hirani. It couldn't get bigger!

3 IDIOTS is over-hyped and that could be dangerous for any film since it's the expectations which kill a film if the content doesn't match up to the hype. In this case, all izz well!
Now let's demystify the myths...
3 IDIOTS is not about idiots or nincompoops. It's about three engineering students who believe in 'I'll Do It On my Terms' and that's what the three characters achieve in life and that's what Hirani, Chopra, Aamir eventually achieve at the end of the movie. Making a movie on their terms! One more thing! You cannot draw parallels with any other film, past or present, successful or unsuccessful. And though people may draw parallels with GHAJINI or the MUNNABHAI series, it would be sacrilege to do so. 3 IDIOTS [based on a novel 'Five Point Someone' by Chetan Bhagat] doesn't tilt, it stands tall.

Here's yet another illusion: 3 IDIOTS belongs to Aamir Khan. Yes, it does, but also to R. Madhavan, Sharman Joshi, Boman Irani, Kareena Kapoor and Omi, the entrant in Hindi movies, who delivers an equally sterling performance. The film would be incomplete without any of these characters.

To cut a long story short, all you'd like to say about the film is, All izz very, very, very, very, very well. Watch this film to know what it means!

Two friends [R. Madhavan and Sharman Joshi] embark on a quest for a lost buddy. As they make their way through the perilous landscape [Shimla, Manali, Ladakh], another journey begins: their inner journey through memory lane and the story of their friend - the irrepressible free-thinker Rancho [Aamir Khan], who, in his unique way, touched and changed their lives.

It's a story of their hostel days that swings between Rancho's romance with the spirited Pia [Kareena Kapoor] and his clash with and oppressive mentor, Viru Sahastrabudhhe [Boman Irani]. And then one day, suddenly, Rancho vanishes...

Who was he? Where did he come from? Why did he leave? The friend who influenced and inspired them to think creatively and independently, even as the conformist world called them three idiots. Where is the original idiot now?
3 IDIOTS belongs to everyone. But, yes, there's no denying that Aamir makes you forget all his past achievements as you watch the amazing actor play Rancho. To state that this ranks amongst his finest works would be an understatement. Madhavan is incredible, especially in the sequence when he explains his point of view to his father [Pareekshit Sahani]. Sharman is outstanding from start to end. This was a difficult role to portray and only an actor of calibre could've pulled it off. Boman is superb as the vicious head of the institute. The scenes between Aamir and Boman are extra-ordinary and it's a treat to watch these two powerful actors clash on the big screen, without getting overdramatic. Boman's appearance, mannerisms and dialogue delivery are exemplary.

The length of Kareena's role may not be as much as Aamir, Madhavan and Sharman, but she registers a strong impact nonetheless. Omi is excellent and the viewers are sure to love his acidic tongue and gestures in the movie. Mona Singh doesn't get much scope. Jaaved Jaffery is competent. Pareekshit Sahani is decent.

On the whole, 3 IDIOTS easily ranks amongst Aamir, Rajkumar Hirani and Vidhu Vinod Chopra's finest films. Do yourself and your family a favour: Watch 3 IDIOTS. It's emotional, it's entertaining, it's enlightening. The film has tremendous youth appeal and feel-good factor to work in a big way.The mystery is solved soon after the intermission ends and a new journey begins. That's one of the USPs of the film. Just when you think that the story would be solved, a new story begins. Of course, the pace dips slightly in its second hour, especially during the delivery sequence of Mona [which may appear filmy to a few], but the immediate sequence, when the baby boy is born and also the subsequent sequence between Boman and Aamir bring the film back on track. The culmination to the film is novel and yes, it's a master stroke from the writing point of view!

Every person behind the camera gives his/her best to the film. Hirani and Joshi's screenplay is the mainstay of the film. If you fondly recall 'Gandhigiri' from their previous film LAGE RAHO MUNNABHAI, you'd have a new phrase to chew on this time: 'All Izz Well'. Muraleedharan C.K.'s cinematography is awesome. Note the aerial view at the very start, when Madhavan and Sharman begin the journey to Shimla or the picture perfect look of Ladakh... the DoP does a magnificent job.

Shantanu Moitra's music may sound plain ordinary to ears, but when viewed on screen, the score is just perfect. 'Give Me Some Sunshine', 'All Is Well', 'Zoobie Doobie' are three tracks that would grow on you after you've watched the film. The choreography of 'All Izz Well' [Avit Dias] and 'Zoobie Doobie' [Bosco-Caesar] are eye-catching. The background score [Sanjay Wandrekar, Atul Raninga, Shantanu Moitra] is right. Hirani is a genius and that has been proved twice in the past. He proves it for the third time with 3 IDIOTS. Screenplay writers Hirani and Abhijat Joshi and screenplay associate Vidhu Vinod Chopra narrate a story that's straight out of life. A story that each one of us can relate to or identify with.

