Harry Potter and the Half-Blood Prince****

*ing: Daniel Radcliffe, Emma Watson, Rupert Grint, Michael Gambon, Ralph Fiennes, Alan Rickman, Tom Felton, Helena Bonham Carter, Maggie Smith and David Thewlis.
Directed by David Yates
Tagline: Once again I must ask too much of you, Harry.

We walked the castle of Hogwarts, the school of witchcraft and wizardry with Daniel Radcliffe’s Harry Potter – the Chosen One, the Boy Who Lived with the first installment of the magical franchise, Harry Potter and the Philosopher’s Stone. It has been six years since, Hogwarts has changed and so has Harry. As the sixth film in the Harry Potter franchise rolls, we explore the anxiety and growing pains of Harry Potter, the troubled and estranged past of Lord Voldermort (Ralph Fiennes) and the genius and the monster buried within him.
With this film, the series has leaped forward as a link to the past (much like the book) into a darker terrain, one where the unthinkable finally happens.

The journey of Harry Potter rings true as far as growing up goes. The conflict and confusion of entering adolescence and trying to find focus strikes a chord. In this film, romance also surfaces for Harry and his two best friends, Ron Weasley (Rupert Grint) and Hermione Granger (Emma Watson) like never before. And even Harry seems to have discovered his one true love – Ron’s sister Ginny Weasley.

The film picks up from right where The Order of the Phoenix trailed off… Harry’s godfather, Sirius Black is dead and Lord Voldermort’s return is finally accepted by everyone including the Ministry of Magic. The magical world has become darker. Voldermort’s evil minions, the Death Eaters, led by Bellatrix Lestrange (Helena Bonham Carter) run wild as they are chased by Albus Dumbledore (Michael Gambon) and his diminishing army.

This film, like all Harry Potter movies, has many undercurrents. The most impact comes in the late night travels of Albus Dumbledore and Harry Potter into the past of Tom Marvolo Riddle, the boy who became the greatest dark wizard of all times – Lord Voldermort. These journey’s are the focus of the sixth book as Dumbledore imparts his insight to Harry, who is now old enough to be exposed to darkness at its worst. Harry Potter and the Half-Blood Prince is grim, cold and emotionally compelling from the first scene.

It’s a rite of passage for Harry towards what lies ahead. Dumbledore is showing him the ropes and giving him assignments like cleverly manipulating Professor Horace Slughorn (Jim Broadbent) and luring him back to the halls of Hogwarts. Harry also has to endure watching Professor Severus Snape (Alan Rickman) finally take hold of the one position he had been gunning for from day one – to be Professor of the Dark Arts. But Harry’s one obsession throughout the film is that he suspects that his young nemesis Draco Malfoy (Tom Felton) has an assignment from the Dark Lord himself.

Draco is no longer the same. No one can disobey the Dark Lord. Draco is terrified and conflicted. Yet he chooses to keep his surface intact, in a way akin to Harry Potter, who is covered in blood more often than not. Then there is an Unbreakable Vow between Severus Snape and Narcissa Malfoy (Helen McCrory), Draco’s mother and then there is the Half Blood Prince whose notes in an old text book make Harry the best in Potions in his class. But he has no idea about who the Half-Blood Prince really was…

The story of Harry Potter has always been a compelling one. Harry, the orphaned boy who we first met as an 11-year-old has grown into a confident wizard with perplexing emotions yet a will to fight the fight. This Harry Potter is admirably rolling with the punches even as confusion, death and fear permeate the air. As Harry has grown, the films have taken a more mature, appealing twist. Visually, it’s beautiful yet dark, sometimes eerie and sometimes simply stunning as Harry and friends play Quidditich in the blue skies on their brooms. The characters explore emotions that we’ve felt only in the books. When it comes to the transition from pages to scenes, it is safe to say that Harry Potter and the Half Blood Prince is the most alluring film since Harry Potter and the Prisoner of Azkaban.

Some storylines may have been dropped and that is excusable because director David Yates has wonderfully spun the many themes of The Half-Blood Prince into a two and a half hour film without losing focus. It is an emotional film and the level of intrigue remains mysterious, clues are stained, self-doubt is palpable in Harry and questions arise at every step.

One coup that makes this film so gripping is its cast. The acting is impeccable and the ensemble cast is an enchantingly delightful one. Other than the usual youngsters, the seasoned actors from Britain who populate The Half-Blood Prince as good and bad wizards lend it more dimension and character. Jim Broadbent, who plays Professor Horace Slughorn is the latest addition to the well-rounded cast that includes other British actors like Michael Gambon’s now weary and wise Albus Dumbledore, the sharp yet adorable David Thewlis’ Remus Lupin and the strict yet loyal Professor Minerva McGonagall, played by Maggie Smith. Other actors who give stellar performances include Alan Rickman who plays the shrewd Severus Snape and plays both sides with such vigour and strength, you can’t figure out which one he’s really on. Helen Bonham Carter’s Bellatrix Lestrange is more deranged and wicked than ever. The young and pretty Evanna Lynch, who plays the wacky Luna Lovegood, is another girl who lives in her own world who adds some light to the otherwise depressing story. Emma Watson shines as Hermione Granger who is no longer just the book worm. And the most special of them all is without a doubt, Daniel Radcliffe’s Harry Potter. He is heartbreaking and emotional, alone yet still standing – he’s brilliant.

