DON 2 MOVIE REVIEW

Shah Rukh's 'Don 2' is a cool thriller-Movie Review

Film: Don 2

Starring: Shah Rukh Khan, Priyanka Chopra, Boman Irani, Lara Dutta,

Director: Farhan Akhtar

Producer: Farhan Akhtar, Ritesh Sidhwani, Shahrukh Khan

Banner: Excel Entertainment,Reliance Entertainment

Music: Shankar Ehsaan Loy

RATING : 3.75/5

The King says he is back. Long live the King. King Khan, or Shah Rukh as some of us prefer to call him, is seen at the pinnacle of precociousness in this pitch-perfect tongue-in-cheek homage to the espionage thriller.

But this is not your average 'Don-returns-because-he-had-to' kind of predictable sequel. Farhan Akhtar with the keen participation of his ebullient writer Ameet Mehta and Amrish Shah, comes up with a cool concoction that prefers to let the action speak louder than words.

There are enough throwaway lines given to Don to make him fly high as a superhero of the underworld even when he's locked away for life? Like Tom Cruise in "Misssion Impossible 4" last week, Shah Rukh's journey into valiant viciousness begins with a jailbreak. It then speeds into a kind of con caper which could go anywhere. It goes to Switzerland where the action is relentless. And it's not only about the flying bullets and speeding cars.

Don's world is governed by a kind of subverted moral censorship where he, and nobody else, decides right from wrong. Into this world of win-win wickedness where Don reigns supreme, Farhan Akhtar infuses an intelligence that isn't only connected to agencies.

Queerly, Don doesn't encourage human ties. And since Don decides the destiny of the plot the relationships within the plot therefore do not grow substantially. Farhan portrays human attachment almost as an embarrassment, a hyphen in a film that is punctuated with exclamation marks. The ony tender moment in the screenplay occurs when an affable computer hacker (Kunal Kapoor) caresses his pregnant wife's belly. The moment passes quickly. And we move to Don's next level of purported ingenuity.

The relationship between Don and his 'junglee billi' Roma (Priyanka Chopra, hair, makeup and clothes and not much else in place) is barely given a nod by the screenplay. You wonder how Don calls her Junglee Billi since she's so immaculate and impervious all through. Maybe it's a private joke between them. We will never know. Or would we?

Watch out for Don 3. Hopefully Don would be married to Roma and growing vegetables in a village in Spain while the Interpol follows his trail in Pakistan.

Not all of it makes sense. Some of it, you suspect, is pointless to even Don himself. But the film exudes a kind of uber-chic temperament that we've hardly ever seen in our films.

Precocious and audacious, with his tongue wedged stubbornly in his cheek, Don is back in edgy laconic look back in rancour. The chase is restrained. The thrills are austere, almost severe. Farhan Akhtar is determined not to go over-the-top even as his evil protagonist does just that.

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Ladies Vs Ricky Behl Movie Review

Film: Ladies VS Ricky Bahl

Starring: Ranveer Singh, Anushka Sharma, Parineeti Chopra, Aditi Sharma

Director: Maneesh Sharma

Producer: Aditya Chopra

Banner: Yash Raj Films

Music: Salim-Sulaiman

RATING : 3/5

Please don't look for another "Band Baaja Baaraat" from the Ranveer Singh-Anushka Sharma-Maneesh Sharma team. And chances are, you will come away from "Ladies Vs Ricky Behl" with a feeling of having seen a smoothly-sculpted con caper about a suave charlatan who wins over 31….or is it 32?...women and then breaks their heart while running away with their bank balance.

We only see the con man, played with sly suaveness by Ranveer Singh hoodwink four women. The first three episodes where Ricky Behl (yup, that's his name but we know it only at the end) cons first a bubbly loud Punjabi business family's fun-loving girl (played with endearing effervescence by Parineeta Chopra), then a uptight hoity-toity business executive (Dipannita Sharma, accomplished) and then simple widow from lucknow (Aditi Sharma, sweet) are cut beautifully, like a well-tailored roomy band-gala sherwani.

Suresh Sharma's editing moves through Ranveer character's various escapades with a direct deftness that leaves no room for loose moments. However, a bagginess creeps into the narration in the second-half when Ranveer meets his match (in more ways than one) in Goa. Here, the chemistry is more laboured than luminous.

Though Goa is captured with pristine picturesqueness, the Ranveer-Anushka relationship in the second-half falters due to a lack of inner conviction. Though the writing is smooth textured and layered, the mellow momentum is forfeited once it's payback time for the con man.