Very often, we've read news-reports of students committing suicides because they've to live up to the family's pressure/expectations. This film depicts it at the very start, when a student commits suicide. But the issue doesn't end there, for 3 IDIOTS raises a pertinent question: Was it suicide or murder?

Hirani balances the rough and smooth incidents in their lives beautifully. The sequences in the campus, right from the ragging sequence at the start, to Omi's speech when the word 'chamatkaar' is changed to 'balatkaar' [superb; will bring the house down], to the trio getting caught in an embarrassing situation at the reception of Kareena's sister [Mona Singh], to the dinner sequence at Sharman's house, to Kareena and Aamir driving Sharman's seriously ill father on their bike to the hospital... the funny moments would make your jaws ache.

The interval point is a shocker. The point at which the first half ends will leave you stunned. Now what was that? Kahani mein twist!One more thing! You cannot draw parallels with any other film, past or present, successful or unsuccessful. And though people may draw parallels with GHAJINI or the MUNNABHAI series, it would be sacrilege to do so. 3 IDIOTS [based on a novel 'Five Point Someone' by Chetan Bhagat] doesn't tilt, it stands tall.

Here's yet another illusion: 3 IDIOTS belongs to Aamir Khan. Yes, it does, but also to R. Madhavan, Sharman Joshi, Boman Irani, Kareena Kapoor and Omi, the entrant in Hindi movies, who delivers an equally sterling performance. The film would be incomplete without any of these characters.

To cut a long story short, all you'd like to say about the film is, All izz very, very, very, very, very well. Watch this film to know what it means!

Two friends [R. Madhavan and Sharman Joshi] embark on a quest for a lost buddy. As they make their way through the perilous landscape [Shimla, Manali, Ladakh], another journey begins: their inner journey through memory lane and the story of their friend - the irrepressible free-thinker Rancho [Aamir Khan], who, in his unique way, touched and changed their lives.

It's a story of their hostel days that swings between Rancho's romance with the spirited Pia [Kareena Kapoor] and his clash with and oppressive mentor, Viru Sahastrabudhhe [Boman Irani]. And then one day, suddenly, Rancho vanishes...

Who was he? Where did he come from? Why did he leave? The friend who influenced and inspired them to think creatively and independently, even as the conformist world called them three idiots. Where is the original idiot now?

Paa Movie Reviews

Cast: Amitabh Bachchan, Abhishek Bachchan, Vidya Balan, Paresh Rawal

Director: R. Balakrishnan

When a director takes a road less travelled, it means risk and challenges. Director R. Balakrishnan's "Paa" journey was difficult but he achieved what he had set out to do - Amitabh Bachchan's not recognisable in the role of progeria patient Auro, his character is not over the top and the director has managed to convey the message about the disease without much fuss.

Auro's character is well-etched and Amitabh has certainly presented a new challenge for his colleagues by slipping under the skin of a 13-year-old with wrinkles, cataracts and no hair so convincingly. Not even once does his megastar image overshadow his character.

Big B has an author-backed role and his oneliners are the best - if he tickles your funny bones with his comments in one scene, in the next Auro tugs at your heart strings with his emotional paradoxes.

Amitabh's make up is such that it doesn't give him much room to use his facial muscles. Despite that he conveys every emotion he is going through and as the movie progresses one feels a connect with Auro.

In the performance department both Amitabh and Vidya Balan, who plays his single mother, complement each other.

Vidya has given a power-packed performance as a woman who single-handedly raises her progeric child and try to give him a normal life - she is never shown over concerned or fussy.

Amitabh and Abhishek's scenes together are both funny and emotional.

These are the finer points of the film.

But the film has flaws too. Abhishek is portrayed as an ambitious young politician, fine! But his media bashing spree is annoying!

Balki takes a pot shot at the media by showing that TV journalism is manipulated, but it doesn't look convincing at all. Abhishek's dialogues lack substance.

Except his sequences with naughty Auro, most of his scenes don't fit in the scheme of things.

But laudable parts of the film are P.C. Sreeram's cinematography and Ilaiyaraaja's music.

Paresh Rawal is wasted in the film. One wonders why he accepted such a role.

