| Author | Message | ||
     Comedian Username: Reddit Post Number: 1649 Registered: 05-2013 Posted From: 122.169.224.251 Rating: |
Bum khan gaani oa denkalem set avvakapothe | ||
| Ruj Hero Username: Ruj Post Number: 11698 Registered: 03-2007 Posted From: 170.202.122.1 Rating: N/A |
chass..anavasaramga enter ayya..main suspense dobbindhi.. Modi for PM  | ||
| Sonyvaio Side Hero Username: Sonyvaio Post Number: 2802 Registered: 12-2006 Posted From: 170.48.19.254 Rating: N/A |
1-2 days ki set ayipoddi le, | ||
| Comedian Username: Reddit Post Number: 1646 Registered: 05-2013 Posted From: 122.169.224.251 Rating: N/A |
11pm show ki going, BB antunnaru janalu ikkada | ||
| Sonyvaio Side Hero Username: Sonyvaio Post Number: 2801 Registered: 12-2006 Posted From: 170.48.19.254 Rating: N/A |
cinema dobbindaa, chusavaa ledaa intaki | ||
| J__the_heartist Hero Username: J__the_heartist Post Number: 13340 Registered: 06-2012 Posted From: 2.51.85.7 Rating: N/A |
Twenty minutes into Dhoom 3, reeling from the assault of cinema so amateurish itâs hard to believe it was put together by grown men, I began to ask myself precisely what this film was trying to be. There was an annoying kid borrowed from the melodrama of Subhash Ghai movies, complete with a moist-eyed Jackie Shroff. There were the cheesiest of dialogues, Kader Khan in Dickensian mode. There were stunts seemingly executed in slow-motion and shown to us even slower, resulting in yawnworthy chase scenes. There was Aamir Khan running down the side of a building for no apparent reason. Everything -- repeat, everything -- looked too goofy to be either thrilling or realistic or compelling or even plain fun. And then it hit me. Dhoom 3 is a childrenâs film made for children whoâve never seen a film. How else can you explain this famine of originality? How else can you possibly justify the lack of a single interesting scene right up to the intermission? And how, after that, can you account for Aamir Khanâs blatant exploitation of yet another Christopher Nolan masterpiece that the actor (by his own admission) doesnât understand? Look here, I liked the first and second Dhoom films. The first was brisk enough to breeze by, the second was sheer masala but presented well, an utterly preposterous but very good looking film. The reason Iâve been looking forward to this film, however, was the fact that I was one of the half-dozen people on the planet who actually liked the directorâs first film, Tashan. All I wanted from Vijay Krishna Acharyaâs third installment, then, was a film that made like a firecracker and went boom -- even if it didnât make sense. But this is a Christmas debacle. We start with Chicago in the year 1990, though it may as well be a hundred years ago. An old magician (Shroff), his labrador-brown eyes eternally wet with tears, runs a circus housed in a massive structure the size of the New York Public Library. The bank moves in to cut off his loan and Shroff, instead of perhaps leasing out the place and moving to a humbler venue, decides to kill himself. For how dare the evil bankers remain unmoved by his clown-nose wearing son? Click here! Said son grows up to become Aamir Khan, a frequently shirtless man who sleeps in corduroy trousers. Oh, and robs banks, since banks = evil. American police seem ill-equipped to handle things (The Rock must have had the month off) and thus, naturally, help is imported from back in India. Where Uday Chopraâs Ali spends several minutes talking up his boss to goons -- in âDonât you know heâs Dirty Harry?