First Day First Show Of 'Ra.One'

Ra.One Public Review

Ra.One Raises the Bar | Complete Movie Review

I’ve often heard people say, film-making are few things short of a gamble. And as any gambler will tell you, you’ve got to gamble huge to triumph huge. Going by this logic, Shah Rukh Khan is The Supreme Gambler of the season.


What’s at stake, beside the a lot of money invested in RA.ONE of course, can be a dream, a vision, an aspiration to create a film which appeals to kids and children at heart. In short, attempt a film that interests the universal audience. At the same time, it ought to raise the bar for Hindi films. Also at stake is SRK’s once-unchallenged supremacy as the reigning idol of Bollywood which elusive thing called reputation. Once you invest your repute in your dream project and stick your neck out, you anticipate nothing short of a mega-success.


Movies like KRRISH and ROBOT initiated the buzz of superhero films in India, with fantasy making deep inroads into mainstream Hindi cinema. Now RA.ONE sets the standard, takes not a step or two, but a large leap and adheres to international standards, with regards to execution. But the soul, I must add, is very desi. That’s exactly the reason why RA.ONE emerges trumps. RA.You are beauty with brains.


What characterizes a sensational superhero movie? I have narrowed it right down to three precise constituents which i deem are absolutely necessary to have an alluring superhero flick. The very first is that the motion picture must encompass spectacular action and edge-of-the-seat thrills. Secondly, an impressive superhero movie must also boast of luminous performances from the protagonists, which should make these characters appear credible and relatable. Thirdly and most importantly, superhero films must have a narrative that keeps us yearning for further. All of these are indispensable factors for making a superhero movie which will be both acclaimed and adored by fans. Fortunately, RA.ONE emerges triumphant out of all three departments.


RA.ONE is the most ambitious, most expensive and the most technologically complex Hindi film ever produced. It pushes the envelope further. It’s not merely a film, but an event, an event. It’s a film that may rewrite the textbook laptop or computer graphics in Hindi cinema. Simultaneously, it is very Indian at heart. The partnership between SRK and the kid is the highpoint of the enterprise. But, simultaneously, there are ample clap-trap moments which will send the viewers in frenzy. The chase sequence, when Ra.One finally zeroes on Lucifer, as well as the subsequent ‘entry’ of the superhero is awe-inspiring. The train sequence inside the second hour is exceptional and a cinematic feat. The presence of Rajnikanth in a crucial sequence will be greeted with deafening claps and whistles. And, needless to say, the climax of the film; it’s simply jaw-dropping.


Besides these factors, the ‘Chammak Chhallo‘ number has already been a rage and so are the sequences involving visual effects. In a nutshell, it’s an entertainer that works in a major way. You haven’t experienced something like this ever before, on the Hindi screen!


A father tries difficult to fit into his son’s world. While Shekhar [Shah Rukh Khan] tries every trick inside the book to woo his son, his son had given up on him. Just when the father-son duo hit a deadlock, Shekhar strikes gold when he designs one hell of a game. Finally, it all starts falling set up. But the happiness is short-lived. All hell breaks loose when the game that was meant to be enjoyed, starts playing them.


We have been spoilt by cinema’s ability to create on celluloid anything that can be imagined, therefore we have raconteurs making endeavors to bestow us with movies that you wouldn’t have ever envisioned during your mind’s eye. You realize this when you watch RA.ONE, which is a visual spectacle from start to end.


Director Anubhav Sinha along with co-writers David Benullo, Kanika Dhillon and Mushtaq Shiekh might be inspired by international flicks in terms of the concept is concerned, but they make sure that they serve the right masala to moviegoers in those 2.30 hours. What actually walks you by complete surprise is not only the money spent on visual effects or perhaps the stunning chase and action scenes, but the twists and turns in the screenplay that unravel in a feverish pace.


Besides, the moviegoers have certain expectations and notions about superhero flicks plus they expect such characters to execute audacious aerobatics to save someone’s life or even a nation. But this one’s different. Visually arresting and dramatically what the doctor ordered, the film delivers relatable characters, which makes this superhero movie for kids as well as grown-ups. In fact, I’d like to add, RA.ONE is not only skillfully directed, but additionally visually dynamic and entertains from commencement to conclusion.