Jaya Bachchan is the surprise package of the film. She appears on the screen to introduce the cast and the crew.

Watch "Paa" for Amitabh and Vidya's brilliant performances.

De Dana Dan Movie Review

Cast: Akshay Kumar, Suniel Shetty, Katrina Kaif, Paresh Rawal, Sameera Reddy

Director: Priyadarshan

In our school days we were taught nonsense rhymes that were incoherent, jumbled words strung together trendily. "De Dana Dan" is a 150-minute-long nonsense rhyme.

Its power to mock every rule of sensible and intelligent filmmaking simply infuriates and exasperates you to a point of complete breakdown of communication between cinema and art.

The characters are fairly funny to begin with. Akshay Kumar as Archana Puran Singh's slave-cum-driver is the portrait of anguished hilarity. He brings to his part of the servile toy-boy a kind of facile fury that flaunts an easygoing sense of self-deprecating comedy.

Suniel Shetty as Akshay's partner in the nonsense rhyme scheme seems to enjoy the comicality initially...At least he's relaxed until the frames begin to fill up with more characters than Noah's Ark and the spaceship invented to save mankind in Roland Emmerich's "2012" combined.

There are more characters romping in confusion in "De Dena Dan" than in any of Priyadarshan's over-crowded comedies. Two marriageable women (Katrina Kaif and Sameera Reddy) with secret lovers, their harassed fathers, Tinu Anand and Manoj Joshi, an avaricious father-in-law-to-be (Paresh Rawal) and his son (Chunky Pandey), a tart (Neha Dhupia) willing to sleep with anyone who pays. And that includes poor Vikram Gokhale who looks out of place in the boisterous goings-on.

"De Dana Dan" is like a jabbering juggernaut hurling with its fast-talking, constantly-moving army of characters into a region of utter chaos. The screenplay throws forward a gaggle of incoherent gags, which suggest that the melee of characters is more distressed by their financial than emotional condition in life.

Soon we, the audience, cease to figure out what the characters are up to or how they are inter-related, if at all.

Just go with the flow. At times, literally because at the climax we have the characters swimming and spluttering in a flood of water let loose from a bombed terrace tank in a luxury hotel.

Who planted the bomb? Is it the funny hitman Johnny Lever? Or the funnier assassin Asrani roaming around the hotel trying to hard sell a corpse in a coffin?

All this, mind it, is supposed to be the summit of hilarity. The jokes depend almost entirely on the actors' ability to say the atrocious lines as though they mean it. Some like Akshay Kumar and Paresh Rawal succeed. Others don't.

At the end of the day, this comedy of incredible mistaken identities and monstrous errors of judgement coaches us on the meaning of 'slapstick'...literally. Everyone slaps the person closest to him or her regardless of the reason or the repercussion.

Zany or just plain witless? You decide.

If this is the present and future of mainstream Hindi entertainment then we need to do some serious thinking on the way a coterie of super-successful directors and actors have redefined entertainment to a state of utter inanity.

"De Dana Dan" is not a film. It's a series of skits strung together to convey a sense of baggy fun and frivolous entertainment.

Kurbaan Movie Reviews

Cast: Saif Ali Khan, Kareena Kapoor, Vivek Oberoi, Dia Mirza, Kirron Kher, Om Puri

Background Score & Music: Salim Merchant, Sulaiman Merchant

Director: Rensil D'Silva

Wake up Yash Raj & Co. and smell the coffee. Your very own blue-eyed boy Karan Johar and his men are now beating you at your own game. Film after film, K Jo is churning out hits while YRF’s list of flops is piling up.
Why?
Because, unlike YRF’s new breed of directors, people at Dharma productions are not paying obsequious homage to their patron with their films. They are all making most of the creative freedom, ushered upon them by Johar and in turn set the cash registers ringing for their boss on Friday.

Just like Ayan Mukerji’s Wake Up Sid, Rensil D'silva's directorial debut Kurbaan lies far way from the typical Johar territory- often marked by hotties prancing around in chiffon saris with SRK, surrounded by countless junior artists. It is a dark love story of a New York based Delhi girl Avantika (Kareena Kapoor), who becomes a victim of professor Ehsaan Khan’s (Saif Ali Khan) 'love jihad'.
After a whirlwind romance, the two tie the knot and move into innocuous Indian neighbourhood in the Big Apple. But everything is not as hunky dory as it seems, Avantika finds it out the hard way from her neighbour in distress, Salma (Nauheed Cysrusi).