Some dialogues from the film lend it absolute conviction, especially when delivered by someone with as much skill and style as Michael Gambon, who at one points says to Harry: “In my life I have seen things that are truly horrific. Now I know you will see worse” or when he says to the students at Hogwarts, “Every day, every hour, this very minute, perhaps, dark forces attempt to penetrate this castle’s walls. But in the end, their greatest weapon… is you.”

To look at this film as just another Harry Potter film would be unfair. The childish streak – which Chris Columbus of Home Alone fame installed in the earlier films (much to our dismay), is almost gone. The tension is painful, it feels real and growing. The light moments are few, and the days just get bleaker. Harry is now alone, finding a way back to recover from the colossal loss and betrayal that has changed the stakes forever. The troubled trial that lies ahead begins now. And we are riveted… waiting to watch the next and final installment before this fantasy comes to a close.

– Maheen Sabeeh

*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

State of Play***1/2

*ing Russell Crowe, Ben Affleck, Rachel McAdams, Helen Mirren, Robin Wright Penn and Jeff Daniels
Directed by Kevin MacDonald
Tagline: Find The Truth

A charismatic Congressman, a seasoned, sexy investigative reporter, a beautiful young journalist in professional dilemma, three brutal murders and PointCorp – a private military defense company under investigation. Under the layers, a marriage on the rocks, friendships tinged with skepticism, hurt, personal vendetta, distrust and betrayal. That in a nutshell defines the film that is State of Play.

Adapted from the critically-acclaimed British series of the same name, the film leaves no lose ends and continues to mystify in an intriguing manner.

On the surface, State of Play trails three murders, each connected to a clue. And as the clues unfold, it becomes clear that these are not just homicides. It is a cover-up of the nasty kind and it’s about billions of dollars and men powerful enough to take any route to hide their secrets. The game of power, politics and greed come out of the shadows as the film unravels.

Russell Crowe is Cal McAffrey, a seasoned journalist for Washington Globe. He is driven with a knack for discovering the ‘real’ truth. Sharp yet emotional, he is battling ethical boundaries and personal relationships. His story is one that impacts the ‘very’ system that defines private security, defense and its often murky relations with the Department of Defense in the US government. The spill over of these private-personal relations extends to foreign fronts and goes underneath the damage of the cost of real wars and the lucrative business side of it.

Cal McAffrey understands the stakes and his human conflict is brilliant to watch. As a reporter uncovering the truth and the personal battle and betrayal is pure fantastic. It’s a performance that is understated and haunted.

His counterpart (on the professional front) is Della Frye (Rachel McAdams) who represents the generation where news published on the Internet is followed by millions. Cal and Della have a thorny relationship and its growth is gradual and is amongst the saner, softer tones in this hard and thrilling drama.

Rachel McAdams delivers with style and conveys the right emotions. To hold your own against Helen Mirren and Russell Crowe is no easy feat.

Ben Affleck plays Congressman Stephen Collins, who heads the investigation on PointCorp. He is unflinching when it comes to opening the secrets and the lies of the business of defence. But Congressman comes with his own notions of morals. And his hidden and sharply displayed duality is as conflicted, confusing and betraying as the man himself. Ben pulls the role off with grace – but the real star of this film is Russell Crowe.

Congressman Stephen is married to Anne Collins (Robin Wright Penn), a beautiful woman dealing with her popular husband’s infidelity and with lost love. Even in a small role, Robin brings the heartache out with turmoil and convincing loss. She is excellent.

Meanwhile there is Cameron Lynne (Helen Mirrren), the editor who runs the ship. She tag teams between Cal McAffrey and Della Frye. She is straightforward, loyal and adds the humour to the film without cracking inane jokes.

There are gray shades to every character and as far as suspense-quotient goes, this film keeps changing pace and throws you off course with its sheer unpredictability. The dirty deals amongst corporations, the willingness to jeopardize personal safety in the world of journalism and deadlines are just some of the facets to this diverse film. The subjects range from political fallout and corruption to the world of journalism, personal effects and the endgame that remains unclear. It is a reflection on a system that is palpable in the world today.

Make no mistake. State of Play works not just because of its heavyweight star cast and its tight writing but also because of the man behind the project.

Its director Kevin MacDonald (The Last King of Scotland) extracts some crackling performances. The film provides no answers. But it provokes.