Anushka Sharma's predictable bubbly-on-the-prowl act here often seems selfconscious and repetitive. Could we please see this bundle of energy do something else? And really, her introductory song is more a homage to Ram Gopal Varma's "Rangeela" than a panoramic look-see at Anushaka's character's heartland.

The songs and choreography are more erotic diversions.

Ranveer Singh gets his act together with great care for details. Each step of his con game is charted carefully with the right physique, body language clothes and accessories. Yup, this actor works hard on getting it right and succeeds. If the highlight in "Band Baajaa Baraat" was the sequence where Ranveer's character blurted out his love for Anushka, here too Ranveer gets the love-confession sequence just right.

Here's an interesting actor who matches his enthusiasm level with a compelling quotient of sensitivity .

Fatally, we never know what motivates Ricky Behl. Why does he do what he does? Is he a benign fan of Shah Rukh Khan over-dosing on the "Baazigar" philosophy of fooling women for money?

If the narrative tends to run through a blind alley quite often it also finds its way into a luminous light often enough to make us feel favourably towards the overall products. The locational details and the character-specifications are done with rare care. The three actresses Parineeti Chopra, Aditi Sharma and Dipannati Sharma playing Ricky's three scorned women slip effortlessly into their roles.

As for Anushka she is a fearless actress, not afraid to let her emotions overrule her makeup. At the end of the film when she dresses up as Santa Claus to smooch Ranveer Singh in shopping mall, there isn't that same feeling of breathless exhilaration we felt when Ranveer and Anushka kissed in their previous film together.

As far as con capers go, "Ladies Vs Ricky Behl" moves at an engaging pace long enough to qualify as a rom-com which looks and feels right.

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Thank You Movie Review

Film: Thank You

Starring: Akshay Kumar, Sonam Kapoor, Bobby Deol, Suniel Shetty

Director: Anees Bazmee

Producer: Ronnie Screwvala,Twinkle Khanna

Banner: UTV Motion Pictures,Hari Om Productions

Music: Pritam Chakraborty

RATING:1.75/5

Produced by UTV Motion Pictures and Akshay’s home production, Hari Om Productions, “Thank You” is about three married men trying to have some fun outside their marriages. Apart from Akshay the film stars Bobby Deol, Irrfan Khan, Suniel Shetty, Rimi Sen, Celina Jaitly and Sonam Kapoor.

In the film, three best friends and business partners - Raj (Bobby), Yogi (Suniel) and Vikram (Irrfan) - are portrayed as womanizers. Their wives are clueless about their husbands cheating on them with every pretty girl they lay their eyes on.

However, their supposedly happening world is rocked when Raj's wife Sanjana (Sonam) begins to suspect her husband and hires a private detective, Kishan (Akshay) to keep an eye on him.

Kishan has built his reputation as a man who saves marriages by getting philandering husbands to mend their ways. However, in this particular case, Kishan gets into trouble when he falls in love with Sanjana, which means he may not be acting in her best interest. Soon follows a crazy cat and mouse game, where Kishan tries to catch the husbands red-handed.

The problem with thank you is the same type of genre that director Anees Bazmee has chosen provided he had earlier directed No Entry. Thank You though has some resemblances with No Entry fails flat when it comes to having the comic moments that No Entry had.

The film begins well with moments that one can enjoy for the first hour but as the story progresses it’s difficult to imagine is this the same film that we watched for the first one hour. Unnecessary characters, uninteresting jokes, songs which are not woven to the story form a major backdrop of Thank You.

Kumar’s plan of setting up the marriages straight with regards to the womanizers has its ups and downs, more downs we can say. The problem with making these types of comic capers is that the writing should be as tight as its gets but the writer makes number of lapses over here resulting in screenplay turning wayward.

Performances by female leads in the film are as awkward as their marriages. Sonam Kapoor has her scenes but she is seen sobbing her eyes out trough out the film. I guess lack of films under her kitty made her to do this role if not the director’s proximity with her dad Anil Kapoor .

Rimi Sen looks tight in her scenes and can be said that she is the only lady in the film who performs according to the circumstances demand. Wondered where Celina Jaitley went in the second half as she is hardly seen. Guess the director must have had enough of her in the first half.

Bobby looked below par in the film while Irrfan and Suniel add some masala to the film with their comic timings. It is both of them who make the film have its flashes especially in the boring/dragged second half with their weird expressions and the cheesy lines that were meted out to them.