The album with the film lives up to the grand expectations. Vishal-Shekhar deliver an uplifting score with ‘Chammak Chhallo’, ‘Dildaara’ and ‘Raftarein’ being the pick with the lot. The background score, also recorded by them, is every bit electrifying. V. Manikandan and Nicola Pecorini’s cinematography is first-rate. Same goes for the stunts and chases [Andy Gill and Spiro Razatos]. Dialogue [Kanika Dhillon and Niranjan Iyengar] are hardly ever commonplace. What I found best is that, whether humorous or thoughtful, the channel of communication appears very credible. The Ra.One and G.One suits, produced by Robert Kurtzman, are super.


RA.You are a perfect vehicle that does justice towards the talent of Shah Rukh Khan. He has found a story and character that work well in perfect sync and tandem with manic energy. SRK steers this physically challenging lead role with high-spirited self-belief. He’s endearing since the father and magnificent since the superhero with a heart. Kareena Kapoor can be a delight to watch. She effortlessly glides to the character. Besides, she looks ethereal inside the ‘Chammak Chhallo’ song and her wit is infectious. Arjun Rampal pulls his act with effortlessness and style. Also, Arjun’s well-designed look is admirable.


I’d like to make a special mention of Armaan Verma, the little one who has a pivotal part to portray. He stands shoulder to shoulder with SRK and Kareena all through the film and delivers a super-confident performance. The film features a number of actors in key roles [Shahana Goswami, Dalip Tahil, Satish Shah, Suresh Menon, Mushtaq Shiekh and Tom Wu] and each of them fit well within their respective parts. Sanjay Dutt and Priyanka Chopra add to the glam quotient, while Rajnikanth proves yet again that he’s a scene stealer.


However the man who warrants the particular round of applause is director Anubhav Sinha himself. For offering the best of SRK, Kareena and Arjun. For the amazing screenplay. For the speedy yet smooth stream from the narrative. And for the fantastic unfolding with the written material. He merits top admiration for every act of his.


Overall, RA.ONE is a solid entertainer, no two opinions on that. It isn’t merely a great looking film, but also has soul, which is so important to strike a chord with all the avid moviegoer. As for the business prospects, RA.You are sure to shatter all previous records and hang new ones, in India along with internationally. The film could be the new yardstick for measuring success. It’s got Blockbuster written all over it!

Movie review - Rascals

David Dhawan gets wild, wacky... and naughty! He's back to the 'spicy' films he churned out with amazing regularity [and with great success] in the 1990s. RASCALS sees the original badshaah of non-stop laughathons revisit the genre, after a hiatus. Let me describe RASCALS in few words: funny, outrageous, hilarious, uproarious and most importantly, entertaining. In fact, the title as well as the promos of the film had prepared us well in advance about what to expect from this film.


Write your own movie review of Rascals Be forewarned. RASCALS is strictly for the hoi polloi, those who relish masala entertainers with glee, those with an appetite for movies that transport them to a different world in those hours spent in the dark auditorium, those who swear by movies that defy logic, motive and intellect. Do you think you fit into this description of a moviegoer? If you do, RASCALS is just for you.




At the same time, RASCALS is definitely *not* for those who tilt towards realistic/pragmatic cinema or for enthusiasts of meaningful/significant cinema or those who disregard masala films. No, nope, naah... this one's austerely not for them!



Dhawan's new outing is about two con men who take potshots at each other, trying to pull the other's pants down with hilarious gimmicks, duping one another or people around them. Most con artist movies are comedies and Dhawan makes it sufficiently clear in the promos that RASCALS would be a fun-fest that's aimed at pleasing the masses.