â vein -- before the aforementioned boss shows up flying through the air in an auto-rickshaw with stickers of Salman Khan film optimistically on either side. Abhishek Bachchanâs Jai Dikshit seems a nice enough fellow, if somewhat surly, but he happens to be a remarkably incompetent police officer. (I mean, if not from Dad, at least take some pointers from Iftekhar Uncleâs movies, Abhishek?) Hereâs a fellow who, when he traps a fleeing motorcycle on a bridge, helpfully tilts it up to offer the fugitive a convenient ramp. The rest of the time he scowls. Ah, and then thereâs the girl. Apparently all the âhot Asian ladkiyanâ in Chicago have been auditioned for Khanâs Great Indian Circus act but none has enough âliquid electricity,â whatever in innuendoâs name that means. Enter Katrina Kaif, all stuntwoman-flexible and whippety hairdo, looking like a million bucks and speaking, disconcertingly enough, like a 12-year-old. The rest of the film is, essentially, a dumbed-down version of Christopher Nolanâs The Prestige, arguably the greatest movie ever made about magicians. Aamir Khan, who claimed Ghajini was a great story but that he didnât understand Nolanâs groundbreaking Memento, will probably say some such about this bit of shameless pilfering as well. Oh, and he uses a Joker sign too, to boot. (I can already picture ambitious young screenwriters lining up outside Khanâs bungalow with easy-to-understand song-filled scripts titled Sapne Mein Sapna.) The other thing in this film is The Face. If youâve seen the trailer or the songs or the posters, you know what Iâm talking about. Itâs the perplexingly weird expression Aamir sticks onto his face throughout, and the smugness with which he wears the A-Face makes me wonder if weâre all -- inadvertently and inescapably -- seeing his vinegar strokes over and over again. If weâre eskimo brothers now, Aamir Bhai, must say you messed up. Big time. Not that Khanâs acted badly. Oh no. Outside of The Face, heâs pretty solid and has the charisma to power this film through, especially when heâs being all summery: i.e. all cutesy smirks and grins and chortles, a happy part of his repertoire the actor seemed to have left behind awhile ago. He also deserves credit for being a massive superstar who has agreed to look, occasionally, like an Oompah-Loompah; heâs been shot most unflatteringly. It is purely because of Khan that the (three) dramatic twists in this movie have any heft at all, but even he canât help the vacant nothingness that engulfs the script before and after those stray moments. But, you might persist, having already bought into the exorbitantly priced weekend tickets, arenât the stunts good? Or IMAX-worthy? Well, the locations arenât bad. Itâs mostly shot in Chicago, and some of the vistas used as backgrounds for the bridges look pretty awesome. The stunts themselves, however, are both pointless and badly edited. Khanâs bike (which is a Transformer, for some reason) is flung around excitably enough but hurling action figures isnât the same as choreographing an action set-piece. So much time is spent in slow-motion, and so long do we linger on each shot, that the chases appear sluggish. There is no sense of urgency. At one point, stationary police cars randomly start to do cartwheels, perhaps only to indulge Acharyaâs inner Rohit Shetty. Like I said, if your child doesnât know what movies are, he might be amused. For a bit. The trick, of course, is on us. Shroff might have called his act The Box In The Box, but producer Aditya Chopra goes one better, knowing weâll show up to watch a Dhoom film if only to laugh at it. This time around, Aamirâs The Boy In The Box Office. Ramzan mein 'Ram' Hote hai.... Aur Diwali mein 'Ali'.... | ||
| Comedian Username: Reddit Post Number: 1643 Registered: 05-2013 Posted From: 122.169.224.251 Rating: |
The rest of the film is, essentially, a dumbed-down version of Christopher Nolanâs The Prestige, arguably the greatest movie ever made about magicians. Aamir Khan, who claimed Ghajini was a great story but that he didnât understand Nolanâs groundbreaking Memento, will probably say some such about this bit of shameless pilfering as well. Oh, and he uses a Joker sign too, to boot. (I can already picture ambitious young screenwriters lining up outside Khanâs bungalow with easy-to-understand song-filled scripts titled Sapne Mein Sapna.) http://www.rediff.com/movies/review/raja-sen-reviews-dhoom-3 -its-dumber-than-the-first-two/20131220.htm Basically bum khan double role adhi interval biggest twist ani chudakunda chepochu going by this review  Raja Sen  |