In the end “thank you’s” saving grace is Khiladi Kumar. No one can ever doubt his comedy timings and he proves a fact with this film once again but the sad part is the film fails on the whole. Add to it, Vidya Balan, a towering performer is wasted in a miniscule role.

Ravi Yadav’s cinematography is a treat to eyes. The scene between Akshay and Sonam at Niagara Falls is worth a picture. Pritam’s compositions as now a days are ok, that’s it. Background score by Sandeep Shirodkar is patchy at times.

Eventually “thank you” can be only watched by Akshay’s die hard comedy fans. Overall it fails and never matches up to the expectations that were laid on it especially it being Bazmee’s and Kumar’s third venture after Singh Is King and Welcome.

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Memories In March Movie Review

Film: Memories In March

Starring: Deepti Naval, Rituparno Ghosh, Raima Sen and others

Director: Sanjay Nag

Producer: Debajyoti Mishra

Banner: Shree Venkatesh Films

Music: Debojyoti Mishra

Rating:3.5/5

Strangely, it is women who render themselves effectively to the cinema of loss and bereavement. Don't men suffer when they lose someone precious? In a subtle sly way, debutant director Sanjay Nag's "Memories In March" poses this question on gender attitude towards loss and tragedy.

In a script tenderly crafted by Rituparno Ghosh, Nag has a woman and a man locked together in the chamber of shared grief.

Memory and its deeply-reflective recollection after death are a recurrent leitmotif in Ghosh's films. In the Ghosh-directed "Sob Charitro Kalponik ", Bipasha Basu fell in love with her husband Prosenjeet after his death. In "Memories In March", which Ghosh has scripted, the mother discovers the dark side of her son who she thought she was very close to after his death.

Aarti Mishra (Deepti Naval), a no-nonsense divorcee from Delhi, arrives in Kolkata after her only son's sudden death in a car accident, to close the account of her son's life and pick up the son's remnants that would, perhaps, serve to sustain her for the rest of her life.

In Kolkata, Aarti meets a gentle middle-aged man Arnab (Ghosh) who turns out to be a close friend of her son...much closer than she, the mother, would have liked him to be.

The sequence on a steep staircase where the mother is told by her dead son's affable colleague (Raima Sen) that her son was in a gay relationship with Arnab, is expertly executed to eschew tears while milking the situation for its insinuated poignancy.

"Memories In March" is excellent at building individual moments of crisis and catharsis between characters during a time that's stressful beyond imagination for all concerned. However, the sum-total of the moments does not quite add up to that tremendous eruption of emotions that one would accept in a film about a mother's journey into her dead son's secret life.

Often the narrative holds back emotions, more to appear European in spirit than to be in character with the script. As played by Deepti, the mother is a portrait of restraint breaking down just once when no one is looking in an open refrigerator and that too with such furtive fury, you wonder if she's holding back the tears for a time when the camera doesn't pry.

The narrative's structure and its journey from crisis to reconciliation is so tentative that you wonder if this moving portrait of a mother coming-to-terms with her son's death and dark secret about his sexuality doesn't lose out on something vital in its effort to imbue a cosmopolitan hue to the emotions.

Having said this, the detailing of the emotions and the nuances inherent in the ambience cannot be faulted. The film creates a scintillating synthesis of suburban sounds and the intangible sound of hearts shattered by unforeseen tragedy. Incidental sounds, such as children running down the stairs of the dead son's apartment block, or the old-fashioned rickety lift creaking to a start at a decisive moment in the plot, lend a workaday grace to the poignant proceedings.

The time passages seem cramped, uneven and, lamentably unconvincing. The narrative crams in the mother's bereavement, acceptance of her son's homosexuality and her bonding with his gay lover in a fashionably condensed one-brief-moment-of-grief weekend, again, a European habit.

Soumik Haldar's cinematography and Debojyoti Mishra's music invite attention to themselves slightly more insistently than the characters who remain suspended in muted melancholy. At times you wish to push the proceedings to a higher octave, if for no other reason then to see if these internally-suffering characters can express their pain more forcefully.

"Memories In March" is a ball of impenetrable anguish that implodes once in while. When it does, the little shards of pain and hurt pierce your soul. The bond between two unlikely mourners, who become one in their collective grief, remains with you long after the last shot of a fish tank lying bereft and a voice message unattended after an irreversible tragedy.

This is a work of bridled pathos made remarkable by Deepti and Ghosh's delicately-drawn performances. If you enjoy cinema that provides emotional catharsis, this one is for you.