What follows next, is a series of incidents that sucks Avantika into a vortex of danger and intrigue. As her life spirals out of control, Avantika realizes that she is just a pawn in Bhai Jaan’s (Om Puri) huge game and no one is to be trusted. Not even Ehsaan. Like a true fanatic he does what he thinks the Lord would do if He knew the facts of the case.

Now her only hope is Riyaz Masood (Vivek Oberoi) and together they strive to save land of the free from another terror catastrophe.

In his 2 hour 40 minutes long thriller, Rensil clearly demonstrates how wisdom becomes nonsense in the mouth of a fanatic. The antagonists here are not rabid mullahs but the suave intellectuals who are blinded by their hate for the infidels. But one should never judge a religion by its nutcases. So, the 35-minute long chilling climax justifiably puts an end to their nefarious designs and upholds the truth that all extremism in the name of religion is bad, no matter what the provocation is.

Kurbaan is not only high on content but a well-packaged product too. Salim-Suleiman’s music and background score adds to the intensity of the film. Anurag Kashyap and Niranjan Iyengar's dialogues are scathing.
The film also sees some of the best performances of the year as well. While Saif as Ehsaan evokes both contempt and empathy, Kareena’s Avantika looks clearly torn between her love and hate for him. Vivek Oberoi also makes a grand comeback as an actor in the film.

It goes without saying that Om Puri clearly excels in his part as a mastermind but it is Kirron Kher who takes the cake away from the quinquagenarian actor. It’s a big, big relief not to see her playing the loud Punjabi mother for once and that too in a Karan Johar flick. Nauheed Cyrusi, Kulbhushan Kharbanda and especially Dia Mirza excel in the cameos.

All in all, Kurbaan is must watch for all those yearning for a sensible cinema. It shows the futility of a fanatic’s version of jihad and reaffirms that the most excellent jihad (struggle) is that for the conquest of self.
source: santabanta.com

Blue Hindi Movie Reviews

Cast: Sanjay Dutt, Akshay Kumar, Zayed Khan, Lara Dutta, Katrina Kaif, Kylie Minogue

Director: Anthony D'Souza

When the makers of a film proudly proclaim their product to be at par with their Hollywood counterparts, one is bound to be sceptical. More so because "Blue" is an action film, that too set underwater, which is not just a first in Bollywood but also a rarity in Hollywood.

So does "Blue" set new standards for Bollywood action movies? Does it actually get into the underbelly of the sea and show a world hitherto unexplored? The answer is yes.

Let's put it this way - "Blue" may not be the mind-blowing commercial action thriller that you would have ever seen. However, it certainly is the most innovative attempt that deserves to be acknowledged and lauded.

Action is truly the USP of the film and keeps the momentum going for "Blue" due to which one doesn't quite miss the presence of a solid storyline.

From first till the last frame, it's the amalgamation of action and an unknown world (under the sea) which brings in a novelty factor.

For those hunting for a storyline, "Blue" actually begins and ends at the basic synopsis level. Mr. Richie Rich Akshay Kumar wants a treasure to be explored and entices his employee and friend Sanjay Dutt with tempting offers.

Dutt is reluctant to take that dive into the sea even though his girlfriend Lara Dutta and brother Zayed Khan do present him enough reasons to take the plunge. Eventually he relents and the journey of "Blue" begins. Simple.

There are five key action sequences that keep the pace up for the film. Each of the three bike sequences featuring Zayed become better and better and in fact his introduction a la 'Fast and the Furious' is something unique for an Indian film.

The boxing ring sequence featuring Sanjay and Akshay does hint of "Broken Arrow", though it works in establishing their characters. Most importantly, the entire underwater hunt sequence is a breathtaking affair.

Anthony D'Souza has a strong eye for visuals and that shows. Technically, whether it is camerawork or sound, "Blue" bears an international feel. Whether it's Sanjay or Akshay, the revelation about their past isn't quite hammer strong, even though convincing.

Moreover, even though the film is a multi-starrer, one does expect Akshay to be on the forefront. However, for a change, a film featuring him does allow equal screen space for other actors as well.

As for Lara and Katrina Kaif, their presence is required to make the film look good and in that aspect, they do well.

In a nutshell, "Blue" is made for those who want pulsating action, innovative stunts, glamour and some unbelievable moments that defy logic.

It mainly caters to the youth that just want some non-stop action in those two hours while keeping James Bond movies in mind.

The kind of films where bikes are meant to race through traffic, cars are meant to explode, women are meant to bring on a glamour quotient, villains are meant to be suave, action is meant to belong to never-seen-before variety and technical aspects are meant to be superior to the best.