A superstar from the South and talented performer, his Hindi film debut in Aiyaa was restrained yet laugh out loud at least when in Aiyaa's dreams. Essentially none of the characters specifically Maya and Rahul are likable, and neither do you feel engaged enough to see their journey completed in a better fashion. The high energy quotient here does it's best to rebuke the boring strains of time he spends focused in the vanity of his feature, yet it still doesn't prevent you from seeing how easily he breaks the script to his own single minded vision. Unintended, but somehow the right effect for the film. Archived from on 14 October 2013. Sixteen Director: Raj Purohit Cast: Wamiqa Gabbi as Tanisha, Izabelle Liete as Anu, Mehak Manwani as Nidhi, Highphill Matthew as Ashwin, Sumit Bharadwaj as Sameer with Prabhleen Sandhu as Tanisha's Aunt and Keith Sequira as Vikram Kapoor Genre: Teen Drama Best Scene: The finale where in each character has reached their lowest point and must decide their next course of action, to embrace the darkness or come out of it a better person Best Performance: Wamiqa Gabbi as Tanisha Best Dialogue: Favorite Rank: 19 A film about four different friends who go through their own issues that break their innocence at the most formative age of their lives; Sixteen. You can notice Kapoor making fun of all those musicians in the current stream of Bollywood that have a tendency to steal music from around them.
Ambersariya - Fukrey - 5. Eli Avram makes a very flimsy debut, she's uninspiring and too plastic. Then when the thriller potion of the story ramps up, it starts to affect any of the fun vibes and really doesn't keep the viewer thrilled. Unfortunately both players seemed out of their element towards the end and more importantly in the flashback scenes. Archived from on 14 October 2013. Apart from that, I've also said the film is boring, mostly in the second narrative.
Rahul in a drunk state ran over some poor people sleeping on the streets, but he was acquitted thanks to renowned litigator Tejinder Rajpal. For two hours we barely get to know much about Sameer beyond the superficial level. Some of these movies even tasted success at Box Office. It's here that Ayan Mukherjee excels. A wedding planner, he is basically the mirror for the old world values that are at times both a hindrance yet actually something worth learning from. His love for Tanisha is well brought out in his actions, he also gets to present a darker side with the death of his father and subsequent turn into an unwilling thief presenting a restrained edge.
Vishal essentially sees the good in his father, that has accumulated over maturity and age. He doesn't get a larger scope apart from adding to Gippi's learning curve at the crux point his Arjun making her realize there is nothing between them in front of her classmates. Being gifted with superpowers from his father, Krishna saves several lives from danger situations, but by hiding his actual self. Ganni himself is explored, as a man divided between sons and his failure as a father to not only Jahanzeb but even David in some form. Then theirs also possibly Maya's only friend in the company who sides with her decisions and arc through the flashback narrative. When Pandit and Idris return to collect, Sanjay has lost his memory in an accident. For most Desis, shaadi season lasts all year round.
Obviously this film doesn't deserve to be the fourth highest grossing film in Hindi cinema. Wikimedia list article This is a ranking of the highest grossing which includes films from various languages based on the conservative global estimates as reported by reputable sources. The only problem it's far focused on being something else, rather than building a compelling and smart narrative as it should to be level of that thing. The cameo cast members are a real annoyance. When senior and her first crush Arjun breaks her heart amidst her classmates, especially the always prim and proper Shamira; she vows to make a change. What Shukla does superbly is execute his twists specifically his final one, revealing the whole picture of Chandan's character in the final scene brilliantly timed. It defines the heart no matter how inconsistent of the film.
Saif Ali Khan gives a fun filled extended cameo, his role establishes a greater sense of pace for the narrative. Raghu is a tourist guide who runs away from his wedding to Tara, because he has met Gayatri as part of his wedding procession. Here he has that charismatic silent presence in order to give off the power of David, yet he also sinks in easily to the more romantic man. Of the three, this was my favorite story and not only because of the writing. They unfairly try to gain the audiences backing and sympathy, and their issues as well victories only slightly resonate thanks to how their relationship as a whole is established and developed. He is the performer you eyes are attached to, while he definitely doesn't get the scope like he did with Paan Singh Tomar. The song doesn't even for a moment prevent us from slipping a laugh.
Enter Mickey, after much coaxing Mickey decides to help them track the hacker gang responsible; Brahm Gang. In short, it is all about playing a classy hide-and-seek for power and wealth. Most importantly both the script and his direction leave the scope of the premise to its accomplished actors. In the Mother's case, she seeps out the venom from Ajay's life although we don't get to see that extensively. She sleeps in his bedroom under the roof of her in laws and forced husband Jahanzeb. Here unfortunately along with things such as the unnecessarily derivative romantic plot and the song sequences, not to mention the convoluted twists, Kapoor slips into a lull and basically indulges himself for too long.
He has the right dose of charisma with a superb touch of aloofness to it, he makes you believe in a character like Mickey easily. Some of the best scnes, heck the best scenes are the song sequences where the colors all blend in an awe inducing fashion. At times the director falters into mediocrity and indulging himself with the characters for too long. The real highlight though is Neil Nitin Mukesh, the man is no doubt a great performer when pushed to it. It is impossible to host a big-fat Indian wedding without a power packed sangeet night!. The soundtrack isn't that memorable but some of the songs work really well in context whether the titular track or 'Jigra' which gives reason to Vishal's liking towards his father.
The different plot points for each characters vary but are steeped well in reality. After which the film just snowballs into brilliance as it picks up pace. She shouldn't be pushed down from leadership. Sunn Raha hai Na Tu - Aashiqui 2 - 10. So can ceremony songs too. Arya after the death of his father meets his step mother and her son.
Off the music I'll once again say, Dhulia understands how his music fits to setting but what he doesn't do is provide good music. We see David confronting Malti Tai's politician ally, and get beaten down twice in the same manner. All in all it's staged to reflect the spunk and wit of this endearing character. Unfortunately the final dramatic scene highlights his inadequacies in delivery, as he chews his words among tears and his actions. As mentioned, the film uses a Hyperlink cinematic format where it balances multiple mostly interconnected no matter how vaguely plots. The fourth wall breaking scenes are fun but they feel inorganic, since Sharma heck any mainstream or partially mainstream Indian director is ill equipped in this area. Archived from on 2 August 2018.