There's talk that RASCALS is the present-day adaptation of Dhawan's Anil Kapoor - Govinda starrer DEEWANA MASTANA and like that film, RASCALS will have a similar finale. Well, RASCALS is an entire new film in terms of story, setting and of course, gags and punches. The storyline is non-existent, but what works is the electrifying chemistry between the two lead men -- Sanjay Dutt and Ajay Devgn. When two actors share a terrific rapport in real life, it automatically spills over on screen too, if they share screen space. That's one of the reasons why the give and take between Ajay and Sanju adds to the fun quotient in this film. Borrowing from Tom and Jerry kind of situations, the actors contribute a great deal in living up to the title of the film.


On the flip side, in the second half, there are some unnecessary sequences that only add to the length in this over the top comedy.


Sanjay Dutt and Ajay Devgn play two cool conmen trying to outdo each other. The competition reaches an all-new level when both fall for the same girl, the pretty and petite Kangna Ranaut, and both men constantly attempt to outmanoeuvre each other to win her.


Like I pointed out earlier, the plot of RASCALS is non-existent and Dhawan relies on a series of bizarre set-pieces in which one con man tries to overpower the other and this continues right till the penultimate moments of the film. A number of sequences are outrageously funny, mainly in the first hour. It's only towards the second hour that the films dips, the jokes aren't as funny and the pacing slows slightly. If I had to put my finger on what's non-appealing, it has to be the portions in the church, towards the pre-climax. Thankfully, the climax gathers steam and brings the film back on track.


Dhawan is in familiar zone and therefore, it doesn't take much of an effort to get it right. Writer Yunus Sajawal keeps you completely involved thanks to the series of incidents that follow one after another and the witty one-liners [dialogue: Sanjay Chhel] only act as sone pe suhaaga. In fact, the dialogue would draw a lot of whistles and claps from the aam junta. The soundtrack [Vishal-Shekhar] is energetic, complimenting the content of the movie. 'Tik Tuk', 'Gaye Guzre' and 'Shake It Saiyaan' are hummable.


Sanju and Ajay work together with an exuberant and high spirited ease and that, surely, is a joy to watch. Even though Sanju has been doing comedies ever since the beginning of his career, it has only been in the last few years that Ajay has discovered his funny bone, courtesy films like GOLMAAL series, ALL THE BEST and DIL TOH BACCHA HAI JI. The comic timing of the two actors is simply fantastic!



One is surprised at the inclusion of Arjun Rampal in a madcap entertainer, albeit in a small but significant role. Arjun contributes to the comic portions of RASCALS. Kangna makes a conscious effort to break her dramatic and tragic roles' image, which explains why she is working predominantly in light-hearted films now. She carries off her part with effortless ease. Lisa Haydon looks alluring and acts reasonably well. Chunkey Pandey is excellent, Satish Kaushik leaves a mark in a cameo and Hiten Paintal lends able support.


On the whole, RASCALS is a madcap, over the top, zany entertainer aimed at the masses. It's hilarious and outrageous from commencement to conclusion. If this kind of humor appeals to you, then there are chances that you will relish this one!

Bodyguard Movie Review

For most of us, the festive season is also about entertaining ourselves with a Bollywood biggie. Following two blockbuster Eid releases in the last two years, WANTED [2009] and DABANGG [2010], Salman Khan, the darling of the masses, unleashes yet another entertainer this Eid [this time, it coincides with Ganesh Chaturthi] -- BODYGUARD. The buzz around a Salman movie only got bigger this year, but the pertinent question is, will Salman deliver yet another festive hit with BODYGUARD? After having set such high standards for himself, will Salman surpass his previous achievements? Well, that should be easy to pull off taking into account [a] Salman's current form at the box-office and [b] The film has the merits to stand on its feet.


Write your own movie review of Bodyguard A section of the industry feels that Salman is limiting himself to hardcore masala films that defy logic. That he's slowly getting typecast in similar genre movies. Perhaps, you may assume that BODYGUARD is no exception. You may also assume that BODYGUARD is an extension of what we've witnessed in DABANGG and READY. But it is not so. Let me say, BODYGUARD is atypical Salman entertainer, yet there are moments [in its second hour specifically] that make it stand apart from all Salman starrers we have witnessed in the recent past, which includes WANTED, DABANGG and READY.