Can journalists investigate without informing the cops? Can friendship and professionalism stand tall without losing ground? Kevin keeps the undertones throughout and it is this collective effort that makes State of Play a delightful watch.

Films on political corruption and greed, corporate espionage and emotional betrayals have been around for years. But in a Hollywood where Transformers 2, Super Bad and Twilight rule the global box office, State of Play is a refreshing change. It is challenging, gripping and thought-provoking.

– Maheen Sabeeh

*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Terminator Salvation*

*ing: Christian Bale, Sam Worthington and Helena Bonham Carter
Directed by McG
Tagline: The End Begins

With films like Batman Begins and The Dark Knight behind him, Christian Bale has arrived in Hollywood big time. But amidst the rising star graph, Terminator Salvation is a regrettable dent. Even as the film has raked in moolah on the US box office, it still doesn’t make for a decent film.

Terminator Salvation is washed-out, weak and ultimately boring. For those who haven’t seen the first three films – The Terminator, Terminator: Judgment Day and Terminator 3: Rise of the Machines – this film just might remotely entertain you for some of its smoldering fighting sequences. But for fans of the franchise, this film is a major disappointment.

For one thing, there is nothing remotely original about this film. Since the inception of the first film, The Terminator, it was clear that a war was ahead and John Connor needed protection.

And that is where the real action began. There was Sarah Connor, the mother and other Terminators with a clear aim and mission in sight. And these machines were frightening and eerie for their sheer determination and skill.

In Terminator Salvation, John Connor lives in a post-apocalyptic world where machines and human beings have a go at each other. And then there are other subplots as well.
Marcus Wright (Sam Worthington) who has no recollection of the past is on death row and John must decide his fate while rescuing others. But neither are the subplots explored with vision nor is there anything enticing about this film.

There are many reasons why Terminator Salvation is such a disappointment. Arnold Schwarzenegger’s absence stands out like a sore thumb. He never had too many dialogues in any Terminator films but it was his demeanour and the bond he developed with John Connor over the years that gave this man versus machine story some heart and hope. Arnold was the saving grace of Terminator 3 and without him, Salvation is lacks intrigue and that unpredictability factor Arnold’s Terminator brought with him.

The other problem is the story itself. Humans versus machines is a Hollywood favourite. The jaw-dropping, mind boggling and inspiring Matrix franchise from Wachowski Brothers took the game to a new level. Conceived as a trilogy, The Matrix gave man and machines plenty to fight about. But the epic battle had a story line that moved in a coherent gripping manner all the way to third and final film of the franchise, The Matrix Revolutions.

There is no Salvation for this Terminator though Christian Bale does justice to his inadequate script. Throughout the film he growls and moans and fights machines but unfortunately there is nothing else to it.

Director MCG, whose credits include Charlie’s Angels, has gone down with this film. The tagline, “The End Begins”, should hold true for the Terminator franchise. It really is time to close this chapter.

– Maheen Sabeeh

*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Star Trek*****

To boldly go where no man has gone before… okay, many have gone to Starfleet’s USS Enterprise but not as stylishly as director JJ Abrams, the man who took television by storm with Alias and then Lost. He also directed Mission: Impossible 3 which was such a joyride.

But Star Trek remains JJ Abrams’ most ambitious film and easily beats all his predecessors.
To call Star Trek just another film from the franchise would be unfair. It’s the rebooting of one of the most iconic sci-fi franchises. Star Trek has been around for the last four decades with six television shows from 1966 till 2005 and 10 previous films.

This is the eleventh film but for a generation that remains unfazed by the Star Trek phenomenon, this is a must-watch because this film takes us back to beginning, the birth of James T Kirk and his ultimate rise as captain, the Vulcan Spock and his rational brain versus human emotions, and the camaraderie between Dr. McCoy and a young Kirk who hadn’t been captain.

Chris Pine takes on the juiciest role of his career as James T Kirk, Zachary Quinto (famous for his role as villain Sylar on Heroes) becomes Spock and Karl Urban takes on the mantle of Dr McCoy aka Bones.
Eric Bana goes for a full-on makeover in this film as Nero, the Vulcan-hating Romulan evil in space, looking to take down the United Federation of Planets. And the USS Enterprise is the ultimate trophy for him. It’s a ship but one with many stories, and a crew that exceeds 400 people.

It isn’t the story – the battle between Nero and the Enterprise – that is the biggest draw of the film but the subtext to the story, the developing relationships between Kirk, Spock, Bones and the history of Starfleet and USS Enterprise that intrigues and entertains.

The spotlight shines on Zachary Quinto’s Spock who has a human mother and a Vulcan father, the only Vulcan on his planet to have such a unique mix of genes and remains torn between rationale and emotions. He is conflicted between being logical and taking down the man who destroys his home.
Meanwhile James T Kirk has the burden of the past. His father captained the USS Enterprise and he is expected to do the same. But while he remains a bright young guy, he is also a rebel, one who breaks rules and likes living on the edge. His initiation to the Enterprise remains in turmoil and his relationship with Spock is one that remains the film’s highlight. Two stubborn and opposite men whose disdain for each other is palpable.