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Game Movie Review

Film: Game

Starring: Abhishek Bachchan, Soniya Jehan, Jimmy Sheirgill,

Director: Abhinay Deo

Producer: Farhan Akhtar, Ritesh Sidhwani

Banner: Excel Entertainment

Music: Loy Mendonsa, Ehsaan Noorani, Shankar Mahadevan

RATING:1.5/5

The film is a story of four strangers who are invited by Kabir Malhotra to an island in Greece only to discover that they should have never went there. The four strangers over here are Neil Menon [Abhishek Bachchan], O.P. Ramsay [Boman Irani], Tisha Khanna [Shahana Goswami] and Vikram Kapoor [Jimmy Sheirgill].

The four characters have no contacts with each other till they come to the Samos island, Greece. Beginning of the movie, Anupam Kher tells out why they are invited to the island and what they should do. As a part of the mission Neil travels from Istanbul to Turkey and then immediately lands in Mumbai. Though the action episodes are picturised taking into the account of action genre, Neil does his set out work with so ease that one wonders where’s the reality quotient in it considering Game coming from Farhan Akhtar.

Neil’s true identity is revealed later. God knows what was the writer upto in revealing it. Immediately after this all of the four land in the same place where they began on hearing some mishap to Tisha. As the story progresses one can usually identify the mystery, so what’s the point of being a murder drama/thriller, can’t understand?

Director Abhinay Deo, a familiar face in the ad world was more on capturing the locales beautifully than making the story more engrossing. In locations such as Greece, Istanbul, London, and Bangkok apart from Mumbai, Game’s story unfolds. Even though Deo was given a weak subject to deal with, he hardly matches up to the expectations that Farhan and Ritesh have bestowed on him.

Though the first half of the film is full of twists and turns, the second half is placid. Writing is at its weakest in Game and the film fails only with regards to it. Wonder whether Shankar, Ehsaan and Loy are behind the music of the film as no song grabs one’s attention.

Abhishek is given a character which hardly has any scope to perform. Sarah does an ok job with her debut. She looks gorgeous in the film. Boman as the Thai politician over acts. Shergill and Sahana do there best in miniscule roles. Kangana as the police officer is a saving grace to the film though there are some problems with her diction.

Special mention for the Cinematographer Kartik Vijay Thyagarajan who does an excellent job. One of the best camerawork’s that one can associate off late. Farhan Akhtar’s dialogues are good. Ram Sampath’s background is laudable compromising the defects of music trio.

The chase sequence on the roof-tops of Turkey is pulsating to watch. Moments like these are very minimal in Game when they should have been more.

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Faltu Movie Review

Film: Faltu

Starring: Jackky Bhagnani,Pooja Gupta,Angad Bedi, Arsha Warsi etc

Director: Remo D’ Souza

Producer: Vashu Bhagnani

Banner: Puja Entertainment (India) Ltd

RATING:2.25/5

Directed by choreographer turned director Remo D’ Souza, Faltu is a coming of age story. It is loosely taken from English flick Accepted [2006].

Faltu revolves around a group of friends who are considered an utter disaster. Add to it, these backbenchers take pride in being called useless. Thanks to their low grades, Jacky Bhagnani, Angad Bedi and Pooja Gupta hardly get a seat in a college.

Then Jacky gets an idea of starting a college and with the help of Arshad Warsi he does it by setting up Fakirchand And Lakirchand Trust University [F.A.L.T.U.]. Arshad brings inn Riteish to Faltu to be the principal. Riteish works as a school teacher before called upon by Arshad. The film progresses as many rejected students turn upto Faltu. The second half deals with Jacky’s take on education in India and the prominence of alternation education to youth instead of following the regular format.

Faltu is without doubt catered to the youth of the country. Songs like 'Chaar Baj Gaye, 'Bhoot Aaya', 'Fully Faltu' and 'Le Ja Tu Mujhe' are composed keeping in mind of youth and they strike right chords with the youth.  Performances from the leads are refreshing as Jacky, Angad and Pooja slip into their roles with ease. Arshad Warsi, Riteish Deshmukh alongwith Boman Irani are bankable actors and they live upto their standards.

The problem with Faltu is the cinematic liberties that it took. Writing is very weak and at times very childish. Senseless humors, logic less characterizations are seen though out the film. Arshad warsi is named as Google in the film and there isn’t an explanation to it. Arshad has money for every problems, can’t understand from where it comes. Setting up the university by renovating it, its permission, accommodation for students etc etc happens in 24 hours, wonder how?