Let me elaborate. You expect Salman starrers to be larger-than-life, superhero films. You expect him to be the messiah of the masses. BODYGUARD presents Salman exactly the way we expect him to be presented, but, at the same time, the film brings back memories of the soft, romantic roles that Salman essayed in his initial films. What makes the film tick is that Salman and director Siddique have done something hatke within the limitations of the typical Bollywood formula, which, I am sure, should appeal to the Hindi movie buff abundantly.


Final word? BODYGUARD is a perfect family entertainer that compliments the spirit of the festive season.


When it comes to being punctual and doing his duties perfectly, Lovely Singh [Salman Khan] is unmatchable. Taking great pride in what he does, he spares no effort in giving his everything to his profession.


Lovely is summoned for an assignment of guarding Divya [Kareena Kapoor], the daughter of Sartaj Rana [Raj Babbar], a business tycoon. Lovely accompanies her to her campus, but ends up rubbing her the wrong way with his over-protective nature. She finds him to be a major obstacle in leading a regular campus life. To throw him off-track and get him out of the way, she comes up with a 'master plan' -- that of trapping him in a fake love affair. 'Once he's smitten by the girl of his dreams and is reveling in his new-found romance, he will leave us alone and we shall be free to do our own thing unhindered', says Divya to her friends.


She becomes an anonymous admirer of his and starts hounding him, expressing her 'feelings' in no uncertain terms. Lovely, however, proves to be a tough nut to crack and it takes quite a bit of doing from her side to penetrate his fort-like exterior. But once she succeeds in doing so, he transforms into a completely different person. Divya is triumphant and is all set to relish her regained freedom.


But things take an unexpected turn when she learns a few things about Lovely. Things that she could've never even imagined. And she soon finds herself trapped in a dilemma that she's unable to resolve. And with her, soon enough, Lovely finds himself trapped in a web of lies, trickery and deceit.


BODYGUARD is a simple-n-sweet tale of love that's engaging and relatable. At the same time, there's an unexpected twist in the pre-climax which shocks you completely. At no point does the director swerve from the main plot to provide a few extra laughs or thrills. Besides, this is a script which gives actors a lot of room to emote. And both Salman and Kareena seize the opportunity with both hands. More on that later!


Like I pointed out earlier, with BODYGUARD, Salman returns to a genre he started out with -- love story. Sure, BODYGUARD is a remake of a Malayalam film [remade in various South Indian languages as well], which has all the trappings of a perfect masala film -- action, music, comedy -- but BODYGUARD is essentially a love story at heart. Salman's intro may give an impression that it's a hardcore masala film, especially the song and fight sequence [frankly, the first half of the film is routine, with not much happening in the plot]. The director reserves the best for the second half, when it transforms into a love story. The action scene in the second half -- when Salman and Aditya Pancholi get into a fist fight -- is outstanding and will send his fans in raptures. Especially the moment when Salman's shirt rips off and his ripped muscles can be seen. The twist in the tale is a complete shocker. In fact, the penultimate reels of the film catches you complete unaware since you don't expect the story to change so dramatically.



Director Siddique, who has directed the same script for the third time, ensures that a simple story is narrated with simplicity and unfussiness. The twist in the tale comes at the right time, the songs are smartly integrated in the plotline and of course, there are ample comic moments, courtesy Rajat Rawail. The best thing about the film is that Siddique has made a very conscious effort to project Salman as a sensitive human being and not as a demigod, which is why the character becomes all the more relatable and endearing.


The soundtrack fits the genre of the film well. The title track at the very start [Salman's intro] will draw whistles and claps, while 'Teri Meri' is undoubtedly the pick of the lot. Soulfully rendered, this one's simply mesmerizing. Overall, it's a hit score from Himesh Reshammiya and Pritam. Sejal Shah's cinematography is appropriate. Vijayan's action sequences are stylish. Though not an action film, the action sequences do stand out.


Salman delivers one of his best performances in recent times. He makes magnificent use of his tough physique and soft face. Salman's fans are sure to lap this knockout performance in a big way. BODYGUARD would be incomplete without Kareena's contribution. Some roles are tailor-made for actresses who can deliver with aplomb and who better than Kareena to infuse life in a challenging character. She looks gorgeous [as always] and gives this character the dignity that it deserves. Raj Babbar is perfect. Mahesh Manjrekar is as usual. Aditya Pancholi, in a cameo, stages a welcome comeback. He's first-rate. Rajat Rawail is a joy to watch. He's truly funny. Hazel is quite good. Asrani and Vidya Sinha are okay in their respective parts.


On the whole, BODYGUARD works for varied reasons -- it has a simple, but captivating story with a dramatic twist in the tale, the chemistry between the lead actors is perfect and the music is well juxtaposed in the narrative. But its biggest USP is, without doubt, Salman Khan. He carries the film on his broad and brawny shoulders and that alone is the imperative reason for watching this film. BODYGUARD should emerge his third festive hit and fourth super-success at the ticket window. Expect a hurricane called BODYGUARD to strike at the box-office.

Salman Khan's Ek Tha Tiger Movie Review - Exclusive

Release Date: 1 June 2012
Starring: Salman Khan and Katrina Kaif
Director: Kabir Khan
Producer: Aditya Chopra
After months of media speculation, it's official now!
Yash Raj Films is pleased to announce its next project. Directed by Kabir Khan and Produced by Aditya Chopra, the romantic-thriller "EK THA TIGER", stars Salman Khan & Katrina Kaif in the lead roles.
Yash Chopra, speaking about the project, said it was a very happy moment for him. "Everyone knows my association with Salim saab, having worked together on Deewaar, Trishul and Kaala Patthar. It is a very happy moment for me and YRF to have his son Salman with us for the first time. Over the years, Salman has become a very matured and talented actor and both he and the beautiful Katrina have a tremendous connect with their audiences. Combined with Kabir's edgy directorial skills, we can all look forward to a thrilling film. I really loved the script which is based on a story written by Adi and I am sure that the whole team will do an excellent job on this project."
Salman Khan was also honoured to be working with YRF for the first time. He said, "In the past Adi and I have met a few times on various projects but somehow, when Kabir and he came to me with this particular story, we all just knew that this was the one. It is a very ambitious project and will be a challenge for all of us, but that's exactly what makes it such a big draw. Above all this, I'm honoured to be working with Yashji, who has worked so closely with my Dad in the past.""
The story is by Aditya Chopra and the Screenplay & Dialogues have been written by Kabir Khan and Neelesh Misra. Aseem Mishra, who has worked with Kabir on New York, will be the DOP. The music will be scored by Pritam

Latest Movie Review Aarakshan

A Prakash Jha film is talked about for more reasons than one. It provides food for thought. It sets you thinking. Be it DAMUL, MRITYUDAND, GANGAAJAL, APAHARAN or RAAJNEETI, there was enough fodder in each of those films. Besides, each of those films left an indelible impression on the minds of the viewer. So, quite naturally, the expectations from his new release AARAKSHAN are enormous. This one also tackles a rather serious social issue -- caste-based reservation. However, AARAKSHAN not only talks about reservation, but also about the commercialization of educational institutions.
Not many storytellers have repeatedly succeeded in creating pragmatic films on societal matters, but Jha holds the distinction of doing so in film after film. Be it DAMUL [on bonded labor], MRITYUDAND [on gender inequity], GANGAAJAL [also about the contentious blinding episode at Bhagalpur], APAHARAN [on the abduction situation in Bihar] or RAAJNEETI [on the political state of affairs], Jha's cinema has always illustrated harsh realism in a transfixing and riveting manner.

We believe in equal rights for all and yet, we continue to be a aste-based society. Through AARAKSHAN, Jha portrays the agony that the youth goes through. The film-maker wants the spectator to comprehend matters around one of the most controversial policies of caste-based reservations in government jobs and educational institutions, a hitherto untouched theme for Hindi cinema.