As the two meet, their dislike for each other is open and in-your-face.
“Kirk: Are you afraid or aren’t you?
Spock: I will not allow you to lecture me about the merits of emotion.
Kirk: Then why don’t you stop me?”

Amidst all this is Nero who hits USS Enterprise with all his might. And does begins the odyssey to
Another coup is the cast itself. Australian actor Eric Bana is nothing like the incredible Hulk. Eric Bana’s Nero is to Star Trek what Ralph Fiennes’s Lord Voldermort is to Harry Potter: pure evil who will stop at nothing. At first, Bana is unrecognizable because he immerses himself into the role completely. He is despicable as Nero and that is where he stands out.

Chris Pine is no William Shatner or Patrick Stewart. But he is young much like the rest of the cast. Mostly he takes on the legacy of Captain James T Kirk without a glitch. His young rebellion and his quick wit, flirtatious ways – Star Trek has never been this much fun before.

Karl Urban’s Bones is a spot-on reminder of DeForest Kelley.

The biggest asset of the film remains its director JJ Abrams. He knows how to shoot spectacular sequences and that fact hasn’t changed since his days of television. The fight-off between USS Enterprise and Nero in infinite space is jaw-dropping. The Vulcan world is another highpoint. The scenes between James T Kirk and Bones, the close shots and impeccable sound, it makes up for the slightly week story. But the subplots within the film are so textured that it makes up for the mistakes.

A special cameo from the original television series (which we won’t disclose) is nostalgic and a major coup for Abrams because this actor has refused many roles from the same franchise time and again. To watch him after years was delightful.

There have been many Star Trek films and movies but the one that still remains the all-time favourite of Star Trek fans or “Trekkies” as they call themselves is the original television series which was made in the 1960s and featured William Shatner (Captain Kirk), Leonard Nimoy (Spock) and DeForest Kelley (Dr. McCoy aka Bones).

Star Trek from JJ Abrams can stand tall right next to it. From the beginning, it becomes clear that JJ Abrams made this film as a prequel to the legend of Star Trek. And as the film closes, the iconic phrase from the franchise:
“Space… the Final Frontier. These are the voyages of the starship Enterprise. Its mission: to explore strange new worlds; to seek out new life and new civilizations; to boldly go where no man has gone before” – its clear that JJ Abrams just might revitalize this franchise for the long haul.
– Star Trek is currently playing in cinemas

– Maheen Sabeeh

*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

8×10 Tasveer**

**ing: Akshay Kumar, Ayesha Takia, Sharmila Tagore,
Javed Jaffrey, Anant Mahadevan and Rushid Rana
Directed by Nagesh Kukunoor

What begins as an interesting outing, though, gets boring in the end and the answers don’t give too much of a clue. Indeed, only the identity of the villain is the highpoint.
It isn’t that the film isn’t engaging but it simply loses points because it drags on; this despite the fact that there is only one song in the actual film.
Shot in Canada and South Africa, 8×10 Tasveer looks gorgeous on celluloid. It’s green, lush and shot extremely well. It’s very stylistic for an Indian film, certainly flashy but it works.

The problem is with the script. It meanders on endlessly in the grand tradition of long Bollywood films, a trap that Kukunoor fell into instantly. And even though Akshay Kumar is gripping (it is a nice change to see Akshay Kumar attempt something other than just comedy, which has become his overdone forte), it doesn’t save the film.
When he enters the picture, Akshay becomes lifeless and he does this sequence in various instances quite convincingly. The idea is to show that he is in the past and vulnerable to the real world and Akshay does a splendid job. His demeanor throughout the film is sober, subdued and slightly peculiar and it’s a relief to see Akshay attempt this challenge. But where he delivers, one wonders why Sharmila Tagore signed the film in the first place.
She plays the mother and her role is neither as explosive as a one-off scene cameo and is inadequate for a performer of her caliber. Sharmila Tagore’s presence may add to the film’s star power but it hardly adds to the film.
The other person, who does add slight charm to the film include Ayesha Takia who plays Jai’s girlfriend Sheela. In the first half, she is plain boring but by the end, Sheela plays so many different shades that one is completely thrown off. 
In the end, the biggest problem is the moral correction in the film. The ending is moralistic and Jai is the goody-goody who continues to battle for good. These preachy undertones make the film unbearable by the end. 
Despite the fact that 8×10 Tasveer is the last film to have hit Indian multiplexes before talks broke down between producers and exhibitors there, one would’ve thought that the film would work since it’s the only one out there. But even Akshay Kumar’s star power and one film in the multiplex couldn’t save this show. In India, the film was beaten by Hollywood’s Fast and the Furious and soon it was declared a flop. 
In a nutshell, 8×10 Tasveer begins as a supernatural thriller and turns into a moralistic family saga and the suspense is too thin to keep one engaged. Watch this film only if you’re a fan of Akshay Kumar and want to see some flashy and beautiful cinematography. Otherwise, skip it.