Even though there are too many loop-holes in the film, on the whole Faltu says one thing to youth, follow your heart. Keeping heart in perspective, Faltu can be viewed only when you leave your brains at home because it is an out and out complete masala flick. Not a must watch but can risk it after all there are no Bollywood releases for a long time.

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Yeh Faasley Movie review

Film: Yeh Faasley

Starring: Anupam Kher, Tena Desae, Pavan Malhotra, Rushad Ra

Director: Yogesh Mittal

Producer: Om Prakash Mittal

Banner: Bhawani Pictures

Music: Deepak Pandit

Rating: 1.75/5

Yeh Faasley sees Devinder Dua aka Anupam Kher playing the role of a big builder in a town. His one and only daughter Arunima played by Tena Desae arrives back in town after completing her boarding studies. Dua is showcased as a protective father in the film as he beats out a guy who tries to misbehave with his daughter at a marriage. After Dua showing immense love on Arunima, She feels comfortable in the fact that her mother and father loved each other and were happy for as long as they were together.

As the story progresses Arunima finds out a will written by her mother at the age of 28 only in discovering why did her mother wrote it at that age? Doubts creep into her mind after her father avoids questions about her mother. He even goes into the extent of hiding her wife’s compassion for music and her closeness with fellow musician Digvijay Singh played by Pawan Malhotra. Why did her mother died and who was responsible for it? Forms the rest of the story as Arunima tries to figure out the truth about her father and mother’s past.

Minus Points:

The major problem with the film is its length. The film drags out in the second half as easily one can figure out that this is the end and later realizes it’s not. The writing should have been tighter. Court scenes in the second half are placid and lack drama. Even though Yogesh Mittal begins the story very well he loses out control on it. Pawan Malhotra, one of the characters in the film is wasted as it looked like he over-acted in Rajasthan’s royalty provided he was not given a substantial role. The same is the case with Lawyer Kiran Kumar. Music plays a spoil-sport in the film.

Plus points:

Hardly one can figure out any plus points in the film. As usual Anupam Kher delivers a credible performance as a demented husband and a loving father. Tena Dease needs to improve a lot even though it’s her first film. Cinematography by Amitabh Singh is laudable. Rushad rana [as love interest of Arunima] is good.

Final Verdict:

It’s better for one to stick at home and watch the ongoing cricket world cup rather than wasting his money on Yeh Faasley.

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Tanu weds Manu Movie Review

Film: Tanu Weds Manu

Starring: R Madhavan,Kangna Ranaut,Jimmy Shergill

Director: Anand L Rai

Producer: Vinod Bachchan,Shailesh R Singh,Surya Singh

Banner: Viacom 18 Motion Pictures Paramhans Creations and

Music: Krsna

RATING: 2.75/5

Why should you watch "Tanu Weds Manu"? For R. Madhavan who will win your heart as a sweet lovable NRI doctor Manu who has the misfortune of falling in love with a Kanpur-girl Tanu (Kangana Ranaut) who not only rejects him as a suitor but also uses him to elope with her ruffian boyfriend.

Hiding his heartbreak and disappointment behind a smile, Madhavan fits into the role of a goody goody NRI like a glove. He is hopelessly in love with Tanuja who doesn't miss a single opportunity to hurt him. Rules, they say, are meant to be broken and that's what Tanu's agenda in life is - to break all rules that a middle-class family swears by.

Well, an NRI coming home to find a suitable bride for him is very common in Indian society and director Anand Rai's comedy opens with the same. He tries to be as close to reality as possible - from the backdrop, to clothes, to character artists - all bring out the element of a middle-class setup perfectly.

With a marriage in the background providing a perfect place for Tanu's second chance meeting with Manu, the movie traces the relationship between the girl and the NRI. Surely, perfect material for sentimental romances with 'comedy ka tadka'.

But there is something missing to make it a perfect romantic comedy. First, the script is punctured, then thier is no on  screen chemistry between Madhavan and Kangana and if that was not enough, the narrative doesn't flow at the desired pace - it's slower than it should be.

Though the director picked up an interesting subject, he has not succeeded in executing his story effectively on-screen - there are not enough laughs in the film. Whatever funny scenes are there, credit goes to the chemistry between Madhavan and Deepak Dobriyal who plays his friend Pappi.

Kangana's dialogue delivery puts you off and she lacks the spunk and spark to play the free bird that she is in the movie. In fact, Swara Bhaskar, who plays her friend Payal, holds the fort as the Bihari girl who is marrying a sardarji (Eijaz Khan) who also happens to be Manu's best friend.

Payal is impressed with Manu and even tries to drill some sense into Tanu's head but Tanu, a rebel, doesn't want to admit her feelings for the man who is picked by her parents.

Critics won't appreciate the plot but Madhavan fans would find enough material to enjoy the film.

Music plays an important role in a wedding-based romantic comedy and the director could have got it right if he had opted for fast-paced peppy numbers.

In the performance department, full marks go to Madhavan, Deepak and Swara. The supporting cast of K.K. Raina, Rajendra Gupta and Navni Parihar don't have much to do, but whatever role they have, they carry it well. Jimmy Shergill as Kangana's ruffian boyfriend is wasted, so is Ravi Kishen as his sidekick.

If you are looking for a great romantic comedy, this is not the one but watch it for Madhavan and his chemistry with Deepak.

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7 Khoon Maaf Review

Film: 7 Khoon Maaf

Starring: Priyanka Chopra, Neil Nitin Mukesh, Naseruddin Sha

Director: Vishal Bhardwaj

Producer: Vishal Bhardwaj, Ronnie Screwvala

Banner: UTV Motion Pictures,Vishal Bhardwaj Pictures Pvt L

Music: Vishal Bhardwaj

Rating:2.75/5

The film is based on Ruskin Bond's "Susanne's Seven Husbands" and tracks the story of a beautiful young girl Susanna Anna-Marie Johannes (Priyanka) who ends up tying the knot seven times following untimely and mysterious deaths of her hapless husbands.

Undoubtedly Priyanka Chopra’s best performance till date, her performance glues the audience in a way that the minor hick-ups in Bharadwaj’s screen-play can be excused. Gritting story, extraordinary performances, tension fuelling background score are the back-bone of Vishal Bharadwaj’s 7 Khoon Maaf.

Story

In the film, Priyanka's character ages from 20 years to 65. Good looking guys are Susanna's weakness. Susanna has a bouquet of faithful servants, a butler and Maggie Aunty, who are also her partners in crime. The first story has Neil playing the role of Major Edwin Rodrigues. He is one legged, arrogant, possessive and doubting. He is her first casualty.

Post-Edwin's death, Susanna marries Jimmy, played by John, as she is floored by his good looks and musical talent. She, however, doesn't have any idea what's in store for her. Success enters his life due to music resulting in girls and drugs. But Jimmy also dies and then enters poet Wasiullah Khan a.k.a. Musafir played by Irrfan. Impressed by his poetry, Susanna marries him too. Although during the day he is gentle, as the dark dawns upon, he becomes animal.

Next in line is Susanna falling for Nicolai Vronsky, played by Russian actor Aleksandr Dyachenko, from Moscow but this marriage doesn't last long as Susanna discovers him having a wife in Russia and eventually Vronsky dies too.

Following the death of Susanna's previous husbands, the police start taking keen interest in the case. So police officer Keemat Lal [Annu Kapoor] enters Susanna's life. He not only asks sexual flavors from her but also persuades her to marry him. He dies with Cardiac arrest.

After the death of Keemat, Susanna is attracted to Dr. Modhusudon Tarafdar [Naseeruddin Shah] as the story progresses she is now suffering from melancholy and her husband Naseer puts her on mushroom only diet.  He is the first guy in the story who thinks of murdering her but in turn gets murdered.

The seventh husband is played by Vivaan, who knows that Susanna is behind those murders and the rest forms the crux of the story.

Plus points

As told earlier this film is Chopra’s finest performance. “I will kill him and drink his blood,” the words uttered by her only can be uttered by her with such vigor and style. It is hard to imagine any other actress apart from her in the role. Bharadwaj does a great screen-play work though with loop-holes. In some sequences Vishal toys with the camera, zooming from funeral into a marriage and vice-versa. Vivaan, who narrates the story, is an actor in reckoning for the future. Susanna’s husbands in the film portray their roles to perfection even though their characters have a limited span. They generate the maximum impact out of their little outing. Watch out for the song “Darling” and the way old Susanna seduces a young guy in the film.

Minus points

The reasons for some killings, one wonders are not presented convincingly. The make-up of the actress during her 60’s is not up to the mark. The second half stories are predictable with out proper and clueless writing, Bharadwaj falters over here. The interest generated in the first half hardly matches the latter half. On the whole film can be more appalling to certain sections of audience than others.

Final verdict

Just for the sheer brilliance of Chopra and Bharadwaj, 7 Khoon Maaf is a commendable watch.

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