Like Jha's earlier attempts, AARAKSHAN is, without doubt, a high-voltage socio-political drama. But, most importantly, it takes on issues head-on, without mincing words. However, the storyteller ensures that the film, at no point, gets preachy or drifts into the sermonizing mode. Like Jha's films, AARAKSHAN has a story to tell and several super dramatic moments. Sure, it takes time to comprehend what's going on initially, due to the fact that the film has multiple characters and too much seems to be happening from the start itself, but things fall in place as the story moves forward and the tension starts escalating. While the first hour leaves a hammer-strong impact and is captivating in most parts, it's the second hour that comes across as a mixed bag. More on that later!
AARAKSHAN tells the story of Prabhakar Anand [Amitabh Bachchan], the idealistic principal of a college that he has single-handedly turned into the state's best. It is the story of his loyal disciple, Deepak Kumar [Saif Ali Khan], who will do anything for his Sir. Of Deepak's love for Prabhakar's daughter Poorbi [Deepika Padukone], of his friendship with Sushant [Prateik].

Centered on one of the most controversial issues of recent years, the story suddenly becomes a rollercoaster ride of high drama, conflict and rebellion, which tests their love and friendship for one another and their loyalty to Prabhakar Anand.

Gender bias and caste-based politics are two paramount problems plaguing our society and it's not easy to depict these two issues with accuracy on screen. I am no one to comment whether AARAKSHAN would be able to throw up any enduring solution to the problem, but I am sure that the film would seize your mind and make you deliberate on the issues facing the nation. And that, to me, is akin to accomplishing what Jha must've set out when he green-lit AARAKSHAN. One also relates to the subject instantly because it mirrors the thoughts of a common man, since every family is genuinely concerned about the education and job their child will get.

At the cost of repeating myself, I'd like to say that the dramatic moments in AARAKSHAN make it a riveting experience. The conflict between Amitabh and Manoj Bajpayee in particular and the turn of events during the post-interval portions leave a solid impression, but the narrative tends to get lengthy and a tad uninteresting and repetitive towards the second hour specifically. The conflict between Amitabh and Manoj is well presented and moves to the next level in the second hour, but the sequences thereafter, when Amitabh, Deepika, Saif and even Prateik start conducting classes and educating the students, dilute the impact generated by the first hour. Also, the culmination to the story, when a full-blown confrontation between the government officials and commoners takes place, though well executed, could've been more impactful. In short, the excessive length of the film, more specifically towards the second hour, acts as a deterrent.
An issue-based film rarely has scope for music [Shankar-Ehsaan-Loy] and AARAKSHAN is no different. Nonetheless, Jha weaves the songs smartly in the narrative, which doesn't really hamper the flow of the story. Like every Jha movie, AARAKSHAN is embellished with hard-hitting dialogue and Anjum Rajabali comes up with lines that are sure to be talked-about while thrashing out the merits of the film. Sachin Krishn's cinematography is top class.

The Principal's role is tailor-made for Amitabh Bachchan. Though the actor has portrayed an unsympathetic Principal of an educational institution in MOHABBATEIN earlier, his role is different this time around. In MOHABBATEIN, a delicate episode toughened his character. In AARAKSHAN, his persona begins to suffer when Manoj Bajpayee and the coterie begin to show aggression and debase him. He doesn't strike back initially, but retaliates later, when he starts teaching all over again. The actor gives a completely new dimension to this character.

It requires great courage to cast Saif Ali Khan in the role, but he comes across as very persuasive. In fact, the film offers him several difficult sequences, which the actor carries off with flourish. His diction, while delivering shudh Hindi, is perfect. This role must have been a challenge for Deepika Padukone as well and she surprises you with a confident portrayal. In fact, she has an equally challenging part to play in the story and it must be said that she handles her scenes, even when she's pitted against experienced actors, with complete understanding.
Manoj Bajpayee was remarkable in RAAJNEETI; he played a devious and manipulative politician with gusto. In AARAKSHAN, his character is negative as well; he treats education as a business. And Manoj is incredible this time as well. Prateik is impassive in a few scenes. Also, he needs to loosen up a bit.

Tanvi Azmi is first-rate. Mukesh Tiwari is, as always, top notch. Yashpal Sharma is exceptional. Darshan Jariwala is very good. Saurabh Shukla is wonderful. Chetan Pandit is adequate. Vinay Apte is perfect. Anita Kanwar and S.M. Zaheer are alright. Hema Malini appears towards the end of the film.

On the whole, AARAKSHAN communicates an engaging story with very relatable characters. It's a movie that is truly inspiring and thought-provoking, but at the same time, its running time [almost 2.45 hours] is a deterrent. The film is mired in controversies ever since Prakash Jha announced the project, but the controversies will only enhance the curiosity-value for this film. AARAKSHAN not only works as a film, but also as a tool to drive home a forceful message. It's a daring, heroic, commanding and an engaging film that shouldn't be missed! 

Salman Khan Body Guard Movie Review

When it comes to being punctual and doing his duties perfectly, Lovely Singh is unmatchable. Taking great pride in what he does, he spares no effort in giving his everything to his profession.

Summoned for an assignment of guarding Divya, the daughter of Sartaj Rana, a business tycoon. Lovely Singh accompanies her to her campus, but ends up rubbing her the wrong way with his over-protective nature ...and paranoia about security. She finds him to be a major obstacle in leading a regular campus life. To throw him off-track and get him out of the way, she comes up with a 'master-plan'- that of trapping him in a fake love affair. 'Once he's smitten by the girl of his dreams and is reveling in his new-found romance, he will leave us alone, and we shall be free to do our own thing unhindered', says Divya to her friends.

She becomes an anonymous admirer of his and starts hounding him, expressing her 'feelings' in no uncertain terms. Lovely Singh however proves to be a tough nut to crack, and it takes quite a bit of doing from her side to penetrate his fort-like exterior. But once she succeeds in doing so, he transforms into a completely different person. Divya is triumphant and is all set to relish her regained freedom.

But things take an unexpected turn when she learns a few things about Lovely Singh. Things that she could've never even imagined! And she soon finds herself trapped in a dilemma that she's unable to resolve! And with her, soon enough, Lovely Singh finds himself ensnared in a web of lies, trickery and deceit!

Bodyguard is the story of conflict- between innocence and mischief, love and power and life and death!

Latest Movie Review Delhi Belly

Delhi Belly Movie Review

Delhi Belly Rating: 3.61/5

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Showing 10 Reviews 

List of Delhi Belly Movie Reviews

Ratings:3.5/5 Reviewer:Rajeev Masand Site:IBNLive

Packed with rude humor and made with the intention to shock you, 'Delhi Belly' is a filthy comic thriller that works because it's a smartly paced wild-ride. Mind you, it doesn't have a madly inventive story. Yet with sharp performances and a tight script by Akshat Verma, it's 90 minutes well spent. Uninhibited and naughty, 'Delhi Belly' is an enjoyable comedy that has enough frenzied moments to keep you in your seats. I'm going with three-and-a-half out of five for director Abhinay Deo's Delhi Belly. A good laugh is guaranteed.

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 Ratings:4.5/5 Reviewer:Taran Adarsh Site:BollywoodHungama

On the whole, DELHI BELLY is a ground-breaking and inventive comic caper targeted at the youth brigade. People who can't absorb brazen, grimy and unabashed language might abhor it; in fact, it's not for the straitlaced moralists or purists. It's for those who have a strong belly, with an appetite for adult comedy and cuss words. Its wittiness may astound and astonish you. I viewed the Hinglish version, but I understand that the Hindi interpretation of the movie is so impactful that it renders you speechless. Eventually, DELHI BELLY works big time predominantly for the reason that it's a pioneering motion picture, an incredible film that dares to pierce into an untapped and brand new terrain. The unblemished, racy screenplay coupled with super performances and a chartbusting musical score will make it a WINNER all the way.

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Ratings:4/5 Reviewer:Nikhat Kazmi Site:TimesOfIndia

As a comedy, Delhi Belly is such a refreshing change from the run-of-the-mill Hindi film laugh riot which almost always borders on the juvenile. The humour is all situational, beautifully woven in the script and never having to depend on a banana peel skid. Grow up all you comedy filmmakers who insist on treating your audience as retards!All in all, Delhi Belly is a fine example of how the brightest and the boldest, when they pool in their talent, can create a film that is guaranteed to give you your money's worth, even as it re-writes all the moth-balled rules of an ageing industry.

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 Ratings:3/5 Reviewer:Aseem Chhabra Site:Rediff

Delhi Belly is a slick, madly crazy production that is mostly funny -- although the humour will more likely appeal to the 20-something and perhaps 30-something public school educated, English speaking, big city audience that the film targets through its previews, videos and playful songs. But I know for sure that my mother and just about everyone of her generation will be totally turned off watching Delhi Belly.The film has some really clever writing and is ably director by Abhinay Deo who seems to be having a blast making the film with his ensemble actors.

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Ratings:3.5/5 Reviewer:Kaveree Bamzai Site:India Today

Shit and a lot else happens in Delhi Belly where gangsters with guns chase a Matrushka doll with diamonds. It's fun and funny, modest and yet quite nutty. Three strugglers with too little money and too much bad luck. This is an udta hua chauka which Aamir Khan can safely call a chhakka againA hairy-chested Aamir Khan thrusting his pelvis at the audience while stomping the dance floor in three-inch platform shoes alone is worth the price of admission. Why the f*** should you miss it? Go shake your biscuit.

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  Ratings:4/5 Reviewer:Daily Bhaskar Site:Dainik Bhaskar

Delhi Belly is a simple storyline with required twists and turns, handled efficiently by the director. While the first half sprinkles fresh, new humour and comes with many bone tickling moments, the realistic approach and simple locations make the story more appealing and believable.Neither it’s a family movie nor for those who are sensitive with adult content. Simple subject, straight storyline and a required 'tadka' of adult content has been balanced well. Delhi Belly is an experimental film from Aamir Khan’s kitty,

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 Ratings:4/5 Reviewer:Mihir Fadnavis Site:DNA

What works best in the film is the subtle, smooth nature of the comedy — the actors don’t try too hard, nor do they make stupid faces to extort laughs from you.The only problem is that the Delhi Belly is overtly calculated, and the songs, though gorgeously relegated to the background, are mercilessly sliced and diced. Hat tip to producer Aamir Khan for shepherding a zany, truly cheeky jet black comedy for adults in an industry that generally delivers stuff like Ready and Tees Maar Khan. Delhi Belly is lethally funny and cynical. It is so gaudy and profane that you can't say it isn't fun in its own exuberant way.Do watch.

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 Ratings:3/5 Reviewer:Pankaj Sabnani Site:Glamsham

The interval-less film has just the right amount of twists, to hold your attention. But you do hope the narrative was a bit tauter as it seems a bit lacklustre in portions. Perhaps, some more humorous moments would have done the trick. Nevertheless, the gags that are there are uproarious. The constant bantering between the three friends is very palpable. DELHI BELLY is a fun ride which gives toilet humour a whole new meaning. Watch it for its craziness!

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  Ratings:--/5 Reviewer:Rachel Saltz Site:NewYorkTimes

The film revels in our heroes’ grungy milieu, with particular emphasis on their rickety bathroom. But it also shows, perceptively and often sweetly, a broader slice of young, urban, educated life in India as the three deal with careers, love and happiness.This isn’t the first movie to inject an indie sensibility into commercial Indian cinema. But “Delhi Belly,” which has the Bollywood star Aamir Khan as a producer  does it with assurance. And that impresses more than its dirty talk and potty humor.

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 Ratings:3/5 Reviewer:Peter Bradshaw Site:Guardian UK

The sheer daftness and goofiness of this Bollywood comedy-farce makes it likable. But you'll have to be in the mood. As I say, you'll need to indulge the wackiness and absurdity, but there's something appealing about Delhi belly

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