Maheen Sabeeh
8×10 Tasveer is currently playing in cinemas

*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

My Zinc Bed****

*ing: Paddy Considine, Uma Thurman and Jonathan Pryce
Directed by Anthony Page
Tagline: Attraction. Temptation. Addiction

My Zinc Bed sees human compulsions and weaknesses and the inability to not walk away in the strangest of ways. That is one out of the many themes this film delves into without being moralistic. It has nothing to do with morals but the sense of self each individual carries with him. The ability to spot deformities and the unsettling inability and lack of will that ties us down. That in a nutshell is My Zinc Bed.
It is about addictions and walking the thin line between giving in to the temptation and struggling to fight back. The emotions are so raw and naked that they are haunting and truly intimate. Anthony Page has picked a very relevant script for adaptation. It doesn’t make you smile and it doesn’t make you cry either. It just questions. Are we all hooked to something?

Paul Peplow (Paddy Considine), a writer and a flat broke poet is an alcoholic. He knows it and this makes him an outsider in the world around him. His aim “is to get through the day”. No human contact, no job, just freelance projects, enough to get him by and maybe he will survive this life.

As Paul says narrates in the film:
“In my own life, nothing that has happened, nothing that can happen, compares with the strangeness of a single summer.”

One summer turn his live upside down.
Paul’s hopelessness comes into full blast when he lands at a lunch with Victor Quinn (Jonathan Pryce), a shrewd, calculating businessman. But Victor knows more about Paul than most interviewees should. He quotes Paul’s poetry to him, entire verses literally and already knows that Paul is not only an alcoholic but his ability to make it to just another day is via Alcoholic Anonymous (AA) meetings. And herein lays the debate, the tension and the addiction.

Victor’s obsession with meetings and his disdain for its effectiveness stems from more than just mere curiosity. His desperation to understand appears because of his own life. It affects him because of the beautiful, fragile and broken Elsa (Uma Thurman) who is Victor’s wife. He picks her off the floor in a bar when she is whacked out on various intoxicants and hits rock bottom. Her addiction, cocaine and booze. Victor enters as the saviour and the two get hitched.

It has been years since they married but the chewing inside their hearts haunts them both.
With Paul Peplow, those hidden emotions break out and spin out of control.

Paul intrigues Victor. And he plays Paul like a pawn in a chess game. Paul’s demeanour reflects a deeper nature of Elsa. In one scene with Paul, she says: “I’m not a stranger to self-hatred”. This despite being she is supposedly cured.

Victor deals the cards and sees who takes the house. Pure and simple. Victor dances in paradoxes and is often clinical when he speaks of his wife, Elsa, as a “friend”.

In one scene as Victor makes that perfect Margarita, it tortures Paul and it is gut wrenching. In another, the first solo meeting between Elsa and Paul bring out their demons to the forefront and it’s confrontation time. It makes for a heartbreaking scene.

If former junkie of epic proportions that is Elsa no longer relies on meetings and is cured, why is Paul relying on them? What is the difference between the two?

Was she even ever cured to begin with or was she masking it for the man who is her husband and does everything right on most days.

Throughout the film, there are debates in the form of simple conversations. The film doesn’t take any swipes. It strategically poses questions.

Make no mistake. This is no Hollywood glamorous film. It is, however, a film that picks modern day insecurities people live with and slashes them down. Whether it is through the lens of a deadlock marriage, the strange connections men and women form while battling inner demons or the attraction to connect with someone who will understand, not pretend to out of love or lust. Can the disconnected fall back into the fold of living beyond existing and blending in the crowd?

My Zinc Bed works not only because of its script but the way the film has been executed.
The close-up scenes, tight editing and raw emotions make this a powerful drama that will leave a lasting impression.

Director Anthony Page’s biggest coup remains the cast.
Watching Uma Thurman, who we will always remember from Pulp Fiction and the Kill Bill franchise is an eye-opener. She completely gives in to the role and that make her vulnerability so much more painful to watch.

Jonathan Pryce as the obsessive intellectual Victor is fantastic. He plays mind games with his wife and the penniless poet as if it’s an art form, bringing out his own insecurities along the way. His role is so layered that it becomes hard to decipher the man until the end which throws you off in a whole different direction.

The lesser known actor in the film Paddy Considine drenches in guilt, self-loathing and desperation. He pulls this role off with such style and range that one is astonished. In British cinema, he is making headway and this film is another achievement for the actor.

Adapted from a David Hare play of the same name, in the end, this film poses one simple yet complex question. If you lose the addiction, do you lose the desire? And without desire, where does one go?

– Maheen Sabeeh

*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Fast and Furious.New model and original parts.

The old parts are back. The streets are no longer safe because the racers are back and this time, they are causing more mayhem than ever.

Fast and the Furious 4 is actually a true sequel to the original film.

The other two sequels, (2 Fast 2 Furious and The Fast and the Furious: Tokyo Drift), didn’t have the four original cast members and that in essence took away from both the films.

For the fourth installment, director Justin has brought back all four key players, the dynamic Paul Walker, bad boy Vin Diesel, who escalated to fame from this film, Michelle Rodriguez and Jordana Brewster together.

The story is nonsense and done to death.

Drug kingpins using smart, street drivers to ship drugs in and out of the country. Its what Hollywood does best. It’s not the story as much as the cast, the cars and the stunts that make Fast and the Furious worth a watch.

Brian O Connor (Paul Walker) is with the FBI tracking a drug racket while Dominic Toretto (Vin Diesel) is now hunting someone. The two men find themselves together once again but their past has been tricky. There are trust issues and both have apprehensions.

Dominic’s sister Mia Toretto (Jordana Brewster) also has a past with Brian and it comes back to both of them. Michelle Rodriguez (Letty) and Dominic fight the worst and it’s a battle where one loses while the other survives. A battle that neither of them wanted.

It’s the personal stories and the come back and the dynamics between the four of them that intrigues.

That is one part. The other are the races and the stunts. This is much more high profile, dangerous and in a word, gorgeous. From the cinematography to the races that take place all around, from downtown Los Angeles to the borders of Mexico City and beyond. Its pure adrenaline rush. The cars are sexy and the use of technology just tells us how much an impact computers have on everyone, even street racers. Its electronic stuff, gadgetry that Hollywood uses to full effect and in this film, it goes well with the story.

At some point, the film becomes a little predicable; some of the characters but the saving grace are the sequences. Notably, the first race between Brian and Dominic since the first film, the drive out through tunnels while dodging helicopters and border security in between the United States and Mexico. The flashy cars, dangerous rides, sexy riders – it makes this film well worth the money.

And a huge contribution goes to the cast. In 2001, when Fast and the Furious released, it made Vin Diesel a star. His harsh voice and that muscular physique, the reckless in-your-face attitude, it adds a lot of edge to his character. He really is the star of the show here. The other dynamo is Paul Walker. Tanned, scruffy and confident in his beliefs, he walks a thin line between good and bad and lives in a constant paradox. The bureaucracy of the system is such that the lines between right and wrong are blurry. And it’s this constant flux that makes his character so human and relatable.

In the end, Fast and the Furious 4 is not a thought-provoking film. But it is a film that will want you to join the riders and fly on the roads.
– Maheen Sabeeh
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Aa Dekhen Zara***

*ing: Neil Nitin Mukesh, Bipasha Basu and Rahul Dev
Directed by Jehangir Surthi

Money is power. Power is seduction. It can seduce anyone, even the simplest of men. Can one cheat death? Can fate be fought? These are the questions that Aa Dekhen Zara poses as a film.
But make no mistake. This isn’t a moralistic film. It is pure suspense with a dose of fantasy but the questions keep coming back as the film progresses and therein lies the beauty of this film.
The young hunk Neil Nitin Mukesh plays Ray Acharya, a freelance, broke and struggling photographer who is a straightforward enough guy. With the death of his grandfather, Ray inherits a camera that can take pictures of the future. But there is a catch. A black photo means death.

On the other hand is his neighbour, the beautiful Bipasha Basu (Simi Chatterjee) who is a DJ. As they fall in love and Ray figures out the real purpose of this futuristic camera, one is taken on an adrenaline ride that gains pace as the reel rolls on.

As Ray makes the moolah, he changes. A small time photographer is suddenly wearing Armani suits and driving around in a Mercedes. Personal gain and greed should not be toyed with. But human beings are flawed and greed finds its way into Ray’s life very quickly despite the fact that he plays a genuinely upright fellow, one whose motivation was never money in the first place. Lack of opportunities in the harsh city of Mumbai pushes him towards the shortcuts. But there are consequences. And those consequences are the real reason why Aa Dekhen Zara is worth a watch.

Relationships are put to some serious tests as the lovebirds struggle amidst lies, deception and run out of options quickly. As they move from Mumbai to Bangkok, the action sequences start and because they are few of them, they stand out. This is not an out and out dhishum dhamaka film and that is a relief. A jump from a high-rise building by Neil Nitin and Bipasha stands out.

The whole idea of a futuristic camera sounds unrealistic and ridiculous but this is fiction at work. Like Shekhar Kapoor’s Mr India or the Keanu Reeves-Sandra Bullock starrer The Lake House where the two live in two time frames – one is in the past and the other is in the future two years later – these are all fictional ideas and they have all worked because they have been executed sharply. Same goes for Aa Dekhen Zara.

Come to the acting and the combination of young Neil and slightly older but smouldering Bipasha Basu makes an interesting pairing.

For once, Bipasha has a film where she is the crowd pleaser, the bigger star. In the first half, she is wasted. Beyond looking good, she has nothing to offer. But it is in the second half where Bipasha Basu shows off her craft as an actress. Fear, love and bravery, she switches from one emotion to another with equal grace.

For Neil Nitin Mukesh, this is an important film. His debut Johnny Gaddar won critics over but it failed to make a mark at the box office. In Aa Dekhen Zara, Neil proves once again why he is one of the new age actors to watch out for. He plays the role naturally and that is his biggest feat in the film. This isn’t a hardcore drama but it is a film that requires a varied range of emotions to be played out. From struggling freelancer to super rich man drowning in the seduction of money to a man on the run, Neil pulls it off with a natural grace. The fact that he is a good-looking guy makes him even more appealing.

Another man who makes his mark in a supporting role is Rahul Dev who plays Captain. His role appears somewhere in the second half but his villainous ways are enticing. And the bad guy is always impeccably dressed and looks rather sexy. And he is a very good actor with films like Asoka, Insan and Kidnap to his credit. His roles may be supporting but he delivers every time. In this film, he shines out.

The main flaw, one that is common in most Hindi films, is the film’s length. It is over two hours long. The first half drags on and it could’ve been easily chopped. On the upside, there are few songs in the film and that comes as a relief especially since most songs are typical numbers. The title track, ‘Aa Dekhen Zara’, which one first heard on Sanjay Dutt’s Rocky has been remixed and sung by Neil Nitin. It is an average song. In fact, the slower lounge version is far more interesting. The other track worth a listen is ‘Gazab’ which has been running on airwaves consistently. It’s catchy and both Bips and Neil look good together in it. The rest of the numbers are dull so ignore them.

For director Jehangir Surthi, this film is a first and as a debutant director, he does deliver. He has ended the film on a note where a sequel might be possible. So watch out, there just might be a sequel with time travel in the makings.

Aa Dekhen Zara is not groundbreaking cinema but it is intriguing. The suspense quotient is sufficient to keep one glued to the film till the end.

So far, Indian audiences and critics have slammed the film. But then it is the same audience and critics who gave a film like Rock On!! two thumbs up even though it was a mockery of the rock music genre.
Currently playing at cinemas in Pakistan, give this film a watch if you’re looking for paisa vasool entertainment.

– Maheen Sabeeh
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Dev D***

*ing: Abhay Deol, Mahi Gill and Kalki Koechlin
Directed by Anurag Kashyap

Anurag Kashyap (Black Friday, No Smoking fame) is not the first filmmaker to make a movie on Sarat Chandra Chattopadhyay’s famous novel Devdas. But he is certainly the only one who has literally turned the book on its head.

The basic storyline is driven from original Devdas but the characters are shaped quite differently. Imagine Devdas in the new age with emails, cell phones and girls who choose to live their lives on their own terms.
The protagonist is Dev (Abhay Deol), an egoistical, self-destructive and self-loathing man whose idea of life is as bizarre and harrowing as the lyrics of Kurt Cobain and Thom Yorke.

Dev may not be writing love letters to Paro (Mahi Gill) but they are in touch via email. The return of Dev to Chandigarh after years in London is unlike anything one has seen in Hindi films. The object of his desire is Paro (Mahi Gill). But unlike most onscreen couples who tip toe around each other and may indulge in poetic love songs atop lush hills or mammoth hawelis, theirs is a far more twisted and intimate relationship.

Physical desire plays a huge role in this film and in the life of Dev and Paro who openly discuss sex and indulge in it despite societal constraints. Their clandestine trysts in the fields are humourous.

Paro and Dev are not legendary lovers, the kind one has seen in the previous Devdas films. They are more realistic and roll with the times. The fact that Paro is a strong character, one who will not walk away from adventurism makes Dev D even more interesting. But of course, the split between Paro and Dev is inevitable. The reason is again Kashyap’s take on the situation and will surely surprise you.

Fast forward to Chanda (Kalki Koechlin), the new age prostitute who doesn’t dance around in super gaudy clothes while men shower her with money. She dresses up as characters from American porn. Don’t think Madhuri Dixit… think schoolgirl with a blonde wig instead. It sounds vulgar but it’s actually one of the funniest bits in the film. And so the triangle between Paro-Dev-Chanda continues.

There is a lot of shock value to this film. Some of the scenes are explicit. But Dev D has a very clear message to it. Devdas maybe at the heart of the story but it is a reflection on a new generation that is disconnected from the real world and is struggling between tradition and modernity. Abhay Deol’s Dev is a case in point. Anurag Kashyap doesn’t sugarcoat and keeps him real. As Dev spirals down with alcohol and drugs, it comes across as believable. And that makes the film all the more interesting. It is fascinating purely because it is filmi yet not completely over-the-top.

Abhay Deol is hugely responsible for making this film stand out. He is brilliant as Dev D and pulls off the disconnected rebel effortlessly. Abhay Deol is improving with every film. After films like Manorama Six Feet Under and Oye Lucky! Lucky Oye!, the young Deol has delivered a solid performance once again.

Complimenting him in this film is Kalki Koechlin, who plays Chanda. In just her debut film, Kalki does an astounding job. Complex, broken and wicked, Kalki makes Chanda quite memorable. In comparison, Mahi Gill as Paro is adequate. She just doesn’t have enough screen presence to keep one glued and is quickly overshadowed by the more complex nature of Kalki Koechlin’s Chanda.

The film, however, is not without flaws. There are 18 songs in the film. Music director Amir Travedi has given this film a very unconventional soundtrack. And most tunes are excellent, but there are far too many of them. As a consequence, they leave you exhausted and drained. The editing could’ve been tighter.

That said, Dev D is a bold film, one that traditional Bollywood buffs will not be able to digest.But Bollywood is changing. And Anurag Kashyap’s Dev D is riding on that wave. For an exceptional effort in blending the ethos of East-West and bringing out a fresh (if slightly warped perspective) on love and loss, Dev D should be seen.

– Maheen Sabeeh
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Rachel Getting Married****

*ing: Anne Hathaway, Rosemarie Dewitt, Bill Irwin and
Debra Winger
Directed by Jonathan Demme

Jonathan Demme’s Rachel Getting Married is cyclonic. It is as maddening and messy as life itself. A-list director Jonathan Demme (Silence of the Lambs) lets loose and dives into the wilderness of dysfunctional family ties and he does it intimately. With the help of documentary-style wobbly camerawork, the film takes you inside the weekend when Rachel (Rosemarie Dewitt) is getting married. The true genius, however, lies in the fact that it doesn’t feel like we’re watching a film. It feels like being an in-house spectator or perhaps a distant relative present at the occasion.

At the heart of the narrative is Kym (Anne Hathaway), a recovering drug addict, out of rehab for the first time for this very important family reunion. Kym is the bad seed in the family. She is always in crisis mode, oscillating between extreme emotions. She is as self-centered as she is self-destructive. Burdened with uncertainty, paranoia and a heavy dose of guilt, Kym comes back home. The family looks forgiving.

Paul, the father of the bride (Bill Irwin) is welcoming, only he is too welcoming. His concern for Kym is genuine but it is also smothering. On a weekend which is about Rachel, watching Paul sway allegiance from one daughter to another is harrowing. Peace is of little use because as the wedding starts to unravel, so does family history with forced emotions covering bitter resentment and deep wounds.

It isn’t just the story but its execution and a series of beautiful performances that makes Rachel Getting Married such an interesting film to watch. The film progresses in a natural manner. The toasts at the rehearsal dinners are not slashed into montages. They go on, much like how weddings go down, hilarious and saddening in a bizarre manner.

Going for a full-fledged rough, rocky and mournful sound, Jonathan Demme brought in musicians – Zafer Tawil and Donald Harrison Jr – who are seen throughout the film as musicians in the background, moving at the same speed as the story. It’s the little details that shine out in this flick. And music is one of them. In between the dances, music and the celebrating, there are a series of blow-ups and it is here where this diverse cast comes together so perfectly.

Rosemarie Dewitt is fantastic as Rachel. Playing the older sister who struggles to hold herself back when the spotlight falls back on Kym like always, Dewitt is crafty and brutal. She is a fabulous actor to watch in this film.

Bill Irwin as the torn father is exceptional. His protective streak towards Kym and lack thereof for Rachel puts him in a difficult spot and his struggles come off as incredibly honest.

Three-time Academy Award nominee, Debra Winger may have a small appearance in the film but it is explosive. The emotional showdown between Debra – who plays the mother of the bride – and Kym is horrid and piercing. In what is the only scene where she goes head to head with her daughter – after a freezing demeanour throughout – it is this scene which gives the film such a ragged edge.

The film, however, belongs to Anne Hathaway. Known for somewhat glamorous, light and fluffy roles (The Devil Wears Prada, Princess Diaries films), Anne Hathaway doesn’t hold back as an actor. She looks the part of a recovering junkie completely and brings credibility to the role. It seems natural to feel compassion for her as she sways between self-loathing and desperate need for love and forgiveness. When provoked, her demons lash out and Anne is just a wonder to watch. It is a moving performance.

Anne’s nomination for Best Actress at the Oscars was bang on target. Kate Winslet won fair and square but had it not been for her, Anne could’ve given Angelina Jolie a run for her money.

In a nutshell, Rachel Getting Married is messy and brutally honest. For its powerful, emotional turbulence and piercing performances, it should be seen.

– Maheen Sabeeh